DAS INSTRUMENTAL REPERTOIRE DER DRESDNER HOFKAPELLE IN DEN ERSTEN BEIDEN DRITTELN DES 18. JAHRHUNDERTS: ÜBERLIEFERUNG UND NOTISTEN SÄCHSISCHE LANDESBIBLIOTHEK – STAATS- UND UNIVERSITÄTSBIBLIOTHEK, DRESDEN, 23–25 JUNE 2010
[...]the conference's unwavering focus on source-critical issues left me with the odd sensation of having travelled several decades backward in time, to an era when establishing a reliable chronology and the provenance of manuscript sources was regarded as practically an end in itself - in othe...
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Veröffentlicht in: | Eighteenth-century music 2011-03, Vol.8 (1), p.168-170 |
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Format: | Artikel |
Sprache: | eng |
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Zusammenfassung: | [...]the conference's unwavering focus on source-critical issues left me with the odd sensation of having travelled several decades backward in time, to an era when establishing a reliable chronology and the provenance of manuscript sources was regarded as practically an end in itself - in other words, when positivistic concerns left little room for those that have since become prominent in the discipline, such as the music's cultural meanings. Among the problems associated with relying on such symbols, however, is that they may be highly variable within a single manuscript, let alone across multiple manuscripts copied by the same scribe over a period of time, and that their forms are often highly standardized within a 'school' of scribes. [...]focusing on the form of clefs and rests to the exclusion of, say, the way in which stems are drawn from noteheads can easily lead one down the wrong path. [...]Peter Wollny offered a cautionary tale of how certain scribes in the Bach family circle altered their handwriting drastically over time, posing special challenges to scholars working with these manuscripts. [...]Olivier Fourés (Venice) demonstrated that even in a repertory as well mined as the Dresden Vivaldi collection, it is still possible to make new discoveries and adopt fresh perspectives. |
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ISSN: | 1478-5706 1478-5714 |
DOI: | 10.1017/S1478570610000709 |