FONTES ARTIS MUSICAE最新文献

{"title":"Ralph Vaughan Williams and Adrian Boult by Nigel Simeone (review)","authors":"Graham Muncy","doi":"10.1353/fam.2023.a909193","DOIUrl":"https://doi.org/10.1353/fam.2023.a909193","url":null,"abstract":"Reviewed by: Ralph Vaughan Williams and Adrian Boult by Nigel Simeone Graham Muncy Ralph Vaughan Williams and Adrian Boult. By Nigel Simeone. Woodbridge: The Boydell Press, 2022. [330 p. ISBN 978-1-78327-729-2 (hardback). £50; ISBN 978-1-80010-637-6 (e-book). £19.99] Ralph Vaughan Williams and Adrian Boult are among the few examples of a close relationship between a composer and a performer/advocate for his works. It began in 1909 when, as an undergraduate at Oxford University, Adrian Boult joined Hugh Allen’s Oxford Bach Choir to perform Vaughan Williams’s Toward the Unknown Region with the composer, a frequent visitor to the city, in attendance. Through Allen, Boult’s tutor, he got to know the composer and sang in the 1911 performance of A Sea Symphony conducted by the composer. Beginning with Boult’s performances of A London Symphony in 1918, he acted as a sort of midwife for the later symphonies as well as other orchestral and choral works, even if he was not conducting the premiere. Vaughan Williams was to attend the recording of Symphony no. 9 on 26 August 1958, which was cancelled when Vaughan Williams died earlier that morning. In this excellent volume, Nigel Simeone, who has written authoritative works on Charles Mackerras, Leonard Bernstein, Leoš Janáček, and Olivier Messiaen, navigates us through Boult’s conducting career in the performance of Vaughan Williams’s symphonies in particular, as conductor of various orchestras from the City of Birmingham Orchestra through the BBC years to his final conductorship of the London Philharmonic. In this remarkable and unique musical odyssey, Simeone records 654 performances (see Appendix 2, ‘Boult’s RVW performances –A Chronology’), documenting public concerts, broadcasts, and recordings of Vaughan Williams’s works in the U.K., Europe, and the U.S., in the years between 1909 and 1977. This figure stands as Boult’s supreme achievement and highlighting this, together with the recording of the physical and intellectual effort to achieve this remarkable figure, mirrors Simeone’s extreme dedication and hard graft in bringing these facts and figures to our attention. As a result of a short friendship with Boult in his later years, Simeone visited the conductor in his home and ‘first encountered his music library, housed in an enormous break-front bookcase, carefully organised, and with correspondence from composers tucked inside many of the scores’. Boult also noted his performances of each work, including long lists of Vaughan Williams’s performances. This unique resource, together with Boult’s Papers in the British Library, the RVW ‘Letters’ database (https://vaughanwilliamsfoundation.org/discover/letters), and archival collections at Oxford University Press, Decca Records, and other similar resources, made this valuable volume possible. The symphonies by Vaughan Williams provide the structure for this volume’s chapters, punctuated by others discussing Job, with its dedication to Boult being of parti","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135851588","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":"Orchestral Identities and the Formation of Musical Knowledge: A ‘Sociomaterial’ View on the Concert Programmes of the London Symphony Orchestra and the Vienna Philharmonic Orchestra","authors":"Denise Petzold","doi":"10.1353/fam.2023.a909190","DOIUrl":"https://doi.org/10.1353/fam.2023.a909190","url":null,"abstract":"English Abstract: Concert programmes are at the heart of the rituals of Western classical music concerts. Providing information on musical works and more, they are invaluable objects of study for music scholars. This article investigates how ensembles engage in the production of these documents—a dimension so far neglected in much of concert programme scholarship, yet vital to understanding what these objects contain, look like, and do. In doing so, it approaches concert programmes as agents that help orchestras explore their musical and institutional identities. It compares, through a combination of archival research and interviews, two major European orchestras: the London Symphony Orchestra and the Vienna Philharmonic Orchestra. The investigation focuses on the programmes’ design and appearance, their contents and structures, and the programme notes. Drawing on the concept of ‘sociomateriality’—taking these documents’ situated and highly specific materialities into account, thus questioning their commonly assumed ephemerality—this article demonstrates how concert programmes maintain particular tokens of musical tradition and knowledge whilst renewing others. It thereby opens up discussions on the role that concert programmes play in opening up and manifesting musical knowledge resulting from processes of orchestral identity formation, and it proposes a practice-based methodology to how concert programmes may be studied. French Abstract: Les programmes de concert sont au cœur du rituel des concerts de musique classique occidentale. Fournissant des informations sur les œuvres musicales et plus encore, ils constituent des objets d’étude inestimables pour les chercheurs en musique. Cet article étudie la manière dont les ensembles instrumentaux s’engagent dans la production de ces documents –une dimension jusqu’à présent négligée dans la plupart des études sur les programmes de concert, et pourtant essentielle pour comprendre ce que ces objets contiennent, ce à quoi ils ressemblent et ce qu’ils font. Ce faisant, il aborde les programmes de concert comme des outils pour aider les orchestres à explorer leurs identités musicales et institutionnelles. Il compare deux grands orchestres européens, le London Symphony Orchestra et l’Orchestre philharmonique de Vienne, en combinant recherches archivistiques et entretiens. L’enquête se concentre donc sur la conception et l’apparence des programmes, leur contenu et leur structure, ainsi que sur les notes de programme. S’appuyant sur le concept de « socio-matérialité », qui prend en compte les matérialités situées et hautement spécifiques de ces documents, remettant ainsi en question leur caractère éphémère communément admis, cet article montre comment les programmes de concert maintiennent certains symboles de la tradition et de la connaissance musicales tout en en renouvelant d’autres. Il ouvre ainsi la discussion sur le rôle que jouent les programmes de concert dans l’ouverture et la diffusion de connaissan","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135851601","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":"Jean-Joseph Mouret's Divertissements: An Eighteenth-Century Example of Self-Publishing Strategy","authors":"Mary Cyr","doi":"10.1353/fam.2023.a901179","DOIUrl":"https://doi.org/10.1353/fam.2023.a901179","url":null,"abstract":"English Abstract:Jean-Joseph Mouret (1682–1738) composed both sacred and secular music, but it was his stage music that brought him special recognition. Arguably his most important contributions to the Parisian musical world were his six collections, each entitled Recueil des divertissements, which feature music for at least 140 plays performed by the Comédie-Italienne during the 1720s and 1730s. His divertissements received fulsome praise from the Parisian public and were often recognised as responsible for a play's success. Many of the plays are studied and performed today, but the music that Mouret supplied for them has often been overlooked. One reason for this neglect is that the sources for his divertissements appear to present an array of contradictions and variants. They bear no publication dates, and in some cases two collections with the same title have substantially different contents. In this article, I attempt to unravel some of the apparent discrepancies and suggest that Mouret formulated and followed a consistent strategy for publishing his six collections. His plan involved re–using his own engraved music plates in three different ways. Mouret's divertissements contributed significantly to his reputation as a composer, and they met the needs of collectors, as well as a growing number of amateur and professional musicians who purchased them for domestic use. These collections also offer an opportunity to observe the interaction of spoken text and music as performed by one of the most important performing organisations in Paris at the time.French Abstract:Jean-Joseph Mouret (1682–1738) a composé aussi bien de la musique sacrée que de la musique profane, mais c'est sa musique de scène qui lui a valu une reconnaissance particulière. Ses contributions les plus importantes au monde musical parisien sont sans doute ses six recueils, chacun intitulé Recueil des divertissements, qui contiennent la musique d'au moins 140 pièces jouées par la Comédie-Italienne dans les années 1720 et 1730. Ses divertissements ont reçu les éloges du public parisien et ont souvent été reconnus comme étant à l'origine du succès d'une pièce. De nombreuses pièces sont étudiées et interprétées aujourd'hui, mais la musique que Mouret leur a consacrée a souvent été négligée. L'une des raisons de cette négligence est que les sources de ses divertissements semblent présenter un faisceau de contradictions et de variantes. Elles ne portent pas de date de publication et, dans certains cas, deux recueils portant le même titre ont des contenus substantiellement différents. Dans cet article, je tente d'élucider certaines de ces divergences apparentes et suggère que Mouret a formulé et suivi une stratégie cohérente pour la publication de ses six recueils. Son plan consistait à réutiliser ses propres planches de musique gravées de trois manières différentes. Les divertissements de Mouret ont largement contribué à sa réputation de compositeur et ont répondu aux besoins des col","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"113 - 87"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47964309","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 Music of Nobuo Uematsu in the Final Fantasy Series ed. by Richard Anatone (review)","authors":"Milly Gunn","doi":"10.1353/fam.2023.a901187","DOIUrl":"https://doi.org/10.1353/fam.2023.a901187","url":null,"abstract":"the original text, and over time, the tradition of teaching books has grown. Television became a medium for communicating with a wider audience through masterclass broadcasts and interviews with players. Nowadays streamed events and online masterclass resources by pedagogues are the norm—although not necessarily by leading concert artists. In more recent times, performers have tried to capture the psychological aspect of performance preparation in their writings and blogs. Researchers have studied how the brain is able to learn, memorise and sight-read as well as explore the dynamics of performance anxiety. This aspect of performance is now regarded as being of equal importance as the technical and musical demands of the music. In 1909, when the Studienbuch was written, little was known of the impact of the mind on performance and learning, and consequently the book shows a simpler, although rigorous, approach to learning. As an historical document, the Studienbuch has great value. Some of the practices described have become unfashionable or have been shown to be contradictory to original intentions. However, the book contains much wisdom and practical advice, valid for being written from a performer’s viewpoint. For the student wishing to broaden their knowledge of earlier styles of playing, the book serves as a window onto an age where the study of music was not influenced by digital advances. This is an illuminating publication that benefits from the addition of the extra sections outside of the main translation and serves to present a fascinating glimpse of the inner-workings of the mind of a pianist from a by-gone era.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"184 - 186"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44958076","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":"Studienbuch by Gottfried Galston. Facsimile of the Author's Personal Copy with a New English Translation by Rosemarie S. Greenman (review)","authors":"E. Hodgkinson","doi":"10.1353/fam.2023.a901186","DOIUrl":"https://doi.org/10.1353/fam.2023.a901186","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"182 - 184"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42664326","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 Temple of Fame & Friendship: Portraits, Music, and History in the C. P. E. Bach Circle by Annette Richards (review)","authors":"Stephen Roe, Sandi-Jo Malmon, Colin Coleman","doi":"10.1353/fam.2023.a901184","DOIUrl":"https://doi.org/10.1353/fam.2023.a901184","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"177 - 179"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44049323","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 Cataloguing Process of the 'C Collection' in the Music Archive of the Cathedrals of Zaragoza","authors":"Carmen Álvarez-Escandell","doi":"10.1353/fam.2023.a901180","DOIUrl":"https://doi.org/10.1353/fam.2023.a901180","url":null,"abstract":"English Abstract:This article outlines the process of cataloguing the so-called 'C Collection' of the Music Archive of the Cathedrals of Zaragoza. The collection, comprised of thirty polyphonic choirbooks, remained uncatalogued and without a detailed study. The cataloguing work has been done following the internationally endorsed guidelines for RISM (Répertoire International des Sources Musicales), which allows comprehensive musical sources to be documented using a uniform format.In addition to this catalogue, efforts have been made to identify the authorship of the 182 anonymous works in the collection. Forty-two works in the collection were identified as a result of this work.French Abstract:Cet article décrit le processus de catalogage de la \"Collection C\" des Archives musicales des cathédrales de Zaragoza. Cette collection, comprenant trente livres de choeur polyphoniques, était restée non cataloguée et n'avait pas fait l'objet d'une étude détaillée. Le travail de catalogage a été réalisé en suivant les directives internationales du RISM (Répertoire International des Sources Musicales), qui permet de documenter des sources musicales complètes en utilisant un format uniformisé.En addition à ce catalogue, des efforts ont été faits pour attribuer la paternité de182 oeuvres anonymes de cette collection. Quarante-deux oeuvres de la collection ont été identifiées grâce à ce travail.German Abstract:Dieser Artikel skizziert den Prozess der Katalogisierung der sogenannten „C-Sammlung\" des Musikarchivs der Kathedralen von Zaragoza. Die aus 30 polyphonen Chorbüchern bestehende Sammlung wurde lange Zeit weder katalogisiert noch eingehend untersucht. Die Katalogisierungsarbeit wurde nach den international anerkannten Richtlinien für RISM (Répertoire International des Sources Musicales) durchgeführt, die es ermöglichen, umfassende Musikquellen in einem einheitlichen Format zu dokumentieren.Ergänzend zur Erstellung des Katalogs wurden Anstrengungen unternommen, um die Urheber der 182 anonymen Werke in der Sammlung herauszufinden. Als Ergebnis dieser Unternehmung konnten 42 Werke in der Sammlung zugeordnet werden.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"114 - 126"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49112476","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":"Renegade Rhymes: Rap Music, Knowledge, and Narrative in Taiwan by Meredith Schweig (review)","authors":"T. Peterson","doi":"10.1353/fam.2023.a901188","DOIUrl":"https://doi.org/10.1353/fam.2023.a901188","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"187 - 188"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43060190","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":"Canada: Assessing the Music Score Collection at the University of Toronto","authors":"Trevor P. Deck, Janneka L. Guise, J. Mason, Tim Neufeldt, Rebecca Shaw","doi":"10.1353/fam.2023.a901183","DOIUrl":"https://doi.org/10.1353/fam.2023.a901183","url":null,"abstract":"English Abstract:The University of Toronto Music Library is the largest music research collection in Canada, with over 350,000 books, music scores, and periodicals, and over 250,000 sound recordings in various formats. Thanks to a healthy acquisitions budget and generous in-kind donations we have exceeded our shelving capacity. Further challenges include open stacks with shelves too close together for users to easily navigate through, poor lighting that makes reading call numbers difficult, and high shelving that the University's Environmental Health and Safety Office determined put materials too close to the sprinkler heads in the ceiling. Changes needed to be made. Tentative plans began for a major renovation of the space in conjunction with the faculty that houses the library; unfortunately, those plans were put on indefinite hold due to geographical constraints, competing University capital project priorities, and (more recently) a new dean of music who needed to focus on accusations of systematic oppression, racism, and coloniality within the faculty's programming and pedagogical practices, in which the library was also implicated. To address these many challenges, the authors of this article began a large-scale project in 2019 to assess space planning and accessibility, update the collections policy, and address issues of equity, diversity, and inclusion within the library's holdings. This article outlines the journey our process took and the key takeaways: a literature review on collection assessment; a summary of our approach to learning about the diversity in our collection; an overview of the collection assessment summit we held in April 2021; designing a user needs survey and interpreting its results, and the next steps in our journey.French Abstract:La bibliothèque musicale de l'Université de Toronto est la plus vaste bibliothèque de référence en matière de musique au Canada, avec plus de 350 000 livres, partitions et périodiques, et plus de 250 000 enregistrements sonores sous différents formats. Grâce à un budget d'acquisition sain et à des dons généreux de documents, nous avons dépassé notre capacité de stockage sur les rayonnages. Parmi les défis à relever, citons les rayonnages ouverts avec des étagères trop proches les unes des autres pour que les utilisateurs puissent s'y retrouver facilement, un mauvais éclairage qui rend la lecture des cotes difficile, et des étagères hautes qui, selon le bureau de la santé et de la sécurité environnementales de l'université, placent les documents trop près des têtes des gicleurs situés au plafond. Des changements s'imposaient. Des plans provisoires ont été élaborés en vue d'une vaste rénovation de l'espace, en collaboration avec la faculté qui abrite la bibliothèque. Malheureusement, ces plans ont été ajournés pour une durée indéterminée en raison de contraintes géographiques, de priorités concurrentielles dans les projets d'investissement de l'Université et (plus récemment) de la nomination","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"147 - 176"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43070538","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":"Bach and Mozart: Connections, Patterns, and Pathways ed. by Paul Corneilson (review)","authors":"Vivian Tompkins","doi":"10.1353/fam.2023.a901185","DOIUrl":"https://doi.org/10.1353/fam.2023.a901185","url":null,"abstract":"Bach in London made by Abel the painter suggest a far closer relationship between Emanuel and the London musicians than has hitherto been imagined. Perhaps Emanuel and Johann Christian were not the estranged brothers of popular accounts? Given the associations between portraiture, art, and music, a notable omission is any discussion of images used as vignettes on Emanuel’s titlepages or those of his contemporaries. These were not merely a whim of the publisher, especially in editions ‘printed for the author’: they are integral to the music. Here is a case where art and music combine, yet Richards is virtually silent on the subject. Emanuel must have been passionate about the look of his publications, to judge by the lavish and splendid illustrations of swags of flowers and fruit, and other motifs in the first edition of his father’s Die Kunst der Fuge, which Emanuel put through the press. These are worth a discussion in themselves. The book is beautifully produced, lavishly illustrated, and is a welcome addition to my shelves. Apart from being owned by C. P. E. Bach, the relevance of the oil painting of a young woman with a book on the front cover escapes me. It is perhaps symptomatic of a study where a firmer editorial pencil might have been in order. All German phrases are relentlessly and unnecessarily translated and there is much repetition and some careless slips. Niccolò Jommelli was never ‘the Mannheim Kapellmeister’ and did Mozart really ‘conduct’ a large orchestra? And Sir Joshua Reynolds did not merely become the director of the Royal Academy of Arts, London, he was the founder and first president. Richards’s prose is wordy and repetitive, sometimes with sentences of a Wagnerian length. Her writing about music is sometimes affected: ‘But they are followed by the fullest of the chords . . . which vex still further the melancholic mien of the opening’. Such writing furrows this writer’s brow. There are very many admirable pages in this book, so diligently written and so handsomely produced, but Richards strays too far in drawing conclusions about this distinguished collection of images that neither illuminate Emanuel Bach’s music, nor amount to a musichistoriographical project. The presence or absence of a musician in a collection cannot be a fool-proof guide to the interests of the collector. Nor can extravagant assessments and judgments be made about such a collection: James I is present, but no Shakespeare. Collecting is such a private, personal activity, shaped by opportunity, serendipity, chance, predilection, and happy accident. Sometimes a collection of portraits is just that. There was little public exposure for C. P. E. Bach’s collection during his lifetime. Emanuel’s pictures were briefly displayed and enjoyed by the composer and his many visitors but, afterwards, the engravings were returned to their folders, the candles extinguished, and the room doors closed and locked.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"179 - 182"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45589126","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}