FONTES ARTIS MUSICAE最新文献

English Abstract:

The notion of 'source' poses considerable problems for the study of silent film music. On the one hand, from a purely historical point of view, it is worth remembering that most of the music for the films of the silent era no longer exists. On the other hand, a vast repertoire of stock photoplay music has come down to us from the silent era, as an example of specialised publishing in the field of film music. Collections such as Kinothek, Motion Picture Moods, Filmharmonie, and many others consisted of original pieces that were not associated with a specific film but were designed to fit into standard narrative situations or to provide a common emotional aura.

The practice of reusing and re-functionalising mood music pieces, constantly hovering between composition and compilation, raises philological questions concerning the multiple definition of the musical text, its author, and its performance. The score of a piece of stock photoplay music is not, in fact, the source of an opus in the strict sense of the term. It is not an aesthetically grounded entity, but rather an operational instruction at the service of a subsequent creative act: the one that will shape the musical accompaniment of a particular film screening in the cinema.

The ubiquity of photoplay music is not the exception, but the rule. Indexing and cataloguing a source of stock photoplay music is not in itself useful historical knowledge if it is complemented by knowledge of its adaptive uses. These, however, are not to be found in the primary source, but must be reconstructed by consulting secondary sources of various kinds, from cue sheets to journalistic reviews, which only in their constellation give an account of the cinematic show as a whole.

French Abstract:

La notion de "source" pose des problèmes considérables pour l'étude de la musique de film muet. D'une part, d'un point de vue purement historique, il convient de rappeler que la plupart des musiques de films de l'époque du muet n'existent plus. D'autre part, un vaste ensemble de recueils d'incidentaux nous est parvenu de l'époque du muet, comme un exemple d'édition spécialisée dans le domaine de la musique de film. Des collections telles que Kinothek, Motion Picture Moods, Filmharmonie, et bien d'autres, étaient constituées de morceaux originaux qui n'étaient pas associés à un film spécifique, mais qui étaient conçus pour s'intégrer dans des situations narratives standard ou pour fournir une ambiance émotionnelle commune.

La pratique de la réutilisation et de la refonctionnalisation des morceaux de musique d'ambiance, qui oscille constamment entre la composition et la compilation, soulève des questions philologiques concernant la définition multiple du texte musical, de son auteur et de son interprétation. La partition issue d'un catalogue d'incidentaux n'est pas, en effet, la source d'un opus au sens strict du terme. Elle n'est pas une entité esthéti

English Abstract:

A new Excel file has been created using data from 211 cue sheets at the George Eastman House, ninety-one cue sheets at the Library of Congress, and the cue sheets in The American Organist. The Museum of Modern Art, New York (MoMA) has recorded scores reconstructed from the cue sheets of compiler James C. Bradford for its restorations of the films Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924), and The Cat and the Canary (Paul Leni, 1927). Together these developments enable us to evaluate the work of the most prolific compilers of cue sheets, James C. Bradford and to begin to understand the complex role cue sheets actually played in the accompaniment of music for 'mute' films.

French Abstract:

Un nouveau fichier Excel a été créé à partir des données de 211 feuilles de repérage conservées à la George Eastman House, de 91 feuilles de repérage conservées à la Library of Congress et des feuilles de repérage publiées dans The American Organist. Pour ses restaurations des films Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924) et The Cat and the Canary (Paul Leni, 1927), le Museum of Modern Art, New York (MoMA) a enregistré des partitions reconstituées à partir des feuilles de repérage du compilateur James C. Bradford. Ces développements nous permettent d'évaluer le travail de James C. Bradford, le plus prolifique des compilateurs de feuilles de repérage, et de commencer à comprendre le rôle complexe que les feuilles de repérage ont réellement joué dans l'accompagnement de la musique des films muets.

German Abstract:

Eine neue Excel-Datei wurde unter Verwendung von Daten aus 211 cue sheets vom George Eastman House, 91 cue sheets der Library of Congress und den cue sheets in The American Organist erstellt. Das Museum of Modern Art, New York (MoMA) hat für seine Restaurierungen der Filme Rosita (Ernst Lubitsch, 1923), Forbidden Paradise (Lubitsch, 1924) und The Cat and the Canary (Paul Leni, 1927) Partituren erstellt, die aus den cue sheets des Zusammenstellers James C. Bradford rekonstruiert wurden. Zusammengenommen ermöglichen uns diese Vorbereitungen, die Arbeit von James C. Bradford, des produktivsten Verfassers von cue sheets, zu bewerten und damit ein Verständnis zu erlangen, welche komplexe Rolle cue sheets tatsächlich bei der Musikbegleitung für Stummfilme spielten.

English Abstract:

Recently, the study of music in silent film has brought attention to a musical repertoire that had enormous growth between the end of the nineteenth century and the first decades of the twentieth century: salon music. This repertoire has not yet been fully investigated, although it has an evident historical importance in the development of cinematographic music and it represents a fundamental link between the nineteenth-century musical tradition of highbrow origin and the explosion of popular music genres at the beginning of the twentieth century. The main core of this repertoire is based on three typologies of pieces: transcriptions from the operatic and symphonic repertoire, original pieces in Romantic style, and dances and songs. The analytical study of this repertoire aims to bring its historical importance back into perspective, transforming it into an object of investigation with its own autonomy, rather than a phenomenon simply derived from the classical repertoire, devoid of its own interest and, therefore, negligible. The clarification of the peculiar characteristics of its musical language is fundamental to begin to outline an aesthetic of musical compilation in the silent film era. Studies of music in silent films has in fact concentrated more on the phenomenon of original scores, quantitatively marginal, while neglecting the study of compiled musical accompaniment, which was the most diffused form of accompaniment. This study, in addition to filling the historiographical gap that still exists, provides information fundamental to understanding the subsequent developments of early sound films.

French Abstract:

Récemment, l'étude de la musique du cinéma muet a fait émerger un répertoire musical qui a connu un essor considérable entre la fin du XIXe siècle et les premières décennies du XXe siècle : la musique de salon. Ce répertoire n'a pas encore fait l'objet d'une étude approfondie, bien que son importance historique dans le développement de la musique cinématographique soit évidente et qu'il représente un lien fondamental entre la tradition musicale du dix-neuvième siècle issue de la haute société et l'explosion des genres musicaux populaires au début du vingtième siècle. Le noyau principal de ce répertoire repose sur trois types de pièces : des transcriptions du répertoire opératique et symphonique, des pièces originales dans le style romantique, ainsi que des danses et des chansons. L'étude analytique de ce répertoire vise à remettre en perspective son importance historique, en le transformant en un objet d'étude autonome, plutôt qu'en un phénomène simplement dérivé du répertoire classique, dépourvu d'intérêt intrinsèque et, par conséquent, négligeable. Clarifier les caractéristiques particulières de son langage musical est fondamental pour commencer à esquisser une esthétique de la compilation musicale à l'époque du film muet. Les études sur la musique dans les films muets se sont en effet d

Reviewed by:

• Sound Pedagogy: Radical Care in Music ed. by Colleen Renihan, John Spilker, and Trudi Wright
• Dr. Rachel O'Connor

Contributors: Molly M. Breckling, William A. Everett, Kate Galloway, Sara Haefeli, Eric Hung, Stephanie Jensen-Moulton, Mark Katz, Nathan A. Langfitt, Matteo Magarotto, Mary Natvig, Frederick A. Peterbark, Laura Moore Pruett, Colleen Renihan, Amanda Christina Soto, John Spilker, Reba A. Wissner, and Trudi Wright

Sound Pedagogy: Radical Care in Music answers the urgent and overdue call for transformation in the field of music in higher education. Rooted in recognition of the historical entanglements of post-secondary music education with racist, sexist, and ableist ideologies, the contributors articulate the imperative for a caring and kind approach to pedagogy as a pathway toward social justice and equity. The authors of this volume ask us to collectively take an honest look at our field and acknowledge 'who remains absent … who feels unwelcome, unnecessary or ignored' (p. 6) and confront how certain groups have not been given the space to flourish. Drawing on William Cheng's Just Vibrations (Ann Arbor: University of Michigan Press, 2016), and informed by interdisciplinary scholarship in fields such as queer studies, disability studies, and critical race theory, this volume not only critiques the pervasive hierarchies and exclusions within music education but also offers tangible frameworks and guides for enacting transformative methodologies. The adoption of Care Pedagogy is not only ethically imperative but also essential for addressing the growing mental health crises within academic institutions. Through a nuanced exploration of power dynamics, curriculum design, and classroom practices, this volume challenges conventional notions of teaching and learning in music education and advocates for a paradigm shift that prioritises the holistic wellbeing and empowerment of individuals and communities.

The volume's sixteen chapters are divided into three parts, with contributions from administrators, counselors, and faculty. 'Part I: The Heart of Curricular Interventions' features Radical Care methodology enacted through curricular design. These interventions offer a change from within familiar classroom structures and syllabi. 'Part II: Unmeasured Pedagogical Horizons' focuses on interventions that engage communities beyond the post-secondary classroom. 'Part III: Self-Care, The Root of Teaching' explores the mental health and wellness chall

English Abstract:

Since the 1970s, the musicological study of music for silent film has centred on composed or compiled scores for specific films, be it score reconstructions, genre studies, or accompaniment practices. Stock photoplay music, written for general use in silent film accompaniment, has received less comprehensive—if growing—focus. Ephemeral in nature, much of this music can be challenging to locate, thought lost, or impossible to link to identifiable productions. More recent scholarship has explored stock music in the early sound era as well as the tracked and library music in the burgeoning television music industry of the 1950s, but stock photoplay music for silent film lacks a similarly rigorous interrogation.

This article draws on newly created metadata for thousands of stock photoplay music titles housed in the Library of Congress Music Division and scanned as part of the digital collection, Silent Film Scores and Arrangements, to demonstrate additional avenues for topoi analysis in silent film music that, in turn, influenced the development of music for sound film. The catalogue solutions that facilitated, informed, and expanded this work are also outlined. Together, the cross-disciplinary work necessary to create the structured data within this digital collection demonstrates the value of collaborative efforts between musicology and music librarianship for film music research. The stock photoplay music within this digital collection especially illustrates the significance for future research in understanding how contemporary creators of film music conceptualised the burgeoning genre. The article presents its arguments in three sections. First, the article describes the historiographical, or how the Library of Congress Music Division collection came into being and what it comprises. Then, it dives into the bibliographic, including cataloguing workflows and decisions that facilitated these efforts. Finally, the article ends with the aesthetic and ontological, with a focus on understanding and tracing of music topics within this collection of stock photoplay music.

French Abstract:

Depuis les années 1970, l'étude musicologique de la musique des films muets s'est concentrée sur les partitions composées ou compilées pour des films spécifiques, soit en reconstituant des partitions, soit en étudiant des genres, soit en s'intéressant aux pratiques d'accompagnement. Les catalogues incidentaux, conçus pour un usage général et destinés à l'accompagnement des films muets, ont fait l'objet d'une attention moindre, bien que croissante. Éphémère par nature, une grande partie de cette musique peut être difficile à localiser, considérée comme perdue ou impossible à relier à des productions identifiables. Des études plus récentes ont exploré les musiques de stock [ou musique d'illustration] au début de l'ère du son, ainsi que les pistes sonores et les banques de musiques dans l'industrie naissante de la musi

English Abstract:

This article represents and reveals, for the first time, the life and artistic career of pianist Victoria Boshko. Born in New York to a family of Ukrainian immigrants, Boshko became a renowned pianist in the 1920s on the U.S. concert stage. A graduate of the prestigious Ethical Culture School and the Juilliard School, she epitomises a generation of musicians who came of age and launched their careers during the tumultuous years of World War I. Furthermore, she serves as an exemplar of a female pianist, shedding light on the challenges women faced in achieving artistic recognition in the U.S. during the first half of the twentieth century. Boshko has left behind only a handful of music recordings, with half of them intended for player pianos. Consequently, her interpretations are better recognised through newspaper reviews rather than audio recordings. While she primarily performed as a solo pianist, she also provided invaluable assistance to famous musicians during their tours in the U.S., including Feodor Shalyapin, Eugène Ysaÿe, and Pablo Casals. While Boshko's name may be forgotten today, she undeniably enriched the landscape of the U.S. concert stage, leaving an indelible mark on its history.

French Abstract:

Cet article révèle et met en évidence, pour la première fois, la vie et la carrière artistique de la pianiste Victoria Boshko. Née à New York dans une famille d'immigrés ukrainiens, Victoria Boshko devient dans les années 1920 une pianiste renommée sur la scène américaine. Diplômée de la prestigieuse Ethical Culture School et de la Juilliard School, elle incarne une génération de musiciens qui se sont formés et ont lancé leur carrière pendant les années tumultueuses de la Première Guerre mondiale. En outre, elle représente un exemple de femme pianiste, mettant en lumière les défis auxquels les femmes ont dû faire face pour obtenir une reconnaissance artistique aux États-Unis durant la première moitié du vingtième siècle. Boshko n'a laissé derrière elle qu'une poignée d'enregistrements musicaux, dont la moitié était destinée à des pianos mécaniques. Par conséquent, ses interprétations sont davantage reconnues par le biais de critiques de journaux que par des enregistrements audios. Bien qu'elle se soit avant tout produite en tant que pianiste soliste, elle a également apporté une assistance inestimable à des musiciens célèbres lors de leurs tournées aux États-Unis, notamment Feodor Shalyapin, Eugène Ysaÿe et Pablo Casals. Si son nom est aujourd'hui oublié, Victoria Boshko a indéniablement enrichi le paysage de la scène américaine, laissant une trace indélébile dans son histoire.

German Abstract:

Dieser Artikel präsentiert erstmalig Leben und künstlerische Karriere der Pianistin Victoria Boshko. In New York als Tochter einer ukrainischen Einwandererfamilie geboren, wurde Boshko in den 1920er Jahren eine renommierte Pianistin auf den Konzertbühnen der Vereinigten Staaten. Als Absolventin

English Abstract:

The ties between Croats and Czechs, based on common Slavic roots, can be traced back to the distant past. From the eighteenth century, especially while belonging to the same state, the Austro-Hungarian Empire, Czechs immigrated in large numbers to the territory of today's Croatia. First came farmers in search of free land to cultivate, and later craftsmen, entrepreneurs, intellectuals, and artists arrived.

The subject of cooperation between Croatians and Czechs in the sound recording industry can be traced from the paper labels on recordings, which reveal that many Czech records were produced in Zagreb, while many Croatian records were produced in Ústí nad Labem and Prague in what is today the Czech Republic. On the Croatian side, there is some literature on the first years of recorded sound in Croatia, as well as articles in periodicals from the period and scarce archival sources.

As a participant in a scientific project on the Croatian industry of gramophone records (the record industry in Croatia from 1927 to the end of the 1950s), I conducted comprehensive research in Prague to trace the bilateral links between Croatian Edison Bell Penkala (EBP) and Elektroton and Czech gramophone companies (Esta, Ultraphon, etc.); on companies that recorded Croatian artists before EBP; and on the cooperation between Czech Gramofonové závody and Jugoton at the beginning of their existence.

Colleagues provided insight into the available literature, documentation, and results of their research for the project Novy Fonograf (Novy Fonograf: nasluchejme zvuku historie. For information on the project, see: https://novyfonograf.cz/en/about/). Additional information was also found from the Zagreb company Croatia Records (formerly Jugoton) and the Archive of Yugoslavia in Belgrade. In this article, I will explain the flow of cooperation between the two countries on the production of shellac gramophone recordings in the time of world wars and turbulent political changes.

French Abstract:

Les liens entre Croates et Tchèques, fondés sur des racines slaves communes, peuvent être retracés depuis un passé lointain. Dès le XVIIIe siècle, surtout lorsqu'ils appartenaient au même État, l'Empire austro-hongrois, les Tchèques ont immigré en grand nombre sur le territoire de l'actuelle Croatie. Les premiers arrivants furent des agriculteurs à la recherche de terres libres à cultiver, et plus tard des artisans, des entrepreneurs, des intellectuels et des artistes.

La coopération entre Croates et Tchèques dans l'industrie de l'enregistrement sonore peut être retracée à partir des étiquettes papier des enregistrements, qui révèlent que de nombreux disques tchèques ont été produits à Zagreb, tandis que de nombreux disques croates ont été produits à Ústí nad Labem et à Prague, dans ce qui est aujourd'hui la République tchèque. Côté croate, il existe un peu de littérature sur les premières années de l'enreg

• Briefs / Feuilletons

Harald Heckmann (1924–2023) By Klassik Heute (Screenshot), Fair use, https://en.wikipedia.org/w/index.php?curid=75293094.

We are deeply sad to inform you that our esteemed colleague, Harald Heckmann, passed away on Sunday, 5 November 2023, after a severe illness. Dr Harald Heckmann, musicologist, editor of musical works, was the former director of the Deutsches Musikgeschichtliches Archiv (German Archive of the History of Music) in Kassel (1954–1971), long-standing director and Board member of the (Deutsches Rundfunkarchiv (German Broadcasting Archive) in Frankfurt (1971–1991), and chairman of the Music Advisory Board, as well as a member of the Administrative Board of the German National Library (1982–1992).

From 1959 to 1974 he served as General Secretary of the International Association of Music Libraries, Archives and Documentation Centres (IAML) and was President of IAML from 1974 to 1976. He was appointed Honorary President afterwards. From 1960 to 1980, he was Secretary and from 1980 to 2004, he was President of RISM (Répertoire International des Sources Musicales).

In 1969, he was co-founder and until 1991, Vice-President of the Répertoire International de la Littérature Musicale (RILM), in 1972 co-founder and co-President of the Répertoire International d'Iconographie Musicale (RIdIM), and chairman of the editorial board of the publication series Documenta musicologica (DMI) and Catalogus musicus. He has done an irreplaceable amount for the international understanding and cooperation of music libraries.

In 2000 he was awarded the Order of Merit of the Federal Republic of Germany. He died at the age of ninety-nine in his retirement home in Kronberg am Taunus.

The German IAML Board

Dr. Ann Kerstinǵ-Meuleman

Cortina Wuthe

Paul T. Haas

Anja Göhler [End Page 53]

Reviewed by:

• Flutists in Paris. The School of Blavet in the Second Half of the Eighteenth Century by Rien de Reede
• Douglas MacMillan

Compiled by Sandi-Jo Malmon and Colin Coleman

The much-lauded French flautist Michel Blavet was born in the year 1700 and died some sixty-eight years later. Self-taught on the flute, he was acclaimed as the finest flautist of his generation in France, possessing an impeccable tone combined with delicacy, sensitivity, and excellent intonation: it should be recalled that the one-keyed flute of Blavet's time was notoriously difficult to play perfectly in tune. Blavet also played the bassoon, was a composer of flute music, and, of particular importance in the context of the present book, a wellrecognised teacher whose students enjoyed distinguished careers as flautists. The entry on Blavet in the 'Annotated Lexicon' of De Reede's volume includes a comprehensive summary of the player's life and work, and for those unfamiliar with Blavet, a reading of these pages (pp. 72–75) is recommended before commencing a perusal of the text.

Following an 'Éloge de Monsieur Blavet', further chapters of the book focus on the careers of Blavet's distinguished pupils PierreÉvrard Taillart and Félix Rault before concluding with a comprehensive 'annotated lexicon' and bibliography.

The 'Éloge de Monsieur Blavet' is a facsimile of an eight-page extract from Le Nécrologe des hommes célèbres de France of 1770, giving an orthodox eulogy of the musician's life and culminating in an account of his death from complications of liver surgery in 1768. Inclusion in Le Nécrologe confirms the significance of Blavet in his native land but, unfortunately, no English translation of the eulogy is given.

Pierre-Évrard Taillart (c.1715–1782) was perhaps the most likely candidate to be labelled as Blavet's successor in his quadruple roles as flautist, teacher, composer, and publisher. He should not be confused with his brother, known as Taillard le cadet or le jeune, also a flautist but not of the standing of Pierre-Évrard.

Taillart succeeded Blavet at the Concert spirituel in 1751 and became known for his delicacy of expression, not only reflecting the traditional early eighteenth-century French style of flute-playing but also embracing the more virtuosic style of the increasingly popular Italian flautists. His high register extended beyond that of his predecessors (and of Johann Joachim Quantz) and he was regarded as one of Europe's finest flautists. As a teacher he was in dem

Abstract:

For an ethnomusicologist, archival work is an indispensable part of their research: by recording, selecting, incorporating, and classifying the compiled repertoires, they create new archives. However, the archive is no longer conceived simply as a place of storage, but as a process of creation of information. Thus, digital music archives constitute a repository of knowledge where memory is constructed.

This is the case of the digital archive of the Provincial Council of Soria, where almost 1,000 hours of recordings derived from fieldwork in the province since 2014 have been catalogued and made available to the user. For this purpose, each melody has been analysed, classified, and ordered following specific criteria. The digital space has allowed sounds, music, and collective memory representing a specific social reality to be recognised as archive material worthy of being digitised and disseminated, and therefore linked to current museological narratives.

Abstract:

Pour un ethnomusicologue, le travail d’archivage est une partie indispensable de sa recherche : en enregistrant, sélectionnant, incorporant et classifiant les répertoires compilés, il crée de nouvelles archives. Cependant, l’archive n’est désormais plus conçue comme un simple espace de stockage, mais comme un processus de création d’informations. Ainsi, les archives musicales numériques constituent un dépôt de connaissances où la mémoire se construit.

C’est le cas des archives numériques du Conseil provincial de Soria, où près de 1,000 heures d’enregistrements issus du travail de terrain dans la province depuis 2014 ont été cataloguées et mises à la disposition de l’utilisateur. À cette fin, chaque mélodie a été analysée, classée et ordonnée selon des critères spécifiques. Ainsi, grâce à l’espace numérique, les sons, la musique et la mémoire collective représentant une réalité sociale spécifique ont été reconnus comme du matériel d’archive digne d’être numérisé et diffusé, et par conséquent lié aux récits muséologiques actuels.

Abstract:

Für Ethnomusikologen ist die Archivarbeit unverzichtbarer Teil der Forschung: Mittels der Verzeichnung, Auswahl, Einbeziehung und Klassifizierung des zusammengestellten Repertoires erstellen sie neue Archive. Allerdings werden Archive nicht mehr nur als Ort der Aufbewahrung, sondern als Bestandteil der Informationsgewinnung verstanden. Somit stellen digitale Musikarchive Wissensspeicher dar, die zum Aufbau des kulturellen Gedächtnisses beitragen. Dies trifft auch auf das digitale Archiv des Provinzrats von Soria zu, wo seit 2014 fast 1.000 Stunden Aufzeichnungen aus Feldforschung in der Provinz katalogisiert und den Nutzenden zur Verfügung gestellt wurden. zu diesem zweck wurde jede Melodie analysiert, klassifiziert und nach bestimmten Kriterien geordnet. Der digitale Raum ermöglicht es mittlerweile, Klänge, Musik und kollektive Erinnerungen, die eine spezifische soziale Realität repräsentieren,