Book Review| April 01 2021 Dedicating Music, 1785–1850, by Emily H. Green Dedicating Music, 1785–1850, by Emily H. Green. Eastman Studies in Music. Rochester, NY: University of Rochester Press, 2019. xii, 247 pp. Frederick Reece Frederick Reece FREDERICK REECE is Lecturer in Music History at the University of Washington. His research addresses issues of authorship and authenticity with a particular focus on the music of the eighteenth and nineteenth centuries. He is a recent recipient of the American Musicological Society’s Paul A. Pisk Prize and Alvin H. Johnson AMS 50 Fellowship, and is completing a book entitled Forgery in Musical Composition: Aesthetics, History, and the Classical Canon (under contract with Oxford University Press). Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2021) 74 (1): 166–170. https://doi.org/10.1525/jams.2021.74.1.166 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Frederick Reece; Dedicating Music, 1785–1850, by Emily H. Green. Journal of the American Musicological Society 1 April 2021; 74 (1): 166–170. doi: https://doi.org/10.1525/jams.2021.74.1.166 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search At a casual glance, the period 1785–1850 might seem a surprising venue for a book-length study of musical dedication. In bird’s-eye historical surveys, the dedication generally appears as a form of print culture characteristic of sixteenth- and seventeenth-century economies of liturgical and aristocratic patronage, not the burgeoning commodity market associated with the decades following the American and French Revolutions. As Emily H. Green suggests in her ambitious study, Dedicating Music, 1785–1850, the form’s apparent anachronism in this period may have been precisely the point. Dedication, she argues, served its latter-day practitioners as a means by which to “perpetuate the rhetoric and relationships of courtly patronage against Romanticism and capitalism” (p. 4). In the decades around 1800, the dedicatory act can thus “be broadly described as having a nostalgic flavor” (p. 33) that would not truly fall out of favor until the 1850s. So, why did the commercial print culture... You do not currently have access to this content.