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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Pub Date : 2023-04-01DOI: 10.1353/fam.2023.a901182
Jim Cassaro, Georgina Binns
Briefs / Feuilletons Jim Cassaro and Georgina Binns RILM Music Encyclopedias has just added two new titles into its continuously expanding collection of historical and current reference texts: • Kovačević, Krešimir, gen. ed. Muzička enciklopedija, 2d ed. (Zagreb: Jugoslavenski Lekskografski Zavod, 1971–1977). 3 vols. (713–[14] p. [7]; 742 p.; 789 p.) • In Croatian and Serbian. • Krešimir Kovačević, ed. Leksikon jugoslavenske muzike (Zagreb: Jugoslavenske Leksikografski Zavod Miroslav Krlea, 1984). 2 vols. (589 p.; 575 p.) • In Croatian. The 2023 additions to RILM Music Encyclopedias enrich the content of the collection with two complementary titles that document the music history and musical life of Southeastern Europe. Both reference works were edited by the distinguished Croatian music historian Krešimir Kovačević (1913–1992), who was active as a music writer, critic, teacher, conductor, and editor-in-chief of the Croatian music periodical Arti musices (1973–1979). Both works were published by the Jugoslavenski Leksikografski Zavod in Zagreb and represent a collaboration of the best scholars from all six Yugoslav states. The addition of these titles, which augment the coverage and depth of RILM Music Encyclopedias, emphasizes RILM's mission to include the music scholarship of all countries and in all languages. RILM Music Encyclopedias can be accessed via EBSCOhost and on RILM's platform Egret at rme.rilm.org. For further information, please e-mail encyclopedias@rilm.org. _______ This summer, RILM Abstracts with Full Text will add eleven more titles to its full-text journal collection. The new titles are: • 1/1: The Journal of the Just Intonation Network (San Francisco: Just Intonation Network. 1985–2007). ISSN 8756-7717 • Beiträge zur Musikwissenschaft (Berlin: Verlag Neue Musik, Sonderpublikationen, 1973–1979). ISSN 0005-8106 • Етномузика: Збірник наукових праць і матеріалів [Etnomuzika: Zbìrnik naukovih prac' ì materìalìv] (L'vìv: L'vìvs'ka Nacìonal'na Muzična Akademìâ ìmenì M. V. Lisenka, 2006–). ISSN 2523-4846 and e-ISSN 2523-4854 • Hortus musicus (Bologna: Ut Orpheus Edizioni, 2000–2005). ISSN 1129-4965 • Journal of the Association of Nigerian Musicologists (Ife-Ife: Association of Nigerian Musicologists, 2007–). e-ISSN 1597-0590 • Journal of the International Alliance for Women in Music (Washington, DC: International Alliance for Women in Music, 1989–). ISSN 1082-1872 • Magyar zene: Zenetudományi folyóirat (Budapest: Magyar Zenetudományi és Zenekritikai Társaság, 1960–). ISSN 0025-0384 [End Page 142] • Nachrichten zur Mahler-Forschung/News About Mahler Research (Wien: Internationale Gustav Mahler Gesellschaft, 1976/1977–). ISSNs 1608-8956 and 1609-0349 • Research Perspectives in Music Education (Tallahassee, FL: Florida Music Educators Association, 1990–). ISSN 1947-7457 • Sinfónica (Montevideo: Sinfónica, 1995–). ISSN 1510-3544 • 中央音乐学院学报 [Zhongyang Yinyue Xueyuan xuebao]/Journal of the Central Conservatory of Music (Beijing: Zhongyang
摘要/ Feuilletons Jim Cassaro和Georgina Binns RILM音乐百科全书刚刚增加了两个新标题，进入其不断扩大的历史和当前参考文本的集合:•kova eviki, Krešimir，将军编辑。muzi ka enciklopedija, 2d版(萨格勒布:Jugoslavenski Lekskografski Zavod, 1971-1977)。3波动率。[14] p. [7];742 p。789页)•克罗地亚语和塞尔维亚语。•Krešimir kova eviki，编。Leksikon jugoslavenske muzike(萨格勒布:jugoslavenske Leksikografski Zavod Miroslav Krlea, 1984)。2波动率。(589 p。575便士)•克罗地亚语。2023年的RILM音乐百科全书增加了两个补充标题，记录了东南欧的音乐史和音乐生活，丰富了收藏的内容。这两本参考书都是由著名的克罗地亚音乐历史学家Krešimir kova eviki(1913-1992)编辑的，他是活跃的音乐作家、评论家、教师、指挥家，也是克罗地亚音乐期刊《Arti musices》的主编(1973-1979)。这两部作品都由萨格勒布的Jugoslavenski Leksikografski Zavod出版，代表了南斯拉夫所有六个国家最优秀学者的合作。这些标题的增加，增加了RILM音乐百科全书的覆盖面和深度，强调了RILM的使命，包括所有国家和所有语言的音乐奖学金。RILM音乐百科全书可以通过EBSCOhost和RILM的平台Egret在rme.rilm.org访问。欲了解更多信息，请发邮件至encyclopedias@rilm.org。_______今年夏天，RILM Abstracts with Full Text将为其全文期刊收藏增加11个标题。•1/1:《Just Intonation Network》杂志(旧金山:Just Intonation Network, 1985-2007)。•Beiträge zur Musikwissenschaft(柏林:Verlag Neue Musik, Sonderpublikationen, 1973-1979)。ISSN 0005 - 8106•Етномузика:Збірникнауковихпрацьіматеріалів[Etnomuzika: Zbirnik naukovih进行“我materialiv] (L ' viv: L ' viv 'ka Nacional 'na Muzična Akademia imeni m . v . Lisenka 2006 -)。•Hortus musicus(博洛尼亚:Ut Orpheus Edizioni, 2000-2005)。ISSN 1129-4965•尼日利亚音乐学家协会杂志(life - ife:尼日利亚音乐学家协会，2007 -)。e-ISSN 1597-0590•杂志的国际联盟为妇女在音乐(华盛顿特区:国际联盟为妇女在音乐，1989 -)。•Magyar zene: Zenetudományi folyóirat(布达佩斯:Magyar Zenetudományi Zenekritikai Társaság, 1960 -)。•Nachrichten zur Mahler- forschung /News About Mahler Research(维也纳:Internationale Gustav Mahler Gesellschaft, 1976/1977 -)。•音乐教育的研究视角(塔拉哈西，佛罗里达州:佛罗里达音乐教育家协会，1990 -)。ISSN 1947-7457•Sinfónica(蒙得维的亚:Sinfónica, 1995 -)。《中央音乐学院学报》(北京:中央音乐学院学报/中央音乐学院学报，1980 -)。这些新增内容展示了RILM的国际范围的深度和范围，全文覆盖，包括多种语言，国家和音乐研究方法。音乐文学的RILM摘要全文是一个全面的音乐作品的参考书目，具有引用，摘要和索引。它涵盖了从19世纪早期到现在的传统音乐，流行音乐，爵士，古典音乐和相关主题的100多万份出版物，全文增强。更多关于期刊全文的信息可以在RILM网站上找到(https://www.rilm.org/abstracts/)。_______ RILM发行第三版如何写关于音乐。国际音乐录影带协会(RILM)已经发行了第三版的《如何写音乐:RILM风格手册》，由詹姆斯·r·考德里编辑，以电子书的形式出版。该手册解决了许多音乐作家面临的特殊问题——一般写作指南很少解决的问题。它将国际视角应用于经常零碎处理和以种族中心主义方式处理的问题:作品名称，手稿来源，音译，非西方理论体系，作品和目录编号，音高和和弦名称，仅举几例。详细的指导方针提供了书目处理标准印刷，视听和电子资源，以及专门的，如节目说明，内页说明，和音乐录像。还有一章是关于索引的。贯穿全文，大量的例子说明了每一个……
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Abstract:While the eighteenth-century Viennese Mass, oratorio, cantata, and litany have all been the focus of independent genre studies, smaller-scale settings of liturgical and non-liturgical texts, of which hundreds of exemplars survive, have been largely ignored. One of the most interesting of these genres, the motet, is also arguably the most complex in terms of textual studies since these works were treated as flexible musical texts that could be adapted for specific occasions throughout the liturgical year. The process of adaptation extended beyond the provision of contrafacta. Multi-movement motets were frequently dismembered, their individual arias and closing choruses appropriated for new purposes. The extent to which this practice flourished is evident both from extant manuscript copies of the works and entries in contemporary thematic catalogues. Inconsistent nomenclature and the flexible approach to instrumentation that characterises so much eighteenth-century music compounds the problem of establishing the original form and function of much of this repertory.One of the most widely disseminated Viennese composers of motets during this period was Leopold Hofmann (1738–1793), regens chori at St Peter’s from ca. 1764 and from 1772, Kapellmeister at St Stephen’s Cathedral. Over sixty motets and offertories survive in attributions to Hofmann of which thirty-three have strong claims to authenticity. Of these authentic works, a third are cast in a single movement while the remainder are dominated by three-movement cycles. Taking three representative works as case studies, this article examines how these motets were employed during the composer’s lifetime, the extent to which he may have initiated or condoned the use of contrafacta, and how they were adapted elsewhere for other liturgical functions.Abstract:Alors que la messe, l’oratorio, la cantate et la litanie viennois du dix-huitième siècle ont tous fait l’objet d’études de genre indépendantes, les mises en musique à plus petite échelle de textes liturgiques et non liturgiques, dont des centaines d’exemplaires ont survécu, ont été largement ignorées. L’un des genres les plus intéressants, le motet, est aussi sans doute le plus complexe en termes d’études de la textualité, dans la mesure où ces œuvres étaient traitées comme des textes musicaux flexibles pouvant être adaptés à des occasions spécifiques tout au long de l’année liturgique. Le processus d’adaptation allait au-delà de la production de contrafacta. Les motets à plusieurs mouvements étaient souvent décomposés, leurs arias isolés et leurs chœurs de clôture étant adaptés à de nouvelles fins. La proportion dans laquelle cette pratique s’est développée est manifeste tant dans les copies manuscrites des œuvres qui subsistent que dans les entrées des catalogues thématiques contemporains. Compte tenu de la souplesse de la nomenclature et de l’approche instrumentale qui caractérise une grande partie de la musique du XVIIIe siècle, il est
摘要:虽然18世纪维也纳弥撒、清唱剧、康塔塔和祷文都是独立体裁研究的焦点，但较小规模的礼仪和非礼仪文本(其中数百个范例幸存下来)却在很大程度上被忽视了。这些流派中最有趣的一种，圣歌，也可以说是最复杂的文本研究，因为这些作品被视为灵活的音乐文本，可以在整个礼仪年的特定场合进行改编。适应的过程超出了提供合同的范围。多乐章颂歌经常被肢解，它们的个别咏叹调和结尾合唱被用于新的目的。从现存的作品手稿副本和当代主题目录的条目中可以明显看出这种做法的繁荣程度。不一致的命名法和灵活的乐器方法是18世纪音乐的特点，这使得建立这些曲目的原始形式和功能的问题更加复杂。在这一时期，最广为流传的维也纳圣歌作曲家之一是利奥波德·霍夫曼(1738-1793)，他从1764年起在圣彼得教堂担任合唱团指挥，从1772年起在圣斯蒂芬大教堂担任乐队指挥。霍夫曼的60多首颂歌和祭品幸存下来，其中33首具有很强的真实性。在这些真正的作品中，三分之一是在一个乐章中铸造的，而其余的则以三个乐章的循环为主。本文以三个代表性作品作为案例研究，考察了这些颂歌在作曲家的一生中是如何被使用的，他可能在多大程度上发起或宽恕了契约的使用，以及它们是如何在其他地方被用于其他礼拜功能的。摘要:“信息”、“清说”、“音乐”、“小型”、“礼仪”、“非礼仪”、“样本”、“调查”、“大型”、“不考虑”、“不考虑”、“不考虑”。L ' un des styles les + intacresants, le moet, est aussi sans doute le +复杂的en术语d ' samuentalit<s:1>， dans la mesuresoù ces œuvres samuenttritans comme des textesmusicaux flexibles pouant être adaptsamuresides场合spacimciques tout au long de L ' annsamulitgique。“适应的过程”是指“契约的生产”。这些motets - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -La比例在那个这个检疫年代是developpee manifeste如此更在副本manuscrites desœ紫外线辐射,现存的,在主菜des目录thematiques contemporains。完成命名法的规定和第十八届<s:1> <s:1> <s:1> <s:1> <s:1> <s:1> <s:1> <s:1> <s:1> - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -在作曲方面，维也纳的motets - les和大型的disssamsamminsamas - cette - csamet est Leopold Hofmann (1738-1793)， regens chori <s:1> Saint- pierre <e:1>(1764年)，environ et(1772年)，Kapellmeister(1772年)，<s:2> cathsamdrale Saint-Étienne。加上de soixante motets et offertoires ont samuest attribus Hofmann, don trente-trois ont de fortes chance d ' être authenticques。Parmi ces œuvres authentiques, untiers est compos作曲d 'un seul movement, andis que le restest principalement compos作曲de cycles de trois movement。在prenant trois œuvres代表的情况下，本文审查了下列评注:<s:1> <s:2> <s:2>或更大的跨度- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -摘要:Während wichtige Gattungen des 18。《哲学与哲学》，《哲学与文学》，《哲学与文学》，《文学与文学》，《文学与文学》，《文学与文学》，《文学与文学》，《文学与文学》，《文学与文学》，《文学与文学》，《文学与文学》。Die Motette ist nicht nur eine der interessantesten dieser Gattungen，现代世界中每个Die komplexeste im Hinblick auf Textstudien, da Motetten als flexible Notentexte behandelt wurden, Die während des gesamten liturgischen Jahres f<e:1>最估计的Anlässe angep助理werden konten。[3]中国交通运输管理研究进展。Mehrsätzige Motetten wurden häufig zerst<e:1> ckelt, ihre einzelnen Arien and Schlusschöre fhre neue Zwecke angep助理。as ausmasß， in dem diese Praxis um sgriff, ist sowohl aus erhaltenen Manuskriptabschriften als aucch aus Einträgen in zeitgenössischen thematischen Katalogen ersichtlich。18. Die widerspr<s:1> chliche Nomenklatur and Die flexible Instrumentierungspraxis, Die f<s:1> einen Großteil der Musik des。 然而，在大多数情况下，这一曲目的
{"title":"Sacred Chameleons: Form, Function, and Dissemination Patterns in the Motets of Leopold Hofmann","authors":"Allan Badley","doi":"10.1353/fam.2023.0004","DOIUrl":"https://doi.org/10.1353/fam.2023.0004","url":null,"abstract":"Abstract:While the eighteenth-century Viennese Mass, oratorio, cantata, and litany have all been the focus of independent genre studies, smaller-scale settings of liturgical and non-liturgical texts, of which hundreds of exemplars survive, have been largely ignored. One of the most interesting of these genres, the motet, is also arguably the most complex in terms of textual studies since these works were treated as flexible musical texts that could be adapted for specific occasions throughout the liturgical year. The process of adaptation extended beyond the provision of contrafacta. Multi-movement motets were frequently dismembered, their individual arias and closing choruses appropriated for new purposes. The extent to which this practice flourished is evident both from extant manuscript copies of the works and entries in contemporary thematic catalogues. Inconsistent nomenclature and the flexible approach to instrumentation that characterises so much eighteenth-century music compounds the problem of establishing the original form and function of much of this repertory.One of the most widely disseminated Viennese composers of motets during this period was Leopold Hofmann (1738–1793), regens chori at St Peter’s from ca. 1764 and from 1772, Kapellmeister at St Stephen’s Cathedral. Over sixty motets and offertories survive in attributions to Hofmann of which thirty-three have strong claims to authenticity. Of these authentic works, a third are cast in a single movement while the remainder are dominated by three-movement cycles. Taking three representative works as case studies, this article examines how these motets were employed during the composer’s lifetime, the extent to which he may have initiated or condoned the use of contrafacta, and how they were adapted elsewhere for other liturgical functions.Abstract:Alors que la messe, l’oratorio, la cantate et la litanie viennois du dix-huitième siècle ont tous fait l’objet d’études de genre indépendantes, les mises en musique à plus petite échelle de textes liturgiques et non liturgiques, dont des centaines d’exemplaires ont survécu, ont été largement ignorées. L’un des genres les plus intéressants, le motet, est aussi sans doute le plus complexe en termes d’études de la textualité, dans la mesure où ces œuvres étaient traitées comme des textes musicaux flexibles pouvant être adaptés à des occasions spécifiques tout au long de l’année liturgique. Le processus d’adaptation allait au-delà de la production de contrafacta. Les motets à plusieurs mouvements étaient souvent décomposés, leurs arias isolés et leurs chœurs de clôture étant adaptés à de nouvelles fins. La proportion dans laquelle cette pratique s’est développée est manifeste tant dans les copies manuscrites des œuvres qui subsistent que dans les entrées des catalogues thématiques contemporains. Compte tenu de la souplesse de la nomenclature et de l’approche instrumentale qui caractérise une grande partie de la musique du XVIIIe siècle, il est","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48627274","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}
{"title":"In silenzio senza disturbare nessuno. Claudio Sartori, Brescia 1913–Milano 1994 by Mariella Sala, Massimo Gentili-Tedeschi and Pinuccia Carrer (review)","authors":"P. Milan","doi":"10.1353/fam.2023.0007","DOIUrl":"https://doi.org/10.1353/fam.2023.0007","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45339446","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}
The review by Barry Cooper of my book Beethoven: A Political Artist in Revolutionary Times in Fontes Artis Musicae (Vol. 68, No. 3 [ July–September 2021], 273–276) contains errors. Professor Cooper writes that ‘the theory that the Eroica Sketchbook was begun in 1802 rather than 1803 (p. 65) is based on flawed evidence and has been comprehensively discredited’. However, the publication of Beethoven’s “Eroica” Sketchbook: A Critical Edition, edited by Lewis Lockwood and Alan Gosman (2013), and the literature cited therein, indeed supports a dating of 1802, which has not been ‘comprehensively discredited’. Cooper also writes that ‘the contredance . . . used in the finale of the Eroica was not composed until after Beethoven’s ballet Prometheus of 1801’, which makes no sense since that very theme already assumes prominence in the ballet, to be later absorbed into the very different context of the symphony. Furthermore, the gripping narrative of Beethoven refusing to play for French officers and leaving Grätz in defiance of his patron Prince Lichnowsky in October 1806 is not merely ‘a compilation from a number of unconfirmed recollections’ but an event that can now be vividly re-envisioned from Beethoven’s rain-stained music manuscripts and from the diary of the young poet Joseph von Eichendorff, who reported ‘threatening weather from the West’ with lightning and thunder coinciding with the ‘bolt out of the blue’ of Napoleon’s decisive victory at Auerstädt and Jena.
Barry Cooper对我的书《贝多芬:革命时代的政治艺术家》(Fontes Artis Musicae, Vol. 68, No. 3[2021年7月- 9月]，273-276)的评论有错误。库珀教授写道:“认为《英雄速写本》开始于1802年而不是1803年的理论(第65页)是基于有缺陷的证据，已经完全不可信了。”然而，由Lewis Lockwood和Alan Gosman(2013)编辑的贝多芬的“Eroica”素描本:批判版的出版，以及其中引用的文献，确实支持1802年的日期，这并没有“完全不可信”。库珀还写道，“一致性……《英雄》终曲中使用的主题是在贝多芬1801年的芭蕾舞剧《普罗米修斯》之后才创作的，这毫无意义，因为这个主题在芭蕾舞剧中已经占据了突出地位，后来被吸收到交响曲中非常不同的背景中。此外，关于贝多芬拒绝为法国军官演奏并在1806年10月无视他的赞助人利希诺夫斯基王子离开Grätz的扣人注意的叙述不仅仅是"一些未经证实的回忆的合集"而是一个现在可以生动地重新设想的事件从贝多芬被雨水淋湿的音乐手稿和年轻诗人约瑟夫·冯·艾辛多夫的日记中，他报告说，“来自西方的威胁天气”伴随着闪电和雷声，与拿破仑在Auerstädt和耶拿取得决定性胜利的“晴天霹雳”相吻合。
{"title":"Communications","authors":"William Kinderman","doi":"10.1353/fam.2023.0008","DOIUrl":"https://doi.org/10.1353/fam.2023.0008","url":null,"abstract":"The review by Barry Cooper of my book Beethoven: A Political Artist in Revolutionary Times in Fontes Artis Musicae (Vol. 68, No. 3 [ July–September 2021], 273–276) contains errors. Professor Cooper writes that ‘the theory that the Eroica Sketchbook was begun in 1802 rather than 1803 (p. 65) is based on flawed evidence and has been comprehensively discredited’. However, the publication of Beethoven’s “Eroica” Sketchbook: A Critical Edition, edited by Lewis Lockwood and Alan Gosman (2013), and the literature cited therein, indeed supports a dating of 1802, which has not been ‘comprehensively discredited’. Cooper also writes that ‘the contredance . . . used in the finale of the Eroica was not composed until after Beethoven’s ballet Prometheus of 1801’, which makes no sense since that very theme already assumes prominence in the ballet, to be later absorbed into the very different context of the symphony. Furthermore, the gripping narrative of Beethoven refusing to play for French officers and leaving Grätz in defiance of his patron Prince Lichnowsky in October 1806 is not merely ‘a compilation from a number of unconfirmed recollections’ but an event that can now be vividly re-envisioned from Beethoven’s rain-stained music manuscripts and from the diary of the young poet Joseph von Eichendorff, who reported ‘threatening weather from the West’ with lightning and thunder coinciding with the ‘bolt out of the blue’ of Napoleon’s decisive victory at Auerstädt and Jena.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46927509","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}
{"title":"Interviews with American Composers: Barney Childs in Conversation ed. by Virginia Anderson (review)","authors":"Ken Smith","doi":"10.1353/fam.2023.0006","DOIUrl":"https://doi.org/10.1353/fam.2023.0006","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42024966","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}
{"title":"Vocal Virtuosity: The Origins of the Coloratura Soprano in Nineteenth-Century Opera by Sean M. Parr (review)","authors":"Andrea Cawelti","doi":"10.1353/fam.2023.0000","DOIUrl":"https://doi.org/10.1353/fam.2023.0000","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48129580","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}
Abstract:This article conducts a contextual analysis of iconographic sources—cartoons and caricatures— the protagonist of which is the famous pianist, composer, and politician Ignacy Jan Paderewski (1860–1941) and his accompanying attribute—a grand piano. Illustrations used for this research come from magazines of different social scope, content, and artistic levels, as well as political colour; the majority of these are English, German, and Polish-language newspapers from 1893 to 1939. Organising these sources and confronting their message with the information found in the daily press of the time makes it possible to identify and describe the various functions that Paderewski’s instrument played in satirical discourse and, thus in the consciousness of the recipient of mass culture. The presence of a grand piano makes it possible, for example, to instantly recognise Paderewski as a pianist; it explains the artist’s significant income (an instrument as a ‘machine’ to multiply wealth) and gives space to reproduce the myth about his supernatural pianistic abilities (in the extreme imaginations of cartoonists, virtuosity distanced Paderewski from what was earthly). Finally, his grand piano symbolised power—both in an artistic sense (absolute power over the concert audience) and political sense (control over opponents in disputes taking place in Poland and the international arena).Abstract:Cet article procède à une analyse contextuelle des sources iconographiques - dessins humoristiques et caricatures - dont le protagoniste est le célèbre pianiste, compositeur et homme politique Ignacy Jan Paderewski (1860–1941) et l’attribut qui lui est associé - un piano à queue. Les illustrations utilisées pour cette recherche proviennent de magazines de champs social, de contenu et de niveau artistique, ainsi que de couleur politique différents ; la majorité d’entre eux sont des journaux de langue anglaise, allemande et polonaise de 1893 à 1939. L’organisation de ces sources et la confrontation de leur message avec les informations trouvées dans la presse quotidienne de l’époque permettent d’identifier et de décrire les différentes fonctions que l’instrument de Paderewski a joué dans le discours satirique et, donc, dans la conscience du public de la culture de masse. La présence d’un piano à queue permet, par exemple, de reconnaître instantanément Paderewski comme un pianiste ; elle explique les revenus importants de l’artiste (un instrument comme “machine” à multiplier la richesse) et donne la possibilité de reproduire le mythe de ses capacités pianistiques surnaturelles (dans l’imagination extrême des caricaturistes, la virtuosité éloignait Paderewski de ce qui était terrestre). Enfin, son piano à queue symbolisait le pouvoir, tant au sens artistique (pouvoir absolu sur le public des concerts) qu’au sens politique (contrôle des adversaires dans les conflits qui se déroulaient en Pologne et sur la scène internationale).Abstract:Dieser Artikel führt eine Kontextan
摘要:本文以著名钢琴家、作曲家、政治家伊格纳齐·扬·帕德列夫斯基(1860-1941)为主人公，及其伴随的属性——三角钢琴为背景，对漫画和漫画进行了语境分析。本研究使用的插图来自不同社会范围、内容、艺术水平以及政治色彩的杂志;从1893年到1939年，这些报纸主要是英语、德语和波兰语的报纸。组织这些来源，并将它们的信息与当时的日常新闻中发现的信息相比较，使我们有可能识别和描述帕岱列夫斯基的乐器在讽刺话语中发挥的各种功能，从而在大众文化接受者的意识中发挥作用。例如，一架三角钢琴的存在使人们有可能立即认出帕德列夫斯基是钢琴家;它解释了这位艺术家的巨额收入(一种乐器作为一种“机器”来增加财富)，并为再现他超自然的钢琴能力的神话提供了空间(在漫画家的极端想象中，精湛的技艺使帕德列夫斯基远离尘世)。最后，他的三角钢琴象征着权力——无论是在艺术意义上(对音乐会观众的绝对权力)还是在政治意义上(在波兰和国际舞台上发生的争端中控制对手)。摘要:本文主要分析了文学作品《文学作品》、《文学作品背景分析》、《文学作品背景分析》、《文学作品背景分析》、《文学作品背景分析》、《文学作品背景分析》、《文学作品背景分析》、《文学作品背景分析》、《文学作品背景分析》、《文学作品背景分析》、《文学作品背景分析》等。Les插图使用倒这个精心设计的proviennent de杂志de冠军社会、de contenu et de水平artistique,依照ainsi de颜色,政治的不同;1893年至1939年，波兰语与英语新闻中心。“来源的组织”“对抗的组织”“信息的组织”“信息的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”“交换的组织”例如，La pracimsence d 'un piano;例如，de rerewski;“艺术家的重要性”(“机器的重要性”)和“可能性的重要性”(“可能性的重要性”)的再现和“可能性的重要性”(“想象力的重要性”)(“漫画家的重要性”，“艺术的重要性”(“想象的重要性”)。Enfin, son piano, queue symbolisit le pouvoir, ant au sens artique (pouvoir absolu sur le public des concerts)， qu 'au sens politique (contrôle des adversaires dans les conflict qui se danciourenent en Pologne et sur la s internationale)。摘要:《漫画与Karikaturen》、《钢琴家与作曲家》、《作曲家与政治家》伊格纳齐·扬·帕德雷夫斯基(1860 - 1941):mitseinem begleitenden Attribut - einem konzertflgel - ist》。《德国科学研究》，《德国社会科学研究》，《德国科学研究》，《德国科学研究》，《德国科学研究》，《德国科学研究》，《德国科学研究》，《德国政治科学研究》，《德国科学研究》，《德国科学研究》，《德国政治科学研究》，《德国科学研究》。Überwiegend handelt es sich um英语-，德语- and polnischsprachige Zeitungen as dem Zeitraum von 1893 bis 1939。1 .德国科学与技术研究所(德国科学与技术研究所)，德国科学与技术研究所(德国科学与技术研究所)，德国科学与技术研究所(德国科学与技术研究所)，德国科学与技术研究所(德国科学与技术研究所)，德国科学与技术研究所(德国科学与技术研究所)Das Vorhandensein eines fl gel ermöglicht es beispielsweise, Paderewski sofort als Pianisten zu erkennen。Es erklärt das beträchtliche Einkommen des k nstlers (das Instrument als“Maschine”zur Vermehrung von Reichtum)和gibt Raum, um den Mythos von seinen bernat_rlichen pianistischen Fähigkeiten fortzuschreiben (in der ausgeprägten Vorstellungskraft der Karikaturisten entfernte seine Virtuosität Paderewski von allem Irdischen)。schließ ß ß symbolisierte sein fl gel Macht - sowohl im k nstlerischen Zusammenhang (als absolute Macht ber das Konzertpublikum) als auch im politischen Sinn (zur Beherrschung der genner in Streitigkeiten in Polen and auf internationaler Ebene)。
{"title":"The Grand Piano of Ignacy Jan Paderewski in Cartoons","authors":"M. Dziadek, Michał Jaczyński, Justyna Kica","doi":"10.1353/fam.2023.0003","DOIUrl":"https://doi.org/10.1353/fam.2023.0003","url":null,"abstract":"Abstract:This article conducts a contextual analysis of iconographic sources—cartoons and caricatures— the protagonist of which is the famous pianist, composer, and politician Ignacy Jan Paderewski (1860–1941) and his accompanying attribute—a grand piano. Illustrations used for this research come from magazines of different social scope, content, and artistic levels, as well as political colour; the majority of these are English, German, and Polish-language newspapers from 1893 to 1939. Organising these sources and confronting their message with the information found in the daily press of the time makes it possible to identify and describe the various functions that Paderewski’s instrument played in satirical discourse and, thus in the consciousness of the recipient of mass culture. The presence of a grand piano makes it possible, for example, to instantly recognise Paderewski as a pianist; it explains the artist’s significant income (an instrument as a ‘machine’ to multiply wealth) and gives space to reproduce the myth about his supernatural pianistic abilities (in the extreme imaginations of cartoonists, virtuosity distanced Paderewski from what was earthly). Finally, his grand piano symbolised power—both in an artistic sense (absolute power over the concert audience) and political sense (control over opponents in disputes taking place in Poland and the international arena).Abstract:Cet article procède à une analyse contextuelle des sources iconographiques - dessins humoristiques et caricatures - dont le protagoniste est le célèbre pianiste, compositeur et homme politique Ignacy Jan Paderewski (1860–1941) et l’attribut qui lui est associé - un piano à queue. Les illustrations utilisées pour cette recherche proviennent de magazines de champs social, de contenu et de niveau artistique, ainsi que de couleur politique différents ; la majorité d’entre eux sont des journaux de langue anglaise, allemande et polonaise de 1893 à 1939. L’organisation de ces sources et la confrontation de leur message avec les informations trouvées dans la presse quotidienne de l’époque permettent d’identifier et de décrire les différentes fonctions que l’instrument de Paderewski a joué dans le discours satirique et, donc, dans la conscience du public de la culture de masse. La présence d’un piano à queue permet, par exemple, de reconnaître instantanément Paderewski comme un pianiste ; elle explique les revenus importants de l’artiste (un instrument comme “machine” à multiplier la richesse) et donne la possibilité de reproduire le mythe de ses capacités pianistiques surnaturelles (dans l’imagination extrême des caricaturistes, la virtuosité éloignait Paderewski de ce qui était terrestre). Enfin, son piano à queue symbolisait le pouvoir, tant au sens artistique (pouvoir absolu sur le public des concerts) qu’au sens politique (contrôle des adversaires dans les conflits qui se déroulaient en Pologne et sur la scène internationale).Abstract:Dieser Artikel führt eine Kontextan","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47241485","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}
Abstract:Warwick Braithwaite was a seminal figure in British musical life for half a century, yet he is largely forgotten today. His archive, held in the Alexander Turnbull Library, Wellington, New Zealand (the country of his birth), gives only a hint of his extensive career with the fledgling British Broadcasting Corporation (BBC), on the concert platform, in the recording studio, and in the opera house. The number of music manuscripts in the archive reminds us that, despite being one of the busiest conductors in Britain, he dedicated much of his spare time to composition.Braithwaite’s career took him from the rough and tumble of touring with Josef O’Mara’s Grand Opera Company, to conducting the Royal Ballet for Margot Fonteyn and the Royal Opera for Boris Christoff and Victoria de los Angeles. He found himself wielding the baton for the finest companies, artists, and orchestras in Britain, South Africa, and Australasia.The manuscript of his autobiography, held in the archive and recently published for the first time, reveals his complex nature and the sheer ambition that drove him to pursue his chosen path despite two World Wars, colonial prejudices, and professional intrigues.Abstract:Warwick Braithwaite a été une figure majeure de la vie musicale britannique pendant un demisiècle, mais il est aujourd’hui largement oublié. Ses archives, conservées à la bibliothèque Alexander Turnbull de Wellington, en Nouvelle-Zélande (son pays natal), ne donnent qu’un aperçu de sa vaste carrière au sein de la toute jeune British Broadcasting Corporation (BBC), sur les scènes de concert, dans les studios d’enregistrement et sur les scènes d’opéra. Le nombre de manuscrits musicaux conservés dans les archives nous rappelle que, bien qu’étant l’un des chefs d’orchestre les plus sollicités de Grande-Bretagne, il consacrait une large part de son temps libre à la composition.La carrière de Braithwaite l’a mené de la rude vie des tournées avec la Grand Opera Company de Josef O’Mara, à la direction du Royal Ballet pour Margot Fonteyn et du Royal Opera pour Boris Christoff et Victoria de los Angeles. Il a été invité à manier la baguette pour les plus grandes compagnies, artistes et orchestres de Grande-Bretagne, d’Afrique du Sud et d’Australasie.Le manuscrit de son autobiographie, conservé dans les archives et récemment publié pour la première fois, révèle sa nature complexe et son ambition à toute épreuve qui l’a poussé à poursuivre sa voie malgré deux guerres mondiales, les préjugés coloniaux et les intrigues professionnelles.Abstract:Warwick Braithwaite war ein halbes Jahrhundert lang eine wegweisende Figur im britischen Musikleben, ist aber heute weitgehend vergessen. Sein Archiv, das sich in der Alexander Turnbull Library, Wellington, Neuseeland (dem Land seiner Geburt) befindet, gibt nur einige Hinweise auf seine umfangreiche Karriere bei der noch jungen British Broadcasting Corporation (BBC), auf Opern- und Konzertbühnen sowie im Aufnahmestudio. Die große Anzahl
沃里克·布雷斯韦特是英国音乐界半个世纪以来的重要人物，但他今天基本上被遗忘了。他的档案保存在新西兰惠灵顿的亚历山大·特恩布尔图书馆（他的出生国），这只是他在羽翼未丰的英国广播公司（BBC）、音乐会平台、录音室和歌剧院的广泛职业生涯的一个暗示。档案中的音乐手稿数量提醒我们，尽管他是英国最繁忙的指挥家之一，但他把大部分业余时间都花在了作曲上。Braithwaite的职业生涯使他从与Josef O'Mara的大歌剧团巡演的坎坷，到为Margot Fonteyn指挥皇家芭蕾舞团，以及为Boris Christoff和Victoria de los Angeles指挥皇家歌剧院。他发现自己为英国、南非和澳大拉西亚最优秀的公司、艺术家和管弦乐队挥舞着接力棒。他的自传手稿保存在档案馆中，最近首次出版，揭示了他的复杂本性和纯粹的野心，正是这种野心驱使他不顾两次世界大战、殖民偏见和职业阴谋，继续走自己选择的道路。Warwick Braithwaite是英国音乐剧中一个不可抗力的人物，这是一个很好的例子。档案馆、惠灵顿的亚历山大·特恩布尔图书馆（Alexander Turnbull de Wellington）、新Zélande（儿子支付出生费）、英国广播公司（BBC）的固定职业生涯、音乐会现场、注册工作室和歌剧现场。音乐委员会和档案馆的手稿名称，包括大布列塔尼管弦乐队的厨师和解决方案，在很大程度上是自由创作的一部分。Braithwaite的职业生涯是在Josef O'Mara大歌剧院、Margot Fonteyn皇家芭蕾舞团和Boris Christoff和Victoria de los Angeles皇家歌剧院的指导下进行的。长棍面包是对布列塔尼、南非和澳大拉西亚所有伟大的公司、艺术家和管弦乐队的邀请。儿子自传的手稿，档案和公共事业委员会，自然情结和儿子的野心，都是世界上两个游击队、殖民主义者和专业人士的阴谋。沃里克·布雷斯韦特是英国音乐界半个世纪以来的先驱人物，但现在基本上被遗忘了。他的档案馆位于新西兰惠灵顿的亚历山大·特恩布尔图书馆（他的出生国），只提供了他在年轻的英国广播公司（BBC）、歌剧和音乐会舞台以及录音室的广泛职业生涯的一些线索。档案中的大量音乐手稿提醒我们，尽管他是英国最繁忙的指挥家之一，但他把大部分空闲时间都花在了作曲上。Braithwaite的职业生涯使他从Josef O'Mara的大歌剧团的艰苦巡演业务，到为Margot Fonteyn指挥皇家芭蕾舞团，为Boris Christoff和Victoria de los Angeles指挥皇家歌剧院。他的指挥棒曾在英国、南非、亚洲和澳大利亚最好的艺术家和管弦乐队的最好的房子里使用。他的自传手稿保存在档案馆中，最近首次出版，揭示了他的复杂性和纯粹的野心，这驱使他在两次世界大战、殖民偏见和职业阴谋的情况下继续走自己选择的道路。
{"title":"Out of the Shadows: The Remarkable Story of Warwick Braithwaite (1896–1971), New Zealand’s Finest Conductor","authors":"R. Flury","doi":"10.1353/fam.2023.0001","DOIUrl":"https://doi.org/10.1353/fam.2023.0001","url":null,"abstract":"Abstract:Warwick Braithwaite was a seminal figure in British musical life for half a century, yet he is largely forgotten today. His archive, held in the Alexander Turnbull Library, Wellington, New Zealand (the country of his birth), gives only a hint of his extensive career with the fledgling British Broadcasting Corporation (BBC), on the concert platform, in the recording studio, and in the opera house. The number of music manuscripts in the archive reminds us that, despite being one of the busiest conductors in Britain, he dedicated much of his spare time to composition.Braithwaite’s career took him from the rough and tumble of touring with Josef O’Mara’s Grand Opera Company, to conducting the Royal Ballet for Margot Fonteyn and the Royal Opera for Boris Christoff and Victoria de los Angeles. He found himself wielding the baton for the finest companies, artists, and orchestras in Britain, South Africa, and Australasia.The manuscript of his autobiography, held in the archive and recently published for the first time, reveals his complex nature and the sheer ambition that drove him to pursue his chosen path despite two World Wars, colonial prejudices, and professional intrigues.Abstract:Warwick Braithwaite a été une figure majeure de la vie musicale britannique pendant un demisiècle, mais il est aujourd’hui largement oublié. Ses archives, conservées à la bibliothèque Alexander Turnbull de Wellington, en Nouvelle-Zélande (son pays natal), ne donnent qu’un aperçu de sa vaste carrière au sein de la toute jeune British Broadcasting Corporation (BBC), sur les scènes de concert, dans les studios d’enregistrement et sur les scènes d’opéra. Le nombre de manuscrits musicaux conservés dans les archives nous rappelle que, bien qu’étant l’un des chefs d’orchestre les plus sollicités de Grande-Bretagne, il consacrait une large part de son temps libre à la composition.La carrière de Braithwaite l’a mené de la rude vie des tournées avec la Grand Opera Company de Josef O’Mara, à la direction du Royal Ballet pour Margot Fonteyn et du Royal Opera pour Boris Christoff et Victoria de los Angeles. Il a été invité à manier la baguette pour les plus grandes compagnies, artistes et orchestres de Grande-Bretagne, d’Afrique du Sud et d’Australasie.Le manuscrit de son autobiographie, conservé dans les archives et récemment publié pour la première fois, révèle sa nature complexe et son ambition à toute épreuve qui l’a poussé à poursuivre sa voie malgré deux guerres mondiales, les préjugés coloniaux et les intrigues professionnelles.Abstract:Warwick Braithwaite war ein halbes Jahrhundert lang eine wegweisende Figur im britischen Musikleben, ist aber heute weitgehend vergessen. Sein Archiv, das sich in der Alexander Turnbull Library, Wellington, Neuseeland (dem Land seiner Geburt) befindet, gibt nur einige Hinweise auf seine umfangreiche Karriere bei der noch jungen British Broadcasting Corporation (BBC), auf Opern- und Konzertbühnen sowie im Aufnahmestudio. Die große Anzahl","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41611528","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}
Abstract:This article builds on our previous research, ‘Surveying Composers: Methods of Distribution, Discoverability, and Accessibility of their Works and the Corresponding Impact on Library Collections’, published in this journal (Vol. 67, no. 2 [April–June 2020]: 81–98). In this second round of research, we interviewed eighteen composers with the goal of including global perspectives, digging deeper into their compositional styles, formats, and current understanding of libraries. Interviewees told us about their hopes for the future of libraries and contemporary music. Through our findings we share what we have learned including composers’ perception of genre in description, trends in compositional output and resulting distribution challenges, use of social media, publishers, vendors and other marketing strategies, and the role of libraries in new music discovery.Abstract:Cet article s’appuie sur notre recherche précédente : « Étudier les compositeurs : méthodes de diffusion, possibilités de découverte et accessibilité de leurs œuvres et les conséquences associées sur les collections des bibliothèques », publiées dans ce journal (vol. 67, no. 2 [avril–juin 2020]: 81–98). Dans cette seconde phase de recherche, nous avons interrogé dix-huit compositeurs, avec pour but d’inclure des perspectives globales, en approfondissant leur style de composition, leurs formats et leur compréhension actuelle des bibliothèques. Les personnes interrogées nous ont parlé de leurs espoirs pour le futur des bibliothèques et de la musique contemporaine. Nous partageons ce que nous avons appris, notamment la perception par les compositeurs de la notion de genre dans la description, les tendances de la production des œuvres musicales et les défis de diffusion qui en découlent, l’utilisation des médias sociaux, des éditeurs, des vendeurs et d’autres stratégies de marketing, ainsi que le rôle des bibliothèques dans la découverte de nouvelles musiquesAbstract:Dieser Artikel baut auf unserer früheren Untersuchung „Surveying Composers: Methods of Distribution, Discoverability, and Accessibility of their Works and the Corresponding Impact on Library Collections“ auf, die in dieser Zeitschrift veröffentlicht wurde (Band 67, Heft 2 [April–Juni 2020] : Seiten 81–98). Für diesen zweiten Teil interviewten wir achtzehn Komponisten mit dem Ziel, globale Sichtweisen einzubeziehen und tiefer in ihre Kompositionsstile, die von ihnen bevorzugten Formate und in ihr aktuelles Verständnis von Bibliotheken einzutauchen. Wir sprachen mit den Interviewten über ihre Hoffnungen für die Zukunft von Bibliotheken und zeitgenössischer Musik. Als Ergebnis vermitteln wir unsere Einsichten über die aufseiten der Komponisten bestehenden Einstellungen zu Genrezuordnungen und zu Trends in der Kompositionspraxis sowie zu den daraus resultierenden Herausforderungen bei der Verbreitung, nämlich der Nutzung von sozialen Medien, dem Umgang mit Verlagen und Händlern wié auch weiterer Marketinginstrumente bis
摘要：本文建立在我们之前的研究基础上，“调查作曲家：其作品的分发、可发现性和可访问性方法以及对图书馆藏品的相应影响”，发表于本期刊（第67卷，第2期[2020年4月至6月]:81-98）。在第二轮研究中，我们采访了18位作曲家，目的是包括全球视角，深入了解他们的作曲风格、格式和对图书馆的当前理解。受访者告诉我们他们对图书馆和当代音乐未来的希望。通过我们的发现，我们分享了我们所学到的知识，包括作曲家对描述中流派的看法、作曲产出和结果发行挑战的趋势、社交媒体、出版商、供应商和其他营销策略的使用，以及图书馆在新音乐发现中的作用。摘要：本文建立在我们之前的研究基础上：“研究作曲家：传播方法、发现可能性和作品的可访问性以及对图书馆藏品的相关影响”，发表于本期刊（第67卷，第2期【2020年4月至6月】：81-98）。在第二阶段的研究中，我们采访了18位作曲家，目的是包括全球视角，深入了解他们的作曲风格、格式和对图书馆的当前理解。受访者告诉我们他们对图书馆和当代音乐未来的希望。我们分享我们所学到的知识，包括作曲家对描述中性别概念的看法、音乐作品制作的趋势和由此产生的传播挑战、社交媒体、出版商、销售商和其他营销策略的使用，以及图书馆在发现新音乐中的作用他们作品的可访问性及其对图书馆藏品的相应影响“Auf，Dieser Zeitschrift Veröffentlicht Wurde”（乐队67，Heft 2【2020年4月至6月】：Seiten 81-98）für diesen zweiten teil采访了Achtzehn komponisten mit dem ziel，Globale sichtweisen einzubeziehen und tiefer in ihre kompositionsstile，die von ihnen bevorzugten formate und in ihr aktuelles verständnis von bibliotheken einzutauchen。Wir sprachen mit den interviewtenüber ihre hoffnungen für die zukunft von Bibliotheken und Zeitgenössischer Musik。als ergebnis vermitteln wir unsere einsichtenüber die aufseiten der komponisten bestehenden einstellungen zu genrezuordnungen und zu KompositionsPraxis sowie zu den daraus resultierenden herausforderungen bei der verbreitung，nämlich der nutzung von sozialen medien，dem umgang mit verlagen und händlern wiéauch weiterer marketinginstrumente bis hin zur rolle von bibliotheken beim entdecken neuer musik。
{"title":"Surveying Composers Part II: Perspectives on Composer and Library Engagement for the Future","authors":"Elizabeth Berndt, Sandi-Jo Malmon","doi":"10.1353/fam.2023.0005","DOIUrl":"https://doi.org/10.1353/fam.2023.0005","url":null,"abstract":"Abstract:This article builds on our previous research, ‘Surveying Composers: Methods of Distribution, Discoverability, and Accessibility of their Works and the Corresponding Impact on Library Collections’, published in this journal (Vol. 67, no. 2 [April–June 2020]: 81–98). In this second round of research, we interviewed eighteen composers with the goal of including global perspectives, digging deeper into their compositional styles, formats, and current understanding of libraries. Interviewees told us about their hopes for the future of libraries and contemporary music. Through our findings we share what we have learned including composers’ perception of genre in description, trends in compositional output and resulting distribution challenges, use of social media, publishers, vendors and other marketing strategies, and the role of libraries in new music discovery.Abstract:Cet article s’appuie sur notre recherche précédente : « Étudier les compositeurs : méthodes de diffusion, possibilités de découverte et accessibilité de leurs œuvres et les conséquences associées sur les collections des bibliothèques », publiées dans ce journal (vol. 67, no. 2 [avril–juin 2020]: 81–98). Dans cette seconde phase de recherche, nous avons interrogé dix-huit compositeurs, avec pour but d’inclure des perspectives globales, en approfondissant leur style de composition, leurs formats et leur compréhension actuelle des bibliothèques. Les personnes interrogées nous ont parlé de leurs espoirs pour le futur des bibliothèques et de la musique contemporaine. Nous partageons ce que nous avons appris, notamment la perception par les compositeurs de la notion de genre dans la description, les tendances de la production des œuvres musicales et les défis de diffusion qui en découlent, l’utilisation des médias sociaux, des éditeurs, des vendeurs et d’autres stratégies de marketing, ainsi que le rôle des bibliothèques dans la découverte de nouvelles musiquesAbstract:Dieser Artikel baut auf unserer früheren Untersuchung „Surveying Composers: Methods of Distribution, Discoverability, and Accessibility of their Works and the Corresponding Impact on Library Collections“ auf, die in dieser Zeitschrift veröffentlicht wurde (Band 67, Heft 2 [April–Juni 2020] : Seiten 81–98). Für diesen zweiten Teil interviewten wir achtzehn Komponisten mit dem Ziel, globale Sichtweisen einzubeziehen und tiefer in ihre Kompositionsstile, die von ihnen bevorzugten Formate und in ihr aktuelles Verständnis von Bibliotheken einzutauchen. Wir sprachen mit den Interviewten über ihre Hoffnungen für die Zukunft von Bibliotheken und zeitgenössischer Musik. Als Ergebnis vermitteln wir unsere Einsichten über die aufseiten der Komponisten bestehenden Einstellungen zu Genrezuordnungen und zu Trends in der Kompositionspraxis sowie zu den daraus resultierenden Herausforderungen bei der Verbreitung, nämlich der Nutzung von sozialen Medien, dem Umgang mit Verlagen und Händlern wié auch weiterer Marketinginstrumente bis ","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48968523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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