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Library Oberlin College Libraries Perspectives
A Newsletter Fall 2017, Issue No. 57 of the Library Oberlin College Libraries Perspectives LIBRARY AND MUSEUM COLLABORATE clifford thompson to speak at friends ON MELLON FOUNDATION GRANT dinner SUPPORTED BY A $150,000 PLANNING CLIFFORD Press published his winning book of essays, GRANT awarded by the Andrew W. Mellon THOMPSON followed by Thompson’s memoir,Twin of Foundation, the libraries recently embarked ’85, recipient Blackness, in 2015. Thompson’s essays on on a series of new initiatives with the Allen of a Whiting books, film, jazz, and American identity Memorial Art Museum (AMAM). With the Writers’ have appeared in publications including aim of strengthening collaboration between Award for the Wall Street Journal, the Village Voice, the libraries and the museum, the grant will nonfiction the Threepenny Review, the Iowa Review, support a number of exciting developments. in 2013 for Commonweal, Film Quarterly, Cineaste, An intensive planning phase will lay the Love for Oxford American, the Los Angeles Review of groundwork for expanded organizational Sale and Books, and Black Issues Book Review. His first and curricular collaboration. An on-campus Other Essays, novel, Signifying Nothing, was published summit planned for June 2018 will bring will be the in 2009. In 2018 Other Press will publish together staff from leading libraries and featured his book J.D. & Me, part memoir and part museums at colleges and universities around Clifford Thompson ’85 speaker reflection on the work of Joan Didion. the country. at the Thompson is also a visual artist; one A goal of the project is to expand staff Friends of the Libraries annual dinner on of his paintings, Going North, appears in expertise and capacity for more intentional, Saturday, November 11. -
Agricola Und Das Verkehrte. Zum Umgang Mit Satztechnischen Idiosynkrasien in Musik Des Späten 15
Agricola und das Verkehrte Zum Umgang mit satztechnischen Idiosynkrasien in Musik des späten 15. Jahrhunderts Markus Roth ABSTRACT: Die vorliegende, vom Kyrie I der Missa Sine Nomine ausgehende Untersuchung wid- met sich bemerkenswerten Eigenarten der Kompositionstechnik Alexander Agricolas (1446–1506), dem schon die unmittelbaren Nachfahren bescheinigten, Dinge »auf ungewohnte Weise zu wen- den« (Hulrich Brätel 1536). Tatsächlich zeigen sich bestimmte Paradoxien im Tonsatz des späten 15. Jahrhunderts bei Agricola auf besonders eigentümliche Weise. Die Studien von Fabrice Fitch (2005; 2007) vertiefend, diskutiert der Beitrag die Frage, auf welche Weise Agricola seinerzeit Regeln ›verkehrte‹ und sich über satztechnische Normen hinwegsetzte. In diesem Zusammenhang wird der Begriff der ›mi contra fa-Latenz‹ vorgeschlagen, um den grundsätzlichen Problemen der Musica ficta zu begegnen. This essay, starting with the Kyrie I of the Missa Sine Nomine, is dedicated to some remarkable compositional idiosyncracies of Alexander Agricola (1446–1506), of whom his contemporaries attested the talent of “turning things in an unexpected manner” (Hulrich Brätel 1536). Certain pa- radoxes in the formal composition of late 15th century music appear in Agricola’s work in a strange fashion. Drawing on and furthering the studies of Fabrice Fitch (2005; 2007), this paper reveals how Agricola breaks with compositional conventions. To frame this analytical discussion, I propose the term “mi contra fa-Latenz” to explain some of the fundamental problems of musica -
Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake. -
000000RG 37/3 SOUND RECORDINGS: CASSETTE TAPES 000000Oberlin College Archives
000000RG 37/3 SOUND RECORDINGS: CASSETTE TAPES 000000Oberlin College Archives Box Date Description Subject Tapes Accession # 1 1950 Ten Thousand Strong, Social Board Production (1994 copy) music 1 1 c. 1950 Ten Thousand Strong & I'll Be with You Where You Are (copy of RCA record) music 2 1 1955 The Gondoliers, Gilbert & Sullivan Players theater 1 1993/29 1 1956 Great Lakes Trio (Rinehart, Steller, Bailey) at Katskill Bay Studio, 8/31/56 music 1 1991/131 1 1958 Princess Ida, Gilbert & Sullivan Players musicals 1 1993/29 1 1958 e.e. cummings reading, Finney Chapel, 4/1958 poetry 1 1 1958 Carl Sandburg, Finney Chapel, 5/8/58 poetry 2 24 1959 Mead Swing Lectures, B.F. Skinner, "The Evolution of Cultural Patterns," 10/28/1959 speakers 1 2017/5 24 1959 Mead Swing Lectures, B.F. Skinner, "A Survival Ethics" speakers 1 2017/5 25 1971 Winter Term 1971, narrated by Doc O'Connor (slide presentation) winter term 1 1986/25 21 1972 Roger W. Sperry, "Lateral Specializations of Mental Functions in the Cerebral Hemispheres speakers 1 2017/5 of Man", 3/15/72 1 1972 Peter Seeger at Commencement (1994 copy) music 1 1 1976 F.X. Roellinger reading "The Tone of Time" by Henry James, 2/13/76 literature 1 1 1976 Library Skills series: Card Catalog library 1 1 1976 Library Skills series: Periodicals, 3/3/76 library 1 1 1976 Library Skills series: Government Documents, 4/8/76 library 1 1 1977 "John D. Lewis: Declaration of Independence and Jefferson" 1/1/1977 history 1 1 1977 Frances E. -
The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194, -
The Legacy of Virdung: Rare Books on Music from the Collection of Frederick R
THE LEGACY OF VIRDUNG: RARE BOOKS ON MUSIC FROM THE COLLECTION OF FREDERICK R. SELCH March 2006 – June 2006 INTRODUCTION FREDERICK R. SELCH (1930-2002) Collector, scholar, performer, advertising executive, Broadway musical producer, magazine publisher, and editor (Ovation); organizer of musical events, including seven exhibitions (two at the Grolier Club), president and artistic director of the Federal Music Society, music arranger, musical instrument repairer and builder; book binder; lecturer and teacher; and most of all, beloved raconteur who knew something about almost every subject. He earned a Ph.D. from NYU in American studies just before his death, writing a highly praised dissertation: “Instrumental Accompaniments for Yankee Hymn Tunes, 1760-1840.” In short, Eric (as he was known) did it all. Eric was a practitioner of material culture, studying the physical and intellectual evidence found in objects, images, the written word, oral history, sound, and culture. Consequently, his interpretations and conclusions about musical topics are especially immediate, substantive, and illuminating. He has left a great legacy for those of us interested in organology (the scientific study of musical instruments) and in particular, American music history. As a collector, Eric’s first serious instrument purchase (aside from those he regularly played) was a seventeenth-century European clavichord he acquired from an extraordinary dealer, Sydney Hamer, in Washington, D.C., where Eric was stationed during the Korean War. Hamer helped focus his eye and develop his taste. Following his service, he worked in London, then studied music and opera stage production and set design in Milan, and opera staging and voice in Siena. -
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. -
A C AHAH C (Key of a Major, German Designation) a Ballynure Ballad C a Ballynure Ballad C (A) Bal-Lih-N'yôôr BAL-Ludd a Capp
A C AHAH C (key of A major, German designation) A ballynure ballad C A Ballynure Ballad C (A) bal-lih-n’YÔÔR BAL-ludd A cappella C {ah kahp-PELL-luh} ah kahp-PAYL-lah A casa a casa amici C A casa, a casa, amici C ah KAH-zah, ah KAH-zah, ah-MEE-chee C (excerpt from the opera Cavalleria rusticana [kah-vahl-lay-REE-ah roo-stee-KAH-nah] — Rustic Chivalry; music by Pietro Mascagni [peeAY-tro mah-SKAH-n’yee]; libretto by Guido Menasci [gooEE-doh may-NAH-shee] and Giovanni Targioni-Tozzetti [jo-VAHN-nee tar-JO- nee-toht-TSAYT-tee] after Giovanni Verga [jo-VAHN-nee VAYR-gah]) A casinha pequeninaC ah kah-ZEE-n’yuh peh-keh-NEE-nuh C (A Tiny House) C (song by Francisco Ernani Braga [frah6-SEESS-kôô ehr-NAH-nee BRAH-guh]) A chantar mer C A chantar m’er C ah shah6-tar mehr C (12th-century composition by Beatriz de Dia [bay-ah-treess duh dee-ah]) A chloris C A Chloris C ah klaw-reess C (To Chloris) C (poem by Théophile de Viau [tay- aw-feel duh veeo] set to music by Reynaldo Hahn [ray-NAHL-doh HAHN]) A deux danseuses C ah dö dah6-söz C (poem by Voltaire [vawl-tehr] set to music by Jacques Chailley [zhack shahee-yee]) A dur C A Dur C AHAH DOOR C (key of A major, German designation) A finisca e per sempre C ah fee-NEE-skah ay payr SAYM-pray C (excerpt from the opera Orfeo ed Euridice [ohr-FAY-o ayd ayoo-ree-DEE-chay]; music by Christoph Willibald von Gluck [KRIH-stawf VILL-lee-bahlt fawn GLÔÔK] and libretto by Ranieri de’ Calzabigi [rah- neeAY-ree day kahl-tsah-BEE-jee]) A globo veteri C AH GLO-bo vay-TAY-ree C (When from primeval mass) C (excerpt from -
Miadrilms Internationa! HOWLETT, DERQ
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated witli a round black mark it is an indication that the füm inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
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: -
DISCOVERIES South-Central Renaissance Conference News and Notes Volume 17, Number 2 Spring 2000
ISSN: 1097-3494 DISCOVERIES South-Central Renaissance Conference News and Notes Volume 17, Number 2 Spring 2000 Practical Reason and Action: The Teaching of Prudence Through Renaissance Emblem Books Lynette C. Black University of Memphis Ld.fimmeprudente. mposed of a picture plus a motto nd often an epigram, emblem C ooks provide insight into the defi nition of the virtuous life during the early modem period. For example, in the emblem "La femme prudente," from Guillaume Gueroult' s Premier livre des emblemes (Fig. 1), a woman rests her foot on a tortoise, in dicating that, like the tortoise, she stays inside her house. The epigram explains, In This Issue... "Femme qui est sage ne court c;a, ne la/ La F cmmc qui cfrfagc folle et volage n'ayme que cela" [The Practical Reason and Action: N c courc ~a,nc la, woman who is wise does not run about LafoHe &' vohgc; The Teaching of Prudence hither and thither; the foolish and flighty Through Renaissance woman likes only that. ]1 The emblematist N'aymeque ~da. Emblem Books uses the medieval opposition of Prudence Fig. 1. Guillaume Gueroult: Premier livre des by Lynnette Black C. and Folly to show that a woman who as emblemes, 1550. 1 serts herself beyond her household An Invisible Notation: represents the opposite of prudence. rhetorical and humanistic context. The per On the Invention of German Gueroult' s presentation offers a suasive character of the emblem book Lute Tablature glimpse into the rich range of allusions to extends beyond the overtly didactic. The by Hiroyuki Minamino Prudence in emblem books spanning the prominence of prudence suggests a surpris 3 sixteenth and early to middle seventeenth ing subtlety in the persuasive method of the centuries. -
Library Library Perspectives
A Newsletter Spring 2008|Issue No. 38 of the Oberlin College Library Library Perspectives Open Access Gains Ground The James and Susan Neumann The international movement for open access to scholarly research is Jazz Collection rapidly gaining ground, as evidenced Imagine over 100,000 sound recordings by the growth of open access journals, of varying formats: 78 and 45 RPMs, vinyl, digital repositories, and policies that and compact discs. Now imagine shelf after mandate open access to research shelf of books and periodical runs (often sponsored by funding agencies. rare or limited editions), as well as cabinets Most significant for the United of rare posters and playbills, programs and States is a new law requiring public photographs, letters and clippings--many with access to articles resulting from artists’ autographs. Finally, imagine all that research funded by the National you have just conceived falls into a single Institutes of Health (NIH). When subject: jazz. President Bush recently signed into The extraordinary collection you’ve law the Consolidated Appropriations imagined is actually real, and it is being Act of 2007 (H.R. 2764), he approved a donated to Oberlin in stages by James provision directing the NIH to change Neumann ’58 and his wife Susan. Believed to its existing Public Access Policy, be the largest collection related to jazz ever implemented as a voluntary measure in assembled privately, the James and Susan 2005, so that participation is required Neumann Collection has been described by jazz for agency-funded investigators. The expert Daniel Morgenstern as “astonishing in policy requires NIH-funded researchers its scope, breadth, and quality.” to deposit their final peer-reviewed The collection reflects Jim Neumann’s Jim Neumann with lifesize cutout of manuscripts in PubMed Central, lifelong passion.