The Violin

(Toronto 1906-1907)

Editor: E.R. Parkhurst
Periodicity: Monthly
Language: English CAN
Continued by: Musical Canada (Toronto, 1907-1932)

For a description of the journal, see Musical Canada.

Musical Canada

(Toronto 1907-1932)

Editor: Edwin R. Parkhurst
Periodicity: Monthly
Language: English CAN
Continues: The Violin (Toronto, 1906-1907)

“One of the longest-lived Canadian music magazines, it was owned until 1920 by [Edwin R.] Parkhurst, 1920-8 by A. L. Robertson (with Augustus Bridle, H. Cecil Fricker, and Robertson as successive editors), 1928-33 by C. F. Thiele, and briefly by Gordon V. Thompson.
Musical Canada was essentially a 'journal of musical news and comments' devoted to concert reports and news about performers. Later it became increasingly a combination of sections which served special-interest groups. In 1924 Robertson incorporated The Canadian Bandsman and Orchestra Journal (which he had edited previously as a house publication of R. S. Williams & Co.) and in 1928 the CCO began to use Musical Canada as its bulletin, as did the music section of the Ontario Educators Association. ... Of historical importance is a series (1928-33) of biographical essays by H. C. Hamilton on Canadian musicians."

Helmut Kallmann, "Musical Canada" in Encyclopedia of Music in Canada, ed. Helmut Kallmann, Gilles Potvin, and Kenneth Winters. Toronto: University of Toronto Press (1981): 655-56.

The Dramatic and Musical Review

(London 1842-1852)

Publisher: J. Onwhyn
Periodicity: Weekly (1842-1847), Monthly (1848-1849), Bi-monthly (1850-1852)

Edited by brothers C. Chambers and Frederic Eames, according to Leanne Langley, The Dramatic and Musical Review “enjoyed some success because it appealed to a mixed audience of popular music- and theatre-lovers and professional as well as semi-professional musicians.” Regularly attacked by the poison-penned James William Davison in The Musical Examiner as “The Dramatic and Musical Puddle,” the Dramatic and Musical Review largely focused on concert, operatic and theatrical reviews, musical news and gossip. Editorials begin each issue. In 1852, the journal merged with the Musical Times.

For more, see Leanne Langley, The English Musical Journal in the Early Nineteenth Century. Ph.D. Dissertation, University of North Carolina at Chapel Hill (1983): 606-10.

The Orchestra [First series]

(London 1863-1874)

Publishers: Cramer and Co., 1863-1868; Adams and Francis, 1864-1867; James Swift (Swift and Co.), 1868-1874
Printers: Cramer and Co. (The Regent Press), 1863; George Wood of Cramer, Wood and Co. (Regent Steam Press), 1864; George Wood (Regent Press), 1865-1867; James Swift (Swift and Co.), 1868-1869; Regent Press, 1869-1874
Periodicity: Weekly
Forthcoming: Vol. 1 nos. 1, 3, 5; New Series = The Orchestra and the Choir (1874-1881)

"The Orchestra ... began life as the house weekly of the music publishers Cramer, Beale, and Wood, with emphasis on news and on theatrical works issued by the firm: orchestral or symphonic music per se is hardly mentioned. … Early contributors seem to have included H. J. Gauntlett (on German composers) and Henry Chorley (Gounod's operas). In the 1870s the paper began coverage of the Crystal Palace and Monday Popular Concerts and a few literary works (Thomas Hood's Poems, Balfe's Reminiscences, The Era Alamanac); it also included topics in education and church music, and published a valuable necrology.”

Leanne Langley, "Music" in Victorian Periodicals and Victorian Society. Toronto: University of Toronto Press, 1995: 99-126, at 121-22.

The Musical Standard: A Newspaper for Musicians, Professional and Amateur

(London 1871-1893)

Publishers: George Carr and Company, 1871-1872; Reeves and Turner, 1872-1874; William Reeves, 1875-1893
Printers: William Bowden, 1871-1878; Thomas Danks, 1872; Bowden, Hudson and Company, 1879-1893
Editors: T. L. Southgate, 1871-1873; John Crowdy, 1873-1876; John Broadhouse, 1876-.
Periodicity: Weekly

The Musical Standard was a long-lived and bibliographically-complicated journal. As noted by Leanne Langley, "Apart from its value as a documentary source - the obituaries, for example, are rich and full, and include figures of local musical prominence such as Dr. Henry Watson of Manchester - The [Musical] Standard is important for having developed the audience for music books, issued in turn by the journal's publisher William Reeves."

Leanne Langley, "Music" in Victorian Periodicals and Victorian Society. Toronto: University of Toronto Press, 1995: 99-126, at 120.

The Overture

(London 1890-1894)

Publisher: Frederick Corder
Periodicity: Monthly

Published by the composer Frederick Corder and printed by Novello, Ewer & Co., The Overture was a monthly journal “to strengthen the bonds of friendly interest and sympathy between the many individuals connected in the present or in the past with the Royal Academy of Music.” As such, the journal chronicles activities of students, faculty, and alumni of the Royal Academy. In addition, articles on pedagogical topics, reviews of concerts and new musical publications, and advertising can be found.

Overture, The, Vol. 1 no. 1 (Mar 1890): 3

Boston Eoliad

(Boston, MA 1840-1841)

Editor: Henry E. Moore
Printer: Prentiss and Jones, 1840; J. Jones, 1841
Periodicity: Two issues

Only two numbers of the Boston Eoliad, dated 19 September 1840 and 17 February 1841, appear to have been published. The editor, Henry E. Moore, notes that “throughout the whole length and breadth of these United States, there is not one weekly newspaper, exclusively devoted to the science of music, and there are but few, very few, periodicals.” Moore proposes the Eoliad to fulfill this need, copying content from various domestic and European sources to fill the Eoliad's pages. However, as noted in the delayed second issue, subscribers were insufficient to maintain the undertaking. Apparently too many followed the editor's advice, given in his second editorial: “Try it, / And if you do not like it, / Why, then, you needn’t buy it.”

Boston Eoliad, Vol. 1 no. 2 (17 February 1841): 12

American Monthly Music Review, and Choir Singers' Companion

(New York 1850-1851)

Publisher: Huntington and Savage, 1850-1851; F.J. Huntington, 1851
Editor: I.B. Woodbury
Periodicity: Monthly
Forthcoming: Nos. 2-4
Lacunae: No. 1. No copy could be located.
Continued by: The Musical Review and Choral Advocate (New York, 1852-1853)

The American Monthly Musical Review and the Choral Advocate, which issued their first numbers in 1850, were similar to the Boston magazines in that their principal purpose was the advancement of sacred music. News of societies devoted to the cultivation of sacred music figured prominently in the pages of the Review and Advocate, but other items of musical interest at home and abroad were mentioned only briefly. Foreign news improved both in quantity and quality with the addition of foreign correspondents, George Root, Lowell Mason and his two sons, Henry and William, and William B. Bradbury, all of whom were then traveling or studying in Europe.”

Charles Edward Wunderlich, A History and Bibliography of Early American Musical Periodicals, 1782-1852. Ph.D. Disseration, University of Michigan (1962): 255.

The Musical Review and Choral Advocate

(New York 1852-1853)

Editor: L. Mason and I.B. Woodbury
Periodicity: Monthly
Publisher: F.J. Huntington and Mason & Law
Language: English US
Continues:The Choral Advocate and Singing Class Journal (New York, 1850-1851)
Absorbs: The American Monthly Musical Review (New York, 1850-1851)
Continued by:The New York Musical Review and Gazette (New York, 1854-1855)

Published monthly, this journal was formed from the union of the The Choral Advocate and Singing Class Journal and the American Monthly Music Review and Choir Singers' Companion. Editors were Lowell Mason and I. B. Woodbury (1852), C. M. Cady (1853), and edited collectively by the Mason Brothers publishing house (1854).  F. J. Huntington and Mason & Law were publishers until 1854 when the journal was wholly controlled by the Mason Brothers. These three years show a continual progression from a journal focused largely on sacred and choral music to a broader range of musical topics including concerts and musical news, both domestic and foreign. Most issues contain musical supplements of largely vocal music, including hymns, glees, songs and part songs.

The New York Musical Review and Gazette

(New York 1855-1860)

Editor: Unnamed
Periodicity: Twice a month (biweekly)
Publisher: Mason Brothers
Language: English US
Continues: The New York Musical Review and Choral Advocate (New York, 1854-1855)
Absorbs: The Musical Gazette (New York, 1854-1855)
Continued by: The Musical Review and Musical World (New York, 1860-1865)

Formed from the merger of two journals published by the Mason Brothers, The New York Musical Review and Choral Advocate and the Musical Gazette, the journal had no declared editor though Theodore Hagen eventually became the defacto editor. Published fortnightly from 1 January 1855 to 28 April 1860, this new journal continued the format of the previous Musical Review and Choral Advocate but with an expanded scope. Correspondence from across the growing United States is featured alongside musical news and gossip, concert reviews, and articles on a wide variety of musical topics.

The New York Musical Pioneer [and Choirster's Budget]

(New York 1855-1867)

"In New York from 1850 J. B. Woodbury put forth an American Monthly Musical Review,; which in 1852 under Mason’s more powerful lead became the Musical Review and the ‘New York Musical Review,’ Woodbury turning to the Music Pioneer,; which he managed in 1855-68. These latter were connected with the promotion of ‘psalmody’ and its sequels."

Grove's Dictionary of Music and Musicians. American Supplement, ed. by Waldo Selden Pratte and Charles N. Boyd (Philadelphia: Theodore Presser Company, 1922), 258.

The Musical Review and Musical World

(New York 1860-1864)

Editors: Lowell Mason, Jr. and Daniel Mason; Theodore Hagen (from vol. 13 no. 14 / 5 July 1862)
Periodicity: Twice a month (Biweekly)
Publisher: Mason Brothers
Language: English US
Continues: New York Musical Review and Gazette (New York, 1855-1860)
Continued by: The New York Weekly Review (New York, 1865-1873)

On 4 August 1860 the Mason Brothers acquired Richard Storrs Willis’ and Oliver Dyer’s [New York] Musical World and merged it with the Mason Brothers’ existing New York Musical Review and Gazette. The Mason Brothers published the journal until 5 July 1862 when they sold the publication to the previously-undeclared editor, Theodore Hagen. Over its publication run, the journal shifts away from sacred music to concert music with an increasing European focus, reflecting Hagen’s Germanic background and tastes. Musical correspondence from across the United States is gradually replaced by articles on theoretical topics, portraits of composers, and concert reviews, content aligned with, and sometimes derived from, European journals.

The Choral Advocate and Singing Class Journal

(New York 1850-1851)

Editor: Darius Jones
Periodicity: Monthly
Publisher: Mason & Law
Language: English US
Continued by: The Musical Review and Choral Advocate (New York, 1852-1853)

The American Monthly Musical Review and the Choral Advocate, which issued their first numbers in 1850, were similar to the Boston magazines in that their principal purpose was the advancement of sacred music. News of societies devoted to the cultivation of sacred music figured prominently in the pages of the Review and Advocate, but other items of musical interest at home and abroad were mentioned only briefly. Foreign news improved both in quantity and quality with the addition of foreign correspondents, George Root, Lowell Mason and his two sons, Henry and William, and William B. Bradbury, all of whom were then traveling or studying in Europe.”

Charles Edward Wunderlich, A History and Bibliography of Early American Musical Periodicals, 1782-1852. Ph.D. Disseration, University of Michigan (1962): 255.

New York Weekly Review

(New York 1865-1873)

Editors: C. B. Seymour, Theodore Hagen, Zavarr Wilmshurst
Periodicity: Weekly
Publisher: Theodore Hagen
Language: English
Previous Title: New York Weekly Review of Music, Literature, Fine Arts and Society
Lacunae: Vol. 19 no. 26; Vol. 23 no. 743; Vol. 24 nos. 753-755, 761-762. A copy of these issues could not be located.

At the beginning of 1865, Theodore Hagen reshaped his Musical Review and Musical World into the New York Weekly Review, a four page broadsheet publication focused largely on music. For the first thirty issues, the journal was edited by C. B. Seymour, music critic for the New York Times, and published by Hagen; thereafter Hagen assumed both roles. The journal published copious musical news and reviews in addition to literature and commentary on issues of the day. The journal was distributed widely; notably, the young Mark Twain, then in San Francisco, contributed some of his earliest known publications to the New York Weekly Review in 1865-1866. This journal – last of a line of publications begun in 1850 with the Choral Advocate – ceased not long after Hagen’s death in 1871.

The Concordia

(Chicago 1866-1867)

The Concordia is notable as it was the first music-specific journal published in Chicago. Two complete volumes were published, totaling twenty-four issues over two years.

Content of The Concordia consists of serialized biographies of composers, pedagogical advice, musical news from Chicago and throughout the musical world (largely copied from other journals), and poetry. Each issue was supplemented with two pages of music, largely hymns and glees.

The Music Trade Review

(New York 1875-1879)

Publisher: The Trade Review Publishing Company
Editors: John Christian Freund, Gotthold Carlberg, Charles A. Welles, Horace Wadham Nicholl
Periodicity: Twice monthly
Continued by:The Review: With which is incorporated the Music Trade Review (New York, 1878)

This journal, which encompasses four distinct titles but is commonly known as simply The Music Trade Review, was the first music journal published and edited by the English émigré writer John C. Freund who later would find fame as the founder and editor of Musical America (New York, 1898-1964). While initially published for the music trades, especially piano manufacturers, The Music Trade Review rapidly expanded into concert reviews and articles on various musical topics. The Review failed in early 1880 following Freund's financial mismanagement.

The Review: With which is incorporated the Music Trade Review

(New York 1878)

Publisher: The Trade Review Publishing Company
Editor: John C. Freund
Periodicity: 5 weekly issues
Continues:The Music Trade Review (New York, 1876-1878)
Continued by: The Musical Times and Music Trade Review (New York, 1879)

For a description of the journal, see The Music Trade Review.

The Musical Times and Music Trade Review

(New York 1879)

Publisher: The Trade Review Publishing Company
Periodicity: Weekly, 8 issues
Continues: The Review: With which is incorporated The Music Trade Review (New York, 1878)
Continued by:The Musical and Dramatic Times and Music Trade Review (New York, 1879-1880)

For a description of the journal, see The Music Trade Review.

Musical and Dramatic Times and Music Trade Review

(New York 1879-1880)

Publisher: The Trade Review Publishing Company
Periodicity: Weekly, 11 issues
Continues: The Musical Times and Music Trade Review (New York, 1878)

For a description of the journal, see The Music Trade Review.

Musical and Sewing Machine Courier

(New York 1880)

Publisher: Howard Lockwood
Periodicity: Weekly
Language: English
Previous Title: Musical and Sewing-Machine Gazette
Next Title:Musical and Dramatic Courier

For a description of the journal, see The Musical Courier.

Musical and Sewing-Machine Gazette

(New York 1880)

Editor: William E. Nickerson
Periodicity: Weekly
Publisher: Howard Lockwood
Next Titles: Musical Sewing-Machine Courier

For a description of the journal, see The Musical Courier.

The Musical Courier

(New York 1880-1881, 1883-1961)

Editors: William E. Nickerson, Marc A. Blumenburg and Otto Floersheim
Publisher: Howard Lockwood, Musical Courier Company
Periodicity: Weekly
Language: English
Previous Titles:
Musical And Sewing Machine Gazette;
Musical and Sewing Machine Courier;
Musical and Dramatic Courier
Lacunae: Vol. 1 no. 18; Vol. 13 no. 11; Vol. 26 no. 22; Vol. 27 no. 6. A copy of these issues could not be located.

"The Musical Courier, which began publication in 1880 as The Musical and Sewing Machine Gazette and appeared weekly for most of its life until its demise in 1962, was one of the most widely read music journals in the United States before World War I. Its editors, Otto Floersheim and Marc Blumenberg, relished controversy and found themselves the targets of lawsuits on a number of occasions.


From the beginning, this journal also provided extensive coverage of 'Music Trades,' meaning the manufacturing and marketing of musical instruments and scores. This emphasis on the music business was unique in the late nineteenth century and provides a useful record of the week-by-week evolution of American music manufacturing. Because of the wide range of topics covered in the journal, and because of the 'insider' stories that so frequently appeared in its pages, it is extremely valuable to historians."

E. Douglas Bomberger, Review of An Annotated Index to Selected Articles from the Musical Courier, 1880-1940 by Peter H. Adams. Notes: Quarterly Journal of the Music Library Association 66, no. 3 (March 2010): 579-580.

The Musical and Dramatic Courier

(New York 1880-1882)

Editors: Editor not specified, but likely William E. Nickerson
Publisher: Howard Lockwood
Periodicity: Weekly
Language: English
Previous Title: The Musical and Sewing-Machine Courier
Next Title: The Musical Courier

For a description of the journal, see The Musical Courier.

Music: a Review

(New York 1882)

Publisher: The American News Co.
Editors: John C. Freund
Periodicity: Weekly

Music: A Review was the initial title for the journal that went through multiple title changes: Music & Drama (1882), Weekly Music & Drama (1883), Music & Drama (again, in 1883) and finally Freund’s Music & Drama (1883). Each of these journals covers the musical world broadly with a focus on musical reviews, domestic and foreign news, information on the music trades and advertising. Each issue is illustrated with a musical or dramatic figure on the cover; articles are frequently illustrated and illustrated supplements accompany many issues. Articles and reviews frequently demonstrate strong opinions, reflecting John C. Freund’s editorial policy and ambition.

Music and Drama

(New York 1882, 1883)

Publisher: The American News Co.
Editors: John C. Freund
Periodicity: Weekly

Music and Drama was the penultimate title change for the journal that began as Music: A Review (1882), Music & Drama (1882), Weekly Music & Drama (1883), Music & Drama (again, in 1883) and finally Freund’s Music & Drama (1883). Each of these journals covers the musical world broadly with a focus on musical reviews, domestic and foreign news, information on the music trades and advertising. Each issue is illustrated with a musical or dramatic figure on the cover; articles are frequently illustrated as are illustrated supplements accompany many issues. Articles and reviews frequently demonstrate strong opinions, reflecting John C. Freund’s editorial policy and ambition.

Weekly Music & Drama

(New York 1883)

Publisher: The American News Co.
Editors: John C. Freund
Periodicity: Weekly

Weekly Music & Drama was one of the many title changes for the journal that began with Music: A Review (1882), Music & Drama (1882), Weekly Music & Drama (1883), Music & Drama (again, in 1883) and finally Freund’s Music & Drama (1883). Each of these journals covers the musical world broadly with a focus on musical reviews, domestic and foreign news, information on the music trades and advertising. Each issue is illustrated with a musical or dramatic figure on the cover; articles are frequently illustrated and illustrated supplements accompany many issues. Articles and reviews frequently demonstrate strong opinions, reflecting John C. Freund’s editorial policy and ambition.

The Keynote

(New York 1883-1897)

Editors: Frederic Archer, J.O. von Prochazka
Publisher: Edward Lyman Bill, 1895-1897
Distributor: The American News Company, 1883-1890
Periodicity: Weekly, 1883-1889; Monthly, 1889-1897
Forthcoming: Vol. 3 no. 1, Vol. 15 no. 7
Lacunae: Vol. 6 no. 13; Vol. 12 no. 7 - Vol. 14 no. 3; Vol. 14 no. 5 - Vol. 15 no. 5; Vol. 15 no. 8 - Vol. 16 no. 6; Vol. 16 no. 11 - Vol. 17 no. 2; Vol. 18 no. 5. No copies could be located.

The Keynote’s founder Frederic Archer modeled its layout and scope on English music journals of the period, providing readers with an expansive view of the musical world, unencumbered by copious advertising. A trade supplement, "Music Trade Matters," is a regular feature. In 1888, J. O. von Prochazka became the editor; additional illustrations were introduced and a greater emphasis was placed upon musical personalities. Above the masthead, the new editor also introduced a handwritten endorsement by the composer Arthur Sullivan: "The Keynote is the only good musical paper I know" (emphasis Sullivan's).

Freund's Weekly

(New York 1893)

Editor: Harry E. Freund
Periodicity: Weekly
Continues: Freund's Music and Drama (New York, 1884-1892), forthcoming to RIPM Preservation Series: European and North American Music Periodicals
Continued by: Freund's Musical Weekly (New York, 1894-1896)

For a description of the journal, see Freund's Musical Weekly (New York, 1894-1896).

Freund's Musical Weekly

(New York 1893-1896)

Editor: Harry E. Freund
Periodicity: Weekly
Continues: Freund's Weekly (New York, 1893-1894)
Continued by: The Musical Age (New York, 1896-1914), forthcoming in RIPM Preservation Series: European and North American Music Periodicals

Freund's Weekly (1893), later Freund's Musical Weekly (1893-1896), and later The Musical Age (1896-1914) was published and edited by Harry E. Freund, the younger brother of the better-known John C. Freund.

Harry E. Freund intended Freund’s Musical Weekly to be "bright, chatty and gossipy" (vol. 1, no. 1, page 2) and thus includes much musical news and concert reviews in compact, "newsy" prose. A section titled "The Music Trade" comprises better than half of each issue, largely focused on pianos and piano manufacturing. With the 2 December 1893 issue (vol. 4, no. 8), Freund changed the title to Freund's Musical Weekly, better reflecting the journal contents which seldom strayed from musical topics. With the change came further illustrations and a broader coverage of the musical world, including events and musical personalities in Europe, though always with a significant focus on music in the United States.

Musical America

(New York 1898-1899, 1905-1945 [-1964])

Editor: John C. Freund (1898-7 June 1924), Milton Weil (14 June 1924-2 July 1927), Deems Taylor (20 August 1927-10 July 1929), A. Walter Kramer (August 1929-10 May 1936), Oscar Thompson, Executive Editor (25 May 1936-10 November 1943), Ronald F. Eyer (25 November 1943-)
Periodicity: Weekly
Publisher: Musical America Co.
Language: English US
Forthcoming: Vol. 66-112 (1946-1964)

"Briefly stated, the principal function of [widely-distributed American music journals in 1931] was to supply musical information to a general, rather than musically unsophisticated audience: articles, when not communicating news, most often were neither technical nor scholarly; pictorial material was plentiful. Correspondence, editorials, biographies, and advertisements usually appeared, forming, in their cumulations, volumes of prodigious size. ...

"Musical America accomplished even more [than the Musical Courier]. While covering musical events much in the same fashion as the Courier, it provided more detailed, substantial reports. Essays were more numerous and consequential."

Charles Lindahl, "Music Periodicals in U. S. Research Libraries in 1931: A Retrospective Survey Part III: The United States." Notes: Quarterly Journal of the Music Library Association 38, no. 2 (December 1981): 322.

Doings of the Musicians: A Monthly Summary of the Musical World

(Boston, MA 1900)

Publisher: Oliver Ditson Company
Editor: Philip Hale
Periodicity: 10 monthly issues
Preceded by and supplemented: Ditson and Company's Musical Record (Boston, 1878-1900)
Continued by: Musical Record and Review (New York, 1901-1903), both journals forthcoming in RIPM Preservation Series: European and North American Music Periodicals

Published by the Oliver Ditson Company and edited by Philip Hale, Doings of the Musicians was a one-year supplement to Ditson's Musical Record (Boston, 1878-1903). Combining aspects of a newspaper and a digest, Doings of the Musicians contains musical news from the United States and Europe, providing readers a panorama of musical happenings, focused on musical personalities. Correspondents throughout the United States provide local news; longer-form articles published elsewhere are excerpted. Excepting a cover photograph, the journal is comprised of text only. The journal ceased when Hale became editor of The Musical World (Boston, 1901-1904), leaving Ditson for the J. B. Millet Company.

The Musical Observer

(New York 1907-1931)

Publisher: Carl Fischer
Editor: Gustav Saenger
Periodicity: Monthly

"Carl Fisher, Inc. had always provided the standard materials for music education, and since 1909, it had published The Musical Observer, subsequently known as The Musical Courier, a monthly journal for musicians and teachers. However, it was to increase its activities in this area during the 1920s. Particularly under Walter Fischer, who became President after the passing of his father in 1923, the house concentrated on the publication of easy arrangements of the great Masters and of updated manuals to replace the standard hypertechnical ones prevailing until then, and on encouraging the growing number of composers who were directing their creativity toward the expanding market in music education."

Susana F. Hertz, “The Carl Fisher Story,” American Music Teacher 22, no. 4 (Feb./Mar. 1973): 22.

The Crescendo

(Boston, MA 1909-1927)

Publisher: Crescendo Publishing Co. (1909-1918), H. F. Odell (1918-1927)
Editors: H. F. Odell
Periodicity: Monthly

Subtitle varied: Devoted to the interests of the Mandolin, Guitar, and Banjo; official Organ of the American Guild of Banjoists, Mandolinists and Guitarists. 

"The last of the great BMG [Banjo, Mandolin, Guitar] magazines."

"...because Crescendo persisted through the early 1930s, it documented two significant developments for the guitar in America at that time. First, columns, articles, and advertisements outlined the development and growing popularity of the steel-strung arch-top guitar in jazz and popular music. ... Second, Crescendo documented the increased international activity and influence of European guitarists, especially the Spaniards Miguel Llobet and Andres Sevogia. Crescendo's enthusiastic response to these virtuoso soloists helped create an atmosphere that contributed to Segovia’s later domination of this country’s classical guitar culture and community, and the universal acceptance of his technique and repertoire."

Jeffrey Noonan, "The Guitar in America as Reflected in Topical Periodicals, 1882-1933." Ph. D. Dissertation, Washington University (2004): 8, 587.

Pacific Coast Musician

(Los Angeles 1911-1948)

Editors: Frank H. Colby, R. Vernon Steele
Periodicity: Monthly, Weekly, Bi-Weekly
Publisher: Pacific Coast Musician Company, Colby and Pryibil, Frank H. Colby, Myrtile P. Colby, R. Vernon Steele
Language: English
Lacunae: Vol. 12 nos. 11-12, 16; Vol. 13 no. 18; Vol. 15 no, 19. A copy of these issues could not be located.

The Pacific Coast Musician documents the remarkable musical growth in Los Angeles and on the entire west coast of the United States. The journal chronicles the growth of musical institutions, including the Los Angeles Philharmonic, the Hollywood Bowl concerts, music at the University of California, Los Angeles (UCLA), University of Southern California (USC), and other colleges and universities. Music in the film industry, centered in Hollywood, is treated, and the arrival of European musicians, notably Arnold Schoenberg and Igor Stravinsky, is discussed. Photographs are regularly included in the 1920s and 1930s; musical supplements are a feature of the 1910s.

Musical Advance

(New York 1913-1948)

Publishers: Cecil Mackie Inc., 1913; Musical Advance Co., Inc., 1914-1948
Editors: C.E. LeMassena, May Cleland Hamilton, C. Belmont Hendricks, Benjamin B. Russell, Spencer B. Driggs
Periodicity: Monthly

The Musical Advance sought to discuss and, to a lesser extent, document musical activities in New York with a focus on musical personalities and operatic productions. There are frequent vignettes of singers, often accompanied by photographs of them in costume. Pianists and other instrumentalists were a secondary focus; short articles on diverse musical topics appeared regularly. Of note are the large quantity of photographs published and the coverage and discussion of female musicians, particularly singers.

The intended readership was the concert-going public in New York, especially the affluent. The journal increasingly became connected with musical and social clubs, documenting the activities of many Upper East Side organizations, soirées and recitals. For instance, the activities of Florence Foster Jenkins and her Verdi Club are regularly, and uncritically, documented.


(Boston, MA 1918-1930)

Publisher: Walter Jacobs, Inc.
Editors: C.V. Buttelman, Lloyd Loar
Periodicity: Monthly
Lacunae: Vol. 7 no. 1 (Jan. 1923); Vol. 9 no. 10 (Oct. 1925); Vol. 10 no. 6 (June 1926); Vol. 11 no. 11 (Nov. 1927); Vol. 12 all except no. 9; vol. 13-14. Copies of these issues will be added as they are made available to RIPM.

Melody: A Monthly Magazine for Lovers of Popular Music was published and edited by Walter Jacobs, a Boston-based music publisher. Initially titled The Tuneful Yankee in 1917 (forthcoming in the RIPM Preservation Series), Jacobs retitled the journal with the January 1918 issue. Beginning with the January 1925 issue, the subtitle became A Monthly Magazine for Photoplay Musicians and the Musical Home. One of four journals published by Jacobs in the 1920s — alongside Jacobs’ Band Monthly, Jacobs’ Orchestra Monthly, and CadenzaMelody focused exclusively on popular music during a decade of significant musical developments.

The early years of Melody are consumed with ragtime. Articles on the developing popularity of jazz appear throughout, including features on jazz musicians and defenses of the musical form. Articles written for song composers, on musical trends, economics, and compositional problems, appear regularly. Discussions of photoplay music — music to accompany silent films — are a regular topic.

RIPM Preservation
Titles in French

Le Ménestrel

(Paris 1833-1940)

Editor: Jacques Heugel
Periodicity: Weekly
Publisher: Heugel & Co.
Language: French

"Le Ménestrel offers the modern reader a detailed view of French musical history and taste spanning more than a century. Founded in 1833 by journalist and amateur musician Jules Lovy, it appeared weekly until 1940 with only two wartime interruptions, 1870-71 and 1914-19 ... A typical issue contained: one or two short articles on biographical, historical, or pedagogical topics, often serialized over several issues; reviews of current performances in major theaters and concert halls of Paris; reports from provincial and foreign music centers, and miscellaneous news items, announcements and obituaries ... Reviews of current events thus played a major role from the outset. Collaborators included Arthur Pougin, François Castil-Blaze, Joseph d'Ortigue, Julien Tiersot, Maurice Cauchie, and Lionel de la Laurenice.

Ross Wood, "Ménestrel, Le," in International Music Journals, eds. Linda M. Fidler and Richard S. James (New York: Greenwood Press, 1990), 225-227.

Le Ménestrel has rendered an immense service by encouraging historical works relating to music, by bringing them to light and giving them the possibility of performance. What this journal has published in this regard for nearly half a century is incalculable, and we can only point out here some of the works, biographical or otherwise, which received the hospitality of its columns before appearing in the bookshop: Boieldieu, by Gustave Héquet; Richard Wagner, by A. De Gasperini; Rossini, Félicien David, by Alexis Azevedo; Weber, Gluck, Chopin, Beethoven, F. Schubert, Félix Mendelssohn, by H. Barbedette…”

Arthur Pougin, “Notes sur la presse musicale en France” in Encyclopédie de la musique et dictionnaire du Conservatoire (1931)

La France musicale

(Paris 1837-1870)

Publisher: Escudier Frères
Editors: Léon Escudier, Marie Escudier, Aldino Aldini
Directors: Léon Escudier, Marie Escudier
Printers: Lange Levy et Compagnie, 1837; César Bajat et Compagnie, 1838-1841; Édouard Proux et Compagnie, 1838, 1842-1847; Schneider et Langrand, 1845; Dondey-Dupré, 1847-1855; Morris et Compagnie, 1856-1868; Dubuisson et Compagnie, 1858; Morris père et fils, 1869-1870
Periodicity: Weekly
Includes: La musique: Gazette de la France musicale (Paris, 1849-1850)

“Here is a journal which, by its combative stance, by its aggressive character, its almost complete contempt for the slightest conveniences and interests of others, at one time caused much talk, caused some scandal, and attracted numerous and celebrated trials. I want to talk about La France musicale, founded by the two brothers Marie and Léon Escudier, who began publishing it in December 1837. Heads of a music publishing house where they had specialized in publishing Italian operas, especially works by Donizetti and Verdi, the Escudier brothers naturally gave a very special “color” to their journal and oriented it in this direction. No one would have been able to blame them if they had not played, and had somehow taken on the task of demeaning any music other than that which they published, and if they had not employed methods of criticism contrary to any decency to pour contempt on works and artists whose only fault was that they did not belong to their trading house. La France musicale, with its ardent, personal, and too often excessive and discursive controversy, was, moreover, especially in the early years of its career, a lively, alert journal, and if not perfect, it was at least almost always interesting. There are a large number of editors: Castil-Blaze, Jules Maurel, A. Elwart, Charles Villagre, Oscar Comettant, Pontécoulant, A. Farrenc, Sextius Durand, and later A. Malliot, Giagomelli, Gustave Chouquet, A De Bury, Theodore De Lajarte, Arthur Pougin, E. Thoinan, A. Thurner, Edouard Gregoir, Jules Carlez, A. Lomon, MA Gromier, Henri Yvert, A. Des Appiers, etc. It was in La France musicale that Liszt's famous book on Chopin first appeared in the form of articles. Some important works that found a place in its columns include: Haendel et son temps, by Victor Schœlcher; Des Livres rares et de leur destinée, by A. Farrenc; Adolphe Sax, ses ourrages et ses luttes, by Oscar Comettant; L’Opéra-Comique et ses transformations, by A. Thurner; William-Vincent Wallace, by Arthur Pougin; Troubadours et trouvères, by Escudier; Instruments Sax et fanfares civiles, by Thėodore De Lajarte; Le Nouveau Règime des théâtres dans les départements, by A. Malliot; Institut Boïeldieu, creation d’un Conservatoire de musique à Rouen by Boïeldieu himself, etc.

"By a singular whim, the directors of La France musicale changed the title of this journal in 1849 to La Musique, gazette de La France musicale; but as early as the following year they restored its original title. In 1860, as an argument arose between them, the two brothers separated, and the eldest, Marie Escudier, was left alone at the head of La France musicale, and Léon soon created competition in founding L’Art musical ... The events of 1870, like so many others, suspended the publication of La France musicale; never to reappear. Recalling its memory, it is fair to note that this journal held an important place in the music press for a long time.”

Arthur Pougin, “Notes sur la presse musicale en France” in Encyclopédie de la musique et dictionnaire du Conservatoire (1931)

La Musique: Gazette de la France musicale

(Paris 1849-1850)

Editors: Jules Maurel, Marie et Léon Escudier
Periodicity: Weekly
Publisher: Marie et Léon Escudier
Language: French
Continues: La France musicale (Paris, 1837-1848)
Continued by: La France musicale (Paris, 1851-1870)

For a description of the journal, see the text concerning La France musicale.

Le Colporteur: journal de la littérature, des théâtres et des beaux-arts

(Paris 1854)

Le Colporteur (Paris, 1854); La Presse théâtrale et musicale (Paris, 1855-1865); La Presse musicale (Paris, 1866-1892): Numbered continuously, these three journals form one continuous run.

For a description of the journal, see La Presse Théâtrale.

La Presse théâtrale

(Paris 1855-1865)

Le Colporteur (Paris, 1854); La Presse théâtrale et musicale (Paris, 1855-1865); La Presse musicale (Paris, 1866-1892): Numbered continuously, these three journals form one continuous run.

Lasting only ten issues, and edited by Jules Goislard, Le Colporteur (The Peddlar) began as a lighter, somewhat gossipy journal with a significant feuilleton in each issue. Quickly however the journal began to focus on theatrical and musical reviews and news.

In 1855, the journal changed titles to La Press théâtrale to better reflect the editorial focus on theatrical and musical matters. In 1857 the journal's title becomes La Presse théâtrale et musicale. In 1866, the title changed again, becoming simply La Presse musicale.

Bulletin de la Revue de la musique ancienne et moderne

(Paris 1856)

Publisher: J.-M. Vatar, H. Vatar
Editor: Théodore Nisard
Printer: J.-M. Vatar, H. Vatar
Periodicity: Monthly
Supplement to: Revue de la musique ancienne et moderne (Paris, 1856)

For a description of the journal, see Revue de la musique ancienne et moderne (Paris, 1856).

Revue de la musique ancienne et moderne

(Paris 1856)

Publishers: J.-M. Vatar, H. Vatar
Editor: Théodore Nisard
Printers: J.-M. Vatar, H. Vatar
Periodicity: Monthly

"The Revue de musique ancienne et moderne … has well deserved a place in the art of music, and while [the editor] has sometimes been misled about the results he believed he had achieved through his research in the past, one must nevertheless do justice to the intelligence he has displayed in his many works, and to the wisdom he has shown in clarifying certain very difficult questions of musical history.—Mr. Th. Nisard's collaborators at the Revue de musique ancienne et moderne were Adrien de La Fage, D. Beaulieu, Aristide Farrenc, R.P. Schubiger, Abbé Jouve, MM. d'Ortigue, A.J.H. Vincent, Pottier, Al. Le Clercq, de Fonscolombe, Troche, Bailly and Bourgnon de Layre.”

Arthur Pougin, “De la littérature musicale en France.” Revue contemporaine 92 (1867), 61-62.

La Presse musicale

(Paris 1866-1892)

Le Colporteur (Paris, 1854); La Presse théâtrale et musicale (Paris, 1855-1865); La Presse musicale (Paris, 1866-1892): Numbered continuously, these three journals form one continuous run.

For a description of the journal, see La Presse Théâtrale.

La Chanson

(Paris 1878-1880)

Publisher: A. Patay
Editors: L.-Henry Lecomte
Periodicity: Monthly (May 1878-October 1878), Bi-monthly (November 1878-April 1880), Weekly (May 1880-December 1880)

La Chanson: Journal de musique populaire. Écho des sociétés lyriques. Théâtres, Concerts, Littérature, Beaux-Arts was published by A. Patay at the Librairie ancienne et moderne (Rue Bonaparte) and edited by Louis-Henry Lecomte. In the prospectus, Patay bemoans the lack of a journal devoted to the rich history and vibrant presence of the French chanson: "The song, this ever new and ever-diverse incarnation of the French spirit, has no representation in the press. We come to fill this regrettable gap by creating more than a newspaper--a complete magazine, especially devoted to those who sing or compose songs." Most issues begin with an illustrated feature of a chansonnier. Song texts and melodies appear in most issues; activities of the various Sociétés Lyriques are recorded.

La Musique populaire: Journal hebdomadaire illustré

(Paris 1881-1885)

Publisher: A. Clavel
Editors: Arthur Pougin, A. Baralle
Periodicity: Weekly

Issues of "La Musique populaire contained eight pages of illustrated text and eight pages of music, priced at 15 cents. The editorial staff supported the journal’s theme by popularizing, in the best sense of the word, knowledge relating to the history of art and artists, by varying the subjects as much as possible, and by keeping the reader aware of all the pertinent facts…. As for the musical part proper, it included pieces of music, songs, or music for piano or violin often by unpublished, contemporary authors. In addition there were (and this was new) fragments of classical opera including some for which there were no piano-vocal scores, and which therefore were unknown to the general public. These fragments, chosen with the greatest care from the works of Campra, Philidor, Sacchini, Piccinni, Dezèdes, D'Alayrac, Méhul, Bertini, Solié, etc., were presented with a piano accompaniment, prepared expressly for this journal."

Arthur Pougin, “Notes sur la presse musicale en France” in Encyclopédie de la musique et dictionnaire du Conservatoire (1931)

Le Journal musical: Bulletin international critique de la Bibliographie Musicale

(Paris 1896-1898)

Publisher: Paris: [s.n.]
Printer: Bourges: M.H. Sire
Owner-Manager: Baudouin-La Londre
Periodicity: Weekly

"Bibliographie musicale - Under the title: Le Journal Musical, bulletin international critique de la bibliographie musicale, M. Baudouin-La Londre, assistant librarian at the Mazarine Library, has just founded a journal which, unique of its kind, is called upon to render the greatest services to music publishers. The specimen issue which has just appeared allows us to judge how serious is the work undertaken by Mr. Baudouin-La Londre, and it is with pleasure that the old Bulletin du Bibliophile wishes his young colleague all the success that this useful publication deserves."

“Chronique.” Bulletin du bibliophile et du bibliothécaire (1896): 331.


(Paris 1902-1914)

Editor: Xavier Leroux
Periodicity: Monthly
Publisher: Pierre Lafitte & Cie
Language: French

"Pierre Lafitte founded this journal based on his insightful intuition about the future development of the illustrated press. In the 20th century, the new, easy, and rapid techniques developed by industrial photoengraving freed the publication industry from the constraints of creating the lithographic preparatory drawings and wood engraving required to produce illustrations published in the 19th century press.

“For the music historian in search of iconographic sources at the beginning of the 20th century, Musica is of capital interest … it stands out from the musical platforms of daily journals and newspapers by offering its columns to composers [such as] Debussy, Fauré or Saint-Saëns, whether they are articles or interviews on the occasion of surveys on the most diverse subjects. … Musica is thus located at the heart of the musical life of the years immediately before the war of 1914…”

Jean-Michel Nectoux, “Institut National d'Histoire de l'Art: La base de données Musica: Revue illustrée, 1902–1914.” RIdIM newsletter, (2), 11-12. Available on the RIdIM website at

Revue musicale de Lyon

(Lyon 1903-1912)

Editor: Léon Vallas (Directeur; Le Proprietaire-Gerant)
Publisher: Waltener & Cie, Réunies
Periodicity: Weekly
Language: French
Becomes:Revue française de musique

Founded by the musicologist Léon Vallas (1879-1956), the Revue musicale de Lyon was Vallas's first published music journal. Issues of the Revue musicale de Lyon open with articles on diverse musical topics, including biographical investigations, source studies, analyses of compositions, musical history (with an emphasis on Lyon), and musical aesthetics. A concert chronicle appeared in most issues, reviewing recent performances in Lyon and elsewhere in France, with an emphasis on performances of new works, concert and operatic works such as those by Lalo, d'Indy, Franck, Chabrier, Ravel, Debussy, and Ambroise Thomas. Sympathetic to Wagnerism, Vallas regularly published articles on Wagner's operas and reviews of their performances, as well as articles on the works of German and Austrian composers, ranging from Bach to Bruckner.

S.I.M. Revue musicale mensuelle

(Paris 1907-1914)

Printer: Art L.-M. Fortin & Cie.
Director: Jules Écorcheville
Periodicity: Monthly
Preceded by: Le Mercure musical

S.I.M emerged during a time when “it was imperative for the journal to present an artistic appearance that was both refined and modern … thus [it's] appearance is very different image from that of the serious musicological bulletin … Its cover endured even after January 1907 when [it] became the journal for the French section of the Société Internationale de Musique.
Musicology was closely associated with music criticism at this time. Over the next few years, the list of contributors to the journal became quite impressive, and included the names of most of the French musicologists active at the time, as well as the best-known musicians. Laloy was able to convince not only Claude Debussy and d'Indy to write for the journal, but also Charles-Camille Saint-Saëns and Erik Satie. At the very least, the journal offered its readers a dazzling aesthetic panorama.”

Michel Duchesneau, "French Musicology and the Musical Press (1900-14): The Case of La Revue Musicale, Le Mercure Musical and La Revue Musicale SIM," in Journal of the Royal Musical Association 140, no. 2 (2015): 243-72.

Revue internationale de musique et de danse

(Paris 1927-1931)

Publisher: Fédération Française de la Musique
Director: Louis Carol-Bérard
Periodicity: Monthly

The Revue covered two important and vital art forms of 1920s Paris. It was published monthly except in the summer; a total of forty-three issues were produced. Beginning with no. 18 (15 December 1928), the journal becomes the official organ of the Fédération française de la musique, from no. 20 the Union syndicale des compositeurs de musique, and in the final two issues, the Fédération des comités internationux d’entente musicale.

Most content revolves around Parisian cultural life with portraits of musicians, dancers, and ensembles predominating. Brief concert reviews and lists of forthcoming performances, musical and dance, appear in each issue. Reviews and discussions of music hall performances regularly appear. Well-illustrated, largely with photography, advertisements are found throughout and poetry is regularly included.

La Revue musicale belge: Journal des gens du monde, des artistes, des théatres et des modes

(Brussels; Anvers 1840-1841)

Publisher: Schott Frères
Printers: Detrie-Tomson, 1840; A. Seghers, 1840-1841
Periodicity: Twice monthly, 1840; Weekly, 1841
Lacunae: Vol. 2 nos. 13-14 (1841). No copies could located.

"La Revue musicale belge began publication in January 1840. The twenty-four issues of its first year … contain numerous borrowings from Parisian reviews and Fétis’s Biographie universelle ... The original contributions in the journal are mostly by August Bouillon, the journal’s director. Beginning in March 1941, Schott becomes the journal’s publisher.. … and in April 1841, the publication became a weekly … On 21 November , Zani de Ferranti contributed an article in which he writes: "The servile reproduction of a few articles, both good and bad, which we borrow from our neighbors, does not constitute a musical diary; it is certainly not a Belgian work” … It was announced in March of the same year, that La Revue musicale belge would publish extracts from foreign periodicals and that it would also deal with non-musical subjects, as indicated by its subtitle: “Journal des gens du monde, des artistes, des théâtres et des modes.” In March 1841, with Schott as publisher La Belgique musicale replaced La Revue Musicale belge.

Edouard G. J. Grégoir, Recherches historiques concernant les journaux de musique depuis les temps les plus reculés jusqu'à nos jours (Anvers: Chez Louis Legros, 1872): 29-30.

Henri Vanhulst, "Les Revues musicales et la critique en Wallonie et à Bruxelles au XIXème siècle," Periodica Musica X 1991, 14-22.

La Belgique musicale

(Brussels 1841-1859)

Publisher: Schott Frères
Editor: no individual specified. Schott Frères listed as "Les Directeurs"
Printer: A. Seghers, 1841-1842; Detrie-Tomson, 1843; J.B. Tircher, 1844-1846; F. Biénez, 1847-1851
Periodicity: Weekly
Lacunae: Vol. 18 no. 2. No copy could be located.
Continues:Revue musicale Belge (Brussels, 1840-1841)
Absorbed by: Le Guide musical (Brussels, 1855-1918)

“After Bouillon's resignation (5 December 1841), the [Revue musicale Belge] became La Belgique musicale: Beaux-Arts — Belles lettres (15 December 1841). Although borrowings remain numerous, there are new … collaborators. Victor Hassens reports on Brussels musical life and Auguste Gaussoin on subjects as varied as Loisa Puget or Claude Goudimel. At the end of April 1843, Gaussoin acquired ownership of the periodical in which he published a long history of "Belgian" music (in thirty-nine issues). He called on new collaborators and succeeded in making La Belgique musicale a really interesting weekly. … [While it] continues to deal with subjects that have nothing to do with music, in general the in-depth articles and reports are of good quality. Gaussoin died in January 1846 and a few months later the Schott house ceased publishing the magazine. It is then taken over by A. Jamar … [who] announced that the magazine would undergo "important improvements" … [and] become an artistic and literary newspaper" (30 April 1846). … For a few years, borrowings from French publications became so numerous that in several issues one searched in vain for the slightest Belgian information. … From the 1850s, the level of La Belgique musicale improved again. Articles from foreign periodicals are chosen more carefully and these include texts by Liszt, Herz and Wagner. Belgian musical life was treated quite comprehensively, which was … essential as a new revue was launched in Brussels in 1850.”

Henri Vanhulst, "Les Revues musicales et la critique en Wallonie et à Bruxelles au XIXème siècle," Periodica Musica, X 1991, 14-22.

Le Guide musical

(Brussels 1855-1918)

Editors: F. Delhasse, M. Kufferath, H. Imbert
Periodicity: Weekly
Publisher: Schott
Language: French
Absorbs: L'Art musical (Paris, 1860-1894)

“On I March 1855, the first issue of the Belgian/French weekly Le Guide musical was released. Its stated intention was to chronicle Belgian musicians and composers at home and abroad, to bring news of important international events to Belgians, to provide information on upcoming events, to present the issues facing the world of music, and to enhance the quality of Belgian musical life in general… For the next sixty years, a succession of editors produced a remarkably consistent product that today provides a marvelously detailed view of musical life and interests in Europe from the Belgian and, later, French perspective.

... the content of the magazine can be characterized as follows: (1) one to several articles, (2) news [at least half of each issue is devoted to news] … (3) reviews of books and music, (4) necrology, and (5) advertisements. … Topics include composers, historic issues, important musicians, festivals, new productions, genres, locales, letters by a composer, theory and acoustics, instruments, pedagogy, obituary and anniversary tributes, and commentaries on the current musical scene. They are frequently excerpted from books or other periodicals. … Authors and music journalists are the major contributors, among them Maurice Kufferath, Hugues Imberts, Julien Tiersot, André Gédalge, Henri de Curzon, Jacques-François Fromental Halévy, Marie Escudier, Adolphe Jullien, Eugène Gigout, Edmond Vander Straeten, and Michel Brenet.”

Richard S. James, "Le Guide Musical " in International Music Journals, eds. Linda M. Fidler and Richard S. James (New York: Greenwood Press, 1990), 149.

La Vie musicale: Organe officiel, pour la Suisse romande, de l'Association des Musiciens suisses

(Lausanne; Geneva 1907-1914)

Publishers: Lausanne: Foetisch Frères, 1907-1914; Geneva: Rotschy Frères, 1910-1914
Editor: Edouard Combé
Director: Georges Humbert
Printers: Lausanne: G. Vaney-Burnier, 1907; Lausanne: A. Petter, 1908-1914
Periodicity: Fortnightly
Lacunae: Vol. 5 no. 18 (1912)

La Vie musicale was published in Lausanne under the direction of a young composer, Mr. Edouard Combe. Published twice a month, La Vie Musicale has two goals: to give its Swiss readers a fair idea of the musical movement abroad, and to give everyone, French-speaking Swiss and foreigners, a picture of musical life in Switzerland. The first two issues (1st and 15th October) were very well received and contain interesting articles.”

Revue Musicale de Lyon, Vol. 5 no. 2 (27 Oct 1907): 72.

RIPM Preservation
Titles in German

Monatbericht der Gesellschaft der Musikfreunde des Österreichischen Kaiserstaates

(Vienna 1829-1830)

Publisher: Auf Kosten der Gesellschaft. In Comission bei Tobias Haslinger
Printer: J.B. Wallishausser
Periodicity: 24 issues

“The Monatbericht of the Gesellschaft der Musikfreunde, which was published by the Society on commission by Tobias Haslinger in 1829 and 1830, was all the more welcome since Vienna had not seen a similar journal since the musical newspaper that had gone out of print at the end of 1824 [Allg. musikalische Zeitung, mit besonderer Rücksicht auf den österreichischen Kaiserstaat]. The Monatbericht discussed the effectiveness of the Society, its collections, concerts, school examinations, publishing as well biographies and, incidentally, external news. At the end of 1830, the paper ceased to exist and a serious gap in the public discussion of musical matters occurred, which was not remedied until 1841 by the Allg. Wiener Musik-Zeitung founded by Dr. Aug. Schmidt.”

Carl Friedrich Pohl, Die Gesellschaft der Musikfreunde des österreichischen Kaiserstaates und ihr Conservatorium (Vienna, W. Graumüller, 1871): 18.

Euterpe: Ein musikalisches Monatsblatt

(Erfurt; Leipzig 1841-1855, 1857-1884)

Euterpe: Ein musikalisches Monatsblatt für Deutschlands Volksschullehrern was a monthly journal founded and edited by Ernst Hentschel, the royal Music Director and seminar teacher in Weißenfels, and published by Wilhelm Körner in Erfurt. The journal was primarily concerned with issues of pedagogy, musical education, organ performance and choral music. Essays on these topics, frequently supplemented with musical exercises, abound across all issues. Musical news focused on the central European lands from Prussian Pomerania through Silesia to Hungary, though the journal also contains news from musical capital cities.

Signale für die musikalische Welt

(Leipzig 1843-1941)

Editor: Bartholf Senff (1843-1900)
Periodicity: Weekly

“For historical research, the "Signale" is of importance insofar as its publication radius extends beyond Germany and, through a wittily entertaining feuilleton with belletristic musical events, they provide important insights into and far-reaching information about the musical outlook and development of the 19th century, an epoch in which lasting structural changes in art and science, politics, and social thinking took place. Thus, the journal, whose central function is to inform and entertain a wider readership, takes on the significance of a valuable music-historical source.”

Rudolf Vogler, Die Musikzeitschrift “Signale für die Musikalische Welt” 1843-1900 ( Regensburg: Gustav Bosse Verlag, 1975): 2.

Neue Berliner Musikzeitung

(Berlin 1847-1896)

Editors: Gustav Bock, Oscar Eichberg, Richard Stern, August Ludwig
Periodicity: Weekly
Publisher: Ed. Bote & G. Bock
Language: German
Continues: Berliner musikalische Zeitung (Berlin, 1844-1847)

The Neue Berliner Musikzeitung was created in the mold of the “Allgemeine” journals, that is, providing a broad range of content, including biographical, theoretical, and pedagogical essays, copious reviews of new compositions and books, performance and production reviews, and musical news. Letters and reports from correspondents throughout Germany and the major musical centers of Europe (Paris, Vienna, Milan, London) provided a broader perspective. Contributors included the musicologist Adolph Bernhard (A. B.) Marx, the writer and critic Otto Lange, the composer and critic Theodor Uhlig, the poet and composer Josef Seiler, the composer and writer Carl Kossmaly, the pianist Alexis Hollaender, the composer and writer Louis Köhler, among others. Of particular value are the reviews of newly published compositions and musical editions.

Süddeutsche Musik-Zeitung

(Mainz 1852-1869)

Publisher: Schott
Periodicity: Weekly
Editors: Johann Joseph Schott (1852-1855) and E. Föckerer (1855-1869)

Following the 1848 cessation of Cäcilia, the highly-regarded journal founded by Gottfried Weber and published by Schott’s Söhnen in Mainz, the Süddeutsche Musik-Zeitung began as Schott’s successor publication following the events of 1848-1849. Whereas the previous journal was published in an octavo format, with one column of text and issues ranging from 60 to 112 pages in length, the Süddeutsche Musik-Zeitung was published as a standard quarto, with two columns and four pages per issue, similar in format and composition of content to other German-language music journals of the period. The journal focuses on musical news from major European musical centers, vocal music and choral festivals, biography, with some articles on theoretical and historical topics. While issues did not contain advertising, occasional Musikalischer Anzeiger supplements listed new publications, not restricted to those of Schott. In 1862, Schott included a “Bühnen-Circular,” a complimentary theatrical supplement. 

No reason is given for the journal’s closure beyond Schott’s announcement in the final issue that they were “compelled to close the journal.” (“Den verehrlichen Abonnenten der Süddeutsche Musik-Zeitung machen wir die ergebene Anzeige, dass wir uns veranlasst fanden, die Zeitung mit dem Ablaufe des Jahres, Ende des 18. Jarganges, eingehen zu lassen.”) However, competition from other German-language music journals with a broad dissemination, greater issue size and scope of coverage—Neue Zeitschrift für Musik, Signale für die musikalische Welt, Neue Berliner Musikzeitung, and the second appearance of the Allgemeine musikalische Zeitung—undoubtedly created subscriber and financial problems for Schott.

Bunte Blätter: Skizzen und Studien für Freunde der Musik und der bildenden kunst

(Leipzig 1872, 1874)

Publisher: F.E.C. Leudart
Editor: A.W. Ambros
Periodicity: Two issues

"Ambros explains [his methods] in the introduction to his sketches and studies, Bunte Blätter: 'One will have noticed in my history of music how the artistic spirit of this or that period seems to me to be clear in its coherence, how music and the fine and building arts seem to me to be only expressions of one and the same spiritual current.' Ambros consistently expressed this principle in his history of music but in order to demonstrate it with consistency, required such comprehensive knowledge as he possessed."

August Wilhelm Ambros, Gustav Nottebohm, B. von Sokolowsky, Carl Ferdinand Becker, Heinrich Reimann, Otto Kade, Geschichte der Musik (Leipzig, F.E.C. Leuckart, 1881-93): 486.

Bayreuther Blätter

(Bayreuth 1878-1914 [-1939])

Editor: Hans von Wolzogen
Periodicity: Monthly
Publisher: Ernst Schmeitzner
Language: German
Forthcoming: Vol. 38-61 (1915-1939)

“On the 8th December [1877] he [Richard Wagner] announced to the Patrons and the members of the Vereine a sort of ‘compensation’ for the failure of the School plan -- the founding of a journal. The Bayreuther Blätter, that should serve as a mouthpiece for himself and those who thought and felt with him.”

Ernest Newman, The Life of Richard Wagner, Vol. 4 (1866-1883) (New York: Alfred A. Knopf, 1933-1946): 574-75.

“Wagner’s later essays do him little credit. From 1878 onwards, they appeared in the Bayreuther Blaetter, the Bayreuth enterprise’s central organ, expressing a change in his intellectual development that reflected the change in his personality. They confirmed his reputation as Germany’s best-known anti-Semite, permanently blackening his image and obscuring his true achievements. ... Its articles of faith were promulgated in the pages of the Bayreuther Blätter, with its limited circulation of no more that 1,500 copies.”

Joachim Köhler, Richard Wagner: The Last of the Titans, trans. Stewart Spencer (New Haven: Yale University Press, 2004): 558.

Monatshefte für Musikgeschichte

(Berlin 1879-1905)

Editor: Robert Eitner
Periodicity: Monthly
Publisher: Breifkopf & Härtel
Language: German

“The first issue of the Monatshefte appeared in January 1869, but the statutes for the Gesellschaft were not adopted until February 7, 1870. The Society was formed for the advancement of studies in music history, to be accomplished chiefly through the Society’s journal, Monatshefte für Musikgeschichte. [...] The function of the Monatshefte, as described in the first issue of volume 1, was to fill the many gaps in the historiography of music and to awaken a lively interest in the 'neglected science.'”

Harold E. Samuel, "Robert Eitner and his Monatshefte," in Modern Music Librarianship: Essays in Honor of Ruth Watanabe (Stuyvesant, N.Y.: Pendragon Press, 1989): 59-78.

Neue Musik-Zeitung

(Cologne; Stuttgart 1880-1928)

Publisher: P. J. Tonger (1880-1887); Carl Grüninger (1888-1928)
Editors: H. Alexander (1880), August Reiser (1880-1890), A. Svoboda (1890-1901), Ernst Ege (1901-1903), Oswald Kühn (1903-1915), Willibald Nagel (1916-1922), Hugo Holle (1922-25), Hermann Ensslin (1926-1927), Alfred Burgatz (1928).
Periodicity: Bi-monthly (1880-1903), Fortnightly (1904-1922), Bi-monthly (1923-1928)

Published by Peter Josef Tonger (1845–1917) in Cologne, the earliest issues of the Neue Musik-Zeitung were anchored by short musical compositions, typically two pages in length for either solo piano or voice and piano, appearing on pages 2 and 3 of each issue. From these early issues onwards, much attention was paid to matters of pedagogy, music theory, and musical notation. It was not until 15 September 1882 (vol. 3, no. 18) that the editor provided a prospectus for the Neue Musik-Zeitung. Therein, he explains that the Neue Musik-Zeitung would attempt to, “... marry music, the effective link in the chain of means for higher moral development, more and more with the life of the people; we will try to lead the cause of the inner man against the onslaught of the outside world and to strengthen the sense for the beautiful, the feeling for the noble.”

Following a conservative period after the conclusion of the first World War, in 1924 the journal’s format changed to closely resemble Die Musik, the larger and well-known journal then published by the Deutsche Verlags-Anstalt, also in Stuttgart. The Neue Musik-Zeitung’s content in this period mirrors that of its larger sibling but in shorter format contributions. The journal ultimately merged into Die Musik formally in 1928.

Neue musikalische Presse

(Vienna; Leipzig 1895-1908)

Publisher: Vienna, Leipzig: Bosworth and Co., 1903-1908
Printers: Vienna: Guberner & Hierhammer, 1895-1903; Leipzig: G. Reusche, 1904-1908
Editors: Franz Wagner, Carl Kratochwill, Jacob Gratzl, Arthur Smolian, F. Motz, Viktor von Lukáts
Periodicity: Weekly
Continues: Internationale Musik- und Instrumenten-Zeitung (Vienna, 1892); Internationale Musik-Zeitung (Vienna, 1892-1895), neither yet available in RIPM.
Lacunae: A copy of vol. 16 (1907) could not be obtained. A copy of Vol. 18 (1909) could not be located.

Neue musikalische Presse “included many notable critics from other journals, among them Robert Hirschfeld, Gustav Schoenaich, and Ludwig Karpath, as well as others such as Anton Kratsmáry who do not seem to have written for the general press. In addition to general articles on music, items of musical news, and reviews of concerts in Vienna, it contained reports from correspondents in Budapest (Viktor von Herzfelf), Berlin (Rudolf Fiege), Prague (Viktor Joss), Dresden (Carl Söhle), and London (Kalman Roth-Ronay). Because of its weekly (as opposed to twice monthly) publication it is the richest source of information among the specialist journals.”

Sandra McColl, Music Criticism in Vienna 1896-1897 (Oxford: Clarendon Press, 1996): 12-13.

Zeitschrift der Internationalen Musik-Gesellschaft

(Leipzig 1899-1914)

Editors: Oskar Fleischer, Max Seiffert, Hermann Albert, Alfred Heuss
Periodicity: Monthly
Publisher: Breitkopf & Härtel
Language: German, English, French

"The Zeitschrift aimed at a wider readership. It included concert and book reviews, announcements of forthcoming lectures and performances of old music, a comprehensive list of recent literature in music periodicals of all countries, reports of papers given at local group meetings, and short articles on musical subjects, most of which were written in either German of English. Its function was thus similar to that of The Musical Times, but with one vital difference: its readership extended beyond Britain to a larger, international audience. Consequently, the role of the national group editors of the Zeitschrift went well beyond being their countries’ musical diarists.”

Aidan J. Thomson, “Elgar’s Critical Critics” in: Edward Elgar and His World (Princeton, N.J.: Princeton University Press, 2007): 198.

Die Musik

(Berlin; Leipzig; Stuttgart 1901-1915, 1923-1943)

Publishers: Berlin, Leipzig: Schuster & Loeffler, 1901-1915; Stuttgart: Deutsche Verlags-Anstalt, 1923-1929; Berlin: Max Hesses Verlag, 1930-1943
Editors: Bernhard Schuster, Johannes Günther, Herbert Gerigk
Periodicity: Twice monthly, 1901-1915; Monthly, 1923-1943
Forthcoming: Vol. 15 nos. 1-6 (1922-1923)

"Among the general German language music periodicals of the first half of the twentieth century, Die Musik is surely the most interesting from an historical point of view since one finds a well-defined general attitude for each of the three periods of contemporary German history of that time: 1. the eulogy of the great 19th-century masters during the pre-war period, 2. the thoughtful openness to new trends during the Weimar Republic, and 3. the enthusiastic propagation of a political ideology during the Third Reich”

Marc-André Roberge, “Le périodique Die Musik (1901-1944) et sa transformation à travers trois périodes de l'histoire allemande,” in Revue de Musicologie 78, No. 1 (1992): 109-144

Musikpädagogische-Zeitschrift: Organ des Oesterreichischen Musikpädagogischen Verbandes

(Vienna 1912-1931)

Publishers: Universal-Edition A.-G., 1912-1920; Oesterreichischen Musikpädagogischen Verbandes Wien, 1921-1922; Oesterreichischer Musikpädagogischer Verband, 1921-1926; Friedrich Wedl, 1927; Musikpädagogischer Verband, 1930-1931
Editors: Hans Wagner, Gustav Grube
Printers: J. & M. Wassertrüdinger, 1913-1915; Julius Wassertrüdinger, 1917-1926; Paul Kaltschmid, 1927; Franz Karner (Anton Durstmüller), 1930-1931
Periodicity: Monthly

Note: Began as a supplement to Der Merker in 1911; separated as the independent Musikpädagogische-Zeitschrift beginning with Jahrgang 2.

The editors write that the Musikpädagogische-Zeitschrift: Organ des Oesterreichischen Musikpädagogischen Verbandes was, at the time, “the only music pedagogical journal in Austria and the publication of such a large association,” and therefore Austrians “must make it an effective weapon in the struggle for our intellectual and material interests. In this endeavor, however, we must be able to count on the unconditional support and cooperation of the members of the Association ... We expect contributions from the ranks of our members to be far more numerous in the future than they have been up to now. And so we hope that our journal, which is on the threshold of a new, promising phase of development, will not only find the increased interest of the members of the Association in its new form, but will also have the necessary advertising power to attract the large number of those who are still distant to our camp.”

Hans Wagner, "Geleitwort" in Musikpädagogische-Zeitschrift 2, No. 1 (1 May 1912): 1.


(Leipzig 1914)

Publisher: Verlag des Musik-Archiv
Editor: Otto Wille
Printer: J.B. Hirschfeld
Periodicity: Monthly, 12 double issues

"A journal that takes into account musical life and musicology to the same extent and puts all important phenomena in the right light, is the most necessary of all in the enormously expanding music literature of our days. The Musik-Archiv presents itself as such a universal music journal. Its ambition is to enlighten the practical musician as well as the music researcher about all questions that concerns, or should concern, the musical world in a few words. In addition to concise editorials, the Musik-Archiv provides systematic overviews of opera and music drama, concerts, domestic music and music teaching, as well as all the individual disciplines of music history and music theory. In addition, subscribers receive in quarterly supplements a basic outline of musicology, which aims to serve as a guide for each historical [period] and each systematic subject. Artists, conductors, music teachers and students at conservatories as well as at universities can use the Musik-Archiv as a faithful guide."

Otto Wille, "Was das 'Musik-Archiv' bietet." Musik-Archiv, no. 1-2 (January 1914): [cover page].

Der Tonwille

(Vienna; Leipzig 1921-1924)

Editor: Heinrich Schenker
Publisher: Vienna; Leipzig: Tonwille-Flugblätterverlag
Periodicity: Publication varies

“Yet it is unfortunate that, in this context, so little attention has been given to Schenker's earlier analytic practices, particularly those in Der Tonwille. It is there that Schenker's own attempts to incorporate his graphs of pitch structure into a broader analytic approach can be found. Many of the analyses illustrate fruitful ways to expand Schenkerian practice, and point out the shortcomings of any analytic approach that maintains too much of the strictness of later Schenker. When he published the essays and graphs in the ten issues of Der Tonwille (1921-24), Schenker practiced a type of analysis which accounted for a broad spectrum of musical parameters, and which allowed for interaction between musical structures at the deepest levels. To be sure, he emphasized demonstrations of the ways in which voice-leading levels were derived from a single Urlinie or Ursatz, and elevated the ripening methodology for presenting a single contrapuntal background as the structural underpinning for all layers of a musical artwork. Still, one of the central goals of the Tonwille essays was the elucidation of the artistic interpenetration of many different parameters of musical structure and process.” 

Joseph Lubben, “Schenker the Progressive: Analytic Practice in Der TonwilleMusic Theory Spectrum 15, no. 1 (Spring 1993): 60.

RIPM Preservation
Titles in Spanish

El Orfeo Andaluz

(Seville 1842-1843, 1847-1848)

Printers: Alvarez y Compañia, 1842-1843; Enrique Adame, 1848
Editor: Manuel Jimenez
Periodicity: Fortnightly, 1842-1843; 36 issues, 1847-1848

"In the same year as La Iberia, the Orfeo Andaluz began circulation in Seville beginning on September 6. Initially a biweekly, it reappeared in 1847 on a weekly basis. Distinguished by an editorial independence of thought, the most significant aspect of this publication is that it was the first published in a city other than Madrid, preceding, by three years, El Filarmónico, which appeared in Barcelona on September 20, 1845 by three years."

Jacinto Torres Mulas, "Music Periodicals in Spain: Beginnings and Historical Development." Fontes Artis Musicae,  44, no. 4 (October-December 1997): 339.

Gaceta musical de Madrid

(Madrid 1855-1856)

Printers: Antonio Andrés Babi, 1855-1856; D.P. Montero, 1856
Director: Hilarión Eslava
Periodicity: Weekly

"But none of them achieved the significance of the weekly founded by Hilarión Eslava in 1854: the excellent Gaceta Musical de Madrid which, although it ceased publication at the end of the following year, provided a most important example among Spanish music periodical publications. From the moment he arrived in Madrid, in 1844, and especially following his appointment as professor in composition at the Conservatorio de Madrid ten years later, Hilarión Eslava established and maintained relationships with the most outstanding professionals in the capital, motivated by his objective of renovation and his enterprising character. Such contacts and projects resulted in the constitution of "Orfeo Español," a society composed of a group of professors that aspired to influence the decisions the Government might make that could affect musical life, to promote the creation of musical schools, and to advocate the creation of a national opera theater. The first practical achievement of Orfeo Español was the publication of the Gaceta Musical de Madrid, "written by a society of artists, under the direction of D. Hilarión Eslava," which initiated its weekly publication on February 4, 1854."

Jacinto Torres Mulas, "Music Periodicals in Spain: Beginnings and Historical Development." Fontes Artis Musicae 44, no. 4 (October-December 1997): 339.

El Orfeón Español

(Barcelona 1862-1864)

Publisher: Estanislao Ferrando Roca
Periodicity: Weekly

The first journal published in Spain devoted to choral music and the Orfeon movement, El Orfeón Español. Semanario Musical was founded and edited by Juan Tolosa. Bearing the subtitle Órgano de las Asociaciones artistico-musicales, bandas de música del Ejército, y de los Orfeones Españoles [Organ of the artistic-musical associations, military bands, and of Spanish choirs], each four page issue contained a variety of content, including articles on musical and pedagogical topics, biographical sketches, activities of the various Orfeon societies, and general musical news. As noted by María Nagore, the journal served to promote Tolosa’s development of Orfeon societies and the rapid growth of choral music in Spain. See María Nagore Ferrer, “La música coral en España en el siglo XIX” in La música española en el siglo XIX. Estudios sociales iberoamericanos, No. 4 (Universidad de Oviedo, 1995): 426-462.

La Escena

(Madrid 1865-1867)

Editors: Mariano Tancredi, Narciso Martinez
Printers: J. Antonio Garcia, 1865-1866; R. Vicente, 1866; Espagñola, 1867
Periodicity: Weekly

“In 1865 another magazine appeared, La Escena. Revista semanal de música, later Revista semanal de teatros, whose critics would be under the responsibility of Narciso Martínez, who from March 1866 would become its editor and director. This magazine is dedicated almost exclusively to opera, with minimal references to zarzuela. Specializing in the subject of the voice, but also with a critique that is concerned with the work, Verdi is one of the authors to whom it shows a special harshness: ‘...Verdi's poorly conceived score, Un Ballo in Maschera. There is not a moment of inspiration in it. The music is languid and trivial in the extreme, lacking in originality.’1 It is even harsher on La Forza del Destino: ‘Since this opera has no musical merit and its composition is completely uninteresting, we beg the company to withdraw it forever from the repertoire, replacing it of course with the sublime and inspired conceptions of Rossini, Donizetti, Bellini and others.’2

Emilio Casares Rodico, La música española en el siglo XIX (Oviedo, Spain: Universidad de Oviedo, 1995): 476.

La Opera Española

(Madrid 1875-1876)

Editor: Claudio Coello
Periodicity: Weekly after September 27, 1876
Publisher: Enrique Vicente, Julián Peña
Language: Spanish ES

La ópera española began in 1875 with a particular aim: “‘The time has come for Spanish opera to no longer be a myth or a pretext for meetings and discussions of charlatans and pretentious people, who far, very far from promoting the idea, make light of it and pursue in favor of such a patriotic and lofty goal, an unworthy means of subsistence imploring public charity... The newspaper La Opera Española comes to the platform of the press to be the organ of a new enterprise that, counting on the moral cooperation of all lovers of our patriotic glories... will work tirelessly to achieve.’”

Emilio Casares Rodico, La música española en el siglo XIX (Oviedo, Spain: Universidad de Oviedo, 1995), 107-108.

Chorizos y Polacos: Revista festiva teatral

(Madrid 1882-1883)

Printers: Enrique Teodoro, 1882; Maroto é Hijos, 1883
Periodicity: 36 issues, publication varies
Owner: P. Yañez-Caballero
Director: M. Reinante Hidalgo

A satirical journal, Chorizos y Polacos contains theatrical, musical, and political commentary and, regularly, caricatures. The journal’s title refers to disputes that would arise among theatrical performers, writers and audiences in the eighteenth century. The opposing sides were dubbed “chorizos” and “polacos”; as such, the journal’s masthead depicts two gentleman in the midst of a dispute. The journal is not to be confused with a similarly-titled zarzuela composed by Francisco Asenjo Barbieri in 1876.

Enciclopedia Musical

(Barcelona 1884-1886)

Editor: José Maria Bru del Hierro
Director: Antonio Rius y Julia
Printers: Luis Tasso, 1884; Luis Tasso y Serra, 1885-1886
Periodicity: Monthly, 1884-1885; Fortnightly, 1886

"In its first issue, it states: 'all literary and musical works that may be worthwhile enough to appear in the columns of our magazine are admitted, with a worthy remuneration'. In 1885 and 1886 it published an almanac. According to Baldelló, its subtitle was 'Periodico musical ilustrado'".

Jacinto Torres Mulas, La Publicaciones periódicas musicales en España (1812-1990) (Madrid: Instituto Bibliografía Musical, 1991), 371.

Ilustración Musical Hispano-Americana

(Barcelona 1888-1894)

Publisher: Torres y Segui
Director: Victor Berdós
Printers: Luís Tasso Serra, 1888-1891; La Academia de Viuda é Hijos de Ullastres y Ca., 1891-1892; Victor Berdós, 1892-1894
Periodicity: Fortnightly

Illustración musical hispano-Americana “is essential for biographies of 19th-century musicians. It also contains reviews and chronicles of poetry and other literature and publishes scores of Arrieta, Arriaga, Federico Olmeda, Carlos Pintado, Enrqiue Barrera, Guillermo Massot, Eduardo Torrens, Valentin Ma de Zubiaurre, etc.”

Jacinto Torres Mulas, La Publicaciones periódicas musicales en España (1812-1990) (Madrid: Instituto Bibliografía Musical, 1991): 447.

El Eco Artístico: Revista Semanal de Espectáculos y Bellas Artes

(Barcelona 1897)

Editor-Owner: Antonio Astell
Director: P. Sañudo Autrán
Printers: L'Art; Tipografía la Académica
Periodicity: 13 weekly issues

“[El Eco Artístico] focused on articles about everything related to the world of theater, variety shows, zarzuela, fine arts, and all that happened in the Spanish artistic scene at the end of the century. It paid special attention to musical issues related to the theater: light music, zarzuela, as we have already mentioned, etc., and to the activities in concert cafés, about which it offered reviews and information. However, it also had some fixed sections, related to cycling, bullfighting, circus and some others.” 

Jacinto Torres Mulas, La Publicaciones periódicas musicales en España (1812-1990) (Madrid: Instituto Bibliografía Musical, 1991), 355.

La Revista musical

(Bilbao 1909-1910)

Editors: Carlos Bilbao Gortazar and Manso de Valasco
Periodicity: Monthly
Publisher: unlisted
Language: Spanish ES

"One of the most influential and model publications of its kind, founded and directed by Carlos Gortázar y Manso de Velasco (1864-1926) from Bilbao. He is considered the best music critic of his time, writing under the pseudonym Ignacio Zubialde, with the stature at the level of historians, musicologists, and critics such as Rafael Mitjana, Miguel Salvador, Luis Villalba and Cecilio de Roda, among others. Published monthly, it first appears in January 1909, at the time when there was a real explosion of philharmonic societies that carry out an intense activity in the main Spanish cities. The magazine represents an exceptional and invaluable contribution to the musical movement and study of the time in Vasconia, Spain and Europe. Within its pages brilliant controversies appeared, among which are the harshest statements about the work of Ruperto Chapí (1851- 1909) or on Basque music by Gortázar himself, as well as the most interesting questions and reflections on the consolidation of a Spanish national opera."

"Revista musical (Bilbao)." Hermeroteca Digital, Biblioteca Nacional de España (, accessed 27 January 2021.

Musica: Revista quincenal

(Barcelona 1915)

Printer: La Moderna
Editor: Concordio Gelabert Alart
Periodicity: Twice monthly, 20 issues

“To achieve the objective of satisfying the natural curiosity of the public, we have prepared a document with extensive information, both Spanish and foreign, for whose service and especially for Spain, we have elements of the highest value and quality. The theater magazine will not be forgotten within this publication, for all those where the musical art is cultivated without disdain for the worship and reverence that it is due. [...] Technical articles, criticism, history, etc., will alternate with the works of the most extensive part that will be the informative one.”

“Al empezar.” Musica: Revista quincenal 1, no. 1 (6 January 1915): 2.

Musicografía: Publicación mensual del Instituto-Escuela de Música

(Monóvar 1933-1936)

Printers: Monóvar: Artes Gráficas Manuel Vidal, 1933-1935; Elda: Industrias Gráficas Ortín, 1936
Director: Daniel de Nueda
Periodicity: Monthly

“It deals with diverse issues such as biographical notes, annotated bibliography, discography, musical information from Spain and abroad, etc. It’s [publication] was cut short by the outbreak of the civil war.”

Jacinto Torres Mulas, La Publicaciones periódicas musicales en España (1812-1990) (Madrid: Instituto Bibliografía Musical, 1991): 581.

“[Official] monthly publication, edited by the Institute-School of Music, for the musical ensembles supported by the Alicante city of Monóvar, to enhance their reputation. Sponsored by Francisco Corbí Martínez, the journal, directed by Daniel de Nueda, contains articles on musical technique, history, and aesthetics by conductors, composers, writers on music, critics, and professors of music, such as José Subirá, Eduardo López Chávarri, Joaquín Turina, Antonio M. Abellán, Andrés Aráiz or Vicente María de Gibert, among others.”

"Musicografía (Monóvar)." Hermeroteca Digital, Biblioteca Nacional de España (, accessed 27 January 2021.

Boletín de Musica y Artes Visuales

(Washington, D.C. 1950-1956)

Publisher: Division de Musica y Artes Visuales Departamento de Asuntos Culturales of the Unión Panamericana
Periodicity: Monthly
Language: Spanish

The Boletín was published by the Departamento de Asuntos Culturales of the Pan-American Union / Union Panamericana, from May-June 1955 the Organization of American States / Organization de Estados Americanos in Washington, D.C. It served to disseminate musical and artistic news throughout the hemisphere.

It provides musical news, including concert repertory, performance of new compositions, the activities of local and international musicians, the construction of new concert venues, musicological publications, research projects undertaken, and conference summaries. Visual arts are documented through announcements of exhibitions, publications, and conferences. Most information is gathered from unnamed correspondents or the musical press in each country. Of note are chronological lists of compositions by Latin-American composers which appeared with some regularity.

RIPM Preservation
Titles in Italian

L'Ape Italiana

(Milan 1819, 1822-1825)

Publisher: Nicolò Bettoni
Printer: Nicolò Bettoni
Periodicity: Four volumes

Founded by the typographer Nicolò Bettoni, this journal deals with Italian artistic life in general, and it includes reviews of literature and poetry. Special attention is given to operatic life by the collaborator Felice Romani, journalist, man of letters but above all one of the leading Italian librettists of the nineteenth century: his verses have been set to music by many of the most important composers of the time, such as Bellini, Donizetti, Meyerbeer and Rossini.

Il Censore universale dei teatri

(Milan 1829-1837)

Editor: Unnamed
Periodicity: Weekly
Publisher: Giacinto Battaglia
Language: Italian
Continued by:Corriere dei Teatri (Milan, 1838-1840)

“In the wake of I Teatri, in 1829 one of the most important publications of those years in the theatrical field came to light: Il Censore universale dei teatri (later Corriere dei teatri), directed and compiled by Luigi Prividali. Il Censore is configured from the beginning as an inexhaustible mine of information on theatrical seasons, singers, impresarios and the dynamics that govern the world of theatrical production, with the companies, the relationships between the artists and these with the patrons, and so on. Prividali, weaving a network of relationships with Italian and foreign correspondents, and making up for the shortcomings with news taken from other periodicals, manages to provide a general and, as far as possible, complete overview of theatrical activity (season by season, theater by theater, opera by opera) in Italy first of all, and in the main European venues secondly.”

Marco Capra, “La stampa ritrovata: duecento anni di periodici musicali,” in La divulgazione musicale in Italia oggi, ed. Alessandro Rigolli (Torino: EDT, 2005): 68.

Il Barbiere di Siviglia

(Milan 1832-1834)

Director: Giacinto Battaglia
Periodicity: Weekly
Publisher: Giacinto Battaglia
Language: Italian
Continued by: Il Figaro (Milan, 1835-1848)

"It is the first periodical publication to explicitly include music among the topics covered. ... In the first issue, in a usual statement addressed to the readers, [the director] Battaglia begins to outline, with a light and self-deprecating touch, the difference between the serious and the facetious, a physiognomy of critic and musical journalist who puts himself halfway between the seriousness of the scholar and the too easy practice of the journalist."

Marco Capra, “Periodici e critica musicale tra Ottocento e Novecento,” in: La critica musicale in Italia nella prima metà del Novecento, ed. Marco Capra and Fiamma Nicolodi (Venice: Marsilio, 2011)

L'Apatista: Giornale de Teatri e Varietá

(Venice 1834-1837)

Publisher: Federico Lampato
Printer: Federico Lampato
Periodicity: Weekly

“Although short-lived, the newspaper that best directed its efforts towards the promotion and dissemination of theatrical topics and reviews in Venice turned out to be L'Apatista, published by the typographer and publisher Federico Lampato.”

Maria Girardi, “La musica nei periodici veneziani,” in: Atti del Convegno internazionale IAML – IASA Perugia, 1996 (Lucca: LIM, 2001)

Il Figaro

(Milan 1835-1848)

Editor: Unnamed
Periodicity: Twice a Week
Publisher: Unnamed
Language: Italian
Continues: Il Barbiere di Siviglia (Milan, 1832-1834)

Il Figaro opens with a dry warning: 'From now on, the theatrical news of Il Figaro will be compiled by the undersigned promoter and sole owner of this publication, independently of any other collaborator'. What happened then? Regli, who evidently edited the Milanese theatrical criticism and coordinated the correspondence on the performances in the other cities, left Il Figaro and was setting up on his own with a new newspaper, which would see the light on July 3 of that same year: Il Pirata.

The first issue of 1836 opens with a small paragraph 'Il Nuovo anno non die Battaglia, ma di Opprandino Arrivabene' (The New Year, not by Battaglia, but by Opprandino Arrivabene); and in the annual leave from the readers, on December 7, the newspaper declares itself 'compiled by Giacinto Battaglia and Opprandino Arrivabene.'”

Marino Berengo, Intellettuali e librai nella Milano della Restaurazione (Milan: Franco Angeli, 2012): 198-99.

Il Pirata

(Milan; Turin 1835-1848)

Publisher: Milan, Torino: Francesco Regli
Director: Francesco Regli
Printers: Milan: Luigi Nervetti, 1835; Milan: Felice Rusconi, 1836-1838, 1840-1841; Milan: Pogliani, 1839; Milan: Giuseppe Chiusi, 1842, 1847-1848; Milan: Giuseppe Redaelli, 1843-1846; Torino: Fory e Dalmazzo, 1852-1854
Periodicity: Twice weekly
Lacunae: Vol. 4 no. 1 (1838); Vol. 5 no. 9 (1839), Vol. 14 no. 7
Forthcoming: 1849-1880

“A bi-weekly magazine founded by Francesco Regli, former collaborator of the Barbiere di Siviglia, an important publicist who gave a decisive impulse to theatrical journalism. "Il Pirata was a great cultural adventure, of intellectual independence, of curiosity. It focused on a wide-ranging cultural spectrum, including articles on the arts, on sciences, on fashion, with particular regard to music; as well as book reviews, poems, stories, enigmatic games, and a profusion of polemical and editorial writings."

“Francesco Regli” in Dizionario biografico degli italiani, vol. 86 (Rome: Treccani, 2016)

Il Corriere dei teatri

(Milan 1838-1840)

Editor: Luigi Prividali
Periodicity: Twice a week
Publisher: Luigi and Giacomo Pirola
Language: Italian
Continues: Censore universale dei Teatri (Milan, 1829-1837)

For further information, see the description of Il Censore universale dei Teatri.

Like its predecessor Censore, Corriere dei teatri was directed by the man of letters, librettist, impresario and theatrical journalist Luigi Prividali, who 'weaving a network of relationships with Italian and foreign correspondents and avoiding the inevitable shortcomings with news drawn from other periodicals,' manages to provide a general and as far as possible complete vision of theatrical activity first in Italy and then in major European cities."

Marco Capra, "Periodici e critica musicale tra Ottocento e Novecento," in: La critica musicale in Italia nella prima metà del Novecento, ed. Marco Capra and Fiamma Nicolodi (Venice: Marsilio, 2011)

Il Censore Universale dei Teatri has been transformed into the Corriere dei Teatri. Its form is more elegant, its paper more beautiful, the printing crisper.”

“Il Corriere dei teatri di Milano.” La Moda 3, no. 16 (22 February 1838): 62.


(Bologna 1853-1880)

Editors: Carlo Gardini (Direttore), Carlo Gardini (Direttore.) and Pio Sangiorgi (gerente responsabile), Gustavo Sangiorgi (Direttore.)
Publisher: Societa Tipografica Bolognese, Societa Tipografica Bolognese e Ditta Sassi, Tipografica Governativa Della Volpe e del Sassi, Dalla Regia Tipografia, Regia Tipografia
Periodicity: Generally Bi-Weekly, Weekly, Generally Bi-Monthly
Language: Italian
Lacunae: Vol. 1 nos. 1-15, 20, 25; Vol. 2 no. 17; Vol. 6 no. 22; Vol. 7 nos. 16, 18, 23, 29, 36; Vol. 8 nos. 2-3, 9, 22, 35; Vol. 9 nos. 1-2, 4, 9, 22; Vol. 10 nos. 4, 10, 14-15, 24; Vol. 11 nos. 22, 24-27, 35; Vol. 12 no. 11; Vol. 15 no. 11; Vols.16-17; Vol. 18 no. 21; Vol. 10 no. 25; Vol. 21 no.11; Vol. 22 no. 32; Vol. 23 nos. 3, 20-21, 23; Vol. 24 nos. 9, 16, 30; Vol. 26 nos. 12-13, 28, 31-32, 34-35; Vol. 28 nos. 22, 28; Vol. 29 nos. 1, 8, 12-13, 18; Vols. 29-31; Vol. 32 nos. 8, 14-16, 18, 21, 28; Vol. 33 nos. 9, 17, 27. A copy of these issues could not be located.

“L’Arpa. Literary, artistic and theatrical journal, official publication of the acts of the Royal Philharmonic Academy of Bologna, founded in 1854 by Dr. Cav. Carlo Gardini. No less than 36 issues per year are published in 4 pages with 3 columns. All the most distinguished literati of Bologna collaborate. On August 21, 1857 the direction was taken by Prof. Cav. Gustavo Sangiorgi who gave it to Count Cav. Pierfrancesco Albicini in July 1888. It is one of the most esteemed and read newspapers because it has correspondents from all the main artistic centers of Europe and America; it thus contains articles of sensible criticism and does not live off artistic claims like most of the theatrical newspapers.”

Nicola Bernardini, Guida della stampa periodica Italiana (R. Tipografia editrice salentina dei fratelli Spacciante, 1890): 305.

Il Trovatore

(Milan; Turin 1854-1910)

Publishers: Milan, Turin: 1854-1877, 1905-1910; Milan: Edoardo Sonzogno, 1877-1904
Directors: Marcelliano Marcello, Carlo G. Brosovich, Gaetano Buldrini, P.E. Francesconi
Printers: Milan: Fratelli Steffenone, 1855;
Turin: Tip. Nazionale di G. Bianccardi, 1856;
Turin: Tipografia Economica Deretta da Barera, 1857;
Turin: Pelazza, Tipografia Economica, 1857;
Turin: Tipografia del Fischietto, 1858;
Turin: Tip. Letteraria, 1859;
Milan: Giuseppe Redaelli, 1860-1867;
Milan: Società Chiusi e Rechiedei, 1867-1868;
Milan: Fratelli Rechiedei, 1868-1870, 1874-1876, 1882;
Milan: Società Cooperativa, 1871-1872;
Milan, Rome: Società cooperativa fra tipografi, 1872;
Milan: E. Sonzogno, 1877;
Milan: Tip. Sociale, E. Reggiani e C., 1883-1886;
Milan: A. Giuliani, 1887;
Milan: P.B. Bellini e C., 1887-1898;
Milan: Tip. Elzeviriana di Guidetti e Mondini, 1899-1901;
Milan: G. Martinelli e C., 1902;
Milan: A. Piazza, 1903-1907;
Milan: Poligrafia Italiana, Soc. An., 1908-1910
Periodicity: Weekly

"Il Trovatore, theatrical, literary, artistic newspaper, with caricatures and illustrations, born in 1854, directed by Carlo Brosovich. It is published every Friday in 12 large pages in 3 columns. A theatrical agency is attached to the newspaper. The illustrations are by Camillo, Dalsani, Teja and Vespa. It is a very popular newspaper, one of the best of its kind, and is written with a lot of spirit. Circulation 2000 copies."

Nicola Bernardini, Guida della stampa periodica Italiana.  (R. Tipografia editrice salentina dei fratelli Spacciante, 1890): 526-27. 

Il Mondo Artistico

(Milan 1867-1903)

At the time, Il Mondo Artistico was one of “two newspapers specifically devoted to music … under the direction of Dr. Filippo Filippi.” A reviewer believed that it was an esteemed newspaper like “La Gazetta musicale, Il Trovatore, La Scena, Le Boccherini, and La Gazetta musicale.

Almanach de la musique 1868, (Paris: Alfred Ikelmer et Cie, 1868), 88.

The editor, and many of the articles in this journal, “strove untiringly, not so much to expose the weak points of Italian opera as to emphasize the coexistence of German genius, and to get at the essence of German music. His chief demand might be briefly stated in the sentence, ‘Whoever would criticize Wagner, should know him first.’”

O. G. Sonneck, “Signs of A New Uplift in Italy’s Musical Life,” in Suum Cuique: Essays in Music (London: G. Schirmer, 1916): 239.

Il Palestrina: Periodico Musicale Ecclesiastico

(Rome 1869-1870)

Publisher: Stabilimento Camerale
Printer: Tipografia Camerale
Owner-Director: Loreto Iacovacci
Periodicity: Monthly

“Among so many newspapers that deal with theaters, there was not (do you agree?) in all of our peninsula a newspaper that dealt with sacred music. It is now the sixth month since Il Palestrina was born in Rome and published every month with excellent support, since it was received gladly by almost all of its local and foreign brethren. The purpose of the magazine is to reclaim the honor and dignity of sacred music through its writings.

For those composers … who intend to base their art on a scientific method, Palestrina is a publication of inestimable value; For the English, then, it is of special interest, because the only school they have (that of the 16th century) owes its greatness to the Roman school of the same epoch.”

“Il Palestrina.” Strenna Musicale Romana per l’anno 1870, 1 (1870): 50-51.

Ars et labor: Musica e musicisti

(Milan 1906-1912)

Editor: G. Ricordi
Periodicity: Monthly
Publisher: G. Ricordi & C.
Language: Italian
Continues: Musica e musicisti (Milan, 1902-1905)

"After sixty years of editorial life the glorious Gazzetta musicale di Milano, the publisher Ricordi entrusts the company's image to new magazines [...] such as Musica e musicisti (1902-05) [...] and then Ars et labor: monthly magazines graphically very refined, whose covers are signed by the greatest illustrators of the time and which take full advantage of the novelty represented by photographic reproduction. Precisely in these publications regularly appears a subject until then usually excluded from music periodicals: namely, sung music, of non-cultured origin and intended for the entertainment of a large and undifferentiated public, which then will be defined as 'light music.'"

Marco Capra, “La stampa ritrovata: duecento anni di periodici musicali,” in: La divulgazione musicale in Italia oggi (Torino: EDT, 2005)

RIPM Preservation
Titles in Dutch

Maandblad voor Muziek: Orgaan der Wagner-Vereeniging te Amsterdam

(Amsterdam 1888-1894)

Publisher: De Erven H. van Munster en Zoon
Editor: H. Viotta
Periodicity: Monthly
Continued by: Weekblad voor Muziek (Amsterdam, 1894-1909)

"In 1889 the Maandblad voor Muziek appeared: it was edited by [Viotta] for five years, after which his articles appeared in the "Gids". Since the foundation of the daily newspaper De Telegraaf he was a musical collaborator and in 1894 he opened a College of Music, where he lectured on music history."

J.H. Letzer, Muzikaal Nederland 1850-1910 (1913): 184

Weekblad voor Muziek

(Amsterdam 1894-1909)

Editors: H. Nolthenius, S. van Milligen
Periodicity: Weekly
Publisher: De Erven H. van Munster en Zoon
Language: Dutch
Absorbs: Maandblad voor Muziek (Amsterdam, 1888-1894)
Continued by: Caecilia. Maanblad voor Muziek (Amsterdam, 1903-1917)

“This magazine was founded in 1894 and can generally be regarded in tone and content as a continuation of the defunct Maandblad voor Muziek of 1893, which was the official organ of the Wagner Society. The editors of the Weekblad voor Muziek were Hugo Nolthenius and Simon van Milligen. Hugo Nolthenius (1848-1929) was a composer and a teacher of classical languages at the Stedelijk Gymnasium in Utrecht. He also reviewed for the Utrechts Dagblad. In 1894 he founded the Weekblad voor Muziek, which he edited until 1910 and in which he promoted Wagner enthusiastically.”

Walter A. Buijn, Arabeske of gedachte een muziekesthetische tegenstelling in Nederland 1820-1914, 177-78.

Caecilia. Maandblad voor muziek

(Amsterdam 1903-1917)

Editor: Simon van Milligen, H. Viotta, A. D. Loman Jr.
Periodicity: Monthly
Publisher: Martinus Nijhoff (The Hague), Van Hoelkema & Warendorf (Amsterdam), De Erven H. Van Munster & Zoon (Utrecht)
Language: Dutch
Continues: Caecilia. Algemeen Muzikaal Tijdschrift van Nederland (Utrecht, Rotterdam, The Hague, 1844-1880)

"He [Simon van Milligen] also became a music critic at the Dagblad and the weekly De Amsterdammer, which he changed jobs in 1897 from that of critic at the Handelsblad until January 1906, when he devoted himself entirely to the editing of Caecilia, which he had taken on since 1 Oct. 1902 in association with Mr. H. Viotta."

J.H. Letzer, Muzikaal Nederland 1850-1910, 120

Caecilia en Het Muziekcollege: Algemeen Toonkunstblad voor Groot-Nederland

(Amsterdam 1917-1933)

Publisher: Emil Wegelin
Editors: Willem Landre, Piet de Warrdt, P.A. Van Westrheene, Herman Rutters
Periodicity: Fortnightly, Nov. 1917-Mar. 1928; Monthly, Apr. 1928-Oct. 1933.
Continues: Caecilia. Maanblad voor Muziek (Amsterdam, 1903-1917)
Absorbs: Het Muziekcollege (Haarlem, 1913-1917)
Merges with: De Muziek (Amsterdam, 1926-1933)
Continued by:Caecilia en De Muziek (Amsterdam, 1933-1940)

"Caecilia en Het Muziekcollege (1844, later Caecilia en De muziek), lived an impressively long life. While, in the main, it was similar in scope to De Muziek—although perhaps more attention was diverted to contemporary composers—it did not attempt to offer foreign reportage to the same extent. A curiosity—as well as a rarity in journals—is that the photographs were clearly tipped in by hand. The index offers excellent access."

Charles Lindahl, “Music Periodicals in U. S. Research Libraries in 1931: A Retrospective Survey,” in Music Library Association Notes, Second Series, Vol. 37, No. 4 (June 1981): 864-870.

Maandblad voor Hedendaagsche Muziek: Orgaan van de Nederlandsche Vereeniging voor Hedendaagsche Muziek

(Amsterdam 1931-1933)

Publisher: Emil Wegelin
Editors: Hugo Godron, Casper Höweler, Daniel Ruyneman
Periodicity: Monthly
Forthcoming: Years 1934-1941

“From 1931 to 1941 the monthly journal of [the Dutch Society for Contemporary Music], the Maandblad van de Nederlandsche Vereeniging voor Hedendaagsche Muziek, edited by [Daniel] Ruyneman, was published. (From the 2nd volume in 1932, which opened with the November issue, the journal was named Maandblad voor Hedendaagsche Muziek.) This journal, unique by Dutch standards, published contributions by authors such as Hans Heinz Stuckenschmidt, Willi Reich, Julius Hijman, Paul Collaer, and Alexander Jemnitz.”

Paul Op de Coul, “Unveröffentlichte Briefe von Alban Berg und Anton Webern an Daniel Ruyneman,” in Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 22, no. 3, 202

Caecilia en de muziek

(Bussum; Hilversum 1933-1944)

Publisher: Bussum: Emil Wegelin, 1933-1936
Publisher: Hilversum: J.J. Lispet, 1937-1944
Editors: Herman Rutters, Eduard Reeser, Willem Landré
Periodicity: Monthly

"De Muziek was a paragon of music journalism, not least because of the engaging contributions of both editors-in-chief, but also because of [its] national and international contributors. In contrast, the time-honored Caecilia had become a musical regional magazine in these years, with reports on ripe and green, by editors and contributors who showed great respect for the simple musician while holding firm to nineteenth-century values. Musical life was indeed closely followed by De verenigde tijdschriften Caecilia en Het Muziekcollege (General Musical-Art Magazine for the Greater Netherlands), as the official name was since the merger with Het Muziekcollege in 1917, but that musical life took place in the regions of Bach, Beethoven, Chopin, Brahms, Mahler, Richard Strauss, Johann Strauss and Léhar. And it was precisely such a musical life that the editors of De Muziek did not serve.”

Leo Samama, Nederlandse muziek in de 20-ste eeuw voorspel tot een nieuwe dag, 107

Jaarboek Peter Benoit

(Antwerp 1904-1907)

Publisher: Peter Benoit-Fonds
Printer: Jan Boucherij
Periodicity: Annual

“The Society [Peter Benoitfonds]--which has set itself the goal of "the revival of the national artistic spirit in Flanders", the main goal of Benoit's lifelong endeavor and the performance of Benoit's works--has now published a yearbook in which the history of the creation and the endeavor of unification is treated, and in which speeches and excerpts from essays, published in journals, which characterize the master in a special way. This is followed by some discussions in the main periodicals about the execution of "the War". The voluminous yearbook ends with a list of published works, which also shows that-- contrary to what is claimed--i.e. that Benoit would have composed exclusively on Flemish lyrics, he did write a few songs on French lyrics in his youth. The "Opstelraad" of the yearbook refers to this remark in a note: "The list of his works, which we suspect we share, shows that the unconsciously wandering Benoit also worked on French lyrics in his first period; however, from the moment that he acted as a Fleming, aware of rights and duties, the fight for the nationality principle, he never failed.”

“Muziekberichten. Buitenland” Caecilia, vol. 61 (1904), 431-32

RIPM Preservation
Titles in Croatian


(Zagreb 1892)

Editors: Vjekoslav Klaić and Vjenceslav Novak (text); Ivan Zajc and Antun Stöckl (music inserts)
Periodicity: Monthly
Publisher: Vjekoslav Klaić (nos 1-3) and Hrvatski pjevački savez, Zagreb (nos. 4-12)
Language: Croatian

"The next music journal in Croatia, the monthly periodical Gusle, was not to appear for almost a decade. Twelve issues of Gusle, a "Journal for Sacred and Secular Music," appeared in 1892, edited by Vjekoslav Klaić and Vjenceslav Novak (1859-1905). Gusle was not a specialized journal: it contained articles about Croatian musicians, teaching methods, singing, ecclesiastical music, and folklore, as well as a regular column of musical news items. Ivan Zajc and Antun Stöckl's contributions to this journal were more varied and interesting than those in St. Cecilia. The compositions which Gusle published consisted mainly of choral works, music for organ, and solo songs by contemporary Croatian composers. Though generally of greater interest and variety than St. Cecilia, Gusle, too, failed to survive for any length of time."

Zdravko Blažeković, "The first music journals in Croatia", Periodica musica 4 (Spring 1986): 12-13.

See also Josip Andreis, "The first musical journals in Croatia", Arti musices: Hrvatski muzikološki zbornik 2 (Special issue, 1979), pg. 116-118.


(Zagreb 1893)

Editor: Vjenceslav Novak
Periodicity: Monthly
Publisher: Knjižara Lavoslava Hartmana
Language: Croatian

"Nevertheless, as soon as Gusle ceased publication, Vjenceslav Novak started a new journal entitled Glazba [Music], a "Journal for Sacred and Secular Music and the Dramatic Arts," the "Organ of the Croatian Choral Federation." Following the example set by Gusle, Glazba published articles on aesthetics, teaching methods, music theory, on the Croatian National Theatre, and on music in Croatia. Unlike its predecessors, however, it did not include historical or ethnomusicological articles. The piano compositions, solo songs and choral and chamber works which it published were similar to those published in Gusle. After a life-span of one year, Glazba ceased publication in 1893." 

Zdravko Blažeković, "The first music journals in Croatia", Periodica musica 4 (Spring 1986): 12.

See also Josip Andreis, "The first musical journals in Croatia", Arti musices: Hrvatski muzikološki zbornik 2 (Special issue, 1979), pg. 125-26.

Sv. Cecilija

(Zagreb 1907-1944)

Printers: Antun Scholz, 1907-1912; Hrvatska Tiskara D.D., 1913-1914; Nadbiskupska Tiskara, 1915-1939; Narodna Tiskara, 1940-1944
Editors: Milan Zjalić (1907-1913), Mirko Novak (1907-1908), Janko Barlè (1914-1940), Ivan Kokot (1941-1942), Albe Vidaković (1942-1944)
Editors of music inserts: Franjo Dugan (1907-1942), Albe Vidaković (1943-1944)
Periodicity: Bimonthly

"“Sv. Cecilija … arose in parallel with the flourishing of Zagreb's musical life. It was founded in 1877, 150 years after the world's first music periodical and more than a decade before the other Croatian music magazines that appeared in the same century. Sv. Cecilija was first conceived as a specialized periodical. This initial orientation has never been abandoned and has remained current until now. Nonetheless, the magazine was always open to various topics, not only those relating to sacred music, but also those relating to different fields of music in general, including secular. However, in one of the segments of the magazine and throughout its publication, the closest relationship with the expression, content and sacred message is preserved. These are musical supplements, which contain exclusively sacred compositions.”

Vadrana Juričić, “Il ruolo e il significato dei supplementi musicali nella rivista Sv. Cecilija: Una rassegna bibliografica completa e commentata,” in Zagreb 1094 - 1994: Zagreb i hrvatske zemlje kao most izmedu srednjoeuropskih i mediteranskih glazbenih kultura, pg 407-408.

Muzička Revija: Nezavisni Mjesečnik

(Zagreb 1932)

Printer: Tiskara Dragutin Beker
Editors: Pavao Markovac, Zlatko Grgošević
Periodicity: 5 monthly issues

"The criticism in Muzijka revija is based upon Markovac's conception that '... criticism.., must not be influenced by personal taste, sympathies and aversions, and should be nothing but a reliable and, above all, conscientious guardian of values.’
“The decision to publish the journal came as a result of the conviction that Croatian musical life and culture were in agony. Objecting to programme politics, dilettantism, snobbery and the lack of organization in musical life, Markovac and Grgošević often engaged in polemics. All the articles and pieces of criticism were based on their 'progressive' ideological attitude and aimed to the transformation of musical life.”

Sanja Majer-Bobetke, “Croatian Musical Journals between the Two World Wars and the Musical Criticism,” in International Review of the Aesthetics of Sociology of Music 23, no. 2 (December 1992): 184-185.

Muzičke Novine

(Zagreb 1951-1952)

Publisher: Savez muzičkih udruženja Hrvatske
Editors: Silvije Bombardelli, Ferdo Pomykalo
Periodicity: Twice monthly

“The editorial board of Muzičke novine believes that discussions or polemics of this type do not contribute to the resolution of certain issues, but confuse the already "murky" situation. In addition, such polemics narrow the problem down to often important details and — and this is the most harmful — separate the special case from the whole issue. It is especially disastrous if such polemics become a means of mutual value and personal reckoning, which, unfortunately, is not uncommon in our country, especially lately. The editorial board of Muzičke novine believes that the complexity of the issue of musical life can be captured only in a series of articles, topics, critiques from all sectors of musical activity. This is the only way to avoid overestimating or belittling some unimportant moments. Therefore, all articles and other contributions should be viewed as one whole, and from which the necessary generalizations of wider significance will be imposed.”

“Pamflet ili kritika? Zašto pokrećemo Muzičke novine.Muzičke Novine 1, no. 1 (December 15, 1951): 1.

Muzičke Novosti

(Zagreb 1953)

Publisher: Muzička naklada
Editors: Tomislav Kuljiš, Rudolf Matz
Periodicity: Monthly

Muzičke Novosti will have several regular columns, in which it will bring news about concert life in Zagreb, in the People's Republic of Croatia and about important events in other republics of the Federal People's Republic of Yugoslavia. 'Foreign radio stations,' a special section will be dedicated to music education and student productions in Zagreb and the province. In each issue, one of our prominent musicians will be presented with biographical data on two pages. We will bring articles from the history of music, about the construction of musical instruments and about newly-published musical compositions. A special place will be occupied by official and informative news from the Association of Music--associations, as well as news from individual associations. We will also include letters from our readers, and we will be grateful for any suggestions sent to us by our readers in order to improve our paper.”

Redakcioni kolegij [Editorial board], “Zašto izlaze Muzičke Novosti.Muzičke Novosti 1, no. 1 (January 1953): 1-2, at 2. 

RIPM Preservation
Titles in Czech

Dalibor. Hudební časopis s měsiční notovou přílohou

(Prague 1858-1864, 1869)

Editor: Emanuel A. Meliš
Publishers: Robert Veit,1858-1860; Kristofa a Kuhe, 1861-1862; Ludevit Fleischer, 1863; Sálek & Wetzler, 1864; Emanuel Meliš, 1869
Printers: Kat. Jerabkove, 1858; Antonina Renna, 1859; Rohlicka a Sieverse, 1869
Periodicity: Weekly, 1858; Thrice-monthly, 1858-1864, 1869

“The magazine's ... first editor was Emanuel Antonín Meliš (1831–1916), the first Czech music lexicographer; the publisher of the magazine was L. Fleischer. In the first four years, music supplements were published together with the magazine.”

Kateřina Hnátová, "Dalibor." In Český hudební slovník osob a institucí, ed. Petr Macek. Available online at

Dalibor. Časopis věnovaný zájmům světské i církevní hudby a zpěváckých spolků českoslov., zároveň pak organ „Matice hudební"

(Prague 1873-1875)

Editors: Ludevit Prochaska, Vácslav J. Novotný
Publisher: Emanuel Starý
Printers: Jos. R. Vilímka, 1873-1874; Karel Bellmann, 1875
Owner: Emanuel Starý
Periodicity: Weekly

“During the 1870s, two main parties flourished in Bohemia: one was pro-Wagnerian, pro-Lisztian and, the other at home, pro-Smetana. The former was represented by the magazine Dalibor, with fine arts, music and theater by the theorist Otakar Hostinský (1847-1910). The other party supported the idea of national music growing out of the folklore treasury. Its forum was the magazine Hudební listy, whose editors in 1873 were the opera composer Josef Richard Rozkošný (1833-1913), and in 1874-75, singer and music pedagogue František Pivoda (1824-1898).”

Michaela Freemanová, “Između Praga, Zagreba i Lavova: Franjo Ksaver Kuhač i njegovi češki pristalice,” Arti Musices 44, no. 1 (2013): 52.

Dalibor. Hudební Listy

(Prague 1879-1913, 1919-1923 [-1927])

Subtitle varies. From 1879 to 1886, Časopis pro všecky obory umění hudebního; from 1887-1927, Hudební Listy.
Publication suspended, 1914-1918.
Editors: V.J. Novotný (1879-1881), F.A. Urbánek (1881-1885, K. Teige (1885-1886), V. V. Zelený (1886-1887), R. Zamrzla (1887), Fr. A. Urbánek (1887-1898), Mojmír Urbánek (1899-1904), Artuš Rektorys (1905-1910), Rudolf Zamrzla (1911-1913), Jan Maria Augusta (1919-1922), Vladimír Balthasar (1923-1927)
Periodicity: Weekly
Publisher: Fr. A. Urbánek (1879-1881), A. V. Urbánek (1881-1927)
Lacunae: Vol. 13 no. 1-3 (1891); Vol. 15 no. 41-47 (1893); Vol. 33 no. 19-24 (1911)
Forthcoming: vol. 38-43 (1922-1927)

Dalibor. Hudební Listy “was a Czech music magazine published from 1879 to 1913, and after the war from 1919 to 1927 (a total of 42 volumes). The first issue was published on January 1, 1879: “Three years ago, VJ Novotný resigned from the management of the then music magazine Dalibor […] Listy buried in its most beautiful heyday at that time […] Dalibor will bring interesting and clearly written articles from all disciplines of secular and church music with a constant focus on the latest advances and conveniences in the realm of music. However, the main focus will be on Czech and Slavic matters.”

Kateřina Hnátová, "Dalibor." In Český hudební slovník osob a institucí, ed. Petr Macek. Available online

Hudební Revue. Vydává hudební odbor "Umělecké Besedy"

(Prague 1908-1920)

Editors: Karel Stecker, Karel Hoffmeister
Periodicity: Monthly
Publisher: Hudební Odbor "Umělecké Besedy" [Musical Section of the "Artistic Society"]
Language: Czech

“The Czech music magazine Hudební revue was the official organ of the music department of Umělecká beseda, which was founded in Prague in 1863 as one of the oldest Czech associations. In 1907, the Hudební matice was renewed and as part of its activities, the Music Department of Umělecká beseda managed (after the publication of Branberger's magazine Smetana in 1906–1907) began publishing its own serious music periodical - Hudební revue."

"Hudební revue" Český hudební slovník osob a institucí, ed. Petr Macek (Filozofické fakulty Masarykovy univerzity, Centrum hudební lexikografie, Ústav hudební vědy). Available online at

Klíč: nezávislá revue soudobé hudby

(Prague 1930-1932)

Issues bear the inscription "Zpravodaj čsl.sekce Mezinárodní Společnosti pro soudobou hudbu a Spolku pro moderní hudbu v Praze." [Newsletter of the Czech Society for Modern Music and the Society for Modern Music in Prague.]
Publisher: Vydává Odeon
Editor: Mirko Očadlík
Periodicity: Annual

A journal dedicated to modern music, Klíč was founded by Mirko Očadlík (1904 -1964), “who was appointed professor of musicology at Charles University in Prague in 1951 after twenty years of work in Czechoslovak radio. Očadlík's model was Zd. Nejedljý especially with regard to the thematic focus of his work, which is almost exclusively devoted to the problems of Smetana and his time. Očadlík developed a wide journalistic presence both in radio and in the daily press.”1

A survey of the contents of Klíč indicates a modernist approach, with articles on Kurt Weill, electroacoustic problems, Diaghilev’s Ballet Russes, jazz, the music of Leos Janáček, mechanical music, and Alois Hába’s compositional theories. New compositions are reviewed and a chronicle of significant concerts of modern music is included.

Studia Musicologica Academiae Scientiarum Hungaricae 17, no. 1/4, 273-274

Smetana: Hudební List

(Prague 1936-1938)

Editor: Artuš Rektorys
"Editorial circle" ["Redakční kruh"]: Josef Bartoš, František Pala, Anna Jandová Patzaková, Josef Plavec, Artuš Rektorys
Periodicity: Fortnightly

In preparation

RIPM Preservation
Titles in Bulgarian


(Plovdiv; Sofia 1891)

Publisher: Единство (Yedinstvo)
Editor: Г. Байдановъ (G. Bajdanov)
Periodicity: Single issue

In preparation

Muzikalna misŭl’ / Музикална мисъль

(Sofia 1929)

In preparation

А. С. О.: Периодическо Списание на Академическия Симфониченъ Оркестъръ за Музикална Култура и Критика = O. S. A.: Revue périodique de l’orchestre ...

(Sofia 1934-1935)

АСО was the journal of the Academic Symphony Orchestra (Академичен симфоничен оркестър) of Sofia. Founded in 1928 by Sasha Popov, the orchestra began as a small student ensemble of Popov’s State Academy of Music but quickly grew, eventually becoming the Sofia State Philharmonic. The journal of the АСО began in 1934, ultimately publishing ten issues under the editorship of St. G. Stoyanoff. In 1936 the АСО gained state support, becoming the Royal Military Symphony Orchestra (Царски военен симфоничен оркrстъ). Publication of the journal then ceased.

Muzikalna misŭl’ / Музикална мисъль

(Sofia 1936-1939)

Editors: D. V. Radev
Publisher: S. M. Staykov
Periodicity: Monthly (except during the summer)
Language: Bulgarian
Previous Title: Muzikalnya misal

In preparation

RIPM Preservation
Titles in Russian

Muzyka i teatr = Музыка и Театръ. Газета Спецiадьно-Критическая

(St. Petersburg 1867-1868)

Publisher: В. Сѣрова [V. Serova]
Editor: А. Сѣровъ. [A. Serov]
Printer: А. Головачова [A. Golovachova]
Periodicity: Fortnightly

Muzyka I teatr was a journal built upon “the principles of intelligent musical criticism” edited by Aleksandr Serov, “often being described as the first Russian music journal of serious content.”

Gerald Seaman, “Contemporary Music as Revealed in Nineteenth Century Russian Periodicals,” Revista de Musicologia 16, no. 3 (1993): 1674.

The articles “occupy an important place in Russian musicology of the period and this periodical served as a vehicle for their expression. It is the first Russian music journal of serious content.”

Gerald Seaman, “Nineteenth-Century Russiao Music Periodicals An Annotated Checklist: Part I” Periodica Musica 2 (Spring 1984): 15.

Bayan = Баянъ

(St. Petersburg 1888-1890)

Editors: А. А. Астафьевъ [A. A. Astaf'yev], П. П. Веймарнъ [P. P. Veimarn]
Periodicity: Weekly with monthly printed supplements
Publisher: A. A. Astaf'ev, A.I. Chernova, P.P. Veimarn
Language: Russian

A very rare journal, one which has been cited in secondary literature as important but previously unseen,1 Bayan (Баянъ) was edited by Alexander Adrianovich Astafiev and composer and critic Pavel Platonovich Veimarn. Previously Astavfiev was editor of the Russkiy muzïkal'nïy vestnik (Русскій музыкальный вѣстникъ) from 1880 to 1884. Bayan provides articles on diverse musical topics including theory, harmony, and musical history; reviews of concerts; a chronicle of musical activities in Russia and in Europe; and advertising. A musical supplement was included for subscribers; although these works are not reproduced here owing to their unavailability, however, the musical works are listed in each issue. 

1 Gerald Seaman stated "The present writer has not seen a copy of this journal, but the fact that it is considered worthy of mention by both pre-Revolutionary and Soviet scholars suggests that its contents merit further investigation." "Nineteenth-Century Russian Periodicals: An Annotated Checklist." Periodica musica 2 (Spring 1984): 15.

Orfei: knigi o muzyke = Орфей: Книги о музыке

(St. Petersburg 1922)

Publisher: Gosudarstvennaia filarmoniia
Printer: Первой Петроградской Трудовой Артели Печатников [First Petrograd Labor Printers Association]
Editor: А. В. Оссовасий [V. Ossovasiy]
Periodicity: Twice yearly

In preparation

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Titles in Polish

Echo muzyczne, teatralne i artystyczne

(Warsaw 1883-1907)

Editor: Jan Kleczyński, Aleksander Rajchman
Periodicity: Weekly
Publisher: Rajchman i Frendle
Language: Polish
Continues: Echo muzyczne (Warsaw, 1879-1882)

"Echo Muzyczne published information about concerts in the Philharmonic, reflections, reviews, etc. Due to the fact that the magazine limited its sphere of interest to music problems, it lost its original character and with it many readers. The financial situation of Echo Muzyczne became so difficult that the decline of this magazine, so deserving of Polish culture, could not be prevented. Regardless of many transformations Echo Muzyczne had undergone during almost thirty years of existence, the magazine played such an essential role in the cultural life of the country, and Warsaw in particular, that one can unreservedly agree with the words of Leopold Binental, who stated in Muzyka, published before World War II, that Echo Muzyczne was an encyclopedia of the cultural life of the capital at that time, reflecting general tendencies in the field of art at home and abroad."

Włodzimierz Pigła, “Die Warschauer Musikzeitschriften (1850-1914).” Fontes Artis Musicae 39, no. 1 (1992): 54

Echo Muzyczne

(Chicago 1924-1937)

Not connected with the Warsaw-published Muzyka, but both share the same publication dates. Echo muzyczne was published and edited by the composer Boleslaw J. (B.J.) Zalewski and contains news of prominent Polish and Polish American musicians and ensembles. Regular musical supplements focus on folk songs and Polish national melodies.

Kwartalnik muzyczny

(Warsaw 1928-1933)

Issues bear the inscription "Stowarzyszenia Miłośników Dawnej Muzyki poświęcony teorji, historji i etnografji muzyki" [Organ of the Association of Early Music Lovers, devoted to musical theory, history and ethnography]
Publisher: Stowarzyszenie Milośników Dawnej Muzyki
Editors: A. Chybiński, K. Sikorski
Periodicity: Quarterly

Kwartalnik Muzyczny “changed the character of a central musicological organ into that of a periodical of the "musicological school of Lviv". It is worth noting the opinion of Stefan Jarocinski, who evaluated Kwartalnik Muzyczny as a journal of which our then still young science could be proud. The journal deepened the scientific research and knowledge of ancient Polish music to such an extent that numerous generations of musicologists will still reach for the source works published here, as they provide the foundations for the formulation of general conclusions. Kwartalnik Muzyczny can undoubtedly be credited with the fact that, under the difficult circumstances of the period between the two world wars, an exemplary journal was created, which, as can be seen from the works included in it, made use of the most modern research methods."

Jerzy Wilgocki, “Polnische musikwissenschaftliche Zeitschriften von 80 Jahren (1911-1991).” Fontes Artis Musicae 39, no. 1 (1992), pg. 45-46.

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Titles in Hungarian

Zenelap. Közlöny a zeneművészet összes ágai köréből

(Budapest 1885-1912)

Issues bear the inscription "Az „Országos Magyar Daláregyesület“ és a „Zenetanárok Országos Egyesületé“ -nek hivatalos közlönye."
Editors: József Ságh (Felelős szerkesztő = Responsible editor); assistant editors Guido Pogátschnigg, Viktor Langer, Emil Vajda, G. Tessényi Margit
Periodicity: Weekly
Publisher: József Ságh
Language: Hungarian

“In the early twentieth century, an increasing area of disagreement was the role of ‘hypermodern’ musical language, including dissonance, and of advocates for this kind of musical language. Zeneközlöny (Musical journal) (1901-1917, 1924-1925) and a newly constituted Zenevilág (1900-1910, 1912, 1916) were both edited by associates and advocates of Bartók—Dezsõ Demény and Pongrácz Kacsóh respectively—and featured Bartók, Kodály, and other associates regularly in news columns and elsewhere. By contrast, Zenelap (Music page) (1886-1912) and A zene (Music) (1909-1914) could be judged more aesthetically conservatoive, in that they tended to acknowledge modernist expression less and minimized the role of forward-looking musicians, led by Bartók, in their news columns; but journalists cannot be defined only by their relationships to Bartók’s circle. For instance, Zenelap tended to emphasize the importance of Hungarian music-making more generally (including the choral movement and operetta), while A zene more frequently highlighted elite composition and criticism and canonical German composers.”

-Lynn M. Hooker, Redefining Hungarian Music from Liszt to Bartók (Oxford: Oxford University Press, 2013): 110

Magyar dal-és Zeneközlöny

(Budapest 1895-1910)

Organ of the Országos Magyar Daláregyesület [National Hungarian Singing Society]
Publisher: Országos Magyar Daláregysület
Editors: Zsigmond Falk, István Göndöcs, Jenő Sztojanovits, Rezsö Burdáos
Periodicity: Monthly

"Important primary sources pertaining to the life of this choral movement are the Zenészeti Lapok (Musical Journal) and the Magyar Dal és Zeneközlöny (Hungarian Song and Music Bulletin). Published between 1860 and 1876, the Zenészeti Lapok was the first musical journal in Hungary. Between 1869 and 1872, it was the official journal of the National Choral Society, published with the subtitle “The Official Journal of the National Choral Movement.” The journal's founder was the secretary general of the National Choral Society, Kornél Ábrányi (1822–1903). The Magyar Dal és Zeneközlöny was published between 1895 and 1910, and it became the official journal, as the Zenészeti Lapok had ceased publication more than two decades earlier."

Rudolf Gusztin, "The Institutionalization of the Choral Movement in Nineteenth-Century Hungary", Musicologica Austriaca: Journal for Austrian Music Studies (online). Available at

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Titles in Portuguese

Chronica dos Theatros

(Lisbon 1861-1871)

Periodicity: Irregular

“This journal opened a new and brilliant era, not only in theatrical criticism, but also as a paper of news and biographies. Chronica dos Theatros is an ample repository of theatrical news, biographical profiles of national and foreign actors, musicians and dramatic authors, and of many other figures that have worked in this vast and diverse field of dramatic and musical art. Chronica dos Theatros was founded by the journalist Eduardo Coelho, José Maria Pereira Rodrigues and Eusébio Simões. The greatest writers of that time collaborated with this extremely interesting theatrical magazine. Some of them are still alive, although retired from the literary life. Amongst them I remember Eduardo Augusto Vidal, Visconde de Roussado, Rangel de Lima and Tito de Noronha. The vastly erudite and prolific writer Teófilo Braga, and D. Guiomar Torrezão and Joaquim de Vasconcelos also brightened the magazine with their fine articles. Other collaborators have already passed away, including Camilo Castelo Branco, Júlio César Machado, Ernesto Biester, Gomes d’Amorim and João Ricardo Cordeiro, relentlessly taken by death. The loss of such distinguished men is a sad loss for the literature!"

Silva Pereira, "Investigaçóes. Os primeiros jornaes de theatro de Lisboa. V." Rivista Theatralsecond series 2, No. 36 (15 June 1898): 198-99. Translated by Mariana Carvalho Calado

Gazeta dos Theatros

(Lisbon 1875-1876)

Editor: A. d'Azevedo
Periodicity: Not regular: monthly and occasionally 2 issues in a month
Publisher: Agencia Litteraria e Theatral
Language: Portuguese
Lacunae: Vol. 2 No. 17 (1876). No copies could be located.

“Gazeta dos Theatros launches its publication, not with the intention of criticizing the newspaper nor with pompous promises, but only and modestly as a newspaper of advertisements and news, littereries and theaters. As an organ of the Agencia Litteraria e Theatral, it proposes to give the greatest publicity to all subjects that may be useful to literature in general and to the dramatic art in particular.”

From the journal’s untitled prospectus; Gazeta dos Theatros 1, no. 1 (23 April 1875): 1.

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Titles in Serbian

Gudalo = Гудало

(Velika Kikinda 1886-1887)

Editor: Milan Petrović
Periodicity: Monthly
Publisher: Društvo za negovanje muzike "Gusle"
Language: Serbian

“This concept is clearly indicated already in some writings of the Croatian music historian and folklorist Franjo Ksaver Kuhač (1834-1911) from the last third of the nineteenth century. His preferred method of work was a comparative examination of music traditions of all southern Slav (cf. Kuhač 1887-1882; 1878-1881; 1875). However, his historiographic canon was in its core dominated by Croatian nationalism, and guided by the notion of the “national music” that he understood to be “characteristic of each nation, and reflecting specific features of that nation which as different from any other nations” (Kuhač 1869, 2 July: 1). He thought that music affinities were inherited through the blood, and that therefore anybody who was Croatian belonged to the Croatian canon regardless of his location. Franjo Kuhač cooperated with Czech and Serbian composers, musicians and music writers, among others with Robert Tollinger (1859-1911), who established the first Serbian professional music journal Gudalo (1886-1887) (cf. Marković 2009).”

Zdravko Blažeković, Tatjana Marković, and Leon Stefanija, “Repackaging Heroes: Emerging Identities of (Post-) Yugoslav Music,” in Best of ISA Science 2013-2016: An Interdisciplinary Collection of Essays on Music and Arts, ed. by Ursula Hemetek and Cornelia Szabó-Knotik (Vienna: Hollitzer Verlag, 2017): 161-81.


(Belgrade 1932-1936)

Editor: Stana Ribnikar (Djuric-Klajn)
Periodicity: Monthly
Publisher: Stana Ribnikar (Djuric-Klajn), Graficki umetnicki zavod “Planeta”
Language: Serbian
Lacunae: Vol. 2 no. 4. A copy of this issue could not be located.

"The Zvuk magazine, one of the best Serbian and Yugoslav music revues, was published in Belgrade from 1932 to 1936. It was founded and edited by pianist, music historian and music critic Stana Ribnikar (1908-1986). Her closest collaborators in the magazine were leftist musicians. Nevertheless, the editorial board was open for collaboration with writers who had different ideas on the relationship between art and society. This article deals with numerous essays on the nineteenth-century West European art music in Zvuk. Their topics are very diverse: some of the essays deal with individual composers, historical issues, various problems of writing music, and related subjects. Others tend to provide information and present art music in a popular manner. A significant feature of the Zvuk magazine was the parallel presence of essays written by Marxist musicians and those written by other music writers, who did not believe in the social function of art, even though these two groups of authors did not engage in polemics.”

Aleksander Vasić, “An unintended dialogue between “materialists” and “idealists”. The essays on west European art music in the "Zvuk" magazine (1932-1936),” Muzikologija (2013). Abstract. DOI: 10.2298/MUZ1314077V

Abstract translated from Serbian by Ranka Gašić.

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Titles in Catalan

Revista Musical Catalana

(Barcelona 1904-1936)

  Redactor en cap: Joan Salvat (1904-1914), Frederic Lliurat and Vicents M.a de Gibert (1914-1922), Frederic Lliurat and Joan Salvat (1923-1936)
  Secretari de la Redacció: Joseph M.a Folch y Torres (1904-1906), Ignasi Folch y Torres (1907-1922), Jaume Martí i Marull (1923-1929), Lluís M.a Millet (1930-1936)
Periodicity: Monthly
Publisher: Orfeó Catalá
Printer: Tip. "L'Avenç"
Language: Catalan

"Both scholarly essays and information about local and international musical life were provided for readers of the Catalan Revista musical catalana = Butlletí de l'Orfeó Català ... Although the list of principal collaborators was long, including, for example, Wanda Landowska, Kurt Schindler, and Albert Schweitzer, among those actually contributing in 1931 were Higini Anglès, Francesc Pujol, Josep Subirà, and P. Greogri M.Suñol. (All names are spelled as they commonly appear in the journal.) In addition to accounts of the activities of the Orfeó Català (a choral association) and comprehensive reports of concert life in Barcelona, critical reviews (books, music, and records) were published. Articles appeared relating not only to Catalan and Spanish music, but also to subjects of wider musical interest. The annual index, conveniently subdivided, provides easy access."

Charles Lindahl, "Music Periodicals in U. S. Research Libraries in 1931: A Retrospective Survey. Part II: Other European Countries." Notes: Quarterly Journal of the Music Library Association 38, no. 1 (September 1981): 74.

Fruïcions: Portaveu de l’Associcaió Obrera de Concerts

(Barcelona 1927-1932)

"Fruicïons was published monthly from April 1927 to September 1932, issuing a total of 63 issues … [it] functioned as a cultural mediator for a collective labor identity. ... The publication was a relatively small magazine with about ten to twelve pages, containing such biographical articles as “Schubert”, “Els Amors de Beethoven” and commentaries on musical compositions “Escoltant la Novena”, “Història del Quartet de Corda”, and “A Propòsit dels ‘Lieder’ de Schumann”. Each issue also contained an end section with administrative notes, indicating new members, accounting for disbursed funds and listing library acquisitions."

Silvia Lazo, “Building a Cultivated Labor Identity through Art Decoration: Classical Images in the Catalan Workers’ Magazine Fruicïons (1927-1932).” Music in Art 39, no. 1-2 (Spring-Fall 2014): 159-160.

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Titles in Swedish

Finsk musikrevy

(Helsinki 1905-1906)

Publisher: Aktiebolaget Handelstryckeriet
Editor: Axel von Kothen
Periodicity: Twice monthly

"Three magazines appeared in Swedish [during the first two decades of the twentieth century]. First was Euterpe, edited by Karl Flodin. This was a general arts magazine dealing with music, theatre, and literature, published during the years 1901-05. In 1905, while Euterpe was still appearing, the editor Axel von Kothen began Finsk Musikrevy (Finnish Music Review), subtitled "published by young musicians", which ran for only three years. In 1910 a new magazine Tidning för Musik was begun by Gösta Wald ström, Otto Andersson, and Olof Wallin. Tidning för Musik continued until 1916, and was the last Swedish-speaking general music magazine in Finland for many decades. The appearances of Finnish language musical magazines in the early twentieth century were as sporadic as those of their Swedish language counterparts."

Kari Laitinen, “Suomen Musiikkilehti 1923-46: The Story of a Finnish Periodical,” Fontes Artis Musicae 42, no. 4 (Oct.-Dec. 1995): 321.

Ur Nutidens Musikliv

(Stockholm 1920-1925)

Founded in 1920 by the musicologist Tobias Norlind (1879-1947), Ur Nutidens Musikliv (From the Musical Life of Today) was envisioned to serve as a general music journal alongside of Norlind’s other journal, the Svensk tidskrift för musikforskning. The journal contained “overviews of the music life in the two largest cities and the numerous articles about individual artists offering a remarkably full picture of the musical life of that time. There were also regular 'music letters' covering the music scene in selected foreign locations, mainly Berlin. Both the artist portraits and the note sections have very clear similarities with the design in the Svensk Musiktidning, and one of the society's earliest ambitions was to address its fallen mantle.”

Ingmar Bengtsson, “Svenska samfundet för musikforskning 50 år (1919-1968).” Svensk tidskrift för musikforskning 51 (1969): 16-17.

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Titles in Danish

Musik: Tidsskrift for Tonekunst

(Copenhagen 1917-1925)

Publisher: Petersen & Bratvolds Bladforlag
Editor: Godtfred Skjerne
Periodicity: Fortnightly, Jan.-Mar. 1917; Monthly, Apr. 1917-Dec. 1925

“The change in music magazines in Denmark after World War I comes in the second decade of the twentieth century. A new musical milieu forms the background and prerequisites for new music magazines. The magazines are now written for very specific, limited interest groups. General music magazines hardly exist anymore. In the music periodical, Musik (1917-1925), editor Godtfred Skjerne wrote of general music periodicals, ‘There are no more competitors, and there have not been any for 23 years, ever since our publication for music interests Musikbladet ceased publication.’ Music periodicals have a very different character than in the last century, in that many music periodicals have a general layout.”

Eva-Brit Fanger, “Überblick über die historische Entwicklung Dänischer Musikzeitschriften,” in Fontes Artis Musicae 40, No. 4 (October-December 1993): 328.