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This chapter discusses composers’ music—that is, music that demands a faithful adherence to detailed notation--in urban public settings in the late nineteenth century, among them formal performance series, music festivals, exhibitions, and outdoor “garden” concerts. Drawing examples from Boston, New York, Philadelphia, Washington, DC, Cincinnati, and Chicago, it shows Americans experimenting with strategies for musical dissemination that took audience response as an important consideration. Illustrating the relationship between social class and aesthetic perspectives in late-nineteenth-century American concert life, Ahlquist offers a potential model from the United States for the historical study of composers’ music throughout the Western world.
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