Musica : an early twentieth-century French music journal
Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
Musica, a monthly music journal, was published in Paris by Pierre Lafitte from 1902 to 1914. The journal was exceptional for its use of iconography which supplemented the writings by numerous composers, performers, and critics of the day. It contains contributions by such well-known composers as Saint-Saens, Massenet, Bruneau, d'Indy, Faure, Debussy, and Messager. Performers to contribute articles included famed opera singers, cafe-concert celebrities, pianists, violinists, cellists, harpists, and dancers. Other articles were written by critics and professional journalists, many of whom contributed to a number of music periodicals. Among these are Henri de Curzon, Gabriel Prod'homme, M. D. Calvocoressi, Emile Vuillermoz, Michel-Gaston Carraud, and Adolphe Jullien. Much criticism was also written by Musica's editors Charles Joly, Georges Pioch, and the composer-critic Xavier Leroux. With its original material by composers, performers and critics, Musica emerges as a important source of information for the historian. Articles by composers deal with their lives, works, and contemporaries. Accounts by personal friends, acquaintances or relatives of composers provide further data on important figures such as Rossini, Adam, Franck, Reyer, Massenet, and Saint-Saens. Performance practises of the time are described by performers. Opera singers focused on character interpretation, and cafe-concert celebrities revealed their individual approaches to chanson. Proper technique is discussed by instrumentalists and illustrated in numerous photographs. Musica's iconography is also useful in determining contemporary costuming and staging in opera and ballet. Critical reviews supply the historian with descriptions of programs, performers, and concert locations. They also give an indication of the musical preferences of the era and public response to new compostions. This thesis is divided into five chapters delienated as follows. The first chapter introduces Musica and justifies a study of this periodical. Chapter two describes the journal's format and deals with the publisher. Chapter three focuses on Musica's contributors including editors, music critics, composers and performers. It also includes a discussion of articles written about composers and performers, complemented by relevant iconography. The final chapter demonstrates the relevance of Musica as a documentary source for the historian.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,001 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,007 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle