Music Publishing Research Articles

Briefs/Feuilletons

Briefs/Feuilletons Kristina Krämer, James P. Cassaro, and Stephanie Merakos 200 Years of Printed Music History: RISM B/I Now Entirely in the RISM Online Catalog The RISM Editorial Center would like to announce that after approximately four years of editing, all of the entries from RISM volume B/I, Recueils imprimés, XVIe-XVIIe siècles, ed. François Lesure (Munich: Henle, 1960) have been revised and can be found in the RISM Catalogue of Musical Sources at https://opac.rism.info. This concludes a four-year editing project that began in 2017, after previously having imported records that were converted from text in the book. As with all records in the RISM catalogue, each record from B/I has a unique RISM ID number, though the original B/I numbers are included as references. Records for over 2,700 printed music books containing music by more than one composer are now available for research, starting with the famous Petrucci edition of 1501, Harmonice Musices Odhecaton, and ending with A Choice Collection of Ayres for the Harpsichord or Spinnet published in London in 1700. With these two anthologies bookending B/I, we see both a shift from movable type to engraving, as well as the spread of music publishing beyond its initial concentration in Italy. Even though this initial revision of the B/I records has been completed, there are still many opportunities for libraries to collaborate with RISM in order to improve these records by adding detailed contents information and music incipits. This is especially important for editions that have not yet been digitised or are especially rare. And in spite of the many overlaps with records from Series A/I (Einzeldrucke vor 1800, documenting publications with music by a single composer), there is still a significant number of A/I records that need to be revised in a similar manner. Please direct any additions, corrections, or inquiries to contact@rism.info. Kristina Krämer RISM Zentralredaktion, Frankfurt, Germany This summer, RILM Abstracts of Music Literature with Full Text will add nine more titles to its full-text journal collection. The new titles are: • Aspekty muzyki (Gdańsk: Akademia Muzyczna im. Stanisława Moniuszki, 2011–). ISSN 2082–6044 • Ad Parnassum: A Journal of Eighteenth- and Nineteenth-century Instrumental Music (Bologna: Ut Orpheus, 2003–). ISSN 1722–3954 • Feedback Papers and Feedback Papers: Weltmusik (Köln: Feedback-Studio, 1971–2009). ISSN 0000–0000 • Informazione organistica: Rivista della Fondazione Accademia di Musica Italiana per Organo (Pistoia: Accademia di Musica Italiana per Organo, 1989–2019). ISSN 1724–4315 • Journal of the Arnold Schoenberg Institute (Los Angeles: University of Southern California–Arnold Schoenberg Institute, 1978–1996). ISSN 0146–5856 • Journal of Czech and Slovak Music: The Journal of the Dvořák Society (Newcastleunder-Lyme: Dvořák Society for Czech and Slovak Music, 1974–). ISSN 2515–6292 [End Page 139] • Music Therapy Today (World Federation of Music Therapy, 2001–2007, 2011–). E-ISSN 1610–191X • Mузыкальная академия [Muzykal'naâ akademiâ/Music Academy] (Moskva: Kompozitor, 1933–). ISSN 0869–4516 and E-ISSN 0131–2383 • Neuma: Revista de música y docencia musical (Talca: Universidad de Talca, 2008–). ISSN 0718–7017 and E-ISSN 0719–5389 With the addition of these titles, RILM Abstracts augments its coverage and the depth of its full-text enhancement. RILM Abstracts of Music Literature with Full Text is a comprehensive bibliography of writings on music featuring citations, abstracts, and indexes. It covers over one million publications from the early nineteenth century to the present on traditional music, popular music, jazz, classical music, and related subjects, enhanced with full text. If you do not already subscribe to RILM Abstracts with Full Text, contact your EBSCO sales representative, or e-mail information@ebsco.com. The Emerging Masters Collection, 1954–1989 at the Finney Music Library, University of Pittsburgh has been digitised Funded by a Grammy Foundation grant of $11,461.00, the entire collection of 420 reel-to-reel tapes has been reformatted. The core of the recordings focus on contemporary music by composers affiliated with the University of Pittsburgh, as well as major performers of this repertoire. Works and performances by local musicians are also represented, including vocal recitals by Mildred...

Intangible assets management and digital transformation: evidence from intellectual property rights-intensive industries

PurposeThis study aims to investigate the impact of digital technologies for intangible assets management. The authors analyse how technological innovations and regulations of intellectual property affect business models of companies or intellectual property rights (IPR) intensive industries to determine the impact of digital transformation on intangible assets management, highlighting emerging issues and future effects of the digital technology revolution.Design/methodology/approachThe authors use a case study method to answer our research questions. The authors use Soundreef SpA as our case study, a collecting company that develops technology for monitoring, collecting and maximising the earnings of songwriters and music publishers. The authors also elaborate and adopt the framework of the enhanced intellectual capital as the theoretical lens for presenting and analysing our case study, determining how the digital transformation caused business model innovation and more transparent and timely performance measurement in copyright-based companies.FindingsThe analysis of Soundreef SpA’s business model allows us to demonstrate how using new technologies drives the performance measurement of copyright holders and improve the collecting societies’ performance, introducing a new key performance indicator. This turning point is made possible by digital transformation and regulatory change. In the IPR industry, copyright holders’ performance has never been calculated, so the distribution of copyright revenues was based on the criteria approved by governance bodies/management.Originality/valueIn the study, the authors demonstrate that digital transformation is able to enhance the intellectual capital of IPR-intensive companies introducing new ways to manage intangible assets and to measure performance.

Transcribing Voices, Fashioning a Genre: Orality, Hybridity, and Inventiveness in James Oswald’s Songs from Ossian

A volume of songs with tunes, The Pocket Companion for the Guittar (n.d.), issued in London by the Scottish composer and music publisher James Oswald, contains nine songs from the poems of Ossian that were purportedly taken down from the singing of James Macpherson, their originator. This essay examines the origin and background of these songs from a cultural and political perspective, posing the questions as to when and why they were conceived, allegedly transcribed from the singing of the author, and inserted into a volume of mainly instrumental tunes, and their texts, by recognized masters such as Handel and Pergolesi. The date of inclusion must have been after the appearance of Temora (1763), the third and final volume of Macpherson’s Ossian poems, since several of the song texts are taken from that work. But the instrumental volume itself, the sixth in a series issued by Oswald, may already have been in preparation and Oswald probably wanted to take advantage of Macpherson’s latest bestseller. The central argument of this article is that these songs are a unique hybrid, reflective of the status of their makers in a London often suspicious of inventive “North Britons” like Macpherson and Oswald.

The Tambourine, Joseph Dale's Grand Sonata and Its Role in the Appearance of Women Musicians in the Salon

By the turn of the nineteenth century composers such as Daniel Steibelt and Muzio Clementi were writing keyboard pieces with tambourine (and, occasionally, triangle) parts that were clearly intended for private salon performances by girls and young women. These works were introduced to public and private European salons during the early nineteenth century. Steibelt performed such pieces, typically waltzes, bacchanals, rondos and divertissements whilst on tour with his English wife Catherine, daughter of the London-based music publisher and patent tambourine manufacturer Joseph Dale. She became a renowned tambourine virtuoso, even attracting the attention of the Bohemian musician and writer Václav Jan Tomášek, who described the great sensation caused by Catherine's performances.I analyse different types of works that were written for the tambourine around the year 1800. Examples of short waltzes (which were usually published in sets of 6 or 12) are plentiful – they were by far the most common pieces written for piano and tambourine – and in them the historical link between the tambourine and dance is most obvious. I argue that these waltzes may have served as a bridging point between dance-like, energetic, social activities and passive, recreational drawing-room music. Further support for this idea can be found in a Grand Sonata for pianoforte, tambourine, flute, violin and basso by Joseph Dale. The tambourine part contains numerous choreographic instructions as well as a wide variety of playing techniques such as thumb rolls, bass notes and harmonics, the likes of which did not become common practice in the orchestral or chamber repertory until the twentieth century. Dale's intention was clearly to provide an opportunity for women musicians to express themselves in ways that were contrary to contemporary expectations of female social etiquette.

Transformace československého hudebního průmyslu na počátku 90. let 20. století

The so-called Velvet Revolution in 1989 brought, among other social transformations, turbulent changes in the music industry. This study examines the changes in music publishing during the transition from the late state socialism of the second half of the 1980s to the post-socialism of the early 1990s. The main focus is on the release of music bands that were somehow suppressed or otherwise restricted during the normalisation period. The text concentrates particularly on the emergence of new major music labels in the early 1990s, which quickly brought a new dynamic to the liberalised market. It also examines the business strategies of these companies and the music industry activities of their founders, and any resulting factors after the Velvet Revolution.

Music publisher and merchant Jonas Ambrozaitis

Music publisher and merchant Jonas Ambrozaitis

Нотоиздательские каталоги провинциальных музыкальных магазинов второй половины XIX – начала XX вв.: А. Л. Бернарди, Б. В. Корейво, В. Л. Идзиковский (из фондов Российской государственной библиотеки)

The second half of the 19th – early 20th centuries were marked by intensive growth of music publishing houses and shops throughout the Russian Empire. In many cities and provinces, the music trade began to develop intensively, directly connected with the highest rise of domestic art, with the processes of formation of academic traditions and the flourishing of the national school of composition. The educational and cultural-educational tasks of the Russian Musical Society (1859), the subsequent opening of the St. Petersburg (1862) and Moscow (1866) conservatories, in many ways, turned out to be identical to the activities of large producers who took an active part in the life of these organizations. In comparison, provincial music publishers and shops, in particular, A. L. Bernardi in Odessa, B. V. Koreivo and V. L. Idzikovsky in Kiev, are sensitive indicators of cultural processes in the country`s life, create their own local history, captured in catalogs from the collections of the Russian State Library. It contains valuable data that has not been published anywhere before, allowing to find and analyze the commercial mechanisms of these enterprises, their repertoire concept and structural features. A special factor is the honorary title of commissioner of the Imperial Russian Musical Society, acknowledging the business and creative status of the producer, his advanced views and positions. The appeal to the activities of large and little-known entrepreneurs specializing in the production and sale of sheet music, musical instruments and other works of art is due to the interest in the formation and development of publishing. The scale of this phenomenon is largely associated with good goals in the name of Russian art and education, with long-term prospects for the development of musical culture, which makes it possible to expand and complement the range of its perception.

The Development Path of Music Publishing under the "Double Reduction" Policy in China

The "Double Deduction" policy effectively reduces the academic burden of students and promotes the transformation of school education methods and family education concepts. The policy also brings good prospects for music publishing, promotes publishing units to think about the transformation path of value-added and quality improvement, and gain a larger share in the broad market in the future. The development opportunities of music publishing under the "Double Reduction" situation include the dual needs of policy-oriented "burden reduction and quality improvement" and aesthetic education, the explosive growth of online education demand caused by the changes in the situation, and the sharing of educational resources to promote the fair and balanced development of education. The high-quality development of music publishing will help deepen quality education in the new era and meet the diverse needs of students for all-round development. The development path of music publishing under the situation of "Double Reduction" mainly includes: expanding the space for topic selection and helping diversified after-school services; deepening integrated development and improving the digital resource structure; strengthening industry linkage and cooperation and creating a resource aggregation platform.

Нотоиздательские каталоги провинциальных музыкальных магазинов второй половины XIX – начала XX века: «М. Бернард» и «Восточная лира» (из фондов Российской государственной библиотеки)

In the second half of the 19th and the early 20th centuries many music publishing houses and stores appeared in many cities and gubernias of the Russian empire. The cause for this was the intensive development of the Russian art of music, the formation of academic musical traditions and a flourishing of the Russian compositional school. The activities of provincial musical publishing houses and stores, in particular, the “Vostochnaya lira” [“Eastern Lyre”] in Kazan comprises a unique local history, infixed in the catalogues, preserved in the funds of the Russian State Library. They contain valuable material which allows the study of the commercial mechanisms of the present organizations, their repertoire conceptions and structural particularities, to actualize the experience of long-term cooperation with profile organization, and also bring into scholarly use lesser-known facts which serve as testimonies to their high spiritual mission. The chief factor for success was the honorary title of “commissioner of the Imperial Russian Music Society,” which became the sign of quality and the synonym for professionalism. The scale of the organizations’ activities is connected with the support for national art and education involving long-term projects for the development of the musical culture. Elucidation of their work presents the possibility of expanding and supplementing knowledge about the Russian music publishing business and its representatives.

Regional Folklore as the Basis of Formation and Development of Professional Qualities of Students in Classes of Vocal and Choral Disciplines

The article discusses the key aspects of the creative activity of students in the direction of training "The Art of Folk Singing" in the practical development of musical folklore of the Altai Krai within the vocal and choral disciplines. In the author's opinion, an important condition for the effective education of undergraduate students and the formation of professional performing qualities of a future specialist in the field of folk singing culture is the use of educational-methodical and musical publications by folklorists of regional musical folklore. The author's view on the specifics of vocal and choral disciplines, revealed in the form of practical exercises, is stated, the importance of using musical folklore of the Altai Krai in the context of the formation and development of professional qualities of future specialists in the field of folk singing performance is noted.

How to Train Your Dragon by John Powell

Reviewed by: How to Train Your Dragon by John Powell Denise E. Finnegan-Hill John Powell. How to Train Your Dragon. Los Angeles: Omni Music Publishing, 2020. [xvi, 384 p. ISBN 9781734507928 (paperback), $85] Rarely does one find a published copy of a film’s score, particularly from a film as recent as 2010. The film How to Train Your Dragon received critical acclaim when it was first released with many reviewers acknowledging the role of the score in the film’s success. The score by composer John Powell, received its own recognition with an Oscar nomination for Best Score and winning Film Score of the Year from the IFMCA Awards. The score is written for full orchestra with a variety of folk and non-Western instruments. The published score is great for anyone studying film music, presenting a unique opportunity to dive deep into a newer score without having to rely on one’s ear and assist in widening the base of film music research. The lack of scholarly research on Powell, limited to only a composition dissertation chapter by Jennifer Dirkes (“Synchretic Analysis and Storyboard Scores: The Musical Rhythm of Filmic Elements,” [PhD diss., University of California-Los Angeles, 2017]) and my own Master’s thesis (“Thematic Development in John Powell’s Score for How to Train Your Dragon (2010),” [MM thesis, University of Nebraska-Lincoln, 2020]) leaves much room for exploration of Powell and the How to Train Your Dragon franchise. The How to Train Your Dragon score is unique to Omni Music Publishing’s collection as both the only score by Powell and the only score for an animated film, helping to diversify the emerging “canon” brought about by the limited publication of film scores. The published score will allow more scholars to explore Powell’s thematic technique and other aspects of his composition style that have not yet been researched. The thematically driven nature of the score that is in many ways more akin to the classic scores of John Williams, than other scores of the same year such as Oscar nominees The Social Network (Trent Reznor and Atticus Ross) and Inception (Hans Zimmer) is possibly why Omni chose this score for publication alongside well-known composers like James Horner, Bernard Herrmann, and Elmer Bernstein. The publication was successful enough that Omni is set to publish the score for the second How to Train Your Dragon film in fall of 2021. Apart from Batman and Batman Returns (Danny Elfman) this is the only other series of scores Omni has published to date. Pending the success of the second score, I’m sure they will consider releasing the score for the third film as well, giving scholars the opportunity to study the entire franchise more easily. The publication is a beautiful edition, clearly laid out for ease of study. Abridged film credits and a relatively short introductory “analysis” of some [End Page 466] main themes and where they appear in the score are included. The film credits page mentions only those involved in the music production apart from the directors and main voice actors. This page is helpful to see everyone involved in the music production besides Powell, including a long list of orchestrators and arrangers, reminding us that although Powell will get credit for every choice made in the film’s music, it is not likely that he made every small decision, an important thing to note when writing about film music. Unfortunately, there is no indication of which orchestrator or arranger worked on which parts of the score. One may assume the names are listed by amount of contribution since they are not in alphabetical order, but there is no confirmation of this idea. At the bottom of the same page are the “book credits” showing that Powell and others from his production company, 5 Cat Studios, were involved in creating this publication. Timothy Rodier from Omni Music Publishing is also listed and credited with the layout and design of the book, but unfortunately there is no indication of how much input Powell had in the publication’s production and could possibly be listed as a courtesy or simply because the publisher went through...

Bobby Borg and Michael Eames. Introduction to Music Publishing for Musicians

Bobby Borg and Michael Eames. Introduction to Music Publishing for Musicians

Archeologia partytury. O przywracaniu autorskiej wersji Legendy Bałtyku Feliksa Nowowiejskiego

The article presents a complex history of the opera The Legend of the Baltic to a libretto of Waleria Szalay-Groele which enjoyed great popularity already during Feliks Nowowiejski’s lifetime. The author argues that subsequent versions of the opera, made by the composer since its successful world premiere in Poznań in 1924, were, at least partially, a result of unfavorable criticism, not devoid of nationalistic traits, expressed or inspired by a respected ethnomusicologist Łucjan Kamieński, his adversary from the time of Berlin studies under Max Bruch. On the other hand, the new edition of the final scene, allegedly prepared in 1941, ignoring a precise combination of leitmotifs of the two main characters – Doman and Bogna, which became a pillar of the new version of the score popular during the communist period, was, in fact, a mystification made by the sons of Nowowiejski who decided to bring their father’s work closer to the ideals of socialist realism. A final, author’s version of The Legend of the Baltic was then prepared personally by Nowowiejski for the inauguration of the 1939/1940 season at Grand Theatre in Poznań; however, due to the outbreak of war, the score was not performed during his lifetime. It was only in 2017 that the score was reconstructed by Marcin Gmys and published as part of the series “Works of Felix Nowowiejski” by the Polish Music Publishing House. This edition of the opera, when compared with its inauthentic post-war version, restores not only the original, final scene but also, among other elements, the original arrangement of three acts of 1938 with Act II being a compact ballet scene taking place at the bottom of the Baltic Sea. It is worth emphasizing that after World War II, for many years, the music for Act II in a shortened, purely instrumental version gained great popularity as an alleged overture to Act I of the opera.

The English guitar and the forgotten guitar repertoire of the second half of the 18th century

The time leading up to one of the most important periods in the history of guitar music – “the golden age of the guitar” in the first half of the 19th century – was the heyday of European cities such as London, Paris, Vienna or Dresden. Music was the main source of entertainment for royalty and high society, and numerous music publications, sheet music editions and instrument hand-books were being created. Manufactures tried to outdo each other in structural innovations, refin-ing and patenting increasingly interesting instruments. One such instrument was the immensely pop-ular English guitar (guittar), which differed in design and tuning from the instrument we know today. At present, it would be futile to look for the guitar repertoire of the second half of the 18th century on concert stages or in academic curricula (with a few exceptions, such as Luigi Boccheri-ni's quintets or Giuseppe Antonio Brescianello's partitas), and English music is almost nowhere to be found. It is, to a large extent, undiscovered and nearly forgotten. Bringing it back to life will not only provide insight into the design and performing capabilities of the now unknown guittar (as well as its distinctive playing technique, fingering and articulation) and allow us to learn more about the works composed for the instrument (and their characteristic features), but – above all – give a full picture of the evolving aesthetics of the 18th century. These compositions will also fill the existing gap in the guitar repertoire of the second half of the 18th century, offering broad prospects for their performance in the future. The most important consequence of that is the preservation of the continuity of guitar literature from the Renaissance to the present day, and the resulting possibility to make the world described in Leopold Mozart’s or Carl Philipp Emanuel Bach’s treatises tangible.

Collector`s Works of Nina Kerimova

Documentation of ethnomusic (which is at the same time the first stage of its research) forms the base of sources of musical folklore (ethnomusicology), which creates the very possibility of all subsequent explorations.
 Ethnic music, as a whole, is formed by the totality of its regional manifestations, each of which must be recorded in sufficient completeness. However, some territories for various reasons even at the end of the twentieth century, were represented on the Ukrainian ethnomusical map very sparsely. It’s a paradox, but Kirovohrad region, located in the center of Ukraine, remained one of the least explored regions. Being a region of relatively late settlement, it was practically ignored by researchers (including ignored by the relevant scientific institutions) as an uninteresting periphery.
 One of those who in the late 1980s gave the start of the modern stage of documenting the musical folklore of the Kirovohrad region, its systematic professional recording, was a graduate of the Kiev Conservatory Nina Kerimova. For ten years of active field work, the collector has recorded nearly 7000 units of musical and ethnographic information from 80 settlements. These materials today make up nearly one third of the twenty-thousand regional audio archive, collected over the past 35 years by the joint efforts of folklorists, professionally engaged in field survey of the presteppe Right Bank and its adjacent steppe and eastern Podolian territories within the Kirovohrad region and the border areas of Cherkasy, Vinnytsia and Dnepropetrovsk regions.
 The purpose of this article is to summarize and make public the information about the nature and results of N. Kerimova’s collector`s activity. A systematized, meaningful, structured, concentrated and formalized approach makes it possible to include materials from her archive into the all-Ukrainian ethnomusical and ethnomusicological information field. Methods used in the article correspond to its set goal: factographic and factological, statistical, analytical and synthetic (the latter reveals patterns in the correlation of elements of an integral system).
 The article provides:
 
 a brief overview of the history of collecting musical folklore in the region;
 basic biographical information about the researcher;
 statistical data on the number and geography of her expeditionary records, specified to the culture-genre content of the materials recorded in each locus; data on respondents (their number, age, origin).
 
 The methods and preferences of the field work are described.
 The professional level of the work is attested, the high degree of scientific value of the collected materials is argued. The audio and musical publications, which include materials from the archive of N. Kerimova are listed.
 The materials collected by N. Kerimova are characterized (a) as a separate hermetic collection-archive, (b) as an important component of the cumulative array of records made in the region and (c) in the context of a holistic view of the region's traditional ethnomusical culture that has been effectively formed nowadays.
 Along the way, the author of the article deals with the issues of cultural-genre classification / attribution of folk musical works, archiving field materials (in particular, methods of passportization and codification of records), as well as the problems of documenting and statistical processing of materials recorded from migrants (local, intraregional, interregional), that were incorporated by the new folklore environment to a greater or lesser extent

Educational and Methodical Literature for Piano in the Catalogues of Music Publishers of the Second Half of the 19th — Early 20th Century

In the second half of the 19th — early 20th century, the release of educational and methodical literature for piano showed significant circulation volumes and was primarily associated with the flourishing of the Russian performing school and the growing interest of the general population in the beautiful world of music. The foundation of the Imperial Russian Music Society in 1959, the opening of the St. Petersburg (1862) and Moscow (1866) conservatories largely determined the goals and objectives, as well as the repertoire concept of a number of leading Russian music publishers.Among them, the firm “P.I. Jurgenson” took a leading position in the production of educational and methodical literature for piano, along with other well-known producers such as “M. Bernard”, “A. Gutheil” and “V.V. Bessel and Co.” The catalogues of music publishers from the collections of the Russian State Library contain information about the structure and principles of forming special sections devoted to education, about the publication activities of individual authors, and their works in the field of piano pedagogy.Together, this material allows to create a primary idea of the volume of products intended for music schools of the country and to take cognizance that all major Russian publishing houses, with rare exceptions, collaborated with the Imperial Russian Music Society, not only in Moscow or St. Petersburg, but also in its provincial branches, honourably putting their names on the title pages of the catalogs. A characteristic feature is the issues devoted to piano literature, including playing schools, collections of exercises, pedagogical repertoire of various degrees of complexity, manuals, etc.The scale of this professional activity was a reflection of the important evolutionary processes taking place in the Russian musical culture of the second half of the 19th — early 20th century. That period in piano art and pedagogy indicated the need to consider historical, social, economic and other contexts that create the right research tone and volume.

The Future of Music Copyright Collectives in the Digital Streaming Age

The Future of Music Copyright Collectives in the Digital Streaming Age

Review: Music by Numbers: The Use and Abuse of Statistics in the Music Industries, by Richard Osborne and Dave Laing

Review: <i>Music by Numbers: The Use and Abuse of Statistics in the Music Industries</i>, by Richard Osborne and Dave Laing

Pasticcio, Arrangement, or Adaptation? Georg Philipp Telemann's Pasticcio Judith Based on Fortunato Chelleri's dramma per musica Innocenza difesa

Abstract In musicological research on the eighteenth-century operatic pasticcio it has often been discussed how pasticci can be distinguished from dramme per musica. The article examines the evolution of Fortunato Chelleri's opera Innocenza difesa in the course of its adaption for several performance venues (Florence 1720, Venice 1722, Kassel 1725, Wolfenbüttel/Brunswich 1731), as well as pasticcio projects based on Chelleri's score (Hamburg 1732). By analysing the surviving libretti, scores, and sheet music related to Chelleri's opera, it can be shown that Chelleri as well as the arranger of the Hamburg pasticcio-production, Georg Philipp Telemann, paid attention to the overarching dramaturgical principles as well as to new forms of music publishing in large metropolises such as London. Telemann not only chose some arias by George Frederic Handel from among the most celebrated numbers in the opera Lotharius (composed by Handel, printed by John Walsh in London, 1730), but he also fostered Chelleri's focus on Judith as a main character. Within these musical-dramaturgical perspectives, based on very loose networks of connections between librettists, composers, singers, and probably stage designers, requests for specific arias from individual singers could also be accommodated.

Polish National Publishing Initiatives after 1918

Abstract The revival of an independent Polish state in 1918 was conducive not only to the emergence of a new national administration or a sense of national community, but also to the establishment of new entities in science and culture, and, consequently, actions focused on Polishness and promotion of national values. Such new initiatives were based on the activities of scholars, artists and intellectuals, who had existed as a milieu before, but who either operated on a local scale or were entangled in international structures, usually remaining on their peripheries. Projects carried out in new conditions – in the now free country – often with the support of government institutions could promote the national heritage in various forms and on a large scale. In addition to research-related objectives, young Polish musicology also sought to popularise and disseminate Poland’s musical heritage in a variety of ways: 1) by publishing, as part as of sheet music series, sources for the study of the history of Polish music; 2) new critical editions of well-known oeuvres; 3) supporting the work of young Polish composers by publishing the scores of their compositions through publishing houses set up especially for the purpose; or 4) creating fora for the exchange of scholarly reflections and for presentation of the results of research conducted by a growing number of scholars educated at Polish universities. All this with the slogans of “national pride” and “national duty” the fulfilment of which was to help with catching up and making up for the losses caused by the absence of Poland as a state for over one hundred years. This led to initiatives by the newly emerging milieu of Polish musicologists seeking to promote the historical legacy of Polish music as well as the achievements of contemporary composers: the series “Early Polish Music”, a project to publish a complete critical edition of Fryderyk Chopin’s works, series of the Polish Music Publishing Society intended for young composers, or periodicals promoting articles on Polish subjects (Kwartalnik Muzyczny, Muzyka, Muzyka Polska, Polski Rocznik Muzykologiczny and others).