bluuebunny/crossref_metadata_2025 huggingface dataset:
7 James Reese Europe
Authors: Peress Maurice
Published: May 2008

David Mannes, concertmaster of Walter Damrosch's New York Symphony and Director of the city's Musical Settlement Houses, engaged James Reese Europe, charismatic conductor and composer, and his unusual Negro orchestra, the “Clef Club”, to play what turned out to be a triumphal benefit concert for the new Harlem branch, at Carnegie Hall — the first concert of its kind (1912). Europe was interviewed about his very specific ideas about the future of Negro music and musicians. Mannes described his own teacher, an African-American violinist, composer, John Thomas Douglas, as “the man who helped shape my life”.
8 George Gershwin and African American Music
Authors: Peress Maurice
Published: May 2008

This chapter details Gershwin's early contacts with African American music and musicians. His Blue Monday Blues of 1922, a failed attempt at writing an operatic scene about Negro characters, is sung by whites in blackface. The chapter also discusses his thoughts on Jewish artists and African American music. Fifteen years later, Gershwin's masterpiece, a folk opera, Porgy and Bess, comes to Broadway and receives mixed reviews. The orchestration question is resolved at the end of the chapter.
9 Leonard Bernstein
Authors: Peress Maurice
Published: May 2008

This chapter details how the author of this book meets Leonard Bernstein and starts working with him as an assistant conductor with the New York Philharmonic 1961-2. He then takes part in the less than successful move to Lincoln Center, starts a professional conducting career that will lead to major orchestra and opera engagements including the premier of Bernstein's Mass, and his later reconstructions of American landmark concerts.
10 Gershwin's Rhapsody in Blue
Authors: Peress Maurice
Published: May 2008

This chapter re-examines the circumstances and events leading up to Paul Whiteman's celebrated historic Aeolian Hall “Experiment in Modern Music”, at which was premiered Gershwin's seminal jazz inspired work, the “Rhapsody in Blue”. The public and most critics were ecstatic; the chapter offers insights as to why some euro-centric music critics remained deeply divided for generations. It then details Whiteman's respect and passion for jazz, and for Ellington; and the role of skilled arrangers. The challenges faced by the author in recreating the Aeolian Hall event “same day, same hour, same block, sixty years later”, are described. Sleuthing out the scores and parts; assembling a replica band that included several unusual instruments such as hecklephone, sopranino saxophone, a serious slide whistle and 1920's drum kit; and relearning how to play ragtime style are explained. The recreated concert sets off a media storm, triumph and is repeated in cities elsewhere starting in Rome, Italy. The chapter finishes with a rethinking of the whole event as but a part of a very rich and textured American music story.
11 The Clef Club Concert
Authors: Peress Maurice
Published: May 2008

This chapter presents the detailed story of another historic recreation, this time on the stage of Carnegie Hall where in 1912 the Clef Club concert took place. New challenges were met: an unusual mix, the forming of a new Clef Club orchestra that included thirty strummers — ten each of mandolins, guitars and a rare harp guitar, and banjos — all of whom read complicated music very well; a boys' and men's choir; and a concert orchestra including eight pianists and various soloists. Will Marion Cook's dialect song, “Swing Along” for chorus and orchestra stopped the show as it did sixty seven years earlier.
14 Bernstein's Mass
Authors: Peress Maurice
Published: May 2008

This chapter gives the story of the world premiere of Leonard Bernstein's Mass: A Theater Piece For Singers, Players and Dancers, conducted at the opening night of the John F. Kennedy Center for the Arts, by the author of this book. The chapter presents an unusual first-hand glimpse of Bernstein's world view and unusual working methods.
16 Ellington's Queenie Pie
Authors: Peress Maurice
Published: May 2008

This chapter describes the story of Queenie Pie, Ellington's last theater work as told by the author of this book, who worked as an assistant to Ellington when it was a yet-to-be produced one-hour “opera comique” for National Educational Television. The production was abandoned after Ellington died but re-emerged ten years later as a full evening musical with a new libretto by George Wolfe, with the author directing the Ellington orchestra in the pit of the Music Theater Festival of Philadelphia. The chapter also offers insights into Ellington's working methods.
17 Ellington's Black, Brown and Beige
Authors: Peress Maurice
Published: May 2008

Ellington's signature work, as a symphonic suite for the Chicago Symphony and reconstructed and returned to Carnegie Hall in its original form for a jazz band, was premiered in 1943. The chapter reveals the work's unusual genesis — Ellington's own narrative poem about the history of the negro in America — and explores Ellington's extraordinary compositional techniques. It demonstrates how complex the compositional process was that created his seemingly happy-go-lucky music; how even the defining idea of jazz-inspired music — a tenor saxophonist “taking off” on an improvised flight for example — was controlled, bent, premeditated by Ellington in the service of his muse; and how he crafted his music from his own poetry.
Afterword
Authors: Peress Maurice
Published: May 2008

This final chapter takes a walk through what once was Dvorák's New York neighborhood. It discusses the unsuccessful battle to save the Dvorák House where Dvorák lived from 1892-5. The heightened awareness he brought to the bountiful riches of African American music that helped inspire the Composer-Collector generation — James Weldon Johnson, James Rosamond Johnson, W. C. Handy, Ernest Hogan, and Will Marion Cook — are detailed. It discusses the search for and emergence of a “New African-American Orchestra”, Ford Dabney's theater “roof-top” bands, Hogan and Cook's “Memphis Students Band”, Europe's “Clef Club”, and Cook's “Southern Synchopaters” orchestra, preparing the way for Duke Ellington, “a world-class composer, who stands alone as the foremost American genius who remained loyal to the improvisational, tonal, and rhythmic endowments of African American music”. His universe was an “orchestra” of brilliant jazz artists, one he never found wanting. With a light but firm tether, he drew and followed them along a trail of discovery, leaving glorious artifacts in his path.
1 MUSICAL RESEARCH IN CRISIS
Authors: Korsyn Kevin
Published: May 2008

This chapter begins with a discussion of the crisis confronting musical scholarship. Musical research is described as becoming like a Tower of Babel, where members of opposing groups seem to be speaking different languages or playing different language games. When individuals stake their identities on particular language games, they regard each other's work with indifference or even with contempt. The Ministry of Truth — a pyramid of “glittering white concrete” seen in George Orwell's 1984 — is also used to symbolize the current state of musical research. In this building, a vast bureaucracy toils relentlessly to serve Big Brother, propagandizing the entire population to produce an absolute political orthodoxy. One of their tasks is to transform all discourse into Newspeak, an artificial language intended not only to replace standard English but also to render politically deviant thought impossible. When individuals are compelled to measure themselves against quantitative standards, when they must address administrators who are remote from the work itself, when they are forced to objectify themselves, to police their own thought, they come to resemble the inhabitants of Orwell's dystopia.
2 SEARCH FOR AN ANTIMETHOD
Authors: Korsyn Kevin
Published: May 2008

This chapter argues that the present crisis confronting musical scholarship needs something like an antimethod that will ask how current methods work by examining their enabling conditions. Given the deadlock between opposing groups, and the impasses at which debates repeatedly seem to stall, it recommends starting at the impasses to see how they arise. Rather than build another tower, or another pyramid of truth, it seeks to occupy the space between existing structures, to inhabit the shadows, to map the labyrinth. An overview of the succeeding chapters is presented.
3 THE FORMATION OF DISCIPLINARY IDENTITIES
Authors: Korsyn Kevin
Published: May 2008

This chapter explores how disciplinary identities emerge through so-called narratives of disciplinary legitimation. It focuses on six authors whose work seems to provide imaginative solutions to the problems of disciplinary identity: Lawrence Kramer, Kay Kaufman Shelemay, Manuel Peña, Nicholas Cook, Joseph Kerman, and Kofi Agawu. The cultural dilemmas to which they respond are examined. If the musicological subject is split, then its discourse is also divided; the narrative level may contradict the explicit assertions in the text. By exploding the narrative closure of these texts, we can open discourse to the strategic exclusions that make closure possible.
4 THE OBJECTS OF MUSICAL RESEARCH (1)
Authors: Korsyn Kevin
Published: May 2008

This chapter begins with a discussion of what constitutes the identity of composition. It then examines four ways of construing the issue of unity in the Preludes: the Preludes a monads, the Preludes as nomads, the Preludes as cryptocycle, and the Preludes as an ironic or paradoxical cycle. Metaphor, metonymy, synecdoche, and irony are discussed.
5 THE OBJECTS OF MUSICAL RESEARCH (2)
Authors: Korsyn Kevin
Published: May 2008

This chapter examines the disciplinary objects of musical research from the side of context. This movement from two directions, however, questions rather than celebrates the text/context divide, by suggesting a certain Moebiusstrip logic through which inside and outside, content and frame, mutually determine each other. The books Noise: The Political Economy of Music by Jacques Attali and Feminine Endings: Music, Gender, and Sexuality by Susan McClary are analyzed. The correspondences noted between the patterns Attali and McClary find in history and the rhetorical models that pre-exist their work raise questions about the interplay between invention and discovery in the writing of history. By analyzing other works of musical scholarship in terms of their narrative and rhetorical strategies, readers can move toward answering these questions for themselves.
6 MEDIA CONDITIONS
Authors: Korsyn Kevin
Published: May 2008

This chapter focuses on how our formation as subjects in a media culture affects what can be said about music. It addresses questions about technology: how do various communications media — technologies, from the book to the computer, that store, transmit, or process symbols, images, and sounds — affect what can be said about music? How do such media, by creating new modes of thinking, perceiving, and feeling, new ways of conceptualizing time, space, memory, and ourselves, change the frameworks within which musical research operates? The works of Eugene Narmour and Wayne Koestenbaum are analyzed.
7 MUSIC AND SOCIAL ANTAGONISMS
Authors: Korsyn Kevin
Published: May 2008

This chapter examines how social antagonisms produce cultural double binds, moments when individuals are caught between different communities and languages that both refuse — and yet somehow demand — integration. In ethnomusicology, for example, such cases may arise when the history of colonialism contaminates the very methodology through which one studies oppressed cultures, leaving one without a language in which to engage the other while feeling a disciplinary imperative that one must engage the other. The essay “Music Theory, Phenomenology, and Modes of Perception” by music theorist David Lewin is analyzed.
1 The Riddle
Authors: Russell Paul
Published: May 2008

This chapter begins with a review of the classical (Reid‐Beattie) skeptical interpretation of Hume's Treatise followed by an account of Norman Kemp Smith's influential naturalistic interpretation of Hume's fundamental intentions. Other more recent interpretations, falling on either side of the skeptical/naturalist divide, are also described, including several interpretations that have paid more careful attention to the historical context in which the Treatise was composed and published. This account of the various alternative interpretations provides a framework for explaining the fundamental “riddle” of the Treatise: namely, that Hume's (radical) skeptical commitments appear to undermine and discredit his effort to make a contribution to “the science of man.”
7 Atheism under Cover
Authors: Russell Paul
Published: May 2008

Both the epigrams that Hume uses on the title‐pages of the Treatise of Human Nature are very significant and reveal his freethinking and irreligious aims and intentions.. More specifically, the epigram from Tacitus that appears in Books I and II was used not only by Spinoza, but also by his followers in the Collins‐Toland circle to proclaim their bold defense of freethinking. At the same time, the Lucan epigram that appears in Book III also appears prominently in Collins's Freethinking and carries the message of Cato, a model of stoic virtue and the oracle of pantheism, freedom of thought, and anti‐superstition. Beyond this, these two epigrams are also intimately connected with Hume's Hobbist title and plan for his Treatise. In this way, Hume's use of epigrams on the title page of the Treatise is a notable and illuminating example of “esoteric” communication.
9 Making Nothing of “Almighty Space”
Authors: Russell Paul
Published: May 2008

This chapter argues that one of Hume's principal objectives in his discussion of space and time is to discredit the Newtonian doctrine of absolute space and time, which had recently been given a prominent and influential defense by Clarke in his famous correspondence with Leibniz. The significance of this, however, reaches well beyond the immediate issue of space and time. Clarke employed the Newtonian doctrine of absolute space and time as a key part of his “argument a priori.” Considered from this perspective, Hume's critique of Clarke's Newtonian doctrine of absolute space and time serves the deeper purpose of discrediting core features of Clarke's (dogmatic) theological system. So interpreted, Hume's discussion of space has intimate links with his general philosophical system and is an essential component of his wider irreligious intentions.
15 The Practical Pyrrhonist
Authors: Russell Paul
Published: May 2008

This chapter provides a general interpretation of the irreligious character of Hume's sceptical intentions in the Treatise. Although the Treatise remains the primary concern, the discussion also covers Hume's later philosophical works. Hume's basic aim is to reveal the “weakness and uncertainty of mere human reason" so that he can show that all speculations that reach beyond “the common affairs of life"—specifically, those that are encouraged by “superstition"—should be abandoned. This is the principal lesson of the Conclusion of Book I (T, 1.4.7). This general account of Hume's skeptical commitments serves as the foundation for a solution to the problem of the “riddle” of the Treatise.
19 Was Hume an “Atheist”?
Authors: Russell Paul
Published: May 2008

This chapter considers to what extent the irreligious interpretation of the Treatise supports the charge of “atheism” and how this relates to Hume's philosophical commitments in his later writings in so far as they concern religion. The most accurate and informative label for describing Hume's views on this subject is irreligion—which is the label used here to describe Hume's fundamental intentions in the Treatise. Irreligion is a term that both Hume's contemporaries and our own would understand and can apply to Hume's arguments and outlook without any serious misrepresentation. Calling Hume's views on this subject irreligious avoids, on one side, attributing any form of unqualified or dogmatic atheism to him, while, on the other, it also makes clear that his fundamental attitude toward religion is one of systematic hostility and criticism (i.e. he believes that we are better off without religion and religious hypotheses and speculations). Nevertheless, Hume's early critics were well justified in their view that the label of “atheism” was a natural fit, given their own understanding of this term and the evident irreligious features contained in Hume's writings.
20 Hume's Lucretian Mission
Authors: Russell Paul
Published: May 2008

Whatever the merits of the irreligious interpretation of the Treatise, it may be argued that there remain significant puzzles and problems relating to the coherence of Hume's aim to discredit and dislodge the role of religion in human life (i.e. his “Lucretian mission”) when we try to accommodate developments and additions that appear in his later writings. More specifically, it may be argued that Hume's own observations about the origins and roots of religion in human nature, primarily as presented in his Natural History of Religion, show that his Lucretian mission is neither wise nor achievable. If this general line of criticism is correct, then Hume's Lucretian mission is both theoretically self‐refuting and practically self‐defeating. Moreover, considered in this light, Hume's project in the Treatise is fundamentally flawed as judged by his own claims and hypotheses concerning religion. This chapter argues that in respect of all these charges Hume is not guilty of any internal inconsistency.
FOUR Metrical Progressions and Processes
Authors: Krebs Harald
Published: May 2008

This chapter begins with a discussion of “metrical progressions” — successions of metrical states within pieces of music — and presents a method for the notation of metrical progressions in the form of a metrical map. Metrical maps are time-lines of musical works that use the system of labels outlined in the second chapter, and that show the changes of metrical state and changes of intensity of dissonance in the given work. The final part of the chapter, drawing on the categories of dissonance outlined in the second chapter, describes a number of metrical processes — processes of moving from consonance to dissonance (abrupt or gradual establishment of dissonance); processes within a dissonant state; and processes of moving from dissonance to consonance (processes of resolution). The largest number of these processes takes place within dissonant states: processes of intensification; of surfacing or submerging; of augmentation and diminution; and, in displacement dissonances, of tightening and loosening. Again, all of these processes are illustrated with passages from Schumann's music.
7 “God's Own Country”
Authors: Erlmann Veit
Published: May 2008

After the failure of the first tour to England, members of the African Choir regrouped and undertook a second tour of England, Canada, and the United States. This chapter chronicles this epic journey and how it lead to the foundation of the A.M.E. Church in South Africa. African-American spirituals played a key role in these black diasporic contacts and were at the center of an emerging black counter-public.
8 Interlude
Authors: Erlmann Veit
Published: May 2008

This chapter bridges between the two parts of the book by bringing the story of the African Choir into the 20th century, as some of its members became prominent community leaders: Saul Msane as co-founder of the ANC, Charlotte Manye as a leading force in the A.M.E., and Kate Manye as a prominent social worker.
13 Songs of Truth and Healing
Authors: Erlmann Veit
Published: May 2008

In 1992, two years before South Africa's first democratic elections, Ladysmith Black Mambazo teamed up with playwright Tug Yourgrau in the production of “The Song of Jacob Zulu”. The play, premiered at the Steppenwolf Theater in Chicago, portrays the career of an ANC freedom fighter facing the death penalty and advocates the process of reconciliation initiated by the Truth and Reconciliation Commission.
15 Dances with Power
Authors: Erlmann Veit
Published: May 2008

This chapter discusses the collaboration between Michael Jackson and Ladysmith Black Mambazo on the music video “Moonwalker”. In comparing Jackson's dance style with that of the South Africans, certain parallels in black body styles become apparent and how these intersect with the aesthetics of MTV, black dance, and popular music in articulating racial difference.
Prelude
Authors: Collamore Lila
Published: May 2008

This Prelude provides an introduction to the daily round of the Divine Office, with an outline of the structure of each service (Matins, Lauds, Vespers, and the little hours), and offers descriptions of special forms for high feast days of the liturgical year. The Prelude is based on knowledge of manuscripts in the CANTUS database.
I Sermons, Sacramentaries, and Early Sources for the Office in the Latin West
Authors: Fassler Margot E.
Published: May 2008

This chapter demonstrates how liturgical scholars traditionally study the Office, working out of the example of the Advent season and its history. It lays out the common source materials for the study of liturgy in the Latin Middle Ages, and demonstrates how scholars work with various kinds of tools currently available. The creative genius of the 10th and 11th centuries was lavished upon this Office, as each region and religious community refashioned a large body of broadly circulating materials to suit its particular needs and tastes. The process of understanding how this happened is crucial to knowing how religious cultures evolved in the Latin Middle Ages.
3 The Origins of the Western Office
Authors: Mckinnon James W.
Published: May 2008

This chapter traces the change from private to public prayer hours from the emancipation of the Church under Constantine in 312; the Eastern monastic and cathedral Offices are surveyed and contrasted with the Western Office. Fundamental to the early monastic Office was the primary device adopted by the Egyptian monks of chanting the psalms continuously, in numerical order for extended periods of time. The psalmody of urban monasticism had a profound, indeed overwhelming, influence on the cathedral Office — it transformed the morning and evening Offices, and it filled the intervening hours of the day with additional Offices. The monastic concern with the precise apportionment of the Psalter is a peculiar phase of the broad liturgical movement towards fixity.
4 Observations on the Divine Office in the Rule of the Master
Authors: Dyer Joseph
Published: May 2008

Over twenty chapters of the monastic Rule of the Master (early 6th century) are devoted to the organization of the Office. The two separate descriptions of the Office contained in the Rule are complementary and imply successive redactional stages. Seen in this light, the order of the chapters is entirely logical. The fuller second treatment of the Office may have been intended for a monastery outside the Master's immediate jurisdiction.
7 The Divine Office at Saint‐Martial in the Early Eleventh Century
Authors: Grier James
Published: May 2008

Paris, BN lat. 1085 represents a systematic attempt to record the texts of the Divine office as celebrated at St.-Martial (Limoges) in the early 11th century. It was, therefore, compiled before the abbey's purchase and occupation by the abbey of Cluny in 1062-3. This chapter analyzes the structure, organization, and contents of the MS, noting its unusual characteristics in comparison with other monastic sources of the Office of a similar age and demonstrate many archaic features.
9 Taking the Rough with the Smooth
Authors: Rankin Susan
Published: May 2008

The song Diastematica vocis armonia belongs to an extensive repertoire of songs with which, from the late 11th century on, clerics in France and related areas were accustomed to celebrate the highest feasts of the church year. Comparison of this song and its source, GB-Cu MS Ff.1.17 (the so called Younger Cambridge Songbook), with similar songs, as copied in the later MS I-Fl MS Plut. 29.1 (F), shows that conductus songs of this sort were evidently on the margins of the liturgy in the 11th and 12th centuries, but by the mid-13th century had become an officially supported part of the performance of the Divine Office in many parts of France. The nature of the manuscripts that survive containing the repertory reflects its change in stature.
12 Performing Latin Verse
Authors: Björkvall Gunilla , Haug Andreas
Published: May 2008

Versified Offices contain antiphons and responsories written in verse form. This subgenre appeared during the 10th century. Does the distinctive textual form of versified Offices have a bearing on the melodies composed for their performance? Using an interdisciplinary approach, this chapter analyzes the intricate relationship between the different verse forms appearing in selected early medieval Office texts and the melodies to which they were sung. Emphasis is on three early versified Offices: the Office of the Trinity, the Office of St. Lambert, and the Office of St. Fuscian.
13 From Office to Mass
Authors: Robertson Anne Walters
Published: May 2008

In at least five churches in northern France (Amiens, Bayeux, Chartres, St.-Corneille, and St.-Denis), an antiphon was sung before the Gospel in the celebration of the Mass. This practice seems to have originated in the 13th century. A few additional churches occasionally used other chants or even polyphonic music at this point in the liturgy. Questions addressed include the origins of this practice, where it was cultivated, and how we might interpret it. This musical custom may have been connected with features of Gothic architecture, including the building of the jubé, or choir screen. The melodies were often borrowed from the office, most notably from the magnificat antiphon for second vespers, and so created a musical interrelationship between the Mass liturgy and the office.
14 The Office for the Feast of the Circumcision from Le Puy
Authors: Arlt Wulf
Published: May 2008

The Office for the Feast of Circumcision (sometimes called the Feast of Fools) was celebrated throughout the more than twenty-four hours starting with First Vespers on 31 December and lasting through Compline of New Year's Day. This elaborate Office, one of several designed for celebration by clerical orders during the Octave of Christmas, is preserved in great detail in a 16th-century MS from Le Puy. Evidence confirms, however, that the Office itself dates from at least the 13th century. This chapter discusses the sources and history of this Office — known as Bozolari — and its music, and places them in the context of earlier traditions from Beauvais, Paris, and Sens.
15 The Palm Sunday Procession in Medieval Chartres
Authors: Wright Craig
Published: May 2008

This chapter presents a short history of the Palm Sunday procession in the Western Church followed by a more detailed study of that ritual as it unfolded in medieval Chartres, especially using ordinals from the diocese. The procession at the cathedral of Chartres is reconstructed, the chants enumerated, and the processional route traced through the streets and into the secondary churches of that city. Finally, to determine what was unique about Palm Sunday in Chartres, the ceremony there is compared to similar practices at other cathedrals in northern France, specifically those at Amiens, Bayeux, Laon, Metz, Paris, Reims, Rouen, Sens, and Soissons. Not until the French Revolution did this colorful Chartres tradition come to an end.
16 Nonconformity in the Use of Cambrai Cathedral
Authors: Haggh Barbara
Published: May 2008

Before his death, Dufay founded seventeen monophonic and polyphonic Masses to be held by his tomb in a chapel, Masses for saints not in the service books for the main choir of Cambrai Cathedral, thus foundations not conforming to a “use”. Archives and service books explain the foundations and context of Dufay's Masses for Anthony of Padua (one of his 17); Anthony Abbot (probably for an obit of the dukes of Burgundy celebrated in Brussels); his lost polyphonic Office of the Dead; and his Missa “Ave regina celorum” (for the Marian Mass in the Cathedral's choir).
21 The Carmelite Feast of the Presentation of the Virgin
Authors: Boyce James John , Carm O.
Published: May 2008

The Carmelite Order accepted the Office of the Presentation of the Virgin Mary into its liturgy in 1393. The Carmelites of Mainz composed new texts for the feast and adapted music from three other Offices — St. Thomas of Canterbury, the Three Marys, and the Nativity of Mary — to the new texts. Differences in textual length and metrical patterns between these Presentation chants and their models forced changes in phrase divisions and melodic contours as part of this process of adaptation, yielding a product that is both musically distinctive and uniquely Carmelite.
22 Large Projects and Small Resources
Authors: Hughes Andrew
Published: May 2008

This chapter describes first the process and problems associated with the production of an electronic database incorporating the texts of, some of the chants of, and information about 1200 late medieval liturgical Offices; and second the computer files and programs written to analyze and search the poetry and chants. These data are associated with the publications abstracted as RILM 2337 and 578. The results of several analyses of melodic motives are presented and discussed. Final comments relate in general to the use of computer for humanistic data processing.
INTRODUCTION: AT THE INTERSECTION OF OLD AND NEW PATHS
Authors: Daverio John
Published: May 2008

This introductory chapter begins with a discussion of the purpose of the book, which is to shed light on some aspects of the interdependent musical languages of Schubert, Schumann, and Brahms. It reflects on some of the theoretical issues that such an intertextual approach raises. An overview of the subsequent chapters is presented.
CHAPTER 2. THE GESTUS OF REMEMBERING: SCHUMANN'S CRITIQUE OF SCHUBERT'S IMPORMTUS, D. 935
Authors: Daverio John
Published: May 2008

The publication of several large-scale instrumental works by Franz Schubert in the late 1920s and 1930s elicited little reaction from contemporary critics. However, the critical voice that broke the near silence with the greatest regularity belonged to Robert Schumann. Between 1834 and 1840, Schumann turned repeatedly to Schubert's instrumental music, illuminating the special magic of pieces that ranged in weight from the comparatively slight 16 Deutsche und 2 Ecossaisen to the colossal Symphony in C major. This chapter speculates on what is was that drew Schumann to Schubert's music.
CHAPTER 3 SCHUMANN: CRYPTOGRAPHER OR PICTOGRAPHER?
Authors: Daverio John
Published: May 2008

Robert and Clara Schumann were one of the most remarkable artist couples in the history of Western music. Their emotional lives affected their artistry, and this process was especially decisive for Robert Schumann, whose letters eloquently confirm his desire to inscribe his beloved into the very fabric of his music. Clara also served as a muse to Johannes Brahms. This chapter examines the hypothesis that several of Schumann's and Brahms's works contain cryptic references to Clara's name, musical ciphers for “Clara” that act as sonorous emblems for a beloved image.
CHAPTER 4. BRAHMS'S MUSICAL CIPHERS: ACTS OF HOMAGE AND GESTURES OF EFFACEMENT
Authors: Daverio John
Published: May 2008

This chapter examines Brahm's cipher technique. It considers a handful of cases for which Brahms's employment of ciphers is more or less assured. These fall into three categories, which depend on the strength of the evidence: certain or nearly certain; probable; and one case where a composition stands in an indirect relation to a musical cipher. These ciphers include Des jungen Kreislers Schatzk ästlein, nos. 225, 226, 228, 320; “F.A.E.” Sonata for Violin and Piano, Scherzo (movement 3), WoO2; Piano Sonata No. 3 in F minor, Finale, Allegro moderato ma rubato (movement 5); and Fugue in A-flat minor for Organ, WoO8.
CHAPTER 6. TRANSCENDENTAL CHESS GAMES
Authors: Daverio John
Published: May 2008

This chapter focuses on the relationship between Brahms and Schumann. It suggests that what Brahms learned from Schumann arose from the interplay of strategy and affect, of technique and expression. It argues that for Brahms, the essence of the Requiem idea lay not in maudlin lamentation but in the situation of death in a cycle of dissolution and renewal. Nowhere is this outlook more apparent than in his musical eulogies for Schumann, both texted and untexted, of which the most profound perhaps occurs at the conclusion of his Third Symphony.
CHAPTER 7. BRAHMS, THE SCHUMANN CIRCLE, AND THE STYLE HONGROIS: CONTEXTS FOR THE “DOUBLE” CONCERTO, OP. 102
Authors: Daverio John
Published: May 2008

This chapter focuses on Brahms' Concerto in A minor for Violin, Cello, and Orchestra, Op. 102. It sketches a musical family tree for the “Double” Concerto — a network of models in which Robert Schumann and the members of his extended creative family play a crucial role. The sketch will focus on two levels of the concerto's genealogy. On the one hand, it will address the extent to which the work was bound up with Schumann's aesthetic of the concerto in general and with his late works for soloists and orchestra in particular. On the other hand, it will attempt to reveal Brahms' debt to an idiom — transmitted to him principally through Joachim — about which most critics of the concerto have said little of substance: the style hongrois that is, the musical language employed by Western composers to evoke the performing manner of the Hungarian gypsies.
Honoring God and the City
Authors: Glixon Jonathan
Published: May 2008

This book presents a history of musical activities at Venetian lay confraternities — institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the origins of the earliest confraternities in the mid-13th century to their suppression under the French and Austrian governments in the early 19th century. It first discusses the scuole grandi, the largest and most important of the Venetian confraternities. The scuole grandi hosted some of the most elaborate musical events in the Venetian calendar, including lavish annual festivities for each scuola's patron saint and often enlisting such high-profile musicians as Giovanni Gabrieli and Claudio Monteverdi. They also employed singers, instrumentalists, and organists on a salaried basis for processions and regular religious services. The book places detailed descriptions of these events in the context of the scuole grandi's long histories, as the roles of musicians evolved over the centuries. The book's second part is concerned with the scuole piccole, the numerous smaller confraternities born in churches throughout Venice. These local organizations usually did not employ salaried musicians, but hired singers and players as needed for their annual festivities and other occasions. Detailed appendixes include a calendar of musical events at all Venetian confraternities in the early 18th century and a complete listing of musicians for an important 17th century festival. The book demonstrates the vital role of confraternities in the musical and ceremonial life of Venice.
3 SINGING FOR THE SOULS OF OUR BROTHERS
Authors: Glixon Jonathan E.
Published: May 2008

This chapter treats the beginnings of musical practice at the scuole grandi. It begins with a discussion of the use of chant, in particular a 1365 collection of mass propers and ordinaries for the Scuola di Santa Maria della Carità. Also discussed are organs and organists, and the use of brothers of the confraternities to sing laude and at funerals. Finally, the evidence for occasional use of instruments, both winds and strings, in processions is examined.
6 SO SUPER‐EXCELLENT
Authors: Glixon Jonathan E.
Published: May 2008

The most important musical event for a scuola grande was the annual celebration of the feast day of its patron saint. In the 16th and early 17th centuries, the scuole each hired some of the best musicians in the city. In 1553, singers of St. Mark's formed a company to regulate their participation in these and similar feasts. In the first half of the 17th century, the annual celebration at the Scuola di San Rocco became one of the most spectacular musical events in the city. The scuola hired the best choirs, soloists, instrumental ensembles, and virtuoso players, as well as multiple organists, with the participation of such masters as Giovanni Gabrieli, Giovanni Croce, Claudio Monteverdi, and Alessandro Grandi.
7 ONLY A FEW APPEAR, AND OFTEN NONE
Authors: Glixon Jonathan E.
Published: May 2008

This chapter is concerned with the final 150 years in the histories of the scuole grandi, from 1650 to 1807. During this period, for financial and political reasons, the confraternities limited their expenditures on music. They salaried fewer musicians, or less prestigious ones, or even none at all. Many eliminated ensembles of secular singers entirely, although several continued to employ ensembles of the violin family for processions. Supplying the music for masses and other events were now choirs of priests, in some cases, hired as needed, and in others — notably for the scuole of San Giovanni Evangelista and San Rocco — employed on a salaried basis (as were organists). One new occasion for music during this period was the Exposition of the Holy Sacrament; for which scuole, at times, hired musicians. Within a few years of the conquest of Venice by Napoleon, the scuole grandi were suppressed and their musical histories ended.
9 AN HONORABLE AND NECESSARY WORK
Authors: Glixon Jonathan E.
Published: May 2008

This chapter treats musical activities at the scuole piccole in the 17th century. Their patronal feasts remained important occasions for music, but other events also become significant. The Scuola dello Spirito Santo sponsored elaborate music for Pentecost, employing, among others, Francesco Cavalli and Antonio Lotti. Other scuole employed musicians for weekly compline services, monthly processions, and regular expositions of the Holy Sacrament. Services at the Fraterna Grande di Sant'Antonino included laude performed by the brothers. Many scuole, especially the parish-based Holy Sacrament confraternities, continued to build and maintain organs and employ organists. The Sovvegno di Santa Cecilia, founded by the singers of the city, organized an annual festivity that was one of the most elaborate in the city, with the participation of the entire chapel of San Marco and many others.
10 WITH JUBILANT VOICES
Authors: Glixon Jonathan E.
Published: May 2008

This chapter is concerned with the final century of music at the scuole piccole, ending with their suppression in 1807 after the Napoleonic conquest of Venice. Many scuole during this period hired well-known maestri di cappella, including Baldassare Galuppi, Ferdinando Bertoni, and Antonio Polarolo, to coordinate music for their annual festivals. Some also sponsored music for the Christmas novena, for tridui in February and August, and for Lent (when some performed passions). Several employed salaried choirs of priests for monthly or weekly events or for Lenten processions. Another group paid for musicians to accompany them to Rome for jubilees in 1700 and 1725. Also, as in previous centuries, the parish-based Holy Sacrament Confraternities built and maintained organs and employed organists.
Introduction
Authors: Netanel Neil Weinstock
Published: May 2008

The United States Supreme Court has famously labeled copyright “the engine of free expression.” Copyright, indeed, both spurs creative production and underwrites a community of authors and publishers who are not beholden to government officials for financial support. But copyright has strayed from its traditional, speech‐enhancing core, so much so that copyright now imposes an unacceptable burden on the values that underlie First Amendment guarantees of free speech. Copyright has come increasingly to resemble and be thought of as a full‐fledged property right rather than a limited federal grant designed to further a particular public purpose. The copyright‐free speech conflict cuts across traditional and digital media alike. Yet digital technology adds a vast new dimension, pitting entertainment media bent on stamping out massive “digital piracy” against individuals who increasingly perceive copyright as an undue and unworthy impingement on their liberty and expressive autonomy.
From Mein Kampf to Google
Authors: Netanel Neil Weinstock
Published: May 2008

For some, copyright's speech burdens are painfully obvious. But many others do not perceive that copyright poses any serious conflict with freedom of speech.

This Chapter presents some illustrative examples that ought to at least give doubters some pause. They range from speech that is overtly political to purely artistic, from fantasy to documentary, from discrete cases to entire expressive genres, from religious tracts to counterculture comics, from analog to digital, from out‐and‐out copying to highly creative recasting, from new creation to Google search tool, and from copyright holders' calculated suppression of unwanted expression to speakers' inability to pay the copyright license fee that was offered. They demonstrate that copyright may indeed prevent us from effectively conveying a message, pursuing deeply held beliefs, expressing artistic inspiration, participating in a cultural tradition, or, for that matter, promoting “the progress of science.”
What Is Freedom of Speech?
Authors: Netanel Neil Weinstock
Published: May 2008

When does someone's inability to copy, distribute, or build upon a copyrighted work rise to the level of a burden on free speech? When, in contrast, should we readily countenance the restraints that copyright imposes? To answer, this chapter begins with more fundamental questions: What counts as “speech” for purpose of “freedom of speech”? And what free speech principles apply to copyright? This chapter demonstrates that copyright law is an integral part of media and communications policy. It also argues that the important First Amendment value of “expressive diversity” requires a dispersal of communicative power and ample opportunity for speech that directly challenges mainstream culture and popular works. Creative appropriation, the ability to convey one's message and artistic vision by incorporating and building upon mass media sounds and images, thus lies at the heart, not the margins, of freedom of speech. But peer‐to‐peer file sharing is not “speech.”
Copyright's Free Speech Burdens
Authors: Netanel Neil Weinstock
Published: May 2008

This chapter examines more precisely when and how copyright does—and does not—burden speech. We can divide copyright's speech burdens into three distinct, yet interrelated categories. First, copyright imposes a “censorial” speech burden. Because of copyright, speakers are often unable to convey their message effectively and audiences unable to obtain access to certain expressive works. Second, copyright imposes a “prohibitive cost” speech burden. Even a copyright owner who is willing to license sometimes insists on a license fee a particular speaker can ill afford. Third, copyright results in a “distributive” speech burden. The copyright regime as a whole imposes differential burdens on different types of speakers. Highly concentrated copyright industries controlling vast inventories of copyrighted works enjoy the preponderance of copyright's benefits. And copyright's free speech burdens fall most heavily on individuals and independent speakers. While some aspects of copyright's speech burdens are quite straightforward, others are surprisingly complex.
Conceptualizing Music
Authors: Zbikowski Lawrence M.
Published: May 2008

This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes: categorization, cross-domain mapping, and the use of conceptual models, and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy.
CHAPTER ONE CATEGORIZATION
Authors: Zbikowski Lawrence M.
Published: May 2008

This chapter begins with an overview of research in cognitive science, focusing on processes of categorization. For centuries, writers in the West regarded categories as fixed and immutable, and any variation in categorization was taken as evidence of the failure of the human intellect to deal with the structure of the real world. However, the pioneering work of Eleanor Rosch and others in the 1970s showed that category structure was not as simple as first believed. In particular, some levels of categorization are preferred over others, and some members of a category are regarded as better representing the category than others (a phenomenon known as graded membership).
CHAPTER TWO CROSS‐DOMAIN MAPPING
Authors: Zbikowski Lawrence M.
Published: May 2008

This chapter examines the process of cross-domain mapping, beginning with the work of cognitive linguists who, in the 1980s, proposed that metaphor was a basic structure of understanding. This proposal gained added weight when it was shown that metaphorical projection (which is one way to accomplish cross-domain mappings) was a general process not restricted to linguistic expressions but grounded in embodied experience. One example of cross-domain mapping that involves music in a rather immediate way is the technique of text painting, a compositional device that aims to represent in music specific images summoned by the text of a vocal work. Text painting provides a point of departure for the exploration of how cross-domain mapping is manifested in our understanding of music, as it leads to an extension of cross-domain mapping called conceptual blending. In a conceptual blend, elements from two correlated domains are projected into a third, giving rise to a rich set of possibilities for the imagination. It is shown that text painting can lead to such blends, as can program music.
CHAPTER FOUR CATEGORIZATION, COMPOSITIONAL STRATEGY, AND MUSICAL SYNTAX
Authors: Zbikowski Lawrence M.
Published: May 2008

This chapter examines how musical materials are organized within a work — more properly, the problem of musical syntax and, by extension, musical semiotics. Although semioticians are usually quick to grant that music has a syntax, they are more doubtful about whether its semantic level has any depth. By taking a close look at how composers make use of categories of musical events — in this case, the way Mozart and Beethoven use motives in the opening movements of three string quartets — the chapter provides insight into how musical materials are organized in the service of musical discourse, as well as how features of this organization contribute to meaning construction as a whole.
CHAPTER FIVE CULTURAL KNOWLEDGE AND MUSICAL ONTOLOGY
Authors: Zbikowski Lawrence M.
Published: May 2008

This chapter addresses the problem of what counts as a work of music. This problem, usually called the problem of musical ontology, is viewed as one of cultural knowledge. It is shown that as opposed to being hopelessly recondite, the problem is of immediate importance for understanding music. By approaching the entire work of music as a category — a category that includes all the scores, performances, representations, and such that are said to be “of” the piece — a model is developed for the cultural knowledge upon which judgments about musical ontology are made. Determinations of what counts as an instance of a particular musical work are thus one of the ways members of a musical community construct and negotiate their identity. Two songs taken from the traditions of popular music and jazz are used as examples: “I Got Rhythm” and “Bye Bye Blackbird”.