Pub Date : 2023-07-01DOI: 10.1353/fam.2023.a909193
Graham Muncy
Reviewed by: Ralph Vaughan Williams and Adrian Boult by Nigel Simeone Graham Muncy Ralph Vaughan Williams and Adrian Boult. By Nigel Simeone. Woodbridge: The Boydell Press, 2022. [330 p. ISBN 978-1-78327-729-2 (hardback). £50; ISBN 978-1-80010-637-6 (e-book). £19.99] Ralph Vaughan Williams and Adrian Boult are among the few examples of a close relationship between a composer and a performer/advocate for his works. It began in 1909 when, as an undergraduate at Oxford University, Adrian Boult joined Hugh Allen’s Oxford Bach Choir to perform Vaughan Williams’s Toward the Unknown Region with the composer, a frequent visitor to the city, in attendance. Through Allen, Boult’s tutor, he got to know the composer and sang in the 1911 performance of A Sea Symphony conducted by the composer. Beginning with Boult’s performances of A London Symphony in 1918, he acted as a sort of midwife for the later symphonies as well as other orchestral and choral works, even if he was not conducting the premiere. Vaughan Williams was to attend the recording of Symphony no. 9 on 26 August 1958, which was cancelled when Vaughan Williams died earlier that morning. In this excellent volume, Nigel Simeone, who has written authoritative works on Charles Mackerras, Leonard Bernstein, Leoš Janáček, and Olivier Messiaen, navigates us through Boult’s conducting career in the performance of Vaughan Williams’s symphonies in particular, as conductor of various orchestras from the City of Birmingham Orchestra through the BBC years to his final conductorship of the London Philharmonic. In this remarkable and unique musical odyssey, Simeone records 654 performances (see Appendix 2, ‘Boult’s RVW performances –A Chronology’), documenting public concerts, broadcasts, and recordings of Vaughan Williams’s works in the U.K., Europe, and the U.S., in the years between 1909 and 1977. This figure stands as Boult’s supreme achievement and highlighting this, together with the recording of the physical and intellectual effort to achieve this remarkable figure, mirrors Simeone’s extreme dedication and hard graft in bringing these facts and figures to our attention. As a result of a short friendship with Boult in his later years, Simeone visited the conductor in his home and ‘first encountered his music library, housed in an enormous break-front bookcase, carefully organised, and with correspondence from composers tucked inside many of the scores’. Boult also noted his performances of each work, including long lists of Vaughan Williams’s performances. This unique resource, together with Boult’s Papers in the British Library, the RVW ‘Letters’ database (https://vaughanwilliamsfoundation.org/discover/letters), and archival collections at Oxford University Press, Decca Records, and other similar resources, made this valuable volume possible. The symphonies by Vaughan Williams provide the structure for this volume’s chapters, punctuated by others discussing Job, with its dedication to Boult being of parti
{"title":"Ralph Vaughan Williams and Adrian Boult by Nigel Simeone (review)","authors":"Graham Muncy","doi":"10.1353/fam.2023.a909193","DOIUrl":"https://doi.org/10.1353/fam.2023.a909193","url":null,"abstract":"Reviewed by: Ralph Vaughan Williams and Adrian Boult by Nigel Simeone Graham Muncy Ralph Vaughan Williams and Adrian Boult. By Nigel Simeone. Woodbridge: The Boydell Press, 2022. [330 p. ISBN 978-1-78327-729-2 (hardback). £50; ISBN 978-1-80010-637-6 (e-book). £19.99] Ralph Vaughan Williams and Adrian Boult are among the few examples of a close relationship between a composer and a performer/advocate for his works. It began in 1909 when, as an undergraduate at Oxford University, Adrian Boult joined Hugh Allen’s Oxford Bach Choir to perform Vaughan Williams’s Toward the Unknown Region with the composer, a frequent visitor to the city, in attendance. Through Allen, Boult’s tutor, he got to know the composer and sang in the 1911 performance of A Sea Symphony conducted by the composer. Beginning with Boult’s performances of A London Symphony in 1918, he acted as a sort of midwife for the later symphonies as well as other orchestral and choral works, even if he was not conducting the premiere. Vaughan Williams was to attend the recording of Symphony no. 9 on 26 August 1958, which was cancelled when Vaughan Williams died earlier that morning. In this excellent volume, Nigel Simeone, who has written authoritative works on Charles Mackerras, Leonard Bernstein, Leoš Janáček, and Olivier Messiaen, navigates us through Boult’s conducting career in the performance of Vaughan Williams’s symphonies in particular, as conductor of various orchestras from the City of Birmingham Orchestra through the BBC years to his final conductorship of the London Philharmonic. In this remarkable and unique musical odyssey, Simeone records 654 performances (see Appendix 2, ‘Boult’s RVW performances –A Chronology’), documenting public concerts, broadcasts, and recordings of Vaughan Williams’s works in the U.K., Europe, and the U.S., in the years between 1909 and 1977. This figure stands as Boult’s supreme achievement and highlighting this, together with the recording of the physical and intellectual effort to achieve this remarkable figure, mirrors Simeone’s extreme dedication and hard graft in bringing these facts and figures to our attention. As a result of a short friendship with Boult in his later years, Simeone visited the conductor in his home and ‘first encountered his music library, housed in an enormous break-front bookcase, carefully organised, and with correspondence from composers tucked inside many of the scores’. Boult also noted his performances of each work, including long lists of Vaughan Williams’s performances. This unique resource, together with Boult’s Papers in the British Library, the RVW ‘Letters’ database (https://vaughanwilliamsfoundation.org/discover/letters), and archival collections at Oxford University Press, Decca Records, and other similar resources, made this valuable volume possible. The symphonies by Vaughan Williams provide the structure for this volume’s chapters, punctuated by others discussing Job, with its dedication to Boult being of parti","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135851588","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 : 2023-07-01DOI: 10.1353/fam.2023.a909190
Denise Petzold
English Abstract: Concert programmes are at the heart of the rituals of Western classical music concerts. Providing information on musical works and more, they are invaluable objects of study for music scholars. This article investigates how ensembles engage in the production of these documents—a dimension so far neglected in much of concert programme scholarship, yet vital to understanding what these objects contain, look like, and do. In doing so, it approaches concert programmes as agents that help orchestras explore their musical and institutional identities. It compares, through a combination of archival research and interviews, two major European orchestras: the London Symphony Orchestra and the Vienna Philharmonic Orchestra. The investigation focuses on the programmes’ design and appearance, their contents and structures, and the programme notes. Drawing on the concept of ‘sociomateriality’—taking these documents’ situated and highly specific materialities into account, thus questioning their commonly assumed ephemerality—this article demonstrates how concert programmes maintain particular tokens of musical tradition and knowledge whilst renewing others. It thereby opens up discussions on the role that concert programmes play in opening up and manifesting musical knowledge resulting from processes of orchestral identity formation, and it proposes a practice-based methodology to how concert programmes may be studied. French Abstract: Les programmes de concert sont au cœur du rituel des concerts de musique classique occidentale. Fournissant des informations sur les œuvres musicales et plus encore, ils constituent des objets d’étude inestimables pour les chercheurs en musique. Cet article étudie la manière dont les ensembles instrumentaux s’engagent dans la production de ces documents –une dimension jusqu’à présent négligée dans la plupart des études sur les programmes de concert, et pourtant essentielle pour comprendre ce que ces objets contiennent, ce à quoi ils ressemblent et ce qu’ils font. Ce faisant, il aborde les programmes de concert comme des outils pour aider les orchestres à explorer leurs identités musicales et institutionnelles. Il compare deux grands orchestres européens, le London Symphony Orchestra et l’Orchestre philharmonique de Vienne, en combinant recherches archivistiques et entretiens. L’enquête se concentre donc sur la conception et l’apparence des programmes, leur contenu et leur structure, ainsi que sur les notes de programme. S’appuyant sur le concept de « socio-matérialité », qui prend en compte les matérialités situées et hautement spécifiques de ces documents, remettant ainsi en question leur caractère éphémère communément admis, cet article montre comment les programmes de concert maintiennent certains symboles de la tradition et de la connaissance musicales tout en en renouvelant d’autres. Il ouvre ainsi la discussion sur le rôle que jouent les programmes de concert dans l’ouverture et la diffusion de connaissan
摘要:音乐会节目是西方古典音乐会仪式的核心。它们提供了音乐作品等方面的信息，是音乐学者研究的宝贵对象。本文研究了合奏团是如何参与这些文件的制作的——这是迄今为止在许多音乐会节目学术研究中被忽视的一个方面，但对于理解这些对象的内容、外观和功能至关重要。在这样做的过程中，它将音乐会节目视为帮助管弦乐队探索其音乐和机构身份的代理人。它通过档案研究和采访的结合，比较了两个主要的欧洲管弦乐团:伦敦交响乐团和维也纳爱乐乐团。调查的重点是节目的设计和外观、内容和结构以及节目说明。利用“社会物质性”的概念——考虑到这些文件的位置和高度具体的物质性，从而质疑它们通常被认为是短暂的——这篇文章展示了音乐会节目如何在更新其他音乐传统和知识的同时保持特定的标志。因此，它开启了关于音乐会节目在开放和表现由管弦乐身份形成过程产生的音乐知识方面所起作用的讨论，并提出了一种基于实践的方法来研究音乐会节目。摘要:西方古典音乐会(cœur du rituel des concerts de muscientale)。在作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲作曲。第3条:《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》、《关于组织的研究》。他说:“我将参加音乐会的节目，我将参加音乐会的节目，我将参加音乐会的节目，我将参加音乐会的节目，我将参加音乐会的节目，我将参加音乐会的节目。”我将比较欧洲双大管弦乐团、伦敦交响乐团、维也纳爱乐乐团、档案研究组合等。L 'enquête我们的注意力集中在概念和方案的外观上，内容和结构上，方案的注释上。年代'appuyant苏尔le概念de«socio-materialite»,在考虑les materialites用et hautement specifiques de ces文档,他们依照ainsi remettant en问题特征ephemere communement承认,cet(中央东部东京)的文章看的评论莱斯项目de音乐会maintiennent某些象征de la et de la connaissance传统音乐兜售en en renouvelant其他。我们将继续讨论我们的问题rôle，我们将继续讨论我们的音乐会方案，我们将继续讨论我们的音乐会方案，我们将继续讨论我们的音乐交流，我们将继续讨论我们的音乐交流，我们将继续讨论我们的交响乐团的形成过程。Ce faisant,提出一个methodologie basee苏尔实际倒学习莱斯项目de音乐会。摘要:Konzertprogramme stehen im Mittelpunkt der Rituale westlicher Konzerte klassischer Musik。我们的音乐知识来源于音乐知识来源于音乐知识来源于音乐知识来源于unschätzbarem Wert。在diem Artikel wind untersut中，diem ensemble selbst和derderproductdere Dokumente beililent - In Aspekt中，derderbisherigen Forschung zukonzertprogrammen vernachlässigt wurde中，derderonderscheidender Bedeutung f中的derdoch von entscheidender Bedeutung f中，derderedoch von entscheidender Bedeutung f中，derededeschender programalten中，deretheaussehen中，welche Funktion中haben中。Konzertprogramme können dabei helfen, Aspekte der musickalischen and instituteellen Identität von orchesteren zu vermitteln。archiverecherchen与访谈werden zwei große europäische管弦乐团-das伦敦交响乐团和die维也纳爱乐乐团-miteinander verglichen。在Mittelpunkt der Untersuchung stebiegestaltung and erscheinungsbildderweiligen方案中，3个吸入和结构设计方案将会产生巨大的影响Erläuterungen, bzw。Werktexte。“Soziomaterialität”，welches den jeweiligen context und die spezizizierten Materialitäten, welches den jeweiligen context and die spezifizierten, welches den jeweiligen context and die spezifizierten, welches den jeweiligen context and die spezifizierten, welches den jeweililigen context and die spezifizierten, welchchitsche Dokumente berksichtigt sowie gleichzetitig auch ihre Kurzlebigkeit hinterfragt, zeigt dieser Artikel, welfbauend Aufbauend aufbauendaufdem konzeept der " Soziomaterialität "， welches den jeweiligen konzetprogramme bestimationmerkmale musicischer Tradition and Information between hehren and andere erneun。Dadurch eröffnet er eine讨论 berdie Rolle von Konzertprogrammen in der production and manifeastiung musikalischen Wissens, welches in den Prozessen der Identitätsbildung des jeweiligen Orchesters verankert ist。[2]“实践定向方法研究与应用”[j]。
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Pub Date : 2023-04-01DOI: 10.1353/fam.2023.a901179
Mary Cyr
English Abstract:Jean-Joseph Mouret (1682–1738) composed both sacred and secular music, but it was his stage music that brought him special recognition. Arguably his most important contributions to the Parisian musical world were his six collections, each entitled Recueil des divertissements, which feature music for at least 140 plays performed by the Comédie-Italienne during the 1720s and 1730s. His divertissements received fulsome praise from the Parisian public and were often recognised as responsible for a play's success. Many of the plays are studied and performed today, but the music that Mouret supplied for them has often been overlooked. One reason for this neglect is that the sources for his divertissements appear to present an array of contradictions and variants. They bear no publication dates, and in some cases two collections with the same title have substantially different contents. In this article, I attempt to unravel some of the apparent discrepancies and suggest that Mouret formulated and followed a consistent strategy for publishing his six collections. His plan involved re–using his own engraved music plates in three different ways. Mouret's divertissements contributed significantly to his reputation as a composer, and they met the needs of collectors, as well as a growing number of amateur and professional musicians who purchased them for domestic use. These collections also offer an opportunity to observe the interaction of spoken text and music as performed by one of the most important performing organisations in Paris at the time.French Abstract:Jean-Joseph Mouret (1682–1738) a composé aussi bien de la musique sacrée que de la musique profane, mais c'est sa musique de scène qui lui a valu une reconnaissance particulière. Ses contributions les plus importantes au monde musical parisien sont sans doute ses six recueils, chacun intitulé Recueil des divertissements, qui contiennent la musique d'au moins 140 pièces jouées par la Comédie-Italienne dans les années 1720 et 1730. Ses divertissements ont reçu les éloges du public parisien et ont souvent été reconnus comme étant à l'origine du succès d'une pièce. De nombreuses pièces sont étudiées et interprétées aujourd'hui, mais la musique que Mouret leur a consacrée a souvent été négligée. L'une des raisons de cette négligence est que les sources de ses divertissements semblent présenter un faisceau de contradictions et de variantes. Elles ne portent pas de date de publication et, dans certains cas, deux recueils portant le même titre ont des contenus substantiellement différents. Dans cet article, je tente d'élucider certaines de ces divergences apparentes et suggère que Mouret a formulé et suivi une stratégie cohérente pour la publication de ses six recueils. Son plan consistait à réutiliser ses propres planches de musique gravées de trois manières différentes. Les divertissements de Mouret ont largement contribué à sa réputation de compositeur et ont répondu aux besoins des col
英文摘要：让·约瑟夫·莫雷特（1682-1738）创作了神圣和世俗音乐，但正是他的舞台音乐给他带来了特别的认可。可以说，他对巴黎音乐世界最重要的贡献是他的六部作品集，每部作品都名为《娱乐集》，其中包括17世纪20年代和17世纪30年代意大利喜剧表演的至少140部作品的音乐。他的娱乐受到了巴黎公众的热烈赞扬，并经常被认为是该剧成功的原因。今天正在研究和表演许多作品，但莫雷特为他们提供的音乐往往被高估了。这种忽视的一个原因是，他的娱乐来源似乎呈现出一系列矛盾和变化。它们没有出版日期，在某些情况下，两个标题相同的藏品内容差异很大。在这篇文章中，我试图揭示一些明显的谨慎，并建议Mouret制定并遵循一个一致的策略来出版他的六个系列。他的计划涉及以三种不同的方式重新使用自己雕刻的音乐板。莫雷特的娱乐为他作为作曲家的声誉做出了重大贡献，他们满足了收藏家的需求，以及越来越多的业余和专业音乐家购买音乐用于家庭用途。这些藏品还提供了一个机会，观察当时巴黎最重要的表演组织之一表演的口语文本和音乐之间的互动。法语摘要：让·约瑟夫·莫雷特（1682-1738）创作了神圣和世俗音乐，但他的舞台音乐为他赢得了特别的认可。他对巴黎音乐界最重要的贡献可能是他的六部作品集，每部作品集都名为《娱乐集》，其中包含了意大利喜剧在17世纪20年代和17世纪30年代演奏的至少140部作品的音乐。他的娱乐受到了巴黎公众的赞扬，并经常被认为是一部戏剧成功的根源。今天有许多作品被研究和表演，但莫雷特献给他们的音乐经常被忽视。这种忽视的原因之一是，他的娱乐来源似乎呈现出一系列矛盾和变化。它们没有出版日期，在某些情况下，具有相同标题的两本书的内容明显不同。在这篇文章中，我试图阐明其中一些明显的差异，并建议莫雷特制定并遵循了一个连贯的策略来出版他的六本书。他的计划是以三种不同的方式重复使用自己的雕刻音乐板。莫雷特的娱乐活动极大地提高了他作为作曲家的声誉，满足了收藏家以及越来越多的业余和专业音乐家的需求，他们购买这些音乐是为了家庭使用。这些藏品还可以观察口语文本和音乐之间的互动，因为它是由当时最重要的巴黎剧团之一表演的。德语摘要：Jean-Joseph Mouret（1682-1738）Komponierte sowohl geistliche als auch weltliche musik。Besondere Anerkennung brachte ihm Jedoch Seine Bühnenmusik ein。Die wohl wichtigsten beiträge zur Pariser Musikwelt waren sechs unter dem titel“娱乐收藏”Veröffentlichten Sammelbände。Sie enthalten musik für mindestens 140 Bühnenwerke，Die von der Comédie-意大利喜剧，1720er-1730er-Jahren Aufgeführt Wurden。塞纳河娱乐Wurden vom Pariser Publikumüberschwänglich Gelobt und Galten oft als verantwortlich für den erfolg eines Stückes。Viele dieser stücke werden heute noch einstudiert und aufgeführt，aber die musik，die mouret dafür lieferte，wurde häufig nicht wahrgenommen。ein grund für diese vernachlässigung liegt darin，dass die quellen für Seine Entertainment Scheinbar eine Reihe von Widersprüchen und Varianten焓。sie beinhalten keine veröffentlichungsdaten，und in einigen fällen unterscheiden sich zwei sammlungen mit identischem titel wesentlich。Ich mache in diesem artikel den versuch，einige der offensichtlichen diskrepanzen aufzudecken und stelle die these auf，dass mouret eine konsistente strategie für die veröffentlichung seiner sechs sammlungen formuliert und verfolgt hat。Sein Plan Sah Vor，塞纳河Eigenen Druckplatten auf Dreifache艺术Wiederzuverwenden。Mourets娱乐Trugen wesentlich zu seinem ruf als komponist bei und erfüllten die bedürfnisse von sammlern sowie die einer wachsenden zahl von amateur-und berufsmusikern，die sie für den hausgebrauch kauften。
{"title":"Jean-Joseph Mouret's Divertissements: An Eighteenth-Century Example of Self-Publishing Strategy","authors":"Mary Cyr","doi":"10.1353/fam.2023.a901179","DOIUrl":"https://doi.org/10.1353/fam.2023.a901179","url":null,"abstract":"English Abstract:Jean-Joseph Mouret (1682–1738) composed both sacred and secular music, but it was his stage music that brought him special recognition. Arguably his most important contributions to the Parisian musical world were his six collections, each entitled Recueil des divertissements, which feature music for at least 140 plays performed by the Comédie-Italienne during the 1720s and 1730s. His divertissements received fulsome praise from the Parisian public and were often recognised as responsible for a play's success. Many of the plays are studied and performed today, but the music that Mouret supplied for them has often been overlooked. One reason for this neglect is that the sources for his divertissements appear to present an array of contradictions and variants. They bear no publication dates, and in some cases two collections with the same title have substantially different contents. In this article, I attempt to unravel some of the apparent discrepancies and suggest that Mouret formulated and followed a consistent strategy for publishing his six collections. His plan involved re–using his own engraved music plates in three different ways. Mouret's divertissements contributed significantly to his reputation as a composer, and they met the needs of collectors, as well as a growing number of amateur and professional musicians who purchased them for domestic use. These collections also offer an opportunity to observe the interaction of spoken text and music as performed by one of the most important performing organisations in Paris at the time.French Abstract:Jean-Joseph Mouret (1682–1738) a composé aussi bien de la musique sacrée que de la musique profane, mais c'est sa musique de scène qui lui a valu une reconnaissance particulière. Ses contributions les plus importantes au monde musical parisien sont sans doute ses six recueils, chacun intitulé Recueil des divertissements, qui contiennent la musique d'au moins 140 pièces jouées par la Comédie-Italienne dans les années 1720 et 1730. Ses divertissements ont reçu les éloges du public parisien et ont souvent été reconnus comme étant à l'origine du succès d'une pièce. De nombreuses pièces sont étudiées et interprétées aujourd'hui, mais la musique que Mouret leur a consacrée a souvent été négligée. L'une des raisons de cette négligence est que les sources de ses divertissements semblent présenter un faisceau de contradictions et de variantes. Elles ne portent pas de date de publication et, dans certains cas, deux recueils portant le même titre ont des contenus substantiellement différents. Dans cet article, je tente d'élucider certaines de ces divergences apparentes et suggère que Mouret a formulé et suivi une stratégie cohérente pour la publication de ses six recueils. Son plan consistait à réutiliser ses propres planches de musique gravées de trois manières différentes. Les divertissements de Mouret ont largement contribué à sa réputation de compositeur et ont répondu aux besoins des col","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"113 - 87"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47964309","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 : 2023-04-01DOI: 10.1353/fam.2023.a901187
Milly Gunn
the original text, and over time, the tradition of teaching books has grown. Television became a medium for communicating with a wider audience through masterclass broadcasts and interviews with players. Nowadays streamed events and online masterclass resources by pedagogues are the norm—although not necessarily by leading concert artists. In more recent times, performers have tried to capture the psychological aspect of performance preparation in their writings and blogs. Researchers have studied how the brain is able to learn, memorise and sight-read as well as explore the dynamics of performance anxiety. This aspect of performance is now regarded as being of equal importance as the technical and musical demands of the music. In 1909, when the Studienbuch was written, little was known of the impact of the mind on performance and learning, and consequently the book shows a simpler, although rigorous, approach to learning. As an historical document, the Studienbuch has great value. Some of the practices described have become unfashionable or have been shown to be contradictory to original intentions. However, the book contains much wisdom and practical advice, valid for being written from a performer’s viewpoint. For the student wishing to broaden their knowledge of earlier styles of playing, the book serves as a window onto an age where the study of music was not influenced by digital advances. This is an illuminating publication that benefits from the addition of the extra sections outside of the main translation and serves to present a fascinating glimpse of the inner-workings of the mind of a pianist from a by-gone era.
{"title":"The Music of Nobuo Uematsu in the Final Fantasy Series ed. by Richard Anatone (review)","authors":"Milly Gunn","doi":"10.1353/fam.2023.a901187","DOIUrl":"https://doi.org/10.1353/fam.2023.a901187","url":null,"abstract":"the original text, and over time, the tradition of teaching books has grown. Television became a medium for communicating with a wider audience through masterclass broadcasts and interviews with players. Nowadays streamed events and online masterclass resources by pedagogues are the norm—although not necessarily by leading concert artists. In more recent times, performers have tried to capture the psychological aspect of performance preparation in their writings and blogs. Researchers have studied how the brain is able to learn, memorise and sight-read as well as explore the dynamics of performance anxiety. This aspect of performance is now regarded as being of equal importance as the technical and musical demands of the music. In 1909, when the Studienbuch was written, little was known of the impact of the mind on performance and learning, and consequently the book shows a simpler, although rigorous, approach to learning. As an historical document, the Studienbuch has great value. Some of the practices described have become unfashionable or have been shown to be contradictory to original intentions. However, the book contains much wisdom and practical advice, valid for being written from a performer’s viewpoint. For the student wishing to broaden their knowledge of earlier styles of playing, the book serves as a window onto an age where the study of music was not influenced by digital advances. This is an illuminating publication that benefits from the addition of the extra sections outside of the main translation and serves to present a fascinating glimpse of the inner-workings of the mind of a pianist from a by-gone era.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"184 - 186"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44958076","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 : 2023-04-01DOI: 10.1353/fam.2023.a901186
E. Hodgkinson
{"title":"Studienbuch by Gottfried Galston. Facsimile of the Author's Personal Copy with a New English Translation by Rosemarie S. Greenman (review)","authors":"E. Hodgkinson","doi":"10.1353/fam.2023.a901186","DOIUrl":"https://doi.org/10.1353/fam.2023.a901186","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"182 - 184"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42664326","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 : 2023-04-01DOI: 10.1353/fam.2023.a901184
Stephen Roe, Sandi-Jo Malmon, Colin Coleman
{"title":"The Temple of Fame & Friendship: Portraits, Music, and History in the C. P. E. Bach Circle by Annette Richards (review)","authors":"Stephen Roe, Sandi-Jo Malmon, Colin Coleman","doi":"10.1353/fam.2023.a901184","DOIUrl":"https://doi.org/10.1353/fam.2023.a901184","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"177 - 179"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44049323","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 : 2023-04-01DOI: 10.1353/fam.2023.a901180
Carmen Álvarez-Escandell
English Abstract:This article outlines the process of cataloguing the so-called 'C Collection' of the Music Archive of the Cathedrals of Zaragoza. The collection, comprised of thirty polyphonic choirbooks, remained uncatalogued and without a detailed study. The cataloguing work has been done following the internationally endorsed guidelines for RISM (Répertoire International des Sources Musicales), which allows comprehensive musical sources to be documented using a uniform format.In addition to this catalogue, efforts have been made to identify the authorship of the 182 anonymous works in the collection. Forty-two works in the collection were identified as a result of this work.French Abstract:Cet article décrit le processus de catalogage de la "Collection C" des Archives musicales des cathédrales de Zaragoza. Cette collection, comprenant trente livres de choeur polyphoniques, était restée non cataloguée et n'avait pas fait l'objet d'une étude détaillée. Le travail de catalogage a été réalisé en suivant les directives internationales du RISM (Répertoire International des Sources Musicales), qui permet de documenter des sources musicales complètes en utilisant un format uniformisé.En addition à ce catalogue, des efforts ont été faits pour attribuer la paternité de182 oeuvres anonymes de cette collection. Quarante-deux oeuvres de la collection ont été identifiées grâce à ce travail.German Abstract:Dieser Artikel skizziert den Prozess der Katalogisierung der sogenannten „C-Sammlung" des Musikarchivs der Kathedralen von Zaragoza. Die aus 30 polyphonen Chorbüchern bestehende Sammlung wurde lange Zeit weder katalogisiert noch eingehend untersucht. Die Katalogisierungsarbeit wurde nach den international anerkannten Richtlinien für RISM (Répertoire International des Sources Musicales) durchgeführt, die es ermöglichen, umfassende Musikquellen in einem einheitlichen Format zu dokumentieren.Ergänzend zur Erstellung des Katalogs wurden Anstrengungen unternommen, um die Urheber der 182 anonymen Werke in der Sammlung herauszufinden. Als Ergebnis dieser Unternehmung konnten 42 Werke in der Sammlung zugeordnet werden.
英文摘要：本文概述了萨拉戈萨大教堂音乐档案馆所谓“C收藏”的编目过程。该系列包括三十本复调合唱团书籍，未经编目，也未进行详细研究。编目工作是按照国际认可的RISM指南进行的，该指南允许使用统一格式记录全面的音乐来源。除本目录外，还努力确定收藏中182件匿名作品的作者。收藏中的42件作品被确定为这项工作的结果。英文摘要：本文描述了萨拉戈萨大教堂音乐档案馆“收藏C”的编目过程。这一系列包括30本复调合唱团书籍，尚未编目，也未进行详细研究。编目工作是根据RISM（Répertoire international des sources musicales）的国际指南进行的，该指南允许使用统一格式记录完整的音乐来源。除此之外，还努力确定该收藏中182部匿名作品的作者身份。通过这项工作，确定了收藏中的42件作品。德语摘要：Dieser Artikel Skizziert den Prozess der Katalogisierung der Sogenannten“C-Sammlung”des Musikarchivs der Kathedralen von Zaragoza。Die aus 30 Polyphonen Chorbüchern Bestehende Sammlung Wurde Lange Zeit Weder Katalogisiert Noch Eingehend Untersucht。Die Katalogisierungsarbeit Wurde nach den International Anerkannten Richtlinien für Rism（国际音乐资源目录）Durchgeführt，Die es Ermöglichen，Einem Einheitlichen格式zu Dokumentieren中的Umfassende Musikquellen。Ergänzend zur Erstellung des Katalogs Wurden Anstrengungen Unternommen，Um die Urheber der 182匿名Werke in der Sammlung Herauszufinden。Als ergebnis dieser Unternehmung Konnten 42 Werke in der Sammlung Zugeordnet Werden。
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Pub Date : 2023-04-01DOI: 10.1353/fam.2023.a901188
T. Peterson
{"title":"Renegade Rhymes: Rap Music, Knowledge, and Narrative in Taiwan by Meredith Schweig (review)","authors":"T. Peterson","doi":"10.1353/fam.2023.a901188","DOIUrl":"https://doi.org/10.1353/fam.2023.a901188","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"187 - 188"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43060190","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 : 2023-04-01DOI: 10.1353/fam.2023.a901183
Trevor P. Deck, Janneka L. Guise, J. Mason, Tim Neufeldt, Rebecca Shaw
English Abstract:The University of Toronto Music Library is the largest music research collection in Canada, with over 350,000 books, music scores, and periodicals, and over 250,000 sound recordings in various formats. Thanks to a healthy acquisitions budget and generous in-kind donations we have exceeded our shelving capacity. Further challenges include open stacks with shelves too close together for users to easily navigate through, poor lighting that makes reading call numbers difficult, and high shelving that the University's Environmental Health and Safety Office determined put materials too close to the sprinkler heads in the ceiling. Changes needed to be made. Tentative plans began for a major renovation of the space in conjunction with the faculty that houses the library; unfortunately, those plans were put on indefinite hold due to geographical constraints, competing University capital project priorities, and (more recently) a new dean of music who needed to focus on accusations of systematic oppression, racism, and coloniality within the faculty's programming and pedagogical practices, in which the library was also implicated. To address these many challenges, the authors of this article began a large-scale project in 2019 to assess space planning and accessibility, update the collections policy, and address issues of equity, diversity, and inclusion within the library's holdings. This article outlines the journey our process took and the key takeaways: a literature review on collection assessment; a summary of our approach to learning about the diversity in our collection; an overview of the collection assessment summit we held in April 2021; designing a user needs survey and interpreting its results, and the next steps in our journey.French Abstract:La bibliothèque musicale de l'Université de Toronto est la plus vaste bibliothèque de référence en matière de musique au Canada, avec plus de 350 000 livres, partitions et périodiques, et plus de 250 000 enregistrements sonores sous différents formats. Grâce à un budget d'acquisition sain et à des dons généreux de documents, nous avons dépassé notre capacité de stockage sur les rayonnages. Parmi les défis à relever, citons les rayonnages ouverts avec des étagères trop proches les unes des autres pour que les utilisateurs puissent s'y retrouver facilement, un mauvais éclairage qui rend la lecture des cotes difficile, et des étagères hautes qui, selon le bureau de la santé et de la sécurité environnementales de l'université, placent les documents trop près des têtes des gicleurs situés au plafond. Des changements s'imposaient. Des plans provisoires ont été élaborés en vue d'une vaste rénovation de l'espace, en collaboration avec la faculté qui abrite la bibliothèque. Malheureusement, ces plans ont été ajournés pour une durée indéterminée en raison de contraintes géographiques, de priorités concurrentielles dans les projets d'investissement de l'Université et (plus récemment) de la nomination
多伦多大学音乐图书馆是加拿大最大的音乐研究藏品，拥有超过350000本书籍、乐谱和期刊，以及超过250000张各种格式的录音。感谢我们的健康采购预算和慷慨捐赠，我们超出了我们的维持能力。进一步的挑战包括开放式堆栈，货架太近，用户无法轻松导航，照明差，难以读取电话号码，以及大学环境健康和安全办公室决定将材料放在天花板上，太靠近洒水头。需要进行更改。与图书馆所在的教师合作，开始对空间进行重大翻修；不幸的是，由于地理限制、竞争性大学资本项目优先事项，以及（最近）一位新的音乐系主任，这些计划被无限期搁置，他需要将重点放在教师编程和教学实践中的系统性压迫、种族主义和殖民主义指控上，图书馆也参与其中。为了应对这些诸多挑战，本文作者于2019年启动了一个大型项目，以评估空间规划和无障碍性，更新藏书政策，并解决图书馆控股范围内的公平、多样性和包容性问题。本文概述了我们的过程和关键的外卖：收集评估的文献综述；我们学习收藏多样性的方法总结；我们于2021年4月举行的收集评估峰会概述；设计用户需求调查并解释其结果，以及我们旅程中的下一步。多伦多大学音乐图书馆是加拿大最大的音乐参考图书馆，拥有超过350000本书籍、乐谱和期刊，以及超过250000张不同格式的录音。由于健康的采购预算和慷慨的文件捐赠，我们已经超过了货架上的存储容量。面临的挑战包括开放式货架，货架太靠近，用户无法轻松找到，照明不良，难以阅读评级，以及高货架，根据该大学环境健康与安全办公室的说法，高货架将文件放置在离天花板洒水喷头太近的位置。需要改变。与图书馆所在的教师合作，制定了广泛翻新空间的临时计划。不幸的是，由于地理限制、大学投资项目的竞争优先事项以及（最近）任命了一名新的音乐学院院长，这些计划被无限期推迟，该院长将重点关注对学院课程和教学实践中系统性压迫、种族主义和殖民主义的指控。图书馆也参与其中。为了应对这些诸多挑战，本文作者于2019年启动了一个大型项目，以评估空间规划和无障碍性，更新文献政策，并解决图书馆馆藏中的公平、多样性和包容性问题。本文描述了我们的过程和取得的主要成果：藏品评估文献综述；总结我们理解藏品多样性的方法；我们于2021年4月组织的藏品评估研讨会回顾；设计一项关于用户需求的调查，解释其结果，以及我们方法的下一步。德语摘要：多伦多大学音乐学院350.000 Bücher，noten und zeitschriften sowie mehr als 250.000 tonaufnahmen in verschiedenen formaten und ist damit die gröte wissenschaftliche Musiksammlung in Kanada。Dank eines stabilen anschaffungsetats und großzügiger sachspenden haben wir unsere regalkapazität mehr als ausgereizt。Darüber Hinausgehende Herausforderungen sind zu eng stehende und daher den durchgang erschwerende regale in den Freihandmagazinen，Schlechte Beleuchtung，die das lesen von signaturen erschwert，und so hohe regale，dass die darin untergebrachten materialien–nach auffassung der sicherheitsbeauftragten der universität–als zu nahe an den sprinklerköpfen befindlich angesehen werden müssen。战争也是höchste zeit für Veränderungen。 与负责主办图书馆的教员合作，制定了对房间进行全面翻新的初步计划。不幸的是，由于空间限制和相互竞争的优先事项，这些项目被无限期地暂停用于大型大学项目。最后，最近任命的音乐学院院长不得不在学院的任务和教学方法中主要处理对系统压迫、种族主义和殖民主义的指控，也涉及图书馆。为了应对这些挑战，这篇文章的作者于2019年启动了一个关于空间规划和无障碍评估的大型项目，更新了收藏任务，并在图书馆收藏的背景下对公正、多样性和包容性进行了定位。这篇文章概述了我们的过程所走的道路及其产生的关键结果：库存评估的文献综述，我们了解更多藏品多样性的方法摘要，2021年4月举行的库存评估活动概述，设计一个关于用户需求的调查，并解释其结果以及我们接下来的步骤。
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Pub Date : 2023-04-01DOI: 10.1353/fam.2023.a901185
Vivian Tompkins
Bach in London made by Abel the painter suggest a far closer relationship between Emanuel and the London musicians than has hitherto been imagined. Perhaps Emanuel and Johann Christian were not the estranged brothers of popular accounts? Given the associations between portraiture, art, and music, a notable omission is any discussion of images used as vignettes on Emanuel’s titlepages or those of his contemporaries. These were not merely a whim of the publisher, especially in editions ‘printed for the author’: they are integral to the music. Here is a case where art and music combine, yet Richards is virtually silent on the subject. Emanuel must have been passionate about the look of his publications, to judge by the lavish and splendid illustrations of swags of flowers and fruit, and other motifs in the first edition of his father’s Die Kunst der Fuge, which Emanuel put through the press. These are worth a discussion in themselves. The book is beautifully produced, lavishly illustrated, and is a welcome addition to my shelves. Apart from being owned by C. P. E. Bach, the relevance of the oil painting of a young woman with a book on the front cover escapes me. It is perhaps symptomatic of a study where a firmer editorial pencil might have been in order. All German phrases are relentlessly and unnecessarily translated and there is much repetition and some careless slips. Niccolò Jommelli was never ‘the Mannheim Kapellmeister’ and did Mozart really ‘conduct’ a large orchestra? And Sir Joshua Reynolds did not merely become the director of the Royal Academy of Arts, London, he was the founder and first president. Richards’s prose is wordy and repetitive, sometimes with sentences of a Wagnerian length. Her writing about music is sometimes affected: ‘But they are followed by the fullest of the chords . . . which vex still further the melancholic mien of the opening’. Such writing furrows this writer’s brow. There are very many admirable pages in this book, so diligently written and so handsomely produced, but Richards strays too far in drawing conclusions about this distinguished collection of images that neither illuminate Emanuel Bach’s music, nor amount to a musichistoriographical project. The presence or absence of a musician in a collection cannot be a fool-proof guide to the interests of the collector. Nor can extravagant assessments and judgments be made about such a collection: James I is present, but no Shakespeare. Collecting is such a private, personal activity, shaped by opportunity, serendipity, chance, predilection, and happy accident. Sometimes a collection of portraits is just that. There was little public exposure for C. P. E. Bach’s collection during his lifetime. Emanuel’s pictures were briefly displayed and enjoyed by the composer and his many visitors but, afterwards, the engravings were returned to their folders, the candles extinguished, and the room doors closed and locked.
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