Pub Date : 2023-09-01DOI: 10.1353/not.2023.a905321
Sonia Archer-Capuzzo
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Pub Date : 2023-09-01DOI: 10.1353/not.2023.a905332
Marci Cohen
a guided tour through a wide variety of approaches in Britten scholarship. Such a book can serve as an effective introduction to the composer for music students and as a valuable resource for professional scholars searching for a new perspective on the composer. Also included are excellent summaries of British musical life before and during Britten’s life, which are helpful to both groups. That said, this broad approach resulted in a relative lack of in-depth score analysis of his works, but, as indicated earlier, this was not part of the editors’ expressed intent. By focusing on context, the volume does not examine the music itself, instead focusing on extramusical, societal aspects. With Benjamin Britten in Context, Stroeher and Vickers have provided a platform from which new researchers can embark in order to further explore Britten’s life, work, and the world in which he lived. In doing so, they have proven to be among the foremost advocates for the continued study of the composer and his music in what they have dubbed the second century of Britten scholarship.
{"title":"No Machos or Pop Stars: When the Leeds Art Experiment Went Punk by Gavin Butt (review)","authors":"Marci Cohen","doi":"10.1353/not.2023.a905332","DOIUrl":"https://doi.org/10.1353/not.2023.a905332","url":null,"abstract":"a guided tour through a wide variety of approaches in Britten scholarship. Such a book can serve as an effective introduction to the composer for music students and as a valuable resource for professional scholars searching for a new perspective on the composer. Also included are excellent summaries of British musical life before and during Britten’s life, which are helpful to both groups. That said, this broad approach resulted in a relative lack of in-depth score analysis of his works, but, as indicated earlier, this was not part of the editors’ expressed intent. By focusing on context, the volume does not examine the music itself, instead focusing on extramusical, societal aspects. With Benjamin Britten in Context, Stroeher and Vickers have provided a platform from which new researchers can embark in order to further explore Britten’s life, work, and the world in which he lived. In doing so, they have proven to be among the foremost advocates for the continued study of the composer and his music in what they have dubbed the second century of Britten scholarship.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"157 - 159"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45055817","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 : 2023-09-01DOI: 10.1353/not.2023.a905333
Alex Burtzos
exposure to curriculum and ideas went on to influence both their music and their visual presentation as musical acts. In addition to a close reading of specific school assignments, art performances, record sleeves, and the like, these chapters include tangents on lower-profile acts to cast a wider net and demonstrate how these influences resonated with others. While the Mekons have maintained a cult following and most of the others are mainstays of their era, with songs in regular rotation on SiriusXM’s First Wave station, Fad Gadget has much lower name recognition. The book would have benefitted from providing more context for Tovey, an explanation of why he is worthy of extended analysis beyond fitting the criterion of a Leeds-art-student-turnedmusician in that era. The dive into primary sources is impressive. The author conducted dozens of interviews over six years, including two with Andy Gill, the influential Gang of Four guitarist who died before the book’s publication. He consulted a few formal archives but also the personal archives of more than thirty people, including musicians and art faculty members. This work is borne out by the copious photos of musicians and events and other ephemera that predated their wider, more heavily documented fame. This is a book for a very limited audience, for research collections supporting popular music studies but not for public libraries. While some of the musical acts profiled, especially the Mekons and Gang of Four, have had enduring low-level fame, the writing style is far too dry to appeal to fans or a general music audience. The only levity arises in the direct quotes. Like too much scholarship on punk or postpunk, the analytical tone fails to convey the excitement of the music. The topic of punk’s relationship to arts education is too niche, and the revelations are not sufficiently generalizable to warrant including this in a broader music collection. It would be useful for area and cultural studies, however, especially the cross-pollination between visual and performing arts. It also captures an aspect of youth culture in Northern England during the British postwar consensus on the verge of the Thatcher era.
{"title":"Elliott Carter Speaks: Unpublished Lectures ed. by Laura Emmery (review)","authors":"Alex Burtzos","doi":"10.1353/not.2023.a905333","DOIUrl":"https://doi.org/10.1353/not.2023.a905333","url":null,"abstract":"exposure to curriculum and ideas went on to influence both their music and their visual presentation as musical acts. In addition to a close reading of specific school assignments, art performances, record sleeves, and the like, these chapters include tangents on lower-profile acts to cast a wider net and demonstrate how these influences resonated with others. While the Mekons have maintained a cult following and most of the others are mainstays of their era, with songs in regular rotation on SiriusXM’s First Wave station, Fad Gadget has much lower name recognition. The book would have benefitted from providing more context for Tovey, an explanation of why he is worthy of extended analysis beyond fitting the criterion of a Leeds-art-student-turnedmusician in that era. The dive into primary sources is impressive. The author conducted dozens of interviews over six years, including two with Andy Gill, the influential Gang of Four guitarist who died before the book’s publication. He consulted a few formal archives but also the personal archives of more than thirty people, including musicians and art faculty members. This work is borne out by the copious photos of musicians and events and other ephemera that predated their wider, more heavily documented fame. This is a book for a very limited audience, for research collections supporting popular music studies but not for public libraries. While some of the musical acts profiled, especially the Mekons and Gang of Four, have had enduring low-level fame, the writing style is far too dry to appeal to fans or a general music audience. The only levity arises in the direct quotes. Like too much scholarship on punk or postpunk, the analytical tone fails to convey the excitement of the music. The topic of punk’s relationship to arts education is too niche, and the revelations are not sufficiently generalizable to warrant including this in a broader music collection. It would be useful for area and cultural studies, however, especially the cross-pollination between visual and performing arts. It also captures an aspect of youth culture in Northern England during the British postwar consensus on the verge of the Thatcher era.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"159 - 162"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42677258","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 : 2023-09-01DOI: 10.1353/not.2023.a905337
Kevin Edward Mooney
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Pub Date : 2023-09-01DOI: 10.1353/not.2023.a905315
Kate Lambaria, Joe C. Clark
The number of reference transactions in academic libraries is dramatically declining,1 and given the abundance of free resources on the internet, some may question whether music reference services are valuable. Many people believe that everything is available online and discoverable via Google. However, librarians understand that this is not the case and that the world of music research is immense; a guide could be quite helpful in navigating its complexities. As part of the Notes’ 2000 “Music Librarianship at the Turn of the Century” special issue, David Lasocki addressed the past, present, and possible future of music reference.2 Subsequent publications have also examined these topics.3 By exploring a definition of reference as well as its practices, developments, and challenges, the authors provide an updated view on these services. The authors posit that, while the goal remains the same, the who, where, and how continues to change.4
{"title":"Reference Services","authors":"Kate Lambaria, Joe C. Clark","doi":"10.1353/not.2023.a905315","DOIUrl":"https://doi.org/10.1353/not.2023.a905315","url":null,"abstract":"The number of reference transactions in academic libraries is dramatically declining,1 and given the abundance of free resources on the internet, some may question whether music reference services are valuable. Many people believe that everything is available online and discoverable via Google. However, librarians understand that this is not the case and that the world of music research is immense; a guide could be quite helpful in navigating its complexities. As part of the Notes’ 2000 “Music Librarianship at the Turn of the Century” special issue, David Lasocki addressed the past, present, and possible future of music reference.2 Subsequent publications have also examined these topics.3 By exploring a definition of reference as well as its practices, developments, and challenges, the authors provide an updated view on these services. The authors posit that, while the goal remains the same, the who, where, and how continues to change.4","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"58 - 65"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46093897","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 : 2023-09-01DOI: 10.1353/not.2023.a905338
Laina Dawes
from the hard realities of a lived experience with bipolar disorder and depression” (p. 170). Ultimately, Quaglia argues that Van Zandt’s Austin fans, in particular, respond to the songwriter’s patterns of self-destructive behavior “but [reduce] them to a romantic and cautionary tale that may be removed from, and then be read back against, his music” (p. 170). Giving Van Zandt the last words in this collection, particularly his voice outside of the songs, For the Sake of the Song concludes with “Townes in His Own Words: Excerpts from Richard Dobson’s The Gulf Coast Boys.” Dobson (1942–2017) was a singer–songwriter and author, and in 1974 he joined Van Zandt and several other musicians on a tour that was originally planned to promote his new album’s release. The record company shelved the album, but the tour went on anyway, according to archivist Norie Guthrie, who introduced and edited the excerpts from Dobson’s eye-witness account of his time with Van Zandt based on his notebooks and cassette recordings of “the wide-ranging conversations, jokes, and bickering taking place among Van Zandt, his future wife Cindy Morgan” and the other members of the tour (p. 188; Richard Dobson, The Gulf Coast Boys [Bryan, TX: Greater Texas Publishing, 1998]). While the essays throughout this book center on documenting and interpreting the singer– songwriter’s artistic voice expressed in his songs, the excerpts in this final chapter present what one could characterize as Van Zandt’s conversational voice, at least as recorded and commented upon from a particular place and time. Each of the essays is extensively researched and includes sources that inspire further reading. The collection includes both a bibliography and index, the latter mostly focusing on names, song and album titles, and institutions mentioned in the text. Curiously, the bibliography does not include Dobson’s Gulf Coast Boys. Van Zandt himself never recorded a hit song. Nor does his music fit comfortably into any one genre. Nevertheless, if you have too long heard of the significance, genius, and brilliance of the songwriting of Van Zandt and have yet to discover his songs for yourself, this collection of essays published by University of North Texas Press will guide your journey into an exploration of why Van Zandt has been called “a songwriter’s songwriter.”
从双相情感障碍和抑郁症的艰难现实中解脱出来”（第170页）。最终，Quaglia认为，尤其是Van Zandt在奥斯汀的粉丝，会对这位词曲作者的自毁行为模式做出反应，“但会将其简化为一个浪漫和警示的故事，可能会从他的音乐中删除，然后再被解读出来反对他的音乐”（第170页）。《为了这首歌》为范赞特写下了这首歌集的最后一句话，尤其是他在歌曲之外的声音，以“Townes in his Own words:Excepts from Richard Dobson’s the Gulf Coast Boys”结尾。多布森（1942–2017）是一位歌手、词曲作者和作家，1974年，他加入了范赞特和其他几位音乐家的巡演，原计划为他的新专辑发行做宣传。档案管理员Norie Guthrie说，唱片公司搁置了这张专辑，但巡演还是继续了，根据多布森的笔记本和录音带，他介绍并编辑了多布森对他与范赞特在一起的时间的目击者描述摘录，这些录音带记录了“范赞特、他未来的妻子辛迪·摩根和巡演的其他成员之间发生的广泛对话、笑话和争吵”（第188页；理查德·多布森，《墨西哥湾海岸男孩》[Bryan，TX：大德克萨斯出版社，1998年]）。虽然整本书的文章都集中在记录和解读创作歌手在歌曲中表达的艺术声音上，但最后一章中的节选呈现了人们可以称之为范赞特的对话声音，至少是在特定的地点和时间录制和评论的。每一篇文章都经过了广泛的研究，并包含了启发进一步阅读的来源。该系列包括参考书目和索引，后者主要关注名称、歌曲和专辑标题以及文本中提到的机构。奇怪的是，参考书目中没有多布森的《墨西哥湾沿岸男孩》。范赞特本人从未录制过一首热门歌曲。他的音乐也不适合任何一种流派。尽管如此，如果你早就听说了范赞特歌曲创作的重要性、天才和才华，但还没有发现他的歌曲，这本由北德克萨斯大学出版社出版的散文集将引导你探索为什么范赞特被称为“词曲作者的词曲作者”
{"title":"Bet My Soul on Rock 'n' Roll: Diary of a Black Punk Icon by Jean Beauvoir with John Ostrosky (review)","authors":"Laina Dawes","doi":"10.1353/not.2023.a905338","DOIUrl":"https://doi.org/10.1353/not.2023.a905338","url":null,"abstract":"from the hard realities of a lived experience with bipolar disorder and depression” (p. 170). Ultimately, Quaglia argues that Van Zandt’s Austin fans, in particular, respond to the songwriter’s patterns of self-destructive behavior “but [reduce] them to a romantic and cautionary tale that may be removed from, and then be read back against, his music” (p. 170). Giving Van Zandt the last words in this collection, particularly his voice outside of the songs, For the Sake of the Song concludes with “Townes in His Own Words: Excerpts from Richard Dobson’s The Gulf Coast Boys.” Dobson (1942–2017) was a singer–songwriter and author, and in 1974 he joined Van Zandt and several other musicians on a tour that was originally planned to promote his new album’s release. The record company shelved the album, but the tour went on anyway, according to archivist Norie Guthrie, who introduced and edited the excerpts from Dobson’s eye-witness account of his time with Van Zandt based on his notebooks and cassette recordings of “the wide-ranging conversations, jokes, and bickering taking place among Van Zandt, his future wife Cindy Morgan” and the other members of the tour (p. 188; Richard Dobson, The Gulf Coast Boys [Bryan, TX: Greater Texas Publishing, 1998]). While the essays throughout this book center on documenting and interpreting the singer– songwriter’s artistic voice expressed in his songs, the excerpts in this final chapter present what one could characterize as Van Zandt’s conversational voice, at least as recorded and commented upon from a particular place and time. Each of the essays is extensively researched and includes sources that inspire further reading. The collection includes both a bibliography and index, the latter mostly focusing on names, song and album titles, and institutions mentioned in the text. Curiously, the bibliography does not include Dobson’s Gulf Coast Boys. Van Zandt himself never recorded a hit song. Nor does his music fit comfortably into any one genre. Nevertheless, if you have too long heard of the significance, genius, and brilliance of the songwriting of Van Zandt and have yet to discover his songs for yourself, this collection of essays published by University of North Texas Press will guide your journey into an exploration of why Van Zandt has been called “a songwriter’s songwriter.”","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"173 - 176"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48799082","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.a897452
Kathleen Abromeit
Music Received Compiled by Kathleen Abromeit A key to abbreviated imprints is found at the end of this column. For information about the content and arrangement of this list, consult the introduction to the column in the December issue (p. 274 of this volume). SCHOLARLY & HISTORICAL EDITIONS Bach, Carl Philipp E. Passion According to St. Matthew (1785): Incorporating Music by J. S. Bach. Edited by Ulrich Leisinger. (Bach, C. P. E. - The Complete Works, Ser. IV, Vol. 4.5). Packard Humanities Institute, 2022. ISBN 9781938325106. xxii p.; score, 122 p. Cloth. $49. Bach, Carl Philipp E. Quartalstücke V. Edited by Wolfram Enßlin. (Bach, C. P. E. - The Complete Works, Ser. V, Vol. 2.5). Packard Humanities Institute, 2022. ISBN 9781933280882. xxvi p.; score, 219 p. Cloth. $64. Bach, Carl Philipp E. Quartalstücke VII. Edited by Jason B. Grant. (Bach, C. P. E. - The Complete Works, Ser. V, Vol. 2.7). Packard Humanities Institute, 2022. ISBN 9781938325458. xxiii p.; score, 190 p. Cloth. $64. Benda, Georg Anton. Philon und Theone. Edited by Austin Glatthorn. (Recent Researches in the Music of the Classical Era, Vol. 115). A-R Editions, 2022. C 115. ISBN 9781987204568. xxiv p.; score, 166 p. $270. Green, Maurice. Complete Harpsichord Music. Transcribed and edited by H. Diack Johnstone. (Musica Britanica, Vol. 106). Stainer, 2022. MB 106. ISBN 9780852499641. xxxviii p.; score, 200 p. Cloth. $144. Melani, Alessandro. L'empio punito. Edited by Luca Della Libera. (Recent Researches in the Music of the Baroque Era, Vol. 228). A-R Editions, 2022. B 228. ISBN 9781987208122. xcvii p.; score, 361 p. $620. Lo spedale: Dramma burlesco. Edited by Naomi Matsumoto. (Recent Researches in the Music of the Baroque Era, Vol. 229). A-R Editions, 2022. B 229. ISBN 9781987208146. xxxvi p.; score, 76 p. $180. Tallis, Thomas. Latin Church Music I: Mass Salve intemerata & Antiphons. Transcribed and edited by David Skinner. (Early English Church Music, Vol. 64). Stainer, 2022. EC 64. ISBN 9780852499689. xxviii p.; score, 158 p. Cloth. $130. FACSIMILE EDITIONS Bach, Carl Philipp E. Die Auferstehung und Himmelfahrt Jesu: Facsimile Edition of the Autograph Score. (Bach, C. P. E. - The Complete Works, Ser. IV, Supplement). Packard, 2020. ISBN 9781938325397. xv p.; score, 191 p. $56. Bach, Carl Philipp E. Double Concerto in E-Flat Major, Wq 47: Facsimile Edition of The Autograph Score. (Bach, C. P. E. - The Complete Works, Ser. III, Supplement). Packard, 2019. ISBN 9781938325380. ix p.; score, 94 p. $32. Bach, Carl Philipp E. Klopstocks Morgengesang Am Schöpfungsfeste: Facsimile Edition. (Bach, C. P. E. - The Complete Works, Ser. VI, Supplement). Packard, 2021. ISBN 9781938325472. xi p.; score, 44 p. $24. Bach, Carl Philipp E. Quartets for Keyboard, Flute, and Viola, Wq 94-95: Facsimile Edition of the Autograph Scores. (Bach, C. P. E. - The Complete Works, Ser. II, Supplement). Packard, 2015. ISBN 9781938325366. xii p.; score, 34 p. $23. [End Page 668] Bach, Carl Philipp E. Six Sonates p
收到的音乐 Kathleen Abromeit 编译 本专栏末尾附有缩写版本说明。有关本列表的内容和安排，请参阅 12 月刊的专栏介绍（本卷第 274 页）。巴赫，卡尔-菲利普-E.《圣马太受难曲》（1785 年）：收录 J. S. 巴赫的音乐。Ulrich Leisinger 编辑。(Bach, C. P. E. - The Complete Works, Ser. IV, Vol. 4.5).帕卡德人文研究所，2022 年。ISBN 9781938325106。xxii p.; score, 122 p. Cloth.巴赫、卡尔-菲利普-E. Quartalstücke V. 由 Wolfram Enßlin 编辑。(Bach, C. P. E. - The Complete Works, Ser. V, Vol. 2.5).帕卡德人文研究所，2022 年。xxvi p.; score, 219 p. Cloth.Bach, Carl Philipp E. Quartalstücke VII.编辑：杰森-B-格兰特。(Bach, C. P. E. - The Complete Works, Ser. V, Vol. 2.7).帕卡德人文研究所，2022 年。ISBN 9781938325458. xxiii p.; score, 190 p.布面。Benda, Georg Anton.Philon und Theone.Austin Glatthorn 编辑。(古典时代音乐的最新研究，第 115 卷）。A-R Editions, 2022.C 115.ISBN 9781987204568。xxiv 页；乐谱，166 页，270 美元。格林，莫里斯。大键琴音乐全集》。由 H. Diack Johnstone 转录和编辑。(不列颠音乐》，第 106 卷）。斯泰纳，2022 年。MB 106.ISBN 9780852499641. xxxviii 页；乐谱，200 页。$144.Melani, Alessandro.L'empio punito.由 Luca Della Libera 编辑。(巴洛克时代音乐的最新研究，第 228 卷）。A-R Editions, 2022.B 228.ISBN 9781987208122. xcvii p.; score, 361 p. $620.Lo spedale：Dramma burlesco.松本直美编著。(巴洛克时代音乐的最新研究，第 229 卷）。A-R Editions，2022 年。B 229.ISBN 9781987208146. xxxvi p.; score, 76 p. $180.Tallis, Thomas.拉丁教会音乐 I：Mass Salve intemerata & Antiphons.由 David Skinner 转录和编辑。(早期英国教会音乐》第 64 卷）。斯泰纳，2022 年。EC 64。ISBN 9780852499689。xxviii 页；乐谱，158 页。$130.FACSIMILE EDITIONS Bach, Carl Philipp E. Die Auferstehung und Himmelfahrt Jesu：巴赫，C. P. E. Die Auferstehung und Himmelfahrt Jesu: Facsimile Edition of the Autograph Score.(Bach, C. P. E. - The Complete Works, Ser.）帕卡德，2020 年。xv p.; score, 191 p. $56. Bach, Carl Philipp E. Double Concerto in E-Flat Major, Wq 47: Facsimile Edition of The Autograph Score.(巴赫，C. P. E. - 全集，第三辑，增补本）。帕卡德，2019 年。ix p.; score, 94 p. $32. Bach, Carl Philipp E. Klopstocks Morgengesang Am Schöpfungsfeste：Facsimile Edition.(巴赫，C. P. E. -全集，第六卷，增补本）。Packard, 2021.巴赫，卡尔-菲利普-E.键盘、长笛和中提琴四重奏，Wq 94-95.巴赫，卡尔-菲利普-E.键盘、长笛和中提琴四重奏，Wq 94-95.巴赫，卡尔-菲利普-E.键盘、长笛和中提琴四重奏，Wq 94-95.ISBN 9781938325472：巴赫，C. P. E. 键盘、长笛和中提琴四重奏，Wq 94-95：乐谱亲笔签名的传真版。(Bach, C. P. E. - The Complete Works, Ser. II, Supplement）。帕卡德，2015 年。ISBN 9781938325366. xii p.; score, 34 p. $23. [End Page 668] Bach, Carl Philipp E. Six Sonates pour le Clavecin avec des Reprises Variées：巴赫的 Wq 50 副本及其润饰。(Bach, C. P. E. - The Complete Works, Ser. I, Supplement).帕卡德，2019 年。国际标准书号 9781938325434。xiv 页；乐谱，39 页。24 美元。巴赫、卡尔-菲利普-E-《圣马太受难曲》（1769 年）：圣马太受难曲》（1769 年）：不完整签名乐谱的传真版。(Bach, C. P. E. - The Complete Works, Ser.）帕卡德，2022 年。ISBN 97819325489. xiii p.; score, 60 p. $32. Bach, Carl Philipp E. Symphonies for Baron van Swieten, Wq 182/2-6: Facsimile Edition of The Surviving Autograph Scores.(巴赫，C. P. E. - 全集，第三辑，增补本）。帕卡德，2015 年。ISBN 9781938325427. xii p.; score, 95 p. $31. Bach, Carl Philipp E. Trio Sonatas, Wq 143-148.巴赫，卡尔-菲利普-E.三重奏奏鸣曲，Wq 143-148。(巴赫，C. P. E. - 全集，第二辑，增补本）。帕卡德，2022 年。xx p.; score, 140 p. $49. CHORAL MUSIC Dunphy, Melissa.我们是音乐创造者》。阿瑟-奥肖内西（Arthur O'Shaughnessy）著。Schirmer, 2022 年。9158.乐谱，16 页，3 美元。O Salutaris Hostia.银河音乐，2022。1.3641.乐谱，11 页。元素》。E. E. cumm
{"title":"Music Received","authors":"Kathleen Abromeit","doi":"10.1353/not.2023.a897452","DOIUrl":"https://doi.org/10.1353/not.2023.a897452","url":null,"abstract":"Music Received Compiled by Kathleen Abromeit A key to abbreviated imprints is found at the end of this column. For information about the content and arrangement of this list, consult the introduction to the column in the December issue (p. 274 of this volume). SCHOLARLY & HISTORICAL EDITIONS Bach, Carl Philipp E. Passion According to St. Matthew (1785): Incorporating Music by J. S. Bach. Edited by Ulrich Leisinger. (Bach, C. P. E. - The Complete Works, Ser. IV, Vol. 4.5). Packard Humanities Institute, 2022. ISBN 9781938325106. xxii p.; score, 122 p. Cloth. $49. Bach, Carl Philipp E. Quartalstücke V. Edited by Wolfram Enßlin. (Bach, C. P. E. - The Complete Works, Ser. V, Vol. 2.5). Packard Humanities Institute, 2022. ISBN 9781933280882. xxvi p.; score, 219 p. Cloth. $64. Bach, Carl Philipp E. Quartalstücke VII. Edited by Jason B. Grant. (Bach, C. P. E. - The Complete Works, Ser. V, Vol. 2.7). Packard Humanities Institute, 2022. ISBN 9781938325458. xxiii p.; score, 190 p. Cloth. $64. Benda, Georg Anton. Philon und Theone. Edited by Austin Glatthorn. (Recent Researches in the Music of the Classical Era, Vol. 115). A-R Editions, 2022. C 115. ISBN 9781987204568. xxiv p.; score, 166 p. $270. Green, Maurice. Complete Harpsichord Music. Transcribed and edited by H. Diack Johnstone. (Musica Britanica, Vol. 106). Stainer, 2022. MB 106. ISBN 9780852499641. xxxviii p.; score, 200 p. Cloth. $144. Melani, Alessandro. L'empio punito. Edited by Luca Della Libera. (Recent Researches in the Music of the Baroque Era, Vol. 228). A-R Editions, 2022. B 228. ISBN 9781987208122. xcvii p.; score, 361 p. $620. Lo spedale: Dramma burlesco. Edited by Naomi Matsumoto. (Recent Researches in the Music of the Baroque Era, Vol. 229). A-R Editions, 2022. B 229. ISBN 9781987208146. xxxvi p.; score, 76 p. $180. Tallis, Thomas. Latin Church Music I: Mass Salve intemerata & Antiphons. Transcribed and edited by David Skinner. (Early English Church Music, Vol. 64). Stainer, 2022. EC 64. ISBN 9780852499689. xxviii p.; score, 158 p. Cloth. $130. FACSIMILE EDITIONS Bach, Carl Philipp E. Die Auferstehung und Himmelfahrt Jesu: Facsimile Edition of the Autograph Score. (Bach, C. P. E. - The Complete Works, Ser. IV, Supplement). Packard, 2020. ISBN 9781938325397. xv p.; score, 191 p. $56. Bach, Carl Philipp E. Double Concerto in E-Flat Major, Wq 47: Facsimile Edition of The Autograph Score. (Bach, C. P. E. - The Complete Works, Ser. III, Supplement). Packard, 2019. ISBN 9781938325380. ix p.; score, 94 p. $32. Bach, Carl Philipp E. Klopstocks Morgengesang Am Schöpfungsfeste: Facsimile Edition. (Bach, C. P. E. - The Complete Works, Ser. VI, Supplement). Packard, 2021. ISBN 9781938325472. xi p.; score, 44 p. $24. Bach, Carl Philipp E. Quartets for Keyboard, Flute, and Viola, Wq 94-95: Facsimile Edition of the Autograph Scores. (Bach, C. P. E. - The Complete Works, Ser. II, Supplement). Packard, 2015. ISBN 9781938325366. xii p.; score, 34 p. $23. [End Page 668] Bach, Carl Philipp E. Six Sonates p","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135947068","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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