This semiannual column selectively lists newly issued periodicals; describes their objectives, formats, and contents; and provides information about special issues, title and format changes, mergers, and cessations. The following resources were frequently consulted when assembling this column: International Index to Music Periodicals (IIMP; http://music.chadwyck.com), Music Index (MI; http://www.ebscohost.com), RILM Abstracts of Music Literature, (RILM; http://www.rilm.org), OCLC Worldcat and Ulrich’s Periodical Directory (http://www.ulrichsweb.com/ulrichsweb/). All Web sites were accessed on 25 May 2011 unless otherwise specified.
Opera Musicologica. Edited by Olga Manulkina. Saint Petersburg State Conservatory. Quarterly. No. 2  (2010). ISSN 2075-4078. Print format. Abstracts and reviews access (PDF format): http://www.conservatory.ru/node/1474. Subscription or inquiries, including cost information for international subscribers: Opera Musicologica, Teatralnaya Pl., 3, Saint Petersburg, 190000, Russia. E-mail: email@example.com. Online access available by subscription through the Russian Scientific Electronic Library: http://elibrary.ru/title_items.asp?id=29076.
Opera Musicologica is a peer-reviewed quarterly journal published since 2009 by the Saint Petersburg State Conservatory. It contains articles, reviews, and transcriptions of documents in Russian, with English and Russian abstracts. Four issues have so far been published, and these are numbered with a year and issue number as well as with a through-numbered issue number in brackets (i.e. the second issue of 2010 is 2010 No. 2).
About half of each issue is dedicated to peer-reviewed articles. These range widely in approach and topic, and include analytical, historical, organological, and philosophical explorations of Russian and European works and composers. Eight of the eighteen articles so far to have appeared treat Russian composers and topics. These contributions vary in theme and approach, from canonical topics such as Anna Bulycheva’s exploration of the function of song in the operas of Glinka, Verstovsky, Tchaikovsky, and others (2009 No. 2, 28–59) to Evgenia Khazdan’s investigation of the collaboration between folklorist Beregovsky and poet Itzik Feffer in the 1901 Yidishe Folkslider mit Notn (2009 No. 2, 78–94). In the most recent issue, Valery Glivinsky situates the aesthetics of Stravinsky’s late works in the information technology of the 1950s and 60s and Vsevolod Kirpichnikov investigates Skriabin’s organization of musical material and his use of the so-called “Prometheus chord” (2010 No. 2 , 41–57 and 58–68). So far only one article has dealt with an overtly political Russian topic: Yekaterina [End Page 139] Vlasova’s essay on the propagandistic art of early Bolshevik music organizations (2010 No. 1, 54–73) which includes the previously unpublished first version of the declaration issued in 1919 by the music department of the People’s Commissariat for Education (p. 56–8).
Several contributions stem from archival and musical sources housed in Saint Petersburg. Vyacheslav Kartsovni’s article in the first issue takes codicological examination of a Petersburg source for Guido’s Micrologus as the point of departure for an exploration of the treatise’s cultural roles (2009 No. 1, 6–31). In issue  Philip Gossett writes about a Donizetti autograph housed in the conservatory library where Gondi’s part in Maria di Rohan is notated for mezzo-soprano (2009 No. 2, 5–27). And in the most recent issue, Natalia Braginskaya discusses editions of Berlioz’s La Damnation de Faust and Les Troyens that once belonged to Fyodor Stravinsky, also housed in the conservatory library (2010 No. 2 , 21–40).
Among European composers and topics discussed in Opera Musicologica, Bach is foremost, with three articles dedicated to analytical and organological issues in his music: Kira Yuzhak writes on duets from Clavierübung III (2009 No. 1, 83–100), Mikhail Saponov on the use of the corno da caccia in the Mass in B minor (2010 No 1, 5–17), and Mikhail Mishchenko contributes a “Melosophical essay” on the melodic and structural significance of the B–A–C–H motif (2010 No. 1, 18–35). There are also articles on Berio’s Sinfonia (Nastasia Khruscheva in issue ), Poulenc’s Sept Répons des Ténèbres (Maria Bakun in issue ), and Sibelius and the formation of Finnish national identity (Vera Nilova in issue ). In addition to the discussion of Guido, topics before 1700 are represented by Irene Guletsky’s description of symbolism in the Renaissance mass ordinary (issue ) and Tilman Seebass’s iconographic investigation of musical scenes painted on the walls of Kiev’s St. Sophia Cathedral (issue ).
The most innovative aspect of Opera Musicologica’s organization is the inclusion of a “documents” section in each issue. Here, archival materials centered around a particular person in the conservatory’s history are transcribed and supplied with commentary and illustrations. The first set of documents (2009 No. 1) pertains to music critic and musicologist Alexander Ossovsky (1871–1957), who taught at the conservatory beginning in 1915 and served as its deputy director from 1937. Documents in issue  are from the personal file of Samari Savshinsky, pianist, teacher, and musicologist (1891–1968). Issue  contains documents relating to tenor, teacher and opera director Emmanuil Kaplan (1895–1961), including a previously unpublished letter to Kaplan from Meyerhold (p. 79–80). The most recent set of documents is drawn from the personal file of composer Maximilian Steinberg (1883–1946), a student of Rimsky-Korsakov and teacher of Shostakovich. Here we find, among other things, Steinberg’s report of a 1925 trip to conservatories, concert halls, and theaters in Berlin, Paris, Riga, and Amsterdam. Together, these documents, and the ones to come, will surely serve to enrich our understanding of the institutional history of the Saint Petersburg Conservatory, which will celebrate its 150th year in 2012.
Opera Musicologica is clearly laid out and well produced, featuring many color illustrations in each issue. Indeed, the editors seem to have chosen a method of reproduction that does not limit color, and some items which could have been reproduced in black and white—such as yellowed newspaper clippings or stationary—are given in color. This will do doubt make Opera Musicologica an attractive destination for authors whose archival or manuscript-based work would benefit from color images.
Although all of its articles are in Russian (including Russian translations of works by American and European authors), much effort has been put into making Opera Musicologica accessible to English-speaking scholars. English abstracts for all of the articles are given at the end of each issue, and these are also available on the journal’s webpage (English version at http://www.conservatory.ru/node/1474). Detailed information about contributors to each issue is also given in both languages—a decision which will no doubt help foster new international collaborations. The spirit of such collaborations is reflected in the makeup of the advisory board, which includes scholars based in Austria, Belarus, Germany, Russia, [End Page 140] Switzerland, Ukraine, and the United States. The six-person editorial board includes four representatives from the Saint Petersburg Conservatory, one from the Moscow Conservatory, and one from Cambridge University. In covering a wide range of topics and approaches, reaching out to a diverse and international group of scholars, and combining peer-reviewed articles with primary source material, Opera Musicologica promises to be an important new voice in the chorus of music periodicals.
Journal of the Czech Museum of Music (Musicalia: Casopis Ceského muzea hudby). Edited by Jana Vojtěšková. Národní Muzeum. Semiannual. Numbers 1–2 (2009). ISSN 1803–7828. Print format. Access: http://www.myris.cz/en/export-journals.html. Subscriptions or inquiries: Czech Mu seum of Music, Karmelitská 2, 118 00 Praha 1, Czech Republic. E-mail: firstname.lastname@example.org.$89 institutions.
Issues examined include 1 and 2 (2010). Musicalia is the journal of the Czech Museum of Music, published in Czech and English. The focus is on Czech music and music history, primarily on the museum’s rich collections. Recent issue includes articles about the Czech Quartet, Josef Suk memorabilia, Bartered Bride, and Martinu, as well as Dvořák letters, prints, cylinders, museum databases and more. The editorial board is quite substantial and the submissions go through a double blind review process.
Reviews, new titles, and publisher and title changes announced elsewhere in this column include additional comments about electronic access.
Arte y Movimiento (ISSN 1989–9548, http://revistaselectronicas.ujaen.es/index.php/artymov) is published by Departamento de Didáctica de la Expresión musical, Plástica y Corporal, Universidad de Jaén and is a freely available open access internet journal covering musical, movement, and corporal expression in multidisciplinary fashion. Articles are available in Spanish and English, PDF format (published twice per year, starting in 2009). The current issue, Number 2 (June 2010) features articles about culture and arts in the university, Cuba, and elsewhere.
Ethnomusicology Archive Report: EAR 2.0 (http://www.ethnomusic.ucla.edu/archive/ear/) has a new blog-based format, as of January, 2011. The EAR is a freely available, monthly online publication, based at the Ethnomusicology Archive, and published by the UCLA Herb Alpert School of Music. Featured are new acquisitions highlights, photos, audio and video galleries, recording reviews, faculty news, awards, and grant information (Grammy preservation), article on the renewed popularity of vinyl, and more. The Archive itself is one of the largest in North America, housing approximately 100,000 commercial and field recordings representing traditional, folk, popular, and art musics from Africa, Asia, Australia and the Pacific Islands, Europe, the Middle East, and the Americas.
HEJMEC (Hellenic Journal of Music, Education and Culture) (http://www.hejmec.eu/) is an open access and peerreviewed online journal dedicated to critical analysis of Music, Education, and Culture in Greek and English (site registration required for access). Particular topics include pedagogy, history, philosophy, sociology, psychology, technology, and aesthetics. The inaugural issue, which appeared in 2010, included articles about creativity and integration in music education, information and communication technologies in music classrooms, and several articles in Greek.
International Index to Music Periodicals Full Text Coverage Updates (http://music.chadwyck.com) offers newly indexed full text content (from 2009) for Musica, Tecnologia (ISSN 1974-0042), an Italian journal covering music business and technology. Indexed content is also now [End Page 141] available for Sound Post (ISSN 0749-0755) from 2010 to the present (Scandinavian folk music and dance). Full text is now offered from 2004 onwards for Revista Electrónica Complutense de Investigación en Edu cación Musical (ISSN 1698-7454); La Tribune de l’Orgue (ISSN 1013-6835) from 2010 forward. Indexing was added for Bach Notes (2004 to present), published by the American Bach Society.
IIMP had dropped full text coverage due to publisher changes but retained indexing for a number of titles. Full text back issues will remain available for the following titles: Journal of Research in Music Education (ISSN 0022-4294), Teaching Music (ISSN 1069-7446), General Music Today (ISSN), Update: The Applications of Research in Music Education (ISSN 8755-1233), Journal of Music Teacher Education: JMTE (ISSN 1057-0837), and Music Educators Journal (ISSN 0027-4321). Folk Roots is now known as FRoots (ISSN 1748-6882); index coverage is available from 1996 to the present (with gaps).
Kapralova Society Journal: A Journal of Women in Music (ISSN 1715-4146, http://www.kapralova.org/JOURNAL.htm), formerly known as The Kapralova Society Newsletter, is a freely available open access internet journal, published by the Kapralova Society semiannually. Articles, available in PDF format (one PDF for an entire issue), are not limited to Kapralova, but focus on women in music. The issue examined is Volume 8, Issue 2 (Fall 2010) but issues are available on the Web site from 2005, when the title change and scope broadened. Newsletter issues from 2003 and 2004 are also mounted on the site. Articles feature Amy Marcy Beach and her American symphonies, CD reviews and new publications advertisements. Other issues focus on Fanny Mendelssohn Hensel, Clara Schumann and others. Topics are reviewed before acceptance by editor-in-chief, Karla Hartl.
Musical Explorations (ISSN 1711-9235), the semiannual journal formerly known as Fermata (1995–2004), is a publication of musicology graduate students at the University of Victoria, and is now online: http://journals.uvic.ca/index.php/me/issue/current. It is a freely available open access internet journal (beginning with the current issue, Volume 11 ), with peerreviewed articles available in PDF format. The journal is also indexed and archived in LOCKSS. Graduate student research and publication is the primary scope of this publication, inviting a broad swath of musicological and interdisciplinary topics. The current issue includes music reviews, articles about Clara Schumann, Wolf’s Michelangelo-Lieder, and Wagner’s Meistersinger, and an editorial by Alisabeth Concord.
Muzikologija (ISSN 1450-9814) was reviewed in Notes when it made its print debut (2001) and it is now available online at http://www.komunikacija.org.rs/komunikacija/casopisi/muzikologija/index_html?stdlang=ser_lat, published by Serbian Academy of Sciences and Arts. Scholarship focuses on Serbian music, study of music, and includes reviews of publications and conferences. This annual publication is open access and freely available on the Web in PDF format in Serbian or English.
North American Opera Journal (ISSN 2157-0930) is a new online, semiannual, peerreviewed scholarly journal available at: http://www.operaamerica.org/naoj. Opera America publishes the title (free with membership, otherwise subscription costs available at Web site above). Edited by Michael Pisani, the review committee includes scholars such as Howard Pollack, Ralph Locke, and Katherine Preston, among others. The publisher Web site touts this title as the “first to support scholarly work specific to the field of opera in the United States, Canada and Mexico” and submissions are accepted with multimedia components, and covering history, aesthetics, culture, interdisciplinary studies, business, libretti, composition, production, reception history, and performance practice. Currently samples only are available online to non-members. The intended audience is musicologists, historians, singers, and professionals engaged in opera.
Revue de la Société Liégeoise de Musicologie (http://popups.ulg.ac.be/SLM.htm) is now available online (it has been published in print annually since 1995 by the Liège Musicological Society). The scope of this academic journal is the study of musical life in Liège, Belgium, from the [End Page 142] Middle Ages until the present, and has a large editorial board (predominantly Belgian). Subscription information will be found at: http://www.slgm.ulg.ac.be/.
Title, Frequency, and Publisher Changes; Cessations
ACMR Reports, published semiannually since 1988 by the Association for Chinese Music Research, is again using the title ACMR Newsletter (since 2008).
Arabesk (ISSN 0809-0807), an education trade quarterly published since 1956, is now called Musikk i Skolen (ISSN 1890-7792), from 2008 onwards.
Chelys - The Journal of the Viola Da Gamba Society, published annually since 1969 by the Viola da Gamba Society is now The Viola da Gamba Society Journal, as of 2007 (indexed by IIMP).
Classic Record Collector (ISSN 1472-5797), a consumer quarterly published since 1995, is now (2010 onwards) called Classical Recordings Quarterly (ISSN 2045-6247).
La Lettre des Sociétaires (ISSN 1766-6120), as of 2010 is entitled Mag Sacem: Le Magazine des Sociétaires Sacem (ISSN 2108-8802) and published quarterly (since 2004) by the Société des Auteurs, Compositeurs et Editeurs de Musique in France. Previous title: La Lettre Bimestrielle des Societaires S A C E M (France).
Pan: The Flute Magazine (ISSN 1360-1563), published quarterly since 1983 by the British Flute Society, is now called Flute: the Journal of the British Flute Society (as of 2010, ISSN 2045-4074).
Podium (ISSN 1386-0402) is now called OvhO (ISSN 1879-5668), from 2009 forward. Variant title (and name of publisher) is Orkest van het Oosten; title is a consumer magazine covering the Netherlands Symphony Orchestra.
Spelemannsbladet for Folkemusikk og Bygdedans (ISSN 0333-0370), since 2010 is entitled Folkemusikk (ISSN 1891-6473), a Norwegian folk music periodical published 5 times per year, since 1941.
Repercussions (ISSN 1067-2699), a product of the University of California, Berkeley, Department of Music since 1992 (semiannual), ceased publication in 2007.
School Jam (ISSN 1860-9333) ceased publication in 2009.
Top of the Pops (ISSN 2191-4273), a German consumer monthly, began publishing in 2000 and ceased in 2010.
Tunes (ISSN 1890-2480), a Norwegian consumer quarterly magazine since 2006, ceased publication in 2009.
Special Journal Issues
Anthropology News Vol. 51, No. 9 (December 2010): Soundscapes and Music Traditions. First of a two part series addressing music and sound; offering audio downloads to supplement articles. Topics range from recordings by and about Osama bin Laden to technology soundscapes, conflict, tradition, and historical context.
Cambridge Opera Journal Vol. 21, No. 3 (November 2009): An Attila Symposium. Edited by Helen Greenwald, this issue is devoted to Verdi’s Attila, with an introduction by Philip Gossett and topics ranging from chiaroscuro to the libretto, to historical imagination and reception in Rome.
Circuit: Musiques Contemporaines Vol. 21, No. 1 (2011): The Spiritual in Art? This special issue edited by Jonathan Goldman, explores transcendence and spirituality in contemporary music.
Contemporary Music Review Vol. 29, Part 1 (2010): Virtual Scores and Real-Time Playing. Edited by Jason Freeman and Arthur Clay, this themed issue explores real-time score generation, real-time notation systems, trajectory studies, and audience interactivity.
Fontes Artis Musicae Vol. 57, No. 3 (July–September 2010): Special Topic: Public Libraries. Edited by Hanneke Kuiper, the issue covers public libraries in Turkey, Japan, Germany, Norway, U.K., Sweden, France, and other countries. Topics include access, audio services, social networking, special collections, and school libraries. [End Page 143]
Gramophone Vol. 88, No. 1065 (December 2010): Christmas Special Issue. Seasonal album reviews, including Bach, the King’s Singers, Arvo Pärt, critics’ choice feature.
Gramophone Vol. 88, No. 1069 (April 2011): Film Music Issue. Articles in this special issue cover a range of film music topics such as Enrico Morricone, Shostakovich, Hollywood’s “super orchestra,” positively reviewed soundtracks and more.
Journal of Film Music Vol. 3, No. 1 (Fall 2010): The Film Music of Fumio Hayasaka and Toru Takemitsu. Edited by Timothy Koozin, this special issue highlights two important Japanese film composers with unique styles, during a heyday of Japanese film. Articles touch on major films such as Akira Kurosawa’s Ran and the film Rising Sun.
Journal of Music Theory Vol. 54, No. 1 (Spring 2010): Cavell’s ‘Music Dis composed’ at 40. Brian Kane and Stephen Decatur Smith edited this special issue which features articles by Lawrence Kramer, Amy Bauer, Richard Beaudoin, and others, centering around musical borrowing, recomposing and other issues.
Journal of the Alamire Foundation No. 2 (October 2010): Jacob Obrecht. The first of two special issues, this one is edited by Fabrice Fitch. Articles include topics from the Obrecht and Agricola quincentenaries to Latin studies, Busnoys, and analyses of several of his works.
Journal of the Society for American Music Vol. 4, No. 4 (November 2010): Special Issue on Irish Music in the United States. Guest editors Paul Wells and Sally K. Sommers The editors gathered articles encompassing Irish music in nineteenthcentury Boston, Francis O’Neill, traditional music diaspora, recording trends, and musical families.
Opera Quarterly Vol. 26, No. 1 (Winter 2010): Mediating Opera. Guest editor Melina Esse gathered articles that address opera on digital media, video, film, and television, technological and historical aspects.
Opera Quarterly Vol. 26, Nos. 2–3 (Spring–Summer 2010): Chinese Opera Film. Guest edited by Paola Iovene and Judith T. Zeitlin, this special issue includes reviews and “auditions,” articles about Chinese opera on film and stage, through historical, political and cinematic lenses.
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