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History of music publishing - Wikipedia
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Unsourced material may be challenged and removed.<br /><small><span class="plainlinks"><i>Find sources:</i> <a rel="nofollow" class="external text" href="https://www.google.com/search?as_eq=wikipedia&q=%22History+of+music+publishing%22">"History of music publishing"</a> – <a rel="nofollow" class="external text" href="https://www.google.com/search?tbm=nws&q=%22History+of+music+publishing%22+-wikipedia&tbs=ar:1">news</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?&q=%22History+of+music+publishing%22&tbs=bkt:s&tbm=bks">newspapers</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.google.com/search?tbs=bks:1&q=%22History+of+music+publishing%22+-wikipedia">books</a> <b>·</b> <a rel="nofollow" class="external text" href="https://scholar.google.com/scholar?q=%22History+of+music+publishing%22">scholar</a> <b>·</b> <a rel="nofollow" class="external text" href="https://www.jstor.org/action/doBasicSearch?Query=%22History+of+music+publishing%22&acc=on&wc=on">JSTOR</a></span></small></span> <span class="date-container"><i>(<span class="date">January 2013</span>)</i></span><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> </div> </div><span class="hide-when-compact"><i> (<small><a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a></small>)</i></span></div></td></tr></tbody></table> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Mellon_Chansonnier,_MS91.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/75/Mellon_Chansonnier%2C_MS91.jpg/250px-Mellon_Chansonnier%2C_MS91.jpg" decoding="async" width="250" height="374" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/7/75/Mellon_Chansonnier%2C_MS91.jpg 1.5x" data-file-width="334" data-file-height="500" /></a><figcaption>A page from the Mellon Chansonnier (c.1470), prepared for the wedding of <a href="/wiki/Catherine_of_Aragon" title="Catherine of Aragon">Catherine of Aragon</a></figcaption></figure> <p><b>Music publishing</b> is the business of creating, producing and distributing printed musical scores, parts, and books in various types of <a href="/wiki/Music_notation" class="mw-redirect" title="Music notation">music notation</a>, while ensuring that the <a href="/wiki/Composer" title="Composer">composer</a>, <a href="/wiki/Songwriter" title="Songwriter">songwriter</a> and other creators receive credit and <a href="/wiki/Royalties" class="mw-redirect" title="Royalties">royalties</a> or other payment (where applicable). This article outlines the early history of the industry. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Printing">Printing</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=1" title="Edit section: Printing"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Music publishing did not begin on a large scale until the mid-15th century, when mechanical techniques for printing music were first developed.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The earliest example, the <a href="/wiki/Mainz_Psalter" title="Mainz Psalter">Mainz Psalter</a>, dates from 1457, and is the second book to be printed on the Gutenberg press (after the <a href="/wiki/Gutenberg_Bible" title="Gutenberg Bible">Gutenberg Bible</a>).<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Prior to 1501, music books were owned by the wealthy or religious institutions, and music had to be learned by ear or copied out by hand.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> This was a very labor-intensive and time-consuming process, so it was first undertaken only by monks and priests seeking to preserve <a href="/wiki/Sacred_music" class="mw-redirect" title="Sacred music">sacred music</a> for the church. The few collections of <a href="/wiki/Secular_music" title="Secular music">secular music</a> that are extant were commissioned and owned by wealthy noblemen. Examples include the <a href="/wiki/Squarcialupi_Codex" title="Squarcialupi Codex">Squarcialupi Codex</a> of Italian <a href="/wiki/Trecento" title="Trecento">Trecento</a> music and the <a href="/wiki/Chantilly_Codex" title="Chantilly Codex">Chantilly Codex</a> of French <a href="/wiki/Ars_subtilior" title="Ars subtilior">Ars subtilior</a> music. Hand copying persisted long after the invention of printing and music was widely disseminated in manuscript form well into the 18th century, both in personal copying and scribal publication. </p> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Adieu_mes_amours_tenor.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Adieu_mes_amours_tenor.jpg/175px-Adieu_mes_amours_tenor.jpg" decoding="async" width="175" height="132" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Adieu_mes_amours_tenor.jpg/263px-Adieu_mes_amours_tenor.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Adieu_mes_amours_tenor.jpg/350px-Adieu_mes_amours_tenor.jpg 2x" data-file-width="2540" data-file-height="1910" /></a><figcaption>A page from the <a href="/wiki/Harmonice_Musices_Odhecaton" title="Harmonice Musices Odhecaton"><i>Odhecaton</i></a></figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Petrucci">Petrucci</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=2" title="Edit section: Petrucci"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The father of modern music printing was <a href="/wiki/Ottaviano_Petrucci" title="Ottaviano Petrucci">Ottaviano Petrucci</a>, a printer and publisher who was able to secure a twenty-year <a href="/wiki/Monopoly" title="Monopoly">monopoly</a> on printed music in <a href="/wiki/Venice" title="Venice">Venice</a> during the 16th century.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> His first collection was entitled <i><a href="/wiki/Harmonice_Musices_Odhecaton" title="Harmonice Musices Odhecaton">Harmonice Musices Odhecaton</a></i> and contained 96 <a href="/wiki/Polyphony" title="Polyphony">polyphonic</a> compositions, mostly by <a href="/wiki/Josquin_des_Prez" title="Josquin des Prez">Josquin des Prez</a> and <a href="/wiki/Heinrich_Isaac" title="Heinrich Isaac">Heinrich Isaac</a>. He flourished by focusing on <a href="/wiki/Flanders" title="Flanders">Flemish</a> works, rather than Italian, as they were very popular throughout Europe during the Renaissance. His printing shop used the triple-impression method, in which a sheet of paper was pressed three times. The first impression was the staff lines, the second the words, and the third the notes. This method produced very clean results, though it was time-consuming and expensive. </p> <div class="mw-heading mw-heading3"><h3 id="Rastell">Rastell</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=3" title="Edit section: Rastell"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Around 1520 in England, <a href="/wiki/John_Rastell" title="John Rastell">John Rastell</a> developed a single-impression method for printing music.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> With his method, the staff lines, words and notes were all part of a single piece of type, making it much easier to produce. However, this method produced messier results, as the staff lines were often inexactly aligned and looked wavy on the page. The single-impression method eventually triumphed over Petrucci's and became the dominant mode of printing until <a href="/wiki/Copper-plate_engraving" class="mw-redirect" title="Copper-plate engraving">copper-plate engraving</a> took over in the 17th century. This method was adopted and used widely by a Frenchman, <a href="/wiki/Pierre_Attaingnant" title="Pierre Attaingnant">Pierre Attaingnant</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Copyright">Copyright</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=4" title="Edit section: Copyright"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Statute_of_anne.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Statute_of_anne.jpg/150px-Statute_of_anne.jpg" decoding="async" width="150" height="277" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Statute_of_anne.jpg/225px-Statute_of_anne.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Statute_of_anne.jpg/300px-Statute_of_anne.jpg 2x" data-file-width="461" data-file-height="852" /></a><figcaption>First page from the "Statute of Anne"</figcaption></figure> <p>The concept of musical copyright had its beginnings in the reign of <a href="/wiki/Henry_VIII_of_England" class="mw-redirect" title="Henry VIII of England">King Henry VIII</a> of England who required copies of all printed matter to be sent to him and offered protection to printers in the form of licenses, primarily to produce a new source of revenue. In 1575 <a href="/wiki/Elizabeth_I_of_England" class="mw-redirect" title="Elizabeth I of England">Elizabeth I</a> granted <a href="/wiki/Thomas_Tallis" title="Thomas Tallis">Thomas Tallis</a> and his pupil <a href="/wiki/William_Byrd" title="William Byrd">William Byrd</a> a 21-year patent monopoly on the printing and publishing of polyphonic music.<sup id="cite_ref-Wainright2006_6-0" class="reference"><a href="#cite_note-Wainright2006-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> In 1618 German composer <a href="/wiki/Heinrich_Sch%C3%BCtz" title="Heinrich Schütz">Heinrich Schütz</a> submitted a petition to <a href="/wiki/John_George_I,_Elector_of_Saxony" title="John George I, Elector of Saxony">Johann Georg I</a> to secure an electoral printing patent, for a period of ten years.<sup id="cite_ref-:0_7-0" class="reference"><a href="#cite_note-:0-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Similar petitions were made in 1627 and 1636 (approval of the latter is preserved in documentation by <a href="/wiki/Ferdinand_III,_Holy_Roman_Emperor" title="Ferdinand III, Holy Roman Emperor">Emperor Ferdinand III</a>, 1637), and a request for renewal in 1642.<sup id="cite_ref-:0_7-1" class="reference"><a href="#cite_note-:0-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The first modern copyright law was the <a href="/wiki/Statute_of_Anne" title="Statute of Anne">Statute of Anne</a> (1709), which protected all published works for a period of fourteen years, later extended to twenty-eight years. The earliest attempt at a printed musical <a href="/wiki/Copyright_notice" title="Copyright notice">copyright notice</a> appears in the <a href="/wiki/Song_of_Songs" title="Song of Songs">"Shir Hashirim"</a> of <a href="/wiki/Salomone_Rossi" class="mw-redirect" title="Salomone Rossi">Salomone Rossi</a> (Venice, 1623) which includes a <a href="/wiki/Rabbinical" class="mw-redirect" title="Rabbinical">rabbinical</a> curse on those <a href="/wiki/Copyright_infringement" title="Copyright infringement">infringing</a> the text, written by <a href="/wiki/Leon_of_Modena" title="Leon of Modena">Leon of Modena</a>. </p> <div class="mw-heading mw-heading3"><h3 id="1886_Berne_Convention">1886 Berne Convention</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=5" title="Edit section: 1886 Berne Convention"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The first international agreement involving copyright was the <a href="/wiki/Berne_Convention" title="Berne Convention">Berne Convention</a> of 1886. The core principle of the Convention is its provision that each of the contracting countries shall provide automatic protection for works in all other countries of the union and for unpublished works whose authors are citizens of or residents in those countries.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Performance rights are included in these provisions. As of March 2012, 165 countries had become parties to the convention. </p> <div class="mw-heading mw-heading3"><h3 id="United_States">United States</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=6" title="Edit section: United States"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The first U.S. <a href="/wiki/Copyright_Act_of_1790" title="Copyright Act of 1790">federal copyright law</a> gave protections to "maps, charts, and books." Contrary to some scholarly accounts, the 1790 Act's protection of "books" did encompass musical compositions.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> The first registration in the U.S. for a musical composition was made on January 6, 1794 by <a href="/wiki/Raynor_Taylor" title="Raynor Taylor">Raynor Taylor</a> for the original song "<a href="/wiki/The_Kentucky_Volunteer" title="The Kentucky Volunteer">The Kentucky Volunteer</a>."<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> However, musical compositions were not <i>explicitly</i> protected until the <a href="/wiki/Copyright_Act_of_1831" title="Copyright Act of 1831">Copyright Act of 1831</a>, and then protection remained limited to reproduction rights. The copyright term was twenty-eight years plus a fourteen-year renewal period. </p> <div class="mw-heading mw-heading2"><h2 id="Performing_rights">Performing rights</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=7" title="Edit section: Performing rights"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Rue_Chaptal,_10.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Rue_Chaptal%2C_10.jpg/200px-Rue_Chaptal%2C_10.jpg" decoding="async" width="200" height="150" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Rue_Chaptal%2C_10.jpg/300px-Rue_Chaptal%2C_10.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Rue_Chaptal%2C_10.jpg/400px-Rue_Chaptal%2C_10.jpg 2x" data-file-width="4416" data-file-height="3312" /></a><figcaption>Façade of 10 Rue Chaptal, first home of SACEM</figcaption></figure> <p>While England was a leader in the development of copyright, the French led the way in performing rights. In 1777, <a href="/wiki/Pierre_de_Beaumarchais" class="mw-redirect" title="Pierre de Beaumarchais">Pierre de Beaumarchais</a> founded the <i>"Bureau de Legislation Dramatique"</i> which became the present <a href="/wiki/Soci%C3%A9t%C3%A9_des_Auteurs_et_Compositeurs_Dramatiques" title="Société des Auteurs et Compositeurs Dramatiques">Société des Auteurs et Compositeurs Dramatiques</a> (SACD) in 1829. Many years later, in 1847, this inspired the composer and <a href="/wiki/Librettist" class="mw-redirect" title="Librettist">librettist</a> <a href="/wiki/Ernest_Bourget" title="Ernest Bourget">Ernest Bourget</a> to claim payment for each performance of his works at <a href="/wiki/Les_Ambassadeurs_(restaurant)" title="Les Ambassadeurs (restaurant)">Les Ambassadeurs</a>, a leading Café-concert venue of that time. A <a href="/wiki/Lawsuit" title="Lawsuit">lawsuit</a> won by Bourget and others in 1851 led to the formation of the <a href="/wiki/Soci%C3%A9t%C3%A9_des_auteurs,_compositeurs_et_%C3%A9diteurs_de_musique" class="mw-redirect" title="Société des auteurs, compositeurs et éditeurs de musique">Société des Auteurs, Compositeurs et Editeurs de Musique</a> (SACEM) – the first performing rights society in the world. </p><p>Other countries followed suit: The Italian <a href="/wiki/Societ%C3%A0_Italiana_degli_Autori_ed_Editori" class="mw-redirect" title="Società Italiana degli Autori ed Editori">Società Italiana degli Autori ed Editori</a> (SIAE) was founded in 1882 and the Spanish <i>"Sociedad de Autores"</i>, predecessor of the current <a href="/wiki/Sociedad_General_de_Autores_y_Editores" title="Sociedad General de Autores y Editores">Sociedad General de Autores y Editores</a> (SGAE), in 1899. The predecessor to the <a href="/wiki/Gesellschaft_f%C3%BCr_musikalische_Auff%C3%BChrungs-_und_mechanische_Vervielf%C3%A4ltigungsrechte" class="mw-redirect" title="Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte">Gesellschaft für Musikalische Aufführungs und Mechanische Vervielfältigungsrechte</a> (GEMA) was formed in Germany by composer <a href="/wiki/Richard_Strauss" title="Richard Strauss">Richard Strauss</a> in 1903. It became GEMA in 1915 when it merged with another small society. So, by the end of the 19th century, the foundation had been laid for the modern music publishing industry. </p> <div class="mw-heading mw-heading2"><h2 id="Early_modern_era:_18th_century">Early modern era: 18th century</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=8" title="Edit section: Early modern era: 18th century"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="German_publishers">German publishers</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=9" title="Edit section: German publishers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>As England was a leader in developing copyright systems and France was ahead in developing performing rights, Germany was the pioneering country in modern music publishing. The first German music publishing enterprises date from the 18th century. <a href="/wiki/Bernhard_Christoph_Breitkopf" title="Bernhard Christoph Breitkopf">Bernhard Christoph Breitkopf</a> of <a href="/wiki/Leipzig" title="Leipzig">Leipzig</a>, a printer and general publisher, decided to specialize in music printing as of 1754. He became successful by developing improvements in the setting of music type. <a href="/wiki/Gottfried_Christoph_H%C3%A4rtel" title="Gottfried Christoph Härtel">Gottfried Christoph Härtel</a> joined the firm in 1795, which soon became the partnership of <b><a href="/wiki/Breitkopf_%26_H%C3%A4rtel" title="Breitkopf & Härtel">Breitkopf & Härtel</a></b>. They were the original publishers for a who's-who of great German composers, including <a href="/wiki/Beethoven" class="mw-redirect" title="Beethoven">Beethoven</a>, <a href="/wiki/Haydn" class="mw-redirect" title="Haydn">Haydn</a>, <a href="/wiki/Mozart" class="mw-redirect" title="Mozart">Mozart</a>, <a href="/wiki/Schubert" class="mw-redirect" title="Schubert">Schubert</a>, <a href="/wiki/Robert_Schumann" title="Robert Schumann">Schumann</a> and <a href="/wiki/Wagner" class="mw-redirect" title="Wagner">Wagner</a>. </p><p><b><a href="/wiki/Schott_Music" title="Schott Music">Schott Music</a></b> of <a href="/wiki/Mainz" title="Mainz">Mainz</a> was founded in 1770 by <a href="/wiki/Bernhard_Schott" title="Bernhard Schott">Bernhard Schott</a> and still exists today. They specialized in French and Italian operas and, more recently, have published works by <a href="/wiki/Hindemith" class="mw-redirect" title="Hindemith">Hindemith</a>, <a href="/wiki/Stravinsky" class="mw-redirect" title="Stravinsky">Stravinsky</a>, <a href="/wiki/Carl_Orff" title="Carl Orff">Orff</a>, <a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Schoenberg</a> and <a href="/wiki/Hans_Werner_Henze" title="Hans Werner Henze">Henze</a>. <b><a href="/wiki/N._Simrock" title="N. Simrock">N. Simrock</a></b> of <a href="/wiki/Bonn" title="Bonn">Bonn</a>, and later Berlin, was established in 1790 by <a href="/wiki/Nikolaus_Simrock" title="Nikolaus Simrock">Nikolaus Simrock</a>. Their original publications included works by Beethoven, Haydn, <a href="/wiki/Meyerbeer" class="mw-redirect" title="Meyerbeer">Meyerbeer</a>, <a href="/wiki/Carl_Maria_von_Weber" title="Carl Maria von Weber">Weber</a>, <a href="/wiki/Felix_Mendelssohn" title="Felix Mendelssohn">Mendelssohn</a>, Schumann and <a href="/wiki/Brahms" class="mw-redirect" title="Brahms">Brahms</a>. </p> <div class="mw-heading mw-heading3"><h3 id="United_States_2">United States</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=10" title="Edit section: United States"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1764, <a href="/w/index.php?title=Josiah_Flagg&action=edit&redlink=1" class="new" title="Josiah Flagg (page does not exist)">Josiah Flagg</a> compiled the first collection of popular and religious music, printed on paper made in the colonies. The post-revolutionary period was notable for the arrival of the first professional music publishers from Europe in the 1770s. They opened shops in <a href="/wiki/Philadelphia" title="Philadelphia">Philadelphia</a>, New York, <a href="/wiki/Boston" title="Boston">Boston</a> and <a href="/wiki/Baltimore" title="Baltimore">Baltimore</a>, bringing with them European technology. <a href="/wiki/Benjamin_Carr" title="Benjamin Carr">Benjamin Carr</a> and <a href="/wiki/James_Hewitt_(musician)" title="James Hewitt (musician)">James Hewitt</a> were two important early American music publishers. The first song published under US copyright was <a href="/wiki/The_Kentucky_Volunteer" title="The Kentucky Volunteer">The Kentucky Volunteer</a>, by Carr's own house. </p><p>In the first quarter of the 19th century alone, 10,000 pieces of popular music were printed by U.S. publishers. The industry, however, did nothing to promote music or develop writers. Songs became popular by word-of-mouth. Most <a href="/wiki/Minstrel_show" title="Minstrel show">minstrel troupes</a> and professional singers wrote their own music or had songs written to order. <a href="/wiki/Stephen_Foster" title="Stephen Foster">Stephen Foster</a> was the first composer who tried to make a living as an independent professional songwriter but, in the 1850s, copyright protection was so lax and royalties so small (or non-existent) that he found himself living in poverty. This changed only gradually as young men involved in other business enterprises began to perceive the possibilities for enrichment in song publishing. </p> <figure typeof="mw:File/Thumb"><a href="/wiki/File:AftertheBallSheet.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/af/AftertheBallSheet.jpg/150px-AftertheBallSheet.jpg" decoding="async" width="150" height="211" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/af/AftertheBallSheet.jpg/225px-AftertheBallSheet.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/af/AftertheBallSheet.jpg/300px-AftertheBallSheet.jpg 2x" data-file-width="1400" data-file-height="1967" /></a><figcaption>Sheet music for "After the Ball"</figcaption></figure> <p>Prior to the 1880s, popular music publishing was a secondary function of music stores or "serious" (<a href="/wiki/Classical_music" title="Classical music">Classical</a>) music publishers. After 1880, publishers in New York developed a promotional technique called <a href="/wiki/Song-plugger" class="mw-redirect" title="Song-plugger">plugging</a>. By 1900, most music publishers had clustered their businesses along 28th St. (between <a href="/wiki/Sixth_Avenue_(Manhattan)" class="mw-redirect" title="Sixth Avenue (Manhattan)">6th Ave.</a> and <a href="/wiki/Broadway_(Manhattan)" title="Broadway (Manhattan)">Broadway</a>) in order to be closer to New York's thriving entertainment center. This area came to be known as <a href="/wiki/Tin_Pan_Alley" title="Tin Pan Alley">Tin Pan Alley</a>. The first decade of the 20th century saw the production of more popular music than had ever been written up to that time: about 25,000 songs annually. In 1893, sheet music for the song <a href="/wiki/After_the_Ball_(song)" title="After the Ball (song)">"After the Ball"</a> sold one million copies and, over the next ten years, went on to sell a total of ten million. </p><p>Despite the enactment of new U.S. copyright legislation, including the 1891 <a href="/wiki/Chace_Act" class="mw-redirect" title="Chace Act">Chace Act</a>, which allowed for the international protection of copyrights, the provisions of the <a href="/wiki/1909_Copyright_Act" class="mw-redirect" title="1909 Copyright Act">1909 Copyright Act</a> were generally ignored. To correct this situation, operetta composer <a href="/wiki/Victor_Herbert" title="Victor Herbert">Victor Herbert</a> established the <a href="/wiki/American_Society_of_Composers,_Authors_and_Publishers" title="American Society of Composers, Authors and Publishers">American Society of Composers, Authors and Publishers</a> (ASCAP), in 1914. It quickly attracted prominent composers such as <a href="/wiki/Irving_Berlin" title="Irving Berlin">Irving Berlin</a> and <a href="/wiki/John_Philip_Sousa" title="John Philip Sousa">John Philip Sousa</a>, and was able to ensure that everyone was properly paid and credited for their work. </p> <div class="mw-heading mw-heading2"><h2 id="Licensing">Licensing</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=11" title="Edit section: Licensing"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>There are many aspects to music publishing. Chief among them is the licensing of music for use in advertising, television, films and other purposes. Music publishing started out by just being the publishing of the actual sheet music, and not even the score. Song sheets were made which just had the lyrics of a popular song. In the 19th century, sheet music for songs began including a simple piano accompaniment and notation for the song's melody. In the 2010s, music publishing is the exploitation of compositions (songs, instrumental pieces, and other music) for various performance uses, including newer uses such as licensing for video games, for use by recording artists looking for their next hit single and for use in a range of licensing purposes. </p> <div class="mw-heading mw-heading3"><h3 id="Licenses">Licenses</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=12" title="Edit section: Licenses"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Within music publishing there are many different types of licenses. For instance: </p> <ul><li>Blanket license</li> <li>Mechanical license</li> <li>Performing Rights License (PRO)</li> <li><a href="/wiki/Synchronization_rights" title="Synchronization rights">Synchronization License or Sync Rights</a></li></ul> <p>A blanket license is an annual fee paid to one of the key performing rights organizations (PRO) (<a href="/wiki/SESAC" title="SESAC">SESAC</a>, <a href="/wiki/ASCAP" class="mw-redirect" title="ASCAP">ASCAP</a>, or <a href="/wiki/Broadcast_Music,_Inc." title="Broadcast Music, Inc.">BMI</a>). The blanket license paid to the PRO covers every work that is in the PRO's catalog. Blanket licenses are mostly used by television networks and radio stations so that they have the right to play any song or piece from one catalog instead of paying license fees for each song individually.<sup id="cite_ref-Mark_Halloran_2007_11-0" class="reference"><a href="#cite_note-Mark_Halloran_2007-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>A mechanical license is issued when a recording artist wishes to sell their recording of a written composition. It serves as a notice to the composition owners that sales are forthcoming and that royalties dictated by a statutory rate will be owed and paid to them. </p><p>A Performing Rights License (PRO) is the license that gives the licensee the right to publicly perform the song/work.<sup id="cite_ref-Mark_Halloran_2007_11-1" class="reference"><a href="#cite_note-Mark_Halloran_2007-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>Lastly, a sync license grants the right to use the composition in the synchronization of a recording over a moving picture in a film, advertisement, television show or any other audiovisual work. For the same synchronization use, one must also obtain a master use license, which grants rights to use the sound recording, which is a separately owned asset from the composition. </p><p>A <a href="/wiki/Music_publisher_(popular_music)" class="mw-redirect" title="Music publisher (popular music)">music publisher</a> negotiates the uses and fees for the songwriters and composers on their roster. In the 2010s, publishing companies are a main source of revenue besides live touring, because sync licensing has persisted as a substantial income source while the music industry underwent changes that saw their previously dominant income source, record sales, steadily decline. </p> <div class="mw-heading mw-heading2"><h2 id="Technologies">Technologies</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=13" title="Edit section: Technologies"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Sound_recording">Sound recording</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=14" title="Edit section: Sound recording"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The invention and development of <a href="/wiki/Sound_recording" class="mw-redirect" title="Sound recording">sound recording</a> resulted in a redefinition of the concept of publishing, much the same as <a href="/wiki/Online_music_store" class="mw-redirect" title="Online music store">online music stores</a> in the 2000s would later revolutionize how recordings are purchased. Initially, popular music was slow to take advantage of the new technology. In 1910, when sales of the new disc format exceeded those of the old cylinder, more than 75% of the records sold were classical music. One factor in this may have been the expense, which would have concentrated sales among the more upscale purchasers. Until 1925, sheet music sales continued to surpass discs and were the primary source of revenue for publishers and composers. At that point, sheet music sales began to decline while records were still providing inadequate income to compensate. This led to short lived but serious economic problems for some publishers. </p> <div class="mw-heading mw-heading3"><h3 id="Film_music">Film music</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=15" title="Edit section: Film music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Samuel_Fox_(1884-1971)" class="mw-redirect" title="Samuel Fox (1884-1971)">Samuel Fox (1884–1971)</a> who founded the <a href="/wiki/Sam_Fox_Publishing_Company" title="Sam Fox Publishing Company">Sam Fox Publishing Company</a> in 1906, was the first to publish original film scores.<sup id="cite_ref-film_scores_12-0" class="reference"><a href="#cite_note-film_scores-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> In 1927, after the release of <i><a href="/wiki/The_Jazz_Singer" title="The Jazz Singer">The Jazz Singer</a></i> (the first <a href="/wiki/Talkie" class="mw-redirect" title="Talkie">talkie</a>), the need for music led movie studios to buy music publishing companies, gaining both catalogues of music and experienced composers at the same time. For example, in 1929, <a href="/wiki/Warner_Brothers" class="mw-redirect" title="Warner Brothers">Warner Brothers</a> paid 10 million dollars for <a href="/wiki/T.B._Harms_%26_Francis,_Day_%26_Hunter,_Inc." class="mw-redirect" title="T.B. Harms & Francis, Day & Hunter, Inc.">Harms</a>, <a href="/wiki/M._Witmark_%26_Sons" title="M. Witmark & Sons">Witmark</a> and <a href="/wiki/Jerome_H._Remick" title="Jerome H. Remick">Remick</a>; <a href="/wiki/MGM" class="mw-redirect" title="MGM">MGM</a> bought <a href="/wiki/Leo_Feist_Inc." class="mw-redirect" title="Leo Feist Inc.">Leo Feist Inc.</a> and some smaller companies; <a href="/wiki/Paramount_Pictures" title="Paramount Pictures">Paramount</a> started its own publishing division, <a href="/wiki/Famous_Music" title="Famous Music">Famous Music</a>. </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=16" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239009302">.mw-parser-output .portalbox{padding:0;margin:0.5em 0;display:table;box-sizing:border-box;max-width:175px;list-style:none}.mw-parser-output .portalborder{border:1px solid 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class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.nypl.org/blog/2023/01/03/tudor-printed-music-at-nypl">"Tudor Printed Music at The New York Public Library"</a>. <i>The New York Public Library</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-10-19</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+York+Public+Library&rft.atitle=Tudor+Printed+Music+at+The+New+York+Public+Library&rft_id=https%3A%2F%2Fwww.nypl.org%2Fblog%2F2023%2F01%2F03%2Ftudor-printed-music-at-nypl&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHistory+of+music+publishing" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.rct.uk/collection/1071478/the-mainz-psalter">"Mainz : Johann Fust & Peter Schoeffer - The Mainz Psalter"</a>. <i>www.rct.uk</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-10-19</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.rct.uk&rft.atitle=Mainz+%3A+Johann+Fust+%26+Peter+Schoeffer+-+The+Mainz+Psalter&rft_id=https%3A%2F%2Fwww.rct.uk%2Fcollection%2F1071478%2Fthe-mainz-psalter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHistory+of+music+publishing" class="Z3988"></span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFArkenberg" class="citation web cs1">Arkenberg, Authors: Rebecca. <a rel="nofollow" class="external text" href="https://www.metmuseum.org/toah/hd/renm/hd_renm.htm">"Music in the Renaissance | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History"</a>. <i>The Met’s Heilbrunn Timeline of Art History</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-10-19</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Met%E2%80%99s+Heilbrunn+Timeline+of+Art+History&rft.atitle=Music+in+the+Renaissance+%7C+Essay+%7C+The+Metropolitan+Museum+of+Art+%7C+Heilbrunn+Timeline+of+Art+History&rft.aulast=Arkenberg&rft.aufirst=Authors%3A+Rebecca&rft_id=https%3A%2F%2Fwww.metmuseum.org%2Ftoah%2Fhd%2Frenm%2Fhd_renm.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHistory+of+music+publishing" class="Z3988"></span></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKisch2016" class="citation journal cs1">Kisch, Sean (2016-09-01). <a rel="nofollow" class="external text" href="https://digitalcommons.cedarville.edu/musicalofferings/vol7/iss2/2">"Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant"</a>. <i>Musical Offerings</i>. <b>7</b> (2): 67–81. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://doi.org/10.15385%2Fjmo.2016.7.2.2">10.15385/jmo.2016.7.2.2</a></span>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/2167-3799">2167-3799</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Musical+Offerings&rft.atitle=Casting+the+Bigger+Shadow%3A+The+Methods+and+Business+of+Petrucci+vs.+Attaingnant&rft.volume=7&rft.issue=2&rft.pages=67-81&rft.date=2016-09-01&rft_id=info%3Adoi%2F10.15385%2Fjmo.2016.7.2.2&rft.issn=2167-3799&rft.aulast=Kisch&rft.aufirst=Sean&rft_id=https%3A%2F%2Fdigitalcommons.cedarville.edu%2Fmusicalofferings%2Fvol7%2Fiss2%2F2&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHistory+of+music+publishing" class="Z3988"></span></span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">J. A. Bernstein, <i>Music Printing in Renaissance Venice: The Scotto Press, 1539–1572</i> (Oxford: <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>, 1998), p. 27.</span> </li> <li id="cite_note-Wainright2006-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-Wainright2006_6-0">^</a></b></span> <span class="reference-text">J. P. Wainright, 'England ii, 1603–1642' in J. Haar, ed., <i>European Music, 1520–1640</i> (Woodbridge: Boydell, 2006), pp. 509-21.</span> </li> <li id="cite_note-:0-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_7-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJohnston2013" class="citation book cs1">Johnston, Gregory S. (2013). <i>A Heinrich Schütz Reader: Letters and Documents in Translation</i>. New York: Oxford University Press. pp. 47–47, 104–105, 108–109, 119–120. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-981220-2" title="Special:BookSources/978-0-19-981220-2"><bdi>978-0-19-981220-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Heinrich+Sch%C3%BCtz+Reader%3A+Letters+and+Documents+in+Translation&rft.place=New+York&rft.pages=47-47%2C+104-105%2C+108-109%2C+119-120&rft.pub=Oxford+University+Press&rft.date=2013&rft.isbn=978-0-19-981220-2&rft.aulast=Johnston&rft.aufirst=Gregory+S.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHistory+of+music+publishing" class="Z3988"></span></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.wipo.int/treaties/en/ip/berne/summary_berne.html">"Summary of the Berne Convention for the Protection of Literary and Artistic Works (1886)"</a>. <i>www.wipo.int</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-10-19</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.wipo.int&rft.atitle=Summary+of+the+Berne+Convention+for+the+Protection+of+Literary+and+Artistic+Works+%281886%29&rft_id=https%3A%2F%2Fwww.wipo.int%2Ftreaties%2Fen%2Fip%2Fberne%2Fsummary_berne.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHistory+of+music+publishing" class="Z3988"></span></span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><i>Clayton v. Stone</i>, 5 F. Cas. 999, 1000 (C.C.S.D.N.Y. 1829) (“A book [within the Copyright Act of 1790 can be] a volume made up of several sheets bound together; it may be printed only on one sheet, as the words of a song or the music accompanying it”)</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">William F. Patry, Copyright Law and Practice 30 n.91 (2000) (“The first registration for a musical composition was made on January 6, 1794, for The Kentucky Volunteer: A New Song, written by ‘a lady of Philadelphia.’ The composer is believed to have been Raynor Taylor.”) (citing Federal Copyright Records 1790–1800 at 15 (1987)).</span> </li> <li id="cite_note-Mark_Halloran_2007-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Mark_Halloran_2007_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Mark_Halloran_2007_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Mark Halloran, <i>Musician's Business & Legal Guide (4th Edition)</i> (Prentice Hall, 2007)</span> </li> <li id="cite_note-film_scores-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-film_scores_12-0">^</a></b></span> <span class="reference-text">"Music Publisher Sam Fox Dies at 89"; Associated Press, <i><a href="/wiki/Daily_Mail" title="Daily Mail">Daily Mail</a></i>, Hagerstown, Maryland; Dec. 4, 1971; pg 12.</span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=18" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Fisher, William Arms (c1933, reprint 1977). <i>One Hundred and Fifty Years of Music Publishing in the United States: An Historical Sketch with Special Reference to the Pioneer Publisher, Oliver Ditson Company, Inc., 1783–1933</i>. Scholarly Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-403-01554-5" title="Special:BookSources/0-403-01554-5">0-403-01554-5</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGiannini2003" class="citation news cs1"><a href="/wiki/Tula_Giannini" title="Tula Giannini">Giannini, Tula</a> (January 2003). <a rel="nofollow" class="external text" href="https://www.researchgate.net/publication/280444844">"The Music Library of Jean-Baptiste Christophe Ballard, Sole Music Printer to the King of France, 1750 Inventory of his Grand Collection Brought to Light"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=The+Music+Library+of+Jean-Baptiste+Christophe+Ballard%2C+Sole+Music+Printer+to+the+King+of+France%2C+1750+Inventory+of+his+Grand+Collection+Brought+to+Light&rft.date=2003-01&rft.aulast=Giannini&rft.aufirst=Tula&rft_id=https%3A%2F%2Fwww.researchgate.net%2Fpublication%2F280444844&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHistory+of+music+publishing" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1 cs1-prop-foreign-lang-source">Hinterthür, Bettina (2006). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=zqEP1hQ8hrUC"><i>Noten nach Plan: die Musikverlage in der SBZ/DDR – Zensursystem, zentrale Planwirtschaft und deutsch-deutsche Beziehungen bis Anfang der 1960er Jahre</i></a>. Beiträge zur Unternehmensgeschichte (in German). Vol. 23. Stuttgart: Franz Steiner Verlag. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9783515088374" title="Special:BookSources/9783515088374"><bdi>9783515088374</bdi></a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1433-8645">1433-8645</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Noten+nach+Plan%3A+die+Musikverlage+in+der+SBZ%2FDDR+%E2%80%93+Zensursystem%2C+zentrale+Planwirtschaft+und+deutsch-deutsche+Beziehungen+bis+Anfang+der+1960er+Jahre&rft.place=Stuttgart&rft.series=Beitr%C3%A4ge+zur+Unternehmensgeschichte&rft.pub=Franz+Steiner+Verlag&rft.date=2006&rft.issn=1433-8645&rft.isbn=9783515088374&rft.aulast=Hinterth%C3%BCr&rft.aufirst=Bettina&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DzqEP1hQ8hrUC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHistory+of+music+publishing" class="Z3988"></span></li> <li>Kidson, Frank (1900). <i>British Music Publishers, Printers, and Engravers – from Queen Elizabeth's Reign to George the Fourth's</i>. London. (republished by Benjamin Blom, New York, 1967). Library of Congress Cat. Card No.67-23861</li> <li>Krummel, D. W. (1975). <i>English Music Printing, 1553–1700</i>. Bibliographical Society. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-721788-5" title="Special:BookSources/0-19-721788-5">0-19-721788-5</a></li> <li>Lenneberg, Hans (c2003). <i>On the Publishing and Dissemination of Music, 1500–1850</i>. Pendragon Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-57647-078-4" title="Special:BookSources/1-57647-078-4">1-57647-078-4</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=History_of_music_publishing&action=edit&section=19" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="http://www.musicprintinghistory.org/">Music Printing History</a>. Excellent techniques overview.</li> <li><a rel="nofollow" class="external text" href="http://www.musicdedications.org/">Music Dedications history</a><sup class="noprint Inline-Template"><span style="white-space: nowrap;">[<i><a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot"><span title=" Dead link tagged August 2024">permanent dead link</span></a></i><span style="visibility:hidden; color:transparent; padding-left:2px">‍</span>]</span></sup>. Lists of published music dedications in the eighteenth and nineteenth centuries.</li></ul> <!-- NewPP limit report Parsed by mw‐web.codfw.main‐f69cdc8f6‐gtx6v Cached time: 20241122141817 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.332 seconds Real time usage: 0.547 seconds Preprocessor visited node count: 1897/1000000 Post‐expand include size: 53804/2097152 bytes Template argument size: 10299/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 42962/5000000 bytes Lua time usage: 0.181/10.000 seconds Lua memory usage: 6356428/52428800 bytes Number of Wikibase entities loaded: 0/400 --> <!-- Transclusion expansion time report (%,ms,calls,template) 100.00% 357.950 1 -total 31.41% 112.415 1 Template:Reflist 25.47% 91.169 1 Template:Multiple_issues 23.47% 84.019 4 Template:Cite_web 22.75% 81.419 1 Template:Short_description 17.31% 61.947 2 Template:Ambox 13.72% 49.116 1 Template:Globalize 13.10% 46.881 2 Template:Pagetype 6.47% 23.175 3 Template:ISBN 6.20% 22.179 9 Template:Main_other --> <!-- Saved in parser cache with key enwiki:pcache:idhash:4346392-0!canonical and timestamp 20241122141817 and revision id 1242849009. 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