FONTES ARTIS MUSICAE最新文献

{"title":"The Music Archive of Macau’s Seminary of St. Joseph: Chinese Transmission and Reformulation of Western Music-Theoretical Knowledge","authors":"Jen-yen Chen","doi":"10.1353/fam.2021.0030","DOIUrl":"https://doi.org/10.1353/fam.2021.0030","url":null,"abstract":"English Abstract:The Music Archive of the Seminary of St. Joseph in Macau, a Catholic institution where the training of missionaries and clergy destined for religious duties in the East Asia region took place up to the late twentieth century, preserves a collection of scores and treatises of diverse geographical provenance, encompassing Europe, North America, and Asia. The theoretical documents, variously written in Chinese, English, French, Italian, Portuguese, and Spanish, afford an investigation of the multicultural legacy of a former colony of Portugal and now special administrative region of China. The present article focuses especially on the writings in Chinese in order to illuminate the complexities of the local responses to a symbolically potent tradition imported from abroad. Demonstrating neither wholesale acculturation by a colonising culture nor a resistance politics of simplistic oppositionality, the authors of these works at times express what seem like contradictory positions, such as a call to study music of the West in order to produce a uniquely Chinese style. But such alleged paradoxes evince the dynamic and contentious nature of inter-cultural exchange. The particular case study detailed here manifests this basic facet of transcultural processes through reformulations of polyphonic and harmonic principles to serve colouristic treatments of sound and heightened sensuality of musical surfaces, rather than conventionally European understandings of hierarchical tonal grammar. In capturing a multiplicity of competing yet overlapping perspectives, these materials of the Seminary Music Archive exemplify in toto the quintessentially modern character of a contemporary postcolonial milieu.French Abstract:Les archives musicales du Séminaire Saint-Joseph de Macau, institution catholique où étaient formés les missionnaires et le clergé destinés à exercer des fonctions religieuses dans la région de l’Asie de l’Est jusqu’à la fin du vingtième siècle, conservent une collection de partitions et de traités de provenances géographiques diverses, englobant l’Europe, l’Amérique du Nord et l’Asie. Les documents théoriques, diversement rédigés en chinois, anglais, français, italien, portugais et espagnol, permettent une étude de l’héritage multiculturel d’une ancienne colonie du Portugal, aujourd’hui région administrative spécifique de la Chine. Le présent article se concentre sur les écrits en chinois afin d’éclairer la complexité des réponses locales à une tradition symboliquement puissante importée de l’étranger. Ne démontrant ni une acculturation générale par une culture colonisatrice ni une politique de résistance reposant sur une oppositionnalité simpliste, les auteurs de ces œuvres expriment parfois ce qui semble être des positions contradictoires, telles qu’un appel à étudier la musique de l’Occident afin de produire un style chinois unique. Mais de tels paradoxes supposés révèlent la nature dynamique et contentieuse des échanges intercultu","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"313 - 343"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47099028","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":"Binding and Care of Printed Music. Revised Edition by Alice Carli (review)","authors":"Sandi-Jo Malmon, Colin Coleman, T. Perera","doi":"10.1353/fam.2021.0033","DOIUrl":"https://doi.org/10.1353/fam.2021.0033","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"359 - 361"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44179881","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":"Kaikhosru Sorabji’s Letters to Philip Heseltine (Peter Warlock) ed. by Brian Inglis and Barry Smith (review)","authors":"Nalini Ghuman","doi":"10.1353/fam.2021.0034","DOIUrl":"https://doi.org/10.1353/fam.2021.0034","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"361 - 365"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48751622","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":"Opening a Celebrity’s Closet: Cecilia Davies and the de Bellis Collection","authors":"Margaret R. Butler","doi":"10.1353/fam.2021.0029","DOIUrl":"https://doi.org/10.1353/fam.2021.0029","url":null,"abstract":"Abstract:The Frank V. de Bellis Collection at the San Francisco State University Library is a treasure trove of untapped resources for the study of eighteenth-century music. Among its highlights is an uncatalogued group of music manuscripts and catalogued librettos owned by Cecilia Davies, the first English soprano to triumph on the Italian opera seria stage. My work on the heretofore mostly unidentified musical material—including arias and ensembles by Hasse, Traetta, Sarti, Paisiello, Pergolesi, Jommelli, Schuster, Vento, Rauzzini, and others—has yielded findings that help us approach an array of questions. The large collection affords a view of Davies’s entire Italian career. Certain pieces reflect use in performance and some carry markings in her own hand. The collection as whole helps us learn more about her voice, which, given her famous European tours with her glass harmonica virtuosa sister, Marianne, reveal a striking element of her persona and point to its impact on her opera career. Comparing the items to other materials sheds light on the activities of performing, copying, teaching, and collecting. Contextualising these findings within correspondence involving Davies’s contemporaries and other biographical material amplifies our view of celebrity’s mechanisms, allowing us to place her in conversation with diverse communities of performers, listeners, and creators. This important corpus of material helps us build bridges between groups of operatic prime donne from earlier in the century and those in the coming era. The Collection and its contexts enrich our understanding of celebrity culture and its function within Enlightenment-era Europe.French Abstract:La collection Frank V. de Bellis de la bibliothèque de l’université d’État de San Francisco est un trésor de ressources inexploitées pour l’étude de la musique du dix-huitième siècle. Parmi ses éléments les plus importants, on trouve un ensemble non catalogué de manuscrits musicaux et de livrets catalogués ayant appartenu à Cecilia Davies, la première soprano anglaise à triompher sur la scène italienne de l’opera seria. Mon travail sur le matériel musical jusqu’à présent en grande partie non identifié - y compris des arias et des ensembles de Hasse, Traetta, Sarti, Paisiello, Pergolesi, Jommelli, Schuster, Vento, Rauzzini et d’autres – a permis de faire des découvertes qui nous aident à aborder toute une série de questions. Cette vaste collection permet d’avoir une vision de l’ensemble de la carrière italienne de Davies. Certaines pièces témoignent de leur utilisation en concert et d’autres portent des marques de sa propre main. L’ensemble nous renseigne sur sa voix, qui, compte tenu de ses célèbres tournées européennes avec sa sœur Marianne, virtuose de l’harmonica de verre, révèle un élément frappant de sa personnalité et témoigne de son impact sur sa carrière lyrique. La comparaison des objets avec d’autres matériaux met en lumière les activités d’interprétation, de copie, d’enseig","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"288 - 312"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41807509","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":"Vocal Art of Armenian Composers","authors":"Hasmig Injejikian","doi":"10.1353/fam.2021.0031","DOIUrl":"https://doi.org/10.1353/fam.2021.0031","url":null,"abstract":"English Abstract:The three volumes of the Vocal Art of Armenian Composers present the works of post- genocide first generation composers, such as Komitas, Alemshah, Ganatchian, and Berberian, to enrich the art song repertoire of the musical community at large. The repertoire is presented for the first time in International Phonetic Alphabet (IPA) phonemes accompanied by literal, poetic, and idiomatic English translations. The volumes also include information on Armenian music and historic events relevant to the repertoire, composer biographies, and sources. Classical singers, vocal coaches, and voice teachers will find this Anthology helpful in learning and teaching Armenian art songs. This article describes the process of putting together the volumes, elucidates linguistic and grammatical intricacies of the Armenian language, and provides an IPA transliteration key that will greatly simplify the learning process.French Abstract:Les trois volumes du Vocal Art of Armenian Composers présentent les œuvres des compositeurs de la première génération post-génocide, tels que Komitas, Alemshah, Ganatchian et Berberian, afin d’enrichir le répertoire de chansons lyriques de la communauté musicale dans son ensemble. Le répertoire est présenté pour la première fois dans les phonèmes de l’International Phonetic Alphabet (IPA, Alphabet Phonétique International), accompagnés de traductions anglaises littérales, poétiques et idiomatiques. Les volumes comprennent également des informations sur la musique arménienne et les événements historiques liés au répertoire, des biographies de compositeurs et des sources. Les chanteurs classiques, les répétiteurs de chant et les professeurs de chant trouveront cette anthologie utile pour apprendre et enseigner les chansons lyriques arméniennes. Cet article décrit le processus de compilation des volumes, clarifie les subtilités linguistiques et grammaticales de la langue arménienne et fournit une clé de translittération IPA qui simplifiera grandement le processus d’apprentissage.German Abstract:Zur Bereicherung des Kunstliedrepertoires präsentieren die drei Bände der Vocal Art of Armenian Composers Werke von Komponisten der ersten Generation nach dem Genozid, zu denen Komitas, Alemshah, Ganatchian und Berberian gehören. Das Repertoire erscheint erstmalig in Phonemen nach dem International Phonetic Alphabet (IPA) und wird von wörtlichen, literarischen und idiomatischen englischen Übersetzungen ergänzt. Die Bände enthalten außerdem für das Repertoire relevante Informationen über armenische Musik und historische Ereignisse sowie Komponistenbiografien und Quellen. Gesangslehrer und Sänger werden diese Anthologie beim Lehren und Lernen armenischer Kunstlieder hilfreich finden. Dieser Artikel beschreibt den Prozess der Zusammenstel-lung der Bände, erläutert sprachliche und grammatikalische Feinheiten der armenischen Sprache und bietet einen IPA-Transliterationsschlüssel, der den Lernprozess erheblich vereinfacht.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"344 - 356"},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46076783","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 Oxford Handbook of Musical Repatriation ed. by Frank Gunderson, Robert C. Lancefield and Bret Woods (review)","authors":"G. Jähnichen","doi":"10.1353/fam.2021.0024","DOIUrl":"https://doi.org/10.1353/fam.2021.0024","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"276 - 280"},"PeriodicalIF":0.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48241185","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 Old Cummings Collection at the Nanki Music Library","authors":"Tsutomu Sasaki, H. Miyazaki","doi":"10.1353/fam.2021.0017","DOIUrl":"https://doi.org/10.1353/fam.2021.0017","url":null,"abstract":"Abstract:The Nanki Music Library is the first public music library in Japan, founded by Marquis Yorisada Tokugawa (1892–1954), the sixteenth Lord of the Kishu Tokugawa family. The collection was opened to the public in October 1920. Historically, this library has played an important role in the cradle of Western music research in Japan. Nowadays, however, researchers and performers are more interested in a part of the collection (acquired in 1920) of William Hayman Cummings (1831–1915), one of the great music collectors of the nineteenth century in the U.K., and the former collection of the music scores (1,030 pieces, acquired in 1928) of Joseph Hollman (1852–1926), who was a globally successful cellist and a close friend of Yorisada.In this article, I present the history of the Nanki Music Library, how the Old Cummings Collection came to be collected at this library, and the Old Cummings Collection that is currently held at this library. The Nanki Music Library became open to the public with the acquisition of the Old Cummings Collection and even today it is still the core collection of the library.French Abstract:La Nanki Music Library est la première bibliothèque musicale publique du Japon, fondée par le marquis Yorisada Tokugawa (1892–1954), seizième seigneur de la famille Kishu Tokugawa. La collection a été présentée au public en octobre 1920. Historiquement, cette bibliothèque a joué un rôle important en constituant le noyau de la recherche musicale occidentale au Japon. Aujourd’hui, cependant, les chercheurs et les interprètes s’intéressent davantage à une partie de la collection (acquise en 1920) de William Hayman Cummings (1831–1915), l’un des grands collectionneurs de musique du XIXe siècle au Royaume-Uni, et à l’ancienne collection de partitions (1 030 exemplaires, acquis en 1928) de Joseph Hollman (1852–1926), qui fut un violoncelliste de renommée mondiale et un ami proche de Yorisada.Dans cet article, je présente l’histoire de la Nanki Music Library, la façon dont la Old Cummings Collection a été rassemblée dans cette bibliothèque, et la Old Cummings Collection elle-même, actuellement conservée au sein de cette bibliothèque. La Nanki Music Library a été ouverte au public avec l’acquisition de la Old Cummings Collection et, aujourd’hui encore, celle-ci constitue la collection principale de la bibliothèque.German Abstract:Die Nanki Music Library war die erste öffentliche Musikbibliothek Japans, gegründet vom Marquis Yorisada Tokugawa (1892–1954), dem sechzehnten Lord der Familie Kishu Tokugawa. Die Sammlung wurde im Oktober 1920 der Öffentlichkeit zugänglich gemacht. Historisch gesehen spielte diese Bibliothek eine wichtige Rolle am Beginn der westlichen Musikforschung in Japan. Heutzutage interessieren sich Forscher und Interpreten jedoch mehr für den Teil der Sammlung von William Hayman Cummings (1831–1915), einem der großen Musiksammler des 19. Jahrhunderts (erworben 1920), sowie für die ehemalige Notensammlung von Joseph Hollman (1","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"217 - 232"},"PeriodicalIF":0.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44596734","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":"Recent Developments in the Japanese Branch of Répertoire International de Littérature Musicale (Rilm National Committee of Japan): Its Task and Future","authors":"T. Itoh","doi":"10.1353/fam.2021.0028","DOIUrl":"https://doi.org/10.1353/fam.2021.0028","url":null,"abstract":"Abstract:At the twentieth Congress of the International Musicological Society (IMS), held in Tokyo March 2017, RILM Japan organised a session ‘Collaboration and Dialogue: RILM in Japan’, in which the invited speakers pointed out the current problems of RILM Japan: for example, the difficulties in the transliteration of Japanese documents and ensuing misinterpretation, and the still estranged position of popular music studies in traditional Japanese musicology. On the other hand, since its foundation in 1967, RILM Japan has undergone several changes in its office location, editorial principles, and publication methods, which are almost always a result of financial challenges. Despite its constant efforts, therefore, RILM Japan has been facing fundamental problems in its operations for a long time. In June 2018, IAML Japan and RILM Japan jointly hosted a conference ‘Music Information in Asia and Advancement of International Collaboration: Searching the Music Source and Connecting the Music Libraries’ at Rikkyo University, Tokyo. A formal declaration of the conference was unanimously approved as follows: ‘We the members of IAML and RILM Japan hereby state our intent to be in closer contact with others in Asia concerned with the care, collection, and dissemination of music materials to facilitate mutual understanding and collaboration.’ Finally, as a result of such endeav-ours, in April 2021, the Japanese Society of Popular Music has joined RILM Japan as a subsidising support group, and an online Web system, RILM Japan Online (only for domestic use at this point), has been placed in operation after a long debate over its implementation.French Abstract:Lors du vingtième congrès de la Société internationale de musicologie (SIM), qui s’est tenu à Tokyo en mars 2017, le RILM Japon a organisé une session “Collaboration and Dialogue: RILM in Japan”, au cours de laquelle les intervenants invités ont souligné les problèmes actuels du RILM Japon : par exemple, les difficultés de translittération des documents japonais et les erreurs d’interprétation qui en découlent, ainsi que la place encore marginale des études sur la musique populaire au sein de la musicologie japonaise traditionnelle. D’autre part, depuis sa fondation en 1967, le RILM Japon a connu plusieurs changements en termes de locaux, de principes éditoriaux et de méthodes de publication, presque toujours en raison de difficultés financières. Malgré ses efforts constants, le RILM Japon est donc confronté depuis longtemps à des problèmes fondamentaux dans son mode de fonctionnement. En juin 2018, IAML Japan et le RILM Japon ont organisé conjointement une conférence intitulée Music Information in Asia and Advancement of International Collaboration : Searching the Music Source and Connecting the Music Libraries à l’université Rikkyo de Tokyo. La déclaration solennelle de la conférence a été approuvée à l’unanimité dans les termes suivants : « Nous, membres de IAML et du RILM Japon, déclarons par la pré","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"211 - 216"},"PeriodicalIF":0.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42439089","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":"Preface","authors":"Mari Itoh","doi":"10.1353/fam.2021.0026","DOIUrl":"https://doi.org/10.1353/fam.2021.0026","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"197 - 197"},"PeriodicalIF":0.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43018483","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 Libraries in Japan During The 1960s: The Time for a Seed to Germinate?","authors":"Mari Itoh","doi":"10.1353/fam.2021.0018","DOIUrl":"https://doi.org/10.1353/fam.2021.0018","url":null,"abstract":"Abstract:This study aims to explore the factors at play in how music libraries in Japan developed during the 1960s and formed associations of music libraries, such as the Music Library Association of Japan in 1971 and the IAML Japanese Branch in 1979. Even though the information circumstances and roles of information professionals have changed drastically since the 1960s, it is worthwhile to learn and reflect on what our predecessors have done.An interview survey was conducted with people who played an important role in collection development for their libraries. The author considered how the governmental policy of higher education to establish graduate schools indirectly influenced library management. It was found that the requirements for graduate school foundation led each library to enrich its collection through adequate selection of resources by faculty members. The growth of libraries encouraged library staff to focus on proper collection organisation.French Abstract:Cette étude vise à explorer les facteurs en jeu dans la façon dont les bibliothèques musicales au Japon se sont développées au cours des années 1960 et ont formé des associations de bibliothèques musicales, telles que la Music Library Association of Japan en 1971 et la branche japonaise de IAML en 1979. Même si le contexte de l’information et le rôle des professionnels de l’information ont radicalement changé depuis les années 1960, il est utile de tirer des enseignements et de se pencher sur ce que nos prédécesseurs ont accompli.Une enquête sous forme d’entretiens a été menée auprès de personnes ayant joué un rôle majeur dans le développement des collections de leur bibliothèque. L’auteur a examiné comment la politique gouvernementale de l’enseignement supérieur visant à créer des écoles supérieures a indirectement influencé la gestion des bibliothèques. Il a été établi que les exigences relatives à la fondation d’écoles supérieures ont conduit chaque bibliothèque à enrichir sa collection en procédant à une sélection adéquate des ressources effectuée par les membres de la faculté. La croissance des bibliothèques a encouragé le personnel des bibliothèques à se recentrer sur une organisation pertinente de ses collections.German Abstract:Diese Studie zielt darauf ab, die Faktoren zu untersuchen, die bei der Entwicklung von Musikbibliotheken im Japan der 1960er-Jahre sowie bei der Bildung der musikbibliothekarischen Verbände wie der Music Library Association of Japan 1971 und der japanischen IAML-Ländergruppe im Jahr 1979 eine Rolle spielten. Auch wenn sich die grundlegenden Bedingungen und das Rollenverständnis von Informationsspezialisten seit den 1960er-Jahren drastisch verändert haben, ist es lohnend, sich zu vergegenwärtigen, was unsere Vorgänger getan haben, und dies kritisch zu betrachten.Es wurden Interviews mit Personen geführt, die eine wichtige Rolle bei der Bestandsentwicklung ihrer Bibliotheken spielten. Die Autorin hat untersucht, wie die staatliche Hochschulpolitik ","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"68 1","pages":"233 - 243"},"PeriodicalIF":0.0,"publicationDate":"2021-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46854997","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}