Underwriters of the United States
Underwriters of the United States

Author: Hannah Farber

Publisher: UNC Press Books

Published: 2021-10-28

Total Pages: 350

ISBN-13: 1469663643

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Unassuming but formidable, American maritime insurers used their position at the pinnacle of global trade to shape the new nation. The international information they gathered and the capital they generated enabled them to play central roles in state building and economic development. During the Revolution, they helped the U.S. negotiate foreign loans, sell state debts, and establish a single national bank. Afterward, they increased their influence by lending money to the federal government and to its citizens. Even as federal and state governments began to encroach on their domain, maritime insurers adapted, preserving their autonomy and authority through extensive involvement in the formation of commercial law. Leveraging their claims to unmatched expertise, they operated free from government interference while simultaneously embedding themselves into the nation's institutional fabric. By the early nineteenth century, insurers were no longer just risk assessors. They were nation builders and market makers. Deeply and imaginatively researched, Underwriters of the United States uses marine insurers to reveal a startlingly original story of risk, money, and power in the founding era.

Thomas Morley
Thomas Morley

Author: Tessa Murray

Publisher: Boydell & Brewer Ltd

Published: 2014

Total Pages: 288

ISBN-13: 1843839601

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An essential book for scholars and students of renaissance music, as well as the history of music publishing and print. The Renaissance composer and organist Thomas Morley (c.1557-1602) is best known as a leading member of the English Madrigal School, but he also built a significant business as a music publisher. This book looks at Morley's pioneering contribution to music publishing in England, inspired by an established music printing culture in continental Europe. A student of William Byrd, Morley had a conventional education and early career as a cathedral musician both in Norwich and at St Paul's cathedral. Morley lived amongst the traders, artisans and gentry of England's major cities at a time when a market for recreational music was beginning to emerge. His entrepreneurial drive combinedwith an astute assessment of his market resulted in a successful and influential publishing business. The turning point came with a visit to the Low Countries in 1591, which gave him the opportunity to see a thriving music printpublication business at first hand. Contemporary records provide a detailed picture of the processes involved in early modern music publishing and enable the construction of a financial model of Morley's business. Morley died too young to reap the full rewards of his enterprise, but his success inspired the publication by his contemporaries of a significant corpus of readily available recreational music for the public. Critical to Morley's successwas his identification of the sort of music, notably the Italianate lighter style of madrigal, that would appeal to amateur musicians. Surviving copies of the original prints show that this music continued to be used for severalgenerations: new editions in modern notation started to appear from the mid eighteenth century onwards, suggesting that Morley truly had the measure of the market for recreational music. Thomas Morley: Elizabethan Music Publisher will be of particular interest to scholars and students of renaissance music, as well as the history of music publishing and print. Tessa Murray is an honorary research fellow at the University of Birmingham.

Music and Institutions in Nineteenth-Century Britain
Music and Institutions in Nineteenth-Century Britain

Author: Paul Rodmell

Publisher: Routledge

Published: 2016-04-29

Total Pages: 308

ISBN-13: 1317092473

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In nineteenth-century British society music and musicians were organized as they had never been before. This organization was manifested, in part, by the introduction of music into powerful institutions, both out of belief in music's inherently beneficial properties, and also to promote music occupations and professions in society at large. This book provides a representative and varied sample of the interactions between music and organizations in various locations in the nineteenth-century British Empire, exploring not only how and why music was institutionalized, but also how and why institutions became 'musicalized'. Individual essays explore amateur societies that promoted music-making; institutions that played host to music-making groups, both amateur and professional; music in diverse educational institutions; and the relationships between music and what might be referred to as the 'institutions of state'. Through all of the essays runs the theme of the various ways in which institutions of varying formality and rigidity interacted with music and musicians, and the mutual benefit and exploitation that resulted from that interaction.