As the largest and most comprehensive Chinese database in the world, China National Knowledge Infrastructure (CNKI: Zhong guo zhi shi ji chu she shi gong cheng 中国知识基础设施工程, also commonly known as Zhi wang 知网)1 is supervised by Tsinghua University and Tonfang Knowledge Network (TKN), a high-tech enterprise funded by Tsinghua University in 1997. It is supported by the Chinese Ministry of Education, the Publicity Department of the Communist Party of China, the Ministry of Science and Technology, the State Administration of the Press, Publication, Radio, Film and Television of the People's Republic of China and the State Planning Commission of the PRC. In December 1996, CNKI began providing CD-ROM and CAJ-CD for Chinese academic journals, and it was officially launched in 1999. This repository initially focused on Chinese academic journals and later expanded its coverage to PhD dissertations, masters’ theses, conference proceedings, yearbooks, books and patent documents. It is divided into three categories: ‘databases’, ‘specialized sources’, and ‘international sources’, including ProQuest and Taylor and Francis journal databases. Ten service centres are established across the world, including Beijing, North America, Japan, Korea, Taiwan and Hong Kong; users include universities, research institutions, government think tanks, industries, hospitals and public libraries.2 CNKI (or CIKRD) updates its information on a daily basis, and its current growth rate is approximately 350,000 new journal articles per month.

This article focuses on four digital resources for researching nineteenth-century women in music. Two are over two decades old and hail from the German-speaking world: Musik(vermittlung) und Gender(forschung) im Internet (MuGI) and the Sophie Drinker Institut online lexicon. The remaining pair are emerging digital resources based in the United States: Art Song Augmented and the Boulanger Initiative Database (BID).

Ralph Vaughan Williams's The Lark Ascending is a perennial favourite in the British classical music radio station Classic FM's ‘Hall of Fame’ poll. In spite of its apparent popularity, however, the work sits uncomfortably with the way revisionist critics and scholars have wanted to portray the composer. As an escapist piece of English musical pastoralism, The Lark undermines their preferred view of Vaughan Williams as a progressive or even ‘modernist’ participant in his artistic milieu. To combat this image, some critics and musicologists have argued for complex, harder-edged interpretations of the work that have little to no basis in the music's primary source materials or the composer's stated priorities in his own writings. Such emphases reflect a problem in recent revisionist literature, wherein traditionalist, nationalist, or Romantic aspects of Vaughan Williams's music are excessively downplayed (or re-situated) in favour of arguments that better support elite sensibilities. As a work consisting of accessible, melody-centric music, and following from a poem excerpt suggesting an idyllic scene, The Lark serves as a bulwark against revisionist overreach and a check against over-emphasis on trendy priorities.

Despite her current marginal position, the nineteenth-century pianist and composer Delphine von Schauroth (1813–1887) once ranked among the most prominent virtuosos of the nineteenth century and had connections with Fanny Hensel, Ferdinand Hiller, Josephine Lang, Franz Liszt, Felix Mendelssohn, Robert Schumann and others. Drawing on large body of music criticism, as well as compositions, letters, images and literary works, this article presents a portrait of Schauroth as an artist, with an emphasis on the role of improvisation and the improvisatory in her pianism. In particular, the article fleshes out Robert Schumann's characterization of Schauroth as a ‘Corinna-sister’, a reference to the improvising poetess of Madame de Stäel's novel Corinne, or Italy. The article suggests that Schumann's comparison highlights key facets of Schauroth's status and character as a pianist and composer. Firstly, like Corinne, Schauroth was widely renowned as an eminent performer and was celebrated as a genius by critics, which was particularly notable for a woman musician in the early nineteenth century. Secondly, Schauroth was received as a creator, not only for her compositions, but also for her performances: in the late 1820s and early 1830s, in particular, critics responded to these performances with images of magical creation and an emphasis on the newness of her performance over the composer's work. Thirdly, Schauroth displayed a varied practice of improvisation, and her compositions were understood as having an improvisatory character.

Print created the urge to innovate new modalities of musical knowledge production and dissemination in nineteenth-century Bengal. Publication of music books made the bifurcation between music theory and practice clearer, but only as a textual category. As the literature suggests, these were two categories for organizing musical knowledge, intimately entwined, where one produces the other and also doesn't exist without each other. The technology of ‘swaralipi’ (musical notation) used in the modern printed books materialized the project of disseminating music to the reader who could now ‘read’ the music from the book. For some book writers, music books were meant to be a replacement for the oral tutelage, published as ‘self-instructors’. But, on the contrary, the most prolific book-writers of the time used their books as the basis of oral tutelage in the music school. In the modern setting of the music school, the person of the ‘guru’ or ‘ustad’ was replaced by the formalized, systematic teaching of the ‘professors’ of music. Music books, as the medium of modern music pedagogy, thus changed not only the way students learned – making it possible to learn from the book with no instructor – but also the role of teachers, whose teaching was validated by the book. The music books came to function as the ‘modern shastras’ – to exercise regulatory authority over music practice, and how music is learned and taught. The ‘orality’ of music emerges as a liminal space in the gap between the writings on music and the writing of music. What emerges is an unlikely milieu where a new form of musical education is devised, the possibility of an education without a guru is conceived, and the schema of musical notation brings the entire process to life.

Compilers and editors of hymnals and scholars of hymnology have often lacked suitable tools for identifying the earliest sources of spirituals, or even key sources that serve as models for later arrangements. In the twenty-first century, the development of internet-based repositories of digital books has enabled the ability to search for publications of spirituals using strings of lyrics or keywords, but more importantly, these repositories allow researchers to examine the relevant sources and glean contextual information about those spirituals beyond what might exist in any list or index. Although African slaves had been present in North America since 1619, this unique musical artform was not considered a national treasure worth preserving and publishing until the onset of the Civil War, thus any study of sources of antebellum plantation spirituals really begins at the end of that era and moves forward from there. In order to understand the problem and the digital solution to tracing these songs, a brief overview of the longstanding publishing standard will be presented, followed by an overview of older research materials, then a detailed examination of three existing repositories (HathiTrust, Google, Internet Archive), and one forthcoming repository (Sounding Spirit). The publications located in these repositories have been tied together through a pair of web-based bibliographies at Hymnology Archive, covering the years 1862–1900 and 1901–1942.

The two recently recorded CD sets of Hrabina (The Countess) and Straszny dwór (The Haunted Manor) in complete concert versions with eighteenth-century instruments add enormously to the Polish operatic repertoire in the nineteenth century, and offer a fresh listening experience for those who have long wished for first-rate recordings of lesser-known, yet brilliantly executed, works of the hitherto neglected composer, Stanisław Moniuszko (1819–1872). Born in the Minsk district of modern Belarus, Monisuzko was gentry, and his nostalgia for the customs, the fields and forest, and the rural community that shaped his childhood years, fuelled his enthusiasm for modern operas set in the eighteenth century. These stellar concert versions of The Countess and The Haunted Manor provide a fascinating glimpse into the provocative and glittering salons of the eighteenth-century Warsaw nobility, whose inhabitants stand firmly in contrast to the more modest and self-effacing life of the peasants and the country gentry. In both operas Moniuszko successfully provides a romanticized portrayal of pre-Partition courtly life in Poland. While these two operas were highly regarded as national treasures in Poland, they were not particularly well known outside of the country. Polish opera at that time was largely overshadowed by Italian, French, and German composers, and the nation's subjugation to the Hapsburgs, Prussians, and Russians throughout the nineteenth century contributed mightily to the neglect of staged works by Polish composers. Additionally, singers needed to be trained in the nuances and inflections of the language. Prior recordings were either incomplete or were not available with English translations of the librettos. With the Biondi and Nowak recordings, Moniuszko's vision of expanding his art to a global audience has finally been achieved. These recordings are accessible to all opera enthusiasts on an international playing field.