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.

Plu., An seni 784C-D: Textual and Exegetical Problems

The aim of this article is to reflect on the different exegetical possibilities of An seni 784C-D through the analysis of the history of modern translations and critical editions. At the end of the paper, an interpretative hypothesis and a textual comment to An Seni 784C-D are given.

Escaping aesthetic control

Spanish pianists, educators, and commentators have relished passing down to following generations the performance practices of their own tradition, with the renowned institution L’escola de música de Barcelona claiming to offer specialist training in “Spanish music”. In this context, Granados’s Goyescas have inevitably become the almost-exclusive domain of native musicians, herding artists’ creativities towards sets of performance instructions familiar to them. That we should continue to consider this repertoire as a specifically separate entity, fully knowable only by local artists or those trained within their tradition, is worthy of attention, as it places anyone outside this educational background and performing tradition as ‘other’ in need of acceptance. While the study of Granados’s output has recently been enriched by analytical investigations, recording projects, and new critical editions, it is the still unfamiliar early-recorded legacy by the composer/pianist that will be the catalyst for insights in this article. His Welte-Mignon roll recordings show a dynamic and flexible artistry, unsurprising in pianists of his generation, together with a lack of highly articulated ornamental inflexions and the rhythmical rigour we might expect in performances of such repertoire. The question that I wish to raise is whether at some point during the twentieth century there was a cultural shift that shaped ‘Spanish music’ to sound as distinctively national as possible. Such a shift would have occurred, in the minds of players, in parallel to wider changes in performance styles taking place throughout the continent. Exploring these aesthetic ideals through the lens of the country’s cultural history during the troubled years across the middle of the last century may hint at the subtle but meaningful ways that defined a canon flavoured with local folklore, both within and without the Spanish borders. The aim throughout is to challenge these orthodox approaches controlling the repertoire, resulting in my own renewed performance of El amor y la muerte; the hope will be that of empowering pianists to make different choices, diversifying performance options in the future.

Colossians 1.12a: A Case for the Reading of the Earliest Witnesses

The evidence favoring the reading ἅμα τῷ πατρι in Col 1.12 is more compelling than is generally recognized. This variant is the reading supported by the earliest extant witnesses (P46 B), the more difficult reading, and the reading that best explains the origin of the other readings. Scholars who have viewed the reading as a palpable error are likely misreading the variant in the same manner that prompted early scribes to omit the ἅμα. This earliest attested reading supports Tischendorf's punctuation of the verse, the translation adopted by many major English versions, and the structure and exegesis of the passage affirmed by most recent commentaries. These versions and commentaries demonstrate how suitable this reading is in this context. Critical editions of the Greek New Testament should reconsider adopting this reading in their base text.

A Return to Rossini

This chapter situates The Barber of Seville in the context of the twentieth century, a time when the Rossini Renaissance and a growing sense of fidelity to the “work concept” led to a desire to adhere closely to Rossini’s intent. Following a brief overview of sporadic attempts to access the “original” opera during the nineteenth century, the focus falls on the development of the critical edition project, exploring the various singers, directors, and musicologists who played a role in accessing an authentic version of The Barber of Seville. The chapter concludes with a comparison of the two modern critical editions of the opera.

Skizzen, Entwürfe, Konzepte, Arbeitsmanuskripte, Fassungen, Revisionen

Despite numerous studies of Felix Mendelssohn Barthody's compositional process as well as critical editions of many of his compositions, the relevant terminology is still in need of more precise definition. This applies in particular to the term "Fassung(en)" or "version(s)", which should be used to denote a self-contained and concluded state of a composition which manifests itself through dissemination, performance or publication. The present study supports this working hypothesis with several case studies and suggests a new term, "Konzept" (rough copy or preliminary concept) for a preceding compositional phase. It also argues that more precise terminology enhances our understanding of Mendelssohn's compositional process.

Il Nuovo Testamento Greco-Latino-Italiano – Conferenza Episcopale Italiana, Roma, 2020

On the same day of the United Nations International Translation Day, the 30th of September 2020, Il Nuovo Testamento Greco-Latino-Italiano was published by the Italian Catholic Bishops’ Conference (CEI), a date chosen by the United Nations in honor of St. Jerome. The publication of the NTGLI presents two specific innovations: 1. at a ‘textual’ level for the most recent editions of the New Testament used (The Greek New Testament-5th Revised edition; Nova Vulgata, Bibliorum Sacrorum Editio, Editio typica altera; La Sacra Bibbia - Versione ufficiale della Conferenza Episcopale Italiana) and 2. at a ‘cultural’ level for the cooperation among different Christian confessions in Bible translating. In 1988 the Conferenza Episcopale Italiana initiated an extensive and in-depth revision of the CEI1971-74 Bible based on the most recent critical editions of the original Hebrew and Greek texts. The new CEI Bible was published in 2008. Created for the liturgical use, with its 1971-74 edition the CEI Bible became the reference text, almost a new Vulgata. The NTGLI is a strategic tool for future translations of the New Testament in the 4,000 languages without a Bible translation, also aiming to contribute to the affirmation of peace for humanity, as stated in the United Nations Charter: “United Nations Charter, Chapter I, Purposes and Principles, Article 1: The Purposes of the United Nations are: To maintain international peace and security...[and] to develop friendly relations among nations based on respect for the principle of equal rights and self-determination of peoples…”

The Problem of Attributing the Works of the Venerable Anastasius of Sinai

В данной статье автор предпринимает попытку описать современное состояние исследований наследия прп. Анастасия Синаита. До определённого времени святой был одним из малоизученных византийских богословов. Начиная же со второй половины XX в., одно за другим стали выходить критические издания трудов прп. Анастасия. До сих пор продолжается научная полемика по датам и обстоятельствам жизни, по атрибуции трудов этого отца. Для исследователей остаются открытыми вопросы авторства таких важных трудов, приписываемых прп. Анастасию, как «Толкование на Шестоднев и «Учение отцов о Воплощении Слова», ждут своего критического издания другие его догматическо-полемические, аскетические и гомилетические произведения. In this article, the author attempts to describe the current state of research into the heritage of the Monk Anastasios the Sinaite. Until a certain time, the saint was one of the little-studied Byzantine theologians. Starting from the second half of the 20th century, critical editions of the works of St. Anastasios. Until now, scientific controversy continues on the dates and circumstances of life, on the attribution of the works of this father. For researchers, questions remain open about the authorship of such important works attributed to St. Anastasios, as «The Interpretation of the Six Days» and «The Teaching of the Fathers about the Incarnation of the Word», his other dogmatic-polemic, ascetic and homiletic works await their critical publication.

La localisation de témoins oïliques médiévaux. Le DRFM comme levier méthodologique

The recent Dictionnaire des régionalismes du français médiéval de l’Est (DRFM) constitutes an analysis of 389 lexemes contained in the corpus Documents linguistiques galloromans (DocLing, including about 2,350 documentary texts). These words represent concepts linked mainly to administration, commerce, and agriculture in the Eastern part of the Galloromance area (Champagne, Lorraine, Bourgogne, and Franche-Comté). More than half of these words are also attested in over 500 non-documentary texts of religious, literary, and practical nature. Such texts are notoriously difficult to localize, however, the regional words they contain aid this process considerably. In the present article, we distinguish three types of lexical regionalisms: « formal », « semantic », and « integral ». In the first section, we clarify the theoretical and phenomenological aspects of this distinction. We discuss the various roles of lexical regionalisms in the localization of non-documentary texts and, more specifically, the relative usefulness of formal regionalisms in this process. In the following sections, we demonstrate two methodological uses of regionalisms in non-documentary texts: 1. the localization of medieval texts or manuscripts (we provide 24 examples) and 2. the clarification or the resolution of ecdotical problems during the preparation of critical editions.