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)
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