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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Jouer Bach À La Harpe Moderne Proposition D’Une Méthode De Transcription De La Musique Pour Luth De Johann Sebastian Bach
JOUER BACH À LA HARPE MODERNE PROPOSITION D’UNE MÉTHODE DE TRANSCRIPTION DE LA MUSIQUE POUR LUTH DE JOHANN SEBASTIAN BACH MARIE CHABBEY MARA GALASSI LETIZIA BELMONDO 2020 https://doi.org/10.26039/XA8B-YJ76. 1. PRÉAMBULE ............................................................................................. 3 2. INTRODUCTION ......................................................................................... 5 3. TRANSCRIRE BACH À LA HARPE MODERNE, UN DÉFI DE TAILLE ................ 9 3.1 TRANSCRIRE OU ARRANGER ? PRÉCISIONS TERMINOLOGIQUES ....................................... 9 3.2 BACH TRANSCRIPTEUR ................................................................................................... 11 3.3 LA TRANSCRIPTION À LA HARPE ; UNE PRATIQUE SÉCULAIRE ......................................... 13 3.4 REPÈRES HISTORIQUES SUR LA TRANSCRIPTION ET LA RÉCEPTION DES ŒUVRES DE BACH AU FIL DES SIÈCLES ....................................................................................................... 15 3.4.1 Différences d’attitudes vis-à-vis de l’original ............................................................. 15 3.4.2 La musique de J.S. Bach à la harpe ............................................................................ 19 3.5 LES HARPES AU TEMPS DE J.S. BACH ............................................................................. 21 3.5.1 Panorama des harpes présentes en Allemagne. ......................................................... 21 4. CHOIX DE LA PIECE EN VUE D’UNE TRANSCRIPTION ............................... -
Source Readings in Javanese Gamelan and Vocal Music, Volume 3
THE UNIVERSITY OF MICHIGAN CENTER FOR SOUTH AND SOUTHEAST ASIAN STUDIES MICHIGAN PAPERS ON SOUTH AND SOUTHEAST ASIA Editorial Board A. L. Becker Peter E. Hook Karl L. Hutterer John K. Musgrave Nicholas B. Dirks, Chair Ann Arbor, Michigan USA KARAWITAN SOURCE READINGS IN JAVANESE GAMELAN AND VOCAL MUSIC Judith Becker editor Alan H. Feinstein assistant editor Hardja Susilo Sumarsam A. L. Becker consultants Volume 3 MICHIGAN PAPERS ON SOUTH AND SOUTHEAST ASIA Center for South and Southeast Asian Studies The University of Michigan Number 31 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Library of Congress Catalog Card Number: 82-72445 ISBN 0-89148-034-X Copyright ^ by © 1988 Center for South and Southeast Asian Studies The University of Michigan Publication of this book was assisted in part by a grant from the Publications Program of the National Endowment for the Humanities. Additional funding or assistance was provided by the National Endowment for the Humanities (Translations); the Southeast Asia Regional Council, Association for Asian Studies; The Rackham School of Graduate Studies, The University of Michigan; and the School of Music, The University of Michigan. Printed in the United States of America ISBN 978-0-89148-041-9 (hardcover) ISBN 978-0-472-03820-6 (paper) ISBN 978-0-472-12770-2 (ebook) ISBN 978-0-472-90166-1 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ CONTENTS ACKNOWLEDGMENTS vii APPENDIX 1: Glossary of Technical Terms Mentioned in the Texts 1 APPENDIX 2: Javanese Cipher Notation (Titilaras Kepatihan) of Musical Pieces Mentioned in the Texts 47 APPENDIX 3: Biographies of Authors 429 APPENDIX 4: Bibliography of Sources Mentioned by Authors, Translators, Editors, and Consultants 447 GENERAL INDEX 463 INDEX TO MUSICAL PIECES (GENDHING) 488 This work is complete in three volumes. -
Boosey & Hawkes
City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures...................................................................................................................................... -
4 Classical Music's Coarse Caress
The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came. -
An Interview with Shirley Robbins
september 2008 Published by the American Recorder Society, Vol. XLIX, No. 4 3IMPLYHEAVENLYn OURNEWTENORSANDBASSESWITH BENTNECK 0LEASEASKFOROURNEW FREECATALOGUEANDTHE RECORDERPOSTER Q Q Q Q Q Q Q Q Attaignant: Second Livre de Danceries Gervaise: Quart Livre de Danceries, 1550 For SATB Recorders For SATB/ATTB Recorders Very little ensemble dance music has come down Whilemuchlikethetitleatleftinthatitcontainsahefty from the 16th century. The Attaignant dance prints 42 pieces, this volume 4 is distinguished by a number of collection is one of the only collections of ensemble particularly elegant pavanes based on chansons of the pe- pieces of that period. This volume 2 is probably the riod. most varied of the Attaingnant books, containing Item # LPMAD04, $13.25 basse dances, tourdions, branles, pavanes and galli- Also in this collection... ards. The tunes are mostly French in origin, though LPMAD05: 5th Livre de Dances, 53 pieces. $12.25 there are a few Italian pieces. Many are based on LPMAD06: 6th Livre de Dances, 48 pieces. $12.25 famous chansons of the time. 38 page score with extensive introduction LPMAD07: 7th Livre de Dances, 27 pieces. $8.75 and performance notes. Item # LPMAD02, $13.25 Praetorius: Dances from Terpsichore For SATB/SATTB Recorders 127(:257+<1(:6 From this major German contribu- tor to early baroque music came his from your friends at Magnamusic Distributors collection of 312 short French and Italian instrumental dances in Mendelssohn: Overture to ‘A Midsummer four, five and six parts, including courantes, voltes, Nights Dream’, Abridged, Charlton, arr. bransles, gaillardes, ballets, pavanes, canaries, and For NSSAATTB(Gb) recorders bourees. Volumes 1 to 4, Large bound scores, The famous piece that helped popularize the famous play. -
Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings Of
UNIVERSITY OF CINCINNATI Date: 5-May-2010 I, Mary L Campbell Bailey , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Oboe It is entitled: Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen Student Signature: Mary L Campbell Bailey This work and its defense approved by: Committee Chair: Mark Ostoich, DMA Mark Ostoich, DMA 6/6/2010 727 Léon Goossens’s Impact on Twentieth-century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen A document submitted to the The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 24 May 2010 by Mary Lindsey Campbell Bailey 592 Catskill Court Grand Junction, CO 81507 [email protected] M.M., University of Cincinnati, 2004 B.M., University of South Carolina, 2002 Committee Chair: Mark S. Ostoich, D.M.A. Abstract Léon Goossens (1897–1988) was an English oboist considered responsible for restoring the oboe as a solo instrument. During the Romantic era, the oboe was used mainly as an orchestral instrument, not as the solo instrument it had been in the Baroque and Classical eras. A lack of virtuoso oboists and compositions by major composers helped prolong this status. Goossens became the first English oboist to make a career as a full-time soloist and commissioned many British composers to write works for him. -
Open Access Version Via Utrecht University Repository
“Early music is dead, long live early music!” The Holland Baroque ensemble and the Dutch early music revival Carine Hartman Student number: 6626726 MA Applied Musicology MA thesis Academic year 2018-2019 Utrecht University Supervisor: Dr. Ruxandra Marinescu Acknowledgements I would first like to thank my thesis supervisor, Dr. Ruxandra Marinescu. During the research process, she gave me helpful feedback and advice on my writings and I am grateful for her supervision. I also would like to thank Judith and Tineke Steenbrink from Holland Baroque for letting me interview them and answering further questions that I had considering this research. I also wish to thank Holland Baroque’s producer Clara van Meyel for contributing ideas to the research and giving me additional information on Holland Baroque. The organization of Holland Baroque in general has let me in on the ensemble’s ideas, vision and challenges and I am thankful for their open attitude towards me. I thank my friends for their interest in my research and their additional knowledge. Lastly, I thank my mother, father and sister and my boyfriend in particular for their motivational words and sympathy, which have helped me to complete this thesis. I hope you enjoy reading my thesis. 1 Table of contents ABSTRACT 3 INTRODUCTION 4 CHAPTER 1. THE HISTORICAL PERFORMANCE PRACTICE DEBATE 7 1.1 SCHOLARLY VIEWS ON HIP 7 1.1.1 “Getting it right” 9 1.1.2 The “literalistic performance” 11 1.1.3 Period instruments 12 1.2 THE DUTCH EARLY MUSIC MOVEMENT 14 1.3 A NEW GENERATION 15 CHAPTER 2. -
Kosta P. Manojlović (1890–1949) and the Idea of Slavic and Balkan Cultural Unification
KOSTA P. MANOJLOVIĆ (1890–1949) AND THE IDEA OF SLAVIC AND BALKAN CULTURAL UNIFICATION edited by Vesna Peno, Ivana Vesić, Aleksandar Vasić SLAVIC AND BALKANSLAVIC CULTURAL UNIFICATION KOSTA P. MANOJLOVIĆ (1890–1949) AND THE IDEA OF P. KOSTA Institute of Musicology SASA Institute of Musicology SASA This collective monograph has been published owing to the financial support of the Ministry of Education, Science and Technological Development of the Republic of Serbia KOSTA P. MANOJLOVIĆ (1890–1949) AND THE IDEA OF SLAVIC AND BALKAN CULTURAL UNIFICATION edited by Vesna Peno, Ivana Vesić, Aleksandar Vasić Institute of Musicology SASA Belgrade, 2017 CONTENTS Preface 9 INTRODUCTION 13 Ivana Vesić and Vesna Peno Kosta P. Manojlović: A Portrait of the Artist and Intellectual in Turbulent Times 13 BALKAN AND SLAVIC PEOPLES IN THE FIRST HALF OF THE 20TH CENTURY: INTERCULTURAL CONTACTS 27 Olga Pashina From the History of Cultural Relations between the Slavic Peoples: Tours of the Russian Story Teller, I. T. Ryabinin, of Serbia and Bulgaria (1902) 27 Stefanka Georgieva The Idea of South Slavic Unity among Bulgarian Musicians and Intellectuals in the Interwar Period 37 Ivan Ristić Between Idealism and Political Reality: Kosta P. Manojlović, South Slavic Unity and Yugoslav-Bulgarian Relations in the 1920s 57 THE KINGDOM OF SERBS, CROATS AND SLOVENES/YUGOSLAVIA BETWEEN IDEOLOGY AND REALITY 65 Biljana Milanović The Contribution of Kosta P. Manojlović to the Foundation and Functioning of the Južnoslovenski pevački savez [South-Slav Choral Union] 65 Nada Bezić The Hrvatski pjevački savez [Croatian Choral Union] in its Breakthrough Decade of 1924–1934 and its Relation to the Južnoslovenski pevački savez [South-Slav Choral Union] 91 Srđan Atanasovski Kosta P. -
Historical Performance Practice at the Beginning of the New Millennium
Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S. -
Volume I March 1948
Complete contents of GSJs I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV XXXV XXXVI XXXVII XXXVIII XXXIX XL XLI XLII XLIII XLIV XLV XLVI XLVII XLVIII XLIX L LI LII LIII LIV LV LVI LVII LVIII LIX LX LXI LXII LXIII LXIV LXV LXVI LXVII LXVIII LXIX LXX LXXI LXXII LXXIII GSJ Volume LXXIII (March 2020) Editor: LANCE WHITEHEAD Approaching ‘Non-Western Art Music’ through Organology: LAURENCE LIBIN Networks of Innovation, Connection and Continuity in Woodwind Design and Manufacture in London between 1760 and 1840: SIMON WATERS Instrument Making of the Salvation Army: ARNOLD MYERS Recorders by Oskar Dawson: DOUGLAS MACMILLAN The Swiss Alphorn: Transformations of Form, Length and Modes of Playing: YANNICK WEY & ANDREA KAMMERMANN Provenance and Recording of an Eighteenth-Century Harp: SIMON CHADWICK Reconstructing the History of the 1724 ‘Sarasate’ Stradivarius Violin, with Some Thoughts on the Use of Sources in Violin Provenance Research: JEAN-PHILIPPE ECHARD ‘Cremona Japanica’: Origins, Development and Construction of the Japanese (née Chinese) One- String Fiddle, c1850–1950: NICK NOURSE A 1793 Longman & Broderip Harpsichord and its Replication: New Light on the Harpsichord-Piano Transition: JOHN WATSON Giovanni Racca’s Piano Melodico through Giovanni Pascoli’s Letters: GIORGIO FARABEGOLI & PIERO GAROFALO The Aeolian harp: G. Dall’Armi’s acoustical investigations (Rome 1821): PATRIZIO BARBIERI Notes & Queries: A Late Medieval Recorder from Copenhagen: -
Tenth Anniversary Issue Celebrating the Founding of the BHS
ISSUE No. 7. Published by The British Harpsichord Society SUMMER 2013 Tenth Anniversary Issue celebrating the founding of the BHS INTRODUCTIONS Our Guest Editor JANE CHAPMAN and our Founder WILLIAM VINE p1 NEWS ICHKM The 2nd International Conference in Edinburgh, Dartington p6 International Summer School, The BHS Composition Competition Prize Winners Concert, & ‘Roots of Revival’ Horniman Museum Conference. FEATURES The 10th Anniversary Composition Competition‐ PAMELA NASH p9 The Harpsichord music of Sister Caecile‐ ANDREW WOOLLEY p15 Painting Music‐ CATHERINE PECK p17 An Introduction to the ‘Oriental Miscellany’‐ JANE CHAPMAN p25 Lateral thinking for Harpsichordists- JANE CLARK p32 The Museum of Instruments at the RCM- JENNY NEX p37 Learning the harpsichord in France, part 2- HÉLÈNE DIOT p50 Michael Thomas & the Bate Collection- DAVID MILLARD p55 REPORT A BHS visit to Cambridge- NICHOLAS NEWTON p13 REVIEWS Sound and Visionary- Louis Bertrand Castel.- DEREK CONNON p34 Celebrating the 85th birthday of Zuzana Růžičková- PAMELA NASH p47 YOUR LETTERS Anthony Fox, Colin Booth p63 OBITUARIES MARY MOBBS, STEPHEN DODGSON and RAFAEL PUYANA p65 Please send your comments & your contributions to [email protected] 1 INTRODUCTION Greetings! This issue marks the 10th anniversary of the British Harpsichord Society, so has something of a celebratory feel. Regular readers already know the score – but for those new to us, the magazine has for each issue a different Guest Editor who selects, searches out and often writes the main features. This time around it has been a pleasure to have harpsichordist Jane Chapman, who has done more to raise the profile of the contemporary instrument than anyone else in the UK; indeed The Independent dubs her ‘the hippest harpsichordist in the UK’.