American Musicological Society Records Ms
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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). -
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. -
William Byrd Festival 2008
This book has been published by the Church Music Association of America for distribution at the William Byrd Festival 2008. It is also available for online sales in two editions. Clicking these links will take you to a site from which you can order them. Softcover Hardcover A Byrd Celebration William Byrd 1540–1623 A Byrd Celebration LECTURES AT THE WILLIAM BYRD FESTIVAL EDITED BY RICHARD TURBET CMAA Church Music Association of America Cover picture is of the Lincoln Cathedral, England, where William Byrd was the choirmaster and organ- ist for nine years, 1563–1572. Copyright © 2008 Church Music Association of America Church Music Association of America 12421 New Point Drive Harbor Cove Richmond, Virginia 23233 Fax 240-363-6480 [email protected] website musicasacra.com TABLE OF CONTENTS Acknowledgments . .7 Preface . .9 BIOGRAPHY . .11 William Byrd: A Brief Biography . .13 Kerry McCarthy “Blame Not the Printer”: William Byrd’s Publishing Drive, 1588–1591 . .17 Philip Brett Byrd and Friends . .67 Kerry McCarthy William Byrd, Catholic and Careerist . .75 Joseph Kerman MASSES . .85 The Masses of William Byrd . .87 William Peter Mahrt Byrd’s Masses in Context . .95 David Trendell CANTIONES . .103 Byrd’s Musical Recusancy . .105 David Trendell Grave and Merrie, Major and Minor: Expressive Paradoxes in Byrd’s Cantiones Sacrae, 1589 . .113 William Peter Mahrt Savonarola, Byrd, and Infelix ego . .123 David Trendell William Byrd’s Art of Melody . .131 William Peter Mahrt GRADUALIA . .139 Rose Garlands and Gunpowder: Byrd’s Musical World in 1605 . .141 Kerry McCarthy The Economy of Byrd’s Gradualia . .151 William Peter Mahrt 5 6 — A Byrd Celebration ENGLISH MUSIC . -
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. -
Hornbostel-Sachs Classification of Musical Instruments†
72 Knowl. Org. 47(2020)No.1 D. Lee. Hornbostel-Sachs Classification of Musical Instruments Hornbostel-Sachs Classification of Musical Instruments† Deborah Lee City, University of London, Department of Library and Information Science, Northampton Square, London EC1V 0HB, England, <[email protected]> Deborah Lee is a visiting lecturer at City, University of London, where she leads the information organization module. She was awarded her PhD in library and information science in 2017 from City, University of London. Her thesis, entitled “Modelling Music: A Theoretical Approach to the Classification of Notated Western Art Music,” was supervised by Professor David Bawden. Her research interests include music classification, the the- ory and aesthetics of classification schemes, music as information and the pedagogy of cataloguing education. Deborah is also the Joint Acting Head of the Book Library and Senior Cataloguer at the Courtauld Institute of Art. Lee, Deborah. 2020. “Hornbostel-Sachs Classification of Musical Instruments.” Knowledge Organization 47(1): 72- 91. 73 references. DOI:10.5771/0943-7444-2020-1-72. Abstract: This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal notation, the influential broad categories of the scheme, its warrant and its typographical layout. -
The 1600 Collection of Madrigals by Thomas Weelkes
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2014 The 1600 olC lection of Madrigals By Thomas Weelkes Rachel Linsey Albert University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons Recommended Citation Albert, Rachel Linsey, "The 1600 oC llection of Madrigals By Thomas Weelkes" (2014). Theses and Dissertations. 351. https://dc.uwm.edu/etd/351 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2014 ABSTRACT THE 1600 COLLECTION OF MADRIGALS BY THOMAS WEELKES by Rachel Linsey Albert The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Mitchell P. Brauner Thomas Weelkes in considered among the most important of the English madrigalists of the late sixteenth and early seventeenth centuries; however, little has been written about him. Modern scholarship begins with Edmund H. Fellowes’s edition of Weelkes’s madrigal publications. The only comprehensive study of Weelkes’s life and works is David Brown’s 1969 Thomas Weelkes: A Biographical and Critical Study. Most other Weelkes scholarship simply compares his music to that of his contemporaries. This thesis fills another gap in Weelkes studies by offering an analysis of his 1600 collection, Madrigals of 5 and 6 Parts, Apt for the Viols and Voices. -
William Byrd's Poly Phonic Part-Songs: a Comp Arative
WILLIAM BYRD'S POLY PHONIC PART-SONGS: A COMPARATIVE STU DY by Anne Virglnlo Myers A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts in the Department of Music Fresno State College September, 1967 i R L" R In! 0 -- 1 /-V TABLE OF CONTENTS PAGE PREFACE jv CHAPTER I. SOCIAL CLIM ATE 1 II. FOREIGN INFLUENCE . 4 III. THE ELIZ ABETHAN MADRIGAL 9 The B allet 9 The C anzonet . 12 The Madri gal Proper 14 IV. ENGLISH NATIVE MUSICAL TRADIT ION 20 V. WILLIAM BYR D'S POLYPHONIC PART-SONGS (TRADITION VERSUS MADRIGAL) 24 VI. SUMMARY 39 BIBLIOGRAPHY 41 PREFACE For many years a difference in opinion has existed as to the value of William Byrd's secular compositions in relation to their placement in the estab lished vocal music forms of the sixteenth century. Traditionally, musicologists, following in the footsteps of Canon Edmund H . Fell owes, have lumped them indiscriminately within the great repertory of the Elizabethan madrigal, while judging them to be rather poor expressions of this renowned idiom. More recently, a trend has developed separating these, and other compositions of similar construc tion, into a separate classification as examples of a native tradition whose devel opment flourished at a time corresponding to that of the madrigal. Much of the background material of this thesis is based upon the research already recorded by three of the most eminent musicologists, Dr. Alfred Einstein, Canon Edmund H . Fellowes, and Dr. Joseph Kerman, Dr. Einstein's lifelong study of the Italian madrigal has resulted in numerous publications of unparalleled value. -
Bitstream 42365.Pdf
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.