Copies Of Music Research Articles

Trois fugues de Luigi Cherubini: mises en partition de piano by Frédéric Chopin

Reviewed by: Trois fugues de Luigi Cherubini: mises en partition de pianoby Frédéric Chopin Jonathan D. Bellman Frédéric Chopin. Trois fugues de Luigi Cherubini: mises en partition de piano. Fac-similé et transcription présentés par Jean-Jacques Eigeldinger. (Publications de la Société française de musicologie, Serie 1, Monuments de la musique ancienne, tome XXIX.) Paris: Société française de musicologie, 2017. [Introd. in Fre., Eng., p. ix–xxxi; facsimile and transcription, p. 1–24; crit. report in Fre., Eng., p. 25–28; appendix: excerpts from Cherubini's Cours de contrepoint, p. 29–36. ISBN 978-2-85357-259-0. €35.] It is well known in the Chopin community that the composer studied strict counterpoint with his teacher Józef Elsner as a teenager—he says so in a letter of 2 October 1826 to his friend Jan Białobłocki—and that counterpoint itself would remain a lifelong fascination. In the introduction to this volume, Jean-Jacques Eigeldinger assembles the traces of this preoccupation thereafter, through Chopin's youthfully dismissive descriptions of counterpoint pedagogues Luigi Cherubini and Anton Reicha (in a letter of 7 December 1831), to a written request to his friend Julian Fontana (sent mid-June 1841) that the treatises of Cherubini and Georges Kastner be sent from Paris to him in the village of Nohant, in central France, to the many contrapuntal passages that show up in late works such as the op. 65 Sonata for Cello and Piano, "in particular in the reversible counterpoint of the Largo—a sublime Preghiera—and in the rondo finale, with its richly chromatic principal theme" (p. xxx). Harder to pinpoint is precisely how Chopin pursued such study, in the absence of either teacher or study partner, as Brahms and Joachim later found in each other. With the appearance of this publication, we now have a much better idea. Eigeldinger, a towering figure in Chopin studies, now presents Chopin's arrangement, in piano score, of three fugues from Cherubini's Cours de contrepoint et de fugue(Paris: M. Schlesinger, 1835), which were originally published in score, with three C clefs (soprano, alto, tenor) and the familiar F clef for the bass. Instructive excerpts from Cherubini's treatise are provided in the appendix. Eigeldinger observes that Chopin must have been less than completely comfortable reading from score in relatively unfamiliar clefs. Few would blame him if so, and it is no surprise that he would have seen fit to transcribe these pieces into his preferred piano idiom. It has already been established (by among others David Kasunic) that however much Chopin attended the opera, his closest encounters with it took place via commercially available piano-vocal scores—in other words, in reduced and user-friendly form. Moreover, the act of music copying was a study technique with a long, long history; the familiar stories of J. S. Bach sneaking down to his older brother's music cabinet in the middle of the night for unsanctioned copying projects testify to this. Far from a mechanical exercise, Chopin's Cherubini transcriptions reflect a traditional learning strategy that clearly benefited him for the remainder of his compositional life. And despite Cherubini's sometime reputation as a dry and static figure (Chopin himself, in the 1831 letter), a less dynamic and creative teacher than Reicha (Berlioz, Mémoires, quoted here on p. xxiii), or as less visionary than the opera composer Gaspare Spontini (the artist Eugène [End Page 705]Delacroix, quoted on p. xxxi), he clearly had sufficient credibility and authority for the now more mature Chopin to learn from and respect. Eigeldinger points out (p. xxx) that the British scholar Gerald Abraham was among the first to stress Cherubini's intermediary role in Chopin's attraction to Bach's counterpoint. Whether or not an intermediary was needed (I personally suspect it was not), Cherubini did represent a kind of Bachian representative, a systematic tutor of the learned art and aesthetic Chopin had studied and played since his youth. And the fugue transcriptions presented in this book—beautifully presented, thoroughly glossed and explained, and now (for the first time) readily available—are proof of that...

The Gyffard Partbooks, 1 and 2 (review)

A SIGNIFICANT SOURCE OF ENGLISH POLYPHONY The Gyffard Partbooks, 1 and 2. Transcribed and edited by David Mateer. 2 vols. (Early English Church Music, 48, 51.) London: Published for British Academy by Stainer and Bell, 2007-9. [Vol. 1: Foreword, p. [v]; contents, p. [vii-viii]; introd., p. ix-xv; score (with crit. notes preceding each work), p. 1-314. Vol. 2: Foreword, p. [v]; acknowledgements, p. [vi]; contents, p. [vi-vii]; introd., p. ix-xv; score (with crit. notes preceding each work), p. 1-256. ISMN M-2202-2160-6, ISBN 978-0-85249-892-7 (vol. 1); ISMN M-979-0-2202-2234-4 [sic], ISBN 978-0-85249-910-8 (vol. 2). £70 each vol.] One of most important sources of Tudor music, Gyffard partbooks (British Library Add. Mss. 17802-5) contain, as editor David Mateer describes (1:ix), broad and representative selection of sacred Latin polyphony produced in England just before Reformation. Given editorial decision to omit from these two volumes those works from Gyffard partbooks that have already appeared in composer-based volumes of Early English Church Music (EECM)-everything by Taverner and Tye, for example-the present edition might perhaps be more accurately described as selections from Gyffard partbooks. The decision to reproduce remainder of works in manuscript order is an excellent one that stays close to source itself. Noting where works previously published in EECM volumes would appear in a complete, continuous edition of partbooks would be a welcome inclusion, however, if only in table of contents. This would allow readers a complete overview of content and organization of source, which one would assume is reason for presenting editions in manuscript order. Mateer's introductory essay dates manuscripts to relatively late window of the 1570s and early 1580s (1:x). By relying heavily on watermarks, biographical evidence, and ownership of manuscripts, he dispels common misconceptions and flawed theories that date sources to 1550s, and offers more recent dates as a convincing alternative. In tracing Gyffard partbooks' provenance and ownership, Mateer offers an engaging narrative that also draws reader into a world of political intrigue in both government and academy. He begins by disputing early attributions of partbooks' ownership to a certain Dr. Philip Gyffard, asserting that this incorporeal figure (1:x) was a conjuration of misinterpreted evidence. Instead, a flesh-and-blood Dr. Roger Gifford (ca. 1536-1597) is identified as likely owner of partbooks, and his biography fills bulk of introduction. Mateer compares Gifford's biography to repertoire contained in each layer of partbooks, linking Gifford's time in Oxford to earliest layer of manuscripts. The second layer contains many works by composers working in or connected to London; Gifford was appointed one of Censors of Royal College of Physicians there in 1570. Mateer successfully links repertoire of final layer to social circles in which Gifford traveled, in spite of challenges presented by large number of anonymous works. The scribes of Gyffard partbooks cannot yet be identified conclusively, but editor suggests that Roger Gifford was not one of them (though he likely instructed them on what repertoire to copy), pointing to Latin mistakes that learned doctor would certainly not have made. He identifies two scribes, second of whom likely began work on partbooks much later than first. The discussion that follows details qualities of both hands and role each scribe played in text underlay, music copying, and other responsibilities. Taken as a whole, introduction provides a compact overview of Gyffard partbooks and their contents, as well as a persuasive argument for rethinking dating, provenance, and ownership of manuscripts. …

Internet freedom

PurposeThe purpose of this paper is to recount a disastrous result from a computer virus infection. A proposed quarantine scheme to combat malicious activity is discussed, as well as several issues bearing on internet freedom, including illegal music copying, politically motivated censorship and censorship of offensive material. Reference is made to an initiative to establish international Ackoff Centers for Design Thinking, following a suggestion by the late Russell Ackoff.Design/methodology/approachThe aim is to review developments on the internet, especially those of general cybernetic interest.FindingsInternet freedom is a complex issue, with practical, political and social implications.Practical implicationsMaintaining virus protection is important for all computer users. The proposed quarantine scheme has much to commend it, but the thorny issue of internet freedom needs careful consideration.Originality/valueIt is hoped this is a valuable periodic review.

A Burning Desire to Understand Genetic Mutations in Gastroenterology

Dr Peter Ainsworth is an Adjunct Professor in the Department of Biochemistry at the University of Western Ontario, London, Ontario. He is the Director of the Molecular Diagnostics Laboratory of the London Laboratory Services Group, which provides diagnostic genetic testing for Southwestern Ontario. The Human Genome Project has greatly expanded our understanding of the pathogenesis of gastrointestinal diseases. However, the function of many identified genes remains unknown. Molecular genetics is a relatively new scientific field, and thus, many of its fundamental concepts would not have been part of a gastroenterologist’s education. In the present review, an analogy is made between genetic mutations and digital music copying to increase our comprehension of this complex field. In 2003, the Human Genome Project announced their results from a 13-year multinational study which identified approximately 30,000 genes in human DNA. This achievement represents a landmark in modern medicine; however, the field of molecular genetics can be bewildering to the practicing clinician, who may only see an array of alphabet soup and overly complex scientific articles. Simply put, a genome represents all of the nuclear DNA in an organism, including the coding sequences carried in the genes. Genes carry information for making proteins that are involved in cell function. DNA is much like a double-stranded beaded necklace made up of four bases, strung out in pairs (guanine-cytosine [G-C] and adenine-thymine [A-T]) along two interwoven strands of a sugar-phosphate polymer backbone, to make up a double helix comprising the genome of an organism. Fully extended, the DNA in humans is approximately 2 m in length and contains approximately 3.5 × 109 base pairs. The use of digital computer technology to record and copy music is also a complex scientific field. Although the compact disc (CD) was only introduced in 1983 by Royal Philips Electronics Ltd (The Netherlands), the pulse code modulation technology used on CDs was developed in 1937 by British scientist Alec Reeves. The concept for the CD was developed in 1969 by a Dutch physicist, Klaas Compaan, and an American scientist, James T Russell. The first recordable CD, which led to the copying of CDs, was released in 1988. Today, millions of music and video discs have been sold and copied, and the entertainment industry is convinced that this has led to a major decline in their sales and profits. The lessons learned from music copying are used as an analogy in the present article for the study of genetic mutations associated with gastroenterological diseases. Dr Peter Ainsworth is an Adjunct Professor in the Department of Biochemistry at the University of Western Ontario, London, Ontario In this analogy, we will assume that our genetic code is the digital information on the original disc and during the process of copying, genetic mutations have developed. When the disc was introduced, it was assumed that the copying of the digital information would be ‘perfect’; however, it is now well known that many of the copied CDs do not contain exactly the same information as the original. This may be related to burning speed, compression of digital data, copy protection methods, quality of the copier and disc, as well as the algorithm for the data transfer.

Piracy of Digital Products: A Critical Review of the Economics Literature

Digital products have the property that they can be copied almost costlessly. This makes them candidates for non-commercial copying by final consumers. Because the copy of a copy typically does not deteriorate in quality, copying products can become a wide-spread phenomenon – this can be illustrated by the surge of file-sharing networks. In this paper we provide a critical overview of the literature that addresses the economic consequences of end-user copying. We conclude that some models with network effects are well-suited for the analysis of software copying while other models incorporating the feature that copies provide information about the originals may be useful for the analysis of digital music copying.

An introduction to the art of music copying

An introduction to the art of music copying

Piracy and Panacea in the Dissemination of Music in the Late Eighteenth Century

This paper is concerned with two decades when musical piracy was rampant, the 1770s and 1780s; with two cities where it flourished: Paris, a performing and publishing capital, and Leipzig, a centre of music copying; and with two imaginative men who sought panaceas or, in their view, rational solutions to the problems of piracy in music. One of these was relatively famous, Johann Gottlob Breitkopf; the other, Christian Gottfried Thomas, virtually unknown.

The Art of Music Copying: The Preparation of Music for Performance

The Art of Music Copying: The Preparation of Music for Performance

Music Typographer, for Facilitating Manuscript Music Copying in a Quick and Neat Manner

Music Typographer, for Facilitating Manuscript Music Copying in a Quick and Neat Manner