Eighteenth Century Music最新文献

{"title":"Telemann Studies Wolfgang Hirschmann and Steven Zohn, eds Cambridge: Cambridge University Press, 2022 pp. xxxii + 344, ISBN 978 1 108 49383 3","authors":"Barbara M. Reul","doi":"10.1017/S1478570623000155","DOIUrl":"https://doi.org/10.1017/S1478570623000155","url":null,"abstract":"When Georg Philipp Telemann (1681–1767) applied for, and subsequently turned down, the vacant post of Thomaskantor in Leipzig, in 1722, he probably did not expect a major English-language publication bearing his last name to grace (real and virtual) bookshelves three centuries later. Telemann Studies is a ground-breaking work that comprises important contributions by sixteen scholars based in Germany, the USA and Japan. They met at Temple University in October 2017 to mark the two hundred and fiftieth anniversary of Telemann’s death and ponder the topic ‘Georg Philipp Telemann: Enlightenment and Postmodern Perspectives’. That it took almost five years for these exemplary conference proceedings to appear in print was no surprise to this reviewer. After all, its editors, Wolfgang Hirschmann (Martin-Luther-Universität Halle-Wittenberg) and Steven Zohn (Temple University), are not only the two leading Telemann scholars in their respective native languages, but are also known for their high scholarly standards. For them to collaborate is a stroke of luck as far as global Telemann research is concerned. According to its back cover, this book – which is divided into five parts – attempts to remedy the limited availability of English-language literature on Telemann by examining specific aspects of his life, music and legacy. To that end, the editors provide an unusually lengthy Preface. It begins with a superb overview of how (German) Telemann scholarship developed over the course of the twentieth century; this part of the preface would have made a wonderful separate introductory chapter. Comprehensive summaries of each chapter follow, with the editors taking great pains to explain the authors’ methodological approaches and highlight research findings. This ‘representative cross-section of Telemann studies in the early twenty-first century’ (xxii) is a must-read for anyone who wants to know more about the most influential German composer of the first half of the eighteenth century. To that end, Zohn has skillfully translated chapters written by German scholars Carsten Lange, Nina Eichholz and Ralph-Jürgen Reipsch into English. ‘Enlightenment perspectives’ are explored in part 1. First, Zohn outlines the different ways in which Telemann handled the musical past in two of his Frankfurt cantatas, Sehet an die Exempel der Alten (TVWV1:1259) and Erhöre mich, wenn ich rufe (TVWV1:459). Hirschmann then shifts to the composer’s French pastoral dramas and scrutinizes his little-known (and uncatalogued) Pastorelle en musique from 1714. Telemann’s commentary on the ‘Augenorgel’, or ‘harpsichord for the eye’, is the focus of Joyce Z. Lindorff’s chapter; she draws attention to the eight translations that appeared between 1739 and 1757 in French, Latin and German. In part 2, ‘Urban and Courtly Contexts’, Carsten Lange painstakingly examines Telemann’s connection to the city of Lüneburg, specifically to the local pastor and theologian Roger Brown, who copied some of Te","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"27 1","pages":"187 - 189"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83282407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chamber Scenes: Musical Space, Medium, and Genre c. 1800","authors":"M. L. Turner","doi":"10.1017/S1478570623000192","DOIUrl":"https://doi.org/10.1017/S1478570623000192","url":null,"abstract":"In mid-February scholars and performers gathered in San José to address what some might think are long-answered questions. What was chamber music around the turn of the nineteenth century? What were its conventions, contours and uses? Who listened to it, played it and paid for it? The presenters and participants at ‘Chamber Scenes: Musical Space, Medium, and Genre c. 1800’ amply addressed these questions and others. The conference was hosted by the Ira F. Brilliant Center for Beethoven Studies at San José State University, and adroitly organized by Erica Buurman, director of the Center, and Nicholas Mathew of the University of California Berkeley. Although this was not specifically a conference on Beethoven, Ludwig loomed large, as he is likely to at any conference on instrumental music around the year 1800, and particularly one held at a centre for Beethoven scholarship. In the wake of the unexpectedly curtailed ‘Beethoven year’ of 2020, there was palpable enjoyment among attendees at the meeting of colleagues and friends, and much to appreciate about being together in physical space to present and experience a variety of thought-provoking and enjoyable papers and performances. A number of presentations focused productively on questions of genre, with particular attention paid to dismantling (or at least complicating) the oppositional dualities common in chamber-music scholarship. As Ellen Lockhart (University of Toronto) observed in her paper, the widely accepted definition of chamber music both invokes and invites binaries: public/private, commercial/aesthetic, male/female and professional/amateur, among others. In the first of three lecture-recitals at the conference, Erica Buurman, assisted by the Takács Quartet and historical dance expert Joan Walton (San José State University), demonstrated the heretofore underexplored influences of ballroom and social dance on the second movement of Beethoven’s String Quartet Op. 132. Considering the binary between ‘bodily’ music (in this case, music for dance) and ‘cerebral’ music, Buurman suggested that, contrary to the ideologies of critics such as Eduard Hanslick, chamber music drew on the former as well as the latter. Lockhart too engaged with a binary that might seem inherent in the genre: that of instrumental versus vocal music. Tracing the origins of the term ‘chamber music’, she suggested the term’s indebtedness to baroque vocal genres, and observed the continuing presence of vocality in later chamber music, as in the cavatina movement of Beethoven’s String Quartet Op. 130. Sarah Waltz (University of the Pacific) complicated the aforementioned public/ private binary in an English context, noting that the repertoire for ‘public’ stage concerts and ‘private’ house concerts may not have differed as widely as one might think. ‘Domestic’ chamber genres were often performed publicly, just as ‘larger’ genres, like the concerto, sometimes found their place in domestic venues. Other papers called into que","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"39 1","pages":"243 - 245"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76647734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Haydn Society of North America Mini-Conference","authors":"Jacob Friedman","doi":"10.1017/s1478570623000088","DOIUrl":"https://doi.org/10.1017/s1478570623000088","url":null,"abstract":"The 2022 Haydn Society of North America (HSNA) Mini-Conference preceded the joint meeting of the American Musicological Society, Society for Music Theory and Society for Ethnomusicology in New Orleans. Unlike recent HSNA conferences that were conducted jointly with other groups (Packard Humanities Institute/C. P. E. Bach Complete Works in Boston in 2019, New Beethoven Research Conference in Vancouver in 2016), this meeting was held solely under the auspices of the HSNA. To honour the two hundred and fiftieth anniversary of the completion of the ‘ Sun ’ Quartets, Op. 20","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"7 1","pages":"235 - 237"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77830973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dubourg, Geminiani and the Violin Concerto in D Major: A Misattribution","authors":"Estelle Murphy","doi":"10.1017/s1478570623000131","DOIUrl":"https://doi.org/10.1017/s1478570623000131","url":null,"abstract":"Matthew Dubourg (1703–1767) is today mostly remembered as the virtuoso violinist who led the band of musicians for the premiere of Handel’s oratorio Messiah in Dublin in April 1742. He was a child prodigy – contemporary reports reveal that he was performing publicly at the age of eleven – and pupil of Francesco Geminiani (1687–1762), with whom he maintained a lifelong friendship. In 1728 Dubourg was made Master of the State Musick in Ireland following the death of Johann Sigismund Cousser (1660–1727), who had held the position since 1716. Geminiani, who had first been offered the position, declined it on account of being a Roman Catholic (other theories for Geminiani’s refusal are advanced in Enrico Careri, Francesco Geminiani (1687–1762) (Oxford: Clarendon, 1993), 21). Dubourg’s position as Master required him to compose odes to celebrate the birthdays of the British monarchs in Dublin. Surviving poetry, newspaper reports and music suggest that he composed an unbroken series of two odes per year until his death. Dubourg’s other compositions survive in various eighteenth-century manuscripts and publications. These include dances – minuets, jigs and ‘Dubourg’s Maggott’, for instance – some songs and his ‘graces’ for Corelli’s Op. 5 violin sonatas (on the last see Neal Zaslaw, ‘Ornaments for Corelli’s Violin Sonatas, Op. 5’, Early Music 24/1 (1996), 95–116, and Robert E. Seletsky, ‘18th-Century Variations for Corelli’s Sonatas, Op. 5’, Early Music 24/1 (1996), 119– 130). Dubourg’s most popular work was undoubtedly his variations on the traditional Irish song ‘Eibhlín a Rún’, first published for harpsichord in 1746 (Select Minuets, collected from the Castle Balls, and the Publick Assemblies in Dublin. Composed by the best Masters . . . to which is added Eleena Roon by Mr. Dubourgh, set to the Harpsichord with his Variations (Dublin: William Mainwaring), held at The National Library of Ireland, Dublin (IRL-Dn), Add. Mus. 9013). This publication was advertised in The Dublin Journal for 27–30 December 1746. Despite this substantial compositional output, Dubourg is not well known as a composer. Somewhat addressing this neglect is a recording by the Irish Baroque Orchestra, which mostly features works composed by Dubourg. This album – ‘Welcome Home, Mr Dubourg’ (Linn CKD 532, 2019) – was reviewed by David Rhodes (Eighteenth-Century Music 17/2 (2020), 281–285), who provided a thorough and thoughtful account of its contents, the merit of their inclusion and their context in relation to what we know of Dubourg’s life and career. Unsurprisingly, it includes Dubourg’s variations on ‘Eibhlín a Rún’ and Corelli’s Violin Sonata in A major Op. 5 No. 9 with Dubourg’s graces. The recording features excerpts from the birthday odes for Dublin Castle as well as the ode for George II’s birthday in 1739 in its entirety. Much of the music is not extant, but the autograph manuscripts for this ode and the excerpts included on the recording are held at the Royal College of ","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"15 1","pages":"223 - 225"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75133306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Making of Jamaica's ‘First Composer’: Rethinking Samuel Felsted","authors":"Wayne Weaver","doi":"10.1017/s1478570623000209","DOIUrl":"https://doi.org/10.1017/s1478570623000209","url":null,"abstract":"Abstract This article examines the links between the music of Anglo-Jamaican organist and composer Samuel Felsted (1743–1802) and his environment of late eighteenth-century Kingston, building on research published since the 1980s. Although Felsted, a person of English-American heritage who was born in Jamaica, was part of the island's European-origin community, most of his local contemporaries were people of African descent. Like many of his friends, family members and acquaintances, Felsted was a slave owner, and, as I argue here, his various literary and artistic outputs demonstrate how he was influenced by the kinds of issues – such as slavery, servitude, sovereignty and nationhood – that surfaced in the public and private discourses of his time. Considering what Felsted's cultural legacy might mean today, I turn to his undated and virtually unknown oratorio The Dedication, for which he wrote both the text and the music. The Dedication contains literary themes that allow its connections to Felsted's world and its setting of ancient Babylon to be explored. I also suggest the early 1790s as a possible time of composition for this work.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"21 1","pages":"137 - 158"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81866788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Becoming a Virtuosa: Advice from Vienna, 1769","authors":"Clare Beesley","doi":"10.1017/S1478570623000039","DOIUrl":"https://doi.org/10.1017/S1478570623000039","url":null,"abstract":"Abstract First-hand accounts explaining how a young British virtuosa went about establishing an international career in the later eighteenth century are scant. However, a previously unstudied handwritten page contained within the Rackett Family of Spettisbury Archive at the Dorset History Centre provides new insights into this underexplored area. In this article, I examine an anonymous 1769 document entitled ‘a Vienne’ from which the guiding voices of eminent musicians at the Vienna court, including Johann Adolf Hasse, Faustina Bordoni, Marianna Martines and their circle, emerge. I argue that this item is in fact an aide-mémoire memorializing intimate glimpses of private conversations, career-shaping advice and impressions that helped mould its author into a virtuosa. Further, by means of palaeographical and biographical evidence I identify the author as the young British glass-armonica player Marianne Davies and assert that her recollections, preserved in this hitherto overlooked piece of ephemera, reconstruct how the educational process of becoming a virtuosa took place.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"4 1","pages":"159 - 178"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81221392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Latin Pastorellas Joseph Anton Sehling (1710–1756), ed. Milada Jonášová Prague: Academus, 2017 pp. xli + 49, ISBN 978 8 088 08117 3","authors":"Robert Rawson","doi":"10.1017/S1478570623000143","DOIUrl":"https://doi.org/10.1017/S1478570623000143","url":null,"abstract":"Milada Joná š ová and the rest of the editorial team at Academus Editions are to be congratulated for this splendid and enterprising volume of tuneful Christmas pastorellas by the Bohemian composer","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"280 1","pages":"207 - 210"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76327863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Topics and Schemata","authors":"Danuta Mirka","doi":"10.1017/S147857062300012X","DOIUrl":"https://doi.org/10.1017/S147857062300012X","url":null,"abstract":"In my Introduction to The Oxford Handbook of Topic Theory I asked, ‘What are musical topics?’. In answer, I posited that topics are conventions, yet they do not subsume all kinds of conventions: ‘Other conventions, subsumed under this concept by other authors, are not topics’. Among them are contrapuntal-harmonic schemata. If schemata are not topics, they can, nevertheless, combine with topics ‘into more or less stable amalgam[s] that are conventional in their own rights’ (‘Introduction’, in The Oxford Handbook of Topic Theory, ed. Danuta Mirka (New York: Oxford University Press, 2014), 2). This idea was developed by Vasili Byros in the same volume with reference to the schema–topic amalgam made up of the le–sol–fi–sol and the ombra (‘Topics and Harmonic Schemata: A Case from Beethoven’, in The Oxford Handbook, 381–414) and by William Caplin in the following chapter, dedicated to the lament topic (‘Topics and Formal Functions: The Case of the Lament’, in The Oxford Handbook, 415–452). In the wake of the volume’s publication, the expressive qualities of schemata and their interaction with topics have been explored by other authors. In two articles, one of them published in this journal, John A. Rice presented two schemata that he called the Heartz and the Morte, and proposed that the Heartz is ‘not only . . . a schema but also . . . a topic’, in that it conveys ‘a sweetness and tenderness characteristic of a certain strain of the galant style’ (‘The Heartz: A Galant Schema from Corelli to Mozart’, Music Theory Spectrum 36/2 (2014), 318, 315). By contrast, the Morte is an emblem of lament and thus akin to ombra (‘The Morte: A Galant Voice-Leading Schema as Emblem of Lament and Compositional Building-Block’, Eighteenth-Century Music 12/2 (2015), 164). Olga Sánchez-Kisielewska established a link between the ‘sacred hymn’ topic and the Romanesca schema, yielding what she calls a sacred Romanesca (‘Interactions between Topics and Schemata: The Case of the Sacred Romanesca’, Theory and Practice 41/1 (2016), 47–80, and ‘The Romanesca as a Spiritual Sign in the Operas of Haydn, Mozart, and Beethoven’, in Singing in Signs: New Semiotic Explorations of Opera, ed. Gregory J. Decker and Matthew R. Shaftel (New York: Oxford University Press, 2020), 163–191). Nathaniel Mitchell came up with the Volta, a schema which has no strong topical implications, yet frequently performs a dramatic function as a gesture of culmination (‘The Volta: A Galant Gesture of Culmination’, Music Theory Spectrum 42/2 (2020), 280–304). And, again in this journal, Ewald Demeyere touched upon the affective implementations of a schema consisting of a dominant pedal accompanied by a chromatic descent (DPCD) (‘Yet Another Galant Schema: The Dominant Pedal Accompanied by a Chromatic Descent’, Eighteenth-Century Music 19/2 (2022), 173–199). Two of these authors framed the relation between schemata and topics in terms of that between syntax and semantics. Although independent in principle, ‘s","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"3 1","pages":"129 - 135"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91099012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Modern Premiere of Franz Weiss's ‘Razumovsky’ Quartets","authors":"Mark C. Ferraguto","doi":"10.1017/s1478570623000076","DOIUrl":"https://doi.org/10.1017/s1478570623000076","url":null,"abstract":"Franz Weiss (1778–1830) is best known as the violist of the Schuppanzigh Quartet, the ensemble that premiered and popularized many of Beethoven’s string quartets. But he was also a celebrated composer in his own right, one whose ‘ingenious compositions, related to Beethoven’s spirit, have long received the loudest and most deserved approval both at home and abroad’ (‘dessen geniale mit Beethovens Geist verwandte Compositionen im Inund Auslande längst die lauteste und gerechteste Anerkennung gefunden haben’). So wrote a Viennese critic in the Allgemeine Theaterzeitung und Unterhaltungsblatt für Freunde der Kunst, Literatur und des geselligen Lebens of 4 December 1828 (582). Fortunately, many of Weiss’s compositions have survived, but most are preserved only in rare archival manuscripts or early nineteenth-century performing editions. As a result, his music remains unfamiliar to scholars, performers and audiences. In the autumn of 2019 I began working on the first modern edition of Weiss’s Op. 8, a set of two string quartets dedicated to Andrey Razumovsky, the Ukrainian-born Russian diplomat to whom Beethoven famously dedicated his Op. 59 quartets. As my edition neared completion in early 2022, I contacted the Toronto-based Eybler Quartet about a possible collaboration. Through a supreme stroke of luck, my email landed in the inbox of the group’s violist, Patrick Jordan. Patrick proved to be as enthusiastic as I was to bring Weiss’s quartets – almost certainly unheard since the 1820s – back to life. We set a date of 31 January 2023 for Op. 8’s ‘modern premiere’ at the Pennsylvania State University. Over the nine months that followed, the members of the Eybler Quartet were extremely generous with their time and expertise, playing through the edited parts, suggesting emendations, making and discussing recordings and more. We haggled over accidentals, debated slurs and ties and often struggled to reach a consensus about Weiss’s intentions. The erratic nature of Op. 8’s only surviving source – a set of parts printed by the Vienna firm S. A. Steiner in 1814 – posed a significant challenge. Ultimately, this collaborative effort enriched both my edition and (if I might say so) the ensemble’s approach to Weiss’s virtuosic but intricate quartets. It is our hope that this exciting concert will have served as a springboard for generating interest in this underappreciated contemporary of Beethoven and Schubert. The concert was held in the School of Music’s new recital hall, a 420-seat, acoustically superb venue. It was also live-streamed. I introduced Weiss and his quartets in a pre-concert lecture, after which the Eybler Quartet performed Op. 8 No. 1 in the first half and the longer Op. 8 No. 2 in the second half. The first quartet, in G major, opens with a cello drone on G and D, evoking a pastoral topic that provides a touchstone for the Allegro ma non troppo. But the first movement – like the rest of Op. 8 – is also replete with bravura passagework. Indeed","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"86 1","pages":"227 - 228"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84010717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ECM volume 20 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1478570623000246","DOIUrl":"https://doi.org/10.1017/s1478570623000246","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"41 1","pages":"b1 - b2"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84970264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}