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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
A Re-Examination of port de voix in the Seventeenth and Early Eighteenth Centuries: Possibilities in Vocal Performance
Get PDFSally Sanford investigates the port de voix in French vocal music and demonstrates her results in nine sound examples
Theology and Theatre in the Poems of Orlando di Lasso’s Prophetiae Sibyllarum
Get PDFMarjorie Roth offers new scholarship on Lasso's Prophetiae Sibyllarum, while Amerigo Fabbri provides new translations and commentary on preserved fifteenth-century theatrical writings and engravings of the Sibyls cycle
New Light on the Use of the Metronome in Organ Music by Lefébure-Wely, Lemmens, and Franck
Get PDFJoris Verdin asks us to re-evaluate what we think we know about the dialog between metronome markings and subjective performance instructions in 19th-century French organ music, and invites us to renew our approach to its performance
Vespers Hymnody as a Context for Organ Composition and Improvisation in Sixteenth- and Seventeenth-Century Italy
Get PDFAn English Paragram
Get PDFRuth Tatlow's paragram is a celebration of Kerala. It is based on historical models like those of Christian Friedrich Henrici (Picander), who was one of the most important poetic sources for J. S. Bach's vocal compositions
Mildred Bliss tells Nadia Boulanger to think of herself for once
No full textIgor Stravinsky's Dumbarton Oaks Concerto was premiered as part of a program conducted by Nadia Boulanger on 8 May 1938 at the Washington, D.C., home for which the piece was named. The concerto was the result of a commission by the philanthropists Mildred and Robert Woods Bliss for a piece to celebrate their thirtieth wedding anniversary. The commission was apparently negotiated in the spring of 1937 by Boulanger, a passionate champion of Stravinsky's music. Early plans may have involved a first performance conducted by Stravinsky himself, but his poor health, which forced him to undergo a cure for tuberculosis in the spring of 1938, made the voyage to America impossible. The program was turned over to Boulanger, who presented the concerto with extracts from Bach cantatas (sung by the tenor Hugues Cuenod and bass Doda Conrad, who had both come from France with her for her American tour) and Stravinsky's own Duo Concertante for violin and piano.Mildred Bliss wrote the following letter to Boulanger (now in the Bibliotheque nationale, Paris) a week after the Dumbarton Oaks concert, in the fluent but somewhat idiosyncratic French she normally employed in communications with the musician. She explains that her letter was delayed because of the sudden death of a close friend, whose admirable qualities she describes, the highest praise she can imagine is that he was "a useful citizen," the emphasis reflecting her own strong commitment to public service and her belief in the necessity of contributing to society in practical ways. After explaining why her letter is late, Bliss discusses the arrangements for paying the composer and the participants in the concert. She wants Stravinsky's concerto to be named after Dumbarton Oaks, a gesture that seems to have had the desired effect of affording the mansion's owners at least a degree of anonymity (at its premiere in England later the same year the piece was identified as named "after the California home in which it was written"). Throughout the letter Bliss's deep affection and regard for Boulanger is evident. She is concerned about Boulanger's tendency to over work, as well as her penchant for dispensing money to her students rather than keeping it for herself. And her reference to perfume and a neglige (which she did send to Boulanger's ship when she sailed for France, as a subsequent letter makes clear) seems to indicate a desire to help Boulanger to pamper herself more than she was generally inclined to do.Bliss closes with a request for Boulanger's opinion on two letters, which she encloses, she does not discuss the content, but it is clear she values her advice greatly. Her trust in Boulanger's musical judgment worked to Stravinsky's advantage again the following year. Boulanger acted as Stravinsky's go-between with Bliss to arrange for the premiere of his Symphony in C during the fiftieth anniversary season of the Chicago Symphony Orchestra
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