Mary Rowen Obelkevich, Associate Editor GENERAL EDITING: Margaret Ross Griffel, Associate Editor REPORTS-DOMESTIC: D
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EDITOR-IN-CHIEF: L. MICHAEL GRIFFEL ADJUNCT EDITOR: Mary Rowen Obelkevich, associate editor GENERAL EDITING: Margaret Ross Griffel, associate editor REPORTS-DOMESTIC: D. Jay Rahn, associate editor REPORTS-FOREIGN: Emmanuel Leemans, associate editor Robert Fuller, assistant editor ARTICLES: Isabelle Emerson, associate editor Miriam Kartch, editorial assistant DISSERTATIONS: Josephine Mongiardo Cooper, associate editor Susan Testa, associate editor BIBLIOGRAPHICA: Thomas W. Baker, associate editor June Lord-Wood, editorial assistant SPECIAL PROJECTS: Tamara Lowe Dworsky, associate editor Leonie Rosenstiel, associate editor Maurie Sommer, associate editor Bonnie Lester, assistant editor BUSINESS: Stephen Willis, Manager, associate editor Jack Light, Advertising, assistant editor SECRETARY: Cynthia Schwan FACULTY ADVISOR: Edward A. Lippman Copyright © 1971, The Trustees of Columbia University in the City of New York Printed in Great Britain by Wm. Clowes & Sons, Ltd., London CORRESPONDING EDITORS Domestic Patricia T. Nolan Boston University, Boston, Mass. Alexander Silbiger Brandeis University, Waltham, Mass. Harriet Franklin Brown University, Providence, R.I. Myrl Hermann Bryn Mawr College, Bryn Mawr, Pa. Harrison M. Schlee Carnegie-Mellon University, Pittsburgh, Pa. Marilyn Holt Case Western Reserve University, Cleveland, Ohio Robert E. Houston Catholic University of America, Washington, D.C. Nathan Bergenfeld City University of New York,Brooklyn College,Brooklyn, N.Y. Adrienne F. Block City University of New York, Hunter College, New York, N.Y. Bea Friedland City University of New York, Queens College, Flushing, N.Y. Mary R. Obelkevich Columbia University, New York, N.Y. Gaynor G. Jones Cornell University, Ithaca, N.Y. Thomas Kelly Harvard University, Cambridge, Mass. James C. Griesheimer Indiana University, Bloomington, Ind. Howard Knopf Juilliard School, New York, N.Y. Marek Sowinski Manhattan School of Music, New York, N.Y. Dale Hunter McGill University, Montreal, Quebec, Canada William Penn Michigan State University, East Lansing, Mich. Norman Rubin Princeton University, Princeton, N.J. John D. Arnn Rutgers University, New Brunswick, N.J. Kathleen Chaikin Stanford University, Stanford, Calif. Michael A. Keller State University of New York at Buffalo, Buffalo, N.Y. Thomas N. Rushing Tulane University, Newcomb College, New Orleans, La. Millard Irion University of Arizona, Tucson, Ariz. Meredith Wootton University of Arkansas, Fayetteville, Ark. Richard Evidon University of California, Berkeley, Calif. Sue Vinks Hough University of California, Davis, Calif. Rosalie Schellhous University of California, Riverside, Calif. John Andrus University of California, Santa Barbara, Calif. Beth Bartlett University of Chicago, Chicago, Ill. John H. Hajdu University of Colorado, Boulder, Col. Anne Amerson University of Hawaii, Honolulu, Hawaii Mary Tiffany University of Illinois, Urbana, Ill. Gordon S. Rowley University of Iowa, Iowa City, Iowa George C. Foreman University of Kansas, Lawrence, Kan. Lee Patrick University of Kentucky, Lexington, Ky. Thomas Stoner University of Maryland, College Park, Md. Jack Crawford University of Miami, Coral Gables, Fla. Sterling E. Murray University of Michigan, Ann Arbor, Mich. Janice C. Teisberg University of Minnesota, Minneapolis, Minn. Julia Ann Griffin University of North Carolina, Chapel Hill, N.C. & Dan Broucek Richard Benedum University of Oregon, Eugene, Ore. Frank Carey University of Pennsylvania, Philadelphia, Pa. Norris L. Stephens University of Pittsburgh, Pittsburgh, Pa. Carol Lee Irwin University of Rochester, Eastman School of Music, Rochester, N.Y. Richard J. Wingell University of Southern Califonia, Los Angeles, Calif. James Wheat University of Texas, Austin, Tex. Frederick A. Hall University of Toronto, Toronto, Ontario, Canada Paul F. Marks University of Washington, Seattle, Wash. Murray Charters University of Western Ontario, London, Ontario, Canada Paul D. Ledvina University of Wisconsin, Madison, Wis. Edgar J. Lewis University of Wyoming, Laramie, Wyo. Andre P. Larson West Virginia University, Morgantown, W. Va. Janet Schmalfeldt Yale University, New Haven, Conn. Foreign Laszl6 Somfai Bartok Archives, Budapest, Hungary Ladislav Burlas Bratislava University, Bratislava, Czechoslovakia Georges Franck Brussels, Belgium Alan Brown Cambridge University, Cambridge, England Anna Amalie Abert Christian-Albrechts University, Kiel, Germany Reinhard Gerlach Georg-August University, Gottingen, Germany Don Harran Hebrew University, Jerusalem, Israel Reiner Kluge Humboldt University, Berlin, Germany Ivo Supicic Institute of Musicology, Zagreb, Yugoslavia Winfried Kirsch Johann Wolfgang Goethe University, Frankfurt, Germany Hubert Unverricht Johannes Gutenberg University, Mainz, Germany Othmar Wessely Karl-Franzens University, Graz, Austria Eberhard Klemm Karl Marx University, Leipzig, Germany Olga Mikl6ssy Karlova University, Prague, Czechoslovakia Rita Egger Leopold-Franzens University, Innsbruck, Austria Bernd Baselt Martin Luther University, Halle-Wittemberg, Germany J. D. Bergsagel Oxford University, Oxford, England Horst Heussner Phillips University, Marburg, Germany John C. G. Waterhouse Queens University, Department of Extra-Mural Studies, Belfast, Ireland Willem Elders State University of Utrecht, Utrecht, Holland Axel Helmer Svenskt Music History Archives, Stockholm, Sweden Se6irse Bodley University College, Dublin, Ireland Josephine M. Mason University of Birmingham, Birmingham, England Niels Martin Jensen University of Copenhagen, Copenhagen, Denmark Michael Tilmouth University of Glasgow, Glasgow, Scotland Georg Borchardt University of Hamburg, Hamburg, Germany Anthony Ford University of Hull, Yorkshire, England Anne-Marie Bragard University of Liege, Liege, Belgium Andrej Rijavec University of Ljubljana, Ljubljana, Yugoslavia Ian D. Bent University of London, London, England John Steele University of Otago, Dunedin, New Zealand Eric Grabner University of Southampton, Southampton, England Ludwig Finscher University of the Saarland, Saarbrucken, Germany Georgio Pestelli University of Turin, Turin, Italy Hans Conradin University of Zurich, Zurich, Switzerland Ake Berglund Uppsala University, Uppsala, Sweden M. Witte Westfiilische Wilhelms University, Munster, Germany Whenever possible, communications to the corresponding editors should be addressed care of the music department of the institution in question. Otherwise, they may be sent to the Editor of Current Musicology for forwarding. PUBLISHED The Music Department UNDER THE AEGIS OF COLUMBIA UNIVERSITY New York REPORTS From the Domestic Corresponding Editors: 7 Masters' Theses in Musicology, First Installment 38 Reports from Six American Campuses ISABELLE EMERSON 47 American Opera Center: Mozart's La Clemenza di Tito (January 21-23, 1971) ALEXANDER BLACHLY 50 New York: Early Music Concerts, 1969-1970 ARTICLES BEA FRIEDLAND 56 Some Reflections on Performance Practice, Musicology, and Aesthetics BYRON CANTRELL 63 Three B's-Three Chaconnes JULIUS ZSAKO 75 Bibliographical Sandtraps: The Klavier- schule, Pleyel or Dussek? RUTH ZINAR 80 The Use of Greek Tragedy in the History of Opera DONALD CHITTUM 96 Some Observations on the Row Tech- nique in Webern's Opus 25 DISSERTATIONS STERLING E. MURRAY 102 Earl McLain Owen, Jr. The Life and Music of Supply Belcher (1751-1836), "Handel of Maine" CHARLOTTE ROEDERER 108 Terence William Bailey The Ceremonies and Chants of the Processions of the Western Church: With Particular Attention to the Practice of the Cathedral Church of Salisbury FRED HAUPTMAN 112 Jay Weldon Wilkey Certain Aspects of Form in the Vocal Music of Alban Berg BIBLIOGRAPHICA ROBERT L. FOLSTEIN 116 A Bibliography on Jacques Offenbach 129 Performance Practices Bibliography- Second Supplement 150 Contributors Some Riflections on Performance and Aesthetics Bea Friedland As an aesthetic phenomenon music may be classified in any of several ways. One can describe it, for example, as a "sonorous" art and thereby focus upon its acoustic properties; the description "aural" underlines its sensory aspect; "temporal" suggests a conceptual dimension, and so forth. On yet another level, music ranks among the "performing" arts; this modifier transfers the emphasis from theory to operations. But irrespective of the mode of discourse, the essential fact is that music is inconceivable without the executant ele- ment, symbolized by Plato's rhapsode, who must "interpret the mind of the poet to his hearers. "1 The Platonic image translates into explicitly musical terms with the notion of an "intermediary ... whose capacity to relive the originator's [ composer's] experience, and ... whose technical competence in relaying it" are central to the "partnership between the originator and the percipient."2 Or, stated otherwise, the reality of music as process rather than object becomes its distinguishing mark; it is unlike painting, architecture, sculpture, literature, or philosophy, for the fundamental reason that a piece of music is not made to be gazed upon, read through, or contemplated, but to be sounded-which involves activity, and of a very strenuous and exacting sort-in the present.3 In view of this exceptional feature of music, the comparatively recent arrival of performance practice-AziffUhrungspraxis-as a specific research area in musicology is indeed surprising. Apart from the seminal contributions made during the first decades of this century by Arnold Dolmetsch, Hans Albrecht, Robert Haas, and Arnold Schering,4 as well as a few important