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Editor's Foreword
Julian Rushton: Introduction
PART 1: KEYNOTE PAPERS
Bernard Williams: Scholarship, Authenticity, Honesty
Roger Penrose: The Heritage of Pythagoras: Nineteen to the Dozen
PART 2: ROUND TABLES
Round Table 1: Perception and Cognition
Mireille Besson & Pascaline Regnault: Brain and Music: An Electrophysiological Approach
Lola L. Cuddy & Nicholas A. Smith: Perception of Tonal Pitch Space and Tonal Tension
Bruno H. Repp: The Timing Implications of Musical Structures
Irène Deliège: Listening to a Piece of Music: A Schematization Process Based on Abstracted Surface Cues
Carol L. Krumhansl: Music and Affect: Empirical and Theoretical Contributions from Experimental Psychology
Alf Gabrielsson & Siv Lindström Wik: Strong Experiences of and with Music
John Sloboda: Response
Eleanor Selfridge-Field: First Response to the Respondent
Christian Kaden: Second Response to the Respondent
Round Table 2: Literary Studies
Christopher Butler: Music and Narrative in Recent Theory
Marina Frolova-Walker: All Russian Music is So Sad: Two Constructions of the Russian Soul, through Literature and Music
Heather Hadlock: Drowning in Music: Ophelia's Death and Feminist Hermeneutics
Susan Rankin: The Study of Medieval Music: Some Thoughts on Past, Present, and Future
Elaine Sisman: The Music of Rhetoric
Round Table 3: Directions in Musicology
Andrew Dell'Antonio: Statement
Stefano Castelvecchi: Statement
Margaret Bent: Response
Suzanne G. Cusick: Response
Annegret Fauser: Response
Ralph P. Locke: Response
Jürg Stenzl: Response
Rose Rosengard Subotnik: Response
Andrew DellAntonio: Closing Remarks
Stefano Castelvecchi: Closing Remarks
Round Table 4: Historiography
John Deathridge: Music Historiography, Critical Theory, and Other Tales
Michael Fend: The Problem of the French Revolution in Music Historiography and History
Fabrizio Della Seta: Difficoltà della storiographia dell'opera italiana
Reinhard Strohm: Collapsing the Dialectic: The Enlightenment Tradition in Music and its Critics
Round Table 5: Sociology
Christian Kaden: Music and Sociology: Perspectives, Horizons
Philip V. Bohlman: Ethnomusicology and Music Sociology
Ruth Finnegan: Musical Practices and Hidden Musicians: A Perspective from Sociology and Anthropology
Volker Kalisch: Music from an Anthropological Perspective
Tullia Magrini: From Music-Makers to Virtual Singers: New Musics and Puzzled Scholars
Peter J. Martin: Music and Cultural Practices
Mario Vieira de Carvalho: The Sociology of Music as Self-Critical Musicology
Bibliography
Round Table 6: Philosophy
Lewis Rowell: New Music and Philosophy
Peter Kivy: Absolute Music and the New Musicology
Eero Tarasti: Signs and Trancendence
Ruth Katz: Authenticity, Interpretation, and Practice: Probing Their Limits
Naomi Cumming: Response: Four Philosophies of Musical Interpretation
Round Table 7: Cultural Politics
Philip Brett: Musicology and Sexuality: The Example of Edward J. Dent
Arthur Nestrovski: Beethoven's Ironies
Deborah Wong: Ethnography, Ethnomusicology, and Post-White Theory
PART 3: REPORTS ON STUDY SESSIONS
Carolyn Gianturco: Music in Tuscany: Past Research and Future Projects
Rudolf Rasch: The Circulation of Music in Europe 1700-1850
--: Music and/as Ethics
Eric Jas: The Dating and Chronology of the Works of Josquin des Prez
Dai Griffiths: Musicology, Popuar Music Studies, and Political Economy; Musicology, Popular Music Studies, and Cultural Geography; Musicology, Popular Music Studies, and the Interpretative Sciences
Peter Bloom: Berlioz et autour de Berlioz: Un artiste en son temps
Robert Stevenson: Portuguese Musical Outreach: Five Centuries
José Bowen: Research in Music Performance: New Methods and Tools
Elizabeth Tolbert: Feminist Epistemologies in Ethnomusicology
Philip Olleson: Musicology and Biography
Franco Piperno: Opera Orchestras in Eighteenth- and Nineteenth-Century Europe
Peter Walls: The Early Violin
Maria Anna Harley: Auditory Scene Analysis: Future Directions for Musicological Research
Roman Hankeln: Chant and Liturgy: Compositional Planning in Liturgical Chant
Ann Buckley: Music Iconography: Transmission and Transformation of Symbolic Images
William Weber: Repertory and Canon: The Dynamics of Canon Formation, 1700-1870
John Kmetz & Keith Polk: Perspectives on Instrumental Music of the Late Fifteenth and Early Sixteenth Centuries
Sarah McCleave: Theatrical Dance and Music, 1650-1850
Alastair Borthwick: British Music Since Britten
Márta Grabócz: Semiotics, Structural Semantics, Rhetoric: Musical Language Sciences in Contemporary Musicology
John Rink: Interpreting Performance: Chopin-Playing in Perspective
Ingrid Monson: Theorizing the Transnational
--: Sense and Sonority in Aquitanian Polyphony and the Conductus
Laurence Libin: The Evolution of Musical Instruments
Bernard Schmid: Der Mensuralcodex St Emmeram (Clm 14274): Eine zentrale Quelle für die Musik Mitteleuropas im 15. Jahrhundert und musikalischen, liturgischen, und theologischen Voraussetzungen
David Charlton: Opéra et mélodrame en France, 1800-30: Une enquête sur les genres
Michael Noone: Music, Politics, and Patronage in Spanish and Portuguese Dominions in the Early Modern Period
Barbara Haggh: Chant and Analysis: Where Are We, and Where Do We Go?
--: Musicology, Popular Music Studies, and the Interpretative Sciences
John B. Howard: Musical Data and Computer Applications
John Koster: Keyboard Organology: Past, Present, and Future
Cornelia Szabó-Knotik: Kulturelle Traditionen in Mitteleuropa: Musikleben zwischen Zentralismus und regionaler Spezifik am Beispiel der Rolle von Vereinen
Richard Parncutt: Implications for Mainstream Musicology of Recent Research in Music Cognition
Myriam Chimènes: La vie musicale sous Vichy, 1940-1944
Charles T. Downey: Chant and Palaeography
Mieczyslaw Tomaszewski: Music between East and West: The Work of Lutoslawski, Penderecki, and Górecki in the context of Culture and History
Timan Seebass: Musicology and Art History
Nicholas Cook: Theorizing Mixed Media
Horst Weber: To the Ends of the Earth: Refugee Musicians in East Asia and Latin America, 1933-1945
Richard Sherr: The History of the Papal Chapel
Franco Carmelo Greco: Rapporti tra testo, musica e scena nello spettacolo a Napoli nel Settecento
John Harper: The Early Sixteenth-Century Organ in England: Its Form, Music, and Place in the Liturgy
Jeffrey Nussbaum: Contexts for Brass: History, Performance, Culture
Catherine Parsons Smith: Race and Culture in the Aesthetics of William Grant Still (1895-1978)
Karl Kügle: Redefining the Low Countries
Neal Zaslaw: Recent Mozart Research and Der neue Köchel
Penelope Gouk: Music, Healing, and Culture: Towards a Comparative Perspective
Karen Painter: Facism and Music
John B. Howard: New Methods, New Visions: Computational Initiatives for a New Millennium
PART 4: ABSTRACTS OF FREE PAPERS
Session 1: Liturgy and Homiletics
Peter Jeffery: The Emerging Chant Repertory in Early Roman Sermons and Commentaries (Fifth-Seventh Centuries)
Susan Boynton: The Influence of Homiletic and Exegetical Literature on the Fleury Lament of Rachel
Olivier Cullin: Le vocabulaire de la psalmodie dans Règle de St Benoît, à la lumière des données musicales traditionnelles
Mitchell P. Brauner: How to Build an Alleluia
Kay Brainerd Slocum: History and Liturgy: The Historia of Thomas Becket
Session 2: The Historiography of Early Music
Claudio Annibaldi: Towards a Theory of Musical Patronage in the Rennaisance and Baroque Eras: A Proposal between Anthropology and Semiotics
Sebastan Klotz: Inaudible Efforts, Labeur des doigts, and the Monumentalizing Impulse: Towards a Sociology of Musical Auctoritas in Francophone Europe, 1200-1600
Linda Phyllis Austern: Music in Seventeenth-Century Emblem Books: Mass Manipulation of Cultural Values
Vivian S. Ramalingam: Artusi's Rage: Fear and Loathing in the Prima prattica
Bonnie Gordon: Enemies of Love: Staging Female Excess in Monteverdi's Il ballo delle ingrate
Jeffrey Kurtzman: A Jungian Perspective on Monteverdi's Late Madrigals
Study Session 3: Eighteenth-Century Opera
Wendy Heller: The Rhetoric of the Enlightened Hero: Gender and Operatic Reforms in Early Eighteenth-Century Italy
Marie Cornaz: Les éditions parisiennes de livrets d'opéras et leur contrefaçon bruxelloise dans le seconde moitié du XVIIIe siècle
Wye J. Allanbrook: Trembley's Polyp and the Natural History of Opera buffa
Marita P. McClymonds: Alfieri and the Transformation of Opera Seria
Caryl L. Clark: The London Opera of Joseph Haydn: Loss, Lament, and Lieto fine
Session 4: Broadcasting and the Media
Rose M. Theresa: Opera Studies, Film Studies: Gounod's Faust and the History of Early French Cinema
Nathan E. MacBrien: A Spectre-World Cuts Through Our Space: Early German Radio Criticism and the Listening Subject
Julio Arce Bueno: Unión Radio: Música, communicación e ideología
Juan P. Arregui: La zarzuela como material ideológico en el cine y la televisión 1940-70
Jenny Doctor: New Music on the New Third: Exploring BBC Music Policies and Practices in the Post-War Decade
Juanita Karpf: When Teaching Ten Thousand was Not Enough: E. Azali Hackley and African-American Music Journalism
Session 5: Early Polyphony
Manuel Pedro Ferreira: Is it Polyphony?
Elizabeth Aubrey: The Medieval Motet in Occitania and the Occitanian Motet
Mary E. Wolinski: The Study of Pigments in Medieval Manuscripts
Alice V. Clark: Secular-Song Tenors and the Fourteenth-Century Motet
Elizabeth Leach: Added Contratenors in the Ballades of Gullaume de Machaut
Session 6: The Sixteenth-Century Tradition
Bernadette Nelson: Sacred Music at the Court of Fernando de Aragón, Duke of Calabria: The Context of Barcelona M. 1166/1967 and a Parody Mass on Josquin's Inviolata
Luminita Aluas: Laura, Laura, Laurels: Strategies of Multiplication in Petrarch and Marenzio
Donna Cardamone Jackson: Carnival and Carne vale: Orlando di Lasso and Roman Courtesans
Laura Macy: Music in the Tragedia spirituale
Eugene Casjen Cramer: The Masses Salve regina and O magnum misterium: New Light on Victoria's Parody Technique
Session 7: Analysis of Nineteenth-Century Music
Zohar Eitan: Registral Direction and Melodic Implication
Jeremiah W. McGrann: An Exegisis of the Kyrie from Beethoven's Mass in C, Op. 86
Suzannah Clark: Nineteenth-Century Hallmark, Theoretical Problem: Third Relations in Schubert's Unfinished and Beethoven's Waldstein
Peter A. Hoyt: Rossini as Master of Instrumental Composition: Bonifazio Asioli's Analysis of the Sinfonia from Le cenerentola
Frank Samarotto: Brahms the Autumnal: Cyclical and Progressive Structures and Meanings in Im Herbst, Op. 104, No. 5
Session 8: Methodologies
Jonathan Stock: Ethnomusicologies of the West: Questions of Perspective and Scope
Harry White: American Musicology and the Archives of Eden
Suk Won Yi: Problems in the Application of Linguistic/Semiotic Priciples to Music
Tia DeNora: Music in Action: The View from Sociology
Willem Erauw: Queen Elisabeth of Belgium, The A-Bomb, and Einstein's Violin: About Pacificism, Patheism, and the Passion for Music
Session 9: The Fifteenth-Century Tradition
M. Jennifer Bloxham: The Wedding of Pious and Profane: A Cultural Context for the Chanson Mass
Andrew Kirkman: Musical Life at the Collegiate Church of Saint-Omer, Northern France, c.1460-1504
Jeffrey Dean: The Meaning of Okeghem's Intemerata dei mater
Sean Gallagher: Obrecht's Anchises: Virgilian Allusion in Mille quingentis
Emilio Ros-Fábregas: The Controversial Indentity of an Iberian Poet-Musician of the Renaissance: Badajoz el musico
Session 10: Baroque Sacred Music
William Summers: Music in the Cathedral of Manila: Evidence for the First Two Centuries from the Archdiocesan Archive
Javier Suárez-Pajares: Modelos de financiación de música en las catedrales españolas: Formas e implicaciones
Greta J. Olson: Music, Ritual, and the Writings of Teodosio Herrera y Bonilla (1652-1734)
Miguel-A. Marín: The Sounding City: Urban History and Music in Baroque Jaén
Alicia González de Buitrago García: Icongrafia musical en la tarasca barroca madrileña: Algunos ejemplos representativos
Juan Ruiz Jiménez: The Interior-Exterior Duality in the Performances of the Musical Ensembles of Granada: Non-Salaried Posts and Extravagantes Performances
Session 11: Music and Society in the Nineteenth Century
Eva Öhrström: Salon, Gender, and Musical Culture in Sweden around 1800
Kathryn L. Reichard: Chladni as Musician Manqué
Janet Johnson: Byron and the Poetics of Berlioz's Harold Symphony
Judith Etzion: Música sabia: The Reception of Classical Music in Madrid (c.1830-1870)
Thomas Christensen: Four-Hand Transcription: Changing Performing Spaces and Genres
James A. Deaville: Early Nineteenth-Century Virtuosity and its Public: Power, Gender, and Class in the Concert Hall
Session 12: New Music
Nancy Perloff: The Visual Language of American Experimental Music
Jeongwon Joe: Roland Barthes's Text and Aleatory Music: Is The Birth of the Reader the Birth of the Listener?
Paul Attinello: Imploding the System: Kagel and the Deconstruction of Modernism
Susanna Pasticci: Can Literary Criticism Contribute to the Study of Musical Borrowing? The Case of Twentieth-Century Italian Music
Didier Guigue: An Object-Orientated Analysis of Twentieth-Century Piano Music
Elena Markova & Vladimir Mironov: Musical-Historical Conceptions in the Light of the Systematic Approach
Session 13: Early Theory and Music
C. Matthew Balensuela: Law as a Sister Discipline of Music in the Middle Ages and Renaissance
Nancy van Deusen: Time out of Time: Eternity as a Thirteenth-Century Philisophical Issue Exemplified in Music
Gabriella Ilnitchi: Ordo naturalis in Eleventh-Century Theoretical Systems
Charles M. Atkinson: Glosses on Music and Grammar and the Advent of Music-Writing in the West
Session 14: Music and Society Around 1700
Georgia Cowart: Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the Sun King, 1697-1710
Albert Cohen: Musicians, Amateurs, and Collectors: Early French Auction Catalogues as Musical Sources
M. Elizabeth C. Bartlet: Queen Marie Leczinska as Patron of Music: Opera and Chamber Music at the Court of Louis XV
Pablo-L. Rodríguez: The Personal Network: A Sociological Approach to Imported Villancico Texts and Music Supply at Segovia Cathedral (1650-1700)
Cristina Bordas: Collecting and Enlightenment: Musical Instruments in the Natural History Cabinet of Charles III of Spain (1759-88)
Session 15: Nineteenth-Century Topics
Michael Strasser: Virtue, Reform, and Pure Music in Second Empire Paris
Hiromi Hoshino: Felix Mendelssohn Bartholdys geistliche Vokalmusik: Eine Versuch ihrer chronologischen und stilistischen Einordnung
Roberta Montemorra Marvin: The Stornello and its Popularity in Ottocento Italy
Daniel Beller-McKenna: Apocalypse (Now?): Politics in the Sacred Music of Johann Brahms
Firoozeh Khazrai: Orientalism in Borodin's Prince Igor
Stephen McClatchie: Canonizing the Dutchman: Wagnerism and Der fliegende Holländer
Session 16: Technology and Systematic Musicology
Frank Pecquet: Music and Technology
Eugene L. Szonntagh: Did Greco-Roman Hydraules have Keyboards?
Youn Kim: The Applicability of Psychological Methods in the Study of Musical Rhythm
Marie-Cécile Barras: Acoustique musicale et musicologie: L'apport de l'outil acoustique dans l'analyse perceptive
Mario H.A. Koppers: Stochastic Analysis and Music Predictability
Denis Collins and Andrew Schloss: Cognitive-Perceptual Effects in Music: Shepard Tones and the Canon Per tonos from J.S. Bach's Musical Offering
Session 17: Gluck and Eighteenth-Century Aesthetics
Alessandra Martina: Retorica e tragedia per musica: L'Iphigénie en Aulide di Gluck (1774)
Gluck's L'Iphigénie en Aulide (1774-5): Reception and RevisionDaniel Heartz:
Bruce Alan Brown: Les rêveries renouvelées des Grecs: Facture, Function, and Performance Practice in a Vaudeville Parody of Gluck's Iphigénie en Tauride (1779)
Sheryl Zukowski: Gluck in the Age of Living Reproduction: Fin-de-siècle Critics Speak on Antiquarian Opera
Monika Hennemann: Romantic Music Aesthetics and its Literary Origins in the Writings of Karl Philipp Moritz
James Haar: Gothic Architecture and Baroque Polyphony: A Romantic Blend
Session 18: The Eighteenth-Century Tradition
Ernest Harriss II: Rediscovered East-European Sources of Hasse's Sacred Music
Donald Burrows: Reading the Metre: Verse Forms in Oratorio Librettos written for Handel by Charles Jennens and Thomas Morell
Jean-Paul Montagnier: Musicology, Politics, and Heraldy: The Te deum: A State Motet at the Time of Louis XIV and Louis XV
Stefan Eckert: Riepel, Leibniz, and the Ars combinatoria in Seventeenth- and Eighteenth-Century Musical Thought
Session 19: Early Twentieth Century
Elliott Antokoletz: Musical Symbolism in the Operas of Debussy and Bartók
Judit Frigyesi: Loneliness and Love: The Literary Context of Béla Bartók's Bluebeard's Castle
Thomas P. Gordon: David: Stravinsky's Music-Hall Ballet
Beat A. Föllmi: Schönberg ist Theosoph: Anmerkungen zu einer wenig beachteten Beziehung
Hermann Danuser: Schönbergs Vortagsideal rekonstruiert anhand einer Quelle zu op. 10
Christan Hauer: Objectifs et méthodes d'une herméneutique de la création et de la réception musicales
Session 20: Ethnology
Regula Burckhardt Qureshi: Interrogating Musicological Otherness in India: Madan-ul-Mausiqi as a Mine of Music History
Eduardo Correia: White Facts about Blacks: Interculturalism, Music Education, and Identity in South Africa
M. Erturul Bayraktarkatal: Der Tonartbegriff in der traditionellen türkischen Musik
Lulu Huang Chang: Oral Traditions and Performance Practices in the Encyclopedia Jiu gong da chen nan bei ci gong pu, Collections of Southern and Northern Chinese Songs
Ayako Tatsumura: Objectification of Music and the Domination of Nature (Naturbeherrschung): T. W. Adorno's Theory in the Light of Comparative Music Aesthetics
Ramón Pelinski: The Body in Music
Session 21: Renaissance Source Studies
Jessie Ann Owens: Identifying Composer Autographs in Pre-1600 Manuscripts
Murray Steib: In the Workshop of a Late-Medieval Editor: Johannes Martini and the Manuscript I-MOe ?.M.1.13
Fabrice Fitch: The Structure of the Chigi Codex: An Enigma Resolved
Susan Jackson: Who is Katherine? The Women of the Berg & Neuber-Gerlach-Kauffmann Printing Dynasty
Royston Gustavson: The Printing of the Novum et insigne opus musicum (RISM 1537/1 and RISM 1538/3)
Janet Pollack: Parthenia: A Paradigmatic Epithalamion
Session 22: Opera Around 1700
Annibale Cetrangolo: Comisión nobiliaria en la circulación de la ópera italiana en Iberoamérica en los primeros años des siglo XVIII
John Koegel: A New Source of Seventeenth-Century Spanish Theatre Music from Mexico City
Jose-Máximo Leza: Between the Market and the Public Institution: The First Spanish Opera Company in the Commercial Theatres in Madrid during the Eighteenth Century
Andrea Bombi: Italian Opera and/in Spanish Theatres: Francesco Corradini in Valencia (1727-31)
Bertil H. van Boer, Jr: Sacrilege, Power Politics, and Lèse-majesté: The Political Uses of Opera in Eighteenth-Century Gustavian Sweden
Session 23: Twentieth-Century Topics
Zoltan Roman: (Musical) Jugendstil Revisited: Interspecific Conceptual Modelling and the Turn-of-the-Century Peripheral Artsong
Sue Plumlee Taylor: The Piano in Gustav Mahler's Um Mitternacht: Invention or Error?
K. M. Knittel: To the Jew a Foreign Tongue: Mahler's Orchestrations as a Sign of Difference
Hugh Macdonald: Machine Music
Francis Maes: Rose R. and Emilia Marty: The Representation of the Human Experience of Time in Janácêk's The Makropoulos Affair
Michael Christoforidis: Magic, Ritual, and Mystery in the Poetic Conception of Manuel de Falla's Music
Session 24: Jazz and Pop
Barry Kernfeld: What is Jazz, and How Might Scholars Write About It?
Paul S. Machlin: As Fats Waller Tells It: It's a Sin to Tell a Lie
Philomeen Lelieveldt: We are Not Hurdy-Gurdies: Musicians in a Changing Music World
Ken McLeod: Operatic Intersections with Rock Music: Popularizing Opera
Theo Cateforis: Punk, Funk, Dub, and Disco: British Post-Funk and the Avant-Garde Groove
Session 25: Seventeenth-Century Topics
Kate van Orden: Music and Military Virtue in Early Modern France: The Equestrian Ballet
Don Harrán: Guido Casoni (d. 1642) on Love as Music, a Theme for All Seasons
Kimberlyn Montford: Music of Devotion in Counter-Reformation Rome: Borboni's Musicali concenti
JoAnn Taricani: Behind the Dragon's Mask: Hidden Political Music of the Restoration
Maria Sanhuesa Fonseca: Baroque, musique, littérature: La nouvelle espagnole du XVII siècle, genre littéraire et source musicologique
Session 26: Eighteenth-Century Instrumental Music
Dennis C. Monk: The String Quartets of Franz Asplmayr and their Relationship to the Development of Haydn's String-Quartet Style
Janet Page: Trumpets, Feldmusik, Continuity, and Hierarchy: Music and the Imperial Procession during the Reign of Maria Theresia
John A. Rice: Empress Maria Therese of Austria as Musician and Musical Patron
Dorothea Link: The Hofkapelle under Joseph II and Mozart's Appointment
Eugene K. Wolf: Title, Function, and the Concept of Genre: The Earliest True Symphonies
Session 27: Nineteenth-Century Opera
Denise P. Gallo: Bellini and his Music as Political Symbol
Mary Ann Smart: Mimesis and Hysteria in La muette de Portici
Kerry Murphy: Issues in the Reception of Meyerbeer's Les Huguenots
Jarmila Gabrielová: Music-Literature-Theatre-History: A New Approach to Nineteenth-Century Czech Opera
Ursula Kramer: Che bella cosa scrivere a tre voci: Verdi's Use of the Trio Form (Musical, Dramatic, and Aesthetic Conception)
Helen Greenwald: Beyond Exoticism: Cio-Cio-Sans Screen and the Uses of Convention
Session 28: Transnationalism
Ann L. Silverberg: Musicology and Missiology
Joyce Z. Lindorff: Chinese Politics and Western Musicians in China: A Reflection on Contemporary Exchanges versus Experiences of the Eighteenth-Century Musician-Priests
Tatsuhiko Itoh: The Iwakura Missions Encounters with Western Music and their Consequence
Margarita Mazo: Russian Roots, American Branches: Music in Cognate Cultures
Janna Kniazeva: The History of German-Russian Musical Contact: German Musical Families in St Petersburg from the Second Half of the Nineteenth-Century to the Beginning of the Twentieth
Session 29: Hildegard of Bingen
Honey Meconi: Interdisciplinary Objects: the Case of Hildegard Bingen
Catherine Jeffreys: Rhetorical Chant? The Relationship between Music and Text in the Repertory of Hildegard of Bingen
Margot Fassler: Hildegard's Ordo virtutum: Musical Rhetoric and Monastic Education
Session 30: Early Dance
Barbara Sparti: Would You Like to Dance this Frottola? Choreographic Concordances in Two Early Sixteenth-Century (Tuscan?) Sources
Jennifer Nevile: The Travelling Dance-Band: Patterns of Transmission of Dance and Music in Fifeteenth-Century Europe
G.Yvonne Kendall: The Myth of Stylized Dance
Session 31: Early Twentieth-Century USA
Philip Lambert: Revising Ives
John Andrew Johnson: DuBose Heyward's Drafts for the Porgy Story as Cultural Politics
Teresa Davidian: Ruth Crawford Seeger and John Cage: New Connections between Two American Originals
Session 32: Early Twentieth-Century France
Brian J. Hart: The Symphony as Political Tool in Early Twentieth-Century France
Jane F. Fulcher: French Political Ideology as Performative Context: The Concert by World War I
Carl B. Schmidt: Poulenc and the Painters: The Influence of Art and Artists on his Life and Music
Session 33: Renaissance Theory
Leonora Saavedra: On the One and the Many: Conflicting Ontologies of Sound in Late Fifteenth-Century Music Theory
Walter Kurt Kreyzig: Musica theorica and Musica practica im Lichte der Studia humanitatis: Astronomie und Medizin als Grundlage und Rechtfertigung für Franchino Gaffurios Porportionendenken
Dietrich Helms: Compositio levis et utilis: Simple Formulas as Substitutes for Counterpoint Studies in the Teaching of Composition around 1500
Ryszard J. Wieczorek: Zwischen der Musiktheorie und Poetik der Renaissance: Decorum
Stefano Mengozzi: Glareanus and Vasari: Two Competing Views of Historical Progress from Late Renaissance Europe
Wolfgang Freis: Theories, Proof, and Dissent in Spanish Music Theory, 1508-77
Session 34: Schubert and Song
Eva Badura-Skoda: Schubert Iconography: New and Problematic Issues
Morten Solvik: Franz Schubert and the Liederspiel: From the Kosegarten Cycle to Die schöne Müllerin
Rita Steblin: Schubert's Activities in the Unsinnsgesellschaft (1817-18): New Literary and Iconographical Documents
Jürgen Thym: Schubert's Free Verse Setting
Annegret Huber: Die Gedichte der schwäbischen Dichterin Friederike Robert in den Vertonungen von Fanny Hensel
Robert Toft: Performing Purcell's Mad Bess in Late Eighteenth- and Early Ninettenth-Century England
Session 35: Music and Literature: Twentieth Century
Marco della Sciucca: Indagando la musicalità della poesia di Gabriele dAnnunzio: Il Poema paradisiac
Raymond Fearn: Faustus, Mephistopheles and Gretchen? The Significance of Thomas Mann in the Music of Luigi Dallapiccola 1947-55
Michael Maier: Ghost Trio: Die Musik in Samuel Becketts dramatischem Spätwerk
Barbara Milewski and Bret Werb: Es lebe Kulturkampf!: Polish Parody Songs from Nazi Concentration Camps
Elizabeth Kertesz: At Home and Abroad: The Critical Reception of Ethel Smyth's Operas in England and Germany
Larissa Kirillina: Alexander Mikhailov as Musicologist
Session 36: Nationalism
Melita Milin: General Histories of Music and the Place of the European Periphery
Urve Lippus: Baltic Music-History Writing: Problems and Perspectives
Jean-Marie Jacono and Arnolds Klotin: Le révision de Boris Godounov par le compositeur Letton Melngailis (1924): Premiers éléments sur une version inconnue de l'opéra de Moussorgski
Teresa Cascudo: Some Premisses for the Study of Peripheral Musical Nationalism in the Twentieth Century: Fernando Lopes-Graÿa and the Problem of Tradition in Contemporay Portuguese Music
Joaquina Labajo: How Musicological and Ethnomusicological is Spanish Flamenco?
PART 5: ABSTRACTS OF POSTER SESSIONS
Session 1: Analytical Applications
James Borders: The Antiphons for the Consecration of Virgins and the Changing Role of Plainchant in the Middle Ages
Patricia Hall and William Koseluk: Computer Applications to Sketch Studies: A Database with Image Access for Berg's Sketches for Wozzeck
Daniel C. Jacobson: Multimedia Environments for the Study of Musical Structure
Deron L. McGee: Knowledge-Based Stimulations: Technological Tools for Music Research
Michael Schiano: Toward a Model for Background Motivic Structure
Rainer Zillhardt: Computer Applications and Visual Aids for a Historically Orientated Structural Analysis of Pitches
Session 2: New Computer Applications in Musicology
Peter Desain and Henkjan Honing: POCO: Tools for Analysing, Modifying, and Generating Performance Expression in Music
Ichiro Fujinaga: An Adaptive Optical Music Recognition System
Petri Toivianen and Mauri Kaipainen: Music, Memory, and Time
Piet G. Vos and Erwin W. Van Geenen: A Parallel Processing Key-Finding Model: Strucure and Applications
Session 3: Databases
Sergio Durante: Lessico italiano della didattica vocale
Marco Giuliani: Villanelle alla napolitana e canzonette alla romana
Klaus Keil: RISM A/II CD-ROM
Paul R. Laird: Hispanic Music Archive and Library Project
Dolores Liaño Pedreira: Colleción musical: Fondo Canuto Berea (archivo y partituras) de la Biblioteca de la Diputación Provincial de La Coruña (España)
Jurij Snoj: An Antiphonal from Kranj: Analytical Approach to its Contents
Carol Steyn and Morné Bezuidenhout: The Grey Collection of the South African Library, Cape Town: Studies of Western Plainchant Sources in South Africa
Session 4: Multimedia
Jordi Ballester: Shepherd-Musicians in Catalano-Aragonese Iconography from the Fourteenth and Fifteenth Centuries
Michael Meckna: How did Harry James Make us Love him?
Robert Riggs and Mary Riggs: The Third Symphony of Gustav Mahler: Ballet by John Neumeier
Michael Saffle: Music Criticism Today
Emma Zevik and Chen Zhong: The Duangong: A Qian Shaman
Acknowledgements
Index of Contributors
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