Pub Date : 2023-06-01DOI: 10.1353/not.2023.a897450
Jennifer N. Oates, James Buhler, K. Abromeit, Marty Jenkins, Scott Stone, Stephanie Akau, Janet McKinney, Rachel McNellis, J. Karr, J. Persons, J. Wilson, A. Smith, Daniel F. Boomhower, Ivan Kaproth-Joslin, Donald Manildi, Jeff Schwartz, Matthew Dueppen, Bryan Proksch, Aleksandra Drozzina, David Salkowski, A. Giust, Stewart Duncan, D. Davies, Katrina Dzyak, Ryan Ross, Paul Lombardi, James Procell, Matt Ertz, C. Rowden, W. Osmond, Edward M. Komara
ABSTRACT:The author analyzed the citations from a total of seventy-five dance MFA theses from the years 2010, 2015, and 2020. Results indicate that dance scholars use books more frequently than other types of information. Based on an analysis of Library of Congress Classification areas, the information cited in the theses was very interdisciplinary, with more non-dance resources being cited than dance-specific ones. This information—the first citation analysis focused on dance—helps to establish a baseline of information use in the scholarly dance field and can also be of practical use to the performing arts librarian wanting to better understand how to potentially work with this unique discipline.
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Pub Date : 2023-06-01DOI: 10.1353/not.2023.a897469
Stewart Duncan
mission undertaken by Jacob von Stählin with the periodical St. Petersburg Gazette from the 1730s onwards. The opportunity for financial reward was one of the reasons why actors were traveling east. When considering the circulation of artists between Italy and Russia, the editor states the objective of critically assessing how Italian-ness (italianità, “the notion we use in the sense of the image of otherness that Europeans wished to assimilate” [p. 12]) was— together with musical style—“defined but also challenged through the productions of Italian theatre and opera abroad and their border-crossing encounters with national traditions” (pp. 12–13). Of course, professionals from the Italian peninsula promoted the circulation of their repertory by travelling throughout Europe. But a common nationality is given as an axiom without considering the differences among multiple places of origin. The discourse is organized according to an idea of the European geographical (and cultural) map that refers to a stereotyped national principle: the opposition between Italian-ness and otherness, for example, does not seem appropriate for a study on mobility devoted specifically to the eighteenth century, when (if ever) different places cannot be so easily defined in national terms, nor can their inhabitants. Apart from this somewhat anachronistic approach, the volume deserves a careful reading by those who seek valuable information on Italian authors, their plays and diffusion in specific regions, and on individual artists performing operas throughout various European courts. From this perspective, it can undoubtedly serve as a basis for further work in the realm of cultural transfer.
从1730年代起,Jacob von Stählin与《圣彼得堡公报》杂志一起执行了这项任务。获得经济奖励的机会是演员们东渡的原因之一。当考虑到艺术家在意大利和俄罗斯之间的流通时,编辑指出,批判性地评估意大利性(意大利语,“我们在欧洲人希望同化的另类形象的意义上使用的概念”[p.12])与音乐风格是如何“被定义的,但也受到了意大利戏剧和歌剧在国外的制作及其与民族传统的跨界接触的挑战”(第12-13页)。当然,来自意大利半岛的专业人士通过在欧洲各地旅行来促进他们剧目的流通。但是,在没有考虑多个原籍地之间的差异的情况下,共同国籍被视为一条公理。这篇文章是根据欧洲地理(和文化)地图的一种理念组织的,该理念指的是一种刻板的国家原则:例如,意大利性和另类之间的对立似乎不适合专门研究18世纪的流动性,当时(如果有的话)不同的地方无法如此容易地用国家术语来定义,他们的居民也不能。除了这种有点不合时宜的方法之外,这本书还值得那些寻求意大利作家、他们的戏剧和在特定地区的传播以及在欧洲各个法院表演歌剧的艺术家个人的宝贵信息的人仔细阅读。从这个角度来看,它无疑可以作为文化转移领域进一步工作的基础。
{"title":"Over Here, Over There: Transatlantic Conversations on the Music of World War I ed. by William Brooks, Christina Bashford, and Gayle Magee (review)","authors":"Stewart Duncan","doi":"10.1353/not.2023.a897469","DOIUrl":"https://doi.org/10.1353/not.2023.a897469","url":null,"abstract":"mission undertaken by Jacob von Stählin with the periodical St. Petersburg Gazette from the 1730s onwards. The opportunity for financial reward was one of the reasons why actors were traveling east. When considering the circulation of artists between Italy and Russia, the editor states the objective of critically assessing how Italian-ness (italianità, “the notion we use in the sense of the image of otherness that Europeans wished to assimilate” [p. 12]) was— together with musical style—“defined but also challenged through the productions of Italian theatre and opera abroad and their border-crossing encounters with national traditions” (pp. 12–13). Of course, professionals from the Italian peninsula promoted the circulation of their repertory by travelling throughout Europe. But a common nationality is given as an axiom without considering the differences among multiple places of origin. The discourse is organized according to an idea of the European geographical (and cultural) map that refers to a stereotyped national principle: the opposition between Italian-ness and otherness, for example, does not seem appropriate for a study on mobility devoted specifically to the eighteenth century, when (if ever) different places cannot be so easily defined in national terms, nor can their inhabitants. Apart from this somewhat anachronistic approach, the volume deserves a careful reading by those who seek valuable information on Italian authors, their plays and diffusion in specific regions, and on individual artists performing operas throughout various European courts. From this perspective, it can undoubtedly serve as a basis for further work in the realm of cultural transfer.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"628 - 631"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46530397","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 : 2023-06-01DOI: 10.1353/not.2023.a897471
Katrina Dzyak
{"title":"Emily Dickinson's Music Book and the Musical Life of an American Poet by George Boziwick (review)","authors":"Katrina Dzyak","doi":"10.1353/not.2023.a897471","DOIUrl":"https://doi.org/10.1353/not.2023.a897471","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"634 - 637"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41841363","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 : 2023-06-01DOI: 10.1353/not.2023.a897460
Daniel F. Boomhower
University Press, 2016). The specificity of Law’s research, as well as its high level of detail, does mean that those not already familiar with eighteenthcentury French opera will face a steep learning curve. For those already engaged in this area of study, however, Law’s book presents an insightful and worthwhile examination of dramatic expression in French opera and its connections to broader Enlightenment values throughout the century.
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Pub Date : 2023-06-01DOI: 10.1353/not.2023.a897461
Ivan Kaproth-Joslin
information thereafter only appearing in Bach-Digital. Meanwhile, the BachBibliographie (http://swb.bsz-bw.de/DB =2.355, accessed 6 January 2023) provides references to the vast literature on Bach’s music, which could not possibly be cited in BWV3. With the new BWV3, Blanken, Wolff, and Wollny deftly address the reality that the BWV numbering has become the de facto standard, while introducing the much more nuanced reality of the composer’s legacy that survives (and only incompletely) in original sources. Indeed, it is important to recognize that some BWV numbers disguise complex compositional processes and distinct work entities. Librarians will only infuriate their users, however, if suddenly locating a score or recording of the St. John Passion requires one to navigate between five different work records. Likewise, audiences listening to live or recorded performances should only suffer scholarly minutia to the extent that they wish to read program notes. No one should ever encounter a concert program listing a performance the B-Minor Mass as “BWV3 232.4”; the work can comfortably remain “BWV 232,” without apology. No matter the skill and care clearly evident in the organization of information in BWV3, this volume will likely prove difficult to use for many students, more than a few musicologists, and just as many library catalogers—to say nothing of concertgoers. It is also expensive. These are, perhaps, the realities of working with any sophisticated scholarly tool. Just as Bach’s music rewards intensive engagement, so too will BWV3. Christine Blanken, Christoph Wolff, and Peter Wollny have produced a catalog worthy of J. S. Bach’s extraordinary compositional legacy.
{"title":"Cataloging beyond the Notes: Annotating Bibliographic Records for Music Effectively in RDA; Examples Illustrating RDA in the Online Bibliographic Record, Second Edition of \"Notes for Music Catalogers.\" by Ralph Hartsock and Peter H. Lisius (review)","authors":"Ivan Kaproth-Joslin","doi":"10.1353/not.2023.a897461","DOIUrl":"https://doi.org/10.1353/not.2023.a897461","url":null,"abstract":"information thereafter only appearing in Bach-Digital. Meanwhile, the BachBibliographie (http://swb.bsz-bw.de/DB =2.355, accessed 6 January 2023) provides references to the vast literature on Bach’s music, which could not possibly be cited in BWV3. With the new BWV3, Blanken, Wolff, and Wollny deftly address the reality that the BWV numbering has become the de facto standard, while introducing the much more nuanced reality of the composer’s legacy that survives (and only incompletely) in original sources. Indeed, it is important to recognize that some BWV numbers disguise complex compositional processes and distinct work entities. Librarians will only infuriate their users, however, if suddenly locating a score or recording of the St. John Passion requires one to navigate between five different work records. Likewise, audiences listening to live or recorded performances should only suffer scholarly minutia to the extent that they wish to read program notes. No one should ever encounter a concert program listing a performance the B-Minor Mass as “BWV3 232.4”; the work can comfortably remain “BWV 232,” without apology. No matter the skill and care clearly evident in the organization of information in BWV3, this volume will likely prove difficult to use for many students, more than a few musicologists, and just as many library catalogers—to say nothing of concertgoers. It is also expensive. These are, perhaps, the realities of working with any sophisticated scholarly tool. Just as Bach’s music rewards intensive engagement, so too will BWV3. Christine Blanken, Christoph Wolff, and Peter Wollny have produced a catalog worthy of J. S. Bach’s extraordinary compositional legacy.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"606 - 609"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48661194","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 : 2023-06-01DOI: 10.1353/not.2023.a897473
Paul Lombardi
Twentieth-Century Music and Mathematics is a compilation of seventeen essays (and an introduction) in English, French, Italian, and Spanish. The first of its two parts, “Twentieth-Century Composers and Mathematics,” focuses on specific composers—namely Olivier Messiaen, Iannis Xenakis, Franco Evangelisti, Pierre Boulez, Arvo Pärt, Steve Reich, and Philip Glass (but curiously not Milton Babbitt)—and the last chapter in this part covers a handful of contemporary Spanish composers. The second part, “Music and Mathematics: Theories, Practices, Future,” focuses on recent theoretical trends. Although the book has “twentieth century” in its title, its topics are mostly from only the second half of the twentieth century and extend to the beginning of the twenty-first century. It is less of a book on music theory than on the history of music theory, which is by no means a drawback. In the introduction, Massimiliano Locanto explains:
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Reviewed by: Circé: cantata for soprano, flutes, strings, and basso continuoby Collin de Blamont, and: Première suite de pièces de clavecinby Gabriel Dubuisson Devin Burke Collin de Blamont. Circé: cantata for soprano, flutes, strings, and basso continuo. Edited by Graham Sadler. Versailles: Centre de musique baroque de Versailles, 2020. [Intro., p. 3– 12; text and trans., p. 13– 14; score, p. 15– 48; critical notes, p. 49– 51. ISMN 979-0-560-16299-7. $33.] Gabriel Dubuisson. Première suite de pièces de clavecin. Edited by Louis Caste-lain. Introduction by Gaëtan Naulleau. Versailles: Centre de musique baroque de Versailles, 2020. [Intro., p. 3– 14; score, p. 15– 33; critical notes, p. 34. ISMN 979-0-560-16305-5. $30.] This year marks the thirty-fifth anniversary of the founding of the Centre de Musique Baroque Versailles (CMBV). Vincent Berthier de Lioncourt and Philippe Beaussant established the CMBV in 1987 in the wake of the early music revival, and since then the center has become indispensable to both scholars and performers of seventeenth- and eighteenth-century French music. The two editions reviewed here represent a sampling of recent publications from the CMBV's editions catalog, which includes over two thousand works published in more than three hundred fifty editions. Their catalog comprises eight different series: works for solo voice-vocal ensemble, choral works, works for choir and orchestra, solo instrumental pieces, chamber music, orchestral works, opera, and aria collections. In addition to these series, the CMBV publishes critical editions of composers' complete works and anthologies of exemplary French music. Beyond its score publications, the CMBV also regularly releases new books and audio and video recordings. These releases frequently contain work that began with or benefitted from the various symposia and seminars that the CMBV organizes. Researchers and performers often learn from each other in these events, and the resulting collaborative relationships are among the defining strengths of the CMBV's work. This review discusses recent editions from two different CMBV series (solo voice-vocal ensemble and solo instrumental pieces). Both editions are standalone works of musical and historical interest, yet one has been recently discovered while the other is more familiar to scholars and performers of French music. Both editions feature introductory and critical notes in French and English, with the critical notes appearing after the score in each case. The critical notes are easy to interpret and are presented in the CMBV's standard tabular format. Parts for the editions with orchestra are sold separately from the score. Graham Sadler's edition of Collin de Blamont's cantata Circéfor high voice and orchestra marks the first appearance of this work in a modern edition. During the 1720s and 30s, Blamont (1690–1760) established himself as one of the most important composers in France, and he represents the type of composer who
评论者Circé:女高音、长笛、弦乐和低音大合唱(由科林-德-布拉蒙特作曲)和:Première suite de pièces de clavecinby Gabriel Dubuisson Devin Burke Collin de Blamont.Circé:为女高音、长笛、弦乐和低音连奏而作的大合唱。由格雷厄姆-萨德勒编辑。凡尔赛:凡尔赛:凡尔赛巴洛克音乐中心,2020 年。[引言,第 3-12 页;文本和译文,第 13-14 页;乐谱,第 15-48 页;评论注释,第 49-51 页。ISM979-0-560-16299-7。$33.]加布里埃尔-杜比松。Première suite de pièces de clavecin.路易-卡斯特-莱恩编辑。导言:加埃坦-瑙尔洛。凡尔赛:凡尔赛:凡尔赛巴洛克音乐中心,2020 年。[介绍,第 3-14 页;乐谱,第 15-33 页;评论注释,第 34 页。ISM979-0-560-16305-5。]今年是凡尔赛巴洛克音乐中心(CMBV)成立三十五周年。Vincent Berthier de Lioncourt 和 Philippe Beaussant 于 1987 年在早期音乐复兴的浪潮中成立了 CMBV,自那时起,该中心已成为研究十七、十八世纪法国音乐的学者和演奏家不可或缺的机构。这里评介的两个版本是 CMBV 版本目录中近期出版物的一部分,该目录包括三百五十多个版本中出版的两千多部作品。其目录包括八个不同的系列:独唱声乐合奏作品、合唱作品、合唱团和管弦乐队作品、独奏器乐曲、室内乐、管弦乐队作品、歌剧和咏叹调集。除这些系列外,CMBV 还出版作曲家全集的评论版和法国音乐典范选集。除乐谱出版物外,CMBV 还定期发行新书和音像制品。这些出版物中的作品往往是在 CMBV 举办的各种研讨会和讨论会上开始创作或从中受益的。研究人员和表演者经常在这些活动中相互学习,由此产生的合作关系是 CMBV 工作的决定性优势之一。本评论将讨论 CMBV 两个不同系列(独唱声乐合奏和独奏器乐曲)的最新版本。这两个版本都是具有音乐和历史意义的独立作品,但其中一个是新近发现的,而另一个则是法国音乐学者和演奏家更为熟悉的。两个版本都有法文和英文的介绍性注释和评论性注释,其中评论性注释出现在乐谱之后。评论注释采用 CMBV 的标准表格格式,易于解读。带管弦乐队版本的零件与乐谱分开出售。格拉汉姆-萨德勒(Graham Sadler)出版的科林-德-布拉蒙(Collin de Blamont)的高音大合唱《圆舞曲》(Circéfor high voice and orchestra)是这部作品首次出现在现代版本中。在 17 世纪二三十年代,布拉蒙(1690-1760 年)成为法国最重要的作曲家之一,他的作品引人入胜,具有重要的历史意义,如果不是 CMBV 的努力,今天可能很少有人关注他。1719 年,布拉蒙获得了内阁音乐总监的职位,1740 年代中期,他因病不得不放弃大部分专业工作,从那时起,布拉蒙就在路易十五的宫廷中享有很高的声望。他的声誉建立在作曲家的成就和教育家的技巧上,尤其是在培养歌唱家方面。本版本的价值之一在于它既展示了布拉蒙创作戏剧音乐的技巧,也展示了他在整个职业生涯中音乐语言的发展。作为一名作曲家,布拉蒙对歌剧和管弦乐大合唱的影响最大。在让-菲利普-拉莫(Jean-Philippe Rameau)的《希波吕特与阿里奇》(Hippolyte et Aricie)颠覆法国音乐格局的十年前,他就通过《希腊与罗马的节日》(1723 年)发明了芭蕾舞剧这一体裁;其他歌剧和小品也取得了巨大成功。在这些作品中,他进行了多项创新,包括使用更多的咏叹调和扩大管弦乐的调色板。这两项创新都预示着拉莫的到来,然而布拉蒙的风格更为简洁,这意味着拉莫的支持者在拉莫与吕利的争论中将他与吕利对立起来。
{"title":"Circé: cantata for soprano, flutes, strings, and basso continuo by Collin de Blamont, and: Première suite de pièces de clavecin by Gabriel Dubuisson","authors":"Devin Burke","doi":"10.1353/not.2023.0021","DOIUrl":"https://doi.org/10.1353/not.2023.0021","url":null,"abstract":"Reviewed by: Circé: cantata for soprano, flutes, strings, and basso continuoby Collin de Blamont, and: Première suite de pièces de clavecinby Gabriel Dubuisson Devin Burke Collin de Blamont. Circé: cantata for soprano, flutes, strings, and basso continuo. Edited by Graham Sadler. Versailles: Centre de musique baroque de Versailles, 2020. [Intro., p. 3– 12; text and trans., p. 13– 14; score, p. 15– 48; critical notes, p. 49– 51. ISMN 979-0-560-16299-7. $33.] Gabriel Dubuisson. Première suite de pièces de clavecin. Edited by Louis Caste-lain. Introduction by Gaëtan Naulleau. Versailles: Centre de musique baroque de Versailles, 2020. [Intro., p. 3– 14; score, p. 15– 33; critical notes, p. 34. ISMN 979-0-560-16305-5. $30.] This year marks the thirty-fifth anniversary of the founding of the Centre de Musique Baroque Versailles (CMBV). Vincent Berthier de Lioncourt and Philippe Beaussant established the CMBV in 1987 in the wake of the early music revival, and since then the center has become indispensable to both scholars and performers of seventeenth- and eighteenth-century French music. The two editions reviewed here represent a sampling of recent publications from the CMBV's editions catalog, which includes over two thousand works published in more than three hundred fifty editions. Their catalog comprises eight different series: works for solo voice-vocal ensemble, choral works, works for choir and orchestra, solo instrumental pieces, chamber music, orchestral works, opera, and aria collections. In addition to these series, the CMBV publishes critical editions of composers' complete works and anthologies of exemplary French music. Beyond its score publications, the CMBV also regularly releases new books and audio and video recordings. These releases frequently contain work that began with or benefitted from the various symposia and seminars that the CMBV organizes. Researchers and performers often learn from each other in these events, and the resulting collaborative relationships are among the defining strengths of the CMBV's work. This review discusses recent editions from two different CMBV series (solo voice-vocal ensemble and solo instrumental pieces). Both editions are standalone works of musical and historical interest, yet one has been recently discovered while the other is more familiar to scholars and performers of French music. Both editions feature introductory and critical notes in French and English, with the critical notes appearing after the score in each case. The critical notes are easy to interpret and are presented in the CMBV's standard tabular format. Parts for the editions with orchestra are sold separately from the score. Graham Sadler's edition of Collin de Blamont's cantata Circéfor high voice and orchestra marks the first appearance of this work in a modern edition. During the 1720s and 30s, Blamont (1690–1760) established himself as one of the most important composers in France, and he represents the type of composer who","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136179700","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}
This column features percussion music by women composers. Names were compiled using the Theodore Front database. Additional names were contributed by Ross Karre, Associate Professor of Percussion, in the Oberlin Conservatory of Music. The lists of works included are not comprehensive for each composer but are rather either recently published or notable. Special thanks to Jake Balmuth for assisting with this column.
{"title":"Music Received","authors":"K. Abromeit","doi":"10.1353/not.2023.0023","DOIUrl":"https://doi.org/10.1353/not.2023.0023","url":null,"abstract":"This column features percussion music by women composers. Names were compiled using the Theodore Front database. Additional names were contributed by Ross Karre, Associate Professor of Percussion, in the Oberlin Conservatory of Music. The lists of works included are not comprehensive for each composer but are rather either recently published or notable. Special thanks to Jake Balmuth for assisting with this column.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"448 - 451"},"PeriodicalIF":0.9,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49610952","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}
Kurt Weill. Happy End: ein Stück mit Musik in drei Akten. Edited by Stephen Hinton and Elmar Juchem. New York: The Kurt Weill Foundation for Music, Inc. and European American Music Corporation (Kurt Weill Edition, Ser. I, v. 6) [2 volumes: v. 1. Front matter in Eng., and Ger.: foreword, p. 7–8; list of sources and sigla, p. 11–12; introduction, p. 13–37; facsimiles, p. 39–52; performing forces, p. 54; synopsis, p. 55–56; list of musical numbers, p. 57; play and full score, p. 59–236; abbreviations, p. 237; Kurt Weill Edition personnel, p. 238; credits and acknowledgements, p. 239; copyright information, p. 240. v. 2. Critical report. p. 7–8; list of sources and sigla, p. 9–12; statement of source valuation and usage, p. 13–15; commentary: general issues, p. 17–50; commentary: critical notes, p. 51; table: overview of musical material, p. 53–58; source descriptions, p. 59; abbreviations, p. 60; Kurt Weill Edition Personnel, p. 61. Cloth. ISBN 978-1-62721-904-4. $450.]
库尔特·威尔。快乐的结局:在德雷阿克滕的Musik大街上。由Stephen Hinton和Elmar Juchem编辑。纽约:Kurt Weill音乐基金会,股份有限公司和欧美音乐公司(Kurt Weil Edition,Ser.I,v.6)[2卷:v.1。Eng.和Ger.中的Front matter:前言,第7-8页;来源和sigla列表,第11-12页;引言,第13-37页;传真,第39–52页;执行力,第54页;大纲,第55-56页;音乐数字列表,第57页;游戏和满分,第59–236页;缩写,第237页;Kurt Weill编辑人员,第238页;致谢和致谢,第239页;版权信息,第240页。v.2。关键报告。第7-8页;来源和sigla列表,第9-12页;来源估价和使用说明,第13-15页;评注:一般性问题,第17-50页;评注:批评性注释,第51页;表:音乐材料概述,第53–58页;资料来源说明,第59页;缩写,第60页;Kurt Weill版《人事》,第61页。布ISBN 978-1-62721-904-4$450。]
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process, conversations between Madrid and León while listening to her music, and Madrid’s conversations with Cornell colleague and Latin American composer Sergio Cote-Barco as they discussed León’s music (pp. 8–10). Many sections in “Voice” are largely written in the composer’s own words, giving glimpses of her intuition, mystical character, and her flirtations with the avant-garde, jazz, and African and Afro-Caribbean drumming traditions. She says, “Sometimes I’ll come back to a score days after finishing a piece and there are whole sections that I cannot identify or remember writing. I seriously wonder, ‘Who wrote that?’ ” (p. 129). This is just one of many insightful revelations on her compositional process. Madrid also includes the voices of León’s collaborators, composers, musicologists, performers, and music critics. Ample music excerpts and score sections accompany the conversations centering on her compositions. León’s legacy is still evolving, and of all of the chapters, the content of “Canon” will expand as her legacy continues to reach new generations of creative minds, a fact Madrid acknowledges when he writes, “Tania León is still busy composing, conducting, teaching, and organizing, so we can’t be certain what her final artistic legacy will be” (p. 179). The concept of artistic cartography in the section “Representation: Mapping Tania León in U.S. Music Historiography” is intriguing as a means to represent León’s impact (p. 168). In the epilogue, Madrid features León’s Stride, a composition commissioned and premiered by the New York Philharmonic in Project 19, an initiative to commission nineteen female composers for the centennial celebration of the Nineteenth Amendment, commemorating the year that women were granted the right to vote (p. 181). Stride is dedicated to Susan B. Anthony and her determination. At the premier of Stride, León reminded the audience that before the 1965 Voting Rights Act, women of color were not guaranteed the right to vote. The book closes with two appendixes and an index. Appendix A is a list of León’s works, current as of June 2020, and appendix B is a timeline of events in León’s life displayed alongside music news and political and cultural news. Appendix B is a significant strength of this book, making this a worthy read across history, politics, US and Cuba relations, the Black diaspora, feminism, and Caribbean culture. I found myself revisiting appendix B as I dwelled on León’s experiences and accomplishments, and how her life events are inseparable from simultaneous moments in politics and her lived experiences across intersections of race, gender, class, and culture. Madrid’s biographical counterpoint masterfully portrays the polyrhythmic life of Tania León. His use of photos and personal interviews vividly tells León’s life story. The prevalence of this intimacy adds flavor—a taste of memoir—inviting readers to devour the book like liner notes. The juxtaposition of firsthand accounts with histor
{"title":"Leonard Bernstein by Paul R. Laird, and: Leonard Bernstein: Ein New Yorker in Wien = A New Yorker in Vienna ed. by Werner Hanak und Adina Seeger (review)","authors":"Ann Glazer Niren","doi":"10.1353/not.2023.0014","DOIUrl":"https://doi.org/10.1353/not.2023.0014","url":null,"abstract":"process, conversations between Madrid and León while listening to her music, and Madrid’s conversations with Cornell colleague and Latin American composer Sergio Cote-Barco as they discussed León’s music (pp. 8–10). Many sections in “Voice” are largely written in the composer’s own words, giving glimpses of her intuition, mystical character, and her flirtations with the avant-garde, jazz, and African and Afro-Caribbean drumming traditions. She says, “Sometimes I’ll come back to a score days after finishing a piece and there are whole sections that I cannot identify or remember writing. I seriously wonder, ‘Who wrote that?’ ” (p. 129). This is just one of many insightful revelations on her compositional process. Madrid also includes the voices of León’s collaborators, composers, musicologists, performers, and music critics. Ample music excerpts and score sections accompany the conversations centering on her compositions. León’s legacy is still evolving, and of all of the chapters, the content of “Canon” will expand as her legacy continues to reach new generations of creative minds, a fact Madrid acknowledges when he writes, “Tania León is still busy composing, conducting, teaching, and organizing, so we can’t be certain what her final artistic legacy will be” (p. 179). The concept of artistic cartography in the section “Representation: Mapping Tania León in U.S. Music Historiography” is intriguing as a means to represent León’s impact (p. 168). In the epilogue, Madrid features León’s Stride, a composition commissioned and premiered by the New York Philharmonic in Project 19, an initiative to commission nineteen female composers for the centennial celebration of the Nineteenth Amendment, commemorating the year that women were granted the right to vote (p. 181). Stride is dedicated to Susan B. Anthony and her determination. At the premier of Stride, León reminded the audience that before the 1965 Voting Rights Act, women of color were not guaranteed the right to vote. The book closes with two appendixes and an index. Appendix A is a list of León’s works, current as of June 2020, and appendix B is a timeline of events in León’s life displayed alongside music news and political and cultural news. Appendix B is a significant strength of this book, making this a worthy read across history, politics, US and Cuba relations, the Black diaspora, feminism, and Caribbean culture. I found myself revisiting appendix B as I dwelled on León’s experiences and accomplishments, and how her life events are inseparable from simultaneous moments in politics and her lived experiences across intersections of race, gender, class, and culture. Madrid’s biographical counterpoint masterfully portrays the polyrhythmic life of Tania León. His use of photos and personal interviews vividly tells León’s life story. The prevalence of this intimacy adds flavor—a taste of memoir—inviting readers to devour the book like liner notes. The juxtaposition of firsthand accounts with histor","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"409 - 414"},"PeriodicalIF":0.9,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43050754","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}