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Romanizing Chinese: word–tone relations in Athanasius Kircher’s China illustrata 罗马化汉语:亚他那修·基歇尔《中国插图》中的字音关系

2区艺术学

EARLY MUSIC Pub Date : 2023-08-07 DOI: 10.1093/em/caad013

Jeffrey Levenberg

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引用次数: 0

King George III and the ‘Smith Collection’ of Handel manuscripts 国王乔治三世与亨德尔手稿的“史密斯收藏”

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-08-06 DOI: 10.1093/em/caad011

D. Burrows

{"title":"King George III and the ‘Smith Collection’ of Handel manuscripts","authors":"D. Burrows","doi":"10.1093/em/caad011","DOIUrl":"https://doi.org/10.1093/em/caad011","url":null,"abstract":"\u0000 The run of morocco-bound manuscript scores of Handel’s oratorios and church music from the Royal Music Library, named the ‘Smith Collection’ by William Barclay Squire in 1927, was assembled as a set for King George III in the early years of his reign. Some of the volumes have year-dates for copying from the period 1766–70, but the sequence also incorporates earlier volumes that originated from the library of the king’s father (Frederick, Prince of Wales, d.1751), partially documented in a sale advertisement by a bookseller soon after Handel’s death. Squire believed that the series had been the property of John Christopher Smith and had been given to the king with the collection of Handel’s autograph scores in the 1770s. Newly identified documents from the Royal Library, now at Windsor, record payments for the copying of many of the scores and enable an alternative reconstruction of the history of the collection under the king’s influence, beginning in 1765–6. They also raise new questions about the identity of the music copyist ‘Mr Teede’. The completion of the series took place in the early 1770s, probably before the king received the autographs. For the shelves in George III’s library the oratorios were arranged in chronological order, but the diverse origins of the volumes had the result that, although the bindings were in similar styles, their sizes were not uniform.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45334999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Performer, composer and impresario: Thomas Vincent Jr. (c.1723–1798) and the oboe in London, 1748–1768 表演者、作曲家和指挥:小托马斯·文森特(约1723 - 1798)，1748-1768年在伦敦演奏双簧管

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-08-06 DOI: 10.1093/em/caad001

Blake Johnson

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引用次数: 0

On the trail of the Willmott and Braikenridge manuscripts 在追踪威尔莫特和布雷肯里奇的手稿

2区艺术学

EARLY MUSIC Pub Date : 2023-08-04 DOI: 10.1093/em/caad037

James Burke

引用次数: 0

Arnaud du Sarrat and the international music trade in Halle and Leipzig c.1700 1700年左右，阿尔诺·杜·萨拉特与哈雷和莱比锡的国际音乐贸易

2区艺术学

EARLY MUSIC Pub Date : 2023-07-27 DOI: 10.1093/em/caad035

Tomasz Górny

引用次数: 0

The Spanish Golden Age and beyond 西班牙黄金时代及其后