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The Role of Competition in the Rise of Baroque and Renaissance Music

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  • Roland Vaubel

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Abstract

Section 1 introduces the hypothesis that competition among neighboring states may favor cultural innovation, and it surveys the available quantitative evidence. Section 2 starts from the assumption that European instrumental music had its breakthrough during the Baroque era and that the most famous composers came from the two countries characterized by the highest degree of political fragmentation: Italy and Germany. It suggests that political fragmentation has promoted musical composition and performance in several ways. The average duration of employment is proposed as a proxy for competition on the demand side. Section 3 shows that the most famous Italian and German composers of the Baroque period changed their employers significantly more often than their French and British counterparts did. Moreover, the Reformation led to musical competition between the Catholic and Protestant churches. Section 4 argues that competition for composers has also been important in other periods of European history – including competition between the Church and the courts. It shows that composers moved no less in the Renaissance than in the Baroque. Section 5 raises the question whether European music may also be said to express a competitive spirit. Copyright Springer Science + Business Media, Inc. 2005

Suggested Citation

  • Roland Vaubel, 2005. "The Role of Competition in the Rise of Baroque and Renaissance Music," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 29(4), pages 277-297, November.
  • Handle: RePEc:kap:jculte:v:29:y:2005:i:4:p:277-297
    DOI: 10.1007/s10824-005-0699-9
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    References listed on IDEAS

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    1. L. Randall Wray & Stephanie Bell, 2004. "Introduction," Chapters,in: Credit and State Theories of Money, chapter 1 Edward Elgar Publishing.
    2. Philippe Robert-Demontrond & R. Ringoot, 2004. "Introduction," Post-Print halshs-00081823, HAL.
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    Cited by:

    1. Falck, Oliver & Fritsch, Michael & Heblich, Stephan, 2011. "The phantom of the opera: Cultural amenities, human capital, and regional economic growth," Labour Economics, Elsevier, vol. 18(6), pages 755-766.
    2. Oliver Falck & Michael Fritsch & Stephan Heblich, 2009. "Bohemians, Human Capital, and Regional Economic Growth," CESifo Working Paper Series 2715, CESifo Group Munich.
    3. John O'Hagan & Karol Jan BOROWIECKI, 2009. "Birth Location, Migration and Clustering of Important Composers: Historical Patterns," Trinity Economics Papers tep0115, Trinity College Dublin, Department of Economics, revised Feb 2015.
    4. Brinja Meiseberg, 2014. "Trust the artist versus trust the tale: performance implications of talent and self-marketing in folk music," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 38(1), pages 9-42, February.
    5. Charlie Karlsson, 2011. "Clusters, Networks and Creativity," Chapters,in: Handbook of Creative Cities, chapter 5 Edward Elgar Publishing.
    6. Elish Kelly & John O’Hagan, 2007. "Geographic clustering of economic activity: The case of prominent western visual artists," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 31(2), pages 109-128, June.
    7. Oliver Falck & Michael Fritsch & Stephan Heblich & Anne Otto, 2015. "Music in the Air: Estimating the Social Return to Cultural Amenities," CESifo Working Paper Series 5183, CESifo Group Munich.
    8. Federico Etro & Laura Pagani, 2013. "The market for paintings in the Venetian Republic from Renaissance to Rococò," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 37(4), pages 391-415, November.
    9. Achten-Gozdowski, Jennifer, 2018. "Geschichte und Politökonomie deutscher Theatersubventionen
      [History and Political Economy of Public Subsidies for German Theatres and Operas]
      ," MPRA Paper 85087, University Library of Munich, Germany.
    10. repec:spr:homoec:v:34:y:2017:i:1:d:10.1007_s41412-016-0033-0 is not listed on IDEAS
    11. Karol Jan Borowiecki, 2015. "Historical origins of cultural supply in Italy," Oxford Economic Papers, Oxford University Press, vol. 67(3), pages 781-805.
    12. Hellmanzik, Christiane, 2013. "Democracy and economic outcomes: Evidence from the superstars of modern art," European Journal of Political Economy, Elsevier, vol. 30(C), pages 58-69.
    13. Wohlgemuth, Michael, 2011. "The boundaries of the state," Freiburg Discussion Papers on Constitutional Economics 11/3, Walter Eucken Institut e.V..
    14. Lars P. Feld, 2006. "Regulatory Competition and Federalism in Switzerland: Diffusion by Horizontal and Vertical Interaction," CREMA Working Paper Series 2006-22, Center for Research in Economics, Management and the Arts (CREMA).
    15. Forrest Capie & Geoffrey Wood, 2016. "Some Reflections on the Ubiquity of Regulation," Economic Affairs, Wiley Blackwell, vol. 36(1), pages 48-55, February.
    16. Hellmanzik, Christiane, 2010. "Location matters: Estimating cluster premiums for prominent modern artists," European Economic Review, Elsevier, vol. 54(2), pages 199-218, February.

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