Rare Book Collections Research Articles

Programs for Preservation of the National Book Heritage in the Library Policy of the People’s Republic of China

The purpose of the article is to summarize the information on the state of collections of ancient and rare books in the library institutions of the People’s Republic of China (PRC) by the beginning of the 21st century, to consider the content and the course of implementation of the state programs of the PRC in the field of registration, cataloguing, conservation, restoration, preservation and promotion of the national book heritage monuments. The author presents definitions of the terms “Ancient books” and “Rare books” used in China. All manuscript books and printed publications created before 1912 are considered Ancient books. Rare books include all books dated back to the period before 1795 and editions published in 1796—1912 that have outstanding historical, cultural, art and aesthetic value, as well as publishing products and documents from the period of the Republic of China (1912—1949). Chinese publications often use the term “Rare ancient books”, which refers to all manuscript books and printed publications before 1795. There are about 27 million 175 thousand copies of ancient books in the country’s libraries, including 2,5 million books created before 1795; and about 45 thousand ancient books have been preserved in a single copy.The article focuses on the programs developed with the participation of the National Library of China (NLC) and approved by the PRC Government in 2007—2018. The author reveals the main provisions of the “National Plan for Preservation of Ancient Books” (2007), as well as the powers and tasks of the National Centre for Conservation and Preservation of Ancient Chinese Books (NC), which has become the lead agency responsible for the implementation of the Plan. The paper considers the system of regional and local centres for the conservation and restoration of ancient and rare books, headed by the NC, that has developed in the PRC at present, shows the role of these centres in the field of identification, registration and cataloguing of book heritage monuments, in the creation and maintenance of a normative storage regime in old library buildings, ensuring the activities of restoration workshops, digitization of documents, preparation and online publication of full-text databases of ancient and rare books. The article emphasizes the importance of the National Museum of Classical Books, opened in July 2014 at the NLC, for promoting the national book heritage.The author notes that the priority task for the coming years is the construction of three new buildings of the National Book Depository in Beijing and Chéngdé (Hebei Province). The article concludes that over the past ten years, owing to the government support and targeted funding, China has managed to organize systematic activities in the field of conservation, preservation and promotion of the national book heritage.

RARE BOOKS COLLECTION OF THE CENTRAL SCIENTIFIC LIBRARY OF THE IRKUTSK SCIENTIFIC CENTER OF SB RAS,AS AN INFORMATION SOURCE OF SCIENCE

The Central Scientific Library of the Irkutsk Scientific Center SB RAS has an extensive collection of literature on various topics of scientific research of academic institutions of Irkutsk and the Irkutsk region. This library is the successor of the Library of the East Siberian Branch of the USSR Academy of Sciences. With the organization of the Branch its own scientific library was being created. Acquisitions to the library stocks were carried out by its first head A. S. Chumicheva.The first books of the library were books from the exchange stocks of the Library of the Academy of Sciences of the USSR (Leningrad), special libraries’ sector of the Academy of Sciences of the USSR (Moscow); books from other institutions’ libraries all over the country; trophy books from Germany; books from personal libraries of scientists, rare book stores; since 1958 books began to come to hand from the State Public Scientific and Technological Library of the Siberian Branch of the USSR Academy of Sciences (Novosibirsk). The first library accumulations were the source of material that Russian science had in the period of its making on the Irkutsk soil, and an especially stored part of the library stock. There is a currently increasing interest of specialists in rare books’ collections organization, storage and use.A particularly valuable publication is the book, dated 1676, the life-time publication of the French geographer Pierre Duval (1618–1683).In 2019 its ex-libris was studied. They managed to determine the owner of the book and the history of the library. The ex-libris is heraldic, coat of arms belongs to Franciszek Velepolsky (1732–1809), and the book is from the Pinchuv Majorata library.In the library collections there are publications by prominent domestic and foreign scientists of the XIX–XX centuries, including Nobel laureates; books from personal libraries with notes of owners; autographed books, books with dedicatory inscriptions, bookplates. Works of scientific organizations of the XIX–XX centuries, reports of expeditions, and works of scientists about Siberia are of interest.Most of academic journals are presented starting since the first years of their publication.The collection of rare books is being replenished thanks to readers’ donations.

Северная и Западная Европа в «Изображениях данников правящей династии Цин»

This paper explores features of the visual images and descriptions of the inhabitants of four European states (Sweden, Great Britain, the Netherlands and Switzerland), found in “Huang Qing Zhi Gong Tu” (“Tributaries of the ruling Qing dynasty”) – a Chinese historical and ethnographic book compiled by Fu Heng in the middle of the 18th century. The book is stored in the collection of rare Oriental books at St. Petersburg State University. Eight xylographic illustrations of the inhabitants of the European states are selected and analyzed. The attached explanatory texts are also translated. They contain information about the geographical location of the countries mentioned, as well as the history of their contacts with China and some notes about the inhabitants of these countries, including an anthropological portrait, a description of costumes, customs, occupations and so on. The interpretation is carried out in accordance with the principles of scientific translation used by academician Vasiliy M. Alekseev (1881–1951). In case of need the translations are supplemented with textological, historiographic and culturological commentaries. An analysis of the drawings and texts aids in recreating the picture of the perception by the Chinese of the mid-18th century of the four European states. The archaic names of countries and peoples used by compilers are analyzed. Misconceptions and stereotypes of Chinese compilers are revealed. Attempts are being made to explain their possible origins. The author of the paper found out that the compilers sometimes relied upon a method of explanation of the phenomena unknown to the Chinese by rethinking similar facts from the history and culture of China.

The Journal of Burma Studies

About the Cover Catherine Raymond Click for larger view View full resolution [End Page i] Cover Illustration of a Yang Hsek couple with a child. From a bound album entitled “Tribes of Burma,” ca. 1900, artist unknown. Watercolor on paper. Courtesy of Burma Collections, Center for Burma Studies, Northern Illinois University. This is a hand-painted illustration of a Yang Hsek couple, one of the names given to the Karen ethnic group. The couple is recognizable by their iconic garments, which feature a long vertical red-and-white-striped cotton tunic worn by mothers and their children. Yang refers to Karen in Shan, while Kariang is the Siamese rendering of the name. Above the couple and their child (not visible on the cover of this issue), the word Yang Hsek is written in pencil in three different languages from left to right: Southern Shan, Burmese, and Tai Khuen, as well as English, apparently added later in black ink. In the middle of the page and written in Burmese, the number “13” indicates the original page number in the album. This representation comes from a rare illustrated album, encompassing twenty-two plates of twenty-two other ethnic groups living in the Eastern part of Burma where these languages were heard. This album is undated and includes no further information regarding its provenance, but we can assume that it came from the Kengtung area, Eastern Shan States (in the extreme Northeast of Burma) where similar albums were found, and where the groups represented in this album used to live. This bound album made of paper gives detailed visual depictions of couples from a wide range of ethnic groups of this area with their specific attire and accessories such as the earrings, the woven bamboo basket on her back, the hair band, the pipe, the tools, and so on. This type of album was probably produced by a local artist, sometime in the twentieth century who may have had access to previous albums done locally and likely intended for a European clientele then living in British Burma.1 Such albums had a long tradition in Guizhou provinces in China where they were known as the Miao Album since the eighteenth century. During the nineteenth century it became a commodity highly appreciated by missionaries and travelers. Acquired by Northern Illinois University (NIU) in 2005 to celebrate their second millionth volume, this album is now in the Rare Book and Special Collections at the NIU Founders Memorial Library. [End Page ii] Footnotes 1. C. Raymond. “An Ethnographic Illustration of Wa People in British Burma during the Early 20th century: Notes on A Shan Album from the NIU Burma Collection, with Reference to Similar Illustrations from Other Sources,” The Journal of Burma Studies, 17, no. 1 (2013) 221–41. Copyright © 2020 Center for Burma Studies, Northern Illinois University

Andreas Vesalius and the 'Fabrica' in the Age of Printing: Art, Anatomy, and Printing in the Italian Renaissance ed. by Rinaldo Fernando Canalis, and Massimo Ciavolella

Reviewed by: Andreas Vesalius and the 'Fabrica' in the Age of Printing: Art, Anatomy, and Printing in the Italian Renaissance ed. by Rinaldo Fernando Canalis, and Massimo Ciavolella W. Randall Albury Canalis, Rinaldo Fernando, and Massimo Ciavolella, eds, Andreas Vesalius and the 'Fabrica' in the Age of Printing: Art, Anatomy, and Printing in the Italian Renaissance ( Cursor Mundi, 33), Turnhout, Brepols, 2018; hardback; pp. xxiv, 335; 73 colour, 2 b/w illustrations; R.R.P. €100.00; ISBN 9782503576237. The historical coincidence of the birth of Andreas Vesalius on the last day of December in 1514 and the death of Aldus Manutius a few weeks later in early February 1515 (according to the modern calendar) enabled the 500th anniversary of both these events to be simultaneously commemorated by a conference at UCLA in 2015. The present collection arose in part from papers presented at this conference and has been edited by two senior UCLA professors, one with a medical and medico-historical background (Rinaldo Canalis) and the other coming from Italian studies (Massimo Ciavolella). [End Page 229] The lives of Vesalius and Manutius are not as unconnected as they might seem at first glance, despite their minimal overlap. Manutius, an eminent humanist in his own right, set up the Aldine Press in Venice and established the scholarly practices of this firm that led to the publication, in Vesalius's childhood years, of the complete works of Galen in Greek. The Aldine edition of 1525–26 made the most reliable known texts of this ancient medical authority available to humanists and physicians alike. Vesalius's familiarity with these texts, from his student days onward, contributed in turn to his break with Galenic anatomy. Vesalius's De fabrica humani corporis (On the Fabric of the Human Body, 1543) changed the way Western medicine understood human anatomy. It did this not simply by reporting the results of Vesalius's empirical studies as a master dissector of cadavers, in which he exposed many of Galen's errors. It also presented these results to an educated readership in a landmark publication of novel design. The Fabrica is a massive folio volume of 659 pages containing both the author's extensive text and a large number of memorable illustrations by Jan Stephan van Calcar, one of Titian's students. Renaissance developments in artistic and printing techniques, then, were important factors contributing to Vesalius's international success. All of these elements are rightly caught up in the volume's title and explored in various ways in this collection, which consists of twelve substantive chapters in addition to the editors' introduction. I would suggest, however, that the title's reference to the 'Italian Renaissance' is unduly narrow, since both Vesalius and Calcar came from the Low Countries, although they worked in Italy, and the Fabrica was published by Johannes Opporinus in Basel, not by the Aldine Press or any other Italian printer. In addition, while two of the chapters in the present collection concern the work of Italian anatomists (Gabriele Falloppio and Girolamo Fabricius), another one deals with an English anatomical publication of 1545 that adapted the Fabrica for a domestic audience. Finally, two chapters in the present volume focus on rare book collectors and collections in North America. The editors write in their introduction that the 'volume is aimed at a worldwide and varied readership, ranging from an educated popular audience to specialized academics' (p. xviii). This aim is not something that the book as a whole could possibly achieve, but individual chapters would certainly appeal to particular segments of the collection's intended 'varied readership'. The brief chapters by Kenneth Bartlett and Andrew Cunningham, for example, are written at a fairly elementary, introductory level and would be suitable for undergraduates and non-academic readers. At the opposite end of the spectrum the two chapters contributed by Rinaldo Canalis are much longer and more technical, and would be of interest primarily to medico-historical specialists. Other chapters fall between these two poles, so that both the educated popular audience and specialized academics will be able to find something appropriate to their level. Volumes that aggregate material written at very different levels of scholarly detail and addressing a...

Книги XVIII века в собрании Тамбовской областной универсальной научной библиотеки им. А.С. Пушкина

We analyze the qualitative and quantitative composition of the book collection of the civil press of the 18th century, which are in the collection of the Tambov regional universal library named after A.S. Pushkin (hereinafter TRUL). The relevance of the work is connected with the need to restore an objective picture of the creation and functioning of manor libraries of the late 18th century as an element of the cultural environment. The implementation of the Russian Foundation for Basic Research project allowed showing the world of the Tambov book of the 18th century in all its diversity. The novelty of the work lies in a system approach to the study of the array of books in Russian and foreign languages of pre-revolutionary libraries of the Russian province. We consider Tambov collections of foreign books of the 18th century, system information of which is currently absent in historiography and appears only as separate mentions in the works of local historians. The work with the existing repertoire of the library showed the key importance of Derzhavin library for the formation of modern Tambov collections of rare books of the 18th century. It is shown that the main array of the identified publications reflects the products of the Capital printing houses of the 18th century. The variety of thematic composition of the revealed collections is demonstrated. Among these collections of TRUL books there are publications on history, literature, philosophy, religion and natural sciences. The research proves that the study of the composition of the book collections of civil press of the 18th century gives important information for the study of book culture of the Tambov province, allows to analyze the appearance of the book works in the region and to find out the degree of attention to foreign and Russian media. Also it allows to detect the role of the book in the structure of cultural environment.

Standards for ethical conduct for rare book, manuscript, and special collections libraries and librarians

Standards for ethical conduct for rare book, manuscript, and special collections libraries and librarians

RARE COLLECTIONS OF THE RESEARCH LIBRARY OF THE ONU NAMED AFTER I. I. MECHNIKOV

The rare collections of the Research Library. The basic stages of formation of book collections in one of the best libraries of the South of Ukraine are revealed. The Research Library has a long history, during which the funds of rare book collections were formed. She takes her beginning from the book collection of Richelieu Lyceum. It is shown that research of rare collections as an integral part of social communications is one of the main tasks for today. Rare collections occupy a special place in any library of the world. During the historical development, the Research Library was replenished with various collections. The book collections of famous figures of Odessa of different periods were analyzed, among them there were state figures, university professors and scientists, and their significance for the development of communication and information processes was shown. Among the most prestigious collections is the collection of the Vorontsov Fund. In the collection of Alexander Stroganov, a large number of publications printed in France are concentrated. The role and place of book collections in the informational space are determined. Rare collections of the Research Library are valuable bearers of socially important information. By studying such publications we see the influence of the results of human civilization on the formation of personality of different historical periods.

Личность-посредник в процессе культурного трансфера (на примере сборника круга Димитрия Ростовского из коллекции Научной билиотеки Томского государственного университета)

Личность-посредник в процессе культурного трансфера (на примере сборника круга Димитрия Ростовского из коллекции Научной билиотеки Томского государственного университета)

John Clarkson Jay (1808–1891): His Life and Malacological Contributions

This paper provides a biography, bibliography and taxonomic catalog for John Clarkson Jay (1808–1891), emphasizing his malacological research based upon his sizable collection and his contributions to the growth and expansion of the New York Lyceum of Natural History, the predecessor to the American Museum of Natural History. Jay described one new genus and 49 new species of molluscs; type specimens are known for 34 of them. He also published but did not describe 76 manuscript names mostly from material collected by Nuttall, of which 28 were made available by later authors (mostly by either Reeve or Carpenter). His collection and sizable library of rare books formed the nucleus of the malacological collection and the rare book library of the American Museum of Natural History. This paper summarizes his life, the growth of his collection, his publications, his new taxa, and his broader role in 19th-century New York professional life.

UNIVERSITY LIBRARY IN THE DIGITAL AGE: INVITATION TO DISCUSSION

The challenges of the digital revolution need critical rethinking the usual functions of the university libraries and to establish what characteristics it must have in order to adapt effectively to the new technological situation.The article analyzes the reasons for the frequent lack of demand by researchers of digitized textual heritage and presents the idea of a problem-thematic online resource “Reconstructing the Reader: a Rare Book Collection in the Regional Cultural Landscape” developed by the Laboratory for Library and Communicative Studies (Tomsk State University).Conceptually, its implementation aims at overcoming the positivistic approach to the library as a “repository of information on paper and electronic medium”, and in practice — at identifying the ways to integrate the university libraries into a new format of scientific knowledge and scholarly communications.

Landkort over en samling. Hvad katalogposterne kan fortælle om Otto Thotts håndskriftsamling – og om katalogisering

Anders Toftgaard: Mapping a collection. What the catalogue records can tell us about Otto Thott’s manuscript collection and about manuscript cataloguing.
 This article deals with the manuscript collection of Count Otto Thott (1703-1785) and with manuscript cataloguing. Otto Thott was the single greatest private book collector in the history of Denmark and of inestimable importance for the Royal Danish Library, since he bequeathed his collection of manuscripts (4154 catalogue numbers) and books printed before 1531 (6059 catalogue numbers) to the Royal Library. In the manuscript collection, the inclusion of his collection marks the division between the Old Royal Collection (GKS) and the New Royal Collection (NKS). Many of the treasures in the rare books collection come from his library, and his definition of paleotypes (books printed before 1531) has (in the 20th c.) determined the definition of the collection of post-incunabula. Otto Thott did not write owners’ marks or notes in his books and he left very little archival material concerning the ways in which he created his library. Regrettably, the literary correspondence mentioned in his will has not survived. The article analyses a data set consisting of all catalogue records (in MARC format) concerning manuscripts from Otto Thott’s manuscript collection. These catalogue records in the library system derive from the catalogue made by Rasmus Nyerup (excluding oriental manuscripts) and published in 1795. When, towards the end of the 19th centrury, the alphabetical and the systematical catalogues of the collection of western manuscripts were produced, the entries in Nyerup’s catalogue were copied by hand without being revised. After the IT revolution, when the catalogue records of the systematical catalogue were transferred to a digital database of records, these records were copied once again without revision. It is shown what kind of errors from the catalogue of 1795 were still present in the on line catalogue in 2019. The quantitative analysis shows that the bulk of the manuscripts in Thott’s manuscript collection are manuscripts in Danish and German from Thott’s own century. The subject headings with most entries are Theology, History, History of Denmark, Danish Biography and Literature. As to provenances there is information concerning the manuscript’s provenance before the inclusion in Otto Thoot’s library in 17 % of the catalogue records. The analysis shows that Otto Thott’s manuscript collection was a universal collection with no specific preferences. The conclusion argues that it is necessary to get information from the various printed catalogs of the manuscript collection into the digital library system and that parts of Thott’s manuscript collection deserve revisiting and recataloguing. The Royal Danish Library’s manuscript collection might explore alternatives to the MARC-format for manuscript cataloguing. In a wider context, it is argued that Otto Thott’s library should be considered a knot in a network, and that data from the many book auction catalogues should be extracted and used for mapping the destinies of specific books and manuscripts.

Completing the Final Volume of The Writings of Herman Melville

Completing the Final Volume of The Writings of Herman Melville Robert A. Sandberg [Correction] Published Poems (2009) “Billy Budd, Sailor” and Other Uncompleted Writings (2017) Though Harrison Hayford passed away in 2001, the foundation he laid down while editing and publishing thirteen of the fifteen volumes of the Northwestern-Newberry (NN) The Writings of Herman Melville enabled the editors who survived him to complete the publication of the remaining two volumes. This foundation consisted of the editing and bibliographical procedures that he, Hershel Parker, and G. Thomas Tanselle devised and implemented to produce reliable and definitive texts and of the capacity to follow these procedures that he fostered in the many students, colleagues, and scholars that he mentored or inspired to participate in the enterprise. The completion of the entire Northwestern-Newberry series, aptly characterized as a “mandate fulfilled” by Hershel Parker in his contribution to this set of essays, involved some fifty-two years, many more than the number originally estimated for the project’s completion. Some of the unanticipated delays can be explained in terms of expired grants and subsequent searches for support and funding, but others were due to the editors being unwilling to proceed unless the work could be done according to established editorial and bibliographical procedures and standards. By 2010—nearly thirty years after I had first begun working with manuscripts that would be included in the final volume—all but one of the fifteen volumes of the NN series had been published. It was then that I joined the other editors in a seven-year effort to complete the last volume of the series to be published, “Billy Budd, Sailor” and Other Uncompleted Writings. Hayford was my mentor in the years when I first began to study Melville’s writings and work with the manuscripts; in the years following his death, as we worked to complete the final volume, he was my inspiration. I first met Hayford when taking a seminar on Melville while I was a graduate student in the department of English at Northwestern University (1979–83). Taking courses with Hayford had some unique benefits. When other Melville scholars were in town (often staying at Hayford’s home), he would [End Page 34] invite them to make a guest appearance in a class he was teaching; memorable among these visits were those paid by Viola Sachs and Howard P. Vincent. I will never forget my first visit to the Melville Room that Hayford had established for the Northwestern-Newberry project. Located in Chicago’s Newberry Library, it housed more than a score of file cabinets containing offprints of essays on Melville and his writings, a section of shelves containing dissertations on Melville, locked glass cabinets containing first editions of Melville’s writings, and, off in a corner of one of the rooms, the Hinman collator that was used to compare early editions, letter by letter, comma by comma. The Newberry Library—designed by architect Henry Ives Cobb and completed in the fall of 1893—with its grand architecture and collections of rare books, maps, music, and manuscripts was a fitting home for the Melville Room. I will always remember the tour of the Newberry Library given me by Richard Colles Johnson, a Newberry librarian and Associate Editor of the NN series. Sometime in the winter of 1981 I joined with other Northwestern graduate students of Hayford—including Mary K. Bercaw and Robert D. Madison, who went on to contribute to many volumes in the NN series—to do research for the NN edition and catalog the offprints, dissertations, and books that were continually being added to the Melville Room. It was also around this time that I first met Alma MacDougall—the NN editor who was to oversee the production of so many NN volumes—when we spent late afternoons and evenings proofing galleys of Israel Potter. Towards the end of Spring quarter 1981, there came an unexpected offer that I could not refuse: Hayford invited me to assist him on a research tour of selected libraries in New England to look for undiscovered papers related to Melville. Those who knew Hayford know that he did not drive. In return for...

When Composers Draw: Personalized Music, Formalized Thought

MUSICAL BACKSTORIES IN HONOR OF JOHN RAHN LYNNE ROGERS STILL REMEMBER THE FIRST TIME I saw the sketch page shown as Example 1. I was a graduate student at the University of Washington working on my M.A. thesis under the supervision of Professor John Rahn. The thesis presented an analysis of the first movement of Igor Stravinsky’s Dumbarton Oaks Concerto (1937–38) and emphasized my modest—but, to me, exhilarating—discovery: a contrapuntal technique on which I bestowed the unfortunate name “phrase-staggering.” Upon first hearing the term, John remarked dryly that it brought to mind images of drunks lurching down a street; however, I persisted in using the label and he kindly refrained from describing other similarly entertaining scenes. Phrase-staggering can occur in passages in which the texture is organized into two or more instrumental layers that express relative independence from each other through their pitch organizations and other features, including rhythm, motivic content, and register. Such textures of superimposed, independent layers constitute a hallmark of Stravinsky’s compositional practice throughout his career and often yield passages of complexity and tension. Phrase-staggering is a specific relationship among such superimposed layers. It occurs when two or I 138 Perspectives of New Music more independent layers with intersecting time spans proceed from the same centric pitch class or pitch-class set to a different centric pitch class or pitch-class set that serves as the goal for all layers, and when at least one such layer does not reach the new goal simultaneously with the others. One such passage occurs early in the first movement of Dumbarton Oaks and produces in three bars after rehearsal 2 (R2+3) what is perhaps the Concerto’s first shocking pitch conflict between Ab (in clarinet in Bb) and An (in horns, violins, and violas).1 To someone who had studied tonal counterpoint and four-part writing, composing harmonically separate layers with skewed arrivals at their goals seemed counterintuitive. I wondered how Stravinsky had created the phrase-staggered passages in Dumbarton Oaks. Thus, I contacted the Dumbarton Oaks Research Library and Collection to purchase a microfilm of Stravinsky’s sketches and a draft of the work, which are housed at the Dumbarton Oaks estate in Washington, D.C. When the microfilm arrived, I notified John and we went with great anticipation to a microfilm reader in the music library. As we spooled through the film, John suddenly pointed to an area on one of the pages of sketches. That’s when I saw my theory of phrase-staggering come to life not only as an analytical conception of the sounds of the published score but also as part of Stravinsky’s compositional process. I included a photograph of this sketch page in my M.A. thesis; however, because the thesis is unpublished and not generally available, the sketch page is reproduced here as Example 1.2 EXAMPLE 1 (FACING PAGE): SKETCH PAGE IN STRAVINSKY’S HAND FROM SIXTEEN PAGES OF SKETCHES FOR HIS DUMBARTON OAKS CONCERTO HELD AT THE DUMBARTON OAKS RESEARCH LIBRARY AND COLLECTION. THE TWO SKETCHES FOR THE PASSAGE AT R28 OF THE PUBLISHED SCORE APPEAR ON THE SECOND THROUGH NINTH STAVES FROM THE TOP© Dumbarton Oaks Research Library and Collection, Rare Book Collection, Washington, D.C. EXAMPLE 2: TRANSCRIPTION OF STRAVINSKY’S TWO SKETCHES FOR THE PASSAGE AT R28 OF HIS DUMBARTON OAKS CONCERTO. NOTATIONS IN BRACKETS ARE THE AUTHOR’S, ADDED FOR EASE OF READING Musical Backstories: In Honor of John Rahn 141 A TALE OF TWO SKETCHES The area to which John drew my attention on the sketch page is located on the second through ninth staves from the top and traverses most of the page’s width, excluding the fragments primarily in sixteenth notes to the far right on staves one through four. The region of focus comprises two sketches, one directly below the other, which are likely the earliest notated versions of the passage at R28 in the published score. The fourvoice , chorale-style passage serves as a transition from the first movement, with its established Eb centricity, to the Bb-centric second movement.3 COUNTERPOINT IN THE OUTER VOICES What John and I...

Musical Backstories In Honor of John Rahn

MUSICAL BACKSTORIES IN HONOR OF JOHN RAHN LYNNE ROGERS STILL REMEMBER THE FIRST TIME I saw the sketch page shown as Example 1. I was a graduate student at the University of Washington working on my M.A. thesis under the supervision of Professor John Rahn. The thesis presented an analysis of the first movement of Igor Stravinsky’s Dumbarton Oaks Concerto (1937–38) and emphasized my modest—but, to me, exhilarating—discovery: a contrapuntal technique on which I bestowed the unfortunate name “phrase-staggering.” Upon first hearing the term, John remarked dryly that it brought to mind images of drunks lurching down a street; however, I persisted in using the label and he kindly refrained from describing other similarly entertaining scenes. Phrase-staggering can occur in passages in which the texture is organized into two or more instrumental layers that express relative independence from each other through their pitch organizations and other features, including rhythm, motivic content, and register. Such textures of superimposed, independent layers constitute a hallmark of Stravinsky’s compositional practice throughout his career and often yield passages of complexity and tension. Phrase-staggering is a specific relationship among such superimposed layers. It occurs when two or I 138 Perspectives of New Music more independent layers with intersecting time spans proceed from the same centric pitch class or pitch-class set to a different centric pitch class or pitch-class set that serves as the goal for all layers, and when at least one such layer does not reach the new goal simultaneously with the others. One such passage occurs early in the first movement of Dumbarton Oaks and produces in three bars after rehearsal 2 (R2+3) what is perhaps the Concerto’s first shocking pitch conflict between Ab (in clarinet in Bb) and An (in horns, violins, and violas).1 To someone who had studied tonal counterpoint and four-part writing, composing harmonically separate layers with skewed arrivals at their goals seemed counterintuitive. I wondered how Stravinsky had created the phrase-staggered passages in Dumbarton Oaks. Thus, I contacted the Dumbarton Oaks Research Library and Collection to purchase a microfilm of Stravinsky’s sketches and a draft of the work, which are housed at the Dumbarton Oaks estate in Washington, D.C. When the microfilm arrived, I notified John and we went with great anticipation to a microfilm reader in the music library. As we spooled through the film, John suddenly pointed to an area on one of the pages of sketches. That’s when I saw my theory of phrase-staggering come to life not only as an analytical conception of the sounds of the published score but also as part of Stravinsky’s compositional process. I included a photograph of this sketch page in my M.A. thesis; however, because the thesis is unpublished and not generally available, the sketch page is reproduced here as Example 1.2 EXAMPLE 1 (FACING PAGE): SKETCH PAGE IN STRAVINSKY’S HAND FROM SIXTEEN PAGES OF SKETCHES FOR HIS DUMBARTON OAKS CONCERTO HELD AT THE DUMBARTON OAKS RESEARCH LIBRARY AND COLLECTION. THE TWO SKETCHES FOR THE PASSAGE AT R28 OF THE PUBLISHED SCORE APPEAR ON THE SECOND THROUGH NINTH STAVES FROM THE TOP© Dumbarton Oaks Research Library and Collection, Rare Book Collection, Washington, D.C. EXAMPLE 2: TRANSCRIPTION OF STRAVINSKY’S TWO SKETCHES FOR THE PASSAGE AT R28 OF HIS DUMBARTON OAKS CONCERTO. NOTATIONS IN BRACKETS ARE THE AUTHOR’S, ADDED FOR EASE OF READING Musical Backstories: In Honor of John Rahn 141 A TALE OF TWO SKETCHES The area to which John drew my attention on the sketch page is located on the second through ninth staves from the top and traverses most of the page’s width, excluding the fragments primarily in sixteenth notes to the far right on staves one through four. The region of focus comprises two sketches, one directly below the other, which are likely the earliest notated versions of the passage at R28 in the published score. The fourvoice , chorale-style passage serves as a transition from the first movement, with its established Eb centricity, to the Bb-centric second movement.3 COUNTERPOINT IN THE OUTER VOICES What John and I...

Личная библиотека как отражение истории жизни и творчества А.В. Вышеславцева

We analyze A.V. Vysheslavtsev life history and creativity, and consider the importance of his personal library for professional pursuits and artistic hobbies. It is shown that reading played an important role in the upbringing of aesthetic taste and love of the beautiful in the Vysheslavtsev family. The estate library of the family estate Volkhonshchina accumulated a huge number of publications in Russian and foreign languages. Great importance in replenishing the rare foreign books collection played A.V. Vysheslavtsev’s uncle, who bought literature in the course of his foreign trips. On the basis of biographical research, the circumstances of the appearance of “Essays with quill and pencil out of circumnavigation of the world” we reveal their artistic and scientific value. We study the reasons of A.V. Vysheslavtsev’s foreign travels, and give the review of the books bought abroad. The analysis of the thematic composition of the library shows the diversity of readers’ interests of its owners. There were books on the history of European, Byzantine and Russian art. Collected for several decades, this collection can act as one of the elements of knowledge transfer to the Russian province. On the basis of studying foreign books A.V. Vysheslavtsev built scientific activity, prepared a number of serious studies on the Western art history. The heritage of A.V. Vysheslavtsev, without a doubt, has important historical, cultural and local history significance, reveals the creative laboratory of one of the most famous art critics of Russia of the 19th century.

Dissecting Art: Developing Object-Based Teaching Using Historical Collections.

This book chapter draws on the arts and humanities to discuss how object-based teaching using historical collections can be re-birthed, re-developed, and implemented in higher education settings for the exploration of challenging topics, including medical ethics, within the context of anatomical sciences. Although the authors have focused on the above discipline, the chapter showcases its versatility and adaptability to other areas including vocational degrees such as medicine, dentistry, and nursing. A model lesson plan has been discussed in detail based on 'objects' related to three separate but strongly linked themes: Women as Academics, Women as Artists, and Women as Portrayed as the Subjects of Dissection in Anatomical Art. This is a novel approach that discusses how the combination of existing collections of rare books, rich in anatomical illustrations, and museum artefacts can be used in a meaningful and structured way to encourage conversations amongst learners while promoting awareness about sensitive topics and increasing confidence in communication. The authors have drawn from personal past experience and the current literature to discuss the above aims and critically explore logistical issues that may be associated with the identification of suitable 'objects'. The authors' ultimate goal is to introduce a concise and easy to adapt 'how to guide' for educationalists who have an interest in the integration of arts and humanities in vocational and science curricula.

A procedure for identifying chemical and biological risks for books in historic libraries based on microclimate analysis

Abstract The study presents a new procedure for identifying possible risks for books kept in historic libraries. It is addressed to all those historic libraries where large collections of old and rare books are stored and preserved. These libraries were rarely used by people, but, nowadays, many of them have become touristic attractions. Consequently, their indoor microclimate may have changed, possibly leading to risks for books conservation. The proposed methodology is based on an intensive monitoring campaign, followed by an in-depth data analysis. Handy indices are also proposed to guide the researchers in the identification of possible risks. Problems related to too-high daily or spatial hygrothermal variations or problems related to specific risks (e.g., biological or chemical risks) can be identified. If a problem is observed, the identification of the most suitable solutions is more straightforward. The application of the proposed procedure to a real case study (the Baroque Library of the University of Coimbra, Portugal) has highlighted its handiness. A 6-month monitoring campaign and its consequent data analysis has pointed out potentially risky situations. Thus, measures should be taken to avoid books damage. Primarily, local actions are suggested.

Traces of an «antica ed importante» library: the library of the Marquis Raffaelli di Cingoli

The rare books collection of the Faculty of Law of Cagliari preserves about 60 sixteenth- and seventeenth-century editions showing the mark of ownership «ex libris Bibliothece Raphaelie», placed normally after the title page. This is the largest number of editions with an ex libris (already sporadically found in some others volumes), mainly of legal interest, belonging to several private collections of contemporary scholars and bibliophiles. The ex libris refers to the library of the Marquis Raffaelli of Cingoli that in 1915 was sold at auction by the antiquarian bookseller Rossi of Rome, and was therefore dispersed. Based on a documentary research, the essay illustrates the most relevant episodes in the history of the library which, at the end of the eighteenth century, stood out in the context of the Marche cultural institutions and whose destiny is intertwined with some prominent figures in the panorama of the early twentieth century antiquarian trade. These ones include Ildebrando Rossi son and heir Dario Giuseppe, who bought the library from the Raffaelli family in 1913 and produced a partial sales catalog; Cesare Olschki who was in those years opening a branch of the Florentine bookshop in Rome and who in Ildebrando would find a guide for starting his own business; Attilio Nardecchia from which, in 1916, the volumes, now in the Faculty of Law of Cagliari, were acquired. The protagonist of this acquisition was Filippo Vassalli, professor of Roman law at the University of Cagliari, as part of a policy of developing the library of the institution, in turn animated by the conviction of the centrality of university libraries in the Italian library system.

Korean Rare Book Collection and Copy Prints by the Councilor Office of Japanese Government General in 1910's

본고는 1910년대 조선총독부 참사관실의 등사본 제작 경위와 자료의 전승 현황을 살핀 것이다. 1910년 한일병합 이후 조선총독부에서는 조선의 식민지화를 위해 관습과 제도를 조사하는 구관제도 조사 작업을 실시하였고, 이를 위해 기초 자료의 수집에 노력을 기울였다. 총독부의 조선도서 정리 작업은 취조국･참사관실･중추원 등의 기관에서 이루어졌는데, 특히 ‘1912년 4월~1915년 12월’ 사이 참사관실에서 가장 활발한 활동을 보였다. 이때 정리된 서적들은 경성제대를 거쳐 서울대 규장각에 소장되었다. 현재 규장각에는 이 작업 과정에서 작성된 서류와 목록, 해제집 등 다양한 문서들이 소장되어 있어 그 시기 사업의 모습을 구체적으로 보여준다. 참사관실에서는 자료 수집 과정에서 소장자의 거부로 구득하지 못한 서적들을 빌려 베낀 ‘등사본’ 자료들을 만들었다. 이 자료들의 경우 그 내용은 한국 고서지만 실제 제작은 식민지 시대 총독부 주관으로 이루어졌다. 이제까지 이러한 ‘식민지 총독부 필사본’이라는 서지적 성격이 제대로 고려되지 않고 그 내용만 주목하여 한국 고서로서 취급받았다. 본고에서는 다산 정약용 저술의 등사본 자료를 중심으로 이들 자료의 전승 현황과 그 저본을 확인하였다. 이를 통해 규장각 소장 등사본 자료의 원형을 확인하고 이들 자료의 근대적 유전이 지니는 사회문화적 성격을 살피었다.This article examines the production process of the copy prints by the Councilor Office of Japanese Government General in 1910 s and the transmission of the materials. Japanese Government General conducted a project to investigate Joseon s social customs and systems for colonization. Currently, Kyujanggak contains various lists and documents created during the process. During the collection, the Councilor Office made copy prints of books borrowed from various sources. In these materials, the contents are from Korean rare books, but they were reproduced by Japanese Government General, which should be considered when studying them. In this paper, the original prints of these materials are traced and their sociocultural characteristics are examined.