Abstract
We analyze the reputation of baroque composers over time. The dataset makes it possible to describe the evolution of composers' reputation and of the baroque canon. The entries in seven important musical dictionaries written between 1790 and 2000 are used to measure reputations. We provide evidence that a consensus exists between musicologists, who often rely on their predecessors' work. We also show that nationality plays a role in the judgment of musicologists. Even recent dictionaries of music seem to be biased by their nationality. These results are supported by a panel data model and by statistical tests.
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