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Schubert Society Journal
The Schubert Society of the USA is pleased to announce the official launch of its new scholarly journal. The aim of ARPEGGIONE is to
broaden the vistas of Schubert research and to promote greater multidisciplinary
approaches to the study of the life and work of Franz Schubert. Such study will include all aspects of
Schubert scholarship and performance from the fields of general history, music
history, musicology, music theory, performance studies and history, reception
history, and the arts and humanities. While the focus is on scholarship, we wish to make ARPEGGIONE accessible to the non-specialist contributor and
reader. All contributions to these pages will adhere to the best scholarly and literary standards and practices.
It is the policy of ARPEGGIONE, as of the Schubert Society of the USA, to embrace all traditions
and disciplines relating to Schubert, his music, and his life. ARPEGGIONE
and the Schubert Society of the USA do not promote any
particular ideological viewpoint or methodology. The content of
individual contributions does not necessarily reflect the opinions of
the editors. ARPEGGIONE
is intended to be a forum for scholars who may be academic scholars,
independent scholars, postgraduate students, and other contributors
whose
purpose is to pursue Schubert research: "Good scholarship is good
scholarship, wherever it comes from."
The only criteria for acceptance of papers will be the
originality of ideas, persuasiveness of arguments, and clarity of
presentation. The main principle of the editorial policy will be
open-mindedness and tolerance for the heterogeneity of ideas.
We know of no other composer who wrote for the arpeggione; therefore
the name of
our journal is uniquely connected to Franz Schubert. It was Dr.
Bempéchat, our Associate Editor, who suggested the journal's title, and
we are indebted to
him for his evocative recommendation. The New Grove Dictionary of Music and Musicians
(ed. Stanley Sadie, London/New York, 1980/1995, Vol. I) provides
the following description of this instrument: "It was invented and made
by J[ohann] G[eorg] Stauffer of Vienna in 1824 and was, in
essentials, a bass viol with a guitar tuning ...". The New Grove
has a front-view photo of an arpeggione, which does not convey the
depth (back to front) of the box or the impressively
large size of the pegs for this six-stringed instrument. The arpeggione
has no endpin; so it was held between the knees like a viola da gamba.
An original Stauffer arpeggione is in the Musical
Instruments collection of The Metropolitan Museum of Art in New York.
Executive Director Janet I. Wasserman, Managing Editor |
