AMS Newsletter February 1999
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Re/Defining the Imaginary Museum of National Music
Re/Defining the Imaginary Museum of National Music The Case of Croatia Zdravko Blažekovic´ The historian is a product of history himself, and of his situation. However hard we may try, he cannot escape the molding of his mind by his experience and his surroundings.1 Music historiography in Croatia was throughout the twentieth century marked by the path established in the late nineteenth century by Franjo Ksaver Kuhač (1834-1911), who defined the criteria for inclusion of musicians into the national canon on the basis of their Croatian ethnic origin rather than presenting cultural circles in which they were active. In the twentieth century, the central influence on the definition of the canon of Croatian music history came from Josip Andreis (1909-1982) in his historical survey published in three Croatian editions (Razvoj muzičke umjetnosti u Hrvatskoj [The development of musical arts in Croatia], 1962; Povijest hrvatske glazbe [History of Croatian music], 1974, 1989) and two English editions (Music in Croatia 1974, 1982). Synthesizing the existing views about Croatian music, he constructed in his narrative a museum of Croatian and foreign com- posers active in Croatia, as well as composers born in Croatia but living abroad. Besides nationalistic traits inherited from Kuhač, a reason for emphasizing activities of composers working abroad were the political and cultural circumstances surrounding Andreis during the time of communist Yugoslavia, when Croatian connections with the Central European musical space were particularly appreciated, especially when the quality of composers living abroad surpassed the musical production within the country. Being a part of multina- tional Yugoslavia situated between the Eastern and Western cultural and religious spheres, Croatians at the time wanted to distance themselves from the cultures in Eastern Europe and felt the need to be reassured about their belonging to Slavia Latina. -
MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr
detail from F-Pn vma ms 1068 | hand of violinist Pierre Baillot | photo by Michael Vincent Introduction to Historical Musicology MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr. Michael Vincent • [email protected] • MUB 351 • Thursday & Friday period 5 Please visit me during my office hours. I’m available to discuss our course or issues of professional development. Overview We explore critical approaches to the history of musicology as an academic discipline. The readings provide an overview of fundamental concepts and methodologies, and significant musicological writings representing style periods and conceptual issues. While musicologists traditionally focus on European music in the classical tradition, we will sample scholarship that focuses on a broad range of repertoires. Students will be encouraged to approach the discipline and its history critically. This critical approach will inform your personal work, giving you the tools to investigate your own topic in novel and insightful ways. Each student will choose a “lab rat” at the beginning of the semester: an artistic period, repertoire, performer, social movement, or composer. You will investigate your lab rat using the weekly methodology, diversifying your knowledge of your chosen subject. Your lab rat may grow in unexpected ways as the semester progresses. This course has prerequisites: successful completion of the complete undergraduate music history sequence; graduate student status; and successful completion of the music history entrance exam or the review course. Expectations ❖ Reading You’re expected to come to class having completed all reading on the syllabus for that week. You must be ready to engage with the materials. -
The Aquitanian Sacred Repertoire in Its Cultural Context
THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces. -
Zur Rezeption Der Wiener Schule in Agram/Zagreb Und Kroatien
Eva Sedak (Zagreb/Kroatien) = Zur Rezeption der Wiener Schule in Agram/Zagreb und Kroatien 1. Was ist die Wiener Schule? 1.1 Zeitliche Abgrenzungsversuche in Bezug auf den Wirkungskreis dieser ‚Schule‘, auch für die Zeit nach Arnold Schönbergs Übersiedlung(en) sowie nach seinem Tod. 1.2 ‚Schule‘ als Ideengeschichte. Die Gleichberechtigung der ‚Lehrerper- sönlichkeiten‘ von Alban Berg und Anton Webern. Die Verschieden- heit ihrer pädagogischen Ansätze und Ausstrahlungen in der ‚Neuzeit‘ und ihr eventueller Bezug zur ‚Postmoderne‘. 1.3 Zur Gefahr der Einengung des Begriffs ‚Wiener Schule‘ auf die tech- nische und anekdotische Ebene wie auch auf ästhetische Stereotype als von der ‚allgemeinen‘ Entwicklung abgesonderte Einzelsymbole. 2. Was ist Rezeption? 2.1 Methodologischer Ansatz in historischer Perspektive. Rezeptionsfor- schung als Datensammlung und Kritikerübersicht (vgl. Carl Dahl- haus) oder Rezeption als Transzendierungsprozeß. Positivismus oder Kritizismus? 2.2 Neubewertung mit Möglichkeit der Abwertung? Ist Schönberg passé? Ist die ‚Schule‘ passé? 2.3 Das Territorium (die Orte) – die Zeit. (Beides ist aus den oben auf- gestellten Untersuchungsprämissen abzuleiten und zu begründen.) Leider ist Frau Eva Sedak vor der endgültigen Ausarbeitung ihres Beitrags verstorben. Wir sind ihrer Zagreber Kollegin, Frau Nada Bezić, sehr dankbar, gemeinsam mit der Tochter von Frau Sedak sowohl den Artikel als auch die Anhang-Übersichten aus der Hinterlassenschaft der Autorin ‚gerettet‘ zu haben. Frau Bezić und Herrn Nikša Gligo danken wir zusätzlich für die kompetente Durchsicht der Unterlagen. Zu den Punkten „1. Was ist die Wiener Schule?“ und „2. Was ist Rezeption?“ hat Frau Sedak im Symposion gemäß ihren hier abgedruckten Stichworten frei gesprochen. Zur Rezeption der Wiener Schule in Agram/Zagreb und Kroatien 163 3. -
Sanja Majer-Bobetko Hrvatska Akademija Znanosti I Umjetnosti ————
sanja majer-bobetko hrvatska akademija znanosti i umjetnosti ———— BETWEEN MUSIC AND IDEOLOGIES: CROATIAN MUSIC CRITICISM FROM THE BEGINNING TO WORLD WAR II* roatian music criticism has not yet been completely researched, and all the re- C search carried out to date has been sporadic and unsystematic. As the Croatian lands were exposed to often aggressive Austrian, Hungarian and Italian politics until World War I and in some regions even later,1 Croatian music criticism was written in Croatian, German and Italian. At the beginning of the nineteenth century, Croatian was mainly the language of the lower classes. In 1843 the nobleman Ivan Kukuljević- -Sakcinski was the first to speak Croatian instead of Latin in the Croatian Parlia- ment. Yet Croatian only became the official language in 1847. To the best of our knowledge, the first ever piece of Croatian music criticism was written in 1826, in the literary and entertainment journal Luna, by an anonym- ous author writing in German.2 The musicologist Lovro Županović attributes that review to Franjo Ksaver (Serafin) Stauduar (b. 1825 or 1826; d. 1864), who was the newspaper’s publisher and editor. Stauduar wrote a report in the Wiener allgemeine Theaterzeitung on a performance of the first Croatian national opera, Ljubav i zlo- ba [Love and Malice], by Vatroslav Lisinski (1819–54), from 1846, ‘which may also mean that he was personally in charge of the theatre section in Luna’.3 The first music review concerned the five-act melodrama Viola by the German dramatist Jo- seph Auffenberg (1798–1857), with music by Georg (Juraj) Karl Wisner von Mor- * Part of this text results from research conducted within the project ‘Networking through music: Changes of paradigms in the “Long 19th Century” – from Luka Sorkočević to Franjo Ks. -
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THE TUNES OF DIPLOMATIC NOTES Music and Diplomacy in Southeast Europe (18th–20th century) *This edited collection is a result of the scientific projectIdentities of Serbian Music Within the Local and Global Framework: Traditions, Changes, Challenges (No. 177004, 2011–2019), funded by the Ministry of Education, Science and Technological Development of the Republic of Serbia, and implemented by the Institute of Musicology SASA (Belgrade, Serbia). It is also a result of work on the bilateral project carried out by the Center for International Relations (Faculty of Social Sciences, University of Ljubljana) and the Institute of Musicology SASA (Belgrade, Serbia) entitled Music as a Means of Cultural Diplomacy of Small Transition Countries: The Cases of Slovenia and Serbia(with financial support of ARRS). The process of its publishing was financially supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia. THE TUNES OF DIPLOMATIC NOTES MUSIC AND DIPLOMACY IN SOUTHEAST EUROPE (18th–20th CENTURY) Edited by Ivana Vesić, Vesna Peno, Boštjan Udovič Belgrade and Ljubljana, 2020 CONTENTS Acknowledgements ������������������������������������������������������������������������������������������������������ 7 1. Introduction ����������������������������������������������������������������������������������������������������������������������������9 Ivana Vesić, Vesna Peno, Boštjan Udovič Part I. Diplomacy Behind the Scenes: Musicians’ Contact With the Diplomatic Sphere 2. The European Character of Dubrovnik and the Dalmatian Littoral at the End of the Enlightenment Period: Music and Diplomatic Ties of Luka and Miho Sorkočević, Julije Bajamonti and Ruđer Bošković ��������������������������������������������������������������������������������17 Ivana Tomić Ferić 3. The Birth of the Serbian National Music Project Under the Influence of Diplomacy ���������37 Vesna Peno, Goran Vasin 4. Petar Bingulac, Musicologist and Music Critic in the Diplomatic Service ������������������53 Ratomir Milikić Part II. -
Brown, Orange, and Blue Gamelan Is Back at Illinois!
SPRING 2007 The News Magazine of the University of Illinois School of Music Brown, Orange, and Blue Gamelan is Back at Illinois! Crossover Artists Poker Games and Liberation Classes Jeffery S. Kimpton: Educator for a Lifetime Choice From the Interim Dean It is a pleasure for me to introduce this new edition of sonorities sonorities , the news magazine for the School of Music at Spring 2007 the University of Illinois at Urbana-Champaign. Published for alumni and friends of the After ten years as the chief academic officer of the Col - School of Music at the University of Illinois at Urbana-Champaign. lege of Fine and Applied Arts, Dean Kathleen F. Conlin The School of Music is a unit of the College recently stepped down to take up duties as the Barnard Hewitt Professor of of Fine and Applied Arts at the University of Theatre and Director in Residence in the Department of Theatre here at the Illinois at Urbana-Champaign and has been an accredited institutional member of the National University of Illinois. All of us in the College owe her a debt of gratitude, and Association of Schools of Music since 1933. the School of Music in particular has greatly benefited from her support of Karl Kramer, director such initiatives as the revitalized and expanded jazz program, the residency of Edward Rath, associate director the Pacifica Quartet, and the recruitment of world-class artists and scholars to Marlah Bonner-McDuffie, associate director, development teach our students. Indeed, it has been a daunting task for me personally as I David Atwater, assistant director, business fill in for her in the dean’s office while a national search is conducted to name Joyce Griggs, assistant director, enrollment management and public engagement her successor. -
Hrvatski Glazbeni Časopisi 1903-1945. Kao Glazbenohistoriografski Izvori
S. MAJER-BOBETKO, HRVATSKI GLAZBENI ČASOPISI 1903-1945, ARMUD6 50/1-2 (2019) 377-398 377 HRVATSKI GLAZBENI ČASOPISI 1903-1945. KAO GLAZBENOHISTORIOGRAFSKI IZVORI SANJA MAJER-BOBETKO UDK / UDC: 78(091):070.48(497.5)”1903/1945” DOI: htt ps://dx.doi.org/10.21857/yk3jwhx139 Odsjek za povijest hrvatske glazbe HAZU Izvorni znanstveni rad / Research Paper Opatička 18 Primljeno / Received: 29. 4. 2019. 10000 ZAGREB Prihvaćeno / Accepted: 4. 6. 2019. Nacrtak Od 1903. do 1945. u Hrvatskoj se pojavilo sti. Mnogi među njima inicirali su nova i teme- 18 glazbenih časopisa. Velik dio nažalost nije ljitija istraživanja, koja su dakako donosila i bio dugog vijeka. Najdugovječnija je bila Sv. neke revizije. Međutim, još uvijek ima članaka Cecilija (1907-44). Usto su ti časopisi većinom koji i danas funkcioniraju kao potpuno relevan- bili specijalizirani za različite aspekte glazbene tni i respektabilni dokumentaristički izvori. S kulture. Stoga ni uredništva nisu pridavala jed- druge strane, znatan njihov dio razotkriva sta- naku pozornost glazbenoj historiografi ji i povi- jališta, nazore, koncepcije, idejne svjetove, in- jesti glazbe. Tako su u nekim časopisima glaz- terpretacije i razumijevanje glazbenopovijesnih benohistoriografski članci bili tek iznimke ili ih čimbenika samih autora. Stoga su svi ti izvori uopće nije bilo, dok su u drugima zauzimali nezaobilazna stepenica u svakom istraživanju vidno i značajno mjesto. Među potonjima po- hrvatske glazbene historiografi je. sebno se ističe već spomenuta Sv. Cecilija. Uloga što su je imali hrvatski glazbeni ča- Ključne riječi: hrvatski glazbeni časopisi, sopisi u razvoju hrvatske glazbene historiogra- hrvatska glazbena historiografi ja, 20. stoljeće fi je nikako nije zanemariva, poglavito kad je ri- Keywords: Croatian music journals, ječ o istraživanjima hrvatske glazbene prošlo- Croatian music historiography, 20th century Nakon kratkotrajnog izlaženja triju glazbenih časopisa u drugoj polovini 19. -
MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W. -
Origins of the Experimental Music Studios at Illinois: the Urbana School from the Dean
WINTER 2009 The News Magazine of the University of Illinois School of Music origins of the experimental music studios at illinois: the urbana school From the Dean The School of Music is one of the most respected and visible units in the College of Fine and WINTER 2009 Applied Arts at the University of Illinois, and it is Published for alumni and friends of the School of Music also a vital component of what we are calling the at the University of Illinois at Urbana-Champaign new arts at Illinois, our vision of the college as a The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana- leader in the arts of the future. Champaign and has been an accredited institutional member of the National Association of Schools of Music Throughout the college, we are exploring new since 1933. disciplinary combinations, new definitions of art, and new ways of thinking Karl Kramer, director Edward Rath, associate director and creating. At the same time, we maintain a profound commitment to the Paul Redman, assistant director, business Joyce Griggs, assistant director, enrollment management historical traditions of our art forms. We embrace the notion that the knowl- and public engagement Marlah Bonner-McDuffie, director, development edge arising from the study, interpretation, and creation of art is central to Philip Yampolsky, director, Robert E. Brown Center for World Music the intellectual enterprise of a great university and to the advancement of a David Allen, coordinator, outreach and public engagement great society. Michael Cameron, coordinator, graduate studies B. -
San José State University School of Music and Dance Department MUSC 201, Studies in Music History—Monteverdi, Section 2, Spring, 2012
San José State University School of Music and Dance Department MUSC 201, Studies in Music History—Monteverdi, Section 2, Spring, 2012 Instructor: Gordon Haramaki Office Location: MUS 107 Telephone: (408) 924-4634 Email: [email protected] Please include “201” in the subject line of your email. Office Hours: Monday/Wednesday/Thursday, 10:00-12:00 Class Days/Time: Thursday 4:00-6:30 PM Classroom: MUS 272 Prerequisites: Graduate Classified standing, or consent of instructor http://www.sjsu.edu/people/gordon.haramaki/courses/monteverdi/ Copies of the course materials such as the syllabus, major assignment handouts, etc. may be found on my faculty web page accessible through the Quick Links>Faculty Web Page links on the SJSU home page. You are responsible for regularly checking with the messaging system through MySJSU (or other communication system as indicated by the instructor). Course Description Course Description Often called the “Father of Modern Music,” composer Claudio Monteverdi (1567-1643) lived from the last stages of the Renaissance Humanism in the late sixteenth-century princely courts of Northern Italy to the beginnings of both absolutist monarchies and of the Baroque aesthetic in the seventeenth century that mark the beginning of the modern era. Over the course of his long life, Monteverdi explored the Renaissance musical constructions of selfhood in the madrigal, and well as championing the free treatment of dissonance for the musical expression (affect) of a text, and helped contribute to the newly formed genre of opera and the development of the Baroque style. Seminar discussions and presentations by course members will be held weekly, and will cover a selection of various aspects of Monteverdi’s work, from his Mantuan madrigals to his Venetian operas. -
ARTICLES Recta and Musica Ficta in Fifteenth
Edited by BRIAN SEIRUP ARTICLES DANIEL ZAGER 7 From the Singer's Point of View: A Case Study in Hexachordal Solmization as a Guide to Musica Recta and Musica Ficta in Fifteenth- Century Vocal Music BRIAN NEWBOULD 22 A Working Sketch by Schubert (D.936a) J. PETER DYSON 33 Ironic Dualities in Das Rheingold STEPHEN ERDELY 51 Folk-Music Research in Hungary until 1950: The Legacy of Zol tan Kodaly and Bela Bartok REVIEWS JOHN KELLEHER 62 Ernst Levy. A Theory oj Harmony. Edited by Siegmund Levarie. RUSSELL STINSON 71 George Stauffer and Ernest May, eds. J. S. Bach as Organist: His Instruments, Music, and PeifOrmance Practices. THOMAS MACE 76 The New Grove Dictionary oj Musical Instruments. Edited by Stanley Sadie. 83 REPORTS 94 PUBLICATIONS RECEIVED ADVISORY BOARD Murray Dineen Walter Frisch J eanne Ryder EDITOR-IN-CHIEF Brian Seirup REVIEWS EDITOR Erik S. Ryding REPORTS EDITORS Judith E. Olson, Foreign Rebecca R. Pechefsky, Domestic ETHNOMUSICOLOGY EDITOR Leslie Gay EDITORIAL BOARD Anthony Barone Maureen Buja Leslie Gay Edmund Goehring Orly Leah Krasner Judith E. Olson Rebecca R. Pechefsky Elizabeth Randell Erik S. Ryding Gregory Salmon John Santoro Janna Saslaw STAFF N ora Beck Larisa Petrushkevich Jackson Eduardo Thieberger Penny Zokaie MUSICAL EXAMPLES Maureen Buja Don Giller Robert Holzer Howard Mel tzer TREASURER, ADVERTISING Gregory Salmon MANAGEMENT ASSISTANT Steve Siegel Published under the aegis of the Department of Music, Columbia University Copyright © 1989, The Trustees of Columbia University in the City of New York Printed in