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Abstracts of Papers Read 1 Abstracts of Papers Read at the Fifty-Fourth Annual Meeting of the American Musicological Society and the Eleventh Annual Meeting of the Society for Music Theory Baltimore, Maryland 3-6 November, 1988 edited by Gary Don, University of Washington (SMT Abstracts) Marilyn McCoy, University of Chicago (AMS Abstracts) CONTENTS THURSDAY, 3 NOVEMBER, 2:00 P.M' - 5:00 P.M. AMS Sessions: Medieval Source Studies 1 Seventeenth-Century Italian Song and Opera J Puccini 4 New Perspectives of Webern Research 6 SMT Sessions: Set Theory I 8 Approaches to Tonality 10 Joint AMS/SMT Session: Symmetry in Music 11 FRIDAY, 4 NOVEMBER, 9:00 A.M. ' 12:00 P.M. AMS Sessions: Symbols, Animism, and the Occult l3 Renaissance Motet and Mass 14 Seventeenth- and Eighteenth-Century Opera 16 Ellion Carter's Recent Music (commences at 10:30 A.M.) 19 SMT Session: Pedagogy and Cognition 20 .Ioint AMS/SMT Sessions: Berg and Schoenberg 2l Analytic Methodologies 23 FRIDAY, 4 NOVEMBER, 2:00 P.M. - 5:00 P.M. AMS Sessions: Medieval Polyphony 26 The Music of Carl Philipp Emanuel Bach 28 Nineteenth-Century Critical Thought 30 Lulu, Elektra, and the Weimar Republic 32 SMT Session: Schenkerian Studies 35 .Ioint AMS/SMT Sessions: Recent American Composers 36 Medieval and Renaissance Theory 38 7- Thursday aftemoon THURSDAY. 3 NOVEMBER. 2:00 P.M. - 5:00 P.M. SATURDAY, 5 NOVEMBER, 8:30 A.M. - 11:30 A.M. AMS SESSIONS AMS Sessions: Medieval Source Studies (University California, Santa Barbara), Oral and Written Transnrission in Ethiopian Chrisrian Chant: Alejandro E. Flanchart of A Cross-Disciplinrry Chair Investigrrion 41 Ancient and Medieval Musical Theorv Patronage in the Renlissance ^1 TIIE FIVE GRADUALS (S. XI-XID IN TIIE 44 German Romantics BIBLIOTECA CAPITOLARE AT BENEVENTO 46 John Boe, University of Arizona SMT Sessions; Berg The Beneventan manuscripts Bibl. Cap. 34, 35, 38, 39, and 40 furnish most 48 Post-Tonal Analysis of what is known about old Beneventan chant, the local Gregorian dialect, and 49 tropes, prosulas, and sequences in southern Italy. The nearly complete and most .Toint AMS/S]\{T Session: leglble 34 was published in facsimile in Pal1ographie musicale; but 34 is in fact the Text and Narrative latest manuscript, strongly influenced by the use of Montecassino and atypical of 51 local Beneventan tradition. While the compendious but nearly iilegible 35 is often cited as later than 34, its notation and tropes show that it is earlier. The graduals 38 40, supplementary Beneventan masses, have long been SATURDAY, 5 NOVEMBER, 2:00 p.M. p.M. and with their old - 5:00 recognized as the earliest graduals of the group. On the evidence of script and notation, I propose that 40 was written at the Abbey of Santa Sophia in the first half AMS Sessions: of the eleventh century, though iater used at San Salvatore in Goleto, south of 38 Feminisr Scholarshlp and Benevento. A more limited selection of tropes in different versions appear in the Field ol Musjcolonv 53 S.ixteenth-Century Theory piacr than are found in its rough contemporary,40. The late eleventh-century 39 was and Composir ionl I ice 54 b.lghreenth-Century Topics carefully edited for the important Benevento nunnery of St. Peter intra muros. In ils 56 American Music and Society present truncated state, it lacks all but three ordinary rropes, though containing the 58 proper ltaly. The Composer's Voice andMusic Criticism largest collection of tropes in south 60 The forthcoming edition Beneventanum Troporum Corpus has facilitated SMT Session: comparison of newer chant repertories in these manuscripts with those of Set Theory lI Montecassino and Rome, and with each other. The scribe of 39 had available to her 62 versions that appear in 38; the scribe of 35 copied certain pieces from 40. Ordinary Jgrin[ A]\lS,/Sl\lT Session: chants and tropes from Rome (and elsewhere) were borrowed for 35; Montecassino chopln and Schumann furnished new material for 34. 64 My conclusions are based on repeated examination of the script and notation of the manuscripts themselves; on comparison of the various repertories they SUNDAY, 6 NOVEMBER, 9:00 A.M. _ p.M. contain; on study of lists and histories of churches and monasteries in medieval t2:00 Benevento; and on the liturgical, political, and institutional developments that produced these graduals and affected their fascinating contents. AMS Sessions Medieval Monoohonv AN UNKNOWN COMPLETE NINTH-CENTURY GRADUAL AND 66 Six teen th-Cenr u'ry, trit ANTIPHONER FROM SOUTHERN FRANCE: i.n M usic and M usicians 67 Havdn Snrdies ALBI, BIBLIOTHEQUE MUMCIPALE, MS 44 7A Nineteenth- and Twentieth-Century John A. Emerson, University of California, Berkeley French Connections 72 Cultural and Aesthetic Issue s 73 Since 1705, when an edition was first published by the Benedictines of the SMT Session: Congregation of St. Maur, the so-called Antiphoner of Charles the Bald (Paris, Music Since 194-5 Bibliothbque nationale, Lat.17436, from ?Soissons) has been regarded as the earliest 7-5 and only extant manuscript from the ninth century that contains complete cycles of JouI-AMS/SMT Session: proper texts for both the Mass and the Divine Office, i.e., it is a full gradual and As such, it represents one the basic sources for the study medieval French Theorv ol the Scventeinth and Eighteenth Centuries 77 antiphoner. of of plainchant liturgy. This study argues there exists still another complete ninth- century gtadual and antiphonal, Albi, Bibliothdque municipale Rochegude, MS 44. Alphabetical Index of Participants Published references to Albi 44 have been so meager and misleading that, for ali intents and purposes, it is unknown to the scholarly community. The gradual, 7- Thursday aftemoon THURSDAY. 3 NOVEMBER. 2:00 P.M. - 5:00 P.M. SATURDAY, 5 NOVEMBER, 8:30 A.M. - 11:30 A.M. AMS SESSIONS AMS Sessions: Medieval Source Studies (University California, Santa Barbara), Oral and Written Transnrission in Ethiopian Chrisrian Chant: Alejandro E. Flanchart of A Cross-Disciplinrry Chair Investigrrion 41 Ancient and Medieval Musical Theorv Patronage in the Renlissance ^1 TIIE FIVE GRADUALS (S. XI-XID IN TIIE 44 German Romantics BIBLIOTECA CAPITOLARE AT BENEVENTO 46 John Boe, University of Arizona SMT Sessions; Berg The Beneventan manuscripts Bibl. Cap. 34, 35, 38, 39, and 40 furnish most 48 Post-Tonal Analysis of what is known about old Beneventan chant, the local Gregorian dialect, and 49 tropes, prosulas, and sequences in southern Italy. The nearly complete and most .Toint AMS/S]\{T Session: leglble 34 was published in facsimile in Pal1ographie musicale; but 34 is in fact the Text and Narrative latest manuscript, strongly influenced by the use of Montecassino and atypical of 51 local Beneventan tradition. While the compendious but nearly iilegible 35 is often cited as later than 34, its notation and tropes show that it is earlier. The graduals 38 40, supplementary Beneventan masses, have long been SATURDAY, 5 NOVEMBER, 2:00 p.M. p.M. and with their old - 5:00 recognized as the earliest graduals of the group. On the evidence of script and notation, I propose that 40 was written at the Abbey of Santa Sophia in the first half AMS Sessions: of the eleventh century, though iater used at San Salvatore in Goleto, south of 38 Feminisr Scholarshlp and Benevento. A more limited selection of tropes in different versions appear in the Field ol Musjcolonv 53 S.ixteenth-Century Theory piacr than are found in its rough contemporary,40. The late eleventh-century 39 was and Composir ionl I ice 54 b.lghreenth-Century Topics carefully edited for the important Benevento nunnery of St. Peter intra muros. In ils 56 American Music and Society present truncated state, it lacks all but three ordinary rropes, though containing the 58 proper ltaly. The Composer's Voice andMusic Criticism largest collection of tropes in south 60 The forthcoming edition Beneventanum Troporum Corpus has facilitated SMT Session: comparison of newer chant repertories in these manuscripts with those of Set Theory lI Montecassino and Rome, and with each other. The scribe of 39 had available to her 62 versions that appear in 38; the scribe of 35 copied certain pieces from 40. Ordinary Jgrin[ A]\lS,/Sl\lT Session: chants and tropes from Rome (and elsewhere) were borrowed for 35; Montecassino chopln and Schumann furnished new material for 34. 64 My conclusions are based on repeated examination of the script and notation of the manuscripts themselves; on comparison of the various repertories they SUNDAY, 6 NOVEMBER, 9:00 A.M. _ p.M. contain; on study of lists and histories of churches and monasteries in medieval t2:00 Benevento; and on the liturgical, political, and institutional developments that produced these graduals and affected their fascinating contents. AMS Sessions Medieval Monoohonv AN UNKNOWN COMPLETE NINTH-CENTURY GRADUAL AND 66 Six teen th-Cenr u'ry, trit ANTIPHONER FROM SOUTHERN FRANCE: i.n M usic and M usicians 67 Havdn Snrdies ALBI, BIBLIOTHEQUE MUMCIPALE, MS 44 7A Nineteenth- and Twentieth-Century John A. Emerson, University of California, Berkeley French Connections 72 Cultural and Aesthetic Issue s 73 Since 1705, when an edition was first published by the Benedictines of the SMT Session: Congregation of St. Maur, the so-called Antiphoner of Charles the Bald (Paris, Music Since 194-5 Bibliothbque nationale, Lat.17436, from ?Soissons) has been regarded as the earliest 7-5 and only extant manuscript from the ninth century that contains complete cycles of JouI-AMS/SMT Session: proper texts for both the Mass and the Divine Office, i.e., it is a full gradual and As such, it represents one the basic sources for the study medieval French Theorv ol the Scventeinth and Eighteenth Centuries 77 antiphoner.
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