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Publisher: Oxford University Press   (Total: 396 journals)

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Showing 1 - 200 of 396 Journals sorted alphabetically
ACS Symposium Series     Full-text available via subscription   (SJR: 0.189, CiteScore: 0)
Acta Biochimica et Biophysica Sinica     Hybrid Journal   (Followers: 5, SJR: 0.79, CiteScore: 2)
Adaptation     Hybrid Journal   (Followers: 9, SJR: 0.143, CiteScore: 0)
Advances in Nutrition     Hybrid Journal   (Followers: 50, SJR: 2.196, CiteScore: 5)
Aesthetic Surgery J.     Hybrid Journal   (Followers: 6, SJR: 1.434, CiteScore: 1)
African Affairs     Hybrid Journal   (Followers: 65, SJR: 1.869, CiteScore: 2)
Age and Ageing     Hybrid Journal   (Followers: 90, SJR: 1.989, CiteScore: 4)
Alcohol and Alcoholism     Hybrid Journal   (Followers: 18, SJR: 1.376, CiteScore: 3)
American Entomologist     Full-text available via subscription   (Followers: 7)
American Historical Review     Hybrid Journal   (Followers: 156, SJR: 0.467, CiteScore: 1)
American J. of Agricultural Economics     Hybrid Journal   (Followers: 42, SJR: 2.113, CiteScore: 3)
American J. of Clinical Nutrition     Hybrid Journal   (Followers: 156, SJR: 3.438, CiteScore: 6)
American J. of Epidemiology     Hybrid Journal   (Followers: 177, SJR: 2.713, CiteScore: 3)
American J. of Hypertension     Hybrid Journal   (Followers: 25, SJR: 1.322, CiteScore: 3)
American J. of Jurisprudence     Hybrid Journal   (Followers: 19, SJR: 0.281, CiteScore: 1)
American J. of Legal History     Full-text available via subscription   (Followers: 8, SJR: 0.116, CiteScore: 0)
American Law and Economics Review     Hybrid Journal   (Followers: 27, SJR: 1.053, CiteScore: 1)
American Literary History     Hybrid Journal   (Followers: 16, SJR: 0.391, CiteScore: 0)
Analysis     Hybrid Journal   (Followers: 22, SJR: 1.038, CiteScore: 1)
Animal Frontiers     Hybrid Journal   (Followers: 1)
Annals of Behavioral Medicine     Hybrid Journal   (Followers: 15, SJR: 1.423, CiteScore: 3)
Annals of Botany     Hybrid Journal   (Followers: 36, SJR: 1.721, CiteScore: 4)
Annals of Oncology     Hybrid Journal   (Followers: 45, SJR: 5.599, CiteScore: 9)
Annals of the Entomological Society of America     Full-text available via subscription   (Followers: 10, SJR: 0.722, CiteScore: 1)
Annals of Work Exposures and Health     Hybrid Journal   (Followers: 32, SJR: 0.728, CiteScore: 2)
AoB Plants     Open Access   (Followers: 4, SJR: 1.28, CiteScore: 3)
Applied Economic Perspectives and Policy     Hybrid Journal   (Followers: 18, SJR: 0.858, CiteScore: 2)
Applied Linguistics     Hybrid Journal   (Followers: 56, SJR: 2.987, CiteScore: 3)
Applied Mathematics Research eXpress     Hybrid Journal   (Followers: 1, SJR: 1.241, CiteScore: 1)
Arbitration Intl.     Full-text available via subscription   (Followers: 20)
Arbitration Law Reports and Review     Hybrid Journal   (Followers: 14)
Archives of Clinical Neuropsychology     Hybrid Journal   (Followers: 30, SJR: 0.731, CiteScore: 2)
Aristotelian Society Supplementary Volume     Hybrid Journal   (Followers: 3)
Arthropod Management Tests     Hybrid Journal   (Followers: 2)
Astronomy & Geophysics     Hybrid Journal   (Followers: 43, SJR: 0.146, CiteScore: 0)
Behavioral Ecology     Hybrid Journal   (Followers: 52, SJR: 1.871, CiteScore: 3)
Bioinformatics     Hybrid Journal   (Followers: 309, SJR: 6.14, CiteScore: 8)
Biology Methods and Protocols     Hybrid Journal  
Biology of Reproduction     Full-text available via subscription   (Followers: 9, SJR: 1.446, CiteScore: 3)
Biometrika     Hybrid Journal   (Followers: 20, SJR: 3.485, CiteScore: 2)
BioScience     Hybrid Journal   (Followers: 29, SJR: 2.754, CiteScore: 4)
Bioscience Horizons : The National Undergraduate Research J.     Open Access   (Followers: 1, SJR: 0.146, CiteScore: 0)
Biostatistics     Hybrid Journal   (Followers: 17, SJR: 1.553, CiteScore: 2)
BJA : British J. of Anaesthesia     Hybrid Journal   (Followers: 167, SJR: 2.115, CiteScore: 3)
BJA Education     Hybrid Journal   (Followers: 64)
Brain     Hybrid Journal   (Followers: 68, SJR: 5.858, CiteScore: 7)
Briefings in Bioinformatics     Hybrid Journal   (Followers: 49, SJR: 2.505, CiteScore: 5)
Briefings in Functional Genomics     Hybrid Journal   (Followers: 3, SJR: 2.15, CiteScore: 3)
British J. for the Philosophy of Science     Hybrid Journal   (Followers: 35, SJR: 2.161, CiteScore: 2)
British J. of Aesthetics     Hybrid Journal   (Followers: 25, SJR: 0.508, CiteScore: 1)
British J. of Criminology     Hybrid Journal   (Followers: 587, SJR: 1.828, CiteScore: 3)
British J. of Social Work     Hybrid Journal   (Followers: 87, SJR: 1.019, CiteScore: 2)
British Medical Bulletin     Hybrid Journal   (Followers: 6, SJR: 1.355, CiteScore: 3)
British Yearbook of Intl. Law     Hybrid Journal   (Followers: 32)
Bulletin of the London Mathematical Society     Hybrid Journal   (Followers: 4, SJR: 1.376, CiteScore: 1)
Cambridge J. of Economics     Hybrid Journal   (Followers: 64, SJR: 0.764, CiteScore: 2)
Cambridge J. of Regions, Economy and Society     Hybrid Journal   (Followers: 11, SJR: 2.438, CiteScore: 4)
Cambridge Quarterly     Hybrid Journal   (Followers: 9, SJR: 0.104, CiteScore: 0)
Capital Markets Law J.     Hybrid Journal   (Followers: 2, SJR: 0.222, CiteScore: 0)
Carcinogenesis     Hybrid Journal   (Followers: 2, SJR: 2.135, CiteScore: 5)
Cardiovascular Research     Hybrid Journal   (Followers: 14, SJR: 3.002, CiteScore: 5)
Cerebral Cortex     Hybrid Journal   (Followers: 45, SJR: 3.892, CiteScore: 6)
CESifo Economic Studies     Hybrid Journal   (Followers: 17, SJR: 0.483, CiteScore: 1)
Chemical Senses     Hybrid Journal   (Followers: 1, SJR: 1.42, CiteScore: 3)
Children and Schools     Hybrid Journal   (Followers: 5, SJR: 0.246, CiteScore: 0)
Chinese J. of Comparative Law     Hybrid Journal   (Followers: 4, SJR: 0.412, CiteScore: 0)
Chinese J. of Intl. Law     Hybrid Journal   (Followers: 23, SJR: 0.329, CiteScore: 0)
Chinese J. of Intl. Politics     Hybrid Journal   (Followers: 10, SJR: 1.392, CiteScore: 2)
Christian Bioethics: Non-Ecumenical Studies in Medical Morality     Hybrid Journal   (Followers: 10, SJR: 0.183, CiteScore: 0)
Classical Receptions J.     Hybrid Journal   (Followers: 27, SJR: 0.123, CiteScore: 0)
Clean Energy     Open Access   (Followers: 1)
Clinical Infectious Diseases     Hybrid Journal   (Followers: 66, SJR: 5.051, CiteScore: 5)
Clinical Kidney J.     Open Access   (Followers: 3, SJR: 1.163, CiteScore: 2)
Communication Theory     Hybrid Journal   (Followers: 23, SJR: 2.424, CiteScore: 3)
Communication, Culture & Critique     Hybrid Journal   (Followers: 27, SJR: 0.222, CiteScore: 1)
Community Development J.     Hybrid Journal   (Followers: 27, SJR: 0.268, CiteScore: 1)
Computer J.     Hybrid Journal   (Followers: 9, SJR: 0.319, CiteScore: 1)
Conservation Physiology     Open Access   (Followers: 2, SJR: 1.818, CiteScore: 3)
Contemporary Women's Writing     Hybrid Journal   (Followers: 9, SJR: 0.121, CiteScore: 0)
Contributions to Political Economy     Hybrid Journal   (Followers: 5, SJR: 0.906, CiteScore: 1)
Critical Values     Full-text available via subscription  
Current Developments in Nutrition     Open Access   (Followers: 2)
Current Legal Problems     Hybrid Journal   (Followers: 29)
Current Zoology     Full-text available via subscription   (Followers: 2, SJR: 1.164, CiteScore: 2)
Database : The J. of Biological Databases and Curation     Open Access   (Followers: 8, SJR: 1.791, CiteScore: 3)
Digital Scholarship in the Humanities     Hybrid Journal   (Followers: 14, SJR: 0.259, CiteScore: 1)
Diplomatic History     Hybrid Journal   (Followers: 20, SJR: 0.45, CiteScore: 1)
DNA Research     Open Access   (Followers: 5, SJR: 2.866, CiteScore: 6)
Dynamics and Statistics of the Climate System     Open Access   (Followers: 4)
Early Music     Hybrid Journal   (Followers: 16, SJR: 0.139, CiteScore: 0)
Economic Policy     Hybrid Journal   (Followers: 42, SJR: 3.584, CiteScore: 3)
ELT J.     Hybrid Journal   (Followers: 24, SJR: 0.942, CiteScore: 1)
English Historical Review     Hybrid Journal   (Followers: 54, SJR: 0.612, CiteScore: 1)
English: J. of the English Association     Hybrid Journal   (Followers: 14, SJR: 0.1, CiteScore: 0)
Environmental Entomology     Full-text available via subscription   (Followers: 11, SJR: 0.818, CiteScore: 2)
Environmental Epigenetics     Open Access   (Followers: 3)
Environmental History     Hybrid Journal   (Followers: 27, SJR: 0.408, CiteScore: 1)
EP-Europace     Hybrid Journal   (Followers: 2, SJR: 2.748, CiteScore: 4)
Epidemiologic Reviews     Hybrid Journal   (Followers: 9, SJR: 4.505, CiteScore: 8)
ESHRE Monographs     Hybrid Journal  
Essays in Criticism     Hybrid Journal   (Followers: 17, SJR: 0.113, CiteScore: 0)
European Heart J.     Hybrid Journal   (Followers: 57, SJR: 9.315, CiteScore: 9)
European Heart J. - Cardiovascular Imaging     Hybrid Journal   (Followers: 9, SJR: 3.625, CiteScore: 3)
European Heart J. - Cardiovascular Pharmacotherapy     Full-text available via subscription   (Followers: 1)
European Heart J. - Quality of Care and Clinical Outcomes     Hybrid Journal  
European Heart J. : Case Reports     Open Access  
European Heart J. Supplements     Hybrid Journal   (Followers: 8, SJR: 0.223, CiteScore: 0)
European J. of Cardio-Thoracic Surgery     Hybrid Journal   (Followers: 9, SJR: 1.681, CiteScore: 2)
European J. of Intl. Law     Hybrid Journal   (Followers: 188, SJR: 0.694, CiteScore: 1)
European J. of Orthodontics     Hybrid Journal   (Followers: 4, SJR: 1.279, CiteScore: 2)
European J. of Public Health     Hybrid Journal   (Followers: 20, SJR: 1.36, CiteScore: 2)
European Review of Agricultural Economics     Hybrid Journal   (Followers: 10, SJR: 1.172, CiteScore: 2)
European Review of Economic History     Hybrid Journal   (Followers: 30, SJR: 0.702, CiteScore: 1)
European Sociological Review     Hybrid Journal   (Followers: 42, SJR: 2.728, CiteScore: 3)
Evolution, Medicine, and Public Health     Open Access   (Followers: 11)
Family Practice     Hybrid Journal   (Followers: 16, SJR: 1.018, CiteScore: 2)
Fems Microbiology Ecology     Hybrid Journal   (Followers: 12, SJR: 1.492, CiteScore: 4)
Fems Microbiology Letters     Hybrid Journal   (Followers: 26, SJR: 0.79, CiteScore: 2)
Fems Microbiology Reviews     Hybrid Journal   (Followers: 30, SJR: 7.063, CiteScore: 13)
Fems Yeast Research     Hybrid Journal   (Followers: 14, SJR: 1.308, CiteScore: 3)
Food Quality and Safety     Open Access   (Followers: 1)
Foreign Policy Analysis     Hybrid Journal   (Followers: 24, SJR: 1.425, CiteScore: 1)
Forest Science     Hybrid Journal   (Followers: 7, SJR: 0.89, CiteScore: 2)
Forestry: An Intl. J. of Forest Research     Hybrid Journal   (Followers: 16, SJR: 1.133, CiteScore: 3)
Forum for Modern Language Studies     Hybrid Journal   (Followers: 6, SJR: 0.104, CiteScore: 0)
French History     Hybrid Journal   (Followers: 33, SJR: 0.118, CiteScore: 0)
French Studies     Hybrid Journal   (Followers: 20, SJR: 0.148, CiteScore: 0)
French Studies Bulletin     Hybrid Journal   (Followers: 10, SJR: 0.152, CiteScore: 0)
Gastroenterology Report     Open Access   (Followers: 2)
Genome Biology and Evolution     Open Access   (Followers: 13, SJR: 2.578, CiteScore: 4)
Geophysical J. Intl.     Hybrid Journal   (Followers: 35, SJR: 1.506, CiteScore: 3)
German History     Hybrid Journal   (Followers: 23, SJR: 0.161, CiteScore: 0)
GigaScience     Open Access   (Followers: 4, SJR: 5.022, CiteScore: 7)
Global Summitry     Hybrid Journal   (Followers: 1)
Glycobiology     Hybrid Journal   (Followers: 13, SJR: 1.493, CiteScore: 3)
Health and Social Work     Hybrid Journal   (Followers: 56, SJR: 0.388, CiteScore: 1)
Health Education Research     Hybrid Journal   (Followers: 15, SJR: 0.854, CiteScore: 2)
Health Policy and Planning     Hybrid Journal   (Followers: 25, SJR: 1.512, CiteScore: 2)
Health Promotion Intl.     Hybrid Journal   (Followers: 22, SJR: 0.812, CiteScore: 2)
History Workshop J.     Hybrid Journal   (Followers: 31, SJR: 1.278, CiteScore: 1)
Holocaust and Genocide Studies     Hybrid Journal   (Followers: 28, SJR: 0.105, CiteScore: 0)
Human Communication Research     Hybrid Journal   (Followers: 14, SJR: 2.146, CiteScore: 3)
Human Molecular Genetics     Hybrid Journal   (Followers: 8, SJR: 3.555, CiteScore: 5)
Human Reproduction     Hybrid Journal   (Followers: 71, SJR: 2.643, CiteScore: 5)
Human Reproduction Open     Open Access  
Human Reproduction Update     Hybrid Journal   (Followers: 18, SJR: 5.317, CiteScore: 10)
Human Rights Law Review     Hybrid Journal   (Followers: 58, SJR: 0.756, CiteScore: 1)
ICES J. of Marine Science: J. du Conseil     Hybrid Journal   (Followers: 53, SJR: 1.591, CiteScore: 3)
ICSID Review     Hybrid Journal   (Followers: 11)
ILAR J.     Hybrid Journal   (Followers: 2, SJR: 1.732, CiteScore: 4)
IMA J. of Applied Mathematics     Hybrid Journal   (SJR: 0.679, CiteScore: 1)
IMA J. of Management Mathematics     Hybrid Journal   (SJR: 0.538, CiteScore: 1)
IMA J. of Mathematical Control and Information     Hybrid Journal   (Followers: 2, SJR: 0.496, CiteScore: 1)
IMA J. of Numerical Analysis - advance access     Hybrid Journal   (SJR: 1.987, CiteScore: 2)
Industrial and Corporate Change     Hybrid Journal   (Followers: 10, SJR: 1.792, CiteScore: 2)
Industrial Law J.     Hybrid Journal   (Followers: 36, SJR: 0.249, CiteScore: 1)
Inflammatory Bowel Diseases     Hybrid Journal   (Followers: 44, SJR: 2.511, CiteScore: 4)
Information and Inference     Free  
Integrative and Comparative Biology     Hybrid Journal   (Followers: 8, SJR: 1.319, CiteScore: 2)
Interacting with Computers     Hybrid Journal   (Followers: 11, SJR: 0.292, CiteScore: 1)
Interactive CardioVascular and Thoracic Surgery     Hybrid Journal   (Followers: 7, SJR: 0.762, CiteScore: 1)
Intl. Affairs     Hybrid Journal   (Followers: 62, SJR: 1.505, CiteScore: 3)
Intl. Data Privacy Law     Hybrid Journal   (Followers: 25)
Intl. Health     Hybrid Journal   (Followers: 6, SJR: 0.851, CiteScore: 2)
Intl. Immunology     Hybrid Journal   (Followers: 3, SJR: 2.167, CiteScore: 4)
Intl. J. for Quality in Health Care     Hybrid Journal   (Followers: 36, SJR: 1.348, CiteScore: 2)
Intl. J. of Constitutional Law     Hybrid Journal   (Followers: 64, SJR: 0.601, CiteScore: 1)
Intl. J. of Epidemiology     Hybrid Journal   (Followers: 239, SJR: 3.969, CiteScore: 5)
Intl. J. of Law and Information Technology     Hybrid Journal   (Followers: 5, SJR: 0.202, CiteScore: 1)
Intl. J. of Law, Policy and the Family     Hybrid Journal   (Followers: 24, SJR: 0.223, CiteScore: 1)
Intl. J. of Lexicography     Hybrid Journal   (Followers: 9, SJR: 0.285, CiteScore: 1)
Intl. J. of Low-Carbon Technologies     Open Access   (Followers: 1, SJR: 0.403, CiteScore: 1)
Intl. J. of Neuropsychopharmacology     Open Access   (Followers: 3, SJR: 1.808, CiteScore: 4)
Intl. J. of Public Opinion Research     Hybrid Journal   (Followers: 11, SJR: 1.545, CiteScore: 1)
Intl. J. of Refugee Law     Hybrid Journal   (Followers: 38, SJR: 0.389, CiteScore: 1)
Intl. J. of Transitional Justice     Hybrid Journal   (Followers: 11, SJR: 0.724, CiteScore: 2)
Intl. Mathematics Research Notices     Hybrid Journal   (Followers: 1, SJR: 2.168, CiteScore: 1)
Intl. Political Sociology     Hybrid Journal   (Followers: 39, SJR: 1.465, CiteScore: 3)
Intl. Relations of the Asia-Pacific     Hybrid Journal   (Followers: 23, SJR: 0.401, CiteScore: 1)
Intl. Studies Perspectives     Hybrid Journal   (Followers: 9, SJR: 0.983, CiteScore: 1)
Intl. Studies Quarterly     Hybrid Journal   (Followers: 47, SJR: 2.581, CiteScore: 2)
Intl. Studies Review     Hybrid Journal   (Followers: 25, SJR: 1.201, CiteScore: 1)
ISLE: Interdisciplinary Studies in Literature and Environment     Hybrid Journal   (Followers: 2, SJR: 0.15, CiteScore: 0)
ITNOW     Hybrid Journal   (Followers: 1, SJR: 0.103, CiteScore: 0)
J. of African Economies     Hybrid Journal   (Followers: 17, SJR: 0.533, CiteScore: 1)
J. of American History     Hybrid Journal   (Followers: 46, SJR: 0.297, CiteScore: 1)
J. of Analytical Toxicology     Hybrid Journal   (Followers: 14, SJR: 1.065, CiteScore: 2)
J. of Antimicrobial Chemotherapy     Hybrid Journal   (Followers: 15, SJR: 2.419, CiteScore: 4)
J. of Antitrust Enforcement     Hybrid Journal   (Followers: 1)
J. of Applied Poultry Research     Hybrid Journal   (Followers: 5, SJR: 0.585, CiteScore: 1)
J. of Biochemistry     Hybrid Journal   (Followers: 41, SJR: 1.226, CiteScore: 2)
J. of Burn Care & Research     Hybrid Journal   (Followers: 10, SJR: 0.768, CiteScore: 2)
J. of Chromatographic Science     Hybrid Journal   (Followers: 18, SJR: 0.36, CiteScore: 1)
J. of Church and State     Hybrid Journal   (Followers: 11, SJR: 0.139, CiteScore: 0)
J. of Communication     Hybrid Journal   (Followers: 54, SJR: 4.411, CiteScore: 5)
J. of Competition Law and Economics     Hybrid Journal   (Followers: 36, SJR: 0.33, CiteScore: 0)
J. of Complex Networks     Hybrid Journal   (Followers: 2, SJR: 1.05, CiteScore: 4)
J. of Computer-Mediated Communication     Open Access   (Followers: 29, SJR: 2.961, CiteScore: 6)
J. of Conflict and Security Law     Hybrid Journal   (Followers: 12, SJR: 0.402, CiteScore: 0)
J. of Consumer Research     Full-text available via subscription   (Followers: 46, SJR: 5.856, CiteScore: 5)

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Journal Cover
Early Music
Journal Prestige (SJR): 0.139
Number of Followers: 16  
 
  Hybrid Journal Hybrid journal (It can contain Open Access articles)
ISSN (Print) 0306-1078 - ISSN (Online) 1741-7260
Published by Oxford University Press Homepage  [396 journals]
  • Editorial
    • Authors: Rose S.
      Pages: 209 - 209
      Abstract: In 1728 Johann David Heinichen mused on the importance of travel for musicians: ‘Why do we go to the trouble, danger and expense of travelling to other nations where music has more supporters than with us'’ Such journeys, he explained, were not primarily for personal profit or to recruit foreign talent; instead they were necessary to gain a sense of good taste, ‘that philosopher’s stone of music and the chief key to musical secrets through which human souls are unlocked and moved’. Heinichen himself went to Venice and Rome to learn Italian operatic styles first hand. The lives of countless musicians from the 15th century onwards likewise show how travel enriched their experience and helped them refine their technique.
      PubDate: Thu, 24 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay031
      Issue No: Vol. 46, No. 2 (2018)
       
  • Machaut and Prague: a rare new sighting'
    • Authors: Smilansky U.
      Pages: 211 - 223
      Abstract: This article interprets the long-recognized, but hitherto unidentified, heraldic description contained in Machaut’s ballade 30 (Pas de tor) against the background of his known authorial practices, spheres of activity and patterns of engagements. It suggests the description is of the arms of Lower Lusatia, which Machaut, as a result of his time in the service of the Bohemian King John of Luxembourg, knew both the geography of and the people involved in settling the status of these disputed lands. It suggests that the song was likely composed in May 1364 and handed to King Peter I of Cyprus as cultural ammunition for the latter’s trip to Prague in search of support for his crusading initiative. The article thus solves a longstanding riddle of Machaut scholarship while presenting the song within a practical, political landscape that far exceeds the composer’s physical residency in Reims.
      PubDate: Wed, 20 Jun 2018 00:00:00 GMT
      DOI: 10.1093/em/cay014
      Issue No: Vol. 46, No. 2 (2018)
       
  • Pierluigi Farnese’s musical project in Piacenza
    • Authors: Niwa S.
      Pages: 225 - 234
      Abstract: Pierluigi Farnese (1503–47) was the 1st Duke of Parma and Piacenza (r.1545–7). His fortune heavily relied on the political and diplomatic ability of his father, Paul III (1468–1549). Pierluigi took an active and severe attitude towards local feudatories; as a result, he had many enemies and was assassinated in September 1547. While Pierluigi was unsuccessful as a ruler, he was aware of the impact of the arts for his political strategies: he collected artworks and tried to establish a musical household.This article presents previously unknown documents showing Pierluigi’s attempts to recruit musicians for Piacenza, including a travelling band from Brescia; a certain Girolamo Leone, presumably a singer of the Brescian cathedral; the Genoa musician ‘Jacomo tenorista’; and the Roman musician ‘Bolognia’, presumably Galeazzo Baldi, member of Paul III’s musica segreta. Pierluigi enlisted the help of Jean Michel, a French singer active in Ferrara, to look for singers there.
      PubDate: Sat, 02 Jun 2018 00:00:00 GMT
      DOI: 10.1093/em/cay018
      Issue No: Vol. 46, No. 2 (2018)
       
  • Text and visual image in the sacred vocal works of Dieterich Buxtehude
    • Authors: Gero O.
      Pages: 235 - 249
      Abstract: A newly discovered source for the text of the aria Fallax mundus (BuxWV 28) by Dieterich Buxtehude has brought to light an important connection between devotional texts, contemplative emblems and musical settings. The series of emblematic engravings Cor Iesv amanti sacrvm by Flemish engraver Antony II Wierix includes a Latin poem from which Buxtehude derived the text for Fallax mundus. Buxtehude’s most likely source was the 1627 devotional book Cor Deo devotum, which contained Wierix’s engravings. The poem shows the influence of Jesuit teachings and spiritual practices, although Buxtehude’s setting may suggest a more Lutheran reading of the text. These discoveries shed new light on Buxtehude’s piety and show that he moved in a milieu open to influences from Catholic piety. Furthermore they suggest new interpretations for his Latin sacred works such as Membra Jesu nostri (BuxWV 75) and Sicut Moses exaltavit serpentem (BuxWV 97) in relation to contemporary devotional images.
      PubDate: Sat, 30 Jun 2018 00:00:00 GMT
      DOI: 10.1093/em/cay020
      Issue No: Vol. 46, No. 2 (2018)
       
  • New light on William Babell’s development as a keyboard composer
    • Authors: Woolley A.
      Pages: 251 - 270
      Abstract: This article gives a detailed description of Bergamo, Biblioteca Musicale Gaetano Donizetti, Ms. xiv 8751 h.1, proposing that it is an important collection of music by William Babell (1688–1723), an English composer of German birth. Additionally, it discusses Babell’s borrowings from the French organist Jean-François Dandrieu (1681–1734), among them one of the movements from the harpsichord suite hwv441. This suite was published at the end of John Walsh’s unauthorized ‘Second Volume’ of Handel’s harpsichord music (1733), but is included in the Bergamo manuscript. The article also sheds light on Babell’s relationship with Handel’s music.
      PubDate: Mon, 25 Jun 2018 00:00:00 GMT
      DOI: 10.1093/em/cay022
      Issue No: Vol. 46, No. 2 (2018)
       
  • Newly discovered works for viola da gamba by Carl Friedrich Abel: the
           Maltzan Collection
    • Authors: Wronkowska S.
      Pages: 271 - 284
      Abstract: New manuscripts of viola da gamba music by Carl Friedrich Abel (1723–87) have been found in Poland, in the Library of the Adam Mickiewicz University in Poznań, in a collection originating from the Maltzan family palace in Milicz (Poland). Two manuscripts, one of them partly autograph, transmit 29 pieces by Abel, or attributed to him based on unique source criticism and stylistical analysis, including 22 previously unknown. These are valuable sources, as they show previously undocumented practices relating to Abel’s work and its transmission: the use of a fragment from the Drexel Manuscript in another composition with basso accompaniment; the manuscript records of Six Easy Sonattas (London('), 1772(')); the unique example of a second autograph of a work; the gamba version of a cello composition; and the only known duo for two violas da gamba. Besides copies of short, conventional sonatas in the galant style, the Maltzan collection contains some of the most complex, challenging and virtuosic sonatas written by Abel.
      PubDate: Thu, 31 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay024
      Issue No: Vol. 46, No. 2 (2018)
       
  • The Beckfords in England and Italy: a case study in the musical uses of
           the profits of slavery
    • Authors: Hunter D.
      Pages: 285 - 298
      Abstract: The use of the profits of slavery to fund musical activity during the 18th century in Britain and Europe has not generated much scholarship. Although this topic may elicit surprise, disgust or indifference among some readers, the present article will dispel the notion that the topic is of minor (if any) significance. By taking the Beckford family as a case study, I show how music was an active part of the lives and patronage of several generations and branches of Jamaica’s wealthiest absentee plantation and slave owners. Their chattel workforce toiled in appalling conditions to produce the sugar, molasses and rum that gave rise to the immense profits the owners spent lavishly on instruments, concerts and other performances, and, in the case of Muzio Clementi, purchasing the boy from his father in Rome. Whether it was through their friendships with the Burneys, the Mozarts, or the most notable castratos of the 1780s, or through the hiring of musicians for performances, or the purchase of top-of-the-line instruments from London makers, the Beckfords put to musical uses their slave-derived profits.
      PubDate: Tue, 12 Jun 2018 00:00:00 GMT
      DOI: 10.1093/em/cay017
      Issue No: Vol. 46, No. 2 (2018)
       
  • A mechanical source of Turkish music from 18th-century London
    • Authors: Banks J; Lefeber M.
      Pages: 299 - 317
      Abstract: A late 18th-century mechanical organ, built into a clock made by Henry Borrell of London, plays melodies that sound completely unlike those normally found on English domestic musical clocks. This article draws on the disciplines of historical musicology, ethnomusicology and horology to argue that these tunes derive from the repertory of the 18th-century Ottoman court. The melodies are analysed firstly in the context of the Ottoman repertory and then alongside contemporary European transcriptions of ‘exotic’ music, notably Edward Jones’s Lyric Airs (1804). The distortion of ‘Turkish’ melodies in European representations is set within the wider context of orientalism and musical transculturation; this evidence is then brought to bear on the interpretation of music that may also be subject to mechanical distortion. The article ends with a consideration of how these earliest known sounding examples of Ottoman music may have arrived in London, and what reception they found there.
      PubDate: Fri, 22 Jun 2018 00:00:00 GMT
      DOI: 10.1093/em/cay013
      Issue No: Vol. 46, No. 2 (2018)
       
  • The T-Mass: quis scrutatur'
    • Authors: Milsom J.
      Pages: 319 - 331
      Abstract: How do we make sense of ‘parody Masses’ and related phenomena from the long 16th century' What critical and analytical approaches might we adopt, and what terminology might we best use' This study argues for a clear distinction to be drawn between facture (the act of making) on the one hand, reception on the other. It considers processes of polyphonic transfer, of transformation, and of the transfusion of concepts from model to Mass; experimentally, it uses the prefix ‘T-’ to designate works made using these principles. Drawing on T-Masses by Ludwig Daser and Matthaeus Le Maistre modelled on motets by Josquin des Prez, it considers how successive composers could research the different combinative possibilities of a fuga subject, and exploit the principle of concept-transfusion, whereby polyphony in the Mass invites recollection of specific words from the model. Questions are raised about the usefulness of commonly employed terms such as ‘parody’, ‘imitation’, ‘borrowing’ and ‘intertextuality’.
      PubDate: Thu, 28 Jun 2018 00:00:00 GMT
      DOI: 10.1093/em/cay019
      Issue No: Vol. 46, No. 2 (2018)
       
  • A Restoration treasure-trove
    • Authors: Lindekens K.
      Pages: 333 - 335
      Abstract: WalklingAndrew R., Masque and opera in England, 1656–1688 (Abingdon and New York: Routledge, 2017), £95
      PubDate: Tue, 22 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay033
      Issue No: Vol. 46, No. 2 (2018)
       
  • Municipal music
    • Authors: Owens S.
      Pages: 335 - 336
      Abstract: RobertsonMichael. Consort suites and dance music by town musicians in German-speaking Europe, 1648–1700 (Abingdon: Routledge, 2016), £115 (hardback) / £34.99 (paperback)
      PubDate: Thu, 31 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay038
      Issue No: Vol. 46, No. 2 (2018)
       
  • Understanding Handel’s operas
    • Authors: Gardner M.
      Pages: 336 - 338
      Abstract: KimbellDavid, Handel on the stage (Cambridge: Cambridge University Press, 2016), £80
      PubDate: Tue, 22 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay035
      Issue No: Vol. 46, No. 2 (2018)
       
  • Polyphony in facsimile
    • Authors: Colton L.
      Pages: 339 - 340
      Abstract: English thirteenth-century polyphony: a facsimile edition, ed. SummersWilliam J. & LeffertsPeter M., Early English Church Music 57 (London: Stainer & Bell, for the British Academy, 2016), £185
      PubDate: Wed, 30 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay034
      Issue No: Vol. 46, No. 2 (2018)
       
  • The Anne Boleyn Music Book
    • Authors: Butler K.
      Pages: 341 - 342
      Abstract: The Anne Boleyn Music Book (Royal College of Music MS 1070), intro. by SchmidtThomas, SkinnerDavid and Airaksinen-MonierKatja. DIAMM Facsimiles 6 (Oxford, DIAMM Publications, 2017), £70
      PubDate: Sat, 23 Jun 2018 00:00:00 GMT
      DOI: 10.1093/em/cay041
      Issue No: Vol. 46, No. 2 (2018)
       
  • Cornetti e tromboni in the high Renaissance and Baroque
    • Authors: Herbert T.
      Pages: 343 - 345
      Abstract: This review focuses on cornett and trombone ensembles or soloists because they are prominent in each of the CDs considered. The word ‘sackbut’, which is used ubiquitously in modern times to denote any pre-Romantic trombone, is potentially misleading. Words of the ‘sackbut’ type were used in England, France and Hispanic countries before the late 18th century, but the instrument (which had most of its modern features by the late 15th century) was always called trombone in Italy and Posaune in German-speaking countries. The bore of the tubing was narrower, the terminal flare less pronounced and mouthpieces were appropriately sized, but otherwise it had much in common with some 19th- and early 20th-century instruments. The important point here is that while reproductions of early trombones are of obvious importance, the way they should be played is clearly understood only because we now understand the sound and idiom of the cornett: the instrument with which it was most frequently paired. The rediscovery of the idiom of the cornett has been one of the great achievements of the period performance movement.
      PubDate: Wed, 16 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay028
      Issue No: Vol. 46, No. 2 (2018)
       
  • Interpreting Telemann: restoration and reconstruction
    • Authors: Dyer M.
      Pages: 345 - 347
      Abstract: June 2017 marked the 250th anniversary of Georg Philipp Telemann’s death. In its aftermath we look at a variety of recordings of his oeuvre, with a focus on chamber music. In particular, Telemann’s varied fantasias, a genre whose origins lie in the impromptu fancy of the improviser or the airy dreams of the composer, provide an opportunity to differentiate methods of interpreting historical music. We encounter the pursuit of authenticity through historically informed performance as well as artistic practice that makes an equally valuable contribution to the repertory, or what I distinguish as restoration and reconstruction respectively.
      PubDate: Thu, 31 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay030
      Issue No: Vol. 46, No. 2 (2018)
       
  • Before and after the instrument revolution
    • Authors: Rose S.
      Pages: 347 - 350
      Abstract: In 1752 Johann Joachim Quantz commented on how German instrumental music had changed over the previous century. He criticized the 17th-century repertory as looking ‘very confusing and hazardous on paper’, owing to its florid passagework and use of scordatura strings. Writing from an aesthetic viewpoint that valued melodic simplicity, he complained: ‘They thought more highly of difficult pieces than of easy ones, and sought to excite admiration rather than to please’. He also satirized the attempts by earlier generations at musical representation, such as pieces that imitated bird-song or the sounds of the trumpet or hurdy-gurdy. Quantz’s preference was for instrumental music written after 1700, exhibiting Italian or French styles, or combining these two traditions in a mixed style that he regarded as distinctively German. His favoured repertory was the product of what Bruce Haynes dubbed the ‘instrument revolution’, namely the introduction of French-style violins and woodwind in the late 17th century, with associated changes in pitch standards.
      PubDate: Wed, 16 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay025
      Issue No: Vol. 46, No. 2 (2018)
       
  • Buxtehude in song
    • Authors: Webber G.
      Pages: 350 - 353
      Abstract: Another recording of Membra Jesu nostri! Dieterich Buxtehude: Membra Jesu nostri (Opus Arte oa cd9023 d, issued 2014, 62′) features The Choir of Magdalen College, Oxford, directed by Daniel Hyde, with soloists John Mark Ainsley, Robin Blaze and Giles Underwood, and viol consort Phantasm (together with an unnamed instrumental ensemble). Readers of Early Music will be able to look back at several previous reviews of Buxtehude’s most popular vocal piece, including my own review in 2009 (xxxvii/1, pp.132–5) which looked in particular at the question of the deployment of solo and choral voices, and which also considered earlier releases from Ton Koopman’s Opera Omnia series discussed below. This new recording is greatly to be welcomed into the fold, being unusual in that it emanates from an English choral foundation. Although the liner notes do not reveal the fact, the institutional nature of the recording is crucial to its existence. Scholarship and performance have the potential to live constructively side-by-side in university environments such as this; the three main soloists are all former choir members at Magdalen, either as boy or man, the leader of the viol consort Phantasm, Professor Laurence Dreyfus, is now Fellow Emeritus, and the writer of the sleeve notes, Dr Bettina Varwig, is a former Research Fellow at the college. However, whilst the institution is relevant in that the recording gives us a comparatively rare opportunity to hear the music sung throughout by boy trebles, what matters is that these boys under Daniel Hyde sing with great verve and expression, and convey the extensive Latin poetry of the cycle as if they are spending most of their time between practice and Evensong digesting Kennedy’s Revised Latin primer. In the seemingly breathless aria style, as encountered in much Roman music of the period, the temptation of having several boys sing the arias together must have been to stagger the breathing, but Hyde importantly still allows time between the phrases so the metre of poetry comes across effectively. In another recent recording using boys involving the Knabenchor Hannover (Harald Weiss: Requiem (Rondeau: rop7008/09, issued 2014, 89′), solo women sopranos are nevertheless used for the solo and ensemble verses, whereas all are taken in the Magdalen performance by the boys.
      PubDate: Fri, 25 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay026
      Issue No: Vol. 46, No. 2 (2018)
       
  • From demigods to fake gardeners: 130 years of music drama on DVD
    • Authors: Vickers D.
      Pages: 353 - 357
      Abstract: After the nepotistic Barberini family tumbled from papal power it was expedient for them to stay in Paris for a few years as guests of Cardinal Mazarin. It seems that Luigi Rossi went with his patrons, and his L’Orfeo inaugurated the remodelled Palais Royal theatre on 2 March 1647. The first fully fledged opera of its kind to be produced in France, a reduced score (copied about 30 years later) and a manuscript of Francesco Buti’s libretto both survive in the Vatican library—but these invite plenty of questions and doubts about how to edit suitable performing material for a modern revival. William Christie’s pioneering recording (Harmonia Mundi hmc901358/60, rec 1991, 218′) presented one possible way of reconstructing Rossi’s problematic masterpiece, but other attempts have been rare. Jetske Mijnssen’s production of L’Orfeo (Harmonia Mundi hmd9859058/59, rec 2016, 184′), staged at the Opéra national de Lorraine, is performed by Pygmalion and conducted by Raphaël Pichon, whose liner note explains that the prologue extolling the young Sun King, all ballets and several subplots have been cut because they ‘weigh down and dilute the dramatic tension’ (one wonders whether such theatrical concision was of any concern in the original 1647 production, which apparently lasted over six hours). The musical sources contain little more than voice and continuo parts, but Pichon proposes that the Vingt-quatre Violons du Roi must have played string accompaniments, and for good measure he also adds recorders, cornettos, sackbuts and trumpet; the conductor claims that the rich orchestral realization is modelled after Rossi’s other opera Il palazzo incantato (Rome, 1642), has partially rewritten basso continuo lines in emulation of Rossi’s chamber cantatas, and two canzoni by Cavalli and Ferrari have been incorporated for buffo characters. In other words, it is impossible for anyone other than a handful of experts to be able to discern how much this is really a work ‘composed’ by Rossi in the customary sense. Nevertheless, the singing, playing and staging are compelling. Instead of the 1647 production’s lavish sets (parks, palaces, caves and Hades) and flying machines, we see an austere black set with a gradual progression from a pseudo-Mafiosi wedding breakfast to a funeral, with Francesca Aspromonte’s spellbinding Eurydice at the core of almost everything. Also outstanding is Giuseppina Bridelli as the unfortunate Aristaeus, who desperately loves Eurydice but whose scheme to win her love backfires and brings about her death. The production has a focused directness and simplicity that means comic interludes about enjoying looser kinds of more fleeting love appear crassly hedonistic (Dominique Visse, Marc Mauillon and Renato Dolcini all on top comedic form), which in turn increases the concentrated intensity of the serious scenes. There are some clever dramatic touches: for example, David Tricou’s Apollo is a Catholic priest whose role to perform the wedding ceremony becomes the sad duty to lead proceedings at Eurydice’s funeral, and the three Fates are undertakers. Judith van Wanroij’s Orpheus is vocally impressive, but the character is hindered by the plot and location of the final act being changed: instead of visiting Hades to rescue Eurydice, Orpheus is rebuked by her father Endymion (not Charon); Pluto and Proserpine are merely a pair of guests, and the opera ends with him grieving over her coffin (instead of Jupiter placing him amongst the constellations). This makes the theatrical experience less mythological and more human, but such distortions of the story results in muddy obscuration.
      PubDate: Mon, 28 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay029
      Issue No: Vol. 46, No. 2 (2018)
       
  • Peering through the gaps in music history
    • Authors: Mason J.
      Pages: 358 - 359
      Abstract: The history of medieval music has generally been woven together with reference to large, lavish and seemingly complete books of notated music. Sources such as the Montpellier Codex, the interpolated Roman de Fauvel or the Squarcialupi Codex are major repositories for medieval music, and the information they provide has been stitched together to construct the narratives of music history with which we are familiar. Small, incomplete or fragmentary sources are, by contrast, normally pushed to the margins (sometimes literally) of historical narratives. The musicological tendency to cast some sources as central and others as peripheral has been noted by several scholars: Leo Treitler, for example, describes the urgent need in the 1970s to address this historiographical problem (With voice and pen (Oxford, 2003), p.84). Two recent symposia have continued to challenge mono-linear histories of medieval music by assessing sources traditionally pushed to the historiographical periphery.
      PubDate: Thu, 24 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay036
      Issue No: Vol. 46, No. 2 (2018)
       
  • Chansonnier discoveries
    • Authors: Schmidt T.
      Pages: 359 - 360
      Abstract: How often does a complete 15th-century manuscript of polyphony turn up of whose existence nobody had been aware previously' That is what happened when in November 2014 a small chansonnier (in fact very small, c.12 × 8.5cm) was acquired by the Belgian art dealer Michel Ceuterick. In 2016 it was then purchased by the King Baudouin Foundation and deposited on permanent loan with the Alamire Foundation at Park Abbey in Leuven where it is to form the cornerstone of the ‘Library of Voices’ study centre for Flemish polyphony. The book is now available in facsimile with a commentary by David Burn (Antwerp: WPG/Davidsfonds, 2017), and the images can be viewed online at www.idemdatabase.org/alamire/items/show/166.
      PubDate: Wed, 23 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay032
      Issue No: Vol. 46, No. 2 (2018)
       
  • Musical culture in the Wars of Religion, 1550–1650
    • Authors: Robinson A.
      Pages: 360 - 362
      Abstract: Although interdisciplinary research has long been valued by scholars, genuine opportunities for specialists from different domains to share their research with others working in similar geographical and chronological areas remain relatively scarce. In part, this conference—held on 17–18 March 2018 and organized by a historian (Tom Hamilton) and two musicologists (Edward Wickham and Alex Robinson)—represented an attempt to address this tendency. Centred on the age of the Wars of Religion (1550–1650), it aimed to provide a meeting point for historians and musicologists to exchange ideas about the links between music, politics and religion across Europe during this turbulent period. Yet there was another significant impetus for organizing such an event in March 2018: the release of the CD recording by Edward Wickham and the Choir of St Catherine’s College, Cambridge of psalm settings from Claude Le Jeune’s Dodecacorde of 1598 (Mon Dieu me plaist: Psalms by Claude Le Jeune; Resonus res10206). The opportunity to use this circumstance as the inspiration for an interdisciplinary conference devoted to musical culture in the Wars of Religion was simply too good to miss.
      PubDate: Thu, 24 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay042
      Issue No: Vol. 46, No. 2 (2018)
       
  • Notation as material culture
    • Authors: van der Heijden F.
      Pages: 362 - 363
      Abstract: One of the warmest April days on record greeted the start of the interdisciplinary conference ‘Material cultures of music notation’, held from 20 to 22 April 2018 at Utrecht University. The historical importance of the Academiegebouw (where the Union of Utrecht was signed in 1579, unifying several of the northern provinces of the Netherlands), as well as its convenient location on Dom Square in the heart of the city made it an ideal setting for the conference.
      PubDate: Wed, 30 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay043
      Issue No: Vol. 46, No. 2 (2018)
       
  • David Wulstan (1937–2017)
    • Authors: Dunkley S.
      Pages: 364 - 365
      Abstract: David Wulstan, scholar and musician, died on 6 May 2017 at the age of 80. Best known outside academic circles as the founder-director of the vocal ensemble the Clerkes of Oxenford, his legacy can be seen and heard in the establishment of a style of performing polyphonic music that broke new ground in the 1970s, and has now become mainstream.
      PubDate: Mon, 28 May 2018 00:00:00 GMT
      DOI: 10.1093/em/cay037
      Issue No: Vol. 46, No. 2 (2018)
       
  • Arthur Boyars (1925–2017)
    • Authors: Knighton T.
      Pages: 365 - 366
      Abstract: Arthur Boyars (28 May 1925–6 August 2017) has received newspaper obituaries that highlight his work as a poet, publisher and translator; but he also made a crucial contribution to Early Music during its first three decades. I believe I first met Arthur when I joined the journal in 1989 as Assistant Editor but, such was his renown, I had the feeling I already knew him (and if he was still with us, he would undoubtedly tell me I was mistaken, for his memory was prodigious). His was a larger-than-life personality, and his role as Advertising Manager was undoubtedly key for the success of the journal. When I look back to that first meeting, Early Music was operating out of a small set of rooms in OUP’s London office at that time—Ely House in Dover Street—which had to be reached by a series of staircases that became ever narrower, but the echo of Arthur’s stentorian tones could always be heard from the marble-floored, chandeliered entrance hall. It was, in every way, another era, and one in which Arthur was very much at ease: a sense of being at the heart of the publishing world, with its own inherent sense of faded grandeur, and, above all for Arthur, a golden era before the advent of technology: he was convinced that computers were essentially malign and once gave me a copy of Warwick Collins’s Computer One (1993) to read, with a sly but gleeful expression on his face: ‘this is where it’ll all end up’ (he had his Eeyore-ish moments).
      PubDate: Fri, 16 Mar 2018 00:00:00 GMT
      DOI: 10.1093/em/cay001
      Issue No: Vol. 46, No. 2 (2018)
       
  • Correspondence
    • Authors: Dolata D.
      Pages: 367 - 367
      Abstract: In her review of my book, Meantone temperaments on lutes and viols (Early Music, xlv/4 (2017), pp.676–9), Annette Otterstedt makes a number of misleading statements that should be brought to the attention of readers. Importantly, the book’s main purpose is misunderstood: in the Introduction, I clearly state that the book is designed as a practical guide to encourage lutenists and viol players to try meantone temperaments for themselves. But Otterstedt focuses almost exclusively on the book’s first chapter ‘Historical performance, thought, and perspective’ (less than 10 per cent of the book’s content) concerning historical sources, complaining that it is insufficient while overlooking my statement that ‘it does not pretend to be a complete treatment of the subject, which merits its own dedicated book’ (p.5). She further dismisses the chapter on fixed-fret instruments and completely ignores the chapter on iconography, both of which provide hard empirical evidence of unequal fretting.
      PubDate: Thu, 19 Jul 2018 00:00:00 GMT
      DOI: 10.1093/em/cay040
      Issue No: Vol. 46, No. 2 (2018)
       
  • Correspondence
    • Authors: Baroncini R; Bryant D, Collarile L.
      Pages: 367 - 368
      Abstract: In her review of Giovanni Gabrieli: transmission and reception of a Venetian musical tradition (of which we are editors and, inter alia, authors), Eleanor Selfridge-Field describes the volume as ‘a valuable and eminently useful resource’ (Early Music, xlvi/1 (2018), pp.167–9). Yet some of her observations do not corroborate this judgement. We here comment on salient passages in her review.
      PubDate: Thu, 19 Jul 2018 00:00:00 GMT
      DOI: 10.1093/em/cay039
      Issue No: Vol. 46, No. 2 (2018)
       
  • Abstracts
    • Pages: 369 - 371
      Abstract: Uri Smilansky
      PubDate: Thu, 19 Jul 2018 00:00:00 GMT
      DOI: 10.1093/em/cay044
      Issue No: Vol. 46, No. 2 (2018)
       
  • Advertisers’ index
    • Pages: 371 - 371
      Abstract: AssociationGalpin Society366CoursesSargent, Sally, Historical keyboard tuition270Instrument-makersRoss, Leslie bassoons234PublishersHarpsichord and Fortepiano Magazine366Oxford Books250, 270, 372, obcOxford Grove Music OnlineifcOxford History Online318Oxford Journals332Oxford Journals History224Oxford MusicibcC. P. E. Bach: The Complete WorksivUniversity of California Press 19th-century music210UniversityUniversity Kunst338
      PubDate: Thu, 19 Jul 2018 00:00:00 GMT
      DOI: 10.1093/em/cay045
      Issue No: Vol. 46, No. 2 (2018)
       
 
 
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