The Sixth New Beethoven Research Conference November 2-3,2016, Vancouver, Canada
Notice bibliographique
Résumé
HE SIXTH NEW BEETHOVEN RESEARCH CONFERENCE featured not only a witty and deeply informative keynote address about forgeries by the longtime director of the Beethoven-Haus museum and curator of the collection, Dr. Michael Ladenburger, but also our first collaboration with the Haydn Society of North America and a lull panel of scholars who work at the Beethoven-Archiv in Bonn. The presence of Beethoven-Archiv researchers at American conferences, as well as attendance from other scholars working in Europe, has built much deeper connections between the American community of Beethoven scholars and our European counterparts. The importance of these relationships cannot be overemphasized.The conference was organized by Joanna Biermann, University of Alabama at Tuscaloosa (chair); William Kinderman, University of Illinois, Champaign-Urbana (on leave in Vienna this year); David Levy, Wake Forest University; Julia Ronge (Beethoven-Archiv, Bonn), and myself. The conference was supported by the American Beethoven Society and the University of Alabama. Beethoven scholars are indebted to both. Special thanks are due to Dr. Biermann for her devoted organizational work and Dr. Michael Ruhling, who proposed the collaboration with the Haydn Society in 2014. The conference was field at the Sheraton Vancouver Wall Centre Hotel in downtown Vancouver; all the sessions were well attended. The combination of Haydn and Beethoven scholars in the first session was particularly fruitful.SESSION ONEWednesday, November 2Beethoven and Haydn Intersections(joint session with the Haydn Society of North America)Chairs: William Meredith and Michael RuhlingErica Buurman (Canterbury Christ Church University, England), began the conference with an illuminating exploration of Haydn, Beethoven, and the Viennese Fine Artists' Pensions Society. The society of visual artists (bildender Kunstler) field an annual fundraising ball on the Sunday before St. Catherines Day (November 25) from 1792 to 1870. The society's archives, which are unpublished, are in the Stadt- und Landesarchiv, Vienna; they contain many but not all of the scores of dances performed at the balls (as well as a set of twelve minuets, WoO 12, composed in fall 1799, by Beethoven's brother Caspar Carl that were not performed), receipts, posters, and lists of tickets. The balls were field both in the large and small Redoutensaal of the Imperial Palace. Haydn's music was performed in the large hall at the first banquet. The documents related to Haydn have been previously studied by H.C. Robbins Landon and Gunter Thomas, but Buurman placed Haydn's and Beethoven's musical contributions in much broader context than has previously been understood. Her excellent handout listed all the composers from the years 1792 through 1830 for both halls. During this period, Haydn's music was only performed in the large hall in 1792 and small hall in 1820. In the same span, Beethoven's music was performed in the small hall in 1795 and repeated in the small hall in 1797 and 1818. By way of comparison with other composers, the music of Adalbert Gyrowetz (1763-1850) was performed on ten years, Moritz von Dietrichstein (17751864) eight years, Anton Teyber (1756-1822) eight years, and Joseph Evbler (1765-1846) six years. None of these composers-most of whom had associations with the imperial court-are household names. Buurman's most interestingconclusions were that the most important patrons of these fundraisers were members of the Imperial Family, that the patrons of the elite and sophisticated musical scene in Vienna-the high aristocracy such as Princes Lichnowskv and Lobkowitz-are missing, and that Haydn and Beethoven are not representative of the normal level of composer. Though the 1795 ball retains pride of place in Beethoven studies as the orchestral debut of Beethoven's music in Vienna, his music flourished and was nourished not in this public environment but in the more sophisticated private circles of musical patronage in Vienna. …
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.
Comment cette classification a été obtenuedéplier
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 | 0,001 | 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 | 0,002 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,012 | 0,001 |
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 découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».