By Russell Sanjek
Quantity concentrates completely on song task within the usa within the 19th century. one of the subject matters mentioned are how altering know-how affected the printing of tune, the advance of sheet song publishing, the expansion of the yankee musical theater, well known non secular tune, black song (including spirituals and ragtime), song throughout the Civil conflict, and at last "music within the period of monopoly," together with such matters as copyright, altering expertise and distribution, invention of the phonograph, copyright revision, and the institution of Tin Pan Alley.
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Extra info for American Popular Music and Its Business: The First Four Hundred Years Volume II: From 1790 to 1909 (American Popular Music & Its Business)
The Edinburgh machinist Adam Ramage had built a screw press of his own design in 1795, which quickly replaced older traditional models. His press was superceded in 1813 by Philadelphian George Clymer's Columbian Press, so known because of the giant eagle with a cornucopia in one claw and an olive branch in the other that decorated it. Made of iron and using a series of levers in place of Gutenberg's screw, it was soon in use at the most up-to-date shops, chiefly newspaper offices. Only the British steam-driven cylinder press, first proudly installed by the Times, succeeded in replacing Clymer's machine during the 1820s.
Jacob Johnson, a Philadelphia bookseller who had opened his shop shortly after the Revolution, established America's first printing-ink manufacturing company, in 1804, liberating printers from the dirty job of producing their own. Despite a growing supply of locally made type, which included music symbols and notation, most early Ameriean music printers and their immediate 36 American Popular Music and Its Business successors continued to employ the old and respected punch method, switching to improvements created by Foumier and Breitkopf decades earlier only, with apparent reluctance, after 1820.
Weber had been trained by his musician father to become the next Mozart, and, when his abilities appeared to falter, the unhappy parent turned the boy over to masters in drawing, painting, and engraving. Now young Weber was in Munich to study music once more, and was soon to win the public acclaim as a concert pianist that continued until his death. With the advantage of training in the plastic arts, Weber mastered Senefelder's process well enough to lithograph his second original work, a set of piano variations, making some of his own "improvements" in the method.