Pub Date : 2022-02-14DOI: 10.1017/S1478570621000324
M. Spitzer
Let me begin with some auto-ethnography. Early last year I presented a paper – by Zoom, alas – at a very fine Bach symposium organized by Erinn Knyt at the University of Massachusetts at Amherst (‘Late Style and the Idea of the Summative Work in Bach and Beethoven’, 24 April 2021). My talk proposed that Bach’s Chaconne in D minor for solo violin expressed grief at the death of his first wife, Anna Barbara. The story is well known: in May 1720 Bach went to Carlsbad with Prince Leopold, and when he returned to Cöthen in July, he found that Anna Barbara had died suddenly in his absence. In a deeply controversial article, Helga Thoene had argued that Bach wrote the Chaconne as a tombeau for his late wife (‘Johann Sebastian Bach: Ciaconna – Tanz oder Tombeau: Verborgene Sprache eines berühmten Werkes’, in Festschrift zum Leopoldsfest, 15. Köthener Bachfesttage, 23. bis 27. November, 1994: Zum 300. Geburtstag des Fürsten Leopold von Anhalt-Köthen (1694–1728) (Köthen: Historisches Museum Köthen, 1994), 14–81). Thoene’s conjectures were numerological, whereas mine were stylistic. Nevertheless, my paper was shot down in flames by a distinguished colleague, and his silver bullet was that the entire partita, Chaconne included, was composed on Bohemian paper Bach acquired at Carlsbad, hence before his return to Cöthen. Now, I might have quibbled that Bach could well have brought the paper back with him and completed the Chaconne at Cöthen, especially given this finale’s unusual weight. Other roads were also open to me. The focus of the Chaconne’s grief might have been, say, one of his children, or a close friend. The point was, however, that my heresy was now out in the open: participants were exercised not by my philological blunder, but by my presuming to talk about emotion at all. The debate flared up again at the end of the day, and I was taken aback by the outmoded assumptions still prevalent, such as the idea that composers didn’t get to express emotion until the era of Empfindsamkeit, as if Lutheranism and late eighteenth-century sentimentalism weren’t in their distinctive fashions equally mediated ‘emotional regimes’, to use William M. Reddy’s influential phrase (The Navigation of Feeling: A Framework for the History of Emotions (Cambridge: Cambridge University Press, 2001), 129). Musicology and music studies generally – the latter including music theory and analysis, music aesthetics and criticism, performance studies and ethnomusicology – are arguably out of step with the new (or not so new) discipline of the history of emotions, which has been colonizing most of the humanities and social sciences for two decades. (What, we may ask, does music know of emotion?) The paradigm was changed by Reddy’s The Navigation of Feeling; a recent landmark text in the field is the six-volume A Cultural History of the Emotions, edited by Susan Broomhall, Jane Davidson and Andrew Lynch (London: Bloomsbury Academic, 2019), from the Australian Research Council Centre
让我从一些自我人种学开始。去年年初，我在马萨诸塞大学阿默斯特分校由Erinn Knyt组织的一个非常好的巴赫研讨会上发表了一篇论文(“巴赫和贝多芬的晚期风格和总结性作品的想法”，2021年4月24日)。我在演讲中提出，巴赫的D小调小提琴独奏夏康涅表达了他对第一任妻子安娜·芭芭拉去世的悲痛。这个故事是众所周知的:1720年5月，巴赫和利奥波德王子一起去了卡尔斯巴德，当他7月回到Cöthen时，他发现安娜·芭芭拉在他不在的时候突然去世了。在一篇极具争议的文章中，Helga Thoene认为巴赫是为他已故的妻子写的《夏空》(《约翰·塞巴斯蒂安·巴赫:Ciaconna - Tanz oder tombeau: Verborgene Sprache eines berhten Werkes》，发表于Festschrift zum Leopoldsfest, 15)。Köthener Bachfesttage, 23岁。bis 27。1994年11月:Zum 300。李志强。研究利奥波德·冯Anhalt-Köthen (1694-1728) (Köthen:历史博物馆Köthen, 1994)， 14-81)。Thoene的猜想是数字命理学的，而我的猜想是文体学的。尽管如此，我的论文还是被一位杰出的同事抨击了，他的银弹是，整个partita，包括Chaconne，都是用巴赫在卡尔斯巴德获得的波西米亚纸创作的，因此在他回到Cöthen之前。现在，我可能会反驳说，巴赫很可能把这张纸带回来，并在Cöthen上完成了夏康涅，特别是考虑到这首终曲不同寻常的重量。其他的道路也向我敞开。夏康悲伤的焦点可能是，比如说，他的一个孩子，或者一个亲密的朋友。但问题是，我的异端邪说现在被公开了:让参与者感到不安的不是我在语言学上的错误，而是我对谈论情感的想当然。当天结束时，争论再次爆发，我被仍然流行的过时假设所震惊，比如，直到Empfindsamkeit时代，作曲家才开始表达情感，就好像路德教和18世纪晚期的感怀主义并没有以他们独特的方式同样调解“情感制度”，用威廉M.雷迪的有影响力的短语(感觉的导航:情感历史的框架)。剑桥大学出版社，2001)，129)。音乐学和一般的音乐研究——后者包括音乐理论和分析、音乐美学和批评、表演研究和民族音乐学——可以说是与新的(或不那么新的)情感历史学科脱节的，而情感历史学科已经在大多数人文和社会科学领域占据了20年的地位。(我们可能会问，音乐知道什么是情感?)这种范式被雷迪的《感觉的导航》改变了;该领域最近的一个里程碑式的文本是六卷本的《情感文化史》，由苏珊·布鲁姆霍尔、简·戴维森和安德鲁·林奇(伦敦:布卢姆斯伯里学术出版社，2019年)编辑，来自澳大利亚研究委员会情感历史卓越中心。除了雷迪的著作外，还有两本著作也具有特别重大的影响:《文明进程》(牛津:布莱克威尔出版社，2000年)，这是德国-瑞士历史学家诺伯特·埃利亚斯(1897-1990)的代表作，最初出版于1939年，以及芭芭拉·罗森韦恩的《中世纪早期的情感社区》(伊萨卡:康奈尔大学出版社，2006年)。简·普拉珀的《情绪的历史》(纽约:牛津大学出版社，2015年)提供了一个极好的概述。还有我的新书《西方音乐的情感史:一千年前》
{"title":"Let's Talk about Emotion","authors":"M. Spitzer","doi":"10.1017/S1478570621000324","DOIUrl":"https://doi.org/10.1017/S1478570621000324","url":null,"abstract":"Let me begin with some auto-ethnography. Early last year I presented a paper – by Zoom, alas – at a very fine Bach symposium organized by Erinn Knyt at the University of Massachusetts at Amherst (‘Late Style and the Idea of the Summative Work in Bach and Beethoven’, 24 April 2021). My talk proposed that Bach’s Chaconne in D minor for solo violin expressed grief at the death of his first wife, Anna Barbara. The story is well known: in May 1720 Bach went to Carlsbad with Prince Leopold, and when he returned to Cöthen in July, he found that Anna Barbara had died suddenly in his absence. In a deeply controversial article, Helga Thoene had argued that Bach wrote the Chaconne as a tombeau for his late wife (‘Johann Sebastian Bach: Ciaconna – Tanz oder Tombeau: Verborgene Sprache eines berühmten Werkes’, in Festschrift zum Leopoldsfest, 15. Köthener Bachfesttage, 23. bis 27. November, 1994: Zum 300. Geburtstag des Fürsten Leopold von Anhalt-Köthen (1694–1728) (Köthen: Historisches Museum Köthen, 1994), 14–81). Thoene’s conjectures were numerological, whereas mine were stylistic. Nevertheless, my paper was shot down in flames by a distinguished colleague, and his silver bullet was that the entire partita, Chaconne included, was composed on Bohemian paper Bach acquired at Carlsbad, hence before his return to Cöthen. Now, I might have quibbled that Bach could well have brought the paper back with him and completed the Chaconne at Cöthen, especially given this finale’s unusual weight. Other roads were also open to me. The focus of the Chaconne’s grief might have been, say, one of his children, or a close friend. The point was, however, that my heresy was now out in the open: participants were exercised not by my philological blunder, but by my presuming to talk about emotion at all. The debate flared up again at the end of the day, and I was taken aback by the outmoded assumptions still prevalent, such as the idea that composers didn’t get to express emotion until the era of Empfindsamkeit, as if Lutheranism and late eighteenth-century sentimentalism weren’t in their distinctive fashions equally mediated ‘emotional regimes’, to use William M. Reddy’s influential phrase (The Navigation of Feeling: A Framework for the History of Emotions (Cambridge: Cambridge University Press, 2001), 129). Musicology and music studies generally – the latter including music theory and analysis, music aesthetics and criticism, performance studies and ethnomusicology – are arguably out of step with the new (or not so new) discipline of the history of emotions, which has been colonizing most of the humanities and social sciences for two decades. (What, we may ask, does music know of emotion?) The paradigm was changed by Reddy’s The Navigation of Feeling; a recent landmark text in the field is the six-volume A Cultural History of the Emotions, edited by Susan Broomhall, Jane Davidson and Andrew Lynch (London: Bloomsbury Academic, 2019), from the Australian Research Council Centre ","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"65 1","pages":"5 - 12"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73903008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1017/S1478570621000336
Keith Chapin
While a student at the School of St Michael’s in Lüneburg between 1700 and 1702, Johann Sebastian Bach had the opportunity to visit nearby Celle. There, as C. P. E. Bach and Agricola would later write, he could hear ‘a once-celebrated cappella financed by the Duke of Celle and composed primarily of Frenchmen, and thereby learn the French taste, which, at that time and in those regions, was something entirely new’ (256; my translations throughout). Louis Delpech has done the musicological community an enormous service in exploring the world of such musicians as those in the Celle cappella. He offers a view at once detailed and panoramic of the migration of French musicians to Germany (chapter 1), the courtly institutional structures in which they worked (chapter 2) and some of the practicalities of their lives (chapter 3). This panorama also encompasses the dissemination of French music as represented by printed editions, manuscript copies and other material sources (chapter 4), as well as shifts in the compositional and critical reception of the ‘French taste’ (chapter 5). Delpech thereby adds to recent scholarship on musical circulation and travelling musicians, offering a complement to research focused on the diaspora of Italian musicians in Germany. There were important differences to these modes of circulation, he emphasizes. Whereas Italian musicians in Germany were primarily highly specialized composers, singers or librettists, French ones were almost always polyvalent instrumentalists, especially string players and oboists (137). In his Introduction, Delpech situates his study within the field of cultural transfer. He does address such issues as what Kusser, Telemann, Bach and others learned from French musicians at Celle, Dresden, Osnabrück and Hanover (the Saxon and Lower Saxon courts that were most receptive to French musicians). However, he considers the traditional goods of trade in histories of influence (compositional styles and critical ideas) only in his fifth chapter – that is, after meticulous examination of the human and material side of musical migrations. More a ‘style of research’ than a well-articulated methodology, his ‘prosopographic approach’ consists in ‘elucidating the constants and the evolution of a social group from the angle of individual trajectories and specific biographies of its constituent members’ (10). This approach carries over from the biographical to the musical domain in its careful attention to the provenance and dissemination of musical sources as material objects. It allows for a more detailed portrait of musical practices in Germany than would consideration of musical works as abstract entities (192). In practice, this means that Delpech marshalls information culled from innumerable primary sources – personnel rosters, pay documents, receipts, inventories, court documents, baptism, marriage and death records, official correspondence, private letters, engraved editions, musical manuscripts, and privat
1700年至1702年间，约翰·塞巴斯蒂安·巴赫在内堡的圣迈克尔学校上学时，有机会参观了附近的塞勒。巴赫(c.p.e. Bach)和阿格里科拉(Agricola)后来写道，在那里，他可以听到“由塞勒公爵(Duke of Celle)资助、主要由法国人组成的一度著名的无伴奏合唱，从而了解法国人的品味，在当时和那些地区，这是一种全新的东西”(256;我的翻译)。路易斯·德尔佩赫在探索无伴奏合唱等音乐家的世界方面为音乐界做出了巨大的贡献。他提供了法国音乐家移民到德国的详细全景视图(第1章)，他们工作的宫廷制度结构(第2章)和他们生活的一些实用性(第3章)。这一全景还包括法国音乐的传播，以印刷版，手稿副本和其他材料来源为代表(第4章)。以及对“法国品味”的作曲和批评接受的转变(第5章)。因此，德尔佩赫增加了最近关于音乐流通和旅行音乐家的奖学金，为关注德国意大利音乐家散居的研究提供了补充。他强调，这些流通模式有重要的不同之处。在德国的意大利音乐家主要是高度专业化的作曲家、歌手或词曲家，而法国的音乐家几乎总是多种乐器演奏家，尤其是弦乐器演奏家和双簧管演奏家(137)。在他的引言中，Delpech将他的研究置于文化迁移领域。他确实谈到了库瑟、泰勒曼、巴赫和其他人从塞勒、德累斯顿、奥斯纳布尔克和汉诺威(最接受法国音乐家的撒克逊和下撒克逊法院)的法国音乐家那里学到的东西。然而，他只在他的第五章中考虑了影响历史(作曲风格和批评思想)的传统贸易商品——也就是说，在对音乐迁移的人文和物质方面进行了细致的研究之后。与其说是一种清晰的方法论，不如说是一种“研究风格”，他的“人类学方法”包括“从个人轨迹和组成成员的特定传记的角度阐明一个社会群体的常数和演变”(10)。这种方法从传记延续到音乐领域，仔细关注音乐来源作为物质对象的来源和传播。与将音乐作品视为抽象实体相比，它可以更详细地描述德国的音乐实践(192)。在实践中，这意味着Delpech从无数主要来源中收集信息-人员名册，工资文件，收据，库存，法庭文件，洗礼，婚姻和死亡记录，官方信件，私人信件，刻版，音乐手稿和私人音乐汇编，仅举几例所调查的许多类型的来源-以重建法国音乐家和个人音乐的运动
{"title":"Ouvertures à la française: migrations musicales dans l'espace germanique, 1660–1730 Louis Delpech Turnhout: Brepols, 2020 pp. 349, ISBN 978 2 503 58858 2","authors":"Keith Chapin","doi":"10.1017/S1478570621000336","DOIUrl":"https://doi.org/10.1017/S1478570621000336","url":null,"abstract":"While a student at the School of St Michael’s in Lüneburg between 1700 and 1702, Johann Sebastian Bach had the opportunity to visit nearby Celle. There, as C. P. E. Bach and Agricola would later write, he could hear ‘a once-celebrated cappella financed by the Duke of Celle and composed primarily of Frenchmen, and thereby learn the French taste, which, at that time and in those regions, was something entirely new’ (256; my translations throughout). Louis Delpech has done the musicological community an enormous service in exploring the world of such musicians as those in the Celle cappella. He offers a view at once detailed and panoramic of the migration of French musicians to Germany (chapter 1), the courtly institutional structures in which they worked (chapter 2) and some of the practicalities of their lives (chapter 3). This panorama also encompasses the dissemination of French music as represented by printed editions, manuscript copies and other material sources (chapter 4), as well as shifts in the compositional and critical reception of the ‘French taste’ (chapter 5). Delpech thereby adds to recent scholarship on musical circulation and travelling musicians, offering a complement to research focused on the diaspora of Italian musicians in Germany. There were important differences to these modes of circulation, he emphasizes. Whereas Italian musicians in Germany were primarily highly specialized composers, singers or librettists, French ones were almost always polyvalent instrumentalists, especially string players and oboists (137). In his Introduction, Delpech situates his study within the field of cultural transfer. He does address such issues as what Kusser, Telemann, Bach and others learned from French musicians at Celle, Dresden, Osnabrück and Hanover (the Saxon and Lower Saxon courts that were most receptive to French musicians). However, he considers the traditional goods of trade in histories of influence (compositional styles and critical ideas) only in his fifth chapter – that is, after meticulous examination of the human and material side of musical migrations. More a ‘style of research’ than a well-articulated methodology, his ‘prosopographic approach’ consists in ‘elucidating the constants and the evolution of a social group from the angle of individual trajectories and specific biographies of its constituent members’ (10). This approach carries over from the biographical to the musical domain in its careful attention to the provenance and dissemination of musical sources as material objects. It allows for a more detailed portrait of musical practices in Germany than would consideration of musical works as abstract entities (192). In practice, this means that Delpech marshalls information culled from innumerable primary sources – personnel rosters, pay documents, receipts, inventories, court documents, baptism, marriage and death records, official correspondence, private letters, engraved editions, musical manuscripts, and privat","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"4 1","pages":"63 - 65"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90256488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1017/S1478570621000233
Dorian Bandy
Abstract This article provides a new analysis, appraisal and aesthetic examination of Mozart's notated melodic embellishments. Whereas previous studies of Mozartean embellishment (including those undertaken by Frederick Neumann in the 1980s and Robert Levin in the 1990s) tend to focus on the local, individual gestures that make up the composer's vocabulary, this study examines broader issues in Mozart's art of embellishment – in particular, the larger-scale characteristics of his written embellishment models, including the rate at which figuration accumulates and the structural layout of that figuration within and between individual phrases. I then explore the aesthetic resonances of melodic embellishment in Mozart's oeuvre, touching upon topics including the relationship of embellishment to a movement's affect, the relationship of embellishment to the compositional persona encoded in a work, the use of embellishment to depict improvisation in operas, and the aesthetic of digressiveness in the composer's melodies.
{"title":"Thema da capo: Another Look at Mozart's Embellishments","authors":"Dorian Bandy","doi":"10.1017/S1478570621000233","DOIUrl":"https://doi.org/10.1017/S1478570621000233","url":null,"abstract":"Abstract This article provides a new analysis, appraisal and aesthetic examination of Mozart's notated melodic embellishments. Whereas previous studies of Mozartean embellishment (including those undertaken by Frederick Neumann in the 1980s and Robert Levin in the 1990s) tend to focus on the local, individual gestures that make up the composer's vocabulary, this study examines broader issues in Mozart's art of embellishment – in particular, the larger-scale characteristics of his written embellishment models, including the rate at which figuration accumulates and the structural layout of that figuration within and between individual phrases. I then explore the aesthetic resonances of melodic embellishment in Mozart's oeuvre, touching upon topics including the relationship of embellishment to a movement's affect, the relationship of embellishment to the compositional persona encoded in a work, the use of embellishment to depict improvisation in operas, and the aesthetic of digressiveness in the composer's melodies.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"53 1","pages":"37 - 57"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88424306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1017/s1478570621000245
W. Thormählen
Heritage: The Music of Madrid in the Time of Goya promises to contribute to a revisionist history that has been constructed through both scholarship and performance over at least the last twenty years. It nestles amongst writings and performances that expand our knowledge of chamber-music compositions celebrated during the late eighteenth century, illuminating their social significance and their status within an Enlightenment discourse that stretched between a new European intellectual cosmopolitanism and an increasingly expansionist nationalism. Cuarteto Quiroga present one string quartet by each of four composers active at Spanish courts between the mid-1770s and the early 1800s. Luigi Boccherini’s inclusion at the beginning of the disc allows for its immediate contextualization – his name being better known than those of Gaetano Brunetti (1744–1798), Manuel Canales (1747–1786) and João Pedro de Almeida Mota (1744–1817). The processes of recovering, editing, selecting and performing unknown works such as these usually stem from a solid collaboration between performer and researcher, here between the Cuarteto Quiroga and the musicologist Miguel Ángel Marín, as explained in the beautifully produced accompanying CD booklet. The group’s biography, as presented here, might have benefited from a little more focus on their expertise in eighteenth-century repertory and their credentials to perform on historically set-up instruments. Instead, the listener gets a long list of general stringquartet accolades that filled me, at least, with little hope for a gutsy performance that maximizes the unique qualities of both the differently tensioned strings and the pre-Tourte bow. The introduction to the group rather suggests that its members subscribe to a timeless ideal of the string quartet and its performance which much recent scholarship has tried to unpick. While pleasant to listen to, the performances of these works indeed fail to do full justice to the promise of historical revisionism: while the sleeve notes by Marín explicitly lament the loss of the Spanish ‘poetic sensibilities that were (in Boccherini and Brunetti) very personal’ and the prominence of ‘the Austro-Germanic world’ in our historical understanding of the string quartet, the performance style remains true to those ideals of beauty of tone and equilibrium of voices that were posthumously celebrated in the quartets of Haydn and Mozart – in the process of the Austro-German elevation of the genre – but that were arguably never central to either their performance or their composition. The quartets recorded here are nicely varied. To start with, the works by Boccherini and Brunetti follow the three-movement form more common in Italian works, while those by Canales and Almeida Mota each finish with a rousing fourth-movement finale, suggesting a Viennese influence. This may reflect the composers’ backgrounds: both Boccherini and Brunetti arrived in Spain young but with exposure to Italian trainin
{"title":"Heritage: The Music of Madrid in the Time of Goya Luigi Boccherini (1743–1805), Gaetano Brunetti (1744–1798), Manuel Canales (1747–1786), João Pedro de Almeida Mota (1744–c1817), Cristóbal de Morales (1500–1553) Cuarteto Quiroga Cobra 0067, 2019; one disc, 80 minutes","authors":"W. Thormählen","doi":"10.1017/s1478570621000245","DOIUrl":"https://doi.org/10.1017/s1478570621000245","url":null,"abstract":"Heritage: The Music of Madrid in the Time of Goya promises to contribute to a revisionist history that has been constructed through both scholarship and performance over at least the last twenty years. It nestles amongst writings and performances that expand our knowledge of chamber-music compositions celebrated during the late eighteenth century, illuminating their social significance and their status within an Enlightenment discourse that stretched between a new European intellectual cosmopolitanism and an increasingly expansionist nationalism. Cuarteto Quiroga present one string quartet by each of four composers active at Spanish courts between the mid-1770s and the early 1800s. Luigi Boccherini’s inclusion at the beginning of the disc allows for its immediate contextualization – his name being better known than those of Gaetano Brunetti (1744–1798), Manuel Canales (1747–1786) and João Pedro de Almeida Mota (1744–1817). The processes of recovering, editing, selecting and performing unknown works such as these usually stem from a solid collaboration between performer and researcher, here between the Cuarteto Quiroga and the musicologist Miguel Ángel Marín, as explained in the beautifully produced accompanying CD booklet. The group’s biography, as presented here, might have benefited from a little more focus on their expertise in eighteenth-century repertory and their credentials to perform on historically set-up instruments. Instead, the listener gets a long list of general stringquartet accolades that filled me, at least, with little hope for a gutsy performance that maximizes the unique qualities of both the differently tensioned strings and the pre-Tourte bow. The introduction to the group rather suggests that its members subscribe to a timeless ideal of the string quartet and its performance which much recent scholarship has tried to unpick. While pleasant to listen to, the performances of these works indeed fail to do full justice to the promise of historical revisionism: while the sleeve notes by Marín explicitly lament the loss of the Spanish ‘poetic sensibilities that were (in Boccherini and Brunetti) very personal’ and the prominence of ‘the Austro-Germanic world’ in our historical understanding of the string quartet, the performance style remains true to those ideals of beauty of tone and equilibrium of voices that were posthumously celebrated in the quartets of Haydn and Mozart – in the process of the Austro-German elevation of the genre – but that were arguably never central to either their performance or their composition. The quartets recorded here are nicely varied. To start with, the works by Boccherini and Brunetti follow the three-movement form more common in Italian works, while those by Canales and Almeida Mota each finish with a rousing fourth-movement finale, suggesting a Viennese influence. This may reflect the composers’ backgrounds: both Boccherini and Brunetti arrived in Spain young but with exposure to Italian trainin","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"46 1","pages":"79 - 81"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89312561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1017/s1478570621000397
Erinn Knyt
In April 2015 the University of Massachusetts Amherst launched its first festival and symposium celebrating the music and legacy of Johann Sebastian Bach. Since that time, the event has become a biennial tradition. However, the 2021 festival and symposium were unlike any of the prior events because of their virtual format. In addition, solo and chamber pieces replaced the large choral works featured in previous festivals. Pre-recorded performances, released each evening in the week prior to the symposium, also included several world premieres of compositions written in homage to Bach. The day-long symposium featured five paper sessions, each exploring a different aspect of the concept of late style in relation to Bach or Beethoven. The first of these focused on keyboard music in a panel featuring Christine Blanken (Bach-Archiv Leipzig), Reuben Phillips (University of Oxford) and moderator Ellen Exner (New England Conservatory). In her paper, entitled ‘Steps towards New Concepts and against Pragmatism in Organ Music: The Late Organ Music by Johann Sebastian Bach – Models, Pathways, and What Posterity Made of It’, Blanken provided an overview of Bach’s activities as a writer for organ. In the process, she revealed a gradual evolution from church composer to virtuoso to learned composer. She claimed that Bach became more oriented toward summative collections late in life, calling his Clavierübung III (1739) a ‘musical catechism’. If Blanken focused on Bach’s organ music, Phillips concentrated on the reception of Bach’s late works by Donald Francis Tovey in his paper ‘Completing Bach: The Mass in B Minor and the Art of Fugue in Tovey’s Hands’. While scholars typically consult Tovey’s published writings and recordings to study his engagement with the composer’s music, Phillips chose instead to look at handwritten annotations in Tovey’s personal copy of the Bach-Gesellschaft Edition; these include his pencilled completion of the Art of Fugue and his continuo realization for the Mass in B minor. During his analysis of the annotations, Phillips revealed Tovey’s engagement with the composer to be a very personal one that resists the commonly monumentalized vision of late Bach. The second session focused on two major sets of variations for keyboard, Bach’s Goldberg Variations and Beethoven’s Diabelli Variations, with papers by me (Erinn Knyt, University of Massachusetts Amherst) and Michael Spitzer (University of Liverpool). The moderator was Daniel R. Melamed (Indiana University). In my talk, ‘J. S. Bach’s Goldberg Variations Reimagined’, I documented seven recent multi-composer works (1997–2020) based on Bach’s piece. Focusing on case studies of two pieces, The New Goldberg Variations (1997) and 13 Ways of Looking at Goldberg (2004), I showed how the plurality of Bach’s late style helped generate new pluralistic postmodern compositions. In doing so, I expanded notions of Bach’s late output as being not just summative, but also generative. There is a tend
{"title":"Late Style and the Idea of the Summative Work in Bach and Beethoven University of Massachusetts Amherst, 24 April 2021","authors":"Erinn Knyt","doi":"10.1017/s1478570621000397","DOIUrl":"https://doi.org/10.1017/s1478570621000397","url":null,"abstract":"In April 2015 the University of Massachusetts Amherst launched its first festival and symposium celebrating the music and legacy of Johann Sebastian Bach. Since that time, the event has become a biennial tradition. However, the 2021 festival and symposium were unlike any of the prior events because of their virtual format. In addition, solo and chamber pieces replaced the large choral works featured in previous festivals. Pre-recorded performances, released each evening in the week prior to the symposium, also included several world premieres of compositions written in homage to Bach. The day-long symposium featured five paper sessions, each exploring a different aspect of the concept of late style in relation to Bach or Beethoven. The first of these focused on keyboard music in a panel featuring Christine Blanken (Bach-Archiv Leipzig), Reuben Phillips (University of Oxford) and moderator Ellen Exner (New England Conservatory). In her paper, entitled ‘Steps towards New Concepts and against Pragmatism in Organ Music: The Late Organ Music by Johann Sebastian Bach – Models, Pathways, and What Posterity Made of It’, Blanken provided an overview of Bach’s activities as a writer for organ. In the process, she revealed a gradual evolution from church composer to virtuoso to learned composer. She claimed that Bach became more oriented toward summative collections late in life, calling his Clavierübung III (1739) a ‘musical catechism’. If Blanken focused on Bach’s organ music, Phillips concentrated on the reception of Bach’s late works by Donald Francis Tovey in his paper ‘Completing Bach: The Mass in B Minor and the Art of Fugue in Tovey’s Hands’. While scholars typically consult Tovey’s published writings and recordings to study his engagement with the composer’s music, Phillips chose instead to look at handwritten annotations in Tovey’s personal copy of the Bach-Gesellschaft Edition; these include his pencilled completion of the Art of Fugue and his continuo realization for the Mass in B minor. During his analysis of the annotations, Phillips revealed Tovey’s engagement with the composer to be a very personal one that resists the commonly monumentalized vision of late Bach. The second session focused on two major sets of variations for keyboard, Bach’s Goldberg Variations and Beethoven’s Diabelli Variations, with papers by me (Erinn Knyt, University of Massachusetts Amherst) and Michael Spitzer (University of Liverpool). The moderator was Daniel R. Melamed (Indiana University). In my talk, ‘J. S. Bach’s Goldberg Variations Reimagined’, I documented seven recent multi-composer works (1997–2020) based on Bach’s piece. Focusing on case studies of two pieces, The New Goldberg Variations (1997) and 13 Ways of Looking at Goldberg (2004), I showed how the plurality of Bach’s late style helped generate new pluralistic postmodern compositions. In doing so, I expanded notions of Bach’s late output as being not just summative, but also generative. There is a tend","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"57 1","pages":"98 - 100"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88009265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1017/S1478570621000300
J. Lockwood
Handel's depiction of angels was the focus of the contribution from Mark Risinger (independent scholar, New York): he discussed contemporary theological and philosophical views on their function and existence, the dramatic role of angels in librettos and the remarkable consistency in Handel's musical depiction of these beings across his career, from La resurrezione (hwv47) in 1708 to Jephtha (hwv70) in 1751. Between the composition of the source and the adaptation, major new scientific discoveries on the nature of eclipses had been made by Edmond Halley, offering a naturalistic explanation for their occurrence and challenging the traditional view of eclipses as supernatural omens. The undoubted highlight of the lecture involved Brown preparing and using, live on Zoom, a pungent-sounding gargle recipe from the archives (sal ammoniac, elderflower water and strong brandy were all involved). The first of the final day's two panels explored the representation of women on the operatic stage and in eighteenth-century culture more broadly.
{"title":"American Handel Society Conference Indiana University, 11–14 March 2021","authors":"J. Lockwood","doi":"10.1017/S1478570621000300","DOIUrl":"https://doi.org/10.1017/S1478570621000300","url":null,"abstract":"Handel's depiction of angels was the focus of the contribution from Mark Risinger (independent scholar, New York): he discussed contemporary theological and philosophical views on their function and existence, the dramatic role of angels in librettos and the remarkable consistency in Handel's musical depiction of these beings across his career, from La resurrezione (hwv47) in 1708 to Jephtha (hwv70) in 1751. Between the composition of the source and the adaptation, major new scientific discoveries on the nature of eclipses had been made by Edmond Halley, offering a naturalistic explanation for their occurrence and challenging the traditional view of eclipses as supernatural omens. The undoubted highlight of the lecture involved Brown preparing and using, live on Zoom, a pungent-sounding gargle recipe from the archives (sal ammoniac, elderflower water and strong brandy were all involved). The first of the final day's two panels explored the representation of women on the operatic stage and in eighteenth-century culture more broadly.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"83 1","pages":"94 - 97"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75943478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1017/s1478570621000312
Callum Blackmore
Because of the Covid-19 pandemic, the conference was postponed until March 2021, with the intention of holding it in person at that time. [...]Marjanne Elaine Goozé (University of Georgia) addressed the nefarious uses of humour in late eighteenth-century Berlin salons. Ultimately, although the pandemic limited attempts to recreate the experience and the ambience of the eighteenth-century salon, the papers presented offered up a number of new avenues for exploring the manifold sensory worlds of Enlightenment sociability. [...]the interdisciplinary bent of the conference hinted at ways in which musicology, as a discipline, might fruitfully draw from other branches of the humanities in our approach to these worlds.
{"title":"The Salon and the Senses in the Long Eighteenth Century: Interdisciplinary Perspectives Rutgers University, 4–5 March 2021","authors":"Callum Blackmore","doi":"10.1017/s1478570621000312","DOIUrl":"https://doi.org/10.1017/s1478570621000312","url":null,"abstract":"Because of the Covid-19 pandemic, the conference was postponed until March 2021, with the intention of holding it in person at that time. [...]Marjanne Elaine Goozé (University of Georgia) addressed the nefarious uses of humour in late eighteenth-century Berlin salons. Ultimately, although the pandemic limited attempts to recreate the experience and the ambience of the eighteenth-century salon, the papers presented offered up a number of new avenues for exploring the manifold sensory worlds of Enlightenment sociability. [...]the interdisciplinary bent of the conference hinted at ways in which musicology, as a discipline, might fruitfully draw from other branches of the humanities in our approach to these worlds.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"31 1","pages":"91 - 93"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87765477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1017/S1478570621000361
Cristina Fernandes
Taking the career of Violante Vestri (c1725–1791) as an example, and illustrating with the famous engraving dedicated to her in 1750 by Marc'Antonio Dal Re, Alessandra Mignati (Università Cattolica del Sacro Cuore, Milan;Università di Napoli Federico II) proposed some thoughts on the history of female performers, the audience's expectations, the importance of seduction in theatre and the significance of the support from prestigious personalities. Artistic rivalry was approached by Benoît Dratwicki (Centre de Musique Baroque de Versailles) in a paper dedicated to the quarrels of singers at the Académie royale de musique in the eighteenth century, which examined the public and private issues involved and their media misappropriation. A number of these women came from families of professional musicians, while others were seasoned prima donnas;a small handful were local adolescents selected to receive musical training. Dance was also the subject of a single paper: ‘From Feuilleton to Gender Studies: Marie Sallé under the Eyes of Critics’, by Silvia Garzarella (independent scholar, Milan).
以Violante Vestri (c1725-1791)的职业生涯为例，并以Marc'Antonio Dal Re于1750年为她雕刻的著名版画为例，Alessandra Mignati(米兰天主教大学;那不勒斯费德里科二世大学)提出了一些关于女性表演者的历史，观众的期望，诱惑在戏剧中的重要性以及知名人士支持的重要性的想法。benot Dratwicki(凡尔赛巴洛克音乐中心)在一篇论文中探讨了18世纪皇家音乐学院歌手之间的争吵，研究了所涉及的公共和私人问题以及他们对媒体的滥用。这些女性中有许多来自专业音乐家的家庭，而另一些则是经验丰富的首席演员;少数是当地的青少年，被选中接受音乐培训。舞蹈也是一篇论文的主题:“从Feuilleton到性别研究:评论家眼中的Marie sall”，作者:Silvia Garzarella(独立学者，米兰)。
{"title":"Women and Music in the Early Modern Age Palácio Nacional de Queluz, 2–4 July 2021","authors":"Cristina Fernandes","doi":"10.1017/S1478570621000361","DOIUrl":"https://doi.org/10.1017/S1478570621000361","url":null,"abstract":"Taking the career of Violante Vestri (c1725–1791) as an example, and illustrating with the famous engraving dedicated to her in 1750 by Marc'Antonio Dal Re, Alessandra Mignati (Università Cattolica del Sacro Cuore, Milan;Università di Napoli Federico II) proposed some thoughts on the history of female performers, the audience's expectations, the importance of seduction in theatre and the significance of the support from prestigious personalities. Artistic rivalry was approached by Benoît Dratwicki (Centre de Musique Baroque de Versailles) in a paper dedicated to the quarrels of singers at the Académie royale de musique in the eighteenth century, which examined the public and private issues involved and their media misappropriation. A number of these women came from families of professional musicians, while others were seasoned prima donnas;a small handful were local adolescents selected to receive musical training. Dance was also the subject of a single paper: ‘From Feuilleton to Gender Studies: Marie Sallé under the Eyes of Critics’, by Silvia Garzarella (independent scholar, Milan).","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"48 1","pages":"107 - 110"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85010575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-14DOI: 10.1017/s1478570621000385
Robert O. Gjerdingen
Having your eyes opened to an entire world of music history, especially one that you thought you understood but clearly did not, can be an exhilarating experience. That eighteenth-century musicians could have had such different training in melody is both surprising and genuinely intriguing. Imagine, for example, posing this question to a group of talented graduate students: ‘Which tradition of melodic training was closest to what Haydn learned as a choirboy at the Stephansdom in Vienna – “fixed do” (à la Paris Conservatoire) or “moveable do” (as in many American colleges)?’ Until the appearance of Nicholas Baragwanath’s new book, the students would have had no comprehensive source to consult. They might guess one or the other answer, but it is likely that no one would give the correct answer, which is ‘None of the above’. As the author makes clear, even though our present consumption of music from eighteenthcentury Europe focuses on the marvels composed for wealthy courts and theatres, the musical centre of gravity for eighteenth-century contemporaries resided in the church. Viewed as a musicproducing institution, a dukedom’s single court or theatre could perform only a small fraction of the music provided in daily services at its hundreds of churches. Much of that music was plainchant, and so training boys to serve as choristers was the central focus of music education in much of Europe. The pedagogy attributed to Guido of Arezzo was not merely a relic of late medieval times but a living presence in the lives of young choristers and seminarians during the Enlightenment. If Stefano Mengozzi’s 2010 book The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History (Cambridge: Cambridge University Press) traces that tradition from the eleventh to the sixteenth century, Baragwanath’s book takes it from the seventeenth to the early nineteenth. Three of the greatest nineteenth-century quests were to find the sources of the Nile, of the Mississippi and of Gregorian chant. The living tradition of chant had been, if not severed, then at least heavily damaged during the Napoleonic era. Seeking pure medieval sources to make repairs, scholars turned their backs on the practice of chant in the eighteenth century or indeed almost any chant practice of the post-Tridentine era. Fortunately for us today, a large corpus of small manuals for choristers in early modern Europe has managed to survive. Drawing on these manuals, which exhibit great uniformity from rural Poland all the way to the southern tip of Italy, Baragwanath details how chant was still taught to boys like Haydn using the old four-line staff and F or C clefs. The boys learned the hexachordal note names (do, re, mi, fa, sol, la) and first practised just saying (not singing) them as they read the old chant notation. The F line of the F clef was fa, with mi below it, and the same was true for the C line of the C clef (thus fa with mi below it). Rather than being conceived a
把你的眼睛打开到整个音乐史的世界，尤其是一个你认为你了解但显然不了解的世界，可能是一种令人振奋的经历。18世纪的音乐家们在旋律方面能接受如此不同的训练，这既令人惊讶，也令人真正感兴趣。想象一下，例如，向一群有才华的研究生提出这个问题:“哪种旋律训练的传统最接近海顿在维也纳斯蒂芬斯敦(Stephansdom)当唱诗班男孩时学到的东西——‘固定演奏’( la Paris Conservatoire)还是‘移动演奏’(如许多美国大学)?”在尼古拉斯·巴拉格瓦纳特(Nicholas Baragwanath)的新书问世之前，学生们没有全面的资料可供参考。他们可能会猜测其中一个答案，但很可能没有人会给出正确的答案，即“以上皆非”。正如作者明确指出的那样，尽管我们现在对18世纪欧洲音乐的消费主要集中在为富裕的宫廷和剧院创作的奇迹上，但18世纪同时代音乐的重心仍在教堂。作为一个音乐制作机构，一个公国的单一宫廷或剧院只能演奏其数百个教堂日常服务中提供的一小部分音乐。大部分音乐都是平淡无奇的，所以训练男孩担任唱诗班是欧洲大部分地区音乐教育的中心重点。阿雷佐圭多的教学法不仅是中世纪晚期的遗物，而且是启蒙运动时期年轻唱诗班和神学院学生生活中的活生生的存在。如果Stefano Mengozzi在2010年出版的书《中世纪音乐理论的文艺复兴改革:阿雷佐的圭多在神话和历史之间》(剑桥:剑桥大学出版社)追溯了从11世纪到16世纪的传统，那么Baragwanath的书则是从17世纪到19世纪早期。19世纪最伟大的三项探索是寻找尼罗河、密西西比河和格里高利圣歌的源头。在拿破仑时代，吟唱的传统即使没有被切断，至少也受到了严重的破坏。为了寻找纯粹的中世纪资料来进行修复，学者们放弃了18世纪的圣歌实践，或者几乎所有后特伦丁时代的圣歌实践。对我们今天来说幸运的是，早期现代欧洲唱诗班的大量小手册得以保存下来。从波兰农村一直到意大利南端，这些手册都表现出了很大的一致性。巴拉格瓦纳特根据这些手册，详细描述了像海顿这样的男孩如何仍然使用古老的四行五线谱和F或C谱号来学习圣歌。男孩们学习了六音阶的音符名称(do, re, mi, fa, sol, la)，并首先练习在阅读古老的圣歌符号时只是说(而不是唱)它们。F谱号的F线是fa, mi在它下面，C谱号的C线也是如此(因此fa和mi在它下面)。“do”不是被理解为主音、基调或终音，而是指六和弦底部的一个音符，其中任何一个音符都可能是局部的基调或主音。尽管当时的情况是
{"title":"The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century Nicholas Baragwanath New York: Oxford University Press, 2020 pp. xix + 410, ISBN 978 0 197 51408 5","authors":"Robert O. Gjerdingen","doi":"10.1017/s1478570621000385","DOIUrl":"https://doi.org/10.1017/s1478570621000385","url":null,"abstract":"Having your eyes opened to an entire world of music history, especially one that you thought you understood but clearly did not, can be an exhilarating experience. That eighteenth-century musicians could have had such different training in melody is both surprising and genuinely intriguing. Imagine, for example, posing this question to a group of talented graduate students: ‘Which tradition of melodic training was closest to what Haydn learned as a choirboy at the Stephansdom in Vienna – “fixed do” (à la Paris Conservatoire) or “moveable do” (as in many American colleges)?’ Until the appearance of Nicholas Baragwanath’s new book, the students would have had no comprehensive source to consult. They might guess one or the other answer, but it is likely that no one would give the correct answer, which is ‘None of the above’. As the author makes clear, even though our present consumption of music from eighteenthcentury Europe focuses on the marvels composed for wealthy courts and theatres, the musical centre of gravity for eighteenth-century contemporaries resided in the church. Viewed as a musicproducing institution, a dukedom’s single court or theatre could perform only a small fraction of the music provided in daily services at its hundreds of churches. Much of that music was plainchant, and so training boys to serve as choristers was the central focus of music education in much of Europe. The pedagogy attributed to Guido of Arezzo was not merely a relic of late medieval times but a living presence in the lives of young choristers and seminarians during the Enlightenment. If Stefano Mengozzi’s 2010 book The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History (Cambridge: Cambridge University Press) traces that tradition from the eleventh to the sixteenth century, Baragwanath’s book takes it from the seventeenth to the early nineteenth. Three of the greatest nineteenth-century quests were to find the sources of the Nile, of the Mississippi and of Gregorian chant. The living tradition of chant had been, if not severed, then at least heavily damaged during the Napoleonic era. Seeking pure medieval sources to make repairs, scholars turned their backs on the practice of chant in the eighteenth century or indeed almost any chant practice of the post-Tridentine era. Fortunately for us today, a large corpus of small manuals for choristers in early modern Europe has managed to survive. Drawing on these manuals, which exhibit great uniformity from rural Poland all the way to the southern tip of Italy, Baragwanath details how chant was still taught to boys like Haydn using the old four-line staff and F or C clefs. The boys learned the hexachordal note names (do, re, mi, fa, sol, la) and first practised just saying (not singing) them as they read the old chant notation. The F line of the F clef was fa, with mi below it, and the same was true for the C line of the C clef (thus fa with mi below it). Rather than being conceived a","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"32 1","pages":"59 - 62"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82498949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：