Printing and Publishing of Music

This article covers the dissemination of musical scores by technical means. The function of both printing and publication is to produce multiple copies of a work or a group of works and to arrange for the distribution of those copies to many purchasers. This requires diverse skills: on the one hand, the ability to print, involving preparing a copy of the music in a form suitable for the printing press, and then producing the copies; on the other, to make marketing decisions, to handle advertising and distribution of copies to individuals or to music shops, and to budget and plan for profits. Since the first printed music produced by Ottaviano Petrucci at the beginning of the 16th century, printing has been developed in Europe on a broad scale. Its technical requirements have changed from movable type to engraving, lithography, and, most recently, the computer. Entries are arranged to cover these activities separately, and then provide an introduction to bibliography, the scholarly study of both activities. Descriptive bibliography and analytic bibliography are recent in the field of music; they have been primarily devoted to the study of the printers and publishers from the 16th to the 18th centuries established in the main centers in Europe, including Venice, Paris, Antwerp, Frankfurt, London, and Vienna. Specific topics have become of increasing interest in recent years, including patterns of distributing copies and reaching markets and music appearing in general cultural periodicals and magazines. In addition, two subjects have risen to importance, the first, the paratext, or matters of design, which is sparsely discussed in connection with music; and the second, the place of music and its editions in cultural and intellectual history. Use of printed music has changed during the 20th century. Employed as a mean for performing and circulating music among musicians, professionals, and amateurs during four centuries, printed music became a support to produce performing rights when audiovisual media became the main access to music. Another important evolution has been the production of different kind of editions. During a long period, publishers sold the music written day by day for the entertainment of specific groups in society and for a specific purpose—liturgy, concert life, house music. Following a growing interest in the music of the past, they began to produce collected works and critical editions that reconcile mass production to the quality of the publishing.

Exploring historic changes in musical communication: Deconstructing emotional cues in preludes by Bach and Chopin

A growing body of research analyzing musical scores suggests mode’s relationship with other expressive cues has changed over time. However, to the best of our knowledge, the perceptual implications of these changes have not been formally assessed. Here, we explore how compositional choices of 17th- and 19th-century composers (J. S. Bach and F. Chopin, respectively) differentially affect emotional communication. This novel exploration builds on our team’s previous techniques using commonality analysis to decompose intercorrelated cues in unaltered excerpts of influential compositions. In doing so, we offer an important naturalistic complement to traditional experimental work—often involving tightly controlled stimuli constructed to avoid the intercorrelations inherent to naturalistic music. Our data indicate intriguing changes in cues’ effects between Bach and Chopin, consistent with score-based research suggesting mode’s “meaning” changed across historical eras. For example, mode’s unique effect accounts for the most variance in valence ratings of Chopin’s preludes, whereas its shared use with attack rate plays a more prominent role in Bach’s. We discuss the implications of these findings as part of our field’s ongoing effort to understand the complexity of musical communication—addressing issues only visible when moving beyond stimuli created for scientific, rather than artistic, goals.

Documentary sources and methodological landmarks in the research of the creation of the singer Veronica Mihai in the „Folclor” Orchestra

The study aims to identify the main theoretical and methodological criteria, important in shaping the scientific vision applied to the approach of the subject. The author delimits two distinct periods in the evolution of the singer’s repertoire: the late Soviet period (1968–1991) and the post-Soviet period (1991–1999). The main focus is on the Soviet epoch. Among the documentary sources are the materials stored in the IPNA archive – “TeleradioMoldova” Company, the personal files of the artists, the minutes of the Artistic Council, the musical scores, the library of the editorial offices within the institution. To substantiate the theoretical framework of the study, the author argues the need to instrumentalize the concepts of „Soviet folk song”, „mass song”, „creator&producer networks”, „modernization”, „revitalization”, „invented traditions”, „folklorization”, „new folk songs”, „neo-traditional music”.

Listening to Los Angeles in the Theatre of Anna Deavere Smith and Gabriel Kahane

Postmodern theorists such as Jean Baudrillard, David Harvey, and Frederic Jameson have tended to approach cities through the eye rather than the ear, often citing Los Angeles as a prototypical example of an urban simulacrum. This article takes up two works of theatre that focus on listening to rather than looking at Los Angeles. Anna Deavere Smith’s Twilight: Los Angeles, 1992 (1993) and Gabriel Kahane’s The Ambassador (2014) use voice and music, respectively, to sound out neglected histories and experiences overlooked by theorists who apprehend Los Angeles primarily through vision. Through the close reading of dramatic texts, musical scores, and live and recorded performances of these two works, this article troubles the pervasive ocularcentrism in critical interpretations of Los Angeles, using theatre to theorize a more inclusive dramaturgy and geography of the city.

Sibelius as a Tool to Improve Student’s Ability of Making Counterpoint Melody

As a subject for music students, counterpoint contributes to the ability to create a melody. The melody in counterpoint usually consists of two or more layers. In order to make a counterpoint melody, students must acknowledge the rules to construct the counterpoint melody. A good counterpoint melody involves two important things: the flow of the melody in a vertical and horizontal in vertical line (interval) and the musical texture of the melody. As a beginner in learning counterpoint, writing a counterpoint melody might be difficult at first. Learning counterpoint investigation was found that students spent a lot of their time following the counterpoint rules. They particularly did not focus on the musical sense of the counterpoint melody causing the melody loses its musical senses. Sibelius was used here as a tool to solve the problem. Sibelius is a music software which commonly used in writing musical scores. This study examined Sibelius in making a counterpoint melody in learning counterpoint. The data were gathered through observation and interviews with students during learning counterpoint course. The result showed that by using Sibelius, making counterpoint melody more efficient, and it helped student not only focused on the counterpoint rules but also the musical senses of the counterpoint melody. Furthermore, students also showed the improvement of their skills in making a counterpoint melody.

Pious Puppets and the Limits of Symbolism

Following the immensely successful premiere of Maurice Bouchor and Paul Vidal’s Noël, ou le Mystère de la Nativité at Paris’s Petit-Théâtre de la Marionnette in 1890, numerous critics observed an increasing fondness for religiously themed theatrical productions on the city’s popular stages. Though these works have received scant musicological attention, scholars often credit the success of these works to the rise of Symbolism during the 1880s, citing the Symbolists’ fondness for the realm of the metaphysical as a step toward a universally spiritual world that could be revealed only through non-representational signs. Contemporaneous reception of these works, however, suggests that audiences understood them not as exemplars of a burgeoning aesthetic movement, replete with idealistic suggestion, but rather as a nostalgic return to the Catholicism of their youth, regardless of—and likely despite—their skepticism of the Church as an institution. This chapter provides new readings of Maurice Bouchor and Casimir Baille’s Tobie and Bouchor and Paul Vidal’s Noël, ou le Mystère de la Nativité that reveals how Symbolism, as an interpretive framework, falls short of the musical and political complexities within these works. Through analyses of poetic texts, musical scores, and critical responses, this chapter examines the roles that such puppet productions played in the enfolding of Catholicism into the “secular” Republican mindset.

Exploring a Music-based Intervention Entitled "Portrait Song" in School Music Therapy

Songwriting has gained footing as one of the main approaches in music therapy. Many of the publications focus on various techniques whereby children and adults are assisted, individually or in groups, to create songs collaboratively. This study explored a non-collaborative song-based intervention entitled "Portrait Song"; namely, an original song composed by the therapist for and about specific recipients as a therapeutic tool. The "Portrait Song" intervention was initiated and implemented by Ms. Stella Lerner, an Israeli music therapist and composer. Two specific aims were set for the study: (1) to explore the nature of the "Portrait Song" practice as a means for school music therapy; and (2) to examine the effect of the "Portrait Song" intervention on students' outcomes. The author/researcher acted as an outside observer, evaluating the "Portrait Song" intervention and the students' experiences in two schools in Israel, which provide music therapy programs for children possessing a broad range of disorders. Data included field notes compiled during class observations, extensive interviews with the therapist, and examination of musical scores and written material. The study showed that the "Portrait Songs" intervention guided participants to higher levels of social adjustment, refined physical skills, and assisted with areas of self-identity and self-efficacy. Lerner's innovative "Portrait Song" intervention can give music therapists some perspectives about the possibility and benefits of composing complete therapeutic songs (lyrics and music) for and about specific clients in school settings.

Franz Schubert en Màrius Torres

This study reviews the presence of the composer Franz Schubert in five poems by Màrius Torres. These texts were written between 1933 and 1938, while Torres consolidated and evolved as a poet. The writer from Lleida performed musical scores with the piano and the Austrian composer, through his Lieder, became a model, something that is evident in the different ways in which transtextuality is present, not only between the songs’ lyrics and Torres’ poems, but also between the musical compositions and these same poems. This study analyzes how, on the one hand, Schubert’s Lieder “Der Erlkönig” and “Der Tod und das Mädchen”, with texts by Johann Wolfgang Goethe and Matthias Claudius respectively, work as a starting point – or hypotext – for three poems by the Catalan poet, “El rei dels verns”, “La Mort i el Jove” and “Paraules de la Mort”, thus converted into hypertexts. On the other hand, Torres’ two poems “Adverbis de Schubert” and “Mai” refer to the Austrian composer from the intertextual relationship with the poem “Jamais” by Alfred de Musset. At the same time Torres mentions Schubert and the Lied “Ständchen” with text by Ludwig Rellstab in “Adverbis de Schubert”, but the Catalan poet hides Schubert’s copresence in “Mai”.

Creation of musical pieces At GUITAR PRO 6 (Part 2)

The purpose of the article is to find out the specifics and methods of creating music in the sequencer GUITAR PRO 6. Methodology. The article uses a systematic approach, and also applies methods of comparison and generalization. Scientific novelty. For the first time in domestic musicology, innovative methods of working in the modern computer program sequencer GUITAR PRO 6 were discovered and proposed. The application of the methods and rules presented in the study provides the opportunity to transfer the work of a composer, arranger, sound engineer, musician, with a computer to a completely new stage in the development of musical creativity, which significantly improves the result of the study of musical texture, expanding the ways of existence of the work and the like. Conclusions. This software product is a powerful editor that allows you to create original scores at a professional level for subsequent editing. The program presents many useful tools with which the user can work with a different set of symbols of musical notation, as well as with a wide range of regulation of sound dynamics and tempo, which allows you to create samples of musical scores that sound and their phonograms. It has a powerful built-in MIDI editor, chord builder, player, metronome, and many other useful instruments for musicians. Ability to run Guitar Pro 6 on Windows, Linux, Mac OS platforms. Widely used by composers, arrangers, and sound engineers. Also, the methods of work in Guitar Pro 6 can be used for study by students who master the relevant specialties.

Visualizing Musical Transformations

The issues with comparing versions of a transformed XML document have been discussed many times. A special challenge, however, arises when the transformations of a document are musical in nature, rather than the more usual editorial changes. An XSLT visualizer can be modified to render musical scores to SVG and enable visual comparisons of the transformation results.