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Underscore - The AR Blog

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Page Counts and Dollar Amounts: What is Value in Music Publishing?

Wednesday, November 6, 2019 3:00:00 PM America/Chicago

By Alexander Dean

The cost of each A-R edition is figured very finely, even down to hours per page, at each stage of the editing and production process, and the editions are priced as low as possible while still allowing the company to stay in business.

Our editorial department comprises Ph.D. musicologists who deal with difficult but necessary copyediting tasks: shepherding the creation of something as complex as a historical edition of music requires full-time, trained employees. The work that comes our way is high quality, presented to us by leaders in the field, representing artistic and scholarly creations that could be of lasting benefit to society, and A-R’s editorial department ensures that the editions we produce will fulfill that promise.

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0 Comments | Posted in Insider Information By A-R Editions

Talk to A-R at AMS

Wednesday, October 23, 2019 9:00:00 AM America/Chicago

The A-R editorial team will soon depart for the 2019 meeting of the American Musicological Society. While information for prospective authors can be found on our website, we all know that ideas are sparked and developed in conversation, and we look forward to having many in Boston. See you soon!

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Comments | Posted in News By A-R Editions

Music, Spectacle, and Politics at the Court of Catherine the Great

Wednesday, October 9, 2019 3:00:00 PM America/Chicago

By Bella Brover-Lubovsky

Catherine the Great (1729–96), Empress of All the Russias, was neither a devoted music lover nor a musical connoisseur. However, she assigned exceptional importance to dramatic performances that extolled her reign and policies, with a particular passion for spectacles based on her own literary production. Among these, Catherine especially favored the grandiose pageant Nachal’noe upravlenie Olega (The Early Reign of Oleg), based on one of her three historical plays elaborating on events from the history of ancient Rus. The music for Oleg, furnished collaboratively by composers from Catherine’s court, features choruses, instrumental entr’actes, and a melodrama based on a scene from Euripides’s Alceste. Staged during the Second Russo-Turkish War (1787–91) at both the Hermitage court theater and the public Kamenny Theater, the play praised Catherine as a worthy successor to one of the greatest early sovereigns of Rus. Its performance involved 800 persons in total: a variety of native and foreign actors and musicians, the court chapel singers, and extras from three military regiments.

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Word Processing Tips for A-R Authors

Wednesday, September 11, 2019 3:00:00 PM America/Chicago

By Esther Criscuola de Laix

Congratulations, you’ve got your A-R contract in hand! This means you are probably working busily away at one or more portions of your text apparatus as outlined in our guidelines for Manuscript and Disk Preparation: table of contents, acknowledgments, introduction, critical report, and, if applicable, tables, captions, and a “Texts and Translations” section. Here are a few simple tips for using your word processor to prepare a clean, readable text apparatus that will be a joy to work with for both editor and typesetter.

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Comments | Posted in Editor's Workbench By A-R Editions

Getting to Know Barsanti Better

Wednesday, August 21, 2019 3:00:00 PM America/Chicago

By Michael Talbot

I first came across Francesco Barsanti (ca. 1690–1775) in the early 1960s, when I bought an LP of French horn concertos. I gave him little thought over the next five decades, when my research focused on Albinoni and Vivaldi. But my interest was rekindled when, following my retirement, I began to direct my attention also to music composed in eighteenth-century Britain by Italian immigrants. Barsanti, who lived for most of his working life in England and Scotland, was an ideal composer and musical personality to investigate; he not only integrated himself well into British musical life but also contributed something truly individual to it. His secular vocal music output encompasses four very different genres: the chamber cantata, the Italian madrigal, the French air, and the English catch.

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