The publication industry in Austria represented a vital but relatively little-studied avenue by which Mahler reached his public. Acceptance by renowned publishing houses such as C. F. Kahnt, Schott, Peters, and others of similar prestige provided a unique demonstration of artistic accomplishment and professional credibility. Mahler thus sought this recognition from the early stages of his career and maintained his efforts in the face of initial adversity. The administrative structure, marketing strategies, and commercial goals of these businesses form the content of this chapter, with a particular focus on the situation in Vienna at such houses as Doblinger and Universal Edition. The vital role of a firm’s music editors is also considered, through the remarkable example of Josef Venantius von Wöss, an accomplished composer in his own right whose reduction of the Eighth Symphony Mahler called “magnificent” and “the best that I have ever encountered.”

This chapter discusses a special case of implicature that since Grice has been labelled conventional implicature and explains how it differs from both particularized and generalized conversational implicatures. The second purpose of this chapter is to show the analogies and differences between presuppositions and implicatures. It is argued that the two notions are clearly distinct because, unlike presuppositions, conventional implicatures cannot be backgrounded and cannot project.

This chapter focuses on the notion of particularized conversation implicatures. It starts by illustrating these implicatures with the case of metaphors, and shows the different ways in which Grice and relevance theory accounted for them. It goes on to argue that neither framework is equipped to explain why speakers use implicatures to communicate. The chapter presents a possible explanation for the existence of implicatures in terms of plausible deniability. Finally, the chapter introduces the notion of epistemic vigilance, a mechanism that hearers develop to avoid being deceived or manipulated.