Nineteenth-Century Music Review最新文献_第3页

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-08-01 DOI: 10.1017/s1479409823000277

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NCM volume 20 issue 2 Cover and Front matter NCM第20卷第2期封面和封面问题

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-08-01 DOI: 10.1017/s147940982300023x

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César Franck, Intégrale de l’œuvre d'orgue –– Complete Edition. Edited by Richard Brasier, Foreword by Marie-Louise Jaquet-Langlais (Lyrebird Music, 2022). Score LBMP 029, 606 pp. 塞萨尔·弗兰克，完整的管风琴作品-完整版。由Richard Brasier编辑，Marie Louise Jaquet Langlais前言（Lyrebird Music，2022）。LBMP评分029606页。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-07-17 DOI: 10.1017/s1479409823000125

J. Lipka

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Polish Romantic Guitar: Chopin, Bobrowicz, Horecki, Szczepanowski, Sokołoski Mateusz Kowalski, guitar The Fryderyk Chopin Institute NIFCCD 118, 2020 (1 CD: 79 minutes). €15.00 波兰浪漫吉他:肖邦，Bobrowicz, Horecki, Szczepanowski, Sokołoski Mateusz Kowalski，吉他Fryderyk Chopin Institute NIFCCD 118, 2020 (1 CD: 79分钟)。€15.00

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-06-29 DOI: 10.1017/s1479409823000204

J. Sobaskie

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Giuseppe Verdi, Il Corsaro Matheus Pompeu, ten, Ilona Mataradze, sop, Aleksey Bogdanov, bar, Karen Gardeazabal, sop, Mateusz Stachura, bar, Pawel Cichoński, ten Podlasie Opera and Philharmonic Choir, Europa Galante, Fabio Biondi, cond Fryderyk Chopin Institute, NIFCCD 087–088 2021 (2 CDs: 91 minutes), €18 朱塞佩-威尔第，《科萨罗》（Il Corsaro） Matheus Pompeu，男高音，Ilona Mataradze，女高音，Aleksey Bogdanov，男低音，Karen Gardeazabal，女高音，Mateusz Stachura，男低音，Pawel Cichoński，男高音波德拉谢歌剧爱乐合唱团，Europa Galante，Fabio Biondi，指挥弗莱德里克-肖邦学院，NIFCCD 087-088 2021（2 张 CD：91 分钟），18 欧元。

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-06-27 DOI: 10.1017/s1479409823000198

Jane Sylvester

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Phryné as opéra comique: Saint-Saëns contra Offenbach Phryné作为喜剧歌剧：Saint Saëns contra Offenbach

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-06-19 DOI: 10.1017/s1479409823000186

S. Huebner

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The Memory Man: Jacques Offenbach, Le Bonhomme Jadis and the Origin of an air connu 记忆中的人：雅克·奥芬巴赫、勒邦霍姆·贾迪斯与空中通信的起源

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-06-02 DOI: 10.1017/s1479409823000174

R. Sherr

{"title":"The Memory Man: Jacques Offenbach, Le Bonhomme Jadis and the Origin of an air connu","authors":"R. Sherr","doi":"10.1017/s1479409823000174","DOIUrl":"https://doi.org/10.1017/s1479409823000174","url":null,"abstract":"This article is in essence a study of intertextuality in two musico-dramatic genres in Paris of the 1850s: the comédie-vaudeville and straight plays with incidental music. The ‘texts’ that are considered here are interpolated songs in the comédie-vaudeville and purely instrumental interpolations in plays. Their intertextuality depends on the age-old process of contrafactum. Yet a problem arises when the listener cannot recognize the original source of the contrafactum and cannot perceive the intertext.\u0000 The article traces such an intertextual problem. It illustrates how the attempt to answer what would appear to be a minor question regarding music in a comédie-vaudeville led to consideration of an aspect of Jacques Offenbach's output that has received very little attention and which in turn poses some problems of its own. I begin by discussing how intertextuality and musical memory were exploited in the nineteenth-century Parisian comédie-vaudeville. I then discuss how my inability to identify a ‘text’, in this case a particular tune used in a production in a Parisian theatre was so bothersome that it caused it to stick in my memory, which in turn allowed me to recognize it in a work by Offenbach. This in turn led to consideration of a short story and a play in which intertextual musical memory plays a large role, and to the music that Offenbach composed for the performance of that play which surprisingly led to the solution of the problem, the identification of the tune. I end with further comments.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48857887","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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Music DH 2021: A Directory of Digital Scholarship in Music 音乐DH 2021：音乐数字奖学金目录

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-05-18 DOI: 10.1017/S1479409823000071

Michelle Urberg

{"title":"Music DH 2021: A Directory of Digital Scholarship in Music","authors":"Michelle Urberg","doi":"10.1017/S1479409823000071","DOIUrl":"https://doi.org/10.1017/S1479409823000071","url":null,"abstract":"Music DH 2021: A Directory of Digital Scholarship in Music (hereafter Music DH) (https://rutgersdh.github.io/musicdh/) represents the work of a collaborative project of the Digital Humanities Interest Group of the Music Library Association. Librarians and scholars, many of whom have experience either creating or supporting digital humanities work, collected, collated, and catalogued more than 200 projects that now comprise Music DH. Since its launch in 2021, it has been maintained by Francesca Giannetti, who is the Digital Humanities Librarian at Rutgers University and the Co-Director of the Rutgers Digital Humanities Institute. The Sources page in the site acknowledges, however, that Giannetti is standingon the shouldersof giants in championingMusicDH.Thisproject grew inpart out of existingbibliographies that cataloguedigital projects related to musical topics. The directory platform itself also leans heavily on designs used in other digital scholarship websites. The clear acknowledgement of collaboration and antecedents is in keepingwith the spirit of born-digital scholarship: it takes a village to conceive, launch and support born-digital work. For anyone seeking to expand research based in traditional publication formats, Music DH should be a first stop on the way to augmenting both primary source and secondary research. It is currently the only open-access directory of digital resources that specializes in musical scholarship where each of the indexed items are catalogued with a standardized and searchable bibliographic record.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"457 - 467"},"PeriodicalIF":0.3,"publicationDate":"2023-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47131071","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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Clara Schumann: Changing Identities and Legacies 克拉拉·舒曼:改变身份和遗产

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-05-16 DOI: 10.1017/s1479409823000034

J. Davies, Nicole Grimes

{"title":"Clara Schumann: Changing Identities and Legacies","authors":"J. Davies, Nicole Grimes","doi":"10.1017/s1479409823000034","DOIUrl":"https://doi.org/10.1017/s1479409823000034","url":null,"abstract":"In the course of the last two hundred years, different facets of Clara Schumann's artistic, creative and performative persona have been highlighted and different narratives have been produced. As the articles to follow demonstrate, these facets include Clara Schumann as a performer, an improviser, a virtuoso, a priestess, a prophetess, a celebrity, a composer and a curator of flowers and photographs. The Introduction and four research articles in this issue devoted to Schumann suggest in multifaceted ways that her creative identities and legacies are open to new ways of being contextualized in both historical and contemporary contexts. This journal issue initiates important conversations and provides some constructive starting points for considering the nature of Clara Schumann's identities and their legacies, and for pondering how Clara Schumann can help us to think afresh about identity and legacy as concepts.\u0000 Grappling with a range of sources in both German and English, this Introduction to the issue embraces the fluid intersections in Clara Schumann's creative world between the visual and the tactile, the sonic and the corporeal. It explores the changing images of Schumann from her lifetime to the present day and reconsiders her creativity from our current perspective.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44656919","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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The Technological Priestess: The Piano Recital, Photography, and Clara Schumann 技术女祭司:钢琴独奏会，摄影和克拉拉·舒曼

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-05-02 DOI: 10.1017/s1479409823000137

A. L. Prince

{"title":"The Technological Priestess: The Piano Recital, Photography, and Clara Schumann","authors":"A. L. Prince","doi":"10.1017/s1479409823000137","DOIUrl":"https://doi.org/10.1017/s1479409823000137","url":null,"abstract":"Musicologists often consider Clara Schumann to be one of the most influential figures in the establishment of the solo piano recital – a musical experience that encouraged the dominance of the serious music aesthetic. Schumann's connection to this ideal is perhaps most evident in her enshrinement as the priestess, a nineteenth-century title that honoured the interpretive power of her virtuosic performances. While her commitment to canonical values cannot be questioned, Schumann's piano virtuosity was also undeniably popular, incredibly physical and acutely tied to the century's rapidly changing musical and visual technologies.\u0000 Attention to the analytical and imaginative connections between these transformative technologies actively complicates the divine, dehumanized and mythological stature that has come to centre Schumann's historiography. Her mass-produced photographs, and especially her cartes-de-visite, could both compound her priestessness and stimulate unresolvable fissures within it. Aligned with recent scholarship that expands Schumann's virtuosity into the realms of the popular, photographs and other forms of mass media reveal the inherent flexibility of the priestess ideology and this mythology's (seemingly) easy inclusion of various ambiguous and sometimes contradictory ideals. In effect, photographs of Schumann could instigate a kind of exhilarating, cognitive dissonance in their viewers: seeing was not necessarily believing her as only priestess. Seeing could, in fact, mean imagining and reimagining Clara Schumann in all kinds of fantastical ways: ways that aligned her piano virtuosity with the commodified visual technology in an increasingly mechanized world, or ways that underscored her feminine sexuality and virtuosity as socially destabilizing or democratizing.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41561367","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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