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UBC Theses and Dissertations

Computer-assisted retrospective periodical indexing in musicology : La Chronique Musicale as RIPMxix… Gíslason, Donald Garth 1985

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C O M P U T E R - A S S I S T E D R E T R O S P E C T I V E P E R I O D I C A L I N D E X I N G I N M J S I C O L O G Y : L A C H R O N I Q U E M U S I C A L E A S A R I P M x i x P R O T O T Y P E B y D O N A L D G A R T H G l S L A S O N B . A . , T h e U n i v e r s i t y o f M a n i t o b a , 1 9 7 4 B . M u s . , T h e U n i v e r s i t y o f B r i t i s h C o l u m b i a , 1 9 8 2 A T H E S I S S U B M I T T E D I N P A R T I A L F U L F I L L M E N T O F T H E R E Q U I R E M E N T S F O R T H E D E G R E E O F M A S T E R O F A R T S i n T H E F A C U L T Y O F G R A D U A T E S T U D I E S D E P A R T M E N T O F M U S I C We a c c e p t t h i s t h e s i s a s c o n f o r m i n g t o t h e r e q u i r e d s t a n d a r d T H E U N I V E R S I T Y O F B R I T I S H C O L U M B I A F e b r u a r y 1 9 8 5 © D o n a l d G a r t h G i s l a s o n , 1 9 8 5 I n p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l m e n t o f t h e r e q u i r e m e n t s f o r a n a d v a n c e d d e g r e e a t t h e U n i v e r s i t y o f B r i t i s h C o l u m b i a , I a g r e e t h a t t h e L i b r a r y s h a l l m a k e i t f r e e l y a v a i l a b l e f o r r e f e r e n c e a n d s t u d y . I f u r t h e r a g r e e t h a t p e r m i s s i o n f o r e x t e n s i v e c o p y i n g o f t h i s t h e s i s f o r s c h o l a r l y p u r p o s e s m a y b e g r a n t e d b y t h e h e a d o f m y d e p a r t m e n t o r b y h i s o r h e r r e p r e s e n t a t i v e s . I t i s u n d e r s t o o d t h a t c o p y i n g o r p u b l i c a t i o n o f t h i s t h e s i s f o r f i n a n c i a l g a i n s h a l l n o t b e a l l o w e d w i t h o u t m y w r i t t e n p e r m i s s i o n . D e p a r t m e n t o f M U S I C T h e U n i v e r s i t y o f B r i t i s h C o l u m b i a 1 9 5 6 M a i n M a l l V a n c o u v e r , C a n a d a V 6 T 1 Y 3 D a t e 15 F e b r u a r y 1 9 8 5 THESIS ABSTRACT The music periodical literature of the 19th century has largely remained unavailable to musical scholarship due to a lack of adequate indexing. While several indexing efforts have been attempted i n the past century, that pro-posed by the recently established Repertoire international de l a presse  musicale du dix-neuvieme siecle (RIPMxix) sets i t s e l f apart by i t s comprehen-siveness and i t s use of computer technology. This thesis tests the new system by preparing a prototype RIPMxix Series A catalogue of a major 19th-century French music journal, La Chronique  Musicale (1873-1876). The prototype i s i n five parts: 1) a T i t l e Catalogue, or chronological checklist of the t i t l e s , authors and pagination of a l l sections i n the journal; 2) an Iconography Appendix, l i s t i n g the captions, dimensions and pagination of a l l iconography in the journal; 3) a L i s t of Variants, giving alternate pagination references in copies of the journal held by selected major institutions; 4) a Keyword Index of important words contained i n a r t i c l e t i t l i n g ; and 5) an Author Index. The indexing of La Chronique Musicale was carried out according to the regulations established i n the RIPMxix Series A Guidelines, incorporating minor improvements in presentation, and adjudicating certain indexing situa-tions not addressed i n them. A data entry system was developed and the typescript catalogue was entered into computer f i l e space. Detailed formatting based on the general design presented i n the RIPMxix Series A Guidelines was specified for the T i t l e Catalogue, Icono-graphy Appendix and L i s t of Variants. To produce the remaining portions i i of the prototype (viz., the Keyword and Author Indexes), design options were studied, specific designs adopted and detailed formatting established. Production of the prototype involved the development of three computer programmes: a single programme for the T i t l e Catalogue, Iconography Appen-dix and L i s t of Variants; a separate programme for the Keyword Index; and a third programme for the Author Index. It i s concluded that the title-derivative approach taken by the RIPMxix system i s a va l i d one, and suggestions are made for further research. i i i TABLE OF CONTENTS Thesis /Abstract i i L i s t of Figures v i i Acknowledgement i x CHAPTER 1: INTRODUCTION 1 CHAPTER 2: SELECTING A RIPMxix PROTOTYPE JOURNAL 20 CHAPTER 3: INDEXING LA CHRONIQUE MUSICALE T i t l i n g of Reviews 23 T i t l i n g of Music Examples 30 Pagination of Hors-Texte Illustrations and Music 33 CHAPTER 4: DATA ENTRY 36 CHAPTER 5: TITLE CATALOGUE, ICONOGRAPHY APPENDIX AND LIST OF VARIANTS Introduction 41 T i t l e Catalogue 41 Iconography Appendix 47 L i s t of Variants 48 i v CHAPTER 6: DESIGNING A KEYWORD INDEX Introduction 51 Computer Indexes 51 KWIC Indexes 52 KWOC Indexes 54 Term Co-ordination Indexes 56 Selecting an Indexing Model for RIPMxix 58 Design Specifications 59 CHAPTER 7: PRE-EDITING THE KEYWORD INDEX Introduction 65 Selection of Keywords 66 Equivalence L i s t 70 CHAPTER 8: POST-EDITING THE KEYWORD INDEX Introduction 74 Typographical Errors 74 Irrelevant Keywords with Hyphens 75 Unhelpful Equivalences 75 Size of the Index 76 Theatres and Concert Series 80 Sub-Arrangement of High-Frequency Terms 82 Second Run of the Index 83 v CHAPTER 9: AUTHOR INDEX Introduc±ion 88 Design Options 88 Design Specifications 90 Design Implementation 92 CHAPTER 10: CONCLUSION Summary 98 Further Research 100 Future RIPMxix Indexing 101 BIBLIOGRAPHY 103 APPENDIX: LA CHRONIQUE MUSICALE RIPMxix SERIES A mCnOTYPE CATALOGUE 106 C a t a l o g u e C h r o n o l o g i q u e 107 Index par Mots-Cles 162 Index des Auteurs 345 Index de 1^Iconographie 348 Liste des Variances 358 v i LIST OF FIGURES Fig. 1 4 Fig. 2 6 Fig. 3 8 Fig. 4 12 Fig. 5 12 Fig. 6 13 Fig. 7 13 Fig. 8 13 Fig. 9 14 Fig. 10 14 Fig. 11 15 Fig. 12 ,. 15 Fig. 13 15 Fig. 14 24 Fig. 15 25 Fig. 16 26 Fig. 17 28 Fig. 18 30 Fig. 19 39 Fig. 20 40 Fig. 21 44 Fig. 22 44 Fig. 23 45 Fig. 24 46 Fig. 25 53 Fig. 26 55 v i i F i g . 2 7 5 7 F i g . 2 8 5 7 F i g . 2 9 6 0 F i g . 3 0 6 1 F i g . 3 1 6 3 F i g . 3 2 W o r d F r e q u e n c y L i s t ( s a m p l e ) 6 7 F i g . 3 3 P r e - E d i t S t o p - L i s t 6 9 F i g . 3 4 P r e - E d i t E q u i v a l e n c e L i s t 7 2 F i g . 3 5 7 7 F i g . 3 6 P o s t - E d i t S t o p - L i s t 8 4 F i g . 3 7 P o s t - E d i t E q u i v a l e n c e L i s t 8 7 F i g . 3 8 8 9 F i g . 3 9 8 9 F i g . 4 0 9 4 v i i i ACI^OWIJEIXjEMENr I wish to acknowledge my indebtedness to Professor H. Robert Cohen for his leadership i n the development of this project, and for the insight and encouragement which he offered i n aid of i t s completion. I am grateful as well to Frank Flynn, programmer/analyst of the UBC Faculty of Arts Centre for Computing and Data Analysis, for the contribution of his expertise and for his constant a v a i l a b i l i t y for consultation. i x CHAPTER 1 INTRODUCTION The corpus of nineteenth-century periodical literature represents a documentary resource of enormous value to musical scholarship, for the great outpouring of musical journalism during the nineteenth century coincided not only with the birth of musical romanticism, but also with the early develop-ment of the discipline of musicology i t s e l f . Indeed, i t has been said that "when the story of 19th-century musical scholarship i s tol d i n f u l l detail, that story w i l l owe much to the evidence to be found i n the contemporaneous music pr e s s . M o r e o v e r , the close scrutiny given by the press to the every-day details of musical l i f e , i t s participation i n the discussion of the important esthetic movements of the age, as well as the role of such major figures as Berlioz, Schumann, Liszt and E.T.A. Hoffmann i n writing for i t , make the musical press a particularly r i c h and important source of documen-tary evidence for the scholar. Yet of the over 1500 music journals recorded from the 19th century, few are available for consultation, and the vast majority of those that are available lack adequate indexes to permit con-venient access to the material they contain. Retrospective periodical i n -dexing, then, i s "a project which would prove extremely useful and for which an urgent need has been enunciated for decades." The establishment of bibliographical control over the 19th-century musi-cal press implies, f i r s t of a l l , access to the t i t l e s of music journals. In this regard, Imogen Fellinger's Verzeichnis der Musikzeitschriften des 19.  Jahrhunderts,^ a chronological l i s t i n g of 19th-century music periodicals, with indexes by t i t l e , editor and subject, i s a major service to musicolo-gists. In addition, scholars researching musical phenomena i n the English periodical press of the 19th century are especially fortunate to be able to 1 consult The Waterloo Directory, an alphabetical l i s t i n g of over 24,000 newspaper t i t l e s from the period 1824-1900, covering a l l f i e l d s of publica-tion. Bibliographic access to the contents of 19th-century journals, however, i s extremely limited. There do exist card indexes of music journals, some of whose issues pre-date 1900, i n certain major American libraries with large music collections, notably the Library of Congress, Boston Public Library, and the libraries of Smith College and the Eastman School of Music.6 But these indexes are of marginal usefulness for the following reasons: 1) Their coverage of the 19th century i s not very extensive. For example, less than 9% of the journal t i t l e s l i s t e d i n Drawer One of the Library of Congress Music Division Periodicals Index feature i s -sues before 1890."7 The indexes of the Boston Public Library, and of the libraries of Smith College and the Eastman School of Music extend only as far back as the 1880s.^ 2) The indexing was not done systematically. Indexing at the Library of Congress was "neither comprehensive nor always consis-q tent, with certain years of some journals indexed less complete-l y than others. Of the indexing at the other three libraries, Gilian Anderson writes: "There was evidently no systematic method of surveying the materials. It seems that whatever caught the eye of the indexer was indexed."-'-^ Another retrospective index of music periodicals, much wider i n scope than any attempted by the above libraries, was sponsored i n the late 1930s by the Work Projects Administration of the American Government. In October of 1938 members of the Newberry Project, named for the Newberry Library i n 2 Chicago where this work was carried out, began the task of indexing 227 music periodicals held i n libraries i n the United States. The project was halted i n mid-1942 as a result of the war effort, but had produced by that time 363,164 index cards from 121 periodicals completely or p a r t i a l l y indexed.-'-2 This enormous effort produced l i t t l e of use to musicologists, however, since confusion over the method for entering bibliographical data and the incom-plete indexing of over half the periodicals begun have prevented the cards from being fashioned into a useable bibliographical tool. 1-^ Among published materials, musicologists must rely on the same b i b l i o -graphical tools which serve a l l scholars i n the humanities wishing to consult the 19th-century press: Poole s Index, 1 4 the Nineteenth-Century Reader's  Guide 1 5 and The Wellesley Index to Victorian Periodicals. 1 6 A l l three exa-mine 19th-century journals i n the English language. Since the progress of bibliographical control of 19th-century periodical sources must take into account the achievements and failings of these three indexes, i t may be useful here to review the form and contents of each.1^ In An Alphabetical Index to Subjects, Treated i n the Reviews, and Other  Periodicals, to Which No Indexes Have Been Published, published i n 1848, William Frederick Poole began with the modest purpose of providing the users of the Brothers of Unity Library at Yale University with a subject index to a l l the art i c l e s contained i n the periodical holdings of the library, some 35 publications i n a l l , comprising 560 volumes. The good reception given this work encouraged Poole to produce an enlarged edition, which appeared i n 1853. This second edition, under the t i t l e Index to Periodical Literature, analyzed 1500 volumes i n 73 publications appearing between 1802 and 1852. A third cumulative edition, covering the period 1802 to 1881, and also entitled Index  to Periodical Literature, appeared i n 1882, the co-operative effort of l i b r a -ries i n both the United States and England. 1 8 Five-year cumulations con-3 tinued to be published unt i l 1906, by which time the work of indexing general lit e r a r y journals had been taken over by the Reader's Guide series of re-ference volumes, issued for the f i r s t time i n 1901 by the H.W. Wilson Company. In i t s total run, the combined 1882 edition and five supplements of Poole's Index analyzed 479 publications i n over 12,000 volumes, l i s t i n g more than 590,000 references. Poole arranges his information alphabetically by subject; there are no entries for authors except where an author i s the subject of an article. Each l i s t i n g contains the following: an a r t i c l e t i t l e , author's name (in parentheses) i f known, name of the periodical (abbreviated), volume number, and beginning page references. The following i s a typical extract: Fig. 1 ^ Berlin Congress, 1878, and its Results. (M. Maccoll) Gent. M. n. s. 21: 236. — England's Policy at. (E. Dicey) 19th Cent. 3- 779. — Peace of. Dub R. 83: 479. —Eraser, 98: 385. Berlin Theater, Hundred Years of. Eel. M. 63: 187. Berlin Treaty, Fulfillment of. (E. A. Freeman).Princ. n. s. 5: 57. Berlin Workingmen's Club. Nature, 2: 429. . Berlioz, Hector. (E. Schuyler) Nation, 14: 2 6 . — (E. 1 Royall) Harper, 60: 411. —All the Year, 21 : 495. I — Lond. Soc. 39: 375. — Ecl.M. 15: 535. —Fraser, 38: 421. — (C. Adams) Potter Am. Mo. 16: 132.— i Cornh. 44: 69. Same art. Eel. M. 97: 5-51- Same art. Liv. Age. 150: 478. — Correspondence of. (H. T. Finck) Nation, 29: 145. 1 — Episode in Life of. (W. F. Apthorp) Atlan. 41: 32. — Life and Passion of. (E. King) Appleton, 24: 444. — Memoirs. Ed. R. 133: 33. — Svmphony of Romeo and Juliet. Fraser, 45: 527. Bermondsey, Journal of a Residence in. St. Paul's, 14: 220, 297. ! — Leather at. Pract. M. 4: 71. /Articles without a subject, viz. works of fi c t i o n , are l i s t e d under the f i r s t word i n their t i t l i n g which i s not a definite or indefinite article. T i t l i n g which i s inadequate to describe the subject matter i s covered i n the following stipulation from Poole's printed rules for indexing: In most cases the author's own t i t l e best expresses the subject of his paper; but i f the author has given i t an obscure or fanciful t i t l e , the indexer w i l l give i t a better one, and w i l l place i t where i t naturally belongs. 4 P o o l e ' s I n d e x , w h i l e u n d o u b t e d l y a m a j o r a c h i e v e m e n t f o r i t s t i m e , h a s m a n y d e f i c i e n c i e s : 1 ) T h e r e a r e n o l i s t i n g s f o r a u t h o r s e x c e p t a s s u b j e c t s . A c o m -p u t e r - g e n e r a t e d a u t h o r i n d e x h a s b e e n p r e p a r e d b y E d w a r d C . W a l l , b u t a u t h o r s ' n a m e s h a v e n o t b e e n s t a n d a r d i z e d i n t h i s i n d e x , s o t h e u s e r m u s t c o n s u l t a l l p o s s i b l e v a r i a n t s i g n a t u r e s - f u l l n a m e s , l a s t n a m e a n d i n i t i a l s , i n i t i a l s a l o n e , h o n o r i f i c t i t l e s - i n o r d e r t o r e a c h a l l o f h i s m a t e r i a l . 2 ) N o t a l l a r t i c l e s i n e a c h p e r i o d i c a l w e r e i n d e x e d : s m a l l n o t e s , a r t i c l e s a n d b o o k r e v i e w s w e r e o m i t t e d . 3 ) S u b j e c t h e a d i n g s w e r e n o t s t a n d a r d i z e d , r e s u l t i n g i n c o n s i d e r -a b l e s u b j e c t s c a t t e r i n g . A n e s s a y o n A l f r e d d e M u s s e t m i g h t j u s t a s e a s i l y b e f o u n d u n d e r t h e h e a d i n g " F r e n c h L i t e r a t u r e T o d a y " a s u n d e r h i s n a m e . 4 ) S i n c e o n l y t h e i n i t i a l p a g e n u m b e r i s g i v e n f o r e a c h a r t i c l e , t h e r e a d e r h a s n o i d e a h o w l o n g a l i s t e d a r t i c l e m a y b e . 5 ) T h e y e a r i s n o t g i v e n w i t h e a c h v o l u m e n u m b e r c i t a t i o n . I n a d d i t i o n , P o o l e i n s i s t e d o n l i s t i n g v o l u m e n u m b e r s c o n s e c u t i v e l y , r e g a r d l e s s o f a n y " n e w s e r i e s " d e c l a r e d b y p u b l i s h e r s . T h e r e a d e r d o e s n o t h a v e b e f o r e h i m , t h e r e f o r e , a r e f e r e n c e w h i c h h e c a n u s e t o o r d e r a c o p y o f a n y p a r t i c u l a r a r t i c l e i n a l i b r a r y . T h e y e a r c o r r e s p o n d i n g t o e a c h v o l u m e n u m b e r c a n b e c a l c u l a t e d , w i t h s o m e e f f o r t , f r o m t h e " C h r o n o l o g i c a l C o n s p e c t u s " a t t a c h e d t o t h e I n d e x , w h i c h l i s t s f o r e a c h j o u r n a l t h e y e a r s o f p u b l i c a t i o n a n d t o t a l n u m b e r o f v o l u m e s p u b l i s h e d . B u t f a r e a s i e r t o u s e a r e t h e t a b l e s 93 p r e p a r e d b y M a r i o n V . B e l l a n d J e a n C . B a c o n , o r t h o s e b y V i n t o n 9 4 D e a r i n g , w h i c h c o r r e l a t e i n d i v i d u a l v o l u m e n u m b e r s a n d y e a r s . 5 Poole's Index has remained of value to 19th-century scholars because of the large number of journals i t indexes (479), and the large time period i t covers (1802-1906). But i t s profitable use requires of the scholar a certain imaginative f l a i r i n divining which subject headings are most l i k e l y to be useful, and a considerable amount of patience i n formulating the proper bibliographic references. /Another important index of periodical literature i s the Nineteenth- Century Reader's Guide, an index to 51 American and Br i t i s h journals pub-lished during the period 1890-1899. While the journals indexed are predomi-nantly l i t e r a r y or of general interest, some t i t l e s are also included i n the fiel d s of history, education, religion, folklore, geography, economics and science. The Nineteenth-Century Reader's Guide l i s t s subjects, authors and illus t r a t o r s i n one alphabetical f i l e . Under subject headings, t i t l e s are arranged alphabetically by author; under the headings of authors or i l l u s t r a -tors t i t l e s by_ an author or i l l u s t r a t o r precede those about him. The f o l -lowing section from the introduction to the index explains well the system of notating each t i t l e : Fig. 2 2 5 !e E n t r i e s Articles about a literary work are listed under the author entry for that work, and are filed with writings of that author. Example: STEVENSON, Robert Louis ^Buchan? J: Country of Kidnapped. Liv Age 217:687-8 Je 4 "98 Explanation: 'An article by J . Buchan about Stevenson's "Kidnapped," will be found in the Living Age, volume 217, pages 687-8, the issue 1 for June 4, 1898. Articles published anonymously and for which author's name has been found arc ; marked: (pub anon). Example: , E l i ! n i £ y e A . Evil eye. Quar 182:204-9 Jl '95 | (pub anon) _ 1 S P A I N ' Pennell, E . R. Midsummer in southern Spain, il Cent 52(ns 30):G43-58 S '96 Explanation: A n illustrated article by E . R. Pennell, with the above title will be found in the Century Magazine, volume 52 (new series 30), pages 643-58, the issue for September 1896. Illustrator entry: A B B E Y , Edwin Austin (11) Bunner, H . C. Crazy wife's ship. Harper M 86:2 D '92 . / . Explanation: Abbey is the illustrator of H . C. Bunner's story "Crazy wife's ship," which appears in Harper's Monthly for the volume, page and date indicated. 6 T h e N i n e t e e n t J i - C e n t u r y R e a d e r ' s G u i d e i s " m o r e t h o r o u g h , a c c u r a t e , a n d c o m p r e h e n s i v e t h a n P o o l e ' s I n d e x t o P e r i o d i c a l L i t e r a t u r e f o r t h e n i n e y e a r s t h a t i t c o v e r s . " I t r e p r e s e n t s a s p e c i f i c i m p r o v e m e n t o v e r P o o l e ' s b y i t s i n c l u s i o n o f a u t h o r a n d i l l u s t r a t o r e n t r i e s , b y i t s s t a n d a r d i z e d s u b j e c t h e a d i n g s a n d c o p i o u s c r o s s - r e f e r e n c i n g , b y t h e c o m p l e t e n e s s o f t h e b i b l i o g r a -p h i c a l i n f o r m a t i o n i t p r o v i d e s ( v o l u m e , d a y , m o n t h , y e a r , i n c l u s i v e p a g i n a -t i o n ) , a n d b y i t s u s e o f p u b l i s h e r s ' l i s t s t o i d e n t i f y m a n y m o r e a u t h o r s o f a n o n y m o u s a r t i c l e s t h a n w e r e i d e n t i f i e d i n P o o l e ' s . T h e i n d e x i n g o f g e n e r a l i n t e r e s t j o u r n a l s i n E n g l i s h h a v i n g b e e n a l r e a d y c o v e r e d f r o m 1 9 0 0 o n w a r d b y t h e R e a d e r ' s G u i d e s e r i e s , t h e i n t e n t i o n o f t h e N i n e t e e n t h - C e n t u r y R e a d e r ' s G u i d e w a s t o e x t e n d i n d e x i n g c o v e r a g e i n t h i s i m p r o v e d f o r m a t b a c k i n t o t h e 1 9 t h c e n t u r y b y i n d i v i d u a l d e c a d e s . T h e e f f o r t w a s s u s p e n d e d , h o w e v e r , a f t e r t h e p u b l i c a t i o n o f t h e f i r s t e d i t i o n , c o v e r i n g t h e y e a r s 1 8 9 0 - 1 8 9 9 . A d i f f e r e n t p r e s e n t a t i o n o f m a t e r i a l i s o f f e r e d i n T h e W e i l e s l e y I n d e x  t o V i c t o r i a n P e r i o d i c a l s , w h i c h i n d e x e s 3 5 m a j o r B r i t i s h l i t e r a r y m o n t h l i e s a n d q u a r t e r l i e s a p p e a r i n g b e t w e e n 1 8 2 4 a n d 1 9 0 0 . E a c h o f i t s t h r e e v o l u m e s c o n t a i n s t h r e e s e c t i o n s : P a r t s A , B a n d C . P a r t A c o n t a i n s , f o r e a c h j o u r n a l i n d e x e d , a n i s s u e - b y - i s s u e l i s t i n g o f a l l p r o s e a r t i c l e s , p r o v i d i n g t h e f o l l o w i n g i n f o r m a t i o n f o r e a c h a r t i c l e l i s t e d : t i t l e , i n c l u s i v e p a g i n a t i o n , a u t h o r , a n d t h e e v i d e n c e u s e d t o a s c e r t a i n a u t h o r s h i p . T i t l e s n e e d i n g c l a r i f i c a t i o n a r e s u p p l e m e n t e d w i t h e d i t o r i a l c o m m e n t a r y i n s q u a r e b r a c k e t s , e . g . , " T h e C o n g r e s s [ o f B e r l i n ] " o r " A R o m a n t i c P o e t [ S h e l l e y ] . " 2 7 T h e f o l l o w i n g i s a t y p i c a l l i s t i n g f r o m T h e W e l l e s l e y I n d e x : 7 V O L U M E 28, O C T O B E R , i 876 1073 The Vivisection Act. 7 1 3 - 7 2 4 . Robert Lowe, 1811-1892 . Signature and Table of Contents. (See no. 1105.) i 1074 Automatism and evolution (Part II), 1 7 2 5 - 7 4 7 . Charles Elam. Signed. 1075 The deterioration of British seamen: a reply to Mr. Brassey [no. 1058] , 7 4 8 - 7 5 5 . John Williamson. Signed. | 1076 Imperfect genius: William Blake (Part I), 756 -784 . Henry G . Hewlett Signed. I 1077 Personality and the infinite, 7 8 5 - 8 1 2 . i William A . Knight. Signature; repr. ! Studies. 1078 Professor Cairnes on value, 8 1 3 - 8 3 5 . W. T . Thornton. Signed. 1079 The antagonisms of creeds, 8 3 6 - 8 5 0 . Philip Schaff. Signed. | 1080 Working men and the Eastern question . (No. I), 8 5 1 - 8 6 5 . George Potter., Signed. 1081 Working men and the Eastern question (No. IT), 8 6 6 - 8 7 2 . George Howell. Signed. • The musicologist who seeks to apply the experience of these three refe-rence works to his own discipline w i l l notice the following: 1) None of the works described attempts to account for the f u l l  contents of the journals i t indexes. "Minor" notes, articles and book reviews are omitted i n Poolers, and illustrations indicated only by the phrase "with portrait" accompanying some t i t l e s , with-9Q out any identifying caption or pagination reference given. The  Wellesley Index omits both poetry and illustrations. The Nineteenth-Century Reader's Guide l i s t s illustrations only under the name of their illustrators. A l l three ignore advertising completely. 2) Three different useful arrangements of material can be found i n these indexes: arrangement by subject, by table of contents, and by author. Arrangement by subject f a c i l i t a t e s the study of topics discussed during a journal's entire run. Arrangement by table of contents allows the researcher to isolate distinct time periods for study, or to examine the run of the journal i t s e l f as an historical F i g . 3 28 8 phenomenon. Arrangement by author f a c i l i t a t e s the study of a journal's individual contributors. Poole's i s a subject index only. The Nineteenth-Century Reader's Guide i s a combined subject and author index, but with no tables of contents. Wellesley pre-sents separate tables of contents for each journal indexed, and a cumulative author index for each collection of journals indexed, but no subject index. 3) Any project seeking to index the f u l l contents of journals, and to present the material indexed i n the three arrangements just mentioned, would be an expensive and time-consuming enterprise i f attempted by means of human effort alone. Clearly the use of computer technology i s required i f meaningful results are to be obtained within a reasonable amount of time, and i f the experience of the aborted Nineteenth-Century Reader's Guide i s to be averted. These three issues are addressed for the discipline of musicology by RIPMxix, the Repertoire international de l a presse musicale du dix-neuvieme  siecle. RIPMxix i s the "fourth R" i n a series of bibliographical projects functioning under the auspices of the International Association of Music Libraries, Archives and DDoamentation Centres (IAML) and the International Musicological Society (IMS), a series which comprises as well the Repertoire  international des sources musicales (RISM), the Repertoire international de  l a litterature musicale (RILM) and the Repertoire international d'iconogra- phie musicale (RIdIM). RIPMxix was proposed to the international community for the f i r s t time at the 1980 IAML annual conference i n Cambridge by H. Robert Cohen and Elvidio Surian, and developed under Professor Cohen's direc-tion at the University of B r i t i s h Columbia's Centre international de  recherche sur l a presse musicale (CIRPM) i n Vancouver. 9 S i m i l a r i n m a n y w a y s t o t h e i n t e r n a t i o n a l c o - o p e r a t i v e e f f o r t w h i c h p r o d u c e d t h e t h i r d e d i t i o n o f P o o l e ' s I n d e x , t h e R I P M x i x p r o j e c t p r o p o s e s t h a t t h e t w o o f f i c e s o f C I R P M - i n V a n c o u v e r a n d i n P a r m a , I t a l y - a c t t o c o -o r d i n a t e t h e e f f o r t s o f s c h o l a r s i n N o r t h A m e r i c a a n d i n E u r o p e t o i n d e x t h e i r o w n n a t i o n a l j o u r n a l s a c c o r d i n g t o g u i d e l i n e s e s t a b l i s h e d a t t h e V a n c o u v e r C e n t r e . T w o s e r i e s a r e p r o p o s e d : S e r i e s A a n d S e r i e s B . S e r i e s A w o u l d b e t i t l e - o r i e n t e d , a n d c o m p r i s e a c h r o n o l o g i c a l c h e c k l i s t o f a r t i c l e t i t l e s , a n i c o n o g r a p h y a p p e n d i x , a n d c o m p u t e r - g e n e r a t e d k e y w o r d a n d a u t h o r i n d e x e s . S e r i e s B w o u l d a t t e m p t t o i n d e x t h e a c t u a l t e x t o f t h e j o u r n a l s w i t h b i b l i o g r a p h i c a l r e f e r e n c e s t o t h e S e r i e s A c h e c k l i s t . R I P M x i x r e p r e s e n t s a n i m p r o v e m e n t o v e r t h e p r e v i o u s i n d e x i n g e f f o r t s o f P o o l e ' s I n d e x , t h e N i n e t e e e n t h - C e n t u r y R e a d e r ' s G u i d e a n d T h e W e l l e s l e y  I n d e x t o V i c t o r i a n P e r i o d i c a l s i n t h e f o l l o w i n g w a y s : 1) I t a c c o u n t s f o r t h e c o n t e n t s o f e v e r y p a g e o f t h e j o u r n a l s i n d e x e d , i n c l u d i n g f e a t u r e a r t i c l e s , w o r k s o f f i c t i o n , i n f o r m a t i o n t o s u b s c r i b e r s , i l l u s t r a t i o n s , m u s i c a l e x a m p l e s a n d a d v e r t i s i n g . 2 ) T h e T i t l e C a t a l o g u e , A u t h o r I n d e x a n d t i t l e - d e r i v a t i v e K e y w o r d I n d e x p r o v i d e , i n o n e r e f e r e n c e w o r k , a l l t h r e e u s e f u l a r r a n g e m e n t s o f m a t e r i a l : a r r a n g e m e n t b y t a b l e o f c o n t e n t s , b y a u t h o r a n d b y s u b j e c t , r e s p e c t i v e l y . 3 ) I t s u s e o f t h e C e n t r e ' s c o m p u t e r f a c i l i t i e s t o c o m p i l e t h e A u t h o r a n d K e y w o r d I n d e x e s , a n d t o p r e p a r e e a c h e n t i r e S e r i e s A c a t a l o g u e f o r l a s e r p r i n t i n g o n d e m a n d , s a v e b o t h t i m e a n d m o n e y c o m p a r e d w i t h p r e v i o u s m e t h o d s o f i n d e x i n g a n d p u b l i s h i n g . T h e f o l l o w i n g i s a b r i e f s u m m a r y o f t h e d e s i g n o f a R I P M x i x S e r i e s A T i t l e C a t a l o g u e a s i t w o u l d b e s u b m i t t e d i n t y p e s c r i p t b y a n i n d e x e r f o l -l o w i n g t h e r u l e s s e t d o w n i n t h e R I P M x i x S e r i e s A G u i d e l i n e s . 1 0 A RIPMxix Series A T i t l e Catalcgue presents the contents of a journal i n four columns: a RIPM # column, a t i t l e column, author column and page number column. RIPM numbers are used to identify significant spatially-defined units of journal material, each of which, i n most cases, i s given a t i t l e i n the journal. The RIPM # column presents a consecutive sequence of RIPM numbers beginning annually with "1". This arrangement allows the Author and Keyword Indexes to refer to material i n the T i t l e Catalogue by means of year and RIPM number only, e.g., "76:245." In addition, superscripts added to RIPM numbers give further informa-tion about the nature and content of the articles which they represent: the superscript "ico" indicates the presence of iconography, and refers the reader to a separate Iconography Appendix at the end of the catalogue; the superscript "r" indicates a review; the superscript "r/ico" indicates the presence of iconography within a review. The t i t l e column presents the t i t l i n g of art i c l e s and of other material as i t appears i n the journal. Journal material may be labelled with a single t i t l e , as are many feature articles, or may be subdivided into smaller t i t l e d sections ("sub-units") subsumed by a larger t i t l e (the "unit t i t l e " ) . In the latter case the hierarchy of t i t l i n g i s represented by a pattern of succes-sive indentation illustrated by the following example: 11 Fig. 4 31 RIPM # T i t l e 47 ico Le mois musical Notre concours Notre hors-texte Theatres de musique Cpera Opera-Ccsrdque Nos morceaux de musique Six morceaux de musique inedits ... Serenade frangaise par Spiro Samara Cantique de noel par Adolphe Stanislas Danse ancienne par Paul Ruben La Legende du prince et de l a bergere par Jane Vieu La vie au grand a i r par Eugene Desbayes T i t l i n g which does not convey to the reader any clear idea of the subject matter discussed i s provided with editorial commentary i n square brackets, e.g., "Un bel exemple d'energie [etude sur Massenet]."^ Square brackets are also used to indicate contributions other than non-fictional prose, e.g., "Tristan et Isolde [poeme]."^ T i t l e s of music examples are preceded by the music s i g l a Their presentation i n the t i t l e column i s dependent upon the location of the music examples i n the journal. T i t l e s of music examples occurring within units or sub-units are j u s t i f i e d to the relevant u n i t or sub-unit margin on a new line: Fig. 5 34 RIPM # T i t l e 417 Le sonnet (II) £ A Madame Ida Astruc. Un virtuose de l a nuit, poesie de Francois B a r r i l l o t , musique de Louis Lacombe $ A Monsieur Arthur Heulhard. L i b r e 1 , poesie de Francois B a r r i l l o t , musique de Louis Lacombe 12 Fig. RIPM # T i t l e 531 Revue des concerts Concerts du Conservatoire ^Choeur des fees [de] La Foret [par] C. de Grandval Music examples which occur as independent units of material are l i s t e d with their own separate RIPM numbers, as i n the following example: Fig. 7 3 6 RIPM # T i t l e  635 Les cantatrices dramatiques. ( I l l ) Marie Malibran (V) 636 £ Passepied de 1'Europe Galante (Campra 1697) 637 £ Passepied de Polydore (J.B. Strunck d i t Batistin 1720) 638 Passepied de Castor et Pollux (Rameau 1737) Iconography occurring within a unit or sub-unit i s indicated only by the "ico" superscript attached to the relevant RIPM number. The reader i s there-by instructed to consult the Iconography Appendix containing the t i t l i n g of a l l iconography i n the journal. Iconography occurring as an independent section (i.e. unit) of a journal i s l i s t e d i n the t i t l e column. Its t i t l i n g i s distinguished from that of prose art i c l e s by the preceding iconography s i g l a "•". Fig. 8 3 7 RIPM # T i t l e  17qico Q Maurice Ravel par Ouvre 13 The author column indicates the names of authors opposite the contribu-tions for which they were responsible. If a contribution i s divided into sub-units, a l l by the same author, the author's name i s placed opposite the largest subsuming t i t l e and the author column i s l e f t blank opposite the subsumed sub-unit t i t l e s . Fig. 9 J O RIPM # T i t l e Author 97 Les fondateurs de 1 'opera frangais P. Lacombe Campra (suite) Desmarets Mouret Charpentier Marais Anonymous contributions are indicated by a ten-dash extended line: Fig. l ( r * RIPM # T i t l e Author 104 Chronique Lyonnaise Grand-Theatre Concert Mueller Concert Paul Brand Symphonie Lyonnaise Concert Colonne L. V. L. V. P. L. Page references are given i n the page number column opposite the con-tributions to which they refer. Page references for sub—units are indented two spaces from the margin which regulates those opposite unit t i t l e s . Re-petitive single-page references are omitted. 14 Fig. I I 4 0 RIPM # T i t l e Author Page Mitteilungen der "Internationalen 118-20 Musikgesellschaft" 1. Leipzig 118 2. Frankfurt a. M. A. Pccfohammer 118-19 3. Kopenhagen Wil l . Behrend 119 4. Berlin M. Seiffert 5. Basel K. Nef 120 6. Stuttgart von Stockmayer 7. London 8. Essen 9. Sektion Amerika No page reference i s given for sub-unit t i t l e s immediately followed by further indented t i t l i n g . Note the absence of a page reference for the t i t l e "Storia" i n this example: Fig. 12 4 1 RIPM # T i t l e Author Page  10 Note bibliografiche 161-83 Storia Untersteiner, Storia della O.C. 161-62 musica E. Zanotti, Brevi conni d i R. G. 162 storia musicale Page references for non-paginated material not counted i n the journal's normal pagination sequence indicate the number of non-paginated pages, and the page numbers i n the journal's normal pagination sequence between which they occur. The single-page i l l u s t r a t i o n catalogued i n Fig. 8 (p. 13), for example, would be li s t e d as follows: Fig. 13 4 2 RIPM # T i t l e Author Page  179 l c o • Maurice Ravel par Ouvre lp. 1042/43 15 * * * The RIPMxix system remains untested as a means of establishing b i b l i o -graphical control over the 19th-century musical press, since no journal has yet been indexed i n i t s entirety, and the design of the computer-generated portion of the system, the Author and Keyword Indexes, remains incomplete. It i s the aim of this thesis to produce a f u l l four-part RIPMxix catalogue of a major 19th-century music journal. The following steps, discussed i n suc-ceeding chapters, are required to accomplish this task: 1) to select a journal to serve as a RIPMxix prototype; 2) to index the journal selected according to the RIPM Series A Guidelines, proposing solutions to any problems unforeseen; 3) to develop a system for entering the indexing data into the computer; 4) to specify the formatting of the T i t l e Catalogue and Iconography Appendix; 5) to design Keyword and Author Indexes and specify their formatting. 16 Chapter 1 Endnotes 1. Vincent Duckies, "Patterns i n the Historiography of 19th-century Music," Acta Musicologica 42 (1970): 78. 2. In Imogen Fellinger, Verzeichnis der Musikzeitschriften des 19. Jahr- hunderts (Regensburg: Gustave Bosse Verlag, 1968). 3. Ruth Watanabe, "American Music Libraries and Music Librarianship: An Overview i n the Eighties." Notes 38, No. 2 (December 1981): 248. 4. F e l l i n g e r , op. c i t . 5. Michael Wolff, John S. North, Dorothy Deering, eds., The Waterloo  Directory of Victorian Periodicals, 1824-1900, Phase I (Montreal: Wilfred Laurier Press, 1976). 6. Described i n Gilian Anderson, "Unpublished Indexes at the Library of Congress and elsewhere i n the United States of America," Fontes Artis  Musicae 31, No. 1 (January/March 1984): 54-60. 7. "Table 1: Periodical Titles (dates) found i n Drawer One of the Library of Congress Music Division Periodicals Index," ibid., pp. 57-59. 8. Ibid., p. 56. 9. Ibid., p. 55. 10. Ibid., p. 55. 11. The origins and planning of this project are related i n the section entitled "Music Periodical Indexing" i n Carol June Bradley, "The Music Library Association: The Founding Generation and Its Work," Notes 37, No. 4 (June 1981): 803-806. 12. A summary of t i t l e s indexed and number of cards for each i s given i n "Table II" of Gilian Anderson, op. cit., pp. 59-60. 13. Ruth T. Watanabe, Introduction to Music Research (Englewood C l i f f s , N.J.: Prentice-Hall Inc., 1967): 98. 14. W.F. Poole, Index to Periodical Literature, 3rd edition (Boston: James R. Osgood & Co., 1882). 15. Helen Grant Cushing and Adah V. Morris, eds., Nineteenth-Century Reader's  Guide to Periodical Literature, 2 vols. (New York: H.W. Wilson Co., 1944). 16. Walter E. Houghton, ed., The Wei les ley Index to Victorian Periodicals  1824-1900, 3 vols. (Toronto: University of Toronto Press, 1966-1979). 17. A useful overview of these three works i s given i n Ann P. Basart, "Access to 19th-century English-Language Periodicals," Current Musicology 31 (1981): 65-70. 17 18. A "List of Co-operating Libraries," contained i n the third edition of Poole's Index (p. x i i i ) gives the names of 51 contributing institutions, 5 of which are i n England or Scotland; the remainder are American, pre-dominantly from New England. 19. Poole's Index, 3rd e d i t i o n , p. 114. 20. Quoted by Poole i n his "Preface" to the 3rd edition of Poole's Index to Periodical Literature, Vol. 1, Part 1, reprint edition (Gloucester, Mass.: Peter Smith, 1963): v i i . 21. Edward C. Wall, ed., Cumulative Index to Poole's Index to Periodical  Literature 1802-1906 (Ann Arbor, Mich.: Pierian Press, 1971). 22. Walter E. Houghton, "Introduction" to The Wellesley Index, Vol.1, p. xvi. 23. Marion V. Bell and Jean C. Bacon, Poole's Index Date and Volume Key (Chicago: Association of College Research Libraries, 1957). 24. Vinton Dearing, Transfer Vectors for Poole's Index to Periodical  Literature (Los Angeles: Pison Press, 1967). 25. Nineteenth-Century Reader's Guide, Vol. 2, p. v i . 26. Saul Galim and Peter Spielberg, Reference Books: How to Select and Use  Them (New York: Random House, cl969): 59. 27. Examples are drawn from W.E. Houghton, "Introduction," The Wellesley  Index, p. xx. 28. The Wellesley Index, Vol. 1, p. 244. 29. It i s not clear from Poole's preface, nor from other sources consulted, how systematically iconography was indexed i n Poole's Index. 30. Submissions by scholars of Series A catalogues are regulated by the provisions contained i n H. Robert Cohen, Donald G. Glslason and Carla Biberdorf, RIPMxix Series A Guidelines, 2 vols. (Vancouver: Centre inter-national de recherche sur l a presse musicale, 1983). Guidelines for Series B remain to be established. 31. Musica 28 (January 1905): 16, i n Guidelines, Vol. 1, p. 8. 32. Musica 110 (November 1911): 208, i n Guidelines, Vol. 1, p. 11. 33. The Meister 3 (24 November 1890): 123, i n Guidelines, Vol. 1, p . l l . 34. La Chronicrue Musicale 5, No. 30 (15 September 1874): 270-277, i n Guidelines, Vol. 1, p. 56. 35. La Chronicrue Musicale 8, No. 44 (15 April 1875): 78-86, i n Guidelines, Vol. 1, p. 51. 18 36. La Chronicrue Musicale 5, No. 27 (1 August 1874): 105-115, i n Guidelines, Vol. 1, p. 54. 37. S.I.M. Revue musicale mensuelle 5, No. 7 (15 July 1909): 1042-1043, i n Guidelines, Vol. 1, p. 64. 38. La- Chronicrue Musicale 1 (1 September 1873): 225-231, p. 20. 39. Revue Musicale de Lyon 2 (13 November 1904): 43-44, i n Guidelines, Vol. 1, p. 26. 40. Zeitschrift der Internationalen Musikgesellschaft No. 1 (1899): 118-120, in Guidelines, Vol. 1, p. 29. 41. Rivista Musicale Italiana 1 (1894): 161-65, i n Guidelines, Vol. 1, p. 30. 42. S.I.M. Revue musicale mensuelle 5, No. 7 (15 July 1909): 1042-1043, i n Guidelines, Vol. 1, p. 64. 19 Chapter 2 SELECTING A RIPMxix PROTOTYPE JOURNAL Three c r i t e r i a were considered i n selecting a RIPMxix prototype journal: 1) The journal's run was to be of manageable size: long enough to represent a significant contribution to musical journalism, but not so long as to tax unduly the resources of the indexer. 2) The journal's contents were to present as wide a variety of indexing challenges as possible so as to test the system to the maximum and to reveal i t s strengths and weaknesses. 3) The quality of the journal's contents was to be such as to merit the attention of musical scholars. Among the journals examined i n the course of researching the RIPMxix  Series A Guidelines, one was found which matched these c r i t e r i a especially well: La Chronique Musicale: Revue bimensuelle de l'art ancien et moderne, published i n Paris between July 1873 and June 1876. Its run of 66 issues, each of 48 pages, represents a sizeable, but not unmanageable, amount of material to index. In the course of working through this journal the indexer confronts a considerable variety of material: t i t l i n g hierarchies of up to three levels; iconography and music, both paginated and unpaginated, located both between and within units and sub—units; and other material given spe-c i a l attention i n the Guidelines, e.g., reviews, miscellaneous sections, notes to subscribers, l i s t s and poems. The quality and interest of this material, moreover, i s of an exceptionally high order, comprising historical studies of individual composers, singers, l y r i c theatres, musical movements and national styles; musical iconography from significant archives; music examples drawn from scores of contemporary works; reviews of concerts, 20 opera productions and publications on music; and l i s t s of prize-winners from the Conservatoire, Prix de Rome and other competitions. The contributors to La Chronicrue Musicale are among the major musical and literary figures of their day, and include the prominent l i b r e t t i s t Charles Nuitter, composer and Opera archivist Theodore de Lajarte, and historian and c r i t i c Adolphe Jul lien. The high calibre of contributions found i n La Chronicrue Musicale prompted Arthur Pougin to describe i t as "ce receuil superbe, qui fut un modele en son genre, et sous tous les rapports."^" The compact run of this journal, i t s variety of material, i t s historical importance, and i t s place among the ten journals selected for pr i o r i t y i n -o dexing by the RIPMxix French national committee, make i t an ideal prototype for a RIPMxix publication. 21 Chapter 2 Endnotes 1. /Arthur Pougin , "Notes sur l a presse musicale en F r a n c e , " i n Encyclopedie  de l a Musioue e t D i c t i o n n a i r e du Conservato i re II , V o l . 6 (Par is : L i b r a i r i e Delagrave, 1931): 3857. 2. " P e r i o d i c a l s Se lec ted f o r P r i o r i t y Indexing by Members o f the Commission In ternat iona le Mixte and the Commission f o r B i b l i o g r a p h i c a l Research," P e r i o d i c a Musica 1 (Spring 1983): 2-5. 22 Chapter 3 INDEXING "LA CHRONIQUE MUSICALE" La Chronicrue Musicale was indexed according to the norms prescribed i n the RIPMxix Series A Guidelines. Three principal indexing situations were encountered which required the indexer to go beyond the stipulations of the Guidelines and to make special editorial decisions of his own. These situa-tions involved: 1) the t i t l i n g of reviews of musical events; 2) the t i t l i n g of music examples; and 3) the pagination of hors-texte illustrations and music. TITLING OF REVIEWS The majority of issues of La Chronicrue Musicale contain review sections treating recent theatrical productions and/or concerts. Review sections are typically divided into a number of reviews, each of which i s t i t l e d with either the name of a concert series, e.g., "Concert du Conservatoire," or with the location of an opera production or concert, e.g. "Opera. La  Sonnambula." Each review may be by a different author or several authors may be responsible for one or more reviews each. In v i r t u a l l y every case the main t i t l e of the review section i s followed by subtitling i n the form of a content summary paragraph, indicating various kinds of programme information pertinent to the reviews i n the section. In such content summaries, t i t l i n g i n capitals distinguishes the t i t l i n g of the individual reviews. The following i s a typical example: 23 Fig. 14 REVUE DES CONCERTS CONCERTS POPULAIRES: Prelude de 1'Arlesienne. - de Lohengrin; Ouverture de Piccolcmini de M. V. d'lndy. - CONCERT NATIONAL: Concerto pour violon de M. Lalo. Fragment de Jean le Precurseur, drame biblique en trois parties, de MM. L. Gallet et Albert Cahen. Fragment d"Athalie de Men-delssohn. La Benediction des poignards des Huguenots. - CONCERTS DANBE: La Bataille de Marignan. Fragment d'Hippolyte et Aricie. - SOCIETY CLASSIQUE: Soiree de reouverture. - CONCERT DU ]X)NDON-QUATUOR, DE MADEMOISELLE MARS, - DE MADAME SCHWINDT-MARTIN. The clearest way to catalogue such sections of reviews i s to supplement the t i t l e of each review, as i t introduces the sub-unit, with such informa-tion from the content summary as applies to i t , according to the following . . . 9 provisions contained i n the Guidelines: When content summaries duplicate sub-unit t i t l i n g , content sum-maries are omitted. When the information i n content summaries significantly supplements that i n sub-unit t i t l i n g , the supplemen-tary information may be added i n square brackets after the sub-unit t i t l e s . Such an arrangement, i f applied to the t i t l i n g i n Fig. 14, would produce the following l i s t i n g : 24 Fig. 15 3 RIPM # T i t l e Author Page 21 r Revue des concerts 125-34 Concerts Populaires [Preludes de Henry Cohen 125-26 L'Arlesienne et de Lohengrin; Ouverture de Piccolomini de M. V. d'lndy.] Concert National [Concerto pour violon H. Marcello 127-29 de M. Lalo. Fragment de Jean l e Pre-curseur, drame biblique en tr o i s par-t i e s de MM. L. Gallet et Albert Cahen. Fragment d'Athalie de Mendelssohn. La Benediction des poignards des Huguenots.] Concerts Danbe [La bataille de H. C. 129-32 Marignan. Fragment d'Hippolyte et Aricie.] Societe Classique [Soiree de reouverture.] London-Quatuor Concert de Mile Mars Concert de Mme Schwindt-Martin H. M. 132-33 H. C. 133 H. C. 134 E. N. The indexer, however, noticing that some t i t l e s offer more information than others, may be tempted to correct this inconsistency by adding further editorial comment i n square brackets. The section i n the Guidelines entitled "Titles Not Revealing Musical Events Reviewed"4 offers a basis for such additions: 25 Varying types of events (e.g., opera performances, symphony concerts, etc.) require varying cataloguing information. The catalogue entry for each type of event l i s t e d below on the l e f t should be completed with the information noted, respectively, on the right. 1) Single events reviewed opera performance: Location: Composer, T i t l e of Opera symphony concert: Location: Name of orchestra chamber concert: Location: Name of group solo r e c i t a l : Location; Solo a r t i s t mixed genre event: Location: /Artists and Performing Groups But this solution creates further problems, for the reguirement that the indexer specify the a r t i s t s and performing groups for a l l mixed genre concerts would produce the following very detailed cataloguing of the last four t i t l e s i n Fig. 15: Fig. 16 RIPM # T i t l e Author Page 21 r Revue des concerts 125-33 Societe Classique [Soiree de re- H. M. 132-33 ouverture. MM. Armingaud, Hacquard, Turban, Mas, de Bai l l y , Taffanel, L a l l i e t , Grisez, Dupont et Espaignet.] London-Quatuor [Mile Siedle, MM. H. C. 133 Hemming, Melbourne, Gurickx et Lopez.] Concert de Mile Mars [MM. Castets, H. C. 134 Ismael et d 'Ernesti.] Concert de Mme Schwindt-Martin [MM. E. N. Sivori, Nicot et Fischer] Of the 23 performers mentioned i n these two and one half pages of text, each i s given no more than a sentence or two of commentary. Such depth of indexing i s clearly not the work of a RIPMxix Series A T i t l e Catalogue, but 26 should more properly be reserved for indexing i n Series B. Between the two extremes, however, of mere l i t e r a l t i t l e transcription and in-depth indexing of natural text the RIPMxix indexer must find a reasonable compromise. The following principles, therefore, were adopted to regulate the use of square-bracketed commentary i n the indexing of musical events: 1) M l information contained i n content summaries was added i n square brackets to the appropriate sub-unit t i t l e , whether i t represented the principal emphasis of the review or not. The fact that such information was considered appropriate t i t l i n g by the journal was reason enough for i t s inclusion. 2) The names of performers and musical works given substantial discussion, i.e., more than a few token sentences, were also added i n square brackets i f missing from the review t i t l e . 3) The location of an event, i f indicated i n the review, but not i n t i t l i n g , was added i n square brackets. 4) Dates of performances and indications of series, e.g., "2e concert de l a 3e serie," were added i n square brackets only i f needed to distinguish two or more events treated i n the same review. 5) Other information, obtained from a reading of the text, was added i n square brackets when i t served to c l a r i f y the nature of the event or to identify performers more clearly. 27 6) The location of an event, i f indicated i n the text, was placed as the f i r s t item i n any square-bracketed OTirimentary i n which i t was required. When indicated i n square brackets, the t i t l e s of musical works were given i n the following form: "Composer, T i t l e  of Musical Work," i f the syntax of the t i t l i n g phrase would permit such re-arrangement. The application of these principles produced the following l i s t i n g of the review featured i n Fig. 15: Fig. 17 RIPM # T i t l e Author Page 21 r Revue des concerts 125-34 Concerts Populaires [2e serie, 6e Henry Cohen 125-26 concert: Bizet, Prelude de L'Arlesienne. Wagner, Prelude de Lohengrin. 7e concert: D'lndy, Ouver-ture de Picc»lomini.] Concert National [18 Janvier: Lalo, H. Marcello 127-29 Concerto pour violon. Dimanche dernier: Albert Cahen, Jean le Precurseur, drame biblique en trois parties de L. Gallet. Mendelssohn, Athalie (fragment). Meyerbeer, Les Huguenots, La benediction des poignards.] Concert Danbe [Jannequin, La H. C. 129-32 bataille de Marignan. Rameau, Hippolyte et Aricie (fragment).] Societe Classique [Salle Erard: Soiree H. C. 132-33 de reouverture London-Quatuor H. C. 133 Concert de Mile [Adrienne] Mars H. C. 134 [Salle Phillipe Herz] Concert de Mme Schwindt-Martin [Salle H. C. Erard] 28 The following points should be noted from Fig. 17; 1) Series and concert numbers were inserted i n the square-bracketed comments of the f i r s t review to distinguish the two separate events reviewed. Calendar indications were similarly used i n the second review. 2) Ti t l e s of musical works were presented i n standardized form, e.g., "La benediction des poignards des Huguenots" became "Meyerbeer, Les Huguenots, La benediction des poignards." 3) The christian name "/Adrienne," found i n the text of the sixth review, was added to the t i t l e "Concert de Mile Mars" to further identify the principal performer of that concert. 4) No commentary was added to the review of the "London-Quatuor" since neither the concert location nor extensive discussion of the performance was given i n the text of the review. 5) Only the concert location was added i n square brackets to the t i t l e s of the last two reviews since no other performers were extensively discussed other than those i n the t i t l i n g . While other performers were indeed mentioned as having performed, the discussion of their performance was not substantive enough to warrant editorial comment. The following i s a typical example of such discussion: Un a t t r a i t tout special eta i t d'entendre Sivori dans les morceaux classiques qui figuraient au programme de ce concert. C'est une des faces les moins connues du talent du celebre violoniste, et l a , comme partout, i l triomphe. - La voix de M. Nicot et l e violoncelle de M. Fischer ont complete le bon ensemble de l a soiree. 5 29 One disadvantage of the system adopted must be noted, however. What the reader sees i n square brackets may derive from either of two sources: 1) from content summaries contained i n the journal, which may, or may not, represent the principal emphasis of the review; or, 2) from the indexer's own reading of the text of a review, which seeks to represent more accurately that emphasis. Since both kinds of information are contained together i n square brackets, the reader i s unable to distinguish the source of the information he i s receiving, and hence to assess i t s r e l i a b i l i t y . But this disadvantage i s unavoidable given the indexer's obligation to report the t i t l i n g which exists i n the journal.' TITLING OF MUSIC EXAMPLES Transcribing the t i t l i n g of music represents a particularly d i f f i c u l t problem for the RIPMxix indexer, since the number of elements i n a musical t i t l e may be exceptionally large, and the arrangement of those elements on the page quite arbitrary, as can be seen from the following example: Fig. 18 6 CALLIRHOE Paroles de M. de l a MOTHE (de l'Academie) (1712) ACTE 1. - SCENE Ire (HYMNE A LA NUIT) PRELUDE SYMPHONIQUE Musique de DESTOUCHES transcrit par P. Lacome 3 0 The Guidelines specify the following treatment of musical t i t l e s : [ Title column entries should contain] such t i t l i n g as might appear above the music (e.g., t i t l e of the work, name of composer, l i b r e t -t i s t , dedications, etc.), l i s t e d i n the order of their appearance on the page. The t i t l e of the work i s i t a l i c i z e d regardless of i t s presentation i n the journal. The cataloguer may add commas, periods, or words i n square brackets to c l a r i f y the syntax of the phrase, e.g., "Chanson populaire, Jardin d'amour, [par] Emile Vuillermoz." If t i t l i n g indications are not given or do not ade-quately reveal contents, the cataloguer should supply appropriate information i n square brackets. In the cataloguing of the musical scores i n La Chronique Musicale i t was found that the s t r i c t presentation of t i t l e elements "in the order of their appearance on the page" produced t i t l e s that were grammatically awkward or d i f f i c u l t to read. The order i n which the eye would read a musical t i t l e , viz., from the top centre of the page down, and then from l e f t to right across, was used therefore to create'a tentative t i t l e only. The following changes were made, i f applicable, before the t i t l e was entered i n the cata-1) The name of an extracted work was uniformly placed before that of the larger work from which i s was extracted. Act and scene numbers from operas were placed i n parentheses regardless of their presentation i n the journal. ^ Hymne a l a nuit, prelude symphonique (Acte 1. Scene Ire) de Callirhoe (1712), transcrit par P. Laccme. Paroles de M. de l a Mothe (de l'Academie), musique de Destouches. logue: 2) Dedications preceding a principal t i t l e were placed after the Q t i t l e . In the following case, for example, 4 A Madame J. Bariqoand, nee Alphaud. Une  Paquerette. Sonnet de Francois Barillot, musique de Louis Lacome was changed to the more readable 4 Une Paquerette, [dediee] a Madame J. Bariquand, nee Alphaud. Sonnet de Francois B a r i l l o t , musique de Louis Lacombe. 3) Additional information was added i n square brackets, i f a v a i l -able, e.g.,^ |> No. 2 Intermede [des Scenes hongroises de Massenet] 4) Tempo indications, normally not considered part of t i t l i n g , were included i f no other t i t l i n g was available, e.g., ^ £ Le Messie, grand oratorio; paroles frangaises. Musique de F.C. Handel. Partition piano et chant. Reduction par F. Gosse, prix de Rome, Professeur au Conservatoire. 2. Larghetto et piano 11. Symphonie pastorale 18. Largo 5) T i t l i n g of inordinate length was truncated, e.g., ^Hymne national persan suivi de 10 airs populaires pour le piano par A. Lemaire, maitre des musiques militaires a S.A.R. le Schah de Perse, commandant de L'Ordre Imperial du S o l e i l , Lion de Perse was shortened to £ Hymne national persan suivi de 10 airs populaires pour l e piano par A. Lemaire 32 PAGINATION OF HORS-TEXTE ILLUSTRATIONS AND MUSIC The pagination of hors-texte illustrations and music i s represented in RIPMxix catalogues by the number of pages unpaginated and not counted i n the normal pagination sequence, followed by the page numbers i n the journal's normal pagination sequence between which the unpaginated material occurs, e.g., "2pp. 13/14". It i s assumed i n the Series A Guidelines that such page references w i l l indicate to the reader the location of such material i n every copy of the journal which he may consult. A comparison of the copies of La Chronique Musicale i n the New York Public Library and i n the Library of Congress (Music Division) with the copy held by the University of British Columbia Music Library, revealed a limited, but not negligible, disparity among such page references. Thirty-four examples were found and noted. For convenience i t was decided to use the copy i n the University of B r i t i s h Columbia as the basis f o r the cataloguing e f f o r t , i n d i c a t i n g with an asterisk any page references which were found to d i f f e r i n other copies of the journal, e.g., "112/13*". This asterisk refers the reader to an appendix at the back of the volume where variant page references are l i s t e d i n the following form: Tome 1, No. 3 ( l e r aout 1873) 2 1 l c o Le peuple faisant fermer 1'Opera le 12 j u i l l e t 112/13 UBC/NY 1789 s 110/11 LC Tome 1, No. 4 (15 aout 1873) 2 9 i c o Dauberval et Mile Allard dans le 2e acte de 160/61 UBC/LC Sylvie 176/77 NY Tome 1, No. 6 (15 septembre 1873) 49 La Rosiere Republicaine (1794) 264/65 NY/LC manque UBC * * * The resulting typescript RIPMxix T i t l e Catalogue, prepared according to the Guidelines (with the modifications described above), was then ready to be entered into computer f i l e space as data according to the system of data entry described i n the following chapter. 3 4 Chapter 3 Endnotes 1. La Chronicrue Musicale 3, No. 15 (1 February 1874): 125. 2. Guidelines, Vol. 1, p. 15. 3. For the sake of simplicity, music located between pp. 128 and 129 has not been indicated i n this example. 4. Guidelines, Vol. 1, p. 37. 5. La Chronicrue Musicale 3, No. 15 (1 January 1874): 134. 6. La Chronicrue Musicale 2, No. 11 (11 December 1873): 240/41. 7. Guidelines, Vol. 1, p. 45. 8. La Chronicfue Musicale 5, No. 28 (15 August 1874): 176/77. 9. La Chronicrue Musicale 6, No. 33 (1 November 1874): 128/29. 10. La Chronicrue Musicale 3, No. 13 (1 January 1874): 32/33. 11. La Chronicrue Musicale 1, No. 2 (15 July 1873): 80/81. 12. Guidelines, Vol. 1, p. 48. 35 Chapter 4 DATA ENTRY Programming for this project was done i n two programming languages: SPTTBOL and lSTEWTEXTFORM. SPITBOL was used to process the input and to gen-erate NEWTEXTFORM commands, which formatted the ouput. The results were printed on the UBC Xerox 9700 Laser Printer, using proportional spacing, French accents, and a French syllabication programme. Data entry, formatting specifications, and a l l phases of design implementation were worked out i n collaboration with Frank Flynn, programmer/analyst of the UBC Faculty of Arts Centre for Computing and Data Analysis. The completed catalogue, prepared according to the Guidelines and the modifications outlined i n the previous chapter, was typed into f i l e space of the computer located i n the Computing Centre of the University of B r i t i s h Columbia according to the system of data entry described below. The video display terminal at which data i s entered displays 80 columns, i.e., spaces, per line. Each line i s stored individually, and must therefore be labelled individually i n order to be properly retrieved and processed. For this reason the 80 columns of each line are divided i n the following way: the f i r s t 16 columns contain data labelling information; the last 64 columns contain the textual data. The following i s a detailed breakdown of the data labelling information found i n columns 1-16 of the entered data. Columns 1-4 contain the year of the journal, e.g. "1874." Columns 5-10 contain the RIPM number applicable to the data being entered. 36 Column 11 contains the superscript code, indicating the kind of superscript, i f any, to be applied to the RIPM number: - a blank indicates no superscript - an " i " indicates the superscript "ico" - an " r " indicates the superscript " r " - a "b" indicates the superscript "r/ico" Column 12 contains the level number of the data being entered, an i n d i -cation of the margin to which i t i s to be j u s t i f i e d i n the printed T i t l e Catalogue. Principal t i t l e s of art i c l e s are considered to be on level "1"; t i t l e s to be indented 4 spaces from level "1" t i t l e s are considered to be on level "2", etc. The number "0" i n Column 12 identifies the bibliographic reference of the particular issue being entered, e.g., "Tome 1, No. 6, 15 septembre 1873." This reference i s typed i n once only, viz., at the begin-ning of the data entry for each issue. Column 13-14 contain the sequence number, an ordinal indication of the sequence of sub-units at the same level within the same unit. Columns 15-16 contain the card number within each sequence number. Since the video screen w i l l display only 80 characters per line, any t i t l e s occupying more than 64 character-spaces (allowing 16 characters for the control information) are entered on a new line with a new card number. In order to simplify the typing-in of data, blank spaces may be l e f t i n any space but columns 15-16 (the card number) i f the values held have not changed from previous values. Columns 17-80 contain the actual text being entered. This data i s divided into 4 regions, articulated by the separator sign ">". These 4 regions represent: 1) t i t l e s ; 2) page numbers; 3) author's last name or i n i t i a l ; and 4) author's f i r s t names or i n i t i a l s . For example, 7Alexis TAzevedo's a r t i c l e "Rossini chez l u i " , on pp. 18-23 of La Chronicrue 37 Musicale 1, No. (1 July 1873) would be typed into the computer i n the the following way, beginning i n column 17: Rossini chez l u i > 18-23 > Azevedo > Alexis > Bibliographic references represent a special case. Data for such headings, recognizable by the number "0" i n column 12, i s divided into only 2 regions: 1) volume and issue number; 2) date; e.g., Tome 1, No. 2 > 15 j u i l l e t 1873 Siglas, accents, changes of font and other special printing instructions are indicated by the following codes used i n data entry: # music sigla # means = iconography sigla = means • %2 i t a l i c s $2Aida%2 means Aida • • %5 raised print M$511e%5 means M l l e / acute accent (or) ce d i l l a 1 '/ecole fran/caise means means 1'ecole frangaise // slash 13//14 means 13/14 grave accent sc@ene means scene + circumflex f+ete means fete & umlaut/trema Saint-Sa&ens means Saint-Saens ~ asterisk 13//14- means 13/14* 1 anonymous authorship 1 means When a blank space i s to be l e f t i n either the author column (e.g., for sub-units a l l by the same author, or opposite t i t l e s of iconography or music) or i n the page column (for repetitive single page references), this blank space i s represented by the asterisk symbol "*". 38 Fig. 19 displays a section of the prepared catalogue indexing of La Chronicrue Musicale 4, No. 20 (1 May 1874). Fig. 20 displays this same sec-tion as i t would be typed into the computer. Fig. 19 RIPM # T i t l e Author Page  Tome 4, No. 20 15 a v r i l 1874 6 1 l c o • La Chanson d'Avril de Remi Belleau lp. 48/49 62 A v r i l , chanson de Remy Belleau 49-51 [Sa vie, ses oeuvres] 49 [Texte de l a chanson] 50-51 ^ A v r i l , chanson pastorale du 16e lp. 50/51 siecle 63 Le Theatre de 1'Athenee Arthur Pougin 52-60 64 Les transformations d'un opera au Th.de Lajarte 61-65 Jix-huitieme siecle Tempeste du TVe acte [d'] Alcyone, 5pp. 64/65 opera de Marais 65 Histoire du theatre de Madame de Adolphe J u l l i e n 66-71 Pompadour d i t Theatre des Petits Cabinets (Septieme a r t i c l e : Chapitre VI). Theatre de Bellevue. 27 Janvier 1751 - 6 mars 1753. 66 La musique a l a Cornedie Frangaise Jules Bonnassies 72-78 67 r Revue des concerts 79-84 Concerts Populaires [Bourgault- Henry Cohen 79-80 Ducoudray, Stabat (fragments). Beethoven, 9e Symphonie.] Cirque d'Ete. - Audition de l a H. C. 80-81 Passion selon saint Mathieu [de Bach] Concerts Danbe [Mme de Grand- H. C. 81-82 val, Stabat] 3 9 Fig. 20 1874 0 1 lTorre 4, No. 20>15 a v r i l 1874> 61il 1 l=La $2Chanson d'Avril%2 de Remi Belleau>lp. 48//49>*> 62 1 1 l$2Avril%2, chanson de Remy Belleau>49-51>|> 2 1 l[Sa vie, ses oeuvres]>49>"> 2 l[Texte de l a chanson]>50-51>"> 3 l+$2Avril%2, chanson pastorale du 16e si&ecle>lp. 50//51> 2*> 63 1 1 lLe Th/e+atre de 1'AtJi/en/ee>52-60>Pougin>Arthur> 64 1 1 l i e s transformations d'un op/era au dix-huiti@eme si@ecle> 261-65>Lajarte>Th. de> 2 l$2Tempeste%2 du IVe acte [d']$2Alcyone%2, op/era de 2Marais>5pp. 64//65>*> 65 1 1 lHistoire du th/e+atre de Mme de Pompadour d i t Th/e+atre 2des Petits Cabinets (Septi@eme a r t i c l e : Chapitre VI). 3Th/e+atre de Bellevue. 27 Janv ier 1751 - 6 mars 1753.> 466-71>Jullien>Adolphe> 66 1 1 lLa musique @a l a Com/edie-Fran/caise>72-78>Bonnassies> 2Jules> 67rl 1 lRevue des concerts>79-84>*> 2 1 lConcerts Populaires [Bourgault-Ducoudray, $2Stabat%2 2(fragments). Beethoven, $29e Symphonie%2]>79-80> 3Cohen>Henry> 2 lCirque d'Et/e. - Audition de l a $2Passion selon saint 2Mathieu%2 [de Bach]>80-81>OH.> 3 lConcerts Danb/e [Mme de Grandval, $2Stabat%2]>81-82> 2C>H.> Data for the Iconography Appendix and L i s t of Variants was also typed into f i l e space according to the system of data entry just described since these sections share with the T i t l e Catalogue a common presentation of mate-r i a l i n four columns, arrangement by RIPM numbers, pattern of indentation, etc. In the case of the Iconography Appendix, however, the third data region was used to record dimensions instead of author information, and the fourth data region was not used. 40 Chapter 5 TITLE C A T / A L O G U E, I(X)NCGRAPHY APPENDIX  AND LIST OF VARIANTS INTRODUCTION The contents and internal organization of the T i t l e Catalogue, Icono-graphy Appendix and L i s t of Variants having been established, only two prob-lems remained to be resolved before these three sections could be printed: 1) Precise formatting specifications for page lay-outs needed to be determined, detailing the placement of general framing elements: column headings, running heads, bibliographic references and page numbers. 2) The internal organization of material conceived i n the original design needed to be adapted to the means available for realizing that design with the computer. A description of the solutions arrived at i n the course of producing the f i n a l printed versions of the T i t l e Catalogue, Iconography Appendix and L i s t of Variants i s given below. TITLE CATALOGUE Four column headings are used i n the T i t l e Catalogue: "RIPMj", "Titre", "Auteur" and "Page". The headings above the largest columns, "Titre" and "Auteur" are centred; those above the smaller columns, "RIPM #" and "Auteur", are l e f t - j u s t i f i e d . A l l column headings are i n bold. 41 To assist the reader i n referring back from the Author and Keyword Indexes, a running head i s placed i n the upper right corner of each page. Running heads are i n i t a l i c s and take the form: "(year)(colon)(first new  RIPM# on the page)(dash)(last RIPM# on the page)," e.g., "1873:63-69." Superscripts are not included with RIPM numbers i n running heads. Bibliographic reference headings i n bold are formatted i n s p l i t fashion beneath the column headings and precede the f i r s t t i t l e l i s t e d for each issue. The volume and issue number, e.g., "Tome 2, No. 7," are l e f t - j u s t i -fied; the date, e.g., "15 septembre 1874," i s right-justified. Page number indications, consisting of an Arabic numeral surrounded by dashes, e.g. 11 - 12 - ", are centred at the bottom of the page. * * * Within the page lay-out described above, the presentation of catalogued t i t l e s follows closely the stipulations contained i n the Guidelines. Modifications were introduced, however, i n the representation or manner of presentation of the following five kinds of information: 1) anonymous authorship 2) the music sigla 3) page references for sub-units and for unpaginated pages 4) sub-unit t i t l e s occupying more than a single li n e of print 5) units of t i t l i n g s p l i t between pages The authorship of anonymous arti c l e s i s represented i n the Guidelines by a 10-dash extended line placed i n the author column opposite the t i t l e to which i t applies. 1 In order to improve the look of the page, this prototype represents anonymous authorship by means of three asterisks separated from each other by a singl e space: "* * *". 42 The music sigla preceding musical t i t l e s i s represented i n the Guide- „ lines by a treble clef. This symbol, however, i s not available i n NEW-TEXTFORM, the computer language i n which formatting i s processed. The treble clef was therefore replaced i n the prototype by a "square bullet" (•). By this means, a l l i l l u s t r a t i v e material l i s t e d i n the Catalogue i s recognizable by i t s square sigla: a hollow square ([]) for iconography and a f i l l e d - i n square (•) for music. Page references are stipulated i n the Guidelines to be ju s t i f i e d to one of two margins i n the page column: to the extreme l e f t margin, for unit page references; to a margin indented two spaces for sub-unit page references. 3 Page references for hors-texte pagination i s explained i n the following passage from the Guidelines; Unpaginated hors-texte pages are indicated by the number of unpaginated pages and the numbered pages between which they appear. The l a t t e r are separated by a slash, e.g., "2pp. 13/14." This prototype modifies the above stipulations i n the following way: 1) A l l sub-unit page references, and a l l hors-texte page refer-ences are placed i n parentheses to more clearly distinguish them from the principal pagination sequence of the journal. To make this distinction consistent, hors-texte page references are j u s t i -fied to the sub-unit margin whether at the sub-unit level or not. 2) The period used i n hors-texte page references i s replaced by a comma; e.g., what would appear i n the Guidelines as "2pp. 13/14" appears i n the prototype as "(2pp, 13/14)." This comma serves to highlight the separation of distinct bibliographic elements. 43 Another programming adaptation concerned the spacing of consecutive lines of text i n the t i t l e column. For economy of space the following pattern was i n i t i a l l y adopted: a half-line space was l e f t between individual units and no space was l e f t between lines within the same unit. Such spacing produced a pleasingly tight arrangement when t i t l i n g was brief and compact, viz., when no sub-unit t i t l e occupied more than a single line of print, as i n the following example: Fig. 2 1 5 " ' . 64 Les theatres lyriques en sonnets [poemes] 49-55 [Note d'introtfuction] A. H. (49) Opera Theodore de Banville (50) Les Italiens Arsene Houssaye (51) U Opera- Comique Xavier Aubryet (52) L'Athenee Albert Millaud' (53) La Gaite Charles Joliet (54) Les Bouffes- Parisiens Charles Monselet (55) But i f a series of sub-unit t i t l e s at the same level each occupied two lines or more, a "continuous paragraph" effect was produced, since a l l f i r s t and continuing lines would be ju s t i f i e d to the same margin, as i n Fig. 2 2 : Fig. 2 2 6 76 r/ico Revue musicale Italiens Jeudi 16 octobre [Verdi, Rigdetto. Mile Tagliana, M. Villa] Samedi, 18 octobre [Verdi H Trovatore. Mile Krauss, MM. Padilla et Brignoli.] Jeudi, 30 octobre [Verdi, La Traviaic. Debut de Mile Heilbronn] Arthur Heulhard -• 134-40 I i 134 134-35 135 44 This problem was particularly acute i n the case of sub-unit t i t l i n g i n review sections, as i n the above example. Such t i t l i n g i s usually r i c h i n proper names, producing many i n i t i a l l y capitalized words flush to the margin of indentation. Such a situation results i n confusion for the reader, who i s l e f t guessing where each new sub-unit begins. In producing the typewritten copy of the Catalogue this problem would not arise, since a space could always be introduced wherever needed, e.g., Fig. 23 RIPM # Titre  7 6 r / i c o R e v u e musicale Italians Jeudi 16 octobre [Verdi, Rigoletto. Mile Tagliana, M. V i l l a ] Samedi 18 octobre [Verdi, I l Trovatore. Mile Krauss, MM. Padilla et Brignoli.] Jeudi 30 octobre [Verdi, La Traviata. Debut de Mile Heilbronn.] The computer, however, cannot operate i n such an ad hoc manner, for i t has no way of knowing where additional spacing i s required. Such instruc-tions could be given after analyzing the preliminary print-out line by line, but such a procedure would be enormously time-consuming, and tot a l l y imprac-t i c a l for the larger projects envisaged i n the RIPMxix series. If this prototype was to stand as a model for others, a more systematic solution had to be found. The solution adopted was to justify continued lines of sub-unit t i t l i n g to a margin sl i g h t l y further indented than that from which i t began, so as to make clear to the eye where each new t i t l e begins. Given that indentation patterns were already being used to distinguish levels of subordination i n t i t l i n g , the danger existed that "continuation indents" might be mistaken for 4 5 "subordinat ion indents" and tha t f u r t h e r confus ion might r e s u l t . Var ious combinat ions o f indenta t ion were there fore experimented w i t h , and one was found - u s i n g a subord inat ion indent three t imes as la rge as the cont inua t ion indent - which kept these two func t ions c l e a r t o the eye. The f i n a l r e s u l t i s i l l u s t r a t e d i n F i g . 24: F i g . 24 76 Revue musicale Arthur Heulhard Italiens Jeudi 16 octobre [Verdi, Rigoletto. Mile Tagliana, M. Villa] • Samedi, 18 octobre [Verdi R Trovatore. Mile Krauss, MM. Padilla et Bri-gnolij Jeudi, 30 octobre [Verdi, La Traviata. Debut de Mile Heilbronn] 134-40 (134) (134-35) (135) The d i s t r i b u t i o n o f m a t e r i a l over a page- turn presented a problem as w e l l i n the fo rmat t ing o f the T i t l e Catalogue. Because the computer p r o -cesses data i n a continuous st ream, f i l l i n g each p r i n t e d page complete ly before begirining a new one, page-turns may not n e c e s s a r i l y occur a t c o n -ven ient o r l o g i c a l junctures , v i z . , a t the end o f a complete u n i t o r s u b - u n i t t i t l e . Without i n s t r u c t i o n s t o the cont rary the computer may p r i n t pages ending w i t h a b i b l i o g r a p h i c re ference heading, or t i t l e s may even be s p l i t between pages i n the middle of a word. The s o l u t i o n adopted f o r these problems was t o d e c l a r e a "reserved space" o f 6 l i n e s a t the bottom of each p r i n t e d page w i t h i n which the com-puter was i n s t r u c t e d : 1) not t o p r i n t a b i b l i o g r a p h i c re fe rence heading, but t o s k i p t o a new page; and 2) not t o begin a new t i t l e un less t h a t t i t l e c o u l d be completed on the same page. In order to help orient the reader, pages beginning i n the middle of an issue were supplied with a repeat of the relevant bibliographic reference heading, supplemented with the indication "suite" i n parentheses. ICONOGRAPHY APPENDIX Four column headings are used i n the Iconography Appendix: "RIPM #", "Legende", "Dimensions" and "Page." The heading of the largest column, "Legende", i s centred; those above the smaller columns, "RIPM #", "Dimensions", and "Page" are l e f t - j u s t i f i e d . A l l column headings are i n bold. A running head i n i t a l i c s , "Appendice de 1 'iconographie," i s positioned i n the upper right corner of each page i n order to distinguish this section from the similarly-formatted T i t l e Catalogue. Bibliographic reference headings and page number indications are iden-t i c a l to those used i n the T i t l e Catalogue (see p. 42). The page column i n the Iconography Appendix differs from that of the T i t l e Catalogue i n that i t does not represent the journal's pagination i n successive sequence. Most page references are, i n fact, to unpaginated hors-texte pages. The system of presentation used i n the T i t l e Catalogue, there-fore, designed to enhance the differentiation between principal and subord-inate pagination, i s not needed here i n i t s entirety. The following system i s used i n the Iconography Appendix: 1) A l l page references for single independent iconographic t i t l e s , and for a l l principal t i t l e s at the head of a t i t l i n g hierarchy, are j u s t i f i e d to the extreme l e f t margin i n the page column, no matter at what level they may be found i n the T i t l e Catalogue. 47 2) Page references for t i t l e s at the sub-unit level i n an iconographic t i t l i n g hierarchy are justi f i e d to a margin indented approximately two spaces from the l e f t margin, and placed i n parentheses. The same solutions arrived at i n formatting continuation indents and t i t l i n g units s p l i t over a page-turn (see pp. 44-47) were applied iden-t i c a l l y to the formatting of the Iconography /Appendix. LIST OF VARIANTS Four column headings are used i n the L i s t of Variants: "RIPM #", "Titre/Legende", "Page" and "Source". The heading above the largest column, "Titre/Legende", i s centred: those above the other smaller columns are l e f t -j u s t i f i e d . A running head i n i t a l i c s , "Liste des Variantes", i s positioned i n the upper right corner of each page i n order to distinguish this section from the similarly-formatted T i t l e Catalogue. Bibliographic reference headings and page number indications are iden-t i c a l to those used i n the T i t l e Catalogue (see p. 42). Continuation indents (see pp. 44-46) were not needed i n the L i s t of Variants as t i t l e s for this section were truncated so as to f i t on a single line of print. But repeated bibliographic reference headings supplemented with the indication "suite" i n parentheses were used, as i n the T i t l e Cata-logue (see pp. 46-47) when listing s for a single issue were s p l i t over a page-turn. 48 * * Using the formatting specifications detailed i n this chapter, a T i t l e Catalogue of 54 pages, an Iconography Appendix of 8 pages and a L i s t of Variants of 5 pages were printed on the Xerox 9700 laser printer. 49 Chapter 5 Endnotes 1. Guidelines, Vol. 1, pp. 25-26. 2. Ibid., p. 43. 3. Ibid., pp. 28-32. 4. Ibid., p. 48. 5. Catalogue Chronologicrue, RIPM# 1873:64. 6. Ibid., 1873:76 r / i c o. 50 C H A P T E R 6 D E S I G N I N G A KEYWORD I N D E X I N T R O D U C T I O N A R I P M x i x k e y w o r d i n d e x i s a r g u a b l y t h e m o s t p o w e r f u l r e f e r e n c e t o o l o f t h e R I P M x i x s y s t e m , s i n c e i t a l l o w s t h e s c h o l a r c o n v e n i e n t a c c e s s t o s u b j e c t m a t t e r , t o t h e e x t e n t t h a t s u b j e c t m a t t e r i s r e f l e c t e d i n t i t l i n g . T h e p r o d u c t i o n o f s u c h a n i n d e x i n v o l v e s t h e c r e a t i o n o f a n i n d e x d e s i g n a n d o f a c o m p l e m e n t a r y c o m p u t e r p r o g r a m m e t o i m p l e m e n t t h a t d e s i g n . T h i s c h a p t e r w i l l t h e r e f o r e : 1) r e v i e w t h e d e s i g n p o s s i b i l i t i e s f o r k e y w o r d i n d e x e s ; 2 ) c o m p a r e t h e i r f e a t u r e s t o t h e n e e d s o f R I P M x i x t o s e l e c t a n a p p r o p r i a t e d e s i g n m o d e l ; a n d 3 ) s u g g e s t a d e t a i l e d d e s i g n f o r a R I P M x i x k e y w o r d i n d e x . C C M P U T E R I N D E X E S T h e p r i n c i p a l a d v a n t a g e o f c o m p u t e r i n d e x e s o v e r m a n u a l i n d e x e s i s t h e i r s p e e d . M a n u a l i n d e x e s , w h i l e t h o r o u g h , r e q u i r e m u c h t i m e t o p r o d u c e , a n d o f t e n l a g s e v e r a l y e a r s b e h i n d t h e p u b l i s h e d m a t e r i a l t o w h i c h t h e y a t t e m p t t o p r o v i d e a c c e s s . C o m p u t e r - g e n e r a t e d i n d e x e s , b y s a c r i f i c i n g t h e s o p h i s t i -c a t i o n a n d t h o r o u g h n e s s o f m a n u a l i n d e x i n g p r o c e d u r e s , c a n p r o v i d e m u c h m o r e i m m e d i a t e a c c e s s t o i n f o r m a t i o n . B i o l o g i c a l A b s t r a c t s , f o r e x a m p l e , i s p u b l i s h e d s e m i - m o n t h l y . ^ M a n u a l i n d e x e s , t h e n , a r e s l o w a n d t h o r o u g h , w h e r e a s c o m p u t e r - g e n e r a t e d i n d e x e s m a y b e s a i d t o b e " q u i c k a n d d i r t y . " T i t l e - d e r i v a t i v e c o m p u t e r i n d e x e s o p e r a t e u n d e r t h e a s s u m p t i o n t h a t s i g n i f i c a n t w o r d s i n t i t l i n g p o i n t t o s i g n i f i c a n t t o p i c s i n t h e t e x t . I t i s these significant words which form the keyword lead terms of the index. They may be chosen from the data base of t i t l e s by one of two methods: by means of a go-list , i.e., a specific l i s t of t i t l e words to be selected from the data base; or by means of a stop-list, a specific l i s t of words to be excluded from the index, assuming that a l l others w i l l be included. Each sub-entry beneath a keyword lead term may be accompanied by a f u l l bibliographic reference (the "single look-up" method), or by a shorter refer-ence code, referring the reader to a l i s t where f u l l bibliographic details are available (the "double look-up" method). Single, look-up indexes are more convenient for the reader, but more d i f f i c u l t and expensive to produce, and hence less common than double look-up indexes. Three p r i n c i p a l v a r i e t i e s of t i t l e - d e r i v a t i v e indexes may be d i s t i n -guished: KWIC (Keyword In Context), KWOC (Keyword Out of Context) and term co-ordination indexes. A summary of the major characteristics of each kind o of index w i l l be presented i n turn. KWIC INDEXES KWIC indexes arrange keywords alphabetically, aligned to a central margin and surrounded by as much t i t l i n g context as w i l l f i t on a single line of print only. If a t i t l e should end without f i l l i n g the entire line, the beginning of the t i t l e may be used to f i l l the empty space, separated from previous material by an editorial symbol, e.g., a slash. This feature, known as "wrap-around,11 i s displayed i n the KWIC index of Fig. 25. 52 Fig. 2 5 3 Subject Context PRIMI PARA COWS IN THE IZED PATIENTS 1 HUMAN ON PSYCHO SOCIAL CARE E. LUCKZE ENVIRONMENT FIBER BANDING PATTERN GNESIUM STEARATE AS A E. AGENTS PRODUCED BY TAL PLASTIC/ BOUNDARY ING MOVEMENT VAGINAL N SEXUAL INTERCOURSE TIFICIAL MATERIALS AND TEX PLASMA MEMBRANE CELL PERMEABILIZATION HATE SODIUM FLUORIDE A TRITON LABELED X - 1 0 0 BRANE FRACTIONS WITH NE GLYCOL MONO ETHER F MALAYAN FILARIASIS IN NEW ACRIDOIDEA FROM ARABAEIDAE PASSALIDAE ON OF A NEW SPECIES OF DORCINAE COLEOPTERA IAL TRANSFORMATION OF TICUS ACRIDINE ORANGE MAL SEPTAL MEMBRANE PROBABLE NUMBER TEST CAT FOCAL ENDOTHELIAL CTRON DENSE ELECTRON NSE VACUOLE ELECTRON CELLS THICK ELECTRON ITHELIAL CELL ELECTRON UPINE PEA FODDER BEAN Ref. • Keyword No. L U B L I N D I S T R I C T P O L A N D B L A C K A N D WH 5 4 1 0 0 P O L A N D / A N E V A L U A T I O N O F T H E 1 4 4 6 2 P O L A N D / A N E V A L U A T I O N O F T H E 1 4 4 6 3 P O L E S I E E A S T E R N P O L A N D D U R I N 5 0 6 9 L U B R I C A N T / P R O P O S E D R E S O L U T I O N O F 1 1 0 6 9 HUMAN P O T A T O S T A R C H B A S 2 0 9 4 8 L U B R I C A T I N G O I L T H E R M O O X I D A T I O N D E 3 8 1 7 3 P R O P E R T Y O F S Y N O V I A L F L 4 6 8 6 6 L U B R I C A T I O N / E F F E C T O F S A L I V A O N S P E 1 4 5 4 9 / P A R A V A G I N A L A N D A N A L 2 2 3 9 8 O F A R T I F I C I A L J O I N T S H U M 4 6 8 6 6 L U B R O L E D T A S O D I U M F L U O R I D E C A L C I T 4 6 1 4 1 I N A C T I V I Z A T I O N A D E N A L A T T O N / I N 6 7 6 2 3 P X C H O L A T E / A C T I V A T I O N O F A D 6 7 4 3 1 P X T E R G I T O L N P X S O D I U M D B O X 1 1 5 7 8 WX A N D T R I T O N X - 1 0 0 D I S T T N G U 4 1 8 3 8 WX C E N T R I F U G A T I O N K I N E T I C S 6 9 3 0 5 L U B U K - M U M P O A N D D A T A R - L E B A R V I L L A 2 9 9 6 9 L U B U M B A S H I Z A I R E A N D R E D E S C R I P T I O N 8 0 9 8 5 L U C A N I D A E C H A R A C T E R A N A L Y S I S T A X O 5 0 0 1 3 F R O M F O R M O S A T A I W A N A E S 3 7 2 6 O F T H E R O Y A L I N S T I T U T E O F 5 0 0 1 4 L U C A N T H O N E B Y GROWING C U L T U R E S W 6 4 4 3 5 P R O M E T H A Z I N E A C T I N O M Y 3 4 3 6 1 L U C A S S C H M I D T S I A C O R T R I A T R I A T U M A 4 7 1 7 8 L U C E Z I D A N I L E T U S C E L J E / Q U A L I T A T I V E 8 3 8 1 8 L U C E N C Y V A C U O L E F O R M A T I O N L U M I N A L 2 4 0 5 1 L U C E N T / F I N E S T R U C T U R E O F D O R S A L R 3 5 5 2 1 V A C U O L E O N T O G E N E S I S / S E C R E 3 1 4 9 3 W A L L O V O I D O S M O P H I L I C I N C L U 5 0 2 5 3 Z O N E M E T A L C A P U L T R A S T R U C T 1 6 6 7 9 L U C E R N E A C A C I A F J L E C T R O N M I G R O S C O P 1 4 8 2 1 KWIC indexes do not spatially separate t i t l e fragments sharing a common keyword from preceding or following material. A l l t i t l e s fragments are presented i n a continuous succession of lines. Consecutive occurences of the same keyword are usually arranged by alphabetical ordering of the words immediately following keywords, whether significant or not. References to the right of t i t l e fragments are usually of the double look-up variety. 5 3 The advantage of KWIC indexing i s that i t i s relatively uncomplicated to produce. Its disadvantage i s that i t provides a very small amount of t i t l i n g context with which to judge the relevance of each sub-entry. But i n the sciences, where t i t l e s are usually very r i c h i n content-specific words, such a small amount of t i t l i n g context i s often quite sufficient to indicate subject matter. KWIC indexing, therefore, finds i t s most frequent applica-tion i n s c i e n t i f i c fields such as biology and physics. KWOC INDEXES KWOC indexes present keywords as free-standing lead terms, i.e., out of context, arranged alphabetically, most frequently l e f t - j u s t i f i e d i n each column or on each page. Keywords are i n bold font to distinguish them from t i t l e sub-entries. A l l t i t l e s containing a given keyword are l i s t e d beneath i t , printed i n f u l l , with the keyword highlighted i n bold. Reference codes are placed ri g h t - j u s t i f i e d after each complete t i t l e . Some KWOC indexes sub-arrange t i t l e sub-entries by the position of the keyword on the printed line, with keywords on each successive line shifting to the right, as i n the KWOC index of Fig. 26. Other possible patterns of sub-arrangement include alpha-numeric ordering of reference numbers, or alphabetical arrangement of words immediately following keywords, as i n KWIC indexing. 5 4 Fig. 26 4 CDIJJEMBCJLA FDJCTUATIONS IN POPULATIONS OF C Q L L E M B O L A WITHIN LEAF LITTER IN THE PATUXENT RESEARCH REFUGE, MARYLAND. OSTOJO-61-FPC C O L L I S I O N S ELECTRONIC EXCITATION IN ATOMIC O 3 L L I S I 0 N S . SCHENI-61-EEA CYCLOTRON RESONANCE INVESTIGATION OF LOW-ENERGY ELECTRON C O L L I S I O N S WITH HELIUM ATOMS. ANDERO-66-CRI C O L U M B I A OPINIONS OF INSTRUCTORS AND PROFESSIONAL NURSING PERSONNEL WORKING IN THE UNITS UTILIZED FOR THE CLINICAL EXPERIENCE IN MEDICAL AND SURGICAL NURSING, REGARDING SELECTED CHANGES THAT ARE BEING INTRODUCED IN THE CLINICAL EXPERIENCE OF THE NURSING STUDENTS IN C O L U M B I A , S.A. GARZNE-64-DIP EFFECTIVENESS OF AN ADMINISTRATION PROGRAM IN ADMINISTRATION OF NURSING UNITS IN C O L U M B I A , SOUTH AMERICA. OVALNY-66-EEN RATIONALE FOR THE INTEGRATION OF PRINCIPLES OF ASEPTIC TECHNIQUES INTO THE NATIONAL APPROVED CuTRRICULUM FOR PRACTICAL NURSE EDUCATION PROGRAMS IN C O L U M B I A . DAZALE-65-RIP A FOLLOW-UP STUDY OF THE GRADUATES OF A SELECTED HOSPITAL SCHOOL OF NURSING IN MEDELLIN, C O L U M B I A , S.A., 1954 TO 1960. VASQEL-65-FUS THE ORGANIZATION OF THE NURSING SERVICE DEPARTMENT IN SELECTED GENERAL HOSPITALS IN C O L U M B I A , SOUTH AMERICA. CADAGR-64-ONS POPULATION DISTRIBUTION IN C O L O M B I A 1964. WOERCL-66-PDC FACTORS CONTRIBUTING TO JOB SATISFACTION AND DISSATISFACTION OF HOSPITAL EMPLOYED PROFESSIONAL NURSES IN C O L U M B I A , SOUTH AMERICA. AGUICA-64-FCJ The KWOC type of index enjoys many benefits over i t s KWIC counterpart. F i r s t of a l l , i t s more spacious lay-out and free-standing keywords i n bold make i t easier for the reader to orient himself and to find information on each page. Secondly, the inclusion of complete t i t l e s provides more informa-tion with which to judge the relevance of each t i t l e sub-entry. These im-provements, however, come at the expense of a larger, bulkier index which i s more d i f f i c u l t to produce and requires more complex programming. 55 TERM CO-ORDINATION INDEXES Term.co-ordination indexes seek to identify the co-occurrence of groups of significant words i n t i t l i n g . Like KWCC indexes, term co-ordination indexes present an alphabetical arrangement of free-standing keywords i n bold. Beneath each keyword may be either a simple l i s t of co-occurring terms, with each given a reference code, as i n Fig. 27; or reference codes may be li s t e d opposite fragments of actual t i t l i n g , with keywords highlighted i n bold, as i n Fig. 28. An important feature of term co-ordination indexes i s that sub-entries under each keyword are sub-arranged by the alphabetical ordering of other  keywords, rather by such random elements as reference numbers, immediately following words, or position i n t i t l i n g . This sub-arrangement i s very close to that employed i n a standard back-of-the-book index, and i s especially useful i n dealing with the long l i s t s of sub-entries generated by high-frequency keywords. Term co-ordination indexes can be a powerful tool for arranging t i t l e s with content-specific wording, since i n such a case the co-occurrence of t i t l e terms i s l i k e l y to be f a i r l y accurate i n defining textual subject matter. The increase i n programming complexity over that of KWIC or KWCC indexes i s justified, however, only when t i t l i n g i s of this nature, or when high-frequency terms occur i n such numbers as to make their sub-arrangement an important consideration. 5 6 Fig. 27-W O M E N ABILITY - -ABNORMALIT -ABO ABORTION ABSENCE - -ABSORPTION -ACADEMIA ACADEMIC - -ACCELERATI -ACCIDENTS -ACETATE ACHIEVEMENT ACID-BASE ->ADAMS M >JONES GS >KELLY FS >JONES JE >WCOD P >AMBRUS MS >AITKENS WJ >PEARSON JF >VALBERG LS >HEINRICH D >ABELSON PH >LEWIN AY >MITCHELL JM >TUTTLE HW >VONKAULLE E >MUMENTHA M >CROXATTO HB >MUKDERJI S >BARNETT LD >PHETERSO GI >RUBINRAB G >WOJCICKA J W O M E N (CONT. ACQUIRED -ACTION ACTIVATOR -ACTIVITIES ACTIVITY -) ACUTE ADENOCARCI ADEMOMATOU ADEPOSE-TI >GILLESPI WA >BOWERS CY CROXATTO HB >RAURAMO L >VMTUKAI JL >LAVELLE JM >BANERJEE B >DOBERENZ JR >BENGTSSO LP BOWERS CY >FERRARA M >GENDELL M >KARIM SMMO >KLAIBER EL >REDDERSO CL >BRODELIU A >NANKIN H >TSAI CC >LANCET >DALLENBA G >BJORNTOR P >STOCHLIK E Fig. 28t A D R E N E R G I C of peripheral & central adrenergic neu-of norepinephrine by adrenergic nerve ADRENOCEPTOR muscle of beta-adrencweptor blocking ADSORBENT Effect of adsorbent on adsorbed struct-PHAR 232716 PHAR 232665 PHAR 232681 CHEM 228750 ADSORPTION of polyglutamic acid adsorbed on char- CHEM 228749 changes induced by alkali adsorption PHYS 233402 methods. IV. Adsoprtion of aromatic CHEM 228448 Adsorption characteristics of water so- CHEM 228746 (frrcmatographic adsorption constants CHEM 228393 Adsorption of dyes from p a r t i a l l y agg- TECH 231212 in adsorption chroxratography on alum- CHEM 228416 57 SELECTING AN INDEXING MODEL FOR RIPMxix In selecting an indexing model for RIPMxix one must bear i n mind the nature of the t i t l i n g which w i l l be used to form the data base. In general, the t i t l i n g of art i c l e s dealing with music and the arts may be relied upon to be less r i c h i n content-specific terms than that of s c i e n t i f i c journals. In the 19th century the tendency towards providing imaginative or fanciful t i t l e s for articles dealing with arts subjects was particularly pronounced, due to the l i t e r a r y influence i n arts journalism during that century. It i s important, for that reason, that a RIPMxix index provide as much t i t l i n g context as possible with each sub-entry i n order to allow the user to judge well the relevance of each t i t l e to his research. KWIC indexes, being restricted to displaying only whatever t i t l e seg-ments can be made to f i t on a single li n e of print, are obviously not suited to f i l l i n g this requirement. A term co-ordination index might be designed which would offer f u l l t i t l e s , but term co-ordination i s not warranted i n such a case where t i t l i n g i s far from r i c h i n content-specific terms and where only a handful of high-frequency words would benefit from i t s advan-tages of sub-arrangement. KWOC indexing, however, offers a reasonable compromise between the primitive lay-out of KWIC and the programming complexity of term co-ordina-tion by offering f u l l t i t l e s with each sub-entry, but highlighting only one keyword per t i t l e . It was decided, therefore, to design a KWOC-type index for this RIPMxix prototype. Details of i t s precise design are given below. 5 8 DESIGN SPECIFICATIONS Index pages are l a i d out i n two columns, each the approximate width of the t i t l e column i n the T i t l e Catalogue. A running head i n i t a l i c s , " Index  par Mots-Cles," identifies the index i n the top right corner of each page. Below this, other running heads i n regular font capitals give the f i r s t new keyword and last keyword used on the page, l e f t - and right-justified, respec-tively. A horizontal line across the f u l l width of the page separates run-ning heads from text. Page indications are centred at the bottom of the page. Keyword lead terms i n bold capitals are l e f t - j u s t i f i e d i n each column. The index arranges keywords i n the following order of priority: 1) keywords composed of alphabetical characters, e.g., "DEBUT," "PRESSE," arranged alphabetically; 2) keywords beginning with numerals, e.g., "1748," "1834-38," arranged i n ascending numerical order; 3) the keyword "•" (music sigla). The l i s t i n g beneath this term i s , i n effect, a l i s t of a l l musical scores contained i n the entire run of the journal. T i t l e sub-entries are listed, l e f t - j u s t i f i e d , beneath each keyword lead term. The occurrence of the keyword i n each t i t l e i s highlighted i n bold. Since bold i t a l i c i s not available i n the character set of NEWTEXTFORM, i t a l i c keywords occurring i n t i t l i n g are printed i n regular font bold. T i t l e sub-entries are presented i n the following telescoped hierarchical form: Case 1: If the keyword occurs i n a t i t l e at level "1" (unit level), only the level "1" t i t l e i s reproduced, regardless of any sub-unit t i t l e s which may follow i t i n the T i t l e Catalogue. C a s e 2 : I f t h e k e y w o r d o c c u r s i n a l e v e l " 2 " t i t l e ( f i r s t s u b -u n i t ) , o n l y t h e l e v e l " 2 " t i t l e a n d t h e u n i t t i t l e a b o v e i t a r e r e p r o d u c e d . C a s e 3 ; I f t h e k e y w o r d o c c u r s i n a l e v e l " 3 " t i t l e ( s e c o n d s u b -u n i t ) , o n l y t h e l e v e l " 3 " t i t l e i n w h i c h i t o c c u r s , t h e i m m e d i a t e l y p r e c e d i n g l e v e l " 2 " t i t l e t o w h i c h i t i s s u b o r d i n a t e , a n d t h e u n i t t i t l e ( t o w h i c h b o t h t h e p r e c e d i n g a r e s u b o r d i n a t e ) a r e r e p r o d u c e d . N o t i t l i n g o f m o r e t h a n t h r e e l e v e l s w a s f o u n d i n L a C h r o n i c r u e M u s i c a l e . A s a n e x a m p l e o f t h i s p a t t e r n o f t e l e s c o p e d t i t l e s u b - e n t r i e s , t h e t i t l i n g e x t r a c t i n F i g . 2 9 ( R I P M # 1 8 7 3 : 5 3 r ) F i g . 2 9 R e v u e m u s i c a l e O p e r a L u n d i l e r s e p t e m b r e [ G o u n o d , F a u s t , M i l e D e r i v i s ] M e r e r e d i 3 s e p t e m b r e [ V e r d i , L e T r o u v e r e . D e b u t d e M i l e L e a v i n g -t o n . ] V e n d r e d i 1 2 s e p t e m b r e [ M e y e r b e e r , L ' A f r i c a i n e . D e b u t d e M . A c h a r d . ] R e n a i s s a n c e J e u d i 4 s e p t e m b r e [ O f f e n b a c h , A p o - t h i c a i r e e t P e r r u c r u i e r , L a p e r m i s - s i o n d e d i x h e u r e s , P o m m e d ' A p i , e t M . C h o u f l e u r i . ] w o u l d p r o d u c e t h e f o l l o w i n g s a m p l e o f t i t l e s u b - e n t r i e s i n t h e K e y w o r d I n d e x : 6 0 Fig. 30 Level 1: R E V U E R e v u e musicale Level 2: OPERA Revue musicale Opera R E N A I S S A N C E Revue musicale R e n a i s s a n c e Revue musicale Opera Vendredi 12 septembre [Meyerbeer, L ' A f r i c a i r i e . Debut de M. Achard. ] O F F E N B A C H Revue musicale Renaissance Jeudi 4 septembre [ O f f e n b a c h , Apo- thicaire et Perruquier, La permis- sion de dix heures, Pomme d/Ap_i, et M. Choufleuri.] The following i s to be noted with respect to the previous example: 1) The indentation pattern representing subordination of t i t l i n g levels - an indentation of approximately 3 spaces i n the T i t l e Catalogue - has been reduced to approximately one space i n the Index i n order to conserve space. 2) The one-space indentation used i n the T i t l e Catalogue for continued lines of t i t l i n g i s not needed i n the Keyword Index since no more than one t i t l e at each level i s represented i n any t i t l e sub-entry. Level 3: AFRICAINE 61 T i t l e s l i s t e d under keywords composed of letters or numbers are sub-arranged chronologically, i.e., i n ascending order of years. This chronolo-gical arrangement f a c i l i t a t e s the use of the Index by scholars wishing to research a distinct time period, and allows those wishing to study the jour-nal i t s e l f to follow the pattern of the journal's interest i n individual subjects as they occur chronologically i n i t s run. Tit l e s l i s t e d under the last keyword, the music sigla, are given a different treatment. Sub-arrangement i s particularly important under this keyword because of the large number of t i t l e s l i s t e d (3 1/2 pages). T i t l e s are arranged alphabetically by composer, with anonymous compositions l i s t e d f i r s t . Composers' names are highlighted i n bold i n each t i t l e , as i f they were keywords. Several t i t l e s by the same composer are l i s t e d i n chronologi-cal order. Composers' names to be alphabetized are indicated to the computer by means of special codes inserted i n the data for that purpose: 1) The code "$0 ... %0" placed around a composer's name, e.g., "Passacaille ($0Lalande%0 - 1690)," causes the name to stand out i n bold i n the Keyword Index without affecting i t s appearance i n the T i t l e Catalogue. 2) The code "$8 ... %8," placed around a square-bracketed attribu-tion of authorship, e.g., "$2Ne boudit/e m/enia%2 chanson @a danser $8[anon]%8," caused the square-bracketed indication to appear i n bold i n the Keyword Index but not to appear at a l l i n the Txtle Catalogue. Running heads i n this last section of the index are altered to display the composer's names which are used to order the t i t l e s i n each column. 62 These running heads take the form: M U S - ( f i r s t c o n p o s e r o n t h e p a g e ) ( l eft-justified) M U S - ( l a s t c o m p o s e r o n t h e j j a g e ) (right-justified) For example, M D S - L E M M R E M U S - P H T T . T D O R PvIPM references composed of a two-digit year abbreviation, a colon, and RIPM number, e.g., "74:134," follow each t i t l e listed. They are placed right-justified on the last line of the t i t l e sub-entry to which they refer, i f sufficient space exists i n the column, or on the next line, r i g h t - j u s t i -fied, i f they cannot be accomodated on the same line as the last word of the text. Fig. 31 displays the placement of RIPM references. Fig. 31 ATYS Les airs a danser de 1 'ancienne ecole frangaise Menuet en duo d'Atys (Lully - 1676) 74:162 AUZENDE Revue des concerts Concerts de M. A u z e n d e , Salle Pleyel 74:48r AVIGNON Festival d'Avignon: 18, 19 et 20 j u i l l e t 1874 74:117 1 0 0 63 Chapter 6 Endnotes 1. A sample e x t r a c t from B i o l o g i c a l A b s t r a c t s i s d i s p l a y e d on p . 53. 2. A more complete d i s c u s s i o n o f these three k inds o f indexes may be found i n H i l d a Fe inberg , T i t l e - D e r i v a t i v e Indexing Techniques: A Comparative Study (Metuchen, N . J . : The Scarecrow P r e s s , 1973), Chapters 6, 7 & 8, pp . 60-157. 3. B i o l o g i c a l A b s t r a c t s : Semi-annual Cumulat ive Index 76, Nos. 1-12 ( J u l y -December 1983): 2780. 4. Theses and D i s s e r t a t i o n s (The C a t h o l i c U n i v e r s i t y o f Amer ica) , i n F e i n b e r g , p . 114. 5. Permuterm Subject Index (Copyright 1972 by the I n s t i t u t e f o r S c i e n t i f i c In format ion, Inc. ) , i n Fe inberg , p. 141. Author re fe rences i n t h i s index are preceded by an arrow (">") when they f i r s t appear under a pr imary term ("WOMEN" i s the "primary term" i n t h i s example). Repeated re ferences t o the same a r t i c l e under the same pr imary term (e.g., "Croxatto", "Bowers", i n the second column) appear wi thout t h i s arrow. 6. Pandex Current Index t o S c i e n t i f i c and Techn ica l L i t e r a t u r e , Jan . 28, 1972 (Copyright 1972 by CCM Indformation C o r p o r a t i o n ) , i n F e i n b e r g , p . 145. 7. The o n l y square-bracketed commentary added t o the t i t l e s of mus ica l composi t ions preceded by the music s i g l a was "[anon]", i n d i c a t i n g anonymous a u t h o r s h i p . F o r t h e meaning o f t h e d a t a c o d e s "$2 . . . %2", " / " , and "@", see Chapter 4, "Data E n t r y , " p . 38. 64 CHAPTER 7 PRE-EDITING THE KEYWORD INDEX INTRODUCTION Implementing the design outlined i n the previous chapter posed two fundamental problems: 1) developing a l i s t of keywords for the Index which would minimize the amount of "noise" (i.e., t r i v i a l or unhelpful terms) in the system; 2) controlling the element of "scattering" (i.e., the dispersal of similar information i n different parts of the Index). Keyword selection and the problem of "noise" may be dealt with by means of either a stop-list or a go-list (see p. 52 for definitions of these terms). "Scattering" i s addressed by means of an equivalence l i s t , a l i s t of variant word forms to be l i s t e d under a standardized keyword lead term. The large amount of data to be processed makes i t impossible to solve these problems definitively i n advance of seeing a t r i a l print-out. Work, therefore, must proceed i n two stages: 1) pre-editing, wherein keywords are tentatively selected and a f i r s t equivalence l i s t drawn up for a t r i a l run; and 2) post-editing, wherein the t r i a l run i s assessed, and appro-priate modifications made for the second and f i n a l run. 65 SELECTION OF KEYWORDS The decision as to whether to use a stop-list or a go-l i s t to select the keywords for the Index was made on the basis of practicality. The vocabulary used i n the t i t l i n g of La Chronicrue Musicale i s wide-ranging and varied: almost any word, no matter how fanciful, may appear i n an opera t i t l e , for example. Since i t was considered that the number of words i n the data to be retained far exceeded those to be excluded, a stop-list was decided to be the most practical choice. The application of the stop-listing process was carried out i n four stages: 1) The data was copied into a f i l e and stripped i n preparation for producing a word frequency l i s t . 2) A word frequency l i s t was prepared and studied. 3) On the basis of this l i s t , certain classes of character strings were eliminated from the data copy. 4) A l i s t of individual character strings was then drawn up and these were eliminated. In the i n i t i a l stripping process, the following were removed from the data copy: 1) a l l data not intended for the t i t l e column of the T i t l e Catalogue, viz., a l l control codes i n columns 1-16, and a l l author and page number information; 2) a l l punctuation marks: periods, commas, semi-colons, etc. 3) a l l data codes for accents, raised characters and i t a l i c font. Each word was then analyzed as to i t s number of occurrences i n the data and i t s frequency per 1,000 words (see Fig. 32). 66 WORD FREQUENCY LIST (sample) a 52 9. ,415173 academie 1 0. 181061 achard 2 0. 362122 achille 1 0. 181061 acoustique 2 0. 362122 actes 5 0. 905305 adagio 1 0. 181061 adolphe 2 0. 362122 africaine 1 0. 181061 age 1 0. 181061 airs 6 1. 086366 albert 2 0. 362122 alcyone 1 0. 181061 a l l a c c i 2 0. 362122 allegorie 1 0. 181061 alphabetique 19 3. 440159 alphaud 1 0. 181061 amadis 2 0. 362122 amateur 1 0. 181061 ambassadrice 1 0. 181061 amedee 1 0. 181061 amour 3 0. 543183 amours 2 0. 362122 analytique 9 1. 629549 anastasi 2 0. 362122 ancienne 5 0. 905305 andante 2 0. 362122 andre 7 1. 267426 angot 1 0. 181061 annee 26 4. 707586 antique 1 0. 181061 apothicaire 1 0. 181061 appendice 1 0. 181061 apres 3 0. 543183 archives 2 0. 362122 arimathie 1 0. 181061 armide 2 0. 362122 arthur 2 0. 362122 articles 5 0. 905305 artistes 2 0. 362122 aspiration 1 0. 181061 astuzie 1 0. 181061 athenee 2 0. 362122 au 27 4. 888647 67 On the basis of this word frequency l i s t , the following classes of character strings were eliminated from the data copy: 1) A l l single characters except the music sigla code "#". It i s to be noted that after punctuation was removed i n preliminary data-s t r i p p i n g such characters as the "1" i n "1 'opera" and the "d" i n "d'apres" became single characters, and were thus deleted. This process i n effect removed a l l Arabic numerals from 1 to 9 and a number of small words of grammatical function only. 2) A l l character strings beginning with an Arabic numeral, except those of exactly 4 characters and those beginning with 4 characters and a hyphen, e.g., "1748", "1834-38". This, i n effect, eliminated number strings such as would occur i n the phrases "3 e acte", 2 e partie", etc., while retaining historical dates. 3) A l l Roman numerals from I to IX, both upper and lower case, such as would occur i n "Scene v i i " , "Acte III", etc. A stop-list of specific character strings to be eliminated was then formulated based on an examination of the word frequency l i s t . Words on this l i s t (see Fig. 33) f e l l into the following groups: 1) forms of address: "Dr", "Mme", "Mile", etc. 2) pronouns and possessives: " i l " , "nous", "ses", etc. 3) prepositions, conjunctions and other words of purely grammatical or syntactic function: "et", "au", "dans", etc. 4) spelled out ordinals: "deuxieme", "troisieme", etc., such as would commonly occur i n phrases such as "deuxieme partie", "troisieme article". "Premier/premiere" was retained as a useful keyword for identifying f i r s t performances. (continued on p. 70) 68 F i g . 3 3 PRE-EDIT STOP-LIST apres faut parties a r t i c l e fragment pendant a r t i c l e s fragments per au huitieme peu aux i l Pa-avec i l s pour bo i n precede ca jusqu precedee ce jusque propos ces l a qu cet l e quatrieme cette les que chapitre leur quelques chapitres leurs qui chez l i r eduit c i l u i reduits cinguieme ma reponse collaborateurs madame sa collaboration mes sans comme mesdames scene contre mesdemoisel les scenes da mis selon dans mile septieme de miles se r i e demandes mm series dernier mme ses derniere mmes s i c des mon sieur deuxieme monsieur sixieme d i ne s u i v i d i t nee sur divers neuvieme t i r e diverses no t i r e e dont nos t i t r e dr notre tome du nous tomes durant nouvelles t r a n s c r i t e l l e numero t r a n s c r i t e e l l e s on troisieme en ou un est pages une et par ve f a i t s p a r t i e v i v o l vols volume volumes vous za 6 9 5 ) i n f l e c t e d v e r b s : " d i t " , " e s t " , e t c . 6 ) o t h e r w o r d s t o o g e n e r a l i n m e a n i n g t o b e o f u s e i n i d e n t i f y i n g s u b j e c t m a t t e r : " c h a p i t r e " , " s u i v i " , e t c . A c o p y o f t h e d a t a h a d t h u s b e e n t r e a t e d i n t h e f o l l o w i n g t h r e e w a y s : 1) I t h a d b e e n s t r i p p e d o f a l l b u t T i t l e C a t a l o g u e i n f o r m a t i o n , o f p u n c t u a t i o n , a n d o f d a t a c o d e s . 2 ) S i n g l e c h a r a c t e r s a n d c e r t a i n n u m e r a l s h a d b e e n e l i m i n a t e d . 3 ) A s t o p - l i s t o f s p e c i f i c c h a r a c t e r s t r i n g s h a d b e e n p r e p a r e d a n d i t s c o n s t i t u e n t m e m b e r s e l i m i n a t e d . T h e w o r d s w h i c h r e m a i n e d a f t e r t h e s e t h r e e p r o c e s s e s h a d b e e n e f f e c t e d w e r e t h e k e y w o r d l e a d t e r m s u s e d f o r t h e f i r s t t r i a l r u n o f t h e K e y w o r d I n d e x . E Q U I V A L E N C E L I S T T h e p r o b l e m o f " s c a t t e r i n g " o r i n g i n a t e s i n t h e d i f f e r e n t i a l t r e a t m e n t g i v e n b y t h e c o m p u t e r t o w o r d s o f s i m i l a r m e a n i n g . T w o s o u r c e s o f " s c a t t e r i n g " i n c o m p u t e r i n d e x e s a r e : 1) S i m i l a r c o n c e p t s m a y b e r e p r e s e n t e d i n t i t l i n g b y d i f f e r e n t w o r d s , e . g . , " o p e r a " b y " l y r i c t h e a t r e " o r " m u s i c a l d r a m a " . 2 ) W o r d s d i f f e r i n g o n l y i n g r a m m a t i c a l i n f l e c t i o n , h o w e v e r s l i g h t , a r e l i s t e d s e p a r a t e l y , e . g . , " o p e r a " a n d " o p e r a s " . T h e f i r s t p r o b l e m c a n n o t b e s o l v e d b y c o m p u t e r . T h e s e c o n d p r o b l e m m a y b e s o l v e d b y m e a n s o f a n e q u i v a l e n c e l i s t , s p e c i f y i n g w h i c h v a r i a n t s o f a w o r d a r e t o b e l i s t e d u n d e r t h e s a m e l e a d t e r m . 7 0 The word frequency l i s t was studied to determine which variant forms existed i n the data. Based on this word frequency l i s t , words of the f o l -lowing kinds were equivalenced (see "Pre-Edit Equivalence List," Fig. 34, p. 72): 1) singulars and plurals: "concert/concerts", etc. 2) masculine and feminine forms: "vocal/vocale", etc. 3) similar terms i n languages other than French: "provengal/provengalo", etc. 4) words with similar roots and meanings: "bibliographie/bibliographique", etc. 5) other purely orthographic variations i n spelling: 11 fac-simile/facsimile", "reine/reyne", etc. In the pre-edit equivalence l i s t of Fig. 34 items are typed i n lower case without accents since i t i s i n this form that they are recognized by the computer. The f i r s t item of each pair i s the standardized lead term; character strings identical to either of the two items w i l l be l i s t e d under the f i r s t term only, and no lead term w i l l be created from the second. Groups of three words to be equivalenced require two pairs of entries. For example, the two pairs of equivalences on the l i s t francais / francaise francais / francaises w i l l cause the three words "frangais," "frangaise," and francaises" to be a l l l i s t e d under the lead term "FR7ANC7AIS." 71 F i g . 3 4 PRE-EDIT EQUIV7ALENCE LIST acte/actes a i r / a i r s anxDur/amours analyse/analysee ancien/ancienne anglais/anglaise annee/annees artiste/artistes beau/beaux beau/belle bibliograprde/^ibliographicjue bouree/bourees centenaire/centenari chanson/chansons chant/chants chanteur/chanteurs chinoi s/chinoise choeur/choeurs choral/chorale ccmmentaire/ccniriientaires concert/concerts concerto/concertos conservatoire/conservatoires conte/contes couplet/couplets dame/darnes danse/dansant danse/danser debut/debuts dedie/dediee dessin/dessins dieu/dieux dramticjue/dramtiques eleve/eleves esguisse/esquisses eventai1/eventails exercice/exercices fac-simile/facsimile favori/favorite femme/femrres fete/fetes francais/francaise francai s/francaises gaulois/gauloise george/georges hongrois/hongroise incendie/incendie inedit/inedites italien/italienne legende/legendes l u l l y / l u l l i lyrique/lyriques matinee/matinees rrere/rneres irdse/mises ncdeme/modernes mouvement/irouvements musical /musicale musical/musicales musicien/musiciens mythologie/mythol ogies noce/noces note/notes opera/operas orchestre/orchestres origine/origines parisiens/parisiennes passecaille/passacaille persan/persans pertrarque/petrarco piece/pieces poeme/poemes poesie/pouesio populaire/populaires premier/premiere premier/premieres premier/premiers professeur/professeurs provencal/provencalo reine/reyne remy/remi representation/representations rigaudon/r igaudons roi/rois roi/roy royal/royale russe/russes sacre/sacree saint/sainte saint/saintes salle/salles salon/salons societe/sccietes son/sons sonnet/sonnets spectacle/spectacles symphonie/symphonies synphonique/synphoniques tableau/tableaux theatre/theatres traduction/traductions traite/traites violon/violons vocal/vocale voyage/voyages 7 2 With the entering of the stop-list and the equivalence l i s t into the computer, the programme was ready to run. A t r i a l run of the Keyword Index was then produced according to the design specified. 7 3 C H A P T E R 8 P O S T - E D I T I N G T H E KEYWORD I N D E X I N T R O D U C T I O N P o s t - e d i t i n g a s s e s s m e n t o f t h e t r i a l n a n o f t h e K e y w o r d I n d e x r e v e a l e d s i x k i n d s o f p r o b l e m s : 1 ) t y p o g r a p h i c a l e r r o r s i n t h e d a t a b a s e ; 2 ) i r r e l e v a n t k e y w o r d s c r e a t e d w i t h h y p h e n s ; 3 ) u n h e l p f u l e q u i v a l e n c e s ; 4 ) t h e l a r g e s i z e o f t h e i n d e x ; 5 ) s c a t t e r i n g o f t h e n a m e s o f t h e a t r e s a n d c o n c e r t s e r i e s ; 6 ) t h e n e e d f o r m o r e m e a n i n g f u l s u b - a r r a n g e m e n t f o r h i g h - f r e q u e n c y t e r m s . E a c h o f t h e s e p r o b l e m s , a n d t h e p o s t - e d i t i n g r e s p o n s e t o t h e m , w i l l b e d i s c u s s e d i n t u r n i n t h i s c h a p t e r . T Y P O G R A P H I C A L E R R O R S T y p o g r a p h i c a l e r r o r s s t o o d o u t c l e a r l y i n t h e t r i a l r u n o f t h e I n d e x s i n c e t h e s l i g h t e s t v a r i a t i o n i n s p e l l i n g o f a t i t l e w o r d w o u l d r e v e a l i t s e l f g r a p h i c a l l y i n a s e p a r a t e ( m i s - s p e l l e d ) l e a d t e r m i n b o l d . T h e s e e r r o r s w e r e s i m p l y n o t e d d o w n a n d t r a c e d t o t h e i r o r i g i n s i n t h e d a t a b a s e w h e r e t h e y w e r e c o r r e c t e d f o r t h e s e c o n d r u n o f t h e I n d e x . 7 4 IRRELEVANT KEYWORDS WITH HYPHENS Another problem arose from the fact that hyphens had been erroneously eliminated i n the preparation of the word frequency l i s t , although they had been l e f t i n the copy of the data used to determine keywords. For this reason certain t r i v i a l keywords escaped notice and appeared i n the f i r s t run of the Index: 1) "-C", "-F", "-H" and "-S", resulting from i n i t i a l s which contained both hyphens and periods, the latter being stripped away in the i n i t i a l preparation of the data, e.g., i n such signatures as "J.-C.-H. Rinck". 2) the printing terms "in-12", "in-24", and "grand-in"; 3) the character string "chefs-d" from "chefs-d'oeuvres" after the apostrophe had been removed i n data stripping. These irrelevant terms were noted down and added to the stop-list for the second run of the Index. uTSIHELPFUL EQUIVALENCES The Equivalence L i s t i t s e l f had caused another problem: i t s equivalences had "buried" some words which deserved to stand alone, unequivalenced. The equivalence "beau/belle", for example, had caused the musical works La belle  Boubonnaise, La Belle au Bois Dormant and La Belle Poule to be l i s t e d under the keyword "BEAU". Clearly, these should more logically be found under the separate keyword, "BELLE". Similar equivalences had caused La Favorite to be l i s t e d under "FAVORI" and Les Parisiennes under "PARISIEN". In addition, the equivalence "roi/roy" was inappropriate since the "roy" noticed on the word frequency l i s t was not, as was believed, an archaic spelling of "ro i " (cp. "reine/reyne" on the same l i s t ) but rather the last name of the l i b r e t -t i s t Roy, and thus deserving of a separate keyword l i s t i n g . M l of these unhelpful equivalences were removed from the Equivalence L i s t for the second run of the Index. SIZE OF THE INDEX One of the most obvious problems with the Index was i t s large size: 237 pages and over 5,000 t i t l e sub-entries. This was due i n large part to the relatively small stop-list used. It was d i f f i c u l t to know from the word frequency l i s t the exact context of words being considered for deletion. The Pre-Edit Stop-List, therefore, had been deliberately cautious, since i t was considered that errors of omission could always be corrected for the second run, but errors of inclusion (i.e., putting too many words on the l i s t ) would pass unperceived and thus not be correctable. Many kinds of irrelevancies were noticed, swelling the size of the Index unnecessarily. F i r s t names of persons, for example, were not needed as keywords i f they were accompanied by last names, since the latter are the more logical lead terms: one looks up "LISZT" rather than "FRANZ", and "MASSENET" rather than "JULES". Similarly the names of musical works are most logically looked up under the f i r s t word which i s not an ar t i c l e , as i n a dictionary. La F i l l e du Regiment would be looked up under "FILLE" rather than "REGIMENT". M l words other than the f i r s t important word i n such t i t l i n g are therefore unnecessary keywords. Other words, retained as keywords through caution or inadvertence, were also recognized i n the t r i a l run as unhelpful or unlikely points of access to information, e.g., "HOMME", "GENERALE", "COMMENTMRE", etc. 76 The t i t l i n g of music scores often contained the phrases "musique de (composer)," or "paroles de (l i b r e t t i s t ) , " producing a large number of t i t l e sub-entries under the keywords "MUSIQUE" (40 t i t l e s ) and "PAROLES" (29 t i t l e s ) . But such t i t l e s are surely redundant, since their keywords merely assert the presence of music and text. Moreover, the t i t l e s of music con-tained i n the journal can easily be looked up i n the last section of the Index, under the music sigla keyword "•". Another major contribution to the size of the Index was the unnecessary repetition of certain t i t l e s . Many t i t l e s were found which recurred under a single keyword i n approximately the same form, taking a great deal of space merely to supply a new RIPM reference number with each repetition. Among such t i t l e s were a group of continuing rubrics, e.g., "Varia", l i s t e d 65 times, and articles i n a continuing series, e.g., Adolphe Jullien's 8-part series entitled "Histoire du theatre de Madame de Pompadour d i t Theatre des Petits Cabinets", l i s t e d 48 times. The l i s t i n g of the cumulative tables which were published at the end of each volume or pair of volumes was also particularly space-consuming i n the Index. The t i t l i n g segment i n Fig. 35 (RIPM 1874:208), for example Fig. 35 Table analytique et alphabetique des Tomes Cinquieme et Sixieme de La Chronicrue Musi- cale I. Table analytique des matieres [ l i s t e des articles] Illustrations. - Musique. II. Table alphabetique des redacteurs pour les Tomes V et VI de La Chronicrue Mu- sicale III. Table alphabetique des oeuvres musi-cales citees Table alphabetique des ncms cites 77 contains 23 occurrences of v a l i d keywords (e.g., "table", "analytique", "alphabetique"), and would therefore be li s t e d , i n whole or i n part, 23 times i n the Index. And there are 8 such listing s found i n the T i t l e Catalogue. Tit l e s were also repeated unnecessarily i f the same keyword occurred more than once i n the same t i t l e . Jul lien's 8-part a r t i c l e , for example, i s l i s t e d 16 times under the keyword "THEATRE": 8 times for the f i r s t occurrence of the keyword, and 8 more for i t s second occurrence. The cumulative tables of Fig. 35 would produce 5 sub-entries under the keyword "TABLE", 4 sub-entries under "ALPHABETIQUE", etc. In order to reduce the size of the Index for i t s second run, redundant, irrelevant and unwanted t i t l e sub-entries were deleted i n the following way: 1) If an unwanted t i t l e was the only t i t l e l i s t e d beneath an individual keyword, or i f a l l t i t l e s beneath a keyword were unwanted, that keyword was added to the stop-list. 2) If only some t i t l e s beneath a keyword were unnecessary and others were to be retained — deleting t i t l e s under the keyword "SUITE", for example where the meaning was "continuation i n a series" while retaining references to musical compositions by that name — i n such cases deletions were effected "manually", by selec-tive intervention i n the programme. Using whichever method was most appropriate, the following solutions were applied to the second run of the Index: 1) F i r s t names of persons were deleted i f accompanied by a last name, e.g., "Louis" i n "Louis Lacombe" but not i n "Louis XV". 78 2) Tit l e s of musical works: words following the f i r s t important word were deleted, except for the following kinds of terms, which were considered to be useful keywords: - words of nationality, e.g., "Symphonie espagnole" - genre terms, e.g., "Trio burlesque" - words l i k e l y to be especially helpful i n looking up a work, e.g., "Les Noces de Figaro" 3) Unhelpful words of the following kinds were deleted: - words of general meaning: "homme", "generale", etc. - spelled out numerals: "deux", "trois", etc. - months and days: "novembre", "jeudi", etc. - t i t l e s of nobility: "baron", "comtesse", etc. - 4-character strings beginning with an Arabic numeral which were not historical dates: "143e", "144e", etc. - the long date sequence "1763-781-1788-1871-1873" 4) "MUSIQUE" / "PAROLES": t i t l e s preceded by the music sigla were deleted beneath these keywords. 5) Repeated T i t l e s : - T i t l e s with the same keyword occurring more than once were permitted only one l i s t i n g per keyword: a l l others were deleted. - A l l t i t l e sub-entries referring to the cumulative tables were deleted as unnecessary. - Continuing rubrics and t i t l e s of ar t i c l e s i n a continuing series could not be deleted without deleting their RIPM reference numbers with them. These were therefore l e f t in. 79 T H E A T R E S A N D C O N C E R T S E R I E S T h e a t r e s a n d c o n c e r t s e r i e s w e r e n o t r e f e r r e d t o c o n s i s t e n t l y i n t h e s a m e w a y i n t i t l i n g . T h e s a m e t h e a t r e , f o r e x a m p l e , m i g h t b e r e f e r r e d t o a s " T h e a t r e d e l ' A t h e r e e " i n o n e t i t l e b u t s i m p l y a s " L ' A t h e n e e " i n a n o t h e r . I n t h i s c a s e b o t h t i t l e s c o u l d b e f o u n d i n t h e s a m e p l a c e i n t h e I n d e x u n d e r " A T H E N E E " , b u t i f t h e v a r i a n t s s h o u l d c o n s i s t o f h y p h e n a t e d a n d n o n - h y p h e n -a t e d f o r m s , e . g . , " V e n t a d o u r " a n d " T h e a t r e - V e n t a d o u r " , t h e y w o u l d b e w i d e l y s e p a r a t e d i n t h e I n d e x . I d e a l l y t h e n a m e s o f t h e a t r e s a n d c o n c e r t s e r i e s s h o u l d a l l b e l i s t e d t i n d e r a s i n g l e k e y w o r d l e a d t e r m , t o w h i c h o t h e r v a r i a n t s a r e e q u i v a l e n c e d , w i t h c r o s s - r e f e r e n c e s o f t h e f o r m " T h e a t r e d e 1 ' A t h e n e e , v o i r A T H E N E E " , t o g u i d e t h e r e a d e r t o t h e p r o p e r l e a d t e r m . S u c h s t a n d a r d i z a t i o n w o u l d h a v e t w o a d v a n t a g e s : 1) i t w o u l d a s s i s t t h e r e a d e r b y e l i m i n a t i n g t h e s c a t t e r c a u s e d b y h y p h e n a t e d v a r i a n t s ; 2 ) i t w o u l d s a v e s p a c e i n t h e I n d e x b y e l i m i n a t i n g r e d u n d a n t t i t l e s u b - e n t r i e s u n d e r v a r i a n t f o r m s . T h r e e e q u i v a l e n c i n g o p t i o n s a r e a v a i l a b l e t o a d d r e s s t h i s p r o b l e m . F i r s t o f a l l , o n e c o u l d e q u i v a l e n c e a l l v a r i a n t f o r m s t o t h e m o s t g e n e r a l t e r m f o u n d i n t h e l o n g e s t f o r m o f t h e v a r i a n t , e . g . , " t h e a t r e " , " s a l l e " , " c o n c e r t " . T h i s w o u l d b e a c o n v e n i e n c e t o t h o s e r e s e a r c h i n g a l l t h e a t r e s , h a l l s , c o n c e r t s , e t c . , b u t w o u l d i n c o n v e n i e n c e t h o s e r e s e a r c h i n g i n d i v i d u a l t h e a t r e s o r c o n c e r t s e r i e s , s i n c e t h e y w o u l d h a v e t o w a d e t h r o u g h a c o n -s i d e r a b l e a m o u n t o f m a t e r i a l t o l o c a t e t h e i r r e f e r e n c e s . S e c o n d l y , o n e c o u l d e q u i v a l e n c e a l l v a r i a n t f o r m s t o t h e m o s t s p e c i f i c t e r m u s e d i n t h e m o s t c o m p l e t e v a r i a n t f o r m , e . g . , " A t h e n e e " , " V e n t a d o u r " , " C o n s e r v a t o i r e " . T h i s o p t i o n w o u l d p r o v e t o b e o f m o s t b e n e f i t t o t h o s e 8 0 wishing to look up individual theatres or series, but would be of correspon-ding inconvenience to those researching theatres or concert series i n general. Thirdly, a l l variants could be equivalenced to a keyword formed by concatenating a l l the words contained i n the most complete version of the variant, e.g., "Theatre de l'Athenee", "Concerts du Conservatoire". This would be of benefit to researchers of both general and specific topics, since individual theatres and concert series would be distinct from each other, but a l l t i t l e s with the same f i r s t word would be l i s t e d i n the same general area of the Index, e.g., "THEATRE DE L'ATHENEE" followed by "THEATRE ITALIEN" followed by "THEATRE VENTADOUR". It should be noted that the amount of space saved by any one of the above three options i s identical, since a l l propose to l i s t variant forms under a single keyword. But the implementation of any solution would require: 1) intervention i n the data to insert special data codes linking multi-word t i t l e s together to permit them to function as single conglomerate terms on the Equivalence L i s t ; 2) the adaptation of the computer programme to permit the inser-tion of cross-references i n place of the equivalenced term i n the Index. The problems posed by these two steps are of such scope and complexity as to merit further study and experimentation. No solution was found for them i n the development of this prototype. 81 SUB-ARRANGEMENT OF HIGH FREQUENCY TERMS Some keywords produced a very large number of t i t l e sub-entries which would benefit from some form of sub-arrangement other than that provided by the chronological ordering of RIPM numbers. Most of these words derive from the t i t l i n g of review sections: "CONCERTS" (196 t i t l e s ) "THEATRE" (79 t i t l e s ) "REVUE" (77 t i t l e s ) "OPERA" (76 t i t l e s ) "MUSIQUE" (68 t i t l e s , after manual deletions; see p. 78) "SALLE" (42 t i t l e s ) "OPERA-COMIQUE" (33 t i t l e s ) "MUSICAL" (32 t i t l e s ) This problem remains unsolved i n the prototype produced due to the complexi-ties of programming i t s solution would seem to involve. Further research, however, should bear i n mind the following points: 1) The l i s t i n g s under the keywords "THEATRE", "CONCERTS" and "SALLE" would be considerably reduced i f these words were equivalenced to longer variant forms of theatres and concert series (see second and third options for equivalencing, pp. 80-81) 2) By the insertion of special data codes i t may be possible to create two separate keyword sections for the term "OPERA", v i z . , "OPERA (Theatre de 1')" and "OPERA (genre musical)". The high-frequency term "OPERA-COMIQUE" might also be treated i n the same way. 82 3) Recurring multi-word rubrics using the term "REVUE" might be divided into several composite keyword groupings of smaller size, e.g., "REVUE DES THEATRES LYRIQUES", "REVUE DES CONCERTS". Despite these p o s s i b i l i t i e s , there w i l l inevitably occur terms such as "MUSIQUE" for which no easy method of sub-arrangement seems lik e l y . It may be, then, that the system must remain "dirty" at this point, and that undif-ferentiated l i s t i n g s under certain large-use terms may be the price to be paid for the rapid machine manipulation of data. SECOND RUN OF THE INDEX A second run of the Index was produced incorporating changes i n the stop-list and equivalence l i s t , and using manual deletion to eliminate t i t l e s which could not be dealt with by means of the stop-list. In the course of post-editing the stop-list had been expanded from 135 words to 512 words, and the equivalence l i s t reduced from 105 pairs of words to 95 pairs. Both new l i s t s are given at the end of this chapter (Figs. 36 & 37_). The Post-Edit Stop-List indicates i n capitals those words retained from the Pre-Edit Stop-L i s t (Fig. 30, p. 69), and i n lower case those added for the second run. As in the Pre-Edit l i s t s , words are l i s t e d without accents, since this i s the form i n which the computer recognizes them. The Index i n i t s f i n a l form contained more than 500 t i t l e sub-entries fewer than i n the t r i a l run, and had been reduced from 237 to 182 pages. 83 Fig. 36 POST-EDIT STOP-LIST avis clement djan-em -c babel coeur-de-lion docteur - f baiser COLLABORATEURS DONT -h baronne COLLABORATIONS dormant -s basse colomb dort acte baucis comare dounai actes bemol COMME DR adolphe berimes ccmmentaire DU adrienne bienfaisante commentaires DURANT age BO complet ecus a i r bois complete edition airs borgia compose edmond albert borou composee edouard alexandre boudite compositions effets alfred bourbonnaise comte eleverent alphabetigue breve conclusion ELLE alphonse CA contestations ETiT.ES ambroise cantabile continue emile amedee cassee CONTRE emission amelie catarina coup EN analytigue Catherine cousine encore anatole caveau creux enfants andre CE DA ensemble anna celebre DANS epilogue annee certains dare ernest annees CES DE EST antonine cesar deoembre ET aout CET DEMANDES etc api CETTE demi eugene apparition ch denne exceptionnel application changement DERNIER exceptionnels applique CHAPITRE DERNIERE execute APRES CHAPITRES DES execution a r i c i e charles desert exprimees armand chefs-d detaillee externe arrangee cheveux deux extrait arthur cheveux DEUXIEME FAITS ARTICLE CHEZ devenue FAUT ARTICLES chirvan devient fees AU choisis DI f e l i c i e n audition chronique diable f e l i x auditions CI diane ferrariirinili augustin cinq dimanche ferrant autographes CINQUIEME dimensions feue autrefois cinquien DIT fevrier autres citations DIVERS f i l e s AUX citees DIVERSES f i l s AVEC clara dix f i n 8 4 POST-EDIT STOP-LIST (cent.) force Janvier mardi NO formant jean-Jacques marguerite nocturne fortune jeudi marie ncmbreuses FRAGMENT johann mariee ncms FRAGMENTS Josephine marignan NOS francis juan marius NOTRE francois j u i l l e t marquis NOUS gabrielle juin mars nouvel galant jules maschera NOUVFJ,T,FS galante Juliette mathis novembre general JUSQU matieres NUMERO generale JUSQUE matouchkie observations generales khale max occasion genre khoch melees octave george khorassan melle octobre georges kopyila menia oe i l g i l l o n kosake mercredi oeuvres giovanni koukouchetchka MES olga gloire LA MESDAMES omphale grace lac MESDEMOISETiTiES ON grand-in laure messieurs onze grece laurent michael onzieme guy lauro michel op henri LE mineur or henriette leon MIS ordre heures leopold mise oscar heureux LES mises otrante homrne LEUR MT.TiE OU horrirries LEURS MLLES oulitze huit LI MM PAGE HUITIEME l i e s MME PAR IL lieutenant MMES parenthese i l l u s t r a t i o n lioubeznaia moia parfumeuse illustrations longjumeau mois paroles ILS ludovic MON PARTIE impersonelle LUI monde PARTIES IN lundi MONSIEUR partons in-12 MA morceau pasquale in-24 macabre mostovoi passions indignation machabee moyenne paul inferieure MADAME mucarade pauline influence mademoiselle navarre pavee introduction maestro NE pelee invisible mai - NEE PENDANT irae maistre NEUVTEME penser iseult majeur nevers PER ive manquee nicolas pere Jacques marcellus niels peris 8 5 POST-EDIT STOP-LIST (cant.) perpetuel revers TIREE perruquier role TTTRE PEU rouh TOME peut-etre rue TOMES philippe SA TRANSCRIT phi l l i p e saeculare TRANSCRITE pittoresque samedi troi s PO SANS TROISIEME point sarafane UN pollux SCENE UNE position SCENES u t i l i t e poule scia vach FOUR seance VE PRECEDE SELON vendredi PRECEDEE sept vengees precurseur septembre venir premier SEPTIEME vert preuves SERIE vert principal ement SERIES VT professe SES victor PROPOS seviglia victorin QU Seville vingt-six quatre SIC VOL QUATRIEME SIEUR volghie QUE singuliere VOLS QUELQUES singuliers VOLUME QUI six VOUS rapports SIXIEME vue redacteur sobi wolfram redacteurs solitude yvetot reduction SUIVT ZA REDUIT sujet zacharie REDUITS SUR 143e remi sylvain 144e remy syrom 145e rendus table 146e REPONSE t e l l 147e representation teodor 148e reproduction thule 1763-1781-1788-1871-1873 republicaine tiberiade resultants timbalier resume TIRE 86 Fig. 37 POST-EDIT EQUIV/ALENCE LIST airateur/anateurs amour/amours analyse/analysee anciens/ancienne anglais/anglaise artiste/artistes beau/beaux biblicgraphie/biblicgraphique bouree/bourees centenaire/centenari chanson/chansons chant/chants chanteur/chanteurs chinois/chinoise choeur/choeurs choral/chorale concert/concerts concerto/concertos conservatoire/conservatoires conte/contes couplet/couplets dame/dames danse/dansant danse/danser debut/debuts dedie/dediee dessin/dessins dieu/dieux drairatique/dranatiques eleve/eleves esquisse/esquisses eventai1/eventails exercice/exercices f ac-simile/ f acsirriile ferrme/femrres fete/fetes francais/francaise francais/francaises gaulois/gauloise hongrois/hongroise incendie/ incendies inedit/inedites italien/italienne legende/legendes l u l l y / l u l l i lyrique/lyriques matinee/matinees mere/meres rnoderne/modernes musical/musicale musical/musicales musical/musicaux musicien/musiciens mythologie/mythologies noce/noces opera/operas orchestre/orchestres origine/origines passecaille/passacaille persan/persans petrarque/petrarco piece/pieces poeme/poemes poesie/pouesio populaire/populaires premiere/premieres prerruere/premiers professeur/professeurs profession/professions provencal/provencalo reine/reyne representation/representations riguadon/rigaudons roi/ r o i s royal/royale russe/russes sacre/sacree saint/sainte salle/salles salon/salons societe/societes son/sons sonnet/sonnets spectacle/spectales symphonie/symphonies syrrphonique/symphoniques tableau/tableaux theatre/theatres traduction/traductions traite/traites violon/violons vocal/vocale voyage/voyages 87 CHAPTER 9 AUTHOR INDEX INTRODUCTION An author index i s an integral part of the RIPMxix cataloguing system. Its design, however, has remained unspecified. It w i l l be one of the contri-butions of this thesis to design such an index, specifying what elements are to be included and how they are to be arranged on the page; and to supervise the implementation of that design by a professional computer programmer, out-lining the programme used, problems encountered and solutions applied. DESIGN OPTIONS Two options are available for the content of a RIPMxix author index: such an index may l i s t both t i t l e and RIPM number for a l l a r t i c l e s by an i n d i v i -dual author; or authors' names may be l i s t e d with RIPM numbers alone. Ap-plying the f i r s t option would provide more information for the reader with which to judge the relevance of each reference than would be available under the second option. This f i r s t option, however, would also produce an index as long, or longer, than the T i t l e Catalogue i t was meant to supplement. Given that the combined T i t l e Catalogue, Iconography Appendix, L i s t of Variants and Keyword Index generate a large number of pages — over 250 pages alone for La Chronique Musicale's four-year run, size must be an important consideration i f the resulting reference tool i s to be a manageable one. The second option was therefore chosen: authors' names are presented with RIPM numbers alone. 8 8 The form of the RIPMxix author index offers two choices as well. While most indexes are set i n "flush and hang," i.e., "the f i r s t l i n e i s set f l u s h and the rest of the entry i s indented below it,""'" the arrangement of sub-entries may be i n either "run-in" or "indented" style. In "run-in" style sub-entries follow one another without interruption i n a continuous paragraph,2 as i n the following example; Fig. 38 J Josquin des Prez (==Jusquiii d'Ascanio): biogr., 228ff; J. 's historical position, 4, 459, 506; Bartoli's opinion of J., 259f; sec. voc. mus., 118, 165, 205, 230ff (in c l . Ex 43), 266, 284, 286, 340f, 536, 583, 588; sacr. mus., 73, 102, 235ff ( i n c l . Exx. 45-50), 262, 270, 279, 336, "342f, 371, 475, 511, 565, 675 ( i n c l . Ex. 52) 690, 703ff; J.'s style compared with Palestrina's, 460, 466, 468, 481; t r a i t s of J.'s style mentioned elsewhere, 4, 76, 106, 188, 355, 461; see also 93, 100, 123, 137, 147, 181, 184ff, 190f, 219ff, 223, 227, 273, 277f, 285, 293, 303, 308f, 335f, 338, 344, 368, 372, 375, 401, 409, 450, 472, 512, 517, 532, 591, 618, 623, 629, 645, 662f, 666, 674, 679, 681, 689, 697, 724, 726, 754, 774f In "indented" style, each sub—entry begins a new line, with continued lines further indented, 4 as i n this example: Fig. 39 5 Indexes abbreviations i n , 18.87, 18.97, 18.103, 18.25 alphabetizing, 2.114, 18.59, 18.92-125, 18.128, 18.135 authors' names i n , 18.2, 18.90-91, 18.134, 18.139 author's responsibility for, 2.3n capitalization i n , 18.58 chronological order i n subentries, 18.51, 18.101 column width i n , 18.130-32, 19.42 computer-generated, 18.24 copies of, 2.4, 2.31, 18.60 copyediting, 2.114, 18.126-29 89 The determining factor i n selecting a precise form for the index i s the nature of the data i t w i l l be expected to arrange. Author data i n RIPMxix indexes i s relatively simple. The only sub-categories needed are year num-bers — i n the case of this prototype, the years 1873, 1874, 1875 and 1876. Moreover, many authors contribute i n one year only, few i n a l l four. Clearly, the complexity of the indented style i s not needed for so simple an arrangement. Run-in style, therefore, i s used, with RIPM numbers presented a continuous paragraph. DESIGN SPECIFICATIONS Each page of the index i s framed by: 1) the running head "Index des  Auteurs" i n i t a l i c s i n the top right corner; 2) a horizontal line the width of the page separating the running head from the text; and 3) a page indica-tion at the bottom of the page. Information i s arranged i n two columns on the page. Authors' names are l e f t - j u s t i f i e d i n each column, taking the form of a dictionary entry, with author elements and their punctuation presented i n the following form: 1) author's last name 2) a comma 3) elements preceding the author's last name, presented i n normal word order as follows: a) t i t l e s and forms of address, e.g., "Dr", "Le Chevalier" b) f i r s t names and/or i n i t i a l s c) the particle of nobility ("de" or "van") or lineage indication, e.g., " f i l s " 4) a carima. 9 0 The author's last name i s placed i n bold font; a l l other elements are i n regular font. The following are typical examples: Pougin, Arthur Elewyck, Le Chevalier van Banville, Theodore de Burq, Dr V. The f i r s t author entry i s "Anonyme". Following this, authors' names are alphabetized "word-by-word," e.g., "Le Trioux" i s alphabetized under "Le", preceding "Lebuys" i n the Index, rather than following "Lemaire". Hyphens within names, e.g., "Themines-Lauzieres", are counted as f u l l characters, individually alphabetized before the letter "a". The references l i s t e d with each author entry take the form of RIPM numbers presented i n a continuous paragraph, with second and subsequent lines of the paragraph indented roughly 3 spaces from the l e f t margin. RIPM numbers are l i s t e d with a l l relevant superscripts attached, e.g., "7 l c o" f "37r", »i47 r/ i c°». References are arranged chronologically by year groups, and within year groups, i.e., 1873 RIPM numbers before those of 1874, 1873 RIPM# 63 before 1873 RIPM# 64. Each RIPM number appears only once within a year group, even i f the author i s responsible for more than one a r t i c l e within an individual RIPM unit. Each year group begins with a year abbreviation composed of the l a s t two d i g i t s of the year and a colon, both i n bold, e.g., " 7 3 : " f o r the year 1873. The l a s t RIPM number i n each year group i s followed by a semi-colon i f another year group i s to follow, but the l a s t RIPM number i n each reference paragraph receives no terminal punctuation. Spacing within the index i s designed to create as compact an index as possible: 1/2 line between individual reference paragraphs; no space between lines of the same paragraph. 91 DESIGN IMPLEMENTATION With the design of the Index specified, i t s production passed to the computer-programming stage, wherein a programme was devised to manipulate the data base into the form desired. In order to understand this process more thoroughly, i t may be useful at this point to review the nature of author information and the way i n which i t i s stored i n the data base. The data base stored author information i n two data fields, separated by the symbol ">" (see "Data Entry", p. 37). But an author's signature as i t appears at the end of an a r t i c l e may contain more than two distinct elements, vi z . , 1) a last name or i n i t i a l 2) indications of a f f i l i a t i o n , origin or occupation, e.g., "de Geneve" or "Directeur des Beaux-Arts" 3) f i r s t names of i n i t i a l s 4) the particle of nobility ("de" or "van") The data base stores information of types 1) and 2) i n one data f i e l d , and that of types 3) and 4) i n another, e.g., This arrangement f a c i l i t a t e s production of the T i t l e Catalogue by allowing for a relatively simple reconstruction of each author's f u l l signature. To produce the form which eventually appears i n the author column of the T i t l e Catalogue, the computer programme merely reverses these two data fields and combines them: F i l i p p i > J. de Gerard (ancien bibliothecaire) > A. F i l i p p i > J. de Gerard (ancien bibliothecaire) > A. becomes becomes J. de F i l i p p i A. Gerard (ancien bibliothecaire) 92 The s u i t a b i l i t y of this data arrangement for the generating of T i t l e Catalogue author entries has definite implications, however, for the genera-ting of the corresponding author entries i n the Author Index, as w i l l be seen. The computer programme devised for the Author Index, while complex, may be conceived of i n terms of five basic steps: Step 1: The two data fields containing author information are extracted from a l l lines of data and stored i n association with their relevant year indications and RIPM numbers. Step 2: The extracted information i s then sorted according to the following schedule of nested priorites: a) alphabetically by f i r s t author data f i e l d (i.e., by authors' last names or i n i t i a l s ) b) within sorting pattern a) sorted alphabetically by second author data f i e l d (i.e., by f i r s t names or i n i t i a l s ) c) within sorting pattern b) sorted numerically i n ascending sequence by year d) within sorting pattern c) sorted numerically i n ascending sequence by RIPM number Fig. 40 displays a sample of the sorted data. 9 3 Fig. 40 Marcello >H. >1876> 20> > Marcello >H. >1876> 21> > Marcello >H. >1876> 32> > Maret >H. >1875> 131> > Millaud >Albert >1873> 64> > Monselet >Charles >1873> 7> > Monselet >Charles >1873> 64> > Mulsane > >1873> 84> > Mulsane >E. >1873> 33> > Mulsane >E. >1874> 56> > N. >E. >1874> 21> > N. >E. >1874> 48> > Neukornm >E. >1875> 101> > Neukornm >E. >1875> 107> > Neukornm >Edmond >1873> 51>i> Neukornm >Edmond >1873> 70> > Step 3: The sorted data i s then analyzed to determine: a) which lines of data are exact duplicates, i . e . , completely identical to other lines of data i n a l l four data columns; b) which lines of data share identical information i n columns 1 and 2 (author's last and f i r s t names, respectively). Step 4: The data i s edited i n the following way: a) duplicate lines of data — caused when one author i s responsible for several ar t i c l e s within the same unit — are deleted; b) lines sharing identical information i n columns 1 and 2 (and representing, therefore, references to articles by the same . author) are collected together to form groups which w i l l become the individual author entries of the Index. Step 5: Columns 1 and 2 are concatenated together to form an author lead term for each group, and the RIPM numbers and year indications stored with them arranged i n the paragraph format described i n the Design Specifications (p. 91). 94 The nature of the data base gives r i s e to three kinds of problems when the above programme i s applied to i t . F i r s t of a l l , a r t i c l e s by the same author which are stored under marginally different signatures i n the data base w i l l be l i s t e d separately, since the programme separates out and groups together only those references with exactly identical signatures. Separate li s t i n g s would be generated, for example, for articles signed "Paul Foucher" and those signed "P. Foucher"; and similarly for those signed "Henri Cohen" and "Henry Cohen" (the latter perhaps a typographical error). A second but very similar problem arises from the use of i n i t i a l s as signatures. The tables published at the end of each tome or set of tomes make clear the identities of authors represented by i n i t i a l s (they are a l l regular contributors to the journal). But for reasons stated above, articles signed "A.H.", for example, would be l i s t e d separately from those signed "Arthur Heulhard", and similarly for articles signed "H.C." and "Henri Cohen". Thirdly, the storing of various kinds of qualifying information (indica-tions of a f f i l i a t i o n , origin, occupation, etc.) i n the same data f i e l d which contains authors' last names makes i t impossible, by means of the programme alone, to create the proper dictionary entry form required, i n some cases. Data stored as "Lavoix f i l s > H.", for example, w i l l create the lead term "Lavoix f i l s , H." instead of the desired "Lavoix, H. f i l s " ; that stored as "Gerard (ancien bibliothecaire) > A." w i l l create the awkward and inappro-priate lead term "Gerard (ancien bibliothecaire), A." instead of the simpler "Gerard, A." The solution to these problems required manual intervention i n the pro-gramme between Steps 2 and 3. After the data had been preliminarily sorted as i n Fig. 40 (Step 2), but before i t had been analyzed f o r s i m i l a r i t i e s 9 5 (Step 3), the following changes were effected: 1) M l variant forms of an author's name, including i n i t i a l s , were standardized i n the f i l e to conform to the most complete or most common version, e.g., a) "Henry" was changed to "Henri" for "Henri Cohen" since the latter i s the most common version. b) "P." was changed to "Paul" i n a l l instances where i t occurred with "Foucher" so that a l l relevant lines would read "Paul Foucher", the most complete form. c) Using the journal's published tables as a guide, i n i t i a l s were expanded: "A.H." to "Arthur Heulhard", "H.C." to "Henri Cohen", etc. 2) Information was transfered from one data f i e l d to another i f a more appropriate lead term would result. Only one case occurred: "Lavoix f i l s > H." was changed to "Lavoix > H. f i l s " . 3) Inappropriate parenthetical information was deleted. Four cases were found: a) "Chennevieres (Directeur des Beaux-Arts) > Phillipe de" b) "Gerard (ancien bibliothecaire) > A." c) "Guichon (de Geneve) > Alfred" d) "Le Trioux [red.] > 0." * The resulting Index produced, after one of 1 1/4 pages i n length, l i s t i n g a total of 548 RIPM reference numbers. * * the above solutions were applied, was 64 authors (including "Anonyme") and 96 CHAPTER 9 ENDNOTES 1. Chicago Manual of Style, 13th edition (Chicago: The University of Chicago Press, 1983): 517. 2. Ibid., p. 517. 3. Gustave Reese, Music i n the Renaissance, revised edition (New York: W.W. Norton & Co., 1959): 981. 4. Chicago Manual of Style, p. 517. 5. Ibid., p. 712. 97 C H A P T E R 10 C O N C L U S I O N S U M M A R Y T h i s t h e s i s h a s p r o d u c e d a c o m p l e t e R I P M x i x c a t a l o g u e o f L a C h r o n i q u e  M u s i c a l e i n f i v e p a r t s . 1) T i t l e C a t a l o g u e : a c h r o n o l o g i c a l c h e c k l i s t o f t h e c o n t e n t s o f e a c h i s s u e a ) l a b e l l i n g d i s t i n c t s e c t i o n s o f j o u r n a l m a t e r i a l w i t h R I P M r e f e r e n c e n u m b e r s , b ) l i s t i n g t h e t i t l e , a u t h o r s a n d i n c l u s i v e p a g i n a t i o n o f a l l a r t i c l e s a n d n o t e s ( i n p r o s e a n d v e r s e ) a n d o f a l l m u s i c a l e x a m p l e s , e x c e r p t s a n d s c o r e s , c ) a c c o u n t i n g f o r t h e p r e s e n c e o f i c o n o g r a p h y b y m e a n s o f t h e " i c o " s u p e r s c r i p t a t t a c h e d t o r e l e v a n t R I P M n u m b e r s , d ) i n d i c a t i n g w h i c h a r t i c l e s a r e r e v i e w s b y m e a n s o f t h e a t t a c h e d s u p e r s c r i p t " r " . 2 ) I c o n o g r a p h y A p p e n d i x : a s e p a r a t e l i s t i n g o f a l l i l l u s t r a t i o n s , g i v i n g f o r e a c h p i e c e o f i c o n o g r a p h y i t s c a p t i o n , d i m e n s i o n s , p a g i n a t i o n r e f e r e n c e a n d r e l e v a n t R I P M n u m b e r . 3 ) L i s t o f V a r i a n t s : a l i s t i n g o f v a r i a n t p a g i n a t i o n r e f e r e n c e s i n t h e c o p i e s o f t h e j o u r n a l h e l d b y t h e U n i v e r s i t y o f B r i t i s h C o l u m b i a , t h e N e w Y o r k P u b l i c L i b r a r y a n d t h e L i b r a r y o f C o n g r e s s . 9 8 4) Keyword Index: a selective KWOC index of important words ocoorring i n t i t l i n g , with keywords presented both "out of context", i.e., as index lead terms, and "in context", as sub-entries beneath these, surrounded by the t i t l i n g of which they are a part. 5) Author Index: a l i s t i n g of a l l authors appearing i n the journal's run and the RIPM numbers of a l l a rticles for which each was responsible. While i t i s hoped that this prototype catalogue might be a useful b i b l i o -graphic tool i n i t s own right, i t s production has immediate implications for the advancement of the RIPMxix bibliographic effort as a whole. Its comple-tion involved the development of three separate computer programmes, viz., those used to produce 1) the T i t l e Catalogue, Iconography Appendix and L i s t of Variants; 2) the Keyword Index; 3) the Author Index. With the major problems of data manipulation and the general formatting of output substantially resolved, the prospect of beginning to control the corpus of 19th-century music periodical literature by means of the RIPMxix indexing system i s brought significantly closer to realization. The work of future RIPMxix research may now focus on refinement of presentation. 99 FURTHER RESEARCH Since neither computer funds nor time for consultation with the computer programmer were unlimited, more design p o s s i b i l i t i e s were conceived of than could be experimented with and perfected. Four main topics for further research may therefore be suggested. A l l four concern the presentation of information i n the Keyword Index. F i r s t of a l l , considerable space might be saved i n the Keyword index i f a frequently recurring t i t l e did not have to be repeated merely to indicate a l l the RIPM numbers with which i t i s associated. The 65 occurrences of the single t i t l e "Varia", for example, take up more than a f u l l page of print. Far prefereable would be the following design, modelled after that of the Author Index: V A R I A Varia 7 3 : 9, 18, 26, 35, 45, 54, 63, 70, 77, 86, 93, 100; 7 4 : 9, 16, 24, 32, 42, (etc.) Secondly, space might also be saved i n the Keyword Index i f t i t l e s with more than one occurrence of the same keyword did not have to be printed as many times as the keyword occurs, but instead were printed once only, with a l l occurrences of the keyword highlighted i n bold i n the same t i t l e , e.g., THEATRE Histoire du theatre de Mme de Pompadour d i t Theatre des Petits Cabinets A third topic for research involves the standardization of names of theatres and concert series i n the Keyword Index. Three options for consideration and experimentation have been discussed on pp. 80-81. 100 A fourth topic involves the sub-arrangement of large-use keywords such as "THEATRE" OR "OPERA" into smaller sections. Po s s i b i l i t i e s for such sub-arrangement have been discussed on pp. 82-83. FUTURE RIPMxix INDEXING The use of the computer for indexing the 19th-century musical press introduces a welcome element of speed into an enterprise whose chief obstacle i s the vast quantity of material i t must confront. The computer f a c i l i -tates indexing i n i t s capacity as both logical manipulator of data (selecting t i t l e s containing certain keywords, arranging them chronologically by RIPM number, etc.) and as word processor (formatting the manipulated data into a presentable form on the printed page). Despite these machine capabilities, i t was found that the production of this prototype inevitably required some manual intervention on the part of the indexer, viz., to edit out selectively certain unwanted t i t l e s from the Keyword Index while retaining others, and to standardize the variant forms of authors' signatures i n order that a l l relevant RIPM numbers would be l i s t e d under the one name to which they applied i n the Author Index. The production of indexes by computer w i l l always involve some trade-off between speed and quality. A completely machine-produced index would be, i n the words of the trade, "quick and dirty", i.e., rapidly produced, but of uneven quality and relevance of material. Manual intervention can take much of the "dirtiness" out of the raw machine-generated product, but i n turn slows down i t s production. It remains, then, for future RIPM research to establish the right balance between the "quickness" desired and the "dirtiness" tolerable i n a RIPMxix catalogue. 101 RIPMxix research w i l l have other problems to face as well. The small size of this journal's run may well have masked certain d i f f i c u l t i e s which w i l l inevitably confront the indexer who attempts to index a journal of much larger run. With such journals manual intervention on a t i t l e - b y - t i t l e or author-by-author basis may not be practical, due to the size of the data base involved. Most sensitive to an increase i n the size of the data base i s the problem of long l i s t s of t i t l e entries under the same keyword i n the Keyword Index. This problem would be especially acute for general terms such as "MUSIQUE", for which the chronological arrangement by RIPM number i s less useful than i t i s for event-related terms such as "CONCERT" or "REVUE". Given the range and variety of t i t l i n g to be found i n 19th-century journals, i t i s indeed l i k e l y that other problems w i l l arise i n treating journals of longer runs, i n other languages, and from other periods i n the century. It i s hoped, however, that the production of this RIPMxix prototype w i l l have demonstrated the v i a b i l i t y of the title-derivative approach taken by the RIPMxix system, that i t w i l l have exposed some of the problems posed by that approach, and some of the means available for dealing with them, and that i n these ways may have contributed to the establishment of control over the 19th-century musical press. 102 BIBLIOGRAPHY Anderson, Gilian. "Unpublished Indexes at the Library of Congress and else-where i n the United States of America." Fontes Artis Musicae 31, No. 1 (January/March 1984): 239-256. Basart, Ann P. "Access to 19th-century English-Language Periodicals." Current Musicology 31 (1981): 65-70. Bell, Marion V. and Jean C. Bacon. Poole's Index Date and Volume Key. Chicago: Association of College Research Libraries, 1957. Bennett, Scott. "The Bibliographical Control of Victorian Periodicals." In Victorian Periodicals: A Guide to Research, edited by J. Don Vann and Rosemary Van Arsdel. New York: The Modern Language Association of America, 1978, pp. 21-51. Biological Abstracts: Semi-annual Cumulative Index. Bradley, Carol June. "The Music Library Association: The Founding Generation and Its Work." Notes 37, No. 4 (June 1981): 763-822. Brook, Barry S. "Music Documentation i n the Future." In Musicology and the  Computer. Musicology 1966-2000: A Practical Program. Three Symposia, edited by Barry S. Brook. New York: The City University of New York Press, 1970, pp. 28-36. The Chicago Manual of Style. 13th Edition. Chicago: The University of Chicago Press, 1983. Cohen, H. Robert. "The Nineteenth-Century French Press and the Music Historian: Archival Sources and Bibliographical Resources." 19th-century  Music 7, No. 2 (Fall 1983): 136-142. . "On the Structure of the Repertory: RIPMxix Series A and Series B." Fontes Artis Musicae 30, Nos. 1/2 (January/June 1983): 65-72. , Donald G. Gislason and Car l a Biberdorf. RIPMxix Series A Guidelines. 2 Vols. Vancouver: Centre international de recherche sur l a presse musicale, 1983. , Marcello Conati and Elvidio Surian. "Centres Internationaux de Recherche sur l a Presse Musicale (CIRPM), Repertoire International de l a Presse Musicale du Dix-Neuvieme Siecle (RIPMxix): A Preliminary Report." Fontes Artis Musicae 28, Nos. 1/2 (January/June 1981): 105-106. Cushing, Helen Grant and Adah V. Morris, eds. Nineteenth-Century Reader's  Guide to Periodical Literature. 2 Vols. New York: H.W. Wilson Co., 1944. 103 Bibliography (cont.) Dearing, Vinton. Transfer Vectors for Poole "s Index to Periodical  Literature. Los Angeles: Pison Press, 1967. Duckies, Vincent. "Patterns i n the Historiography of 19th-century Music." Acta Musicologica 42 (1970): 75-82. Feinberg, Hilda. Title-Derivative Indexing Techniques: A Comparative Study. Metuchen, N.J.: The Scarecrow Press, 1973. Fellinger, Imogen. Verzeichnis der Musikzeitschriften des 19. Jahrhunderts. Regensburg: Gustave Bosse Verlag, 1968. "General Reference Works: Periodicals." In Guide to Reference Books, edited by Eugene Sheeny. 9th Edition. Chicago: American Library Association, 1976, pp. 160-176. Galim, Saul and Peter Spielberg. Reference Books: How to Select and Use  Them. New York: Random House, 1969. Haskell, Daniel C. A Checklist of Cumulative Indexes to Individual Periodi- cals i n the New York Public Li hrary. New York: The Modern Language Association of America, 1978. Hi l l e r , Mary Ruth. "The I d e n t i f i c a t i o n of Authors: The Great Victorian Enigma." In Victorian Periodicals: A Guide to Research, edited by J. Don Vann and Rosemary T. Van Arsdel. New York: The Modern Language Association of America, 1978, pp. 123-148. Houghton, Walter E., ed. The Wellesley Index to Victorian Periodicals  1824-1900. 3 Vols. Toronto: University of Toronto Press, 1966-1979. Lambert on, Elizabeth. "A Comparative Study of Methods of Indexing." Unpub-lished Youth Employment Project paper prepared under the direction of H. Robert Cohen, University of B r i t i s h Columbia, 1981. Madden, Lionel and Diana Dixon. The Nineteenth-Century Periodical Press i n Britain: A Bibliography of Modern Studies 1901-1971. New York and London: Garland Publishing Inc., 1976. Mixter, Keith E. General Bibliography for Music Research. Detroit Studies  i n Music Bibliography No. 4. Detroit: Information Service Incorporated, 1962. The New Grove Dictionary of Music and Musicians. S.v. "Periodicals". (XTV, 407-535). "Periodicals Selected for Priority Indexing by Members of the Commission Internationale Mixte and the Commission for Bibliographical Research." Periodica Musica 1 (Spring 1983): 2-5. 104 Bibliography (cont.) Poole, William Frederick. Poole's Index to Periodical Literature. Revised edition. 6 Vols. Gloucester, Mass.: Peter Smith, 1963. Pougin, Arthur. "Notes sur l a presse musicale en France." In Encyclopedie de l a Musique et Dictionnaire du Conservatoire II, Vol 6. Paris: Librairie Delagrave, 1931, pp. 3841-3859. Taylor, Archer. General Subject Indexes Since 1548. Philadelphia: University of Pennsylvania Press, 1966. Wall, Edward C, ed. Cumulative Index to Poole's Index to Periodical  Literature, 1802-1906. Ann Arbor, Mich.: Pierian Press, 1971. Watanabe,Ruth T. "American Music Libraries and Music Librarianship: An Overview i n the Eighties." Notes 38, No. 2 (December 1981): 239-256. . Introduction to Music Research. Englewood C l i f f s , N.J.: Prentice-Hall Inc., 1967. Woolf, Michael, John S. North and Dorothy Dearing, eds. The Waterloo  Directory of Victorian Periodicals, 1824-1900. Phase I. Montreal: Wilfred Laurier Press, 1976. 105 LA CHRONIQUE MUSICALE RIPMxix Sfcrie A (Prototype) 106 C A T A L O G U E C H R O N O L O G I Q U E 107 1873: 1-15 RIPM# Titre Autear Pago Tome 1, No. 1 l e r juillet 1873 i c o [pages de titre] Preface Esquisse historique sur la presse musicale en France Rossini chez lui Les chansons de village en Bretagne George Hainl [necrologie] La clef du caveau [poeme] Les fondateurs de l'opera francais [Introduction] Lulli • Air de Pan (1677) [dT Isis (Acte III -Scene 7) [par] J. B. Lulli • Chacone de Roland (1685), tragedie ly-rique de J. B. Lulli, transcrite pour pia-no par P. Lacome Varia [Correspondance: Une statue a Rossini au Grutli (Suisse)] Faits divers Nouvelles Tome 1, No. 2 10 11 Legendes musicales Esquisse historique sur la presse musicale en France (2e article) [texte] Appendice bibliographique Arthur Heulhard Er. Thoinan Alexis Azevedo Chainpfieury ArthuT Pougir. Charles Monselet P. lacome O. Le Trioux [red.] Albert de Lasalle Paul de Saint-Victor Er. Thoinan E. T. 12 13 14 15 i c o Curiosit6s des archives de l'Opera: Les origines Ch. Nuitter de rOp6ra-Comique L'Histoire en chansons 1870 - 1871 - 1872: 1870-1871 Lauro Rossi • Hymne national persan suivi de 10 airs popu-lates persans pour le piano paT A. Lemaire • [Hymne national persan] •Tesnif turkomani (Chanson turkomane) •Bya berimes dukter khale (Viens, par-tons ma cousine) • Ghoche tesnif khorassan (Chanson du khorassan) J. B. Wekerlin Ernest David 1-4 5-12 13-17 18-23 24-27 28-33 34-37 38-43 (38-40) (40-43) (3pp, 40/41) (5pp, 40/41) 44-48 (44-45) (45-46) (47-48) 15 juillet 1873 49-54 55-59 (55-58) (59) 60-67 68-75 76-80 (8pp, 80/81) - 108 1873: 16-23 RIPM# Titre Auteur Page Tome 1, No. 2 (suite) •Chekki chirvan (Chanson de chekki chirvan) •Emtchu-Emtchoun (Comme ci - com-me ca) •Tesnif kurede (Chanson kurde) • Youssef khoch rouh (Le beau Joseph) • Amann Leyli (De grace Leyli) • Chaszade scia vach (Le prince aux che-veux noirs) •Leyli Leyli djan-em (Caere Leyli) -16 La musique des Persans 17r Revue musicale [Notre systeme de critique impersonelle] Samedi 28 juin [Athen6e: Ixmarie, Royal Champagne] Mardi ler juillet [Opera-Comique: Doni-zetti, La Fille du Regiment. D6buts de Mile Isaac] Mercredi 2 juillet [Opera-Comique: Masse, Galathee. Debut; de Mile Frank, MM. Bouhy, Duvernoy et Vicini Samedi 5 juillet [Op6ra-Comique: Debuts deM. Dekeghel] 18 Varia [Correspondence: Lettre de Strasbourg en reponse au projet de M. cie Lasalle] Fairs divers Nouvelles Tome 1, No. 3 19 20 21 22 23 i c o Grandeur et decadence musical es: Les theatres lyriques a Paris L'Histoire en chansons (suite et fin) [1870-1871] 1872 L'Op6ra en juillet 1789 d'apres le journal de Francoeur Lauro Rossi (suite et fin) Les fondateurs de l'opera frangais (deuxieme article) [Lulli (suite)] • Recit de Bacchus [de] Thetis et Pel'ee (1689) (Acte V). Paroles de Fontenelle. Musique de Colasse. Albert de Lasalle Arthur Heulhard O. Le Trioux [red.] Xavier Aubryet J. B. Wekerlin Ch. Nuitter Ernest David P. Lacome 81-85 86-90 (86-87) (87-88) (88-89) (89-90) (90) 91-96 (91) (91-92) (92-96) l e r aoOt 1873 97-102 103-09 (103-05) (105-09) 110-19 120-24 . 125-28 (125-28) (3pp, 128/29) - 109 -1873: 24-31 RIPM# Titre Auteur Page Tome 1, No. 3 (suite) • A i r de Theaie (1675): P r o l o g u e . P a r o -l e s d e Q u i n a u l L M u s i q u e de L u l l i . • I n v o c a t i o n de M e d e e (fragment - ) [de] Thesee ( A c t e III - S c e n e V I ) 1675 [par] J . B . L u l l i . • A i r des S a l i e n s [de] Hesione ( P r o l o g u e - Scene 1) p o u r o f c h e s t r e rfeduit p o u r p i a n o p a r P . I n c o m e . P a r o l e s de D a n -c h e t M u s i q u e de C a m p r a (1700). C o l a s s e C a m p r a 24 C o u r s d ' h y g i e n e de la v o i x professe a u C o n s e r -vatoire de M u s i q u e par l e D r L. M a n d l . L e c o n de c l 6 t u r e . 2 5 r R e v u e m u s i c a l e M e r c r e d i 16 j u i l l e t [ O p e r a - C o m i q u e : D o -n i z e t t i , La Fille du Regiment. D e b u t s de F61ix P u g e L ] J e u d i 24 j u i l l e t [ O p e r a - C o m i q u e i H e r o l d , Zampa ( r e p r i s e ) . M . M e l c h i s s e d u c ( Z a m p a ) , M m e s G a n e t t i et D u c a s s e , M M . B a c h , P o t e l et B a r n o l t , ] [ L e s c o m p t e s r e n d u s a venir] 26 V a r i a F a i t s d i v e r s N o u v e l l e s D o c t e u r M a n d l A r t h u r H e u l h a r d ( 2 p p . 128/29) ( l p , 128/29) (2pp, 128/29) (129) (130) 1 3 1 - 3 4 O . L e T r i o u x [red.] 1 3 5 - 3 8 (135) ( 1 3 5 - 3 8 ) (138) 1 3 9 - 4 4 ( 1 3 9 - 4 1 ) ( 1 4 2 - 4 4 ) Tome 1, No. 4 15 aout 1873 27 28 29 : 30 31 i c o L e s c o n c o u r s d u C o n s e r v a t o i r e A r t h u r P o u g i n P a l m a r e s d u C o n s e r v a t o i r e de M u s i q u e p o u r l ' a n n e e 1873 [liste] L a salle de spectacle des T u i l e r i e s C h . N u i t t e r U n v i r t u o s e en 1682 [ J . P . W e s t h o f f ] [texte] H . [ e x p l i c a t i o n s s u r l ' e x e c u t i o n de l a Suite H . pour le violon de W e s t h o f f ] • S u i t e p o u r le v i o l o n sans basse c o n t i n u e p a r M . J . P . W e s t h o f F, m u s i c i e n de c h a m b r e de S. A . l ' E i e c t e u r de Saxe L a v o i x fils L. 1 4 5 - 5 3 1 5 4 - 5 9 1 6 0 - 6 8 1 6 9 - 7 6 ( 1 6 9 - 7 5 ) ( 1 7 5 - 7 6 ) (4pp, 176/77) - 110 -1873: 32-44 RIPM# Titre Auteur Page Tome 1, No. 4 (suite) 32 33 34 35 Bibliographic musicale: Diapason ei la notation musicale simplifiees, par M, Ch. Meerens. -Edition facsimile dtz chansons de Ronsard mi-ses en musique par Nicolas de la Grotte, par M.A. de Rochambeau. - Un musicien en va-cances, par M. Eugene Gautier Le Prix de Rome [concours pour 1'annee 1873] [Les reglements et le jury] Ordre d'exfecution des cantates Varia Correspondance [Demandes de collabora-tion et avis au collaborateurs] Faits divers Nouvelles Tome 1, No. 5 36 37 38 39 40 41 42 43 44 i c o Le cas de MM. de Flotow et Wagner Les cantalxices dramatiques: (I) Henriette Son-tag nChinois et chinoise dansant dans L'Operaleur chinois, 1748 (Archives de 1'Opera) Histoire du Theatre de Mme de Pompadour dit Theatre des Petits Cabinets: Chapitre premier Une visite au Conservatoire de Musique de Bruxelles Augustin Thierry, critique musical • Trio [du] Scene de l'hymen (Acte I - Scene V) de Callirhoe (1712), transcrit par P. Laco-me. Paroles de Roy. Musique de Destouches. •Air [de] Hesione (Acte III - Scene II) (1700), transcrit par P. Lacome. Paroles de Danchet Musique de Campra. Les fondateurs de l'opera francais (troisieme article) Campra (suite) Destouches Desmarets Mouret Charpentier Marais Monteclair - I l l -Arthur Heulhard E. Mulsane Ecole de musique reiigieuse (son palmares pour * * * 1'annee 1873) [liste avec introduction] O. Le Trioux [red.] Arthur Heulhard Paul Foucher Adolphe Jullien Gustave Bertrand Felix Delhasse P. Lacome 177-82 183-84 (183) (183-84) 185-86 187-92 (187) (188-90) (191-92) l e r septembre 1873 193-200 201-08 lp, 208/09 209-16 217-22 223-24 (5pp, 224/25) (3pp, 224/25) 225-32 (225-26) (226-30) (230) (230-31) (231) (231-32) (232) 1873: 45-54 RIPM# Tlire. Auteur Page Tome 1, Ne. 5 (suit?) 45 Varia Correspondance Faits divers Nouvelles Tome 1, No. 6 46 47 48 49 i c o 50 51 52 531 i c o O. Le Trioux [r6d.] A. Gerard (ancien bibliothfccaire) 54 Les vacances des chefs-d'oeuvres Quinault: sa vie et ses ouvrages (I) Deux operas revoluiionnaires de Gretry • La Rosiere Repub'icaine (1794), opera en un acte, paroles de Sylvain Marechal, musique de Gretry, scene, couplets du cure avec choeur, r6duits pom le piano par A . Coed6s. [avec texte pour le 2e couplet] • Denys le Tyran (1794), op6ra en un acte, pa-roles de Sylvain Marechal, musique de Gretry, couplets reduits pour le piano par A . Coedes [avec texte pour le 3e couplet] Les musiciens allemands pendant la derniere guerre Une visite au Conservatoire de Musique de Bruxelles (2e et dernier article) Revue musicale Opera Lundi ler septembre [Gounod, Faust. Mile Derivis] Mercredi 3 septembre [Verdi, Le Trouvere. Debut de Mile Lea-vington.] Vendredi 12 septembre [Meyerbeer. L'Africaine. Debut de M. Achard.] Renaissance Jeudi 4 septembre [Offenbach, Apothh caire et Perruquier, La permission de dix heures, Pomme d'Api, et M. Choufleuri] Menus-Plaisirs Mardi 11 septembre [Grisy, L'Elephant Blanc] Varia Correspondance Nouvelles Xavier Aubryet Daniel Bernard Ch. Nuitter Edmond Neukomm Gustave Bertrand Arthur Heulhard O. Le Trioux [red.] Arthur Heulhard 233-40 (233-34) (234-37) (237-40) 15 septembre 1873 241-47 248-55 256-64 (5pp,264/65*) (3pp, 264/65*) 265-73 274-80 281-85 (281) (282) (282-83) (283-85) (285) 286-88 (286) (287-88) - 112 -1873: 55-62 R I P M yT Titre Auteur P a g e T o m e 1, N o . 6 (s.-iite) 55 T a b l e a n a l y t i q u e et alpiiabfetique d u T o m e P r e -m i e r de La Chronique Musicale I. T a b l e a n a l y t i q u e des m a t i e r e s [liste des articles] I l l u s t r a t i o n s . - M u s i q u e . - A u t o g r a -phies. II. T a b l e a l p h a b e t i q u e des c o m p o s i t i o n s m u s i c a l e s citees III. T a b l e a l p h a b 6 t i q u e des n o m s cites T o m e 2, N o . 7 56 [pages de titre] 57 U n p e u d e m u s i q u e russe • B a l l a d e varegue [de] Rogneda, o p e r a d ' A l e x a n d r e S e r o f f . " C h a n s o n a ' I z l i a s l a f f dans l ' o p e r a Rogneda de SerofT • Protiajnala. c h a n s o n russe d u g o u v e r n e m e n t de S i m b i r s k • Iekale kosake za dounai.... c h a n s o n c o s a q u e • Ne koukouchetckka bo syrom bora:chan-son d u g o u v e r n e m e n t de K a l o u g a 58 D e s c o n d i t i o n s feconomiques de l a m u s i q u e et d u theatre en F r a n c e 59 T a b l e t t e s de v o y a g e d ' u n artiste: L a v e u v e et l a soeur de M o z a r t H i s t o i r e d u th6atre de M a d a m e de P o m p a d o u r dit T h 6 a t r e des P e t i t s C a b i n e t s ( d e u x i e m e a r t i -cle) C h a p i t r e II . P r e m i e r e a n n e e . 17 J a n v i e r -18 m a r s 1747 C h a p i t r e III. D e u x i e m e a n n e e . 20 d 6 c e m b r e 1747 - 30 m a r s 1748 61 L e succes de M a d a m e A n g o t 6 2 T R e v u e m u s i c a l e O p 6 r a M a r d i 16 s e p t e m b r e [ D i a z , La Coupe duRoideThul'e. R e n t r e e de M . F a u r e . M . A c h a r d . M i l e B l o c h . ] A t h 6 n e e S a m e d i 20 [ R e o u v e r t u r e . R o s s i n i . Le Barbier de Seville. M i l e de B o g d a n i . M M . D e r e i m s et Staveni.] 60 i c o G u s t a v e B e r t r a n d J . de F i l i p p i E r n e s t D a v i d A d o l p h e J u l l i e n C h . N u i t t e r A r t h u r H e u l h a r d 2 8 9 - 3 0 3 ( 2 8 9 - 9 2 ) (292) ( 2 9 3 - 9 6 ) ( 2 9 7 - 3 0 3 ) l e r o c t o b r e 1873 1 - 4 5 - 9 ( 4 p p , 8 / 9 * ) ( 2 p p , 8 / 9 * ) ( l p . 8 / 9 * ) ( l p , 8 / 9 * ) ( l p , 8 / 9 * ) 1 0 - 1 7 1 8 - 2 4 2 5 - 3 3 ( 2 5 - 3 0 ) ( 3 0 - 3 3 ) 3 4 - 3 6 3 7 - 4 2 ( 3 7 - 3 8 ) ( 3 8 - 3 9 ) - 113 -1873: 63-69 Titre Auteur Page Tome No. 7 (suite) Luikii 22 [Monsigny, Le Deserteur. Le livret et la partition. MlleDeleu. MM. Girardot, Lary, Bonnet et Ge-raizer.] 63 Varia Faits divers Nouveiles O. Le Trioux [red.] Tome 2. No. 8 Op6ra Lundi 6 octobre [Meyerbeer, Les Hu-guenots. Debut de Mile Ferrucci]. Italiens Mardi 7 octobre [Reouverture. Doni-zetti, Don Pasquale. Mile Marie Belval, MM. Zucchini, Delle Sedie, Benfratelli.] (39-42) 43-48 (43-46) (46-48) 15 octobre 1873 64 Jxs theatres iyriques en sonnets [poemes] 49-55 [Note d'introduction] A. H. (49) Opera Th6odore de Banville (50) Les Italiens Arsene Houssaye (51) L'Opera- Comique Xavier Aubryet (52) L'Athenee Albert Millaud (53) La Gaite Charles Joliet (54) Les Bouffes- Parisiens Charles Monselet (55) 65 Quinault: sa vie et ses ouvrages (suite et fin) Daniel Bernard 56-63 66 Les noels de Nicolas Saboly Charles Soullier 64-68 • La Nativite, musique de Nicolas Saboly, tra- (2pp, duction de Charles Soullier [texte provencal et francais] • La Redemption, musique de Nicolas Saboly, (2pp, traduction de Charles Soullier [texte provencal et francais] 9 Saint Joseph et son htte, dialogue prec6de et (2pp, suivi du Choeur des Beigers et des Rois, musi-que de Nicolas Saboly, traduction de Charles Soullier [texte provencal et francais] • Dieu et Diable, musique de Nicolas Saboly, (2pp, traduction de Charles Soullier [texte provencal et francais] 67 La musique classique et les concerts populaires H. Marcello 69-75 68 i c 0 Les d6cors et les machines de l'Op6ra Ch. Nuitter 76-83 69r Revue musicale Arthur Heulhard 84-89 (84-87) (87-88) - 114 -1873: 70-76 RiPM# T i t r e A u t e u r P a g e T o m s % N o . 8 (suite) S a m e d i 11 octobre [ R o s s i n i , tt Barbiere di Seviglia. M i l e de B e l o c c a , M M . B r i g n o l i , F i o r i n i , V i a n e s i . ] 70 O . L e T r i o u x [r6d.] V a r i a C o n e s p o n d a n c e [ S u r Madame Angot] C h . B a r t h e l e m y [ U n m o r c e a u de p o l i t i q u e de M . L i e - E d m o n d N e u k o r n m be] F a i t s d i v e r s * * • N o u v e l l e s T o m e 2, N o . 9 71 72 73 74 75 i c o 76 r / i c o L e s c h a n s o n s p o p u l a i r e s de R u s s i e • Salovei ( L e r o s s i g n o l ) , m u s i q u e d ' A l a b i e f f • Chanson russe, m o r c e a u f a v o r i de M m e B o s i o • Krasny sarafane ( L a r o b e de n o c e ) , m u s i q u e de V a r l a m o f f • Vspomni moia lioubezncaa .... D e s c o n d i t i o n s e c o n o m i q u e s de l a m u s i q u e et d u t h e a t r e e n F r a n c e (suite) • Po oulitz'e moslovoi ( D a n s l a r u e p a v e e . . . ) , c h a n s o n a danser • Ne boudite menia-.., c h a n s o n a danser • Bidou sobi kopyila..., c h a n s o n cosaque " Vniz po matouchkie po volghie..., c h a n s o n des h a l e u r s d u V o l g a H i s t o i r e d u theatre de M a d a m e de P o m p a d o u r dit T h e a t r e des Petits C a b i n e t s ( T r o i s i e m e a r t i -c l e : C h a p i t r e III suite). [ D e u x i e m e annee. 20 d e c e m b r e 1747 - 30 m a r s 1748] T a b l e t t e s de v o y a g e d ' u n artiste: L a v e u v e et l a s o e u r de M o z a r t L e s traites d e f u g u e et de c o n t r e p o i n t a u d i x - n e u v i e m e siecle R e v u e m u s i c a l e I t a l i e n s J e u d i 16 octobre [ V e r d i , Rigdetlo. M i l e T a g l i a n a , M . V i l l a ] S a m e d i , 18 octobre [ V e r d i E Trovatore. M i l e K r a u s s , M M . P a d i l l a et B r i -gno li . ] J e u d i , 30 octobre [ V e r d i , La Traviata. D e b u t de M i l e H e i l b r o n n ] n [ A u t o g r a p h e : lettre de G r e t r y a Sedaine] O p e r a - C o m i q u e G u s t a v e B e r t r a n d J . de F i l i p p i A d o l p h e J u l l i e n E r n e s t D a v i d H e n r y C o h e n A r t h u r H e u l h a r d ( 8 8 - 8 9 ) 9 0 - 9 6 ( 9 0 - 9 1 ) (90) ( 9 1 ) ( 9 1 - 9 3 ) ( 9 4 - 9 6 ) er 1 novembre 1873 9 7 - 1 0 3 ( l p , 1 0 2 / 0 3 * ) ( l p , 1 0 2 / 0 3 * ) ( l p , 1 0 2 / 0 3 * ) ( l p , 1 0 2 / 0 3 ° ) 1 0 4 - 1 0 ( l p , 1 0 6 / 0 7 * ) ( 2 p p , 1 0 6 / 0 7 * ) ( l p , 1 0 6 / 0 7 * ) ( l p , 1 0 6 / 0 7 * ) 1 1 1 - 1 2 0 1 2 1 - 2 5 1 2 6 - 3 3 1 3 4 - 4 0 (134) ( 1 3 4 - 3 5 ) (135) ( 1 3 6 - 3 7 ) - 115 -RIPM# Titre Auteur Page Tome 2, No. 9 (suite) Samedi, 18 octobre. [Gretry, Richard C oeur- de- Lion. Le livret et la parti-tion. MM. Melchisseduc et Du-chesne] 77 Varia Faits divers Nouvelles Tome 2, No. 10 78 L'Op6ra [note aux lecteurs] 79 Incendies des salles de l'Op&ra 1763-1781-1788-1871-1873 Incendie de 1763 Incendie de 1781 Incendie des Menus-Plaisirs - 1788 Incendie de la Salle de la Porte Saint-Martin - 1871 Incendie de la Salle des Tuileries - 1871 Incendie de la Salle de la rue Peletier -1873 80 Etai des pertes dans l'incendie de 1873 [liste] 81 Sauvetage des archives 82 Inauguration de la salle de l'Opera, 16 aoGt mi 83 Le r6pertoire et le personnel de l'Opfera du 16 aout 1821 au 29 octobre 1873 [liste avec com-mentaire] 84 Les bals de l'Opera [avec vers de Charles Jo-liet] 85 Essai bibliogjaphique sur l'Opera Histoire Critique esthetique, poetique Satires, faceties, fictions Construction de l'Opfera, administration 86 Note [les notes de Varia a venii] Tome 2, No. 11 87 88 89: i c o La viole d'amour: Legende de Sainte-Cecile La musique classique et les concerts populaires Histoire du theatre de Madame de Pompadour dit Theatre des Petits Cabinets (Quatrieme arti-cle) O. Le Trioux [red.] A. H. Arthur Heulhard Ch. Nuitter Ch. Nuitter Adolphe Jullien Arthur Pougin Mulsane E. Thoinan O. Le Trioux Charles Deulin H. Marcello Adolphe Jullien (138-40) 141-44 (141-42) (142-44) 15 novembre 1873 145 146-63 (146-52) (152-62) (162) (162-63) (163) 164-65 166-67 168-76 177-97 198-203 204-07 (204-05) (205) (206) (206-07) 208 er 1 decembre 1873 209-14 215-21 222-31 - 116 1873: 90-98 R I P M # Titre A u t e u r P a g e T o m e 2 , N o . 11 (suite) 90 91 9 2 1 93 94 C h a p i t r e III [ D e u x i e m e a n n e e . 20 d e c e m b r e 1747 - 30 m a r s 1748] C h a p i t r e I V . T r o i s i e m e a n n e e . 27 n o v e m -b r e 1748 - 22 m a r s 1749. L e s cantatrices d r a m a t i q u e s : (II) L a P a u l F o u c h e r S a i n t - H u b e r t i ( P r e m i e r e p a r t i e ) L e s f o n d a t e u r s de l ' o p e r a f r a n c a i s ( Q u a t r i e m e P . L a c o m e et d e r n i e r a r t i c l e ) L e c l a i r R e b e l et F r a n c o e u r • H y m n e a l a n u i t , p r e l u d e s y m p h o n i q u e ( A c t e I - Scene I r e ) [de] Callirhoe (1712), t r a n s c r i t p a r P. L a c o m e . P a r o l e s de M . de l a M o t h e (de l ' A c a d e m i e ) . M u -s i q u e de D e s t o u c h e s . • C e l e b r e c h o e u r des d e m o n s (3e A c t e ) [de] Castor et Pollux (1737), t r a n s c r i t p a r P . L a c o m e . M u s i q u e de R a m e a u . P o e m e de B e r n a r d . R a m e a u [liste des o u v r a g e s a v e c c o m m e n -taires] R e v u e m u s i c a l e I t a l i e n s [ D o n i z e t t i , Lucrezia Borgia. M o -zart , Don Giovanni. B e l l i n i , Norma.) O p 6 r a - C o m i q u e . U Ambassadrice [ d ' A u b e r . ] - L u n d i , 16 n o v e m b r e . G a i t e . - Jeanne Dare [ d e G o u n o d ] - 8 n o -v e m b r e . B o u f f e s - P a r i s i e n s . - La Quenouille de Verre [de G r i s a r t j . V e n d r e d i , 7 n o v e m -b r e . V a r i a C o r r e s p o n d a n c e [ D e l a s i t u a t i o n des theatres et des c o n c e r t s e n p r o v i n c e ] F a i t s d i v e r s N o u v e l l e s N o u v e l l e s de n o t r e n u m e r o e x c e p t i o n n e l A r t h u r H e u l h a r d T o m e 2, N o . 12 95 96 97 9 8 1 O . L e T r i o u x [r6d.] E . D e l i a R o c c a A . H . J u l e s B o n n a s s i e s i c o L a m u s i q u e a l a C o m e d i e - F r a n c a i s e T a b l e t t e s de voyages d ' u n a r t i s t e : L a v e u v e et l a E r n e s t D a v i d soeur de M o z a r t , S a l t z b o u r g , 1828. M i c h e l H a y d n 1 7 3 7 - 1 8 0 6 R e v u e des concerts E d m o n d N e u k o r n m ( 2 2 2 - 2 8 ) ( 2 2 8 - 3 1 ) 2 3 2 - 3 9 2 4 0 - 4 6 (240) ( 2 4 0 - 4 1 ) ( 4 p p . 240/41) ( 4 p p , 240/41) ( 2 4 1 - 4 6 ) 2 4 7 - 5 5 ( 2 4 7 - 4 8 ) ( 2 4 8 - 4 9 ) ( 2 4 9 - 5 2 ) ( 2 5 2 - 5 5 ) 2 5 6 - 6 3 ( 2 5 6 - 5 7 ) ( 2 5 7 - 6 1 ) (261) 264 15 decembre 1873 2 6 5 - 7 4 2 7 5 - 8 1 2 8 2 - 8 8 2 8 9 - 9 4 - 117 -1873: 99-101 RIPM# Titre Auteur Page Tome 2, No. 12 (suite) 99 r/ico 100 101 Concerts Populaires. [Niels Gade, Sym-phonie en si bemol. Theodore Gouvy, Symphonie breve. L'execution du Sep-tuor de Beethoven.] Concert National [Chatelet: Bizet, L'Arlesienne. Boccherini, Sicilienne. Cherubini, Scherzo. Franck, Ruth. Saint-Safins, Phaeton. Massenet, Scenes pittoresques] Concert Danbe [Salle Henri Herz: L'ex6cution et les solistes. Madame Flo-riani.] Casino-Cadet - Concert des Damen-orchester [de Madame Amann Weinlich] Revue des theatres lyriques [Opera-Comique: Ernest Reyer, Maxtre Wolfram (reprise). M. Bouhy. Mile Chapuy.] Renaissance. - La Jolie Parjumeuse [d'Offenbach].- 29novembre. [Mesda-mes Th6o et Grivot MM. Bonnet, Daubray et Troy.] Menus-Plaisirs. - La Liqueur a"Or [de M. Laurent de Rille]. - 11 decembre [Mmes Matz-Ferrare et Silly. M. Milher.] Varia Faits divers Nouvelles Table analytique et alphabetique du Tome Deuxieme de La Chronique Musicale I. Table analytique des matieres [liste des articles] Illustrations. - Musique. - Autogra-phies II. Table alphabetique des compositions musicales citees III. Table alphabetique des noms cites Henry Cohen H. Marcello H. C. Arthur Heulhard Arthur Heulhard O. Le Trioux [r6d.] (289-90) (290-92) (292-93) (293-94) 295-99 (295-97) (297- 99) (299) 300-03 (300-01) (301-03) 304-20 (304-07) (308) (309-12) (312-20) - 118 -1874: 1-12 KIPM# Titre Auteur Page Tome 3, No. 13 l e r Janvier 1874 1 2 3 4 5 ACO [pages de titre] Le realisme dans l'opera-cornique au XVIIIe siecle: Vade 1720-1757 Des conditions economiques de la musique et du theatre en France Les traites de contrepoint et de fugue au dix-neuvieme siecle Les cantatrices dramatiques: (II) La Saint- Huberti (Deuxieme partie) Ch. Barthelemy J. de Filippi Henry Cohen Paul Foucher La musique classique et les concerts populaires H. Marcello • Le Messie, grand oratorio; paroles francaises. Musique de F. C. Haendel. Partition piano et chant. Reduction par F. Gosse, prix de Rome, Professeur au Conservatoire. •2. Larghetto e piano • 11. Symphonie Pastorale. •18. Largo Revue des concerts Cirque d'6t6. - Audition du Messie. [de Henry Cohen Haendel. Lamoureux et artistes choisis] Concert National [Th. Dubois, Pieces pour H. Marcello orchestre. Lalo, Divertissement. Haen-del, Largo pour hautbois et orchestre. Schubert, Andante et variations. Masse-net, Invocation d'Electre.] Concert Gottschalk [Clara Gottschalk, H. C. oeuvres inedites de Louis Gottschalk] Revue des theatres lyriques Italiens. - La Sonnambula [de Bellini] Menus-Plaisirs. - Interdiction de La Li-queur d'Or. Varia Faits divers Nouvelles Arthur Heulhard O. Le Trioux [red.] Tome 3, No. 14 10 11 12 La musique en Suede, en Islande, en Norvege et Maurice Cristal dans le Danemark: Histoire et monographic La musique a la Comedie- Francaise L'art du chant en Italie au XVIIe et au XVIIIe siecle Jules Bonnassies Theophile Lemaire 1-4 5-11 12-15 16-21 22-29 30-33 (2pp, 32/33*) (2pp,32/33*) (4pp, 32/33*) 34-40 (34-37) (37-39) (39-40) 41-43 (41) (41-43) 44-48 (44-46) (46-48) 15 Janvier 1874 4 9 - 5 4 55-60 61-66 - 119 -J874: 13-21 RIPM# Titre Auteur Page Tome 3, No. 14 (suite) 13 141 i c o 151 16 Histoire du theatre de Madame de Pompadour dit Theltre des Petits Cabinets (Cinquieme ar-ticle: Chapitre IV). Troisieme annfee. 27 no-vembre 1748 - 22 mars 1748. (Suite) Revue des concerts Concerts Populaires. Quatuor suedois. Concert National [Mazeppa, scene lyrique de MM. de Lauzieres et Paul PugeL Cherubini, Bacchanale. Schumann, Con-certo en la mineur. M. Jaell. Guiraud, Suite d'orchestre] Concerts Danbfe [Adolphe Blanc, Trio] Concerts Frascati [Salle Frascati: Soiree d'ouverture] Concert Gottschalk [Clara Gottschalk] Revue des theatres lyriques Italiens. - Lucia di Lammermoor [de Do-nizetti] . Jeudi 8 Janvier [MM. Genevois et Padilla, Mile Heilbronn] Athfenfee. - Lucia di Lammermoor [de Do-nizetti]. - Mercredi 7 Janvier. [Le maes-tro Graffigna. Mile Anna Rienzi. Varia Correspondance [Le Journal des Dames et des Modes (1821) sur l'Opfera] Faits divers Nouvelles Tome 3, No. 15 Adolphe Jullien Henry Cohen H. Marcello H. C. H. C. Arthur Heulhard O. Le Trioux [red.] A. Lebuys 17 18 19 20 211 La musique en Suede, en Islande, en Norvege et Maurice Cristal dans le Danemark: Histoire et monographic Le Danemark. Les cantatrices drarnatiques: (II) La Saint-Huberti (troisieme partie) Le Theatre de l'Athenfee Michel Haydn 1737-1806 Revue des concerts Concerts Populates [2e sferie, 6e concert: Bizet, Prelude de L Arlesienne. Wagner, Prelude de Lohengrin. 7e concert: DTndy, Ouverture de Piccolomini] Paul Foucher Arthur Pougin Edmond Neukomm Henry Cohen 67-78 79-84 (79-80) (80-82) (82-83) (83) (83-84) 85-83 (85-86) (86-88) 89-96 (89-91) (92-94) (94-96) l e r fevrier 1874 97-103 104-12 113-18 119-24 125-34 (125-26) - 120 -1874: 22-30 RIPM# Titre Auteur Page Tome 3, No. 15 (suite) 221 23 24 Concert National [18 Janvier. Lalo, Con-certo pour violon. Sarasate. Dimanche dernier: Albert Cahen, Jean le Pr'ecurseur, drame biblique en trois par-ties de L. Gallet Mendelssohn, Athalie (fragment). Meyerbeer, Les Huguenots, La benediction des poignards.] • Bataille de Marignan, musique de Clement Jannequin (1525), choeur a 4 voix reduit pour le piano Concerts Danbe [Jannequin, La Bataille de Marignan. RameauMippolyte et Aricie (fragment)] Soci6te Classique [Salle Erard: Soiree de reouverture] London-Quatuor Concert de Mile [Adrienne] Mars [Salle Philippe Herz.] Concert de Mme Schwindt-Martin [Salle Erard.] Revue des thfeitres lyriques [Note aux lecteurs] Opera. - Don Juan [de Mozart] Italiens. - La Cenerenlola [de Rossini] Chronologie de 1'annee 1874: Janvier Varia Faits divers Nouvelles H. Marcello H. C. H. M. H. H. C. C. E N. Arthur Heulhard A. P. O. Le Trioux [r6d.] (127- 29) (8pp, 128/29) (129-32) (132-33) (133) (134) 135-37 (135) (135-37) (137) 138-39 140-44 (140-42) (142-44) Tome 3, No. 16 25 26 27 28 29 301 i c o Naissance et developpement des chants popu-laires Le realisme dans l'op6ra-comique au XVIIIe siecle n Michel Haydn Michel Haydn 1737-1806 La musique a la Comedie-Francaise Revue des concerts Concerts du Conservatoire • Sicilienne de Boccherini, transcrite pour le piano par J. Massenet •No. 2 Invocation [des] Erinnyes(Acte II). [par] J. Massenet • No.2 Divertissement [par] Lalo Louis Lacombe Ch. Barthelemy Edmond Neukornm Jules Bonnassies Maurice Cristal 15 ievrier 1874 145-51 152-60 lp, 160/61 161-65 166-71 172-81 (172-77) (2pp, 176/77*) (2pp, 176/77*) (4pp,176/77*) 121 1874: 31-RIPM# T i t r e Autenr Page T o m e 3 , N o . 16 (suite) C o n c e r t s P o p u l a i r e s [ T e n B r i n k , Suite d'or- H e n r y C o h e n chestre] C o n c e r t N a t i o n a l [ M a s s e n e t , Les Erinnyes, H . M a i c e l l o musique pour une piece antique. 2e c o n -c e r t d u 4e Sferie: T h . D u b o i s , Suite d'or-chestre. L i s z t , Mazeppa, p o e m e s y m -p h o n i q u e . ] C o n c e r t s Danbfe [Salle H e r z : Ffelicien D a - H . C . v i d , Christophe Colomb. A r t i s t e s c h o i s i s ] F e s t i v a l L a c o m b e [Salle E r a r d : M . et M m e H . C . L a c o m b e ] 31* 32 R e v u e des theatres l y r i q u e s . I t a l i e n s . - Le As-tuzie femminnili [de C i m a r o s a ] V a r i a F a i t s d i v e r s N o u v e l l e s A r t h u r H e u l h a r d O . L e T r i o u x [red.] T o m e 3 , N o . 17 33 P r o f e s s i o n de f o i de M . O f f e n b a c h 34 35 3 6 37 38 3 9 r i c o H i s t o i r e d u theatre de M a d a m e de P o m p a d o u r d i t T h e a t r e des Petits C a b i n e t s ( S i x i e m e a r t i c l e : C h a p i t r e V ) . Q u a t r i e m e annfee: 26 n o v e m b r e 1749. - 27 a v r i l 1750. U n p o r t r a i t d ' A m a t i n A m a t i A d o l p h e J u l l i e n A d o l p h e J u l l i e n A . H . L a m u s i q u e e n S u e d e , en I s l a n d e , en N o r v e g e et M a u r i c e C r i s t a l dans l e D a n e m a r k : H i s t o i r e et m o n o g r a p h i c L e D a n e m a r k . L e T h e a t r e de 1'Athfenfee A r t h u r P o u g i n R e v u e des concerts C o n c e r t s P o p u l a i r e s H e n r y C o h e n Sfeance d u 15 ffevrier [ B i z e t , Patrie, o u -verture] Seance d u 22 ffevrier [ M a s s e n e t , O u -v e r t u r e de Phedre] Odfeon. - Marie-Magdeleine [ d r a m e sacre H . M a r c e l l o de M a s s e n e t A n a l y s e d e t a i l l e c ] m Marie- Magdeleine, d r a m e sacrfe e n 3 actes et 4 p a r t i e s , p a r o l e s de L. G a l l e t M u s i q u e de J . M a s s e n e t L e T o m b e a u de Jfesus et l a R e s u r r e c t i o n . Rfecit, s t r o -p h e s et c h o e u r . A u d i t i o n de M . W e k e r l i n [ S a l l e P l e y e l ] H . C . ( 1 7 7 - 7 8 ) ( 1 7 8 - 8 0 ) ( 1 8 0 - 8 1 ) (181) 1 8 2 - 8 7 1 8 8 - 9 2 ( 1 8 8 - 9 0 ) ( 1 9 1 - 9 2 ) 1 m a r s 1 9 3 - 9 8 1 9 9 - 2 0 7 208 l p , 2 0 8 / 0 9 2 0 9 - 1 4 2 1 5 - 1 9 2 2 0 - 2 7 ( 2 2 0 - 2 1 ) (221) ( 2 2 1 - 2 6 ) ( 8 p p . 2 2 4 / 2 5 * ) (226) - 122 -1874: 40-48 RIPM# Titre Auteur Page Tome 3, No. 17 (suite) 40* 41 42 Societ6 Philharmonique de Paris [Salle Erard] Concerts du Capitaine Voyer [Salle Erard] Revue des theatres lyriques. Opera-Comique: Le Florentin, op6ra comique en trois actes, pa-roles de M. de Saint-Georges, musique de M. Lenepveu. Chronologie de 1'annee 1874 Janvier Fevrier Varia Correspondance [Abonnement du Ministre de lTnstruction publique et des Beaux-Arts] Fairs divers Nouvelles Tome 3, No. 18 43 44J 45 46 47 48r i c o Le page de musique [la vie des apprentis de musique d'autxefois] n[Le Page de Musique, eau-forte d'apres Roy-bet, par M. A. Taiee] Naissance et d6veloppement des chants popu-laires La musique a la Comedie-Franchise [avec une bibliographie des sources] L'achevement du nouvel Opera Revue des concerts Concerts Populaires [3e serie, 4e concert M. £. Guiraud, Ouverture de Concert. Paganini, Le Mouvement PerpetueQ Cinquieme concert [3e serie. De Grandval, Esquisses symphoniques. M. Bosquin] Concert National [4e serie, 3e concert: Gouvy, Symphonie en ut mineur (frag-ments). 5e s6rie, ler concert: Liszt, Fan-taisie sur des airs hongrois. Saint- Safins. 5e serie, 2e concert: Rabuteau, Rome et Naples. A. Dupont, Ballade et Minuetto- Scherzo] Societe Classique Concert de M. Auzende, Salle Pleyel H. C. H. Arthur Heulhard A. P. O. Le Trioux [red.] Ph. de Chennevieres (Directeur des Beaux-Arts) Paul Arene Louis Lacombe Jules Bonnassies O. L. Henry Cohen H. Marcello (226-27) (227) 228-32 233-35 (233) (233-35) 236-40 (236) (236-38) (238-40) 15 mars 1874 241-44 lp, 244/45 245-51 252-58 259-63 264-70 (264-65) (265-66) (266-68) H * * * M. (268-69) (269) - 123 -1874: 49-57 RIPM# Titre Auteur Page Tome 3, No. 18 (suite) 4 9 1 50 51 Matinees de M. Lebouc - Ne-uvierne matinfee. [Mme Beguin-Salcman, M. Lavignac, Mile Pauline Boutin,] Concert de M. Kowalski [Salons Erard: Henri Kowalski] Revue des theltres lyriques. Italiens: Reprise de la Semiramide [de Rossini] • Cavatina No. 7 [de] Semiramide da G. Ros-sini Varia Faits divers Nouvelles Table analytique et alphabetique du Tome Troisieme de La Chronique Musicale I. Table analytique des matieres [liste des articles] Illustrations. - Musique II. Table alphabetique des oeuvres musi-cales citees Table alphabetique des noms cites Tome 4, No. 19 52 53 54 55 56 57r i c o [pages de titre] Origine du concert spirituel L'Histoire en chansons 1873 H. E. N. Arthur Heulhard O. Le Trioux[red.] S. J. Blondel B. Wekerlin La musique en Suede, en Islande, en Norvege et Maurice Cristal dans le Danemark: Histoire et monographie. Le Danemark. Voltaire, Piron et Semiramis E. Mulsane Revue des concerts Concerts Populaires Henry Cohen Sixieme concert de la troisieme serie [Schumann, Symphonie en ut majeur) Septieme concert [Salvayre, Ouverture symphonique. Reyer, La Madeleine au desert.] Concert National [Vaucorbeil, Adagio et H. Marcello Tempo di minuetto. Gouvy, Serenade. Widor, Symphonie en fa mineur (Andante et finale). Massenet, Scenes pittores-ques] • Matinees caracteristiques de Mile Marie Dumas. La Romanesca, air de danse du XVIe siecle. [Par] Joseph Telesinski. (269-70) 271-75 (lOpp, 272-73*) 276-80 (276-78) (278-80) 281-98 (281-84) (284) (285-89) (290-98) l e r avril 1874 1-4 5-11 12-17 18-25 26-29 30-36 (30) (30-31) (31-33) (7pp,32/33*) - 124 -1874: 58-67 RJPM# Titre Auteur Page Tome 4, No. 19 (suite) • Marcne du Roi Rem (XVe sieclc) [par] G. B. Concert Danbe [Haendel, La Fete H. C. d'Alexandre] Seance de M. Moru'er de Fontaine [Les * * * salons de M. Oscar Commetant: musique historique] Salle Herz [Concert organise par M. M. * * * Verger. Chanteurs choisis dont Mme Pe-ralta.] Matinees caracteristiques de Mile Marie * * * Dumas [les matinees carnavalesque, du Grand siecle, russe, anglaise et gauloise] 58r Revue des theatres lyriques Arthur Heulhard [Op6ra-Comique: Massenet, Marie-Magdeleine. Mignon. Debuts de Mile Chapuy.] Opera. - Centieme £ Hamlet [d'Ambroise Thomas]. - 23 mars 1S74. 59 Chronologie de l'annee 1874 A. P. 41-42 Fevrier (41) Mars (41-42) 60 Varia O. Le Trioux [red.] 43