Pub Date : 2024-05-22DOI: 10.1017/s1479409824000144
Rose Mauro
{"title":"Zanden Jos van der. Beethoven and Greco-Roman Antiquity (Abingdon: Routledge, 2022). xvi + 272 pp. £130.00 (cloth), £38.99 (paper), £35.09 (ebook).","authors":"Rose Mauro","doi":"10.1017/s1479409824000144","DOIUrl":"https://doi.org/10.1017/s1479409824000144","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141113130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-20DOI: 10.1017/s1479409824000119
Annie Yen-Ling Liu
As the largest and most comprehensive Chinese database in the world, China National Knowledge Infrastructure (CNKI: Zhong guo zhi shi ji chu she shi gong cheng 中国知识基础设施工程, also commonly known as Zhi wang 知网)1 is supervised by Tsinghua University and Tonfang Knowledge Network (TKN), a high-tech enterprise funded by Tsinghua University in 1997. It is supported by the Chinese Ministry of Education, the Publicity Department of the Communist Party of China, the Ministry of Science and Technology, the State Administration of the Press, Publication, Radio, Film and Television of the People's Republic of China and the State Planning Commission of the PRC. In December 1996, CNKI began providing CD-ROM and CAJ-CD for Chinese academic journals, and it was officially launched in 1999. This repository initially focused on Chinese academic journals and later expanded its coverage to PhD dissertations, masters’ theses, conference proceedings, yearbooks, books and patent documents. It is divided into three categories: ‘databases’, ‘specialized sources’, and ‘international sources’, including ProQuest and Taylor and Francis journal databases. Ten service centres are established across the world, including Beijing, North America, Japan, Korea, Taiwan and Hong Kong; users include universities, research institutions, government think tanks, industries, hospitals and public libraries.2 CNKI (or CIKRD) updates its information on a daily basis, and its current growth rate is approximately 350,000 new journal articles per month.
作为全球最大、最全面的中文数据库，中国国家知识基础设施（CNKI：CNKI: Zhong guo zhi shi ji chu she shi gong cheng 中国知识基础设施工程，又称知网）1 由清华大学和同方知网（TKN）负责管理。它得到了中国教育部、中共中央宣传部、科学技术部、中华人民共和国国家新闻出版广电总局和中华人民共和国国家计划委员会的支持。1996 年 12 月，CNKI 开始提供中国学术期刊的光盘和 CAJ-CD，并于 1999 年正式启动。该资源库最初以中国学术期刊为主，后来扩展到博士论文、硕士论文、会议论文集、年鉴、图书和专利文献。它分为三类："数据库"、"专业来源 "和 "国际来源"，包括 ProQuest 和 Taylor and Francis 期刊数据库。在全球设立了十个服务中心，包括北京、北美、日本、韩国、台湾和香港；用户包括大学、研究机构、政府智囊团、行业、医院和公共图书馆。2 CNKI（或 CIKRD）每天更新信息，目前的增长速度约为每月新增 35 万篇期刊论文。
{"title":"China National Knowledge Infrastructure (CNKI) as a Resource for Nineteenth-Century Music Studies","authors":"Annie Yen-Ling Liu","doi":"10.1017/s1479409824000119","DOIUrl":"https://doi.org/10.1017/s1479409824000119","url":null,"abstract":"As the largest and most comprehensive Chinese database in the world, China National Knowledge Infrastructure (CNKI: Zhong guo zhi shi ji chu she shi gong cheng 中国知识基础设施工程, also commonly known as Zhi wang 知网)1 is supervised by Tsinghua University and Tonfang Knowledge Network (TKN), a high-tech enterprise funded by Tsinghua University in 1997. It is supported by the Chinese Ministry of Education, the Publicity Department of the Communist Party of China, the Ministry of Science and Technology, the State Administration of the Press, Publication, Radio, Film and Television of the People's Republic of China and the State Planning Commission of the PRC. In December 1996, CNKI began providing CD-ROM and CAJ-CD for Chinese academic journals, and it was officially launched in 1999. This repository initially focused on Chinese academic journals and later expanded its coverage to PhD dissertations, masters’ theses, conference proceedings, yearbooks, books and patent documents. It is divided into three categories: ‘databases’, ‘specialized sources’, and ‘international sources’, including ProQuest and Taylor and Francis journal databases. Ten service centres are established across the world, including Beijing, North America, Japan, Korea, Taiwan and Hong Kong; users include universities, research institutions, government think tanks, industries, hospitals and public libraries.2 CNKI (or CIKRD) updates its information on a daily basis, and its current growth rate is approximately 350,000 new journal articles per month.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141122556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-17DOI: 10.1017/s1479409824000065
David Larkin
In an era when historical statues can be toppled and reputations smashed, critical editions remain one of the more durable monuments to the significance of a composer. Initiated by the nineteenth-century Bach-Gesellschaft and Händel-Gesellschaft editions, the practice of trying to produce a ‘correct’ text of the complete musical works of a single composer reached its apogee in the decades after World War II, leading to marquee projects like the Neue Bach-Ausgabe (1954–2007) and the Neue Mozart-Ausgabe (1955–91). So pervasive was edition-making in this era that it led Joseph Kerman to complain ‘there is something wrong with a discipline that spends (or spent) so much more of its time establishing texts than thinking about the texts thus established’. But despite such criticisms and amid the proliferation of alternative forms of musicological research in the last 40 years or so, the making of critical editions has continued, with new projects taking in figures such as Janáček (1978–), Verdi (1983–), Donizetti (1989–) and Bartók (2016–), among many others. Even if it may be nowhere near as dominant a part of musicological endeavour as it once was, edition-making has survived, a tacit refutation of the challenges that the canon has met with.
{"title":"Richard Strauss Online","authors":"David Larkin","doi":"10.1017/s1479409824000065","DOIUrl":"https://doi.org/10.1017/s1479409824000065","url":null,"abstract":"In an era when historical statues can be toppled and reputations smashed, critical editions remain one of the more durable monuments to the significance of a composer. Initiated by the nineteenth-century <jats:italic>Bach-Gesellschaft</jats:italic> and <jats:italic>Händel-Gesellschaft</jats:italic> editions, the practice of trying to produce a ‘correct’ text of the complete musical works of a single composer reached its apogee in the decades after World War II, leading to marquee projects like the <jats:italic>Neue Bach-Ausgabe</jats:italic> (1954–2007) and the <jats:italic>Neue Mozart-Ausgabe</jats:italic> (1955–91). So pervasive was edition-making in this era that it led Joseph Kerman to complain ‘there is something wrong with a discipline that spends (or spent) so much more of its time establishing texts than thinking about the texts thus established’. But despite such criticisms and amid the proliferation of alternative forms of musicological research in the last 40 years or so, the making of critical editions has continued, with new projects taking in figures such as Janáček (1978–), Verdi (1983–), Donizetti (1989–) and Bartók (2016–), among many others. Even if it may be nowhere near as dominant a part of musicological endeavour as it once was, edition-making has survived, a tacit refutation of the challenges that the canon has met with.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140615400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-02DOI: 10.1017/s147940982400003x
Chanda VanderHart
This article focuses on four digital resources for researching nineteenth-century women in music. Two are over two decades old and hail from the German-speaking world: Musik(vermittlung) und Gender(forschung) im Internet (MuGI) and the Sophie Drinker Institut online lexicon. The remaining pair are emerging digital resources based in the United States: Art Song Augmented and the Boulanger Initiative Database (BID).
本文重点介绍用于研究 19 世纪女性音乐的四种数字资源。其中两个已有二十多年的历史，来自德语世界：Musik（vermittlung） und Gender（forschung）im Internet (MuGI) 和 Sophie Drinker Institut 在线词典。其余两对是位于美国的新兴数字资源：Art Song Augmented 和 Boulanger Initiative Database (BID)。
{"title":"Nineteenth-Century Women in Music: MuGI, Sophie Drinker, Art Song Augmented and BID","authors":"Chanda VanderHart","doi":"10.1017/s147940982400003x","DOIUrl":"https://doi.org/10.1017/s147940982400003x","url":null,"abstract":"<p>This article focuses on four digital resources for researching nineteenth-century women in music. Two are over two decades old and hail from the German-speaking world: <span>Musik(vermittlung) und Gender(forschung) im Internet</span> (MuGI) and the <span>Sophie Drinker Institut</span> online lexicon. The remaining pair are emerging digital resources based in the United States: <span>Art Song Augmented</span> and the <span>Boulanger Initiative Database</span> (BID).</p>","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140579884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.1017/s1479409824000089
{"title":"NCM volume 21 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1479409824000089","DOIUrl":"https://doi.org/10.1017/s1479409824000089","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140774281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-01DOI: 10.1017/s1479409824000077
{"title":"NCM volume 21 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1479409824000077","DOIUrl":"https://doi.org/10.1017/s1479409824000077","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140761772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-05DOI: 10.1017/s1479409824000028
Ryan Ross
Ralph Vaughan Williams's The Lark Ascending is a perennial favourite in the British classical music radio station Classic FM's ‘Hall of Fame’ poll. In spite of its apparent popularity, however, the work sits uncomfortably with the way revisionist critics and scholars have wanted to portray the composer. As an escapist piece of English musical pastoralism, The Lark undermines their preferred view of Vaughan Williams as a progressive or even ‘modernist’ participant in his artistic milieu. To combat this image, some critics and musicologists have argued for complex, harder-edged interpretations of the work that have little to no basis in the music's primary source materials or the composer's stated priorities in his own writings. Such emphases reflect a problem in recent revisionist literature, wherein traditionalist, nationalist, or Romantic aspects of Vaughan Williams's music are excessively downplayed (or re-situated) in favour of arguments that better support elite sensibilities. As a work consisting of accessible, melody-centric music, and following from a poem excerpt suggesting an idyllic scene, The Lark serves as a bulwark against revisionist overreach and a check against over-emphasis on trendy priorities.
{"title":"Letting the Lark Ascend: Vaughan Williams's ‘Most Popular Work’ and the Limits of Revisionism","authors":"Ryan Ross","doi":"10.1017/s1479409824000028","DOIUrl":"https://doi.org/10.1017/s1479409824000028","url":null,"abstract":"Ralph Vaughan Williams's <jats:italic>The Lark Ascending</jats:italic> is a perennial favourite in the British classical music radio station Classic FM's ‘Hall of Fame’ poll. In spite of its apparent popularity, however, the work sits uncomfortably with the way revisionist critics and scholars have wanted to portray the composer. As an escapist piece of English musical pastoralism, <jats:italic>The Lark</jats:italic> undermines their preferred view of Vaughan Williams as a progressive or even ‘modernist’ participant in his artistic milieu. To combat this image, some critics and musicologists have argued for complex, harder-edged interpretations of the work that have little to no basis in the music's primary source materials or the composer's stated priorities in his own writings. Such emphases reflect a problem in recent revisionist literature, wherein traditionalist, nationalist, or Romantic aspects of Vaughan Williams's music are excessively downplayed (or re-situated) in favour of arguments that better support elite sensibilities. As a work consisting of accessible, melody-centric music, and following from a poem excerpt suggesting an idyllic scene, The Lark serves as a bulwark against revisionist overreach and a check against over-emphasis on trendy priorities.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140056081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-05DOI: 10.1017/s1479409824000041
Simone Laghi
{"title":"Sam Girling, ed., Pierre Rode: Selected String Quartets, Recent Researches in the Music of the Nineteenth and Early Twentieth Century, vol. 87. Middleton, WI: A-R Editions, 2023, xxi, 162 pp. $250.00.","authors":"Simone Laghi","doi":"10.1017/s1479409824000041","DOIUrl":"https://doi.org/10.1017/s1479409824000041","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140264052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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