Music Theory for the “Weaker Sex”: Oliveria Prescott’s Columns for The Girl’s Own Paper

IF 0.4 2区 艺术学 0 MUSIC
Rachel L. Lumsden
{"title":"Music Theory for the “Weaker Sex”: Oliveria Prescott’s Columns for The Girl’s Own Paper","authors":"Rachel L. Lumsden","doi":"10.30535/MTO.26.3.4","DOIUrl":null,"url":null,"abstract":"In this article, I examine a cluster of music theory essays by Oliveria Louisa Presco (1842–1917), which were published between 1886 and 1891 in The Girl’s Own Paper (TGOP), the most popular periodical for young women in Victorian England. Although li le known today, Presco sustained a vibrant musical career in London as a composer and teacher, and her articles on music theory regularly appeared in major periodicals such as The Musical World and TGOP. Presco ’s work for TGOP presents a rare opportunity to explore music theory that was not just wri en by a woman, but also intended for a genteel female audience in the Victorian era. Her articles include explanations of fundamental theoretical subjects (cadences, basic harmonic progressions) as well as short analyses of solo piano works by Beethoven and Mendelssohn. But these articles are also noteworthy for their discussions of more advanced theoretical topics (such as chromatic harmony), concepts that might seem surprising for a popular periodical for young ladies. Mainstream journalism is often devalued as a “less serious” form of intellectual discourse, but Presco ’s work complicates stereotypes of ignorant amateur female musicians and the so-called “private” sphere, and it demonstrates how print journalism could serve as a vital public platform for the circulation of music theory among young British women in the Victorian era. DOI: 10.30535/mto.26.3.4 Volume 26, Number 3, September 2020 Copyright © 2020 Society for Music Theory [1.1] If you’ve ever enjoyed the guilty pleasure of flipping through a popular magazine for young women from the 1980s, you’ll recall being bombarded by a bewildering gush of suggestions, guidance, and propaganda about what “womanhood” is supposed to be. Popular magazines like Seventeen or YM offer an unrelenting barrage of content that a empts to shape and influence young women: tips about clothing, makeup, and hair-styling; portraits of famous actors and hit-making musicians; and even advice on urgent day-to-day issues like “how to be the best kisser” or “how to be popular.” As a 1988 tagline from Seventeen claims, its pages are “where the girl ends and the woman begins.” [1.2] To the modern reader, it probably does not come as much of a surprise that these popular magazines do not include in-depth information about music theory and analysis. But young women’s periodicals published a century earlier, in the late nineteenth century, reflect a different perspective that prioritizes music as an important part of young women’s education and development. In the late 1880s, The Girl’s Own Paper (the most popular periodical for young women in England) ran a short series of articles on music theory and analysis by Oliveria Louisa Presco (1842–1917). Presco ’s work for The Girl’s Own Paper is significant for several reasons. As an early historical example of “public” music theory, her articles illustrate one of the primary rewards of public work in the humanities—the chance to reach a wider, more diverse audience. J. Daniel Jenkins describes how public music theory involves “an eclectic collection of scholarship, journalism, podcasts, videocasts, and other various items” that are “accessible to a general public” (2017, paragraph 3). In recent years, scholars have revealed important insights about the myriad ways that public music theory has helped educate audiences; this scholarship has also expanded contemporary conceptions of what music theory is and what music theorists do.(1) However, this research has largely focused on contributions since the 1950s. Presco ’s articles thus offer an earlier, nineteenth-century perspective on public music-theory making. Finally, her writings present a rare opportunity to examine music theory that was not just wri en by a woman, but specifically intended for a female audience during the Victorian era. [1.3] This article is organized into four main parts. Since Presco and The Girl’s Own Paper are unfamiliar to most readers, I begin with a short introductory section that provides a brief biographical sketch and background information on the periodical. Second, I consider how she uses gendered metaphors to explain basic theoretical concepts. Third, I turn to some of the more advanced theoretical content in these articles, including voice leading and chromatic harmony, examining how her articles contain a level of theoretical detail that is surprising for a magazine for young women, and not found in other contemporaneous analyses of the same pieces in the British press. I conclude by discussing her emphasis on the importance of theoretical understanding for women, and how her views intersect with contemporaneous debates about the changing status of women in late nineteenth-century Britain. Biographical Sketch of Presco and Background on “The Girl’s Own Paper” [2.1] Presco is li le-known today, but in her time she was an accomplished composer, pedagogue, and theorist.(2) The youngest child in a wealthy London family, she entered the Royal Academy of Music (RAM) as a composition student in 1871; the registration record noted that she was “very talented.”(3) At the RAM, she studied composition with George Macfarren (their professional relationship will be discussed in more detail in section 4, below). Presco was a successful student: she earned a Bronze Medal in harmony in 1875 (“Royal Academy of Music” 1875, 171), a Silver Medal in harmony in 1877 (“Royal Academy of Music” 1877b, 391), and a Certificate of Merit in harmony in 1879 (Gwffyn 1879, 473). She apparently valued her years at the RAM, as she later established the “Oliveria Presco Prize,” an annual award that provided distinguished composition students with orchestral scores (Example 1).(4) [2.2] Presco sustained an active and multifaceted musical career for more than three decades. Her orchestral and chamber works were performed in concerts during the 1870s, 1880s, and 1890s, and some of her music was published, although many of her pieces (especially her large-scale orchestral works) have not survived.(5) Presco was featured in an 1887 article on women composers in The Englishwoman’s Review; the author emphasized that “although the name of Miss Presco is not so prominently before the British public as that of many ladies who have achieved success as composers through some ephemeral melodious trifles, from an artistic point of view her career is of more interest, owing to the high standard she has hitherto retained in her compositions” (de Ternant 1887, 59). Presco gained some recognition for her compositions: her Symphony in B flat, one of the first symphonies composed by a British woman, received third place (“high commendation”) in the Alexandra Palace Symphony Competition in 1876 (Fuller 2018, 155; “Notes” 1876, 265).(6) During her years at the Academy, Presco completed several other largescale works that were performed on RAM concerts at St. James’s Hall, including her Overture in C minor (“Tithonus”), Symphony in D minor (“Alkestis”), and Magnificat.(7) Unfortunately performances of Presco ’s orchestral music dwindled after her years at the RAM; her orchestral music was never published, and has been lost.(8) One of the few instrumental pieces that has survived is a piano duet arrangement of her Concert Finale (Example 2), a lighter, more popularlyoriented work originally for piano and orchestra that (as the score’s title page notes) was “composed for the end of a miscellaneous programme.”(9) [2.3] Presco was also directly involved with several professional organizations for British musicians. During the 1890s, she was the only woman who served on the Council of the Musical Artists’ Society, an organization that planned concerts and performances in London (Fuller 2018, 156).(10) She was also a charter member and active participant in the Musical Association, an academic society founded in 1874 “for the investigation and discussion of subjects connected with the art and science of music” (Proceedings 1874–1875).(11) Presco ’s name occurs frequently in the published Proceedings of the Musical Association: she regularly a ended monthly meetings in the 1880s and 1890s, was an active participant in the question-and-answer sessions following the paper presentations, and presented a paper herself in 1892, entitled “Musical Design, a Help to Poetic Intention.” Presco was the second of only four women presenters in the first twenty-five years of the Association’s monthly meetings, and the only woman who presented a paper on a theoretical topic during these years (Example 3). Her work seems to have been positively received: during the discussion following Presco ’s paper, the session chair H. C. Banister thanked Presco for her “interesting and admirable paper,” which he described as “most intelligently and intelligibly” presented (Presco 1891–1892, 133–34).(12) [2.4] Presco also worked as a music teacher at the Church of England High School for Girls, and taught correspondence courses in music for Newnham College.(13) She maintained her ties to the Academy, serving as amanuensis to George Macfarren, and helped transcribe music and select text passages for his 1883 oratorio King David.(14) Macfarren dedicated his earlier oratorio Joseph (1877) to her, noting in the front ma er of the score: “In remembrance of happy hours spent in its inscription, this oratorio is dedicated by the composer to his pupil, friend, and amanuensis, Oliveria Louisa Presco .” [2.5] But Presco ’s most prolific and interesting contributions were as a writer on music; in many ways, she was a late nineteenth-century example of a public music theorist. In the 1880s alone, she wrote more than fifty articles for major periodicals such as The Musical World and The Musical News. Some of her work as a public music theorist was eventually published in book form: a selection of her articles from The Musical World were reprinted as Form, Or Design, In Music (1882), and material from a six-week ","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/MTO.26.3.4","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 2

Abstract

In this article, I examine a cluster of music theory essays by Oliveria Louisa Presco (1842–1917), which were published between 1886 and 1891 in The Girl’s Own Paper (TGOP), the most popular periodical for young women in Victorian England. Although li le known today, Presco sustained a vibrant musical career in London as a composer and teacher, and her articles on music theory regularly appeared in major periodicals such as The Musical World and TGOP. Presco ’s work for TGOP presents a rare opportunity to explore music theory that was not just wri en by a woman, but also intended for a genteel female audience in the Victorian era. Her articles include explanations of fundamental theoretical subjects (cadences, basic harmonic progressions) as well as short analyses of solo piano works by Beethoven and Mendelssohn. But these articles are also noteworthy for their discussions of more advanced theoretical topics (such as chromatic harmony), concepts that might seem surprising for a popular periodical for young ladies. Mainstream journalism is often devalued as a “less serious” form of intellectual discourse, but Presco ’s work complicates stereotypes of ignorant amateur female musicians and the so-called “private” sphere, and it demonstrates how print journalism could serve as a vital public platform for the circulation of music theory among young British women in the Victorian era. DOI: 10.30535/mto.26.3.4 Volume 26, Number 3, September 2020 Copyright © 2020 Society for Music Theory [1.1] If you’ve ever enjoyed the guilty pleasure of flipping through a popular magazine for young women from the 1980s, you’ll recall being bombarded by a bewildering gush of suggestions, guidance, and propaganda about what “womanhood” is supposed to be. Popular magazines like Seventeen or YM offer an unrelenting barrage of content that a empts to shape and influence young women: tips about clothing, makeup, and hair-styling; portraits of famous actors and hit-making musicians; and even advice on urgent day-to-day issues like “how to be the best kisser” or “how to be popular.” As a 1988 tagline from Seventeen claims, its pages are “where the girl ends and the woman begins.” [1.2] To the modern reader, it probably does not come as much of a surprise that these popular magazines do not include in-depth information about music theory and analysis. But young women’s periodicals published a century earlier, in the late nineteenth century, reflect a different perspective that prioritizes music as an important part of young women’s education and development. In the late 1880s, The Girl’s Own Paper (the most popular periodical for young women in England) ran a short series of articles on music theory and analysis by Oliveria Louisa Presco (1842–1917). Presco ’s work for The Girl’s Own Paper is significant for several reasons. As an early historical example of “public” music theory, her articles illustrate one of the primary rewards of public work in the humanities—the chance to reach a wider, more diverse audience. J. Daniel Jenkins describes how public music theory involves “an eclectic collection of scholarship, journalism, podcasts, videocasts, and other various items” that are “accessible to a general public” (2017, paragraph 3). In recent years, scholars have revealed important insights about the myriad ways that public music theory has helped educate audiences; this scholarship has also expanded contemporary conceptions of what music theory is and what music theorists do.(1) However, this research has largely focused on contributions since the 1950s. Presco ’s articles thus offer an earlier, nineteenth-century perspective on public music-theory making. Finally, her writings present a rare opportunity to examine music theory that was not just wri en by a woman, but specifically intended for a female audience during the Victorian era. [1.3] This article is organized into four main parts. Since Presco and The Girl’s Own Paper are unfamiliar to most readers, I begin with a short introductory section that provides a brief biographical sketch and background information on the periodical. Second, I consider how she uses gendered metaphors to explain basic theoretical concepts. Third, I turn to some of the more advanced theoretical content in these articles, including voice leading and chromatic harmony, examining how her articles contain a level of theoretical detail that is surprising for a magazine for young women, and not found in other contemporaneous analyses of the same pieces in the British press. I conclude by discussing her emphasis on the importance of theoretical understanding for women, and how her views intersect with contemporaneous debates about the changing status of women in late nineteenth-century Britain. Biographical Sketch of Presco and Background on “The Girl’s Own Paper” [2.1] Presco is li le-known today, but in her time she was an accomplished composer, pedagogue, and theorist.(2) The youngest child in a wealthy London family, she entered the Royal Academy of Music (RAM) as a composition student in 1871; the registration record noted that she was “very talented.”(3) At the RAM, she studied composition with George Macfarren (their professional relationship will be discussed in more detail in section 4, below). Presco was a successful student: she earned a Bronze Medal in harmony in 1875 (“Royal Academy of Music” 1875, 171), a Silver Medal in harmony in 1877 (“Royal Academy of Music” 1877b, 391), and a Certificate of Merit in harmony in 1879 (Gwffyn 1879, 473). She apparently valued her years at the RAM, as she later established the “Oliveria Presco Prize,” an annual award that provided distinguished composition students with orchestral scores (Example 1).(4) [2.2] Presco sustained an active and multifaceted musical career for more than three decades. Her orchestral and chamber works were performed in concerts during the 1870s, 1880s, and 1890s, and some of her music was published, although many of her pieces (especially her large-scale orchestral works) have not survived.(5) Presco was featured in an 1887 article on women composers in The Englishwoman’s Review; the author emphasized that “although the name of Miss Presco is not so prominently before the British public as that of many ladies who have achieved success as composers through some ephemeral melodious trifles, from an artistic point of view her career is of more interest, owing to the high standard she has hitherto retained in her compositions” (de Ternant 1887, 59). Presco gained some recognition for her compositions: her Symphony in B flat, one of the first symphonies composed by a British woman, received third place (“high commendation”) in the Alexandra Palace Symphony Competition in 1876 (Fuller 2018, 155; “Notes” 1876, 265).(6) During her years at the Academy, Presco completed several other largescale works that were performed on RAM concerts at St. James’s Hall, including her Overture in C minor (“Tithonus”), Symphony in D minor (“Alkestis”), and Magnificat.(7) Unfortunately performances of Presco ’s orchestral music dwindled after her years at the RAM; her orchestral music was never published, and has been lost.(8) One of the few instrumental pieces that has survived is a piano duet arrangement of her Concert Finale (Example 2), a lighter, more popularlyoriented work originally for piano and orchestra that (as the score’s title page notes) was “composed for the end of a miscellaneous programme.”(9) [2.3] Presco was also directly involved with several professional organizations for British musicians. During the 1890s, she was the only woman who served on the Council of the Musical Artists’ Society, an organization that planned concerts and performances in London (Fuller 2018, 156).(10) She was also a charter member and active participant in the Musical Association, an academic society founded in 1874 “for the investigation and discussion of subjects connected with the art and science of music” (Proceedings 1874–1875).(11) Presco ’s name occurs frequently in the published Proceedings of the Musical Association: she regularly a ended monthly meetings in the 1880s and 1890s, was an active participant in the question-and-answer sessions following the paper presentations, and presented a paper herself in 1892, entitled “Musical Design, a Help to Poetic Intention.” Presco was the second of only four women presenters in the first twenty-five years of the Association’s monthly meetings, and the only woman who presented a paper on a theoretical topic during these years (Example 3). Her work seems to have been positively received: during the discussion following Presco ’s paper, the session chair H. C. Banister thanked Presco for her “interesting and admirable paper,” which he described as “most intelligently and intelligibly” presented (Presco 1891–1892, 133–34).(12) [2.4] Presco also worked as a music teacher at the Church of England High School for Girls, and taught correspondence courses in music for Newnham College.(13) She maintained her ties to the Academy, serving as amanuensis to George Macfarren, and helped transcribe music and select text passages for his 1883 oratorio King David.(14) Macfarren dedicated his earlier oratorio Joseph (1877) to her, noting in the front ma er of the score: “In remembrance of happy hours spent in its inscription, this oratorio is dedicated by the composer to his pupil, friend, and amanuensis, Oliveria Louisa Presco .” [2.5] But Presco ’s most prolific and interesting contributions were as a writer on music; in many ways, she was a late nineteenth-century example of a public music theorist. In the 1880s alone, she wrote more than fifty articles for major periodicals such as The Musical World and The Musical News. Some of her work as a public music theorist was eventually published in book form: a selection of her articles from The Musical World were reprinted as Form, Or Design, In Music (1882), and material from a six-week
“弱势性别”的音乐理论:奥利维亚·普雷斯科特为女孩自己的报纸写的专栏
在这篇文章中,我研究了Oliveria Louisa Presco(1842-1917)在1886年至1891年间发表在《女孩自己的报纸》(The Girl’s Own Paper, TGOP)上的一组音乐理论论文,TGOP是维多利亚时代英国最受年轻女性欢迎的期刊。尽管如今她已不为人所知,但普雷斯科作为一名作曲家和教师,在伦敦保持着充满活力的音乐生涯,她关于音乐理论的文章经常出现在《音乐世界》和《TGOP》等主要期刊上。普雷斯科为TGOP的作品提供了一个难得的机会来探索音乐理论,这些理论不仅是由女性写的,而且是为维多利亚时代的上流女性观众写的。她的文章包括对基本理论主题(节奏、基本和声进行)的解释,以及对贝多芬和门德尔松钢琴独奏作品的简短分析。但这些文章也值得注意的是,它们讨论了更高级的理论主题(如半音和声),这些概念对于年轻女士的流行期刊来说似乎令人惊讶。主流新闻常常被贬低为一种“不那么严肃”的知识话语形式,但普雷斯科的作品使人们对无知的业余女音乐家和所谓的“私人”领域的刻板印象变得复杂,它证明了印刷新闻如何能够成为维多利亚时代英国年轻女性传播音乐理论的重要公共平台。DOI: 10.30535/mto.26.3.4第26卷,第3号,2020年9月版权©2020音乐理论学会[1.1]如果你曾经享受过翻看20世纪80年代年轻女性流行杂志的罪恶快感,你会记得被一大堆令人眼花缭乱的建议、指导和宣传轰炸,关于“女性”应该是什么。像《Seventeen》和《YM》这样的流行杂志提供了一大堆试图塑造和影响年轻女性的内容:关于服装、化妆和发型的建议;著名演员和热门音乐家的肖像;甚至还会给一些紧急的日常问题提供建议,比如“如何成为最优秀的接吻者”或“如何受欢迎”。正如《十七岁》1988年的广告语所说,它的书页是“女孩结束,女人开始的地方”。[1.2]对于现代读者来说,这些流行杂志不包括音乐理论和分析方面的深入信息,这可能并不奇怪。但早在一个世纪前,也就是19世纪末出版的年轻女性期刊反映了一种不同的观点,认为音乐是年轻女性教育和发展的重要组成部分。在19世纪80年代后期,《女孩自己的报纸》(英国最受年轻女性欢迎的期刊)刊登了一系列由奥利维亚·路易莎·普雷科(1842-1917)撰写的关于音乐理论和分析的短文。普雷斯科为“女孩自己的报纸”所做的工作意义重大,原因有几个。作为“公共”音乐理论的早期历史例子,她的文章说明了人文学科公共工作的主要回报之一——有机会接触到更广泛、更多样化的听众。j·丹尼尔·詹金斯(J. Daniel Jenkins)描述了公共音乐理论是如何涉及到“一个兼收并蓄的学术、新闻、播客、视频广播和其他各种项目的集合”,这些都是“公众可以访问的”(2017年,第3段)。近年来,学者们揭示了公共音乐理论帮助教育观众的无数方式的重要见解;这项研究也扩展了当代音乐理论是什么以及音乐理论家做什么的概念。(1)然而,这项研究主要集中在20世纪50年代以来的贡献上。因此,普雷斯科的文章提供了一个更早的,19世纪的公共音乐理论制作的视角。最后,她的作品提供了一个难得的机会来研究音乐理论,这些理论不仅是由一个女人写的,而且是专门为维多利亚时代的女性观众写的。[1.3]本文主要分为四个部分。由于大多数读者对普雷斯科和《女孩自己的报纸》并不熟悉,所以我以一个简短的介绍部分开始,提供了一个简短的传记草图和期刊的背景信息。其次,我考虑她如何使用性别隐喻来解释基本的理论概念。第三,我转向了这些文章中一些更高级的理论内容,包括声音引导和半音和声,研究她的文章如何包含一定程度的理论细节,这对于一本面向年轻女性的杂志来说是令人惊讶的,而在英国新闻界对同一篇文章的其他同时期分析中却没有发现。最后,我讨论了她对女性理论理解重要性的强调,以及她的观点如何与19世纪晚期英国女性地位变化的同时代辩论相交叉。普雷斯科简介和《女孩自己的纸》背景[2.1]普雷斯科今天鲜为人知,但在她的时代,她是一位有成就的作曲家、教育家和理论家。 作为伦敦一个富裕家庭中最小的孩子,她于1871年进入皇家音乐学院(RAM)学习作曲;(3)在RAM,她师从乔治·麦克法兰(George Macfarren)学习作曲(他们的专业关系将在下文第4节详细讨论)。普雷斯科是一名成功的学生:她在1875年获得了“皇家音乐学院”(1875年,171年)的和谐铜奖,在1877年获得了“皇家音乐学院”(1877b年,391年)的和谐银奖,并在1879年获得了“和谐优异证书”(Gwffyn 1879年,473年)。显然,她很珍惜在RAM的岁月,因为她后来设立了“奥利维利亚·普雷斯科奖”,这是一个年度奖项,为杰出的作曲学生提供管弦乐乐谱(例1)。[4]普雷斯科在三十多年的音乐生涯中保持了活跃和多方面的音乐生涯。她的管弦乐和室内乐作品在19世纪70年代、80年代和90年代的音乐会上演出,她的一些音乐作品也发表了,尽管她的许多作品(尤其是她的大型管弦乐作品)没有保存下来。(5)1887年,《英国妇女评论》(the british woman’s Review)刊登了一篇关于女性作曲家的文章。作者强调,“虽然普雷斯科小姐的名字在英国公众面前并不像许多通过一些短暂的旋律琐碎而取得成功的女性那样引人注目,但从艺术的角度来看,她的职业生涯更令人感兴趣,因为她迄今为止在她的作品中保持了高标准”(de Ternant 1887, 59)。普雷斯科的作品获得了一定的认可:她的《降B大调交响曲》是英国女性创作的第一批交响曲之一,在1876年亚历山德拉宫交响乐比赛中获得了第三名(“高度赞扬”)(Fuller 2018, 155;(6)在学院期间,普雷斯科完成了其他几部大型作品,并在圣詹姆斯大厅的RAM音乐会上演出,包括她的C小调序曲(“泰托诺斯”),D小调交响曲(“阿尔克斯提斯”)和《尊歌》(Magnificat)。(7)不幸的是,普雷斯科的管弦乐表演在她在RAM的岁月后减少了。她的管弦乐作品从未出版过,并且已经丢失了。(8)为数不多的保存下来的器乐作品之一是她的音乐会终曲的钢琴二重奏编曲(例2),这是一部更轻松,更面向大众的作品,最初是为钢琴和管弦乐队创作的,(正如乐谱的标题页所指出的)是“为一个杂项节目的结束而创作的”。(9)[2.3]普雷斯科还直接参与了几个英国音乐家的专业组织。在19世纪90年代,她是唯一一位在音乐艺术家协会理事会任职的女性,该协会是一个在伦敦策划音乐会和演出的组织(Fuller 2018, 156)。(10)她也是音乐协会的创始成员和积极参与者。一个成立于1874年的学术团体,“旨在调查和讨论与音乐艺术和科学有关的主题”(1874 - 1875年会议录)。在19世纪80年代和90年代,她定期参加每月结束的会议,积极参与论文发表后的问答环节,并于1892年亲自发表了一篇论文,题为《音乐设计,对诗歌意图的帮助》。在协会前25年的月度会议中,Presco是仅有的4位女性演讲者中的第二位,也是这些年来唯一一位就理论主题发表论文的女性(例3)。她的工作似乎得到了积极的评价:在Presco论文发表后的讨论中,会议主席h·c·班尼斯特感谢Presco的“有趣而令人钦佩的论文”,(12)[2.4]普雷斯科还在英国教会女子高中担任音乐老师,并在纽纳姆学院教授音乐函授课程。(13)她与学院保持着联系,担任乔治·麦克法伦的助手,并帮助他为1883年的清唱剧《大卫王》誊写音乐和选择文本段落。(14)麦克法伦将他早期的清唱剧《约瑟夫》(1877)献给了她。在乐谱的前面写道:“为了纪念在题词中度过的快乐时光,作曲家将这部清唱剧献给他的学生、朋友和女助手奥利维亚·路易莎·普雷斯科。”[2.5]但普雷斯科最多产、最有趣的贡献是作为音乐作家;在很多方面,她都是19世纪晚期公共音乐理论家的典范。仅在19世纪80年代,她就为《音乐世界》和《音乐新闻》等主要期刊写了50多篇文章。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.70
自引率
25.00%
发文量
26
审稿时长
42 weeks
期刊介绍: Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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