NOTES最新文献

{"title":"Serenade in D Major for Orchestra by Ethel Smyth (review)","authors":"Jennifer N. Oates, James Buhler, K. Abromeit, Marty Jenkins, Scott Stone, Stephanie Akau, Janet McKinney, Rachel McNellis, J. Karr, J. Persons, J. Wilson, A. Smith, Daniel F. Boomhower, Ivan Kaproth-Joslin, Donald Manildi, Jeff Schwartz, Matthew Dueppen, Bryan Proksch, Aleksandra Drozzina, David Salkowski, A. Giust, Stewart Duncan, D. Davies, Katrina Dzyak, Ryan Ross, Paul Lombardi, James Procell, Matt Ertz, C. Rowden, W. Osmond, Edward M. Komara","doi":"10.1353/not.2023.a897450","DOIUrl":"https://doi.org/10.1353/not.2023.a897450","url":null,"abstract":"ABSTRACT:The author analyzed the citations from a total of seventy-five dance MFA theses from the years 2010, 2015, and 2020. Results indicate that dance scholars use books more frequently than other types of information. Based on an analysis of Library of Congress Classification areas, the information cited in the theses was very interdisciplinary, with more non-dance resources being cited than dance-specific ones. This information—the first citation analysis focused on dance—helps to establish a baseline of information use in the scholarly dance field and can also be of practical use to the performing arts librarian wanting to better understand how to potentially work with this unique discipline.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"475 - 494 - 495 - 523 - 524 - 594 - 595 - 596 - 597 - 599 - 599 - 602 - 602 - 606 - 606 - 609 - 609"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46632472","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":"Over Here, Over There: Transatlantic Conversations on the Music of World War I ed. by William Brooks, Christina Bashford, and Gayle Magee (review)","authors":"Stewart Duncan","doi":"10.1353/not.2023.a897469","DOIUrl":"https://doi.org/10.1353/not.2023.a897469","url":null,"abstract":"mission undertaken by Jacob von Stählin with the periodical St. Petersburg Gazette from the 1730s onwards. The opportunity for financial reward was one of the reasons why actors were traveling east. When considering the circulation of artists between Italy and Russia, the editor states the objective of critically assessing how Italian-ness (italianità, “the notion we use in the sense of the image of otherness that Europeans wished to assimilate” [p. 12]) was— together with musical style—“defined but also challenged through the productions of Italian theatre and opera abroad and their border-crossing encounters with national traditions” (pp. 12–13). Of course, professionals from the Italian peninsula promoted the circulation of their repertory by travelling throughout Europe. But a common nationality is given as an axiom without considering the differences among multiple places of origin. The discourse is organized according to an idea of the European geographical (and cultural) map that refers to a stereotyped national principle: the opposition between Italian-ness and otherness, for example, does not seem appropriate for a study on mobility devoted specifically to the eighteenth century, when (if ever) different places cannot be so easily defined in national terms, nor can their inhabitants. Apart from this somewhat anachronistic approach, the volume deserves a careful reading by those who seek valuable information on Italian authors, their plays and diffusion in specific regions, and on individual artists performing operas throughout various European courts. From this perspective, it can undoubtedly serve as a basis for further work in the realm of cultural transfer.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"628 - 631"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46530397","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":"Emily Dickinson's Music Book and the Musical Life of an American Poet by George Boziwick (review)","authors":"Katrina Dzyak","doi":"10.1353/not.2023.a897471","DOIUrl":"https://doi.org/10.1353/not.2023.a897471","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"634 - 637"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41841363","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":"Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach ed. by Christine Blanken, Christoph Wolff, and Peter Wollny (review)","authors":"Daniel F. Boomhower","doi":"10.1353/not.2023.a897460","DOIUrl":"https://doi.org/10.1353/not.2023.a897460","url":null,"abstract":"University Press, 2016). The specificity of Law’s research, as well as its high level of detail, does mean that those not already familiar with eighteenthcentury French opera will face a steep learning curve. For those already engaged in this area of study, however, Law’s book presents an insightful and worthwhile examination of dramatic expression in French opera and its connections to broader Enlightenment values throughout the century.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"602 - 606"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48646095","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":"Cataloging beyond the Notes: Annotating Bibliographic Records for Music Effectively in RDA; Examples Illustrating RDA in the Online Bibliographic Record, Second Edition of \"Notes for Music Catalogers.\" by Ralph Hartsock and Peter H. Lisius (review)","authors":"Ivan Kaproth-Joslin","doi":"10.1353/not.2023.a897461","DOIUrl":"https://doi.org/10.1353/not.2023.a897461","url":null,"abstract":"information thereafter only appearing in Bach-Digital. Meanwhile, the BachBibliographie (http://swb.bsz-bw.de/DB =2.355, accessed 6 January 2023) provides references to the vast literature on Bach’s music, which could not possibly be cited in BWV3. With the new BWV3, Blanken, Wolff, and Wollny deftly address the reality that the BWV numbering has become the de facto standard, while introducing the much more nuanced reality of the composer’s legacy that survives (and only incompletely) in original sources. Indeed, it is important to recognize that some BWV numbers disguise complex compositional processes and distinct work entities. Librarians will only infuriate their users, however, if suddenly locating a score or recording of the St. John Passion requires one to navigate between five different work records. Likewise, audiences listening to live or recorded performances should only suffer scholarly minutia to the extent that they wish to read program notes. No one should ever encounter a concert program listing a performance the B-Minor Mass as “BWV3 232.4”; the work can comfortably remain “BWV 232,” without apology. No matter the skill and care clearly evident in the organization of information in BWV3, this volume will likely prove difficult to use for many students, more than a few musicologists, and just as many library catalogers—to say nothing of concertgoers. It is also expensive. These are, perhaps, the realities of working with any sophisticated scholarly tool. Just as Bach’s music rewards intensive engagement, so too will BWV3. Christine Blanken, Christoph Wolff, and Peter Wollny have produced a catalog worthy of J. S. Bach’s extraordinary compositional legacy.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"606 - 609"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48661194","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":"Twentieth-Century Music and Mathematics ed. by Roberto Illiano (review)","authors":"Paul Lombardi","doi":"10.1353/not.2023.a897473","DOIUrl":"https://doi.org/10.1353/not.2023.a897473","url":null,"abstract":"Twentieth-Century Music and Mathematics is a compilation of seventeen essays (and an introduction) in English, French, Italian, and Spanish. The first of its two parts, “Twentieth-Century Composers and Mathematics,” focuses on specific composers—namely Olivier Messiaen, Iannis Xenakis, Franco Evangelisti, Pierre Boulez, Arvo Pärt, Steve Reich, and Philip Glass (but curiously not Milton Babbitt)—and the last chapter in this part covers a handful of contemporary Spanish composers. The second part, “Music and Mathematics: Theories, Practices, Future,” focuses on recent theoretical trends. Although the book has “twentieth century” in its title, its topics are mostly from only the second half of the twentieth century and extend to the beginning of the twenty-first century. It is less of a book on music theory than on the history of music theory, which is by no means a drawback. In the introduction, Massimiliano Locanto explains:","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"640 - 642"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49025579","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":"Circé: cantata for soprano, flutes, strings, and basso continuo by Collin de Blamont, and: Première suite de pièces de clavecin by Gabriel Dubuisson","authors":"Devin Burke","doi":"10.1353/not.2023.0021","DOIUrl":"https://doi.org/10.1353/not.2023.0021","url":null,"abstract":"Reviewed by: Circé: cantata for soprano, flutes, strings, and basso continuoby Collin de Blamont, and: Première suite de pièces de clavecinby Gabriel Dubuisson Devin Burke Collin de Blamont. Circé: cantata for soprano, flutes, strings, and basso continuo. Edited by Graham Sadler. Versailles: Centre de musique baroque de Versailles, 2020. [Intro., p. 3– 12; text and trans., p. 13– 14; score, p. 15– 48; critical notes, p. 49– 51. ISMN 979-0-560-16299-7. $33.] Gabriel Dubuisson. Première suite de pièces de clavecin. Edited by Louis Caste-lain. Introduction by Gaëtan Naulleau. Versailles: Centre de musique baroque de Versailles, 2020. [Intro., p. 3– 14; score, p. 15– 33; critical notes, p. 34. ISMN 979-0-560-16305-5. $30.] This year marks the thirty-fifth anniversary of the founding of the Centre de Musique Baroque Versailles (CMBV). Vincent Berthier de Lioncourt and Philippe Beaussant established the CMBV in 1987 in the wake of the early music revival, and since then the center has become indispensable to both scholars and performers of seventeenth- and eighteenth-century French music. The two editions reviewed here represent a sampling of recent publications from the CMBV's editions catalog, which includes over two thousand works published in more than three hundred fifty editions. Their catalog comprises eight different series: works for solo voice-vocal ensemble, choral works, works for choir and orchestra, solo instrumental pieces, chamber music, orchestral works, opera, and aria collections. In addition to these series, the CMBV publishes critical editions of composers' complete works and anthologies of exemplary French music. Beyond its score publications, the CMBV also regularly releases new books and audio and video recordings. These releases frequently contain work that began with or benefitted from the various symposia and seminars that the CMBV organizes. Researchers and performers often learn from each other in these events, and the resulting collaborative relationships are among the defining strengths of the CMBV's work. This review discusses recent editions from two different CMBV series (solo voice-vocal ensemble and solo instrumental pieces). Both editions are standalone works of musical and historical interest, yet one has been recently discovered while the other is more familiar to scholars and performers of French music. Both editions feature introductory and critical notes in French and English, with the critical notes appearing after the score in each case. The critical notes are easy to interpret and are presented in the CMBV's standard tabular format. Parts for the editions with orchestra are sold separately from the score. Graham Sadler's edition of Collin de Blamont's cantata Circéfor high voice and orchestra marks the first appearance of this work in a modern edition. During the 1720s and 30s, Blamont (1690–1760) established himself as one of the most important composers in France, and he represents the type of composer who","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136179700","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 Received","authors":"K. Abromeit","doi":"10.1353/not.2023.0023","DOIUrl":"https://doi.org/10.1353/not.2023.0023","url":null,"abstract":"This column features percussion music by women composers. Names were compiled using the Theodore Front database. Additional names were contributed by Ross Karre, Associate Professor of Percussion, in the Oberlin Conservatory of Music. The lists of works included are not comprehensive for each composer but are rather either recently published or notable. Special thanks to Jake Balmuth for assisting with this column.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"448 - 451"},"PeriodicalIF":0.9,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49610952","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":"Happy End: ein Stück mit Musik in drei Akten by Kurt Weill (review)","authors":"Jeffrey Sultanof","doi":"10.1353/not.2023.0020","DOIUrl":"https://doi.org/10.1353/not.2023.0020","url":null,"abstract":"Kurt Weill. Happy End: ein Stück mit Musik in drei Akten. Edited by Stephen Hinton and Elmar Juchem. New York: The Kurt Weill Foundation for Music, Inc. and European American Music Corporation (Kurt Weill Edition, Ser. I, v. 6) [2 volumes: v. 1. Front matter in Eng., and Ger.: foreword, p. 7–8; list of sources and sigla, p. 11–12; introduction, p. 13–37; facsimiles, p. 39–52; performing forces, p. 54; synopsis, p. 55–56; list of musical numbers, p. 57; play and full score, p. 59–236; abbreviations, p. 237; Kurt Weill Edition personnel, p. 238; credits and acknowledgements, p. 239; copyright information, p. 240. v. 2. Critical report. p. 7–8; list of sources and sigla, p. 9–12; statement of source valuation and usage, p. 13–15; commentary: general issues, p. 17–50; commentary: critical notes, p. 51; table: overview of musical material, p. 53–58; source descriptions, p. 59; abbreviations, p. 60; Kurt Weill Edition Personnel, p. 61. Cloth. ISBN 978-1-62721-904-4. $450.]","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"434 - 436"},"PeriodicalIF":0.9,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46341120","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":"Leonard Bernstein by Paul R. Laird, and: Leonard Bernstein: Ein New Yorker in Wien = A New Yorker in Vienna ed. by Werner Hanak und Adina Seeger (review)","authors":"Ann Glazer Niren","doi":"10.1353/not.2023.0014","DOIUrl":"https://doi.org/10.1353/not.2023.0014","url":null,"abstract":"process, conversations between Madrid and León while listening to her music, and Madrid’s conversations with Cornell colleague and Latin American composer Sergio Cote-Barco as they discussed León’s music (pp. 8–10). Many sections in “Voice” are largely written in the composer’s own words, giving glimpses of her intuition, mystical character, and her flirtations with the avant-garde, jazz, and African and Afro-Caribbean drumming traditions. She says, “Sometimes I’ll come back to a score days after finishing a piece and there are whole sections that I cannot identify or remember writing. I seriously wonder, ‘Who wrote that?’ ” (p. 129). This is just one of many insightful revelations on her compositional process. Madrid also includes the voices of León’s collaborators, composers, musicologists, performers, and music critics. Ample music excerpts and score sections accompany the conversations centering on her compositions. León’s legacy is still evolving, and of all of the chapters, the content of “Canon” will expand as her legacy continues to reach new generations of creative minds, a fact Madrid acknowledges when he writes, “Tania León is still busy composing, conducting, teaching, and organizing, so we can’t be certain what her final artistic legacy will be” (p. 179). The concept of artistic cartography in the section “Representation: Mapping Tania León in U.S. Music Historiography” is intriguing as a means to represent León’s impact (p. 168). In the epilogue, Madrid features León’s Stride, a composition commissioned and premiered by the New York Philharmonic in Project 19, an initiative to commission nineteen female composers for the centennial celebration of the Nineteenth Amendment, commemorating the year that women were granted the right to vote (p. 181). Stride is dedicated to Susan B. Anthony and her determination. At the premier of Stride, León reminded the audience that before the 1965 Voting Rights Act, women of color were not guaranteed the right to vote. The book closes with two appendixes and an index. Appendix A is a list of León’s works, current as of June 2020, and appendix B is a timeline of events in León’s life displayed alongside music news and political and cultural news. Appendix B is a significant strength of this book, making this a worthy read across history, politics, US and Cuba relations, the Black diaspora, feminism, and Caribbean culture. I found myself revisiting appendix B as I dwelled on León’s experiences and accomplishments, and how her life events are inseparable from simultaneous moments in politics and her lived experiences across intersections of race, gender, class, and culture. Madrid’s biographical counterpoint masterfully portrays the polyrhythmic life of Tania León. His use of photos and personal interviews vividly tells León’s life story. The prevalence of this intimacy adds flavor—a taste of memoir—inviting readers to devour the book like liner notes. The juxtaposition of firsthand accounts with histor","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"409 - 414"},"PeriodicalIF":0.9,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43050754","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}