FONTES ARTIS MUSICAE最新文献

Photoplay Music as a Key Source for a New Historiographical Paradigm 作为新史学范式重要来源的影剧音乐

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-07-24 DOI: 10.1353/fam.2024.a933073

Francesco Finocchiaro

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

这不是以美学为基础的产品，而是为后续创作行为服务的行动指南：即在电影院中塑造特定电影放映的音乐背景的行动指南。为电影戏剧音乐片段编制索引和目录本身并不能构成有用的历史知识，如果不辅以对其适应性使用的知识的话。然而，这在原始资料中是找不到的，而必须通过各种二手资料--从提示单到新闻评论--来重新构建，只有从总体上才能对电影表演有一个整体的了解。

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引用次数: 0

The Cue Sheets of James C. Bradford 詹姆斯-布拉德福德的提示单

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-07-24 DOI: 10.1353/fam.2024.a933076

Gillian B. Anderson

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.

英文摘要：利用乔治-伊斯曼之家（George Eastman House）的 211 张提示单、美国国会图书馆的 91 张提示单以及《美国管风琴家》（The American Organist）中的提示单中的数据创建了一个新的 Excel 文件。纽约现代艺术博物馆 (MoMA) 在修复电影《罗西塔》（恩斯特-卢比奇，1923 年）、《禁乐园》（卢比奇，1924 年）和《猫与金丝雀》（保罗-莱尼，1927 年）时，录制了根据编曲人詹姆斯-C-布拉德福德的提示单重建的乐谱。这些发展使我们能够对最多产的提示单编纂者詹姆斯-C-布拉德福德的工作进行评估，并开始了解提示单在 "静音 "电影音乐伴奏中实际扮演的复杂角色。法文摘要：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.在修复电影《罗西塔》（恩斯特-卢比奇，1923 年）、《禁忌乐园》（卢比奇，1924 年）和《猫与金丝雀》（保罗-莱尼，1927 年）时，纽约现代艺术博物馆（MoMA）根据编纂者詹姆斯-C-布拉德福德（James C. Bradford）的拷贝重新制作了一些分区。这些发展让我们能够评估詹姆斯-C-布拉德福德（James C. Bradford）的工作，他是最多产的录音带编纂者，也让我们开始了解录音带在电影音乐伴奏中的复杂作用。德文摘要：通过对乔治-伊斯曼之家的 211 张提示单、美国国会图书馆的 91 张提示单以及《美国管风琴家》中的提示单的数据分析，建立了一个新的 Excel 数据库。纽约现代艺术博物馆 (MoMA) 为其修复的电影《罗西塔》（恩斯特-卢比奇，1923 年）、《禁忌天堂》（卢比奇，1924 年）和《猫与金丝雀》（保罗-莱尼，1927 年）制作了部分家具，这些家具是根据合作者詹姆斯-C-布拉德福德的提示单重新制作的。布拉德福德是提示单的制作者，他的工作让我们了解了提示单在电影音乐中的复杂作用，并从中得到启发。

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引用次数: 0

The Music for Salon Orchestra and its Use in Silent Films 沙龙管弦乐及其在无声电影中的应用

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-07-24 DOI: 10.1353/fam.2024.a933074

Marco Targa

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

英文摘要：近来，对默片音乐的研究使人们注意到十九世纪末至二十世纪头几十年间发展迅猛的一个音乐剧目：沙龙音乐。尽管沙龙音乐在电影音乐发展史上具有显而易见的重要意义，并且是十九世纪高雅音乐传统与二十世纪初流行音乐流派爆炸式发展之间的基本纽带，但这一曲目尚未得到充分研究。该曲目的主要核心基于三种类型的作品：歌剧和交响乐曲目的改编作品、浪漫主义风格的原创作品以及舞蹈和歌曲。对这一剧目进行分析研究的目的是重新认识其历史重要性，将其转变为一个具有自主性的研究对象，而不是简单地从古典剧目中衍生出来的一种现象，缺乏自身的趣味性，因此可以忽略不计。厘清默片音乐语言的特殊性，是开始勾勒默片时代音乐编排美学的基础。事实上，对默片音乐的研究更多地集中于原始配乐现象，在数量上处于边缘地位，而忽视了对编配伴奏的研究，而编配伴奏是最普遍的伴奏形式。这项研究不仅填补了历史学上的空白，还为了解早期有声电影的后续发展提供了基本信息。法文摘要：最近，默片音乐研究揭示了十九世纪末至二十世纪头几十年间蓬勃发展的一个音乐剧目：沙龙音乐。尽管该曲目在电影音乐发展史上的重要性不言而喻，而且它代表了十九世纪上流社会音乐传统与二十世纪初流行音乐流派爆发之间的基本联系，但该曲目尚未成为深入研究的主题。该曲目的主要核心基于三类曲目：歌剧和交响乐曲目的转录、浪漫主义风格的原创曲目以及舞蹈和歌曲。对这一剧目进行分析研究的目的是为了正确看待其历史重要性，将其转变为一个独立的研究对象，而不是仅仅从古典剧目中衍生出来的一种现象，缺乏内在的趣味，因而可以忽略不计。如果我们要开始勾勒默片时代的音乐编排美学，那么明确其音乐语言的特殊性是至关重要的。对默片音乐的研究更多地集中在原始配乐现象上，从数量上看，原始配乐是微不足道的，这不利于对以汇编形式出现的音乐伴奏的研究，而汇编音乐却是最普遍的伴奏形式。这项研究弥补了历史学上的空白，为了解第一批有声电影的后期发展提供了基本信息。十九世纪末至二十世纪初，沙龙音乐取得了巨大的成就。虽然这一曲目尚未被完全研究透彻，但它对电影音乐的发展具有深远的历史意义，并将 19 世纪的高雅音乐传统与爆炸性的音乐发展紧密结合在一起。在 19 世纪的高文化音乐传统与 20 世纪初流行音乐的爆炸性艺术创新之间，形成了一种基本的联系。它是十九世纪音乐传统与二十世纪初流行音乐的爆炸性艺术融合的产物。这部作品的基调以三种作品类型为基础：歌剧和交响乐曲目中的转述曲、浪漫风格的原创作品以及歌曲和抒情诗。对这部剧作的分析研究使人们重新审视其历史意义，并将其纳入自己的研究课题中。这样一来，人们就会发现，这首曲子的主题并不复杂，只是从经典曲目中汲取了灵感，因此显得格外独特。这部作品对音乐语言的独特魅力的描述具有重要的意义，它有助于在电影胶片中对音乐的组合进行分析。

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引用次数: 0

Sound Pedagogy: Radical Care in Music ed. by Colleen Renihan, John Spilker, and Trudi Wright (review) 声音教育学：科琳-雷尼汉、约翰-斯皮尔克和特鲁迪-赖特编著的《音乐中的激进关怀》（评论）

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-07-24 DOI: 10.1353/fam.2024.a933077

Dr. Rachel O'Connor

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Sound Pedagogy: Radical Care in Music ed. by Colleen Renihan, John Spilker, and Trudi Wright </li> <li> Dr. Rachel O'Connor </li> </ul> Sound Pedagogy: Radical Care in Music. Edited by Colleen Renihan, John Spilker, and Trudi Wright. Foreword by William Cheng. ( Music in American Life.) Urbana: University of Illinois Press, 2024. [302 p. ISBN 978-0-252-08770-7. $28 (paperback)] 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

以下是内容的简要摘录，以代替摘要：评论者：声音教育学：由科琳-雷尼汉、约翰-斯皮尔克和特鲁迪-赖特编著 Rachel O'Connor 博士《声音教育学》：音乐中的激进关怀。科琳-雷尼汉、约翰-斯皮尔克和特鲁迪-赖特编著。前言：William Cheng。(美国生活中的音乐》）厄巴纳：伊利诺伊大学出版社，2024 年。[302 p. ISBN 978-0-252-08770-7. $28 (paperback)] 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 和 Trudi Wright 声音教学法：音乐中的激进关怀》回应了高等教育中对音乐领域变革的迫切和早该发出的呼吁。基于对中学后音乐教育与种族主义、性别歧视和能力主义意识形态的历史纠葛的认识，撰稿人阐明了以关爱和善意的教学方法作为实现社会正义和公平的途径的必要性。本卷的作者们要求我们共同诚实地审视我们的领域，承认 "谁仍然缺席......谁感到不受欢迎、不必要或被忽视"（第 6 页），并正视某些群体如何没有获得蓬勃发展的空间。本卷借鉴了威廉-程的《公正的振动》（Ann Arbor: University of Michigan Press, 2016），并参考了同性恋研究、残疾研究和批判性种族理论等领域的跨学科学术成果，不仅批判了音乐教育中普遍存在的等级制度和排斥现象，还为制定变革性方法提供了切实可行的框架和指南。采用关爱教育法不仅在道德上势在必行，而且对于解决学术机构内日益严重的心理健康危机也至关重要。通过对权力动态、课程设计和课堂实践进行细致入微的探索，本卷挑战了音乐教育中传统的教学观念，倡导将个人和社区的整体健康和赋权放在首位的范式转变。全书共十六章，分为三个部分，分别由管理者、辅导员和教师撰写。第一部分：课程干预的核心 "介绍了通过课程设计实施的激进关怀方法。这些干预措施从熟悉的课堂结构和教学大纲中提供了一种改变。第二部分：无法测量的教学视野 "重点介绍与中学后课堂以外的社区互动的干预措施。第三部分：自我保健，教学之本 "探讨了在中学后环境中学习和教授音乐所固有的心理健康和保健挑战，以及 "激进保健 "如何为持久变革提供重要的支持和指导。虽然本卷中的文章都致力于瓦解我们领域中的 "白人至上资本主义父权制"，但确切的框架、方法和第一手证据与人们在课堂上可能遇到的观点一样细致入微。每位作者都提出了个性化的护理方法，反映了他们的历史、环境和课堂。遗憾的是，要完整描述每位作者对关爱的生动实践，超出了本评论的范围。卷中所呈现的无数观点突出表明，关爱不是一套具体的规则和内容，而是教师、学生和社区在不同时间和地点所共享的一种方法。与 "激进关爱 "的 "是什么 "同样有趣的是 "为什么"。除了为这一教学法的新方向提供蓝图和[第167页完]行动计划之外，这本书也是那些希望阐明音乐学习目前为何不公平、如何不公平以及如何对学生产生不利影响的人的重要资源。当我作为研究生进行研究时，这些问题是我和许多同事思考的首要问题，但当时可参考的资源有限。关爱教育学也是一种社会正义，它解决了学生和教职员工日益严重的心理健康危机。内森-兰菲特（Nathan Langfitt）的文章概述了学习音乐所固有的心理、生理和情感挑战。他利用自己作为学生事务管理人员和专门研究音乐家的心理健康专家的经验，为提高学生的健康水平提出了富有成效的建议。正如本卷的许多作者提醒我们的那样，边缘化学生很可能会在他们的学习环境内外面临更多的压力。

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引用次数: 0

From 'Agitato' to 'Yearning': Interpreting Stock Music for Silent Film Through Data Analysis, Pathos Formulae, and New Cataloguing Practices 从 "激动 "到 "渴望"：通过数据分析、悲怆公式和新编目实践解读默片配乐

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-07-24 DOI: 10.1353/fam.2024.a933075

Paul Allen Sommerfeld, Benjamin Barba

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

德国摘要：自 20 世纪 70 年代以来，音乐学对默片音乐的研究主要集中在为特定电影创作或编配的乐谱上，无论是乐谱重建、流派研究还是伴奏实践。为默片配乐而创作的电影戏剧性附带音乐虽然越来越受到关注，但却不那么广泛。由于这些音乐在本质上大多是边缘音乐，因此有时很难找到，或被认为已经遗失，或无法与可识别的作品联系起来。最近的研究关注了早期有声时代的音乐，以及 20 世纪 50 年代蓬勃发展的电视音乐产业中的（预制）跟踪音乐和图书馆音乐，但对默片的电影戏剧附带音乐却没有类似的深入研究，本文借鉴了美国国会图书馆音乐部收藏的成千上万首库存影剧音乐曲目的新创元数据，这些曲目已扫描成为数字收藏 "默片乐谱和编曲 "的一部分。其目的是展示对默片音乐进行示范性分析的更多可能性，这反过来又影响了有声电影音乐的发展。此外，还介绍了促进、支持和扩展这项工作的目录解决方案。总之，创建该数字藏品中的结构化数据所需的跨学科工作强调了音乐学与音乐图书馆在电影音乐研究方面的合作价值。特别是，该合集中的电影戏剧附带音乐通过认识当代电影音乐创作者如何扩展这一新兴音乐体裁，说明了其对未来研究的重要性。文章分三个部分阐述其论点：首先，文章介绍了历史学方面的内容，即美国国会图书馆音乐部藏书的形成过程及其内容。然后，他谈到了书目方面的问题，包括编目过程和促进这一努力的决定。最后，文章从美学和本体论的角度进行了总结，重点是理解和追溯这套电影戏剧附带音乐中的音乐主题。

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引用次数: 0

The Life and Artistic Activity of Pianist Victoria Boshko (1887–1977) 钢琴家维多利亚-博什科（1887-1977）的生平和艺术活动

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-03-21 DOI: 10.1353/fam.2024.a922724

Darius Kučinskas

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

英文摘要：本文首次介绍和揭示了钢琴家维多利亚-博什科的生平和艺术生涯。博什科出生于纽约的一个乌克兰移民家庭，20 世纪 20 年代成为美国音乐会舞台上的著名钢琴家。她毕业于著名的伦理文化学校（Ethical Culture School）和茱莉亚音乐学院（Juilliard School），是在第一次世界大战的动荡岁月中成长起来并开始其职业生涯的一代音乐家的缩影。波什科只留下了为数不多的几张音乐录音，其中一半是为钢琴演奏者录制的。因此，人们更多的是通过报纸评论而非录音来了解她的演绎。虽然她主要以钢琴独奏家的身份演出，但她也为费奥多尔-沙利亚平、欧仁-伊萨耶和巴勃罗-卡萨尔斯等著名音乐家在美国的巡演提供了宝贵的帮助。虽然博什科的名字今天可能已被人遗忘，但不可否认的是，她丰富了美国音乐会舞台的面貌，在其历史上留下了不可磨灭的印记。法文摘要：本文首次回顾并展示了钢琴家维多利亚-博什科的生平和艺术生涯。维多利亚-博什科出生于纽约的一个乌克兰移民家庭，1920 年成为美国著名钢琴家。她先后获得著名的伦理文化学校和茱莉亚音乐学院的文凭，是在世界大战动荡年代成长起来并开始职业生涯的一代音乐家。此外，她还是女性钢琴家的典范，为我们揭示了美国女性在二十世纪初为获得艺术认可所面临的困境。博什科没有在她身上留下任何音乐记录，其中大部分记录都是用于制作钢琴的。因此，她的演绎得到了期刊评论的高度认可，而不是录音的认可。尽管她最初是以独奏钢琴家的身份演奏的，但在美国巡演期间，她也为一些著名音乐家提供了不可估量的帮助，如费奥多尔-沙利亚平、欧仁-伊萨耶和巴勃罗-卡萨尔斯。尽管维多利亚-波什科的名字在今天已不复存在，但她却不可磨灭地丰富了美国的音乐舞台，在她的历史中留下了不可磨灭的痕迹。维多利亚-波什科出生于纽约的一个乌克兰家庭，1920 年代成为联邦音乐厅的著名钢琴家。她是伦理文化学校和茱莉亚音乐学院的主讲人，在动荡的第二次世界大战期间，她开始了自己的职业生涯。作为钢琴家，她是 20 世纪前半期女音乐家面临的挑战的典范。在 20 世纪初的美国，女音乐家们面临着艺术上的挑战。波什科只创作了少量的手弹音乐作品，其中有一半是为演奏钢琴而创作的。因此，她对自己作品的诠释只能通过时间和音频来实现。在她担任独奏家期间，她还得到了许多音乐家的青睐，如费奥多尔-沙尔亚平（Fjodor Schaljapin）、欧仁-叶赛（Eugène Ysaÿe）和巴勃罗-卡萨尔斯（Pablo Casals），他们在她的美国巡演中都是她的得力助手。尽管博什科斯的名字至今仍未被世人所熟知，但她却为美国音乐家们提供了最好的舞台，并为他们的历史写下了独特的一笔。

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引用次数: 0

The Czech Republic and Croatia: Cooperation on the Early Production of Recorded Sound 捷克共和国和克罗地亚：早期录音制作合作

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-03-21 DOI: 10.1353/fam.2024.a922725

Željka Radovinović

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

英文摘要：克罗地亚人和捷克人之间的联系可以追溯到遥远的过去，他们有着共同的斯拉夫根源。从十八世纪开始，特别是在同属一个国家--奥匈帝国--的时候，捷克人大量移民到今天的克罗地亚境内。关于克罗地亚人和捷克人在录音业的合作，可以从唱片的纸质标签中找到蛛丝马迹，这些标签显示，许多捷克唱片是在萨格勒布制作的，而许多克罗地亚唱片是在拉贝河畔乌斯季和布拉格（即今天的捷克共和国）制作的。作为克罗地亚留声机唱片业（1927 年至 20 世纪 50 年代末克罗地亚的唱片业）科学项目的参与者，我在布拉格进行了全面研究，以追踪克罗地亚爱迪生-贝尔-潘卡拉（EBP）和埃莱克特罗顿公司与捷克留声机公司（Esta、Ultraphon 等）之间的双边联系；录制克罗地亚唱片的公司。同事们对现有文献、文件和他们为 Novy Fonograf 项目（Novy Fonograf: nasluchejme zvuku historie.）所做研究的结果提供了见解。有关该项目的信息，请参见：https://novyfonograf.cz/en/about/）。此外，还从萨格勒布的克罗地亚记录公司（前身为 Jugoton）和贝尔格莱德的南斯拉夫档案馆找到了更多信息。在这篇文章中，我将解释在世界大战和动荡的政治变革时期，两国在生产紫胶留声机唱片方面的合作流程。法文摘要：克罗埃西亚人和乍得人之间的联系建立在奴隶社区的基础上，可以追溯到很久以前。从十八世纪开始，尤其是在他们同属一个国家--奥匈帝国--的时候，契克人就大量移民到现在的克罗地亚境内。第一批移民是寻找可耕种的自由土地的农业工人，之后是工匠、企业家、知识分子和艺术家。克罗埃特人和契克人在声波记录行业的合作可以从记录纸张上找到、这些资料表明，萨格勒布生产了大量的捷克唱片，而乌斯季纳德拉贝姆和布拉格则生产了大量的克罗地亚唱片。在克罗地亚，关于克罗地亚最初几年声学记录的文献很少，只有一些当时的报刊文章和大量档案资料。作为克罗地亚留声机工业（1927 年至 1950 年克罗地亚留声机工业）科学项目的参与者，我在布拉格进行了大量研究，以追踪克罗地亚爱迪生-贝尔-彭卡拉（EBP）和埃莱克特罗顿公司与克罗地亚留声机公司（Esta、Ultraphon 等）之间的双边关系。德文摘要：Die auf gemeinsamen slawischen Wurzeln beruhenden Verbindungen zwischen Kroaten und Tschechen lassen sich bis in die ferne Vergangenheit zurückverfolgen。从 18 世纪起18 世纪以来，大量的钦族人在现在的克罗埃西亚人的领土上游荡，特别是在钦族人和克罗埃西亚人都是奥地利-安格拉君主国成员的情况下。Zunächst kamen Bauern auf der Suche nach freiem Land zum Bewirtschaften, später dann Handwerker, Unternehmer, Intellektuelle und Künstler.Das Thema der Zusammenarbeit zwischen Kroaten und Tschechen in der Tonträgerindustrie lässt sich anhand der Labels auf Tonträgern nachvollziehen; aus ihnen geht hervor, dass viele tschechische Schallplatten in Zagreb produziert wurden, während viele kroatische Schallplatten in Ústí nad Labem und Prag, also in der heutigen tschechischen Republik, hergestellt wurden.在克罗地亚网站上可以找到一些关于克罗埃西亚最初几个世纪的文字资料，以及一些当代期刊和重要档案。

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引用次数: 0

Briefs / Feuilletons 简报 / 肥皂剧

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-03-21 DOI: 10.1353/fam.2024.a922726

In lieu of an abstract, here is a brief excerpt of the content:

Briefs / Feuilletons

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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]

以下是内容的简要摘录，以代替摘要： Briefs / Feuilletons 点击查看大图查看完整分辨率 Harald Heckmann (1924-2023) By Klassik Heute (Screenshot), Fair use, https://en.wikipedia.org/w/index.php?curid=75293094. 我们沉痛地通知您，我们尊敬的同事哈拉尔德-海克曼（Harald Heckmann）因重病于 2023 年 11 月 5 日星期日去世。哈拉尔德-赫克曼博士是音乐学家、音乐作品编辑，曾任卡塞尔德国音乐史档案馆馆长（1954-1971 年）、法兰克福德国广播档案馆长期馆长和董事会成员（1971-1991 年）、音乐顾问委员会主席以及德国国家图书馆行政委员会成员（1982-1992 年）。1959 年至 1974 年，他担任国际音乐图书馆、档案馆和文献中心协会（IAML）秘书长，1974 年至 1976 年担任国际音乐图书馆、档案馆和文献中心协会主席。此后，他被任命为名誉主席。1960 年至 1980 年，他担任 RISM（Répertoire International des Sources Musicales）的秘书；1980 年至 2004 年，他担任 RISM 的主席。1969 年，他是 Répertoire International de la Littérature Musicale (RILM) 的共同创始人，1991 年之前一直担任副主席；1972 年，他是 Répertoire International d'Iconographie Musicale (RIdIM) 的共同创始人和联合主席；他还是 Documenta musicologica (DMI) 和 Catalogus musicus 系列出版物的编委会主席。他为音乐图书馆的国际理解与合作做出了不可替代的贡献。2000 年，他被授予德意志联邦共和国功绩勋章。他在陶努斯河畔克朗贝格的养老院去世，享年九十九岁。德国国际音乐图书馆协会董事会安-凯尔斯泰因-梅勒曼博士科蒂娜-武特保罗-哈斯安雅-戈勒 [尾页 53] Copyright © 2024 国际音乐图书馆、档案馆和文献中心协会......

{"title":"Briefs / Feuilletons","authors":"","doi":"10.1353/fam.2024.a922726","DOIUrl":"https://doi.org/10.1353/fam.2024.a922726","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Briefs / Feuilletons </li> </ul> Click for larger view View full resolution 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] Copyright © 2024 International Association of Music Libraries, Archives and Documentation Centres ... ","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140299884","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}

引用次数: 0

Flutists in Paris. The School of Blavet in the Second Half of the Eighteenth Century by Rien de Reede (review) 巴黎的长笛演奏家。十八世纪下半叶的布拉维特学派》，作者 Rien de Reede（评论）

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2024-03-21 DOI: 10.1353/fam.2024.a922723

Douglas MacMillan

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Flutists in Paris. The School of Blavet in the Second Half of the Eighteenth Century by Rien de Reede </li> <li> Douglas MacMillan </li> </ul> Flutists in Paris. The School of Blavet in the Second Half of the Eighteenth Century. By Rien de Reede, translated by Gerald Mettam and André Broos. Amsterdam: Linus Edition, 2022. [143 p. ISBN 978-90-9036371-4. €29.50] 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

以下是内容的简要摘录，以代替摘要：评论者：巴黎的长笛演奏家。十八世纪下半叶的布拉维特学派》，作者 Rien de Reede Douglas MacMillan。十八世纪下半叶的布拉维特学派。里安-德-里德著，杰拉尔德-梅塔姆和安德烈-布洛斯译。阿姆斯特丹：阿姆斯特丹：莱纳斯版，2022 年。[143 页，ISBN 978-90-9036371-4. 29.50 欧元] 桑迪-乔-马尔蒙和科林-科尔曼编译备受赞誉的法国长笛演奏家米歇尔-布拉维出生于 1700 年，逝世于大约 68 年后。他自学长笛，被誉为法国同代人中最出色的长笛演奏家，音色无可挑剔，细腻、灵敏、音准极佳：要知道，在布拉夫特的时代，单调的长笛很难演奏出完美的音调。布拉维还演奏巴松管，是一位长笛音乐作曲家，对本书尤为重要的是，他还是一位广受认可的教师，他的学生在长笛演奏生涯中成就斐然。德-里德这本书的 "注释词典 "中有关布拉维特的条目包括对这位演奏家生平和作品的全面总结，对于那些不熟悉布拉维特的人，建议在开始阅读这本书之前先阅读这几页（第 72-75 页）。在 "布拉夫先生的回忆 "之后，该书的其他章节重点介绍了布拉夫的杰出弟子皮埃尔-埃弗拉尔-塔亚尔和费利克斯-罗尔特的职业生涯，最后是全面的 "注释词典 "和参考书目。布拉夫特先生的悼词 "是 1770 年 Le Nécrologe des hommes célèbres de France 中八页摘录的摹本，对这位音乐家的一生进行了正统的讴歌，最后介绍了他 1768 年死于肝脏手术并发症的情况。这篇悼词被收录在 Le Nécloge 中，证实了布拉维特在其祖国的重要地位，但遗憾的是，该悼词没有提供英译本。皮埃尔-埃弗拉尔-塔亚特（Pierre-Évrard Taillart，约 1715-1782 年）也许是最有可能被称为布拉维的继承人的人，他身兼四职：长笛演奏家、教师、作曲家和出版商。他不应该与他的兄弟，即被称为Taillard le cadet或le jeune的塔亚尔相混淆，塔亚尔也是一名长笛演奏家，但地位不及皮埃尔-埃弗拉尔。1751 年，塔亚尔接替布拉维在精神音乐厅演奏，他以细腻的表现力而闻名，不仅反映了 18 世纪早期法国传统的长笛演奏风格，还吸收了日益流行的意大利长笛演奏家的技巧风格。他的高音域超越了他的前辈（以及约翰-约阿希姆-昆茨），被誉为欧洲最优秀的长笛演奏家之一。作为一名教师，他深受业余和专业学生的欢迎，并在去世前不久出版了一本现已失传的教学法。塔亚特了解到一些演奏家在吹嘴方面遇到的困难，于是设计了一种改良吹嘴，但这种吹嘴并未得到广泛认可。他的作品主要是各种组合的长笛室内乐作品，没有早期法国长笛作曲家的华丽装饰。他的 13 部 Recueils 不仅包括长笛音乐，还包括弦乐和键盘乐器音乐。塔亚特不仅出版了自己的作品，还出版了其他著名作曲家的作品，包括乔治-菲利普-塔勒曼和卡尔-斯塔米茨。正如本章摘要（第 31 页）所述，"塔亚特的水平几乎与他的老师米歇尔-布拉维特不相上下，这位长笛演奏家[原文如此]在 18 世纪上半叶树立了标杆"。德-里德在本章中全面详细地介绍了这位大师的继承人，并在 45 个尾注中加以补充。费利克斯-罗尔（Félix Rault）是布拉夫特的第二位学生，他将布拉夫特和约翰-乔治-温德利希（Johann Georg Wunderlich，1755-1819 年）联系在一起。罗尔特出生于 1736 年，年轻时就才华横溢，年仅 17 岁就被布拉维介绍到皇家音乐学院（L'Opera）学习。他追随塔亚尔的脚步，成为精神音乐会管弦乐队和其他重要音乐机构的成员。然而，他似乎是一个拥有...

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引用次数: 0

Cataloguing of Traditional Music: The Digital Archive of the Provincial Council of Soria (Spain) 传统音乐编目：索里亚省议会数字档案馆（西班牙）

3区艺术学 0 MUSIC

FONTES ARTIS MUSICAE

Pub Date : 2023-12-14 DOI: 10.1353/fam.2023.a915318

Julia Escribano Blanco

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,

摘要:对于民族音乐学者来说，档案工作是其研究中不可或缺的一部分：通过记录、选择、整合和分类汇编的曲目，他们创建了新的档案。然而，档案馆不再被简单地视为储存场所，而是一个创造信息的过程。索里亚省议会的数字档案就是这种情况，自 2014 年以来在该省的实地考察中获得的近 1000 个小时的录音已被编目并提供给用户。为此，每首旋律都按照特定标准进行了分析、分类和排序。数字空间使代表特定社会现实的声音、音乐和集体记忆被视为值得数字化和传播的档案材料，并因此与当前的博物馆学叙事联系在一起。摘要：对于民族音乐学家而言，档案工作是其研究不可或缺的一部分：通过记录、选择、整合和分类汇编的曲目，他们创建了新的档案。然而，档案不再是一个简单的存储空间，而是一个创造信息的过程。索里亚省议会的数字档案就是这种情况，自 2014 年以来，该省近 1000 小时的实地考察录音已被编目并提供给用户。为此，每首旋律都根据特定标准进行了分析、分类和排序。通过这种方式，借助数字空间，代表特定社会现实的声音、音乐和集体记忆被视为值得数字化和传播的档案材料，并因此与当前的博物馆学叙事相联系。摘要:对于民族音乐学家来说，档案是研究工作中不可或缺的一部分：通过对共同创作的曲目进行核查、选择、编辑和分类，可以建立新的档案。因此，档案不仅是获取信息的场所，也是获取信息的最佳工具。因此，数字音乐档案馆的专家们为文化资料的积累做出了贡献。索里亚省的数字化档案馆也是如此，自 2014 年以来，该档案馆对该省的音乐研究成果进行了近 1000 小时的编目，并向用户提供了相关信息。数字世界使音乐、乐曲和回忆成为一种特殊的社会现实，并使其成为一种可视化的档案材料，与最新的音乐学叙事结合在一起。

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