{"title":"Katherine K. Preston, Opera for the People: English-Language Opera and Women Managers in Late 19th- Century America (New York: Oxford University Press, 2017). xxix + 618 pp. £39.99.","authors":"Valeria Wenderoth","doi":"10.1017/s1479409823000265","DOIUrl":"https://doi.org/10.1017/s1479409823000265","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41971786","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}
{"title":"NCM volume 20 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1479409823000241","DOIUrl":"https://doi.org/10.1017/s1479409823000241","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44597687","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}
{"title":"Notes on Article Contributors","authors":"","doi":"10.1017/s1479409823000277","DOIUrl":"https://doi.org/10.1017/s1479409823000277","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47354373","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}
{"title":"NCM volume 20 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s147940982300023x","DOIUrl":"https://doi.org/10.1017/s147940982300023x","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44294283","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}
{"title":"Phryné as opéra comique: Saint-Saëns contra Offenbach","authors":"S. Huebner","doi":"10.1017/s1479409823000186","DOIUrl":"https://doi.org/10.1017/s1479409823000186","url":null,"abstract":"This study of Camille Saint-Saëns's opéra comique Phryné (1893), representing the famous Greek courtesan in the title role, outlines how the composer made the case for the continued viability of the opéra comique genre in a context where lighter opérettes by Jacques Offenbach on classical subjects were much celebrated on French stages. Saint-Saëns's efforts are seen through both his dislike of Offenbach's music and the flexible use of generic name markers in musical comedies of the period. In marking out an aesthetic space for new musical comedy that was not Offenbach's, Saint-Saëns and his librettist Lucien Augé de Lassus conjoined their Hellenic subject matter not only with a canon of painting and sculpture but also with musical qualities deemed classical in the fin-de-siècle environment.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47975585","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}
{"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":null,"pages":null},"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}
{"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":null,"pages":null},"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}