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Corrigendum

Corrigendum 19 TH CENTURY MUSIC Contributors Rufus Hallmark is professor of music at the Mason Gross School of the Arts, Rutgers, State University of New Jersey. He has written largely about the Lieder of Schumann and Schubert, but has also published on the songs of Vaughan Williams. His four essays appeared in Of Poetry and Song: Approaches to the NineteenthCentury Lied (ed. Jurgen Thym, 2010), his second, revised edition of German Lieder in the Nineteenth Century came out in 2009, and his study of Schumann's cycle Frauenliebe und Leben will be published as a Cambridge Music Handbook. He is preparing the critical editions of Dichterliebe and Frauenliebe und Leben for the new, complete edition of Schumann's works and is series editor for Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries (A-R Editions). William Cheng is a doctoral candidate in music at Harvard University. He is currently completing a dissertation that examines the technologies of music and musicianship in American video game cultures through the lens of critical studies in opera, theater, radio, film, and new media. His additional areas of research include operas of the Weimar Republic, virtuosity, improvisation, and intersections between theories of gender, sexuality, race, and disability. His other recent and forthcoming publications include articles in Cambridge Opera Journal, Ethnomusicology, The Oxford Handbook of Virtuality, and The Oxford Handbook of Sound and Image in Digital Media. Sherry Lee is assistant professor of music history and culture at the University of Toronto. Her research interests include music and culture in fin-de-siècle Vienna, the musical thought of T. W. Adorno, and music and technology. Some of her recent work appears in Music & Letters, Alban Berg and His World, and the University of Toronto Quarterly, and she is presently completing a book on Adorno at the opera. Corrigendum In the spring issue article by Tobias Pontara, "Beethoven Overcome: Romantic and Existentialist Utopia in Andrew Tarkovsky's Stalker" (this journal [34/3], 303), there was an error in the construction of the following sentence, which should have read: "The last scene of Stalker is one of the more mysterious endings in Tarkovsky's oeuvre, concluding what is arguably the director's most mysterious film." We regret the error. 19th-Century Music, vol. 35, no. 1, p. 90. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2011 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions Web site, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2011.35.1.90. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Corrigendum

19th-Century Music , Volume 35 (1) – Jul 1, 2011
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2011.35.1.90a
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Abstract

19 TH CENTURY MUSIC Contributors Rufus Hallmark is professor of music at the Mason Gross School of the Arts, Rutgers, State University of New Jersey. He has written largely about the Lieder of Schumann and Schubert, but has also published on the songs of Vaughan Williams. His four essays appeared in Of Poetry and Song: Approaches to the NineteenthCentury Lied (ed. Jurgen Thym, 2010), his second, revised edition of German Lieder in the Nineteenth Century came out in 2009, and his study of Schumann's cycle Frauenliebe und Leben will be published as a Cambridge Music Handbook. He is preparing the critical editions of Dichterliebe and Frauenliebe und Leben for the new, complete edition of Schumann's works and is series editor for Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries (A-R Editions). William Cheng is a doctoral candidate in music at Harvard University. He is currently completing a dissertation that examines the technologies of music and musicianship in American video game cultures through the lens of critical studies in opera, theater, radio, film, and new media. His additional areas of research include operas of the Weimar Republic, virtuosity, improvisation, and intersections between theories of gender, sexuality, race, and disability. His other recent and forthcoming publications include articles in Cambridge Opera Journal, Ethnomusicology, The Oxford Handbook of Virtuality, and The Oxford Handbook of Sound and Image in Digital Media. Sherry Lee is assistant professor of music history and culture at the University of Toronto. Her research interests include music and culture in fin-de-siècle Vienna, the musical thought of T. W. Adorno, and music and technology. Some of her recent work appears in Music & Letters, Alban Berg and His World, and the University of Toronto Quarterly, and she is presently completing a book on Adorno at the opera. Corrigendum In the spring issue article by Tobias Pontara, "Beethoven Overcome: Romantic and Existentialist Utopia in Andrew Tarkovsky's Stalker" (this journal [34/3], 303), there was an error in the construction of the following sentence, which should have read: "The last scene of Stalker is one of the more mysterious endings in Tarkovsky's oeuvre, concluding what is arguably the director's most mysterious film." We regret the error. 19th-Century Music, vol. 35, no. 1, p. 90. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2011 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions Web site, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2011.35.1.90.

Journal

19th-Century Music – University of California Press

Published: Jul 1, 2011

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