In this book, a continuation of Michael Chanan's investigation of the relation between music and society, the author examines the composer in the light of Jürgen Habermas's study of the public sphere. Taking his cue from the German philosopher's remarks about the bourgeois concert audience, the emergence of criticism and the development of autonomous music, Chanan examines the fate of the composer through successive incarnations, from Handel, Bach and Mozart in the eighteenth century, by way of Beethoven, Liszt, Wagner, Mahler and Debussy in the nineteenth, to Schoenberg, Stravinsky, Bartók, Gershwin, Weill, Ellington, Cage and Boulez in the twentieth. Drawing upon recent work in feminist and gay musicology, the book ranges over themes such as subjectivity and identity in Schubert and Chopin, the ascendancy of the Romantic personality, the lure of the exotic in Milhaud's work, and the political economy of music. A detailed history of the idea of the composer as a public figure, Chanan's book charts both the dramatic change in the listening audience and, simultaneously, the composer's progressive marginalization from the center of musical life. - Jacket flap.