16, no. 1:
A Note from the Editor
In preparing this, my first issue as editor of the Journal
of Seventeenth-Century Music, I was reminded of the capabilities and
advantages of an online-only format, one pioneered in JSCM over fifteen
years ago. Both articles in this issue allow the reader to move back and forth
between the article and primary source material in a manner that would be
impossible in a print journal. In Rebecca Harris-Warrick’s reading of Jean-Baptiste
Lully’s Roland, one that takes seriously the dramatic potential inherent
in its divertissements, the reader will be able to follow links to the
1685 Ballard edition of the score as well as to recorded excerpts. Throughout
Colleen Reardon’s article on the career of castrato Giovanni Battista
Tamburini, readers will be able to follow the singer’s career by pursuing the
links to the annotated chronology of his on-stage appearances.
Following the precedent established by Bruce Gustafson, my
predecessor as Editor-in-Chief of JSCM, I’d like to remind readers that
communications about issues raised in the journal’s articles and reviews are
welcomed. They will be published in a subsequent issue of JSCM, with a
note and link appended to the original article. I also encourage authors to
submit articles for JSCM (please see the Guidelines
for Contributors) and proposals for the JSCM Instrumenta series.
Finally, I would like to thank Bruce Gustafson for his
patient mentorship and for his ongoing contributions to the Journal of
Seventeenth-Century Music for the entirety of its existence, first as
Reviews Editor (1996–2003) then as Editor-in-Chief (2003–2010). As
many readers will know, JSCM has undergone a period of transition in the
past two years, not only of its editorship but in its publishing arrangements
and actual physical location. As yet another instance of these changes, this
will be the last issue of JSCM overseen by Paul Arroyo, who has managed
the technical side of the journal since 2004. I would like to thank Paul for
his service to both JSCM and the Society for Seventeenth-Century Music
as well as to me, personally, as I learn the ropes of online publishing.
Amid great change one appreciates instances of stability,
and, in that vein, I would like to thank Reviews Editor Beth Glixon and Copy
Editor Mary Paquette-Abt for their ongoing commitment to and hard work on
behalf of the Journal of Seventeenth-Century Music.
Kelley Harness (email@example.com)
to cite an article in JSCM
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