Editorial (Registro nro. 122916)

Detalles MARC
000 -LEADER
fixed length control field 01383nab a2200181 c 4500
001 - CONTROL NUMBER
control field myd_86473
003 - CONTROL NUMBER IDENTIFIER
control field ES-MaCDM
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20240917124638.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 181003s2010 sp ||||fr 00| u|spa u
040 ## - CATALOGING SOURCE
Original cataloging agency ES-MaCDM
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Knights, Francis
9 (RLIN) 136539
245 0# - TITLE STATEMENT
Title Editorial
Statement of responsibility, etc KNIGHTS, Francis
260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Date of publication, distribution, etc 2010:
Name of publisher, distributor, etc Oxford University Press,
Place of publication, distribution, etc London; Oxford
520 ## - SUMMARY, ETC.
Summary, etc RESUMEN: The subtitle of this issue reflects a happy serendipity rather than any formal theming, and were it not for one or two articles lying just outside these boundaries, it could as easily have been 'Three centuries of English music' or indeed 'Three centuries of music in London'. The broad historical range, taking us from Byrd right into the 19th century, is similarly accidental yet welcome. However, such a subtitle might also cause us to ponder what, if anything, is meant by 'Englishness' in music, especially early music. As the 2009 Proms season showed, our associations here are so intimately tied up with Elgar and Vaughan Williams (not to mention Gilbert and Sullivan) that it is hard to see what might be the role and position of a 'national' music before such composers, whose works are in some way a reflection of Victorian self-confidence and prosperity
773 0# - HOST ITEM ENTRY
Title Early Music
Host Biblionumber 72886
Record control number myd_16029
Relationship information Vol. 38, núm. 4,Nov. 2010, p. 495
903 ## - LOCAL DATA ELEMENT C, LDC (RLIN)
a 86473
b 86473
942 ## - ADDED ENTRY ELEMENTS (KOHA)
Koha item type Artículos de revista

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