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| Opus Musicum | |
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| Title | Opus Musicum |
Opus Musicum is a periodical devoted to musicology, criticism, and performance studies that appears in print and digital formats. It covers topics ranging from historical musicology and performance practice to contemporary composition and music theory, and it intersects with scholarship on Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Igor Stravinsky, and Arnold Schoenberg. The publication is referenced in discussions alongside The Musical Times, Journal of the American Musicological Society, Gramophone (magazine), Early Music (journal), and The Musical Quarterly.
Opus Musicum was founded in the milieu of postwar European scholarship influenced by figures associated with Royal Conservatory of Brussels, University of Vienna, University of Leipzig, Juilliard School, and Conservatoire de Paris. Early issues engaged with topics tied to institutions such as Hochschule für Musik und Theater München, Prussian Cultural Heritage Foundation, Bibliothèque nationale de France, British Library, and the Library of Congress. Its editorial arc reflects debates contemporaneous with the Historicism (music), New Musicology, Authentic Performance movement, and the revival of interest in repertories promoted by Alfred Einstein (musicologist), Manfred Bukofzer, Carl Dahlhaus, and Charles Rosen. Over successive decades Opus Musicum responded to events including anniversaries of George Frideric Handel and centenaries related to Gustav Mahler, Claude Debussy, and Antonín Dvořák while engaging with research trends from centers like Harvard University, University of Oxford, Yale School of Music, and Columbia University.
The journal maintains peer review protocols informed by standards prevalent at Council of Editors of Learned Journals, Modern Language Association, American Council of Learned Societies, and procedures used by Cambridge University Press, Oxford University Press, and Routledge. Its editorial board has included scholars affiliated with King's College London, University of Cambridge, University of California, Berkeley, Stanford University, and Princeton University. Submission guidelines emphasize original research on sources held by repositories such as the Vatican Library, Biblioteca Nazionale Centrale di Firenze, Staatsbibliothek zu Berlin, Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden, and the New York Public Library. The organization operates with an executive editor, an editorial council, an advisory board, and sections for review essays and critical editions patterned after practices at EJMS and Oxford Music Online.
Opus Musicum publishes articles, critical editions, facsimile studies, reviews, and essays on repertoires from Medieval music, Renaissance music, Baroque music, Classical period (music), Romantic music, and 20th-century music. Notable special issues have focused on figures such as Josquin des Prez, Giovanni Pierluigi da Palestrina, Heinrich Schütz, George Frideric Handel, Joseph Haydn, Franz Schubert, Richard Wagner, Hector Berlioz, Sergei Prokofiev, and Olivier Messiaen. Scholarly contributions include source-critical studies of manuscripts from Monteverdi collections, analytical essays on Schoenberg's twelve-tone practice, and performance-practice debates referencing the work of Nikolaus Harnoncourt, Trevor Pinnock, Christopher Hogwood, Marin Alsop, and Leonard Bernstein. The periodical has issued annotated editions and modern performing editions of works associated with Antonio Vivaldi, Domenico Scarlatti, Frédéric Chopin, Felix Mendelssohn, Giacomo Puccini, and Benjamin Britten.
Contributors include musicologists, performers, and theorists affiliated with institutions such as Royal College of Music, Guildhall School of Music and Drama, New England Conservatory, Sibelius Academy, Moscow Conservatory, and Tokyo University of the Arts. Past and present editors and contributors have included scholars in the lineage of Donald Jay Grout, Willis Conover, Nicholas Cook, Susan McClary, Joseph Kerman, Timothy Jackson (musicologist), and Annegret Fauser. Regular reviewers and columnists have ties to festivals and organizations such as the Aldeburgh Festival, Salzburg Festival, Bayreuth Festival, Lucerne Festival, BBC Proms, Carnegie Hall, and the Metropolitan Opera.
Opus Musicum is cited in bibliographies and bibliometric databases alongside RILM, JSTOR, Project MUSE, Scopus, and Web of Science. It has influenced programming at ensembles such as Academy of Ancient Music, Orchestra of the Age of Enlightenment, Concertgebouw Orchestra, Berlin Philharmonic, and Vienna Philharmonic. Its scholarship has been referenced in liner notes by labels including Deutsche Grammophon, EMI Classics, Sony Classical, Warner Classics, and Harmonia Mundi, and has informed editorial decisions at presses like Brepols, Firenze University Press, and Indiana University Press. Critical reception ranges from endorsement in periodicals like The New York Times, The Guardian, Le Monde, and Frankfurter Allgemeine Zeitung to scholarly debate in journals such as Music & Letters, Tempo (journal), and Contemporary Music Review.
Back issues and archival material are preserved in collections at institutions including the British Library, National Library of Spain, Bibliothèque nationale de France, Austrian National Library, and the Library of Congress. Digital archives are accessible through platforms cooperating with Europeana, HathiTrust Digital Library, Internet Archive, and institutional repositories at Harvard Library, Bodleian Libraries, and Biblioteca Nacional de Portugal. The journal's indexing and metadata are compatible with standards used by Dublin Core Metadata Initiative, OpenAIRE, and ORCID integration for contributors.
Category:Music journals Category:Musicology