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The article presents a list of publications received by the Publisher which is an academic journal in the field of musicology.

Copyright of Hudební Výchova is the property of Charles University Prague, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A problem for those writing about music around 1800 was delivering persuasive judgments about works that readers had not heard, especially for journals that sought to mold a self‐conscious musical public. One tactic was the citation of musical examples in the form of interpolated images from the score. After surveying the development of this technique in the eighteenth century, this article examines the shifting use of musical citation in the works of E.T.A. Hoffmann. His review of Beethoven's Fifth Symphony for Leipzig's Allgemeine Musikalische Zeitung pioneered a new use of citation that went beyond evaluation to deliver an aesthetic impression of the work. In his Fantasiestücke in Callots Manier, however, Hoffmann disavows musical examples, rewriting his Beethoven review without examples and creating a parodic notation to suggest the inability of citation to communicate musical effect. [ABSTRACT FROM AUTHOR]

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Minutes of Sacred Harp Singings, an annual publication produced by the Sacred Harp Musical Heritage Association, compiles detailed proceedings of Sacred Harp singing conventions, events originating in the nineteenth century that continue to gather participants to sing from The Sacred Harp, a shape-note tunebook. Although the volume consists primarily of lists of participants' song choices at singing conventions, a careful reading of its textual and material signifers demonstrates its power as a self-representation of the community that it supports. Community members employ the publication-- along with an accompanying app for mobile devices--to build community identity and assert specifc practices as Sacred Harp's central "traditions." As Sacred Harp singing has expanded dramatically in its geography and attracted an ideologically diverse participant base, the annual publication has become an important voice in defning traditional practice for new singers while obscuring the music culture's problematic relationship to the cultural contexts attending its emergence in the antebellum South and instead representing Sacred Harp as a contemporary practice open to new participants of all backgrounds. [ABSTRACT FROM AUTHOR]

The article reports on several planned musical events published in the periodical such as Cramer, Antient concert and Ladies subscription concert. Topics include concerts to be held in the pleasure gardens, large musical gatherings sponsored by organizations such as the Anacreontic Society, and countless semi-private musical performances in the houses of the gentry; and several program advertised in newspapers are couple of symphonies and songs.

The article provides instructions for authors on the submission of articles and mentions the editorial and citation policy of the journal "Journal of the Society for American Music". The table of contents for the issue's is also presented which includes topics such as musical instruments, Harlem Renaissance, and music theory.

The article offers information on the call for applications for Co-Editor of the music education related periodical.

Between 1838 and 2000, more than 100 music journals were published by and for immigrant communities in the United States. This corpus represents an unexplored documentary resource for the study of musical history of the United States, and for the understanding of identity in immigrant communities. A continuation of an article previously published in Notes 74, no. 2 (December 2017), this article treats the years 1931 to 2000. An overview of the Hispanic American musical press--the largest community represented in this study--introduces the article and annotated bibliography. [ABSTRACT FROM AUTHOR]

In 1970, I.B.M.B.O.R. (The Missionary Biblical Institute of the Romanian Orthodox Church) published "Hymns of the Divine Liturgy arranged for mixed chorus". This work contains only 50 hymns - just a small section of the composer's creation. Nicolae Lungu, the author of the foreword on this edition, mentioned: "many hymns were issued in booklets, handbooks and musical periodicals; other hymns were preserved in manuscript, waiting to be published" (Gheorghe Cucu, Cântările Sfintei Liturghii..., (Holy Liturgy Songs...), Bucharest, 1970, p. IV). In this study we refer to the manuscripts kept in the Romanian Academy Library. Albeit much of Cucu's musical scores were published and were shared by most of the Romanian and Diaspora choirs, there still remains an unexplored part of Cucu's creation that completes the image of his personality as composer, conductor and professor. [ABSTRACT FROM AUTHOR]

The article presents information on the Music Periodicals, 1781-1879 electronic resources from the EBSCO and the American Antiquarian Society (AAS).

Between 1838 and 2000, more than 100 music journals were published by and for immigrant communities in the United States. This corpus represents an unexplored documentary resource for the study of musical history of the United States, and for the understanding of identity in immigrant communities. An introductory article explores the genesis, content and significance of the immigrant musical press; an annotated bibliography concludes this paper. [ABSTRACT FROM AUTHOR]