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Katherine K. Preston, Opera for the People: English-Language Opera and Women Managers in Late 19th- Century America (New York: Oxford University Press, 2017). xxix + 618 pp. £39.99. Katherine K.Preston,《人民歌剧:19世纪末美国的英语歌剧和女性经理人》(纽约:牛津大学出版社,2017)。xxix+618页,39.99英镑。
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-08-14 DOI: 10.1017/s1479409823000265
Valeria Wenderoth
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引用次数: 0
NCM volume 20 issue 2 Cover and Back matter NCM第20卷第2期封面和封底
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-08-01 DOI: 10.1017/s1479409823000241
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引用次数: 0
Notes on Article Contributors 文章投稿人须知
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-08-01 DOI: 10.1017/s1479409823000277
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引用次数: 0
NCM volume 20 issue 2 Cover and Front matter NCM第20卷第2期封面和封面问题
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-08-01 DOI: 10.1017/s147940982300023x
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引用次数: 0
César Franck, Intégrale de l’œuvre d'orgue –– Complete Edition. Edited by Richard Brasier, Foreword by Marie-Louise Jaquet-Langlais (Lyrebird Music, 2022). Score LBMP 029, 606 pp. 塞萨尔·弗兰克,完整的管风琴作品-完整版。由Richard Brasier编辑,Marie Louise Jaquet Langlais前言(Lyrebird Music,2022)。LBMP评分029606页。
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-07-17 DOI: 10.1017/s1479409823000125
J. Lipka
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引用次数: 0
Polish Romantic Guitar: Chopin, Bobrowicz, Horecki, Szczepanowski, Sokołoski Mateusz Kowalski, guitar The Fryderyk Chopin Institute NIFCCD 118, 2020 (1 CD: 79 minutes). €15.00 波兰浪漫吉他:肖邦,Bobrowicz, Horecki, Szczepanowski, Sokołoski Mateusz Kowalski,吉他Fryderyk Chopin Institute NIFCCD 118, 2020 (1 CD: 79分钟)。€15.00
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-06-29 DOI: 10.1017/s1479409823000204
J. Sobaskie
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引用次数: 0
Giuseppe Verdi, Il Corsaro Matheus Pompeu, ten, Ilona Mataradze, sop, Aleksey Bogdanov, bar, Karen Gardeazabal, sop, Mateusz Stachura, bar, Pawel Cichoński, ten Podlasie Opera and Philharmonic Choir, Europa Galante, Fabio Biondi, cond Fryderyk Chopin Institute, NIFCCD 087–088 2021 (2 CDs: 91 minutes), €18 朱塞佩-威尔第,《科萨罗》(Il Corsaro) Matheus Pompeu,男高音,Ilona Mataradze,女高音,Aleksey Bogdanov,男低音,Karen Gardeazabal,女高音,Mateusz Stachura,男低音,Pawel Cichoński,男高音 波德拉谢歌剧爱乐合唱团,Europa Galante,Fabio Biondi,指挥弗莱德里克-肖邦学院,NIFCCD 087-088 2021(2 张 CD:91 分钟),18 欧元。
3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-06-27 DOI: 10.1017/s1479409823000198
Jane Sylvester
Giuseppe Verdi, Il Corsaro Matheus Pompeu, ten, Ilona Mataradze, sop, Aleksey Bogdanov, bar, Karen Gardeazabal, sop, Mateusz Stachura, bar, Pawel Cichoński, ten Podlasie Opera and Philharmonic Choir, Europa Galante, Fabio Biondi, cond Fryderyk Chopin Institute, NIFCCD 087–088 2021 (2 CDs: 91 minutes), €18
朱塞佩-威尔第,《科萨罗》(Il Corsaro) Matheus Pompeu,男高音,Ilona Mataradze,女高音,Aleksey Bogdanov,男低音,Karen Gardeazabal,女高音,Mateusz Stachura,男低音,Pawel Cichoński,男高音 波德拉谢歌剧爱乐合唱团,Europa Galante,Fabio Biondi,指挥弗莱德里克-肖邦学院,NIFCCD 087-088 2021(2 张 CD:91 分钟),18 欧元。
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引用次数: 0
Phryné as opéra comique: Saint-Saëns contra Offenbach Phryné作为喜剧歌剧:Saint Saëns contra Offenbach
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1017/s1479409823000186
S. Huebner
This study of Camille Saint-Saëns's opéra comique Phryné (1893), representing the famous Greek courtesan in the title role, outlines how the composer made the case for the continued viability of the opéra comique genre in a context where lighter opérettes by Jacques Offenbach on classical subjects were much celebrated on French stages. Saint-Saëns's efforts are seen through both his dislike of Offenbach's music and the flexible use of generic name markers in musical comedies of the period. In marking out an aesthetic space for new musical comedy that was not Offenbach's, Saint-Saëns and his librettist Lucien Augé de Lassus conjoined their Hellenic subject matter not only with a canon of painting and sculpture but also with musical qualities deemed classical in the fin-de-siècle environment.
本研究Camille Saint-Saëns的opsamra comique phryn(1893),代表着着名的希腊妓女在标题角色,概述了作曲家如何在雅克·奥芬巴赫(Jacques Offenbach)关于古典主题的较轻的opsamra comique流派在法国舞台上备受赞誉的背景下,为opsamra comique流派的持续可行性提出了案例。Saint-Saëns的努力可以从他对奥芬巴赫音乐的厌恶和在那个时期的音乐喜剧中灵活使用通用名称标记中看出。在为不属于奥芬巴赫的新音乐喜剧划定审美空间的过程中,Saint-Saëns和他的剧作家吕西安·奥格格·德·拉苏斯(Lucien aug de Lassus)不仅将他们的希腊主题与绘画和雕塑的经典结合起来,而且还将音乐品质与在fin-de- si 环境中被视为古典的音乐品质结合起来。
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引用次数: 0
The Memory Man: Jacques Offenbach, Le Bonhomme Jadis and the Origin of an air connu 记忆中的人:雅克·奥芬巴赫、勒邦霍姆·贾迪斯与空中通信的起源
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-06-02 DOI: 10.1017/s1479409823000174
R. Sherr
This article is in essence a study of intertextuality in two musico-dramatic genres in Paris of the 1850s: the comédie-vaudeville and straight plays with incidental music. The ‘texts’ that are considered here are interpolated songs in the comédie-vaudeville and purely instrumental interpolations in plays. Their intertextuality depends on the age-old process of contrafactum. Yet a problem arises when the listener cannot recognize the original source of the contrafactum and cannot perceive the intertext. The article traces such an intertextual problem. It illustrates how the attempt to answer what would appear to be a minor question regarding music in a comédie-vaudeville led to consideration of an aspect of Jacques Offenbach's output that has received very little attention and which in turn poses some problems of its own. I begin by discussing how intertextuality and musical memory were exploited in the nineteenth-century Parisian comédie-vaudeville. I then discuss how my inability to identify a ‘text’, in this case a particular tune used in a production in a Parisian theatre was so bothersome that it caused it to stick in my memory, which in turn allowed me to recognize it in a work by Offenbach. This in turn led to consideration of a short story and a play in which intertextual musical memory plays a large role, and to the music that Offenbach composed for the performance of that play which surprisingly led to the solution of the problem, the identification of the tune. I end with further comments.
这篇文章本质上是对19世纪50年代巴黎两种音乐戏剧流派的互文性的研究:喜剧杂耍和带有附带音乐的直接戏剧。这里所考虑的“文本”是喜剧杂耍中的插入歌曲,以及戏剧中纯粹的器乐插入。它们的互文性依赖于古老的反事实过程。然而,当听众无法识别反事实的原始来源,也无法感知互文时,就会出现问题。这篇文章追溯了这样一个互文问题。它说明了在一个喜剧杂耍中,试图回答一个似乎是关于音乐的小问题是如何导致对雅克·奥芬巴赫作品的一个方面的考虑的,而这个方面很少受到关注,反过来又带来了一些问题。我首先讨论了互文性和音乐记忆是如何在19世纪的巴黎喜剧杂耍中被利用的。然后,我讨论了我无法识别一个“文本”,在这种情况下,巴黎剧院制作中使用的一首特定曲调是如何令人烦恼的,以至于它留在了我的记忆中,这反过来又让我在奥芬巴赫的作品中认出了它。这反过来又导致了对一个短篇小说和一部戏剧的考虑,在这部小说和戏剧中,互文性的音乐记忆发挥了重要作用,奥芬巴赫为这部戏剧的表演创作的音乐出人意料地解决了这个问题,确定了曲调。最后,我要作进一步的评论。
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引用次数: 0
Music DH 2021: A Directory of Digital Scholarship in Music 音乐DH 2021:音乐数字奖学金目录
IF 0.3 3区 艺术学 Q3 Arts and Humanities Pub Date : 2023-05-18 DOI: 10.1017/S1479409823000071
Michelle Urberg
Music DH 2021: A Directory of Digital Scholarship in Music (hereafter Music DH) (https://rutgersdh.github.io/musicdh/) represents the work of a collaborative project of the Digital Humanities Interest Group of the Music Library Association. Librarians and scholars, many of whom have experience either creating or supporting digital humanities work, collected, collated, and catalogued more than 200 projects that now comprise Music DH. Since its launch in 2021, it has been maintained by Francesca Giannetti, who is the Digital Humanities Librarian at Rutgers University and the Co-Director of the Rutgers Digital Humanities Institute. The Sources page in the site acknowledges, however, that Giannetti is standingon the shouldersof giants in championingMusicDH.Thisproject grew inpart out of existingbibliographies that cataloguedigital projects related to musical topics. The directory platform itself also leans heavily on designs used in other digital scholarship websites. The clear acknowledgement of collaboration and antecedents is in keepingwith the spirit of born-digital scholarship: it takes a village to conceive, launch and support born-digital work. For anyone seeking to expand research based in traditional publication formats, Music DH should be a first stop on the way to augmenting both primary source and secondary research. It is currently the only open-access directory of digital resources that specializes in musical scholarship where each of the indexed items are catalogued with a standardized and searchable bibliographic record.
Music DH 2021:音乐数字奖学金目录(以下简称Music DH) (https://rutgersdh.github.io/musicdh/)是音乐图书馆协会数字人文兴趣小组的一个合作项目。图书馆员和学者,他们中的许多人都有创建或支持数字人文工作的经验,收集,整理和编目了200多个项目,现在构成了音乐DH。自2021年推出以来,它一直由罗格斯大学数字人文图书馆馆长、罗格斯数字人文研究所联合主任弗朗西斯卡·吉安内蒂(Francesca Giannetti)维护。然而,网站上的消息来源页面承认,Giannetti站在巨人的肩膀上支持musicdh。这个项目部分源于现有的书目,这些书目对与音乐主题相关的数字项目进行了编目。目录平台本身也严重依赖于其他数字奖学金网站使用的设计。对合作和前因后果的明确承认符合“天生数字化”的学术精神:需要一个村庄来构思、启动和支持“天生数字化”的工作。对于任何寻求以传统出版形式扩展研究的人来说,Music DH应该是增加主要来源和次要研究的第一站。它是目前唯一的开放访问的数字资源目录,专门从事音乐学术,其中每个索引项目编目与标准化和可搜索的书目记录。
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引用次数: 0
期刊
Nineteenth-Century Music Review
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