Positioning the references: References may appear either at the right-hand side or at the foot of the screen. Readers can change the position of the references by changing the width of the window. To change the width, either drag the edge of the window or adjust the magnification (Ctrl+ or Ctrl- on PC, Cmd+ or Cmd- on Macintosh).
Reading the references: Use the note numerals to move back and forth between the main text and the references. The links work in both directions. The linked object will move to the top of its frame.
Opening linked files: In recent issues of JSCM, most examples, figures, and tables, along with their captions, open as overlays, covering the text until they are closed. Nevertheless, readers have choices. In most browsers, by right-clicking the hyperlink (PC or Macintosh) or control-clicking it (Macintosh), you can access a menu that will give you the option of opening the linked file (without its caption) in a new tab, or even in a new window that can be resized and moved at will.
Printing JSCM articles: Use the “print” link on the page or your browser’s print function to open a print dialog for the main text and endnotes. To print a linked file (e.g., an example or figure), either use the “print” command on the overlay or open the item in a new tab (see above).
Items appearing in JSCM may be saved and stored in electronic or paper form and may be shared among individuals for all non-commercial purposes. For a summary of the Journal's open-access license, see the footer to the homepage, https://sscm-jscm.org. Commercial redistribution of an item published in JSCM requires prior, written permission from the Editor-in-Chief, and must include the following information:
This item appeared in the Journal of Seventeenth Century Music (https://sscm-jscm.org/) [volume, no. (year)], under a CC BY-NC-ND license, and it is republished here with permission.
Libraries may archive complete issues or selected articles for public access, in electronic or paper form, so long as no access fee is charged. Exceptions to this requirement must be approved in writing by the Editor-in-Chief of JSCM.
Citations of information published in JSCM should include the paragraph number and the URL. The content of an article in JSCM is stable once it is published (although subsequent communications about it are noted and linked at the end of the original article); therefore, the date of access is optional in a citation.
We offer the following as a model:
Noel O’Regan, “Asprilio Pacelli, Ludovico da Viadana and the Origins of the Roman Concerto Ecclesiastico,” Journal of Seventeenth-Century Music 6, no. 1 (2000): par. 4.3, https://sscm-jscm.org/v6/no1/oregan.html.
Copyright © 1995–2024 Society for Seventeenth-Century Music.
ISSN: 1089-747X
Published 2017
As I take the helm of JSCM, I first want to thank and congratulate my predecessor, Kelley Harness. In addition to producing a half-dozen meaty issues of the Journal and two large, complex volumes of JSCM Instrumenta, she steered the operation through a change of publisher and a complete redesign. She has also been an excellent mentor to me during the past year, as our terms have overlapped. I am pleased that she will remain on the editorial board, and I wish her all the best in her future endeavors.
The two articles in this issue focus on works for the stage. Virginia Lamothe situates the operas commissioned by Cardinal Francesco Barberini in the context of Jesuit dramatic theory and demonstrates a connection between the theorists’ ideas and the value of these operas as tools of propaganda in the Thirty Years War. Michael Klaper considers the surviving sources for the Ballet de la Raillerie and shows that alterations in the famous dialogue between French and Italian music significantly changed its meaning. Klaper takes advantage of the multimedia capabilities of the Journal by including a performance of the dialogue on video.
Communications to JSCM range in scope from brief announcements to substantial essays. David Harris’s fits the latter description; it should be of interest to anyone concerned with keyboard ornamentation. Rounding out the issue, several book and recording reviews deal with a broad range of seventeenth-century genres and topics.
In addition to a new Editor-in-Chief, the Journal has a new Reviews Editor, Don Fader. Beth Glixon, his predecessor, and Mary Paquette-Abt, the Journal’s long-time Assistant Editor, have both stepped down. Kimberly Beck Hieb continues as Assistant Editor. Many thanks to all these individuals for their service. It is much appreciated.
Lois Rosow
Editor-in-Chief