As I write this, the Journal of Seventeenth-Century Music has entered its third decade of existence. When founding editor Kerala Snyder published the first volume in 1995, JSCM was one of the first on-line only journals in musicology, and the articles chosen for publication in that issue demonstrated both high quality scholarship and the technical advantages of an on-line format. These ideals have remained central to the journal throughout the years, as I’m sure will be evident in the three articles published here in vol. 19. On subjects ranging from sacred music in Italy to the musical influence of a French royal patron, and extending to seventeenth-century England’s very own “nasty women,” these articles exemplify the geographical and methodological breadth for which JSCM is known. An on-line format has allowed the authors to enhance the reading experience through links to relevant visual images, musical examples, and extensive tables and appendices.
Yet as we all know from our own personal and professional dealings with technology, a lot has changed since 1995. For that reason, JSCM is undergoing a facelift of sorts, with all past issues converted to the new format that the journal adopted beginning with vol. 17. The hope is that this will allow for the correction of several persistent technical issues and also make subsequent updates a bit easier. Audiovisual examples have been converted to more readily available formats. This process is ongoing, as readers may well have noticed, and should be finished in the next few months.
But we don’t intend to forget our past: even with a new, uniform masthead, the original masthead that Kerala Snyder designed, with its main title in 42-point Monotype Garamond and featuring a woodcut from the first edition of Lully’s Atys (Ballard, 1689), lives on in our memories and—thanks to technology—in this editor’s note.
Kelley Harness (email@example.com)
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