bluuebunny/crossref_metadata_2025 huggingface dataset:
PERSPEKTIF BARU METODE DAN ALIRAN TAFSIR IBN QAYYIM
Authors: Muhaimin Abdul , Munawaroh Mas’ulil
Published: October 2019

Qasam in the Koran shows the seriousness of Allah to convey material or strengthen arguments because of the lack of faith in the material delivered. This shows that knowing Qasam in the Qur'an is very urgent and it is not surprising if in the end Imam Ibn Qayyim al-Jauziyyah wrote a specific account explaining the Qasam in the Qur'an in his interpretation called “at-Tibyan fi Aqsamil Qur’an”. Therefore it is necessary to do a study to find out new perspectives of sources, methods and interpretations according to M. Ridlwan Nasir, thus adding insight into our study in the study of commentaries. The problem in this study is what sources, methods and interpretive flows are used in the tafsir “at-Tibyan fi Aqsamil Qur’an”.  The results of the research that the research source used is bil Iqtiran (a combination of bil Ma'tsur and bil Ra'y), The method of the explanation uses the Bayan methodi , in terms of the breadth of the explanation using the Itnabi method , and seen from the goals & objectives of the verse interpreted using the Maudu'i method. While the flow / tendency, the flow Sufi, Lughawi, ‘Ilmi, and al-Fiqhi, but the most dominant flow is the Sufi.
Hak Asasi Manusia (HAM) Dalam Penerapan Hukum Islam Di Indonesia
Authors: Suhaili Achmad
Published: October 2019

Hak Asasi Manusia (HAM)  merupakan hak yang secara alamiah diperoleh seseorang sejak lahir, karena itu HAM sejalan dengan ftrah manusia itu sendiri. HAM pada hakikatnya merupakan anugrah Allah kepada semua manusia. Dilihat dari kodrat manusia, hakekatnya telah dianugerahi hak-hak pokok yang sama oleh Allah SWT. Hak-hak pokok inilah yang disebut sebagai hak asasi manusia (HAM). HAM yang melekat pada diri manusia, bersifat kodrati, universal, dan abadi berkaitan dengan martabat dan harkat manusia itu sendiri. HAM juga menjadi keharusan dari sebuah negara untuk bisa menjaminnya dalam konstitusinya. Karena Hak asasi manusia adalah seperangkat hak yang melekat pada hakikat keberadaan manusia sebagai mahluk Tuhan Yang Maha Esa dan merupakan anugrah-Nya yang wajib dihormati, di jungjung tinggi, di lindungi oleh negara, hukum, pemerintah, dan setiap orang demi kehormatan serta perlindungan harkat martabat manusia. Ajaran  Islam  meliputi seluruh aspek dari sisi kehidupan manusia, dan tentu saja telah tercakup di dalamnya aturan dan penghargaan yang tinggi terhadap hak asasi manusia (HAM). Namun memang  tidak dalam satu dokumen yang terstruktur, tetapi tersebar dalam ayat-ayat suci alQuran  dan Sunnah Nabi Muhammad SAW. Dalam hal ini Negara Indonesia yang mayoritas penduduknya adalah Islam, selalu konsisten dalam penerapan Hukum Islam yang senantiasa mensandingkan prinsipnya dengan Nilai-nilai Hak Asasi Manusia yang harus di lindungi oleh Negara dan Pemerintah.
PERAN KEPEMIMPINAN KYAI DALAM MENDIDIK DAN MEMBENTUK KARAKTER SANTRI YANG SIAP MENGABDI KEPADA MASYARAKAT
Authors: Kurniati Mia , Surur Miftahus , Rasyidi Ahmad Hafas
Published: October 2019

Boarding school is an Islamic institution that has a noble goal, that is to educate the community in which is called santri, so that it becomes a human being beneficial to himself more for the outside community. To be a students who hope to be able to be useful in the midst of society, for that institution of boarding schools create a variety of programs and education either in the form of character education and formal education in order to adapt themselves With the demands of the epoch but still on the line of provisions taught his religion that is Islam. In a boarding school certainly has leaders who lead the entire students therein, as the caretaker as well as the main leader of boarding school is a major role in realizing the vision and mission of boarding schools, because only the top The entire activity will run.The method used in this study is a qualitative method in which the source of results is obtained from interviews with predetermined sources. The results of the study prove that the role of the kyai is very urgent for the life of the boarding school community in it,because the kyai is the leader of the boarding school. In realizing a common goal in educating and shaping the character of santri as needed in the midst of society, of course there are several obstacles. However, this is still a reasonable limit and is handled jointly by the kyai together with the administrators of the Salafiyah Dawuhan Islamic boarding school.
Desenvolvimento inicial de mudas de goiabeira irrigadas com diferentes tipos de água
Authors: Nóbrega Éverson Pedrosa da , Sarmento Maria Iza De Arruda , Rodrigues Maria Lucimar De melo , Oliveira Priscila Raguel Rodrigues de , Neto João Ferreira , Maracajá Patricio Borges
Published: October 2019

: A reutilização de água na agricultura vem se tornando necessário devido à sua crescente escassez, especialmente no semiárido brasileiro. Este trabalho objetivou propor o aproveitamento de água de ar condicionado e efluente na produção e desenvolvimento de mudas de goiaba. A pesquisa foi desenvolvida no setor de produção de mudas localizado no Instituto Federal da Paraíba, Campus Sousa. Utilizou-se o delineamento de blocos casualizado, com quatro tratamentos e quatro repetições. Foram utilizadas quatro proporções de água: T1=100% de Poço Artesiano, T2= 100% Ar condicionado, T3= 50% Ar condicionado + 50% Efluente agroindustrial e T4= 100% Efluente agroindustrial. As mudas de goiaba, var. Palluma, foram produzidas em sacos plásticos, utilizando barro e esterco na proporção (2:2:1) como substrato. Foram avaliadas as seguintes variáveis: número de folhas, diâmetro do caule e altura da parte aérea, massa verde e seca da parte aérea e raiz. A utilização de águas ar condicionado surge como uma alternativa economicamente viável para a utilização na irrigação de mudas de goiaba, seguida pela água do poço artesiano. O uso da água de efluente agroindustrial inferiu menores resultados para altura de plantas (AP)  e número de folhas (NF) nos períodos avaliados.
Anonymous I and Prologus in tonarium: Changing Interpretations of Music Theory in Eleventh-Century Germany
Authors: McCarthy T. J. H.
Published: October 2019

This article examines the relationship between Prologus in tonarium by Abbot Bern of Reichenau (d. 1048) and the eleventh-century music treatise known today as ’Anonymous I’ (first published by Dom. Martin Gerbert in Scriptores ecclesiastici de musica sacra of 1784). The authorship and dating of Anonymous I are disputed in current historical literature: Abbot Bern himself has been suggested as its author by one scholar, while dates proposed by other scholars range from c1000 to c1100. The situation is further complicated by the possible connexion of Anonymous I both to an interpolated version of Prologus in tonarium and to the lengthy treatise Breviarium de musica by Frutolf of Michelsberg (d. 1103). This article argues that though Anonymous I was probably written shortly after Prologus in tonarium, it was produced independently of that work. Anonymous I was, however, an important influence on the reception of Abbot Bern’s music theory by eleventh-century clerks.
Bach’s Prelude, Fugue and Allegro for Lute (BWV 998): a Trinitarian Statement of Faith?
Authors: Leahy Anne
Published: October 2019

It is now widely acknowledged and accepted today that in the realm of his sacred music J. S. Bach was deeply influenced not only by the liturgy of the Lutheran Church but also by the writings of Martin Luther and other theologians. It is equally accepted that in general Bach used the same musical language in all of his works, sacred and secular. Might one therefore ask the question that if theology permeates the musical language of his sacred works, then does theology similarly undergird his freer instrumental works, works that stand well outside the liturgical constraints of his sacred music?The Prelude, Fugue and Allegro for Lute (BWV 998), which has received little attention in musicological literature, offers interesting issues to explore. It is a tripartite work, whose central movement is a da capo fugue, a rare occurrence in the music of Bach. The fugue subject seems to be based on Luther’s Christmas chorale Vom Himmel hoch, da komm ich her. This is confirmed by scrutiny of the theme of the concluding Allegro, which is in fact a direct citation of the opening variation of the Canonic Variations on the same hymn melody (BWV 769/769a). The quotation of this motif, which has been shown to be significant in the chorale-based works of Bach, begs the question of whether there are other theological elements in BWV 998. Bach employs the Trinitarian key of E flat for the entire work and the equally symbolic metre of 12/8 in the opening movement. He was seemingly not afraid to incorporate theological content in a secular work.
Getting to the Heart of the Music: Idealizing Musical Community and Irish Traditional Music Sessions
Authors: O’Shea Helen
Published: October 2019

The power of shared musical experience has inspired scholars to theorize collective musical performance as capable of producing an embodied, transcendent experience of an ideal society. Scholars who have written about the group performance of Irish traditional music demonstrate a similar understanding. Such models tend to idealize musical performance (as if it always produced a transcendent experience) and to elide the experiences of participants, representing them as harmonious (at one) and homogeneous (as one). Drawing on fieldwork conducted among musicians playing Irish traditional music in East Clare, this article considers the social and musical consequences of idealizing group performance and proposes a more nuanced understanding of musical community as a process of dialogue.
Pierrot lunaire in Studio and in Broadcast: Sprechstimme, Tempo and Character
Authors: Byron Avior
Published: October 2019

A comparison of a recently-discovered broadcast of Pierrot lunaire with the famous 1940 commercial recording of the work, both with Arnold Schoenberg conducting performers of his circle (notably Rudolf Kolisch, Edward Steuermann and Erika Stiedry-Wagner), shows that the different contexts of the recording studio and the live broadcast, as well as other factors, had considerable influence on the performances. This article demonstrates how tempo, character and Sprechstimme contour were affected by these different contexts. Such factors caused many listeners to experience the broadcast as an excellent performance, one which was described as superior to the commercial recording. In increasing our awareness of the distinctions between live and studio recordings, a study such as this of historical performances contributes to our view of performance as a critical element in an understanding of Western art music.

The article contains 18 sound examples from the original recordings, in mp3 files that may be streamed from the journal’s website: links are embedded in the full-text PDF file.
The Rules of Engagement: Richard Taruskin and the History of Western Music
Authors: White Harry
Published: October 2019

The Oxford History of Western Music (2005) is a scrutiny of the ‘literate tradition’ of music in European and North American culture from the beginnings of notation to the end of the twentieth century. Richard Taruskin’s monumental and profoundly erudite engagement with a thousand years of western art music is animated from the outset by a radical critique of German idealism and the influence which this has exerted on the formation and transmission of European and American musical thought. Taruskin takes the view that as a result of this influence, the history of music has been seriously distorted, especially in regard to the contractual intelligibility of musical discourse in relation to society. The prestige of progressivism, as this is manifested in atonal and serial composition, in primitivism and neoclassicism, has enjoyed an excessive pre-eminence which eclipses in turn the narrative clarity of tonal music in the twentieth century.In this review essay, Taruskin’s indictment of historicism as a primary agent in the perpetuation of (German and Anglo-American) musicological orthodoxy is appraised in the context of his own obligations to narrative, musical analysis and the reception history of musical works. Taruskin’s identification of an historicist ‘master-narrative’ in earlier surveys of western music is considered in relation to a new master- narrative, of Taruskin’s own making, which condemns the hegemony of musical idealism at every turn. The tension which arises between this enduring preoccupation and the author’s sustained engagement with individual musical texts tends to confirm the autonomy of the musical work, not as an object immune (or indifferent) to history, but as a nexus of social, ideological and political expression which attains to a self-standing aesthetic integrity.
Paul Collins, The Stylus Phantasticus and Free Keyboard Music of the North German Baroque (2005)
Authors: Brewer Charles E.
Published: October 2019

A review of Paul Collins, The Stylus Phantasticus and Free Keyboard Music of the North German Baroque (Hants: Ashgate Publishing Limited, 2005), ISBN 0-7546-3416-7, xv + 229pp, £45/$89.95.
Seán Campbell & Gerry Smyth, Beautiful Day: Forty Years of Irish Rock (2005)
Authors: Ní Fhuartháin Méabh
Published: October 2019

A review of Seán Campbell & Gerry Smyth, Beautiful Day: Forty Years of Irish Rock (Cork: Cork University Press: Atrium, 2005), ISBN 0-95353-535-5, 240pp, €20/£17.50/$25.
Gerry Smyth, Noisy Island: A Short History of Irish Popular Music (2005)
Authors: McCann Anthony
Published: October 2019

A review of Gerry Smyth, Noisy Island: A Short History of Irish Popular Music (Cork: Cork University Press, 2005), ISBN 1-85918-387-5, 190pp, €15/£13.95/$19.95.
Harry White, The Progress of Music in Ireland (2005)
Authors: Youens Susan
Published: October 2019

A review of Harry White, The Progress of Music in Ireland (Dublin: Four Courts Press, 2005), ISBN 1-85182-879-6, 208pp, €45/£40/$45.
Suzel Ana Reily (ed.), The Musical Human: Rethinking John Blacking’s Ethnomusicology in the Twenty-First Century (2006)
Authors: Smith Thérèse
Published: October 2019

A review of Suzel Ana Reily (ed.), The Musical Human: Rethinking John Blacking’s Ethnomusicology in the Twenty-First Century (Aldershot: Ashgate, 2006), ISBN: 0-7546-5138-X, 234 pp, £47.50/$94.95.
Marie Sallé and the Development of the Ballet en action
Authors: McCleave Sarah
Published: October 2019

This article identifies the role played by acclaimed dancer and choreographer Marie Sallé (1707-56) in the development of the ballet en action. This is done by making a lexicographical study of key terms (particularly action, character, and intrigue) found in the writings of contemporaries who praised the dancer, such as revolutionary choreographer Jean-Georges Noverre and critic Louis de Cahusac. This lexicographical study is then applied to some of Sallé’s important creative works of the mid-1730s, including Handel’s Terpsichore (London, 1734), a revival of André Campra’s L’Europe galante (Paris, 1736), the ‘Ballet des Fleurs’ from Rameau’s Les Indes galantes (Paris, 1735) as well as Bacchus and Ariadne (London, 1734).
Norton Dudeque, Music Theory and Analysis in the Writings of Arnold Schoenberg (1874-1951) (2005)
Authors: Heneghan Áine
Published: October 2019

A review of Norton Dudeque, Music Theory and Analysis in the Writings of Arnold Schoenberg (1874-1951) (Aldershot and Burlington, VT: Ashgate, 2005), ISBN 0754641392, xv + 274 pp, £55.00/$99.95.
Crossing the River: Exploring the Geography of Irish Traditional Music
Authors: Kearney Daithí
Published: October 2019

Geographical interest in music has developed dramatically in the last decade. Musicology, and ethnomusicology in particular, is already intensely geographical. The two subjects can inform each other to create a better understanding of the role of music in society. In this article, the relationship between politics in the performance of music, particularly in consideration of national identity, is examined in an Irish context. Just as Irishness has become a global entity, Irish traditional music has become a global commodity. Attempts at constructing the narrative of Irish traditional music as an essentially Irish music is bound up in the institutionalization of Irish traditional music through local government, universities and organisations such as Comhaltas Ceoltóirí Éireann. Irish traditional music has rarely been independent of politics in the last two decades. It is a connection that has intensely geographical implications for the performance of Irish traditional music.
Analysis, Philosophy and the Challenge of Critical Theory: Michael Spitzer’s Music as Philosophy: Adorno and Beethoven’s Late Style
Authors: Horton Julian
Published: October 2019

Michael Spitzer’s Music as Philosophy: Adorno and Beethoven’s Late Style (Indiana University Press, 2006, ISBN 0-253-34724-6) pursues multiple lines of scholarly enquiry. As a musicological study, the book advances an historicist agenda, which grounds the understanding of Beethoven’s music in an extension of its contemporaneous philosophical context. As a music-analytical study, it proposes an approach based on fluid philosophical and style-historical categories, and so opposes the quasi-scientific, theory-heavy strategies that increasingly dominate transatlantic music analysis. As a template for current scholarly practice, Music as Philosophy fights a rearguard action against the postmodern opprobrium that Adorno and his descendents have recently endured. This review article evaluates Spitzer’s study against the background of recent critical engagements with Adorno’s legacy, especially that advanced by Richard Taruskin, estimating the analytical efficacy of Spitzer’s Adornian apparatus, and appraising the defence of critical theory it mounts, in view of the postmodern hostility such modes of thought have of late provoked.
Lewis Foreman, Bax: A Composer and His Times, third edition (2007)
Authors: Huss Fabian
Published: October 2019

A review of Lewis Foreman, Bax: A Composer and His Times, third edition (Woodbridge: Boydell Press, 2007), ISBN 978-1-84383-209-6, 616pp, £29.95/$55.
Populism and Folklorism in Central European Music Pedagogy of the Nineteenth and Early Twentieth Centuries
Authors: Dullea Rhoda
Published: October 2019

The nineteenth century saw the beginnings of a fascination for ‘naïve’ folk art as a supposed encapsulation of ‘national spirit’, a fascination which juxtaposed and frequently intersected with a growing interest by many composers in the creation of didactic art music for children. Folk themes, considered ‘child-like’ and ‘pure’ in character, informed many of these works because of their apparent aptness for a young audience. Such works led to a populist trend peaking in the early twentieth century that saw composers using everyday folk-art themes and references, in the context of their own compositional idiom, as a means of introducing not only children but the general public to arcane principles of art music in an accessible way.Bound up with the populist concern for the musical education of ‘the masses’ (through reference to ‘their’ folk-music genres) were topical social and political ideologies, chiefly nationalism and later, at the start of the twentieth century, evolutionism, which influenced the composers’ selection of folk-music themes for their pedagogical works and were clearly evident in their explanatory literature about this music. Through reference to composers from Schumann to Kodály and Orff, this article traces the development and influence of the Volk concept, from both nationalist and evolutionist perspectives, on Central European musical pedagogy of the nineteenth and early twentieth centuries.
Pieter Dirksen, Heinrich Scheidemann’s Keyboard Music: Transmission, Style and Chronology (2007)
Authors: Collins Paul
Published: October 2019

A review of Pieter Dirksen, Heinrich Scheidemann’s Keyboard Music: Transmission, Style and Chronology (Aldershot: Ashgate, 2007), ISBN 978-0-7546-5441-4, xxiii + 254 pp, £55/$99.95
Henry Burnett and Roy Nitzberg, Composition, Chromaticism and the Developmental Process: A New Theory of Tonality (2007)
Authors: Wason Robert
Published: October 2019

A review of Henry Burnett and Roy Nitzberg, Composition, Chromaticism and the Developmental Process: A New Theory of Tonality (Aldershot: Ashgate, 2007), ISBN 978-0-7546-5162-8, xxvii + 402 pp, £55/$99.95
Linda Cummins, Debussy and the Fragment (2006)
Authors: Shanahan Daniel
Published: October 2019

A review of Linda Cummins, Debussy and the Fragment (New York: Chiasma Press, 2006), ISBN 90-420-2065-2, 192 pp, €40
Simon-Pierre Perret and Marie-Laure Ragot, Paul Dukas (2007)
Authors: Watson Laura
Published: October 2019

A review of Simon-Pierre Perret and Marie-Laure Ragot, Paul Dukas (Paris: Fayard, 2007), ISBN: 978-2-213-63329-9, 557 pp, €30
Fabian Holt, Genre in Popular Music (2007)
Authors: Marx Wolfgang
Published: October 2019

A review of Fabian Holt, Genre in Popular Music (Chicago and London: University of Chicago Press, 2007), ISBN 978-0-226-35039-4, xiv + 221 pp, £10.00/€16.99 (paperback)
Steven Baur, Raymond Knapp and Jacqueline Warwick (eds), Musicological Identities: Essays in Honor of Susan McClary (2008)
Authors: Morris Christopher
Published: October 2019

A review of Steven Baur, Raymond Knapp and Jacqueline Warwick (eds), Musicological Identities: Essays in Honor of Susan McClary (Aldershot and Burlington, VT: Ashgate, 2008), ISBN 978-0-7546-6302-7
Nicholas Cook, The Schenker Project. Culture, Race, and Music Theory in Fin-de-siècle Vienna (2007)
Authors: Cascelli Antonio
Published: October 2019

A review of Nicholas Cook, The Schenker Project. Culture, Race, and Music Theory in Fin-de-siècle Vienna (New York: Oxford University Press, 2007) ISBN 978-0-1951-7056-6
Matthew Gelbart, The Invention of ‘Folk Music’ and ‘Art Music’. Emerging Categories from Ossian to Wagner (2007)
Authors: White Harry
Published: October 2019

A review of Matthew Gelbart, The Invention of ‘Folk Music’ and ‘Art Music’. Emerging Categories from Ossian to Wagner (Cambridge: Cambridge University Press, 2007), ISBN 978-0-521-86303-2
Barbara M. Reul and Lorraine Byrne Bodley (eds), The Unknown Schubert (2008)
Authors: Hyland Anne Margaret
Published: October 2019

A review of Barbara M. Reul and Lorraine Byrne Bodley (eds), The Unknown Schubert (Aldershot: Ashgate, 2008), ISBN 978-0-7546-6192-4
Robert Beale, Charles Hallé: A Musical Life (2007)
Authors: Palmer Fiona M.
Published: October 2019

A review of Robert Beale, Charles Hallé: A Musical Life (Aldershot: Ashgate, 2007), ISBN 978-0-7546-6137-5
Robert O. Gjerdingen, Music in the Galant Style (2007)
Authors: Adams Martin
Published: October 2019

A review of Robert O. Gjerdingen, Music in the Galant Style (Oxford: Oxford University Press, 2007), ISBN 978-0-19-531371-0
Michael Murphy and Jan Smaczny (eds), Music in Nineteenth-Century Ireland (2007)
Authors: Bashford Christina
Published: October 2019

A review of Michael Murphy and Jan Smaczny (eds), Music in Nineteenth-Century Ireland (Dublin: Four Courts Press, 2007), ISBN 978-1-84682-024-3, 336pp, €55
Opera Production in Ireland: No Place for Politics?
Authors: Sheil Áine
Published: October 2019

Opera has a history of just over four hundred years and a markedly finite canon in comparison with spoken theatre. The repertory has expanded very little in the past half-century, and this means that renewal is largely achieved through direction and design. In continental European theatres, and in Germany in particular, operas constantly acquire new layers of meaning in production, and are often staged as political statements. In Ireland, this type of ‘director’s theatre’ is rare. Irish companies seldom see opera as a vehicle for clear ideological statements, and productions often shy away from the political potential of opera texts. Drawing on theatre, opera and performance theory by Keir Elam, David J. Levin and Jon McKenzie among others, this article takes four recent Irish opera productions as case studies and argues that even apparently apolitical opera is inevitably shaped by politics.
Hamilton Harty’s Legacy with the Hallé Orchestra (1920-1930): a Reassessment
Authors: Plummer Declan
Published: October 2019

Sir Hamilton Harty is primarily remembered as the principal conductor of the Hallé Orchestra from 1920 to 1933. His conducting career, in comparison to those of other British conductors of the twentieth century, has been neglected. The main research findings for this article conclude that, despite several reassessments of his career, Harty’s legacy remains largely neglected by commentators because of a reliance on inaccurate contemporary criticisms of his supposedly conservative tastes. Apart from the fact that Harty introduced many new compositions and kept a higher percentage of living composers in his programmes than any of his predecessors or successors, he also revived and maintained the highest performance standards for any British orchestra during his tenure, whilst coping with the financial pressures of post-war Britain. In this regard, he was the most successful conductor in Britain during the 1920s and the most successful Hallé conductor of the twentieth century.
Barra Boydell and Kerry Houston (eds), Music, Ireland and the Seventeenth Century, Irish Musical Studies, 10 (2009)
Authors: Holman Peter
Published: October 2019

Review of Barra Boydell and Kerry Houston (eds), Music, Ireland and the Seventeenth Century, Irish Musical Studies, 10 (Dublin: Four Courts Press, 2009), ISBN 978-1-84682-140-0
Harry White, Music and the Irish Literary Imagination (2008)
Authors: O’Brien Eugene
Published: October 2019

Review of Harry White, Music and the Irish Literary Imagination (Oxford: Oxford University Press, 2008), ISBN 978-0-19-954732-6
Wayne Heisler Jr, The Ballet Collaborations of Richard Strauss, Eastman Studies in Music, 64 (2009)
Authors: Graydon Philip
Published: October 2019

Review of Wayne Heisler Jr, The Ballet Collaborations of Richard Strauss, Eastman Studies in Music, 64 (Rochester NY: University of Rochester Press, 2009), ISBN 978-1-58046-321-8
Paul Bertagnolli, Prometheus in Music: Representations of the Myth in the Romantic Era (2007)
Authors: Byrne Bodley Lorraine
Published: October 2019

Review of Paul Bertagnolli, Prometheus in Music: Representations of the Myth in the Romantic Era (Burlington VT: Ashgate, 2007), ISBN 13–9780754654681
The Harpers’ Legacy: Irish National Airs and Pianoforte Composers
Authors: Hunt Una
Published: October 2019

Ireland’s harpers were part of an ancient culture and they left behind an unique and important legacy of indigenous art. The harpers’ airs enjoyed renewed popularity during the nineteenth century when visiting virtuosi to Ireland extemporized on the best-known melodies. Among these musicians were some of the most highly regarded pianist-composers of the era, including Frédéric Kalkbrenner, Ignaz Moscheles and, later still, Henri Herz, Franz Liszt and Sigismund Thalberg. In addition, a substantial number of pieces were published for the drawing-room market. This article charts the rise and fall in popularity of Irish airs in nineteenth-century piano literature and aims to provide reasons for these trends. It shows that Thomas Moore’s almost universally-known drawing-room songs, the Irish Melodies, exerted an influence. But, while these songs may have prompted significant activity among nineteenth-century Irish and Continental musicians, Moore’s role was by no means exclusive. Irish airs were in vogue in the eighteenth century, and even earlier. A catalogue of around 500 works published between c1770 and c1940, included as an appendix to the article, demonstrates the diversity and surprisingly wide-ranging nature of this virtually unknown repertoire.
Robin Elliott & Gordon E. Smith (eds), Music Traditions, Cultures, and Contexts (2010)
Authors: Smith Thérèse
Published: October 2019

A review of Robin Elliott & Gordon E. Smith (eds), Music Traditions, Cultures, and Contexts (Ontario: Wilfred Laurier University Press, 2010), ISBN 978-1-55458-199-3.
E. J. Moeran’s Symphony No. 2 in E flat
Authors: Huss Fabian
Published: October 2019

E. J. Moeran (1894-1950) worked on his Second Symphony from 1939 until the year of his death. Although it remained unfinished, a short-score draft manuscript, in Moeran’s hand, survives in the Moeran collection of the Lenton Parr Library, University of Melbourne. There has been some confusion over Moeran’s progress on the symphony, as well as over the precise dating of the manuscript and what level of completion it represents. The article addresses these issues, reconsiders Moeran’s progress on the work and examines the extant material within the context of the composer’s later life and output. A complete transcription of the manuscript is appended as a supplement to the article, making this material widely available for the first time. Textual issues including unclear passages and omissions, as well as other noteworthy points, are addressed in annotations to the score.
John O’Flynn, The Irishness of Irish Music (2009)
Authors: Cooper David
Published: October 2019

A review, by David Cooper, of John O’Flynn, The Irishness of Irish Music (Farnham: Ashgate, 2009), ISBN 978-0-7546-5714-9.
Jeremy Dibble, Michele Esposito (2010)
Authors: Klein Axel
Published: October 2019

A review, by Axel Klein, of Jeremy Dibble, Michele Esposito (Dublin: Field Day Publications, 2010), ISBN 978-0-946755-47-9.
Gareth Cox, Seóirse Bodley (2010)
Authors: Elliott Robin
Published: October 2019

A review of Gareth Cox, Seóirse Bodley, Field Day Music, 4 (Dublin: Field Day Publications, 2010), ISBN 978-0-946755-48-6.
Evan Jones (ed.), Intimate Voices: the Twentieth-Century String Quartet (2009)
Authors: Russ Michael
Published: October 2019

Review of Evan Jones (ed.), Intimate Voices: the Twentieth-Century String Quartet (Rochester: University of Rochester Press, 2009). Volume I: Debussy to Villa-Lobos, ISBN 978-1-58046-229-7; Volume 2: Shostakovich to the Avant-Garde, ISBN 978-1-58046-322-5.
Julian Hellaby, Reading Musical Interpretation: Case Studies in Solo Piano Performance (2009)
Authors: Murphy Michael
Published: October 2019

A review of Julian Hellaby, Reading Musical Interpretation: Case Studies in Solo Piano Performance (Farnham, Surrey: Ashgate, 2009), ISBN 978-0-7546-6667-7.
A Critical Inferno? Hoplit, Hanslick and Liszt’s Dante Symphony
Authors: Grimes Nicole
Published: October 2019

The question of how to distinguish between form with a spiritual dimension and hollow form preoccupied Eduard Hanslick throughout his career as a writer on music aesthetics and as a music critic. His grappling with this issue was not confined to Vom Musikalisch-Schönen. It was manifest in his critical output, where he famously and consistently for many years singled out the music of Liszt as lacking a spiritual dimension. Hanslick has been noted for his views on Liszt since the mid-nineteenth century. More recently, Markus Gärtner has inestimably enhanced our understanding of the nature of the controversy between the two figures. Yet, although we now have a greater understanding of what Hanslick found deplorable in Liszt’s music, we are no closer to understanding why he considered it to lack a spiritual dimension. In other words: Hanslick represents the true dilemma of the critic in this area in that he interprets a lack of spiritual dimension but cannot quantify it. Excerpts of Richard Pohl’s extended essay on Liszt’s Dante Symphony, originally written in 1858, were included in the programme note Hanslick received at the Vienna Philharmonic’s performance of that work in 1881. These passages brought together in Hanslick’s mind the issues and controversies of the 1850s. Drawing both on Pohl’s essay and Hanslick’s review, this article explores what the lasting issues were in Hanslick’s critical reception of Liszt. It further questions what can be meaningfully said in relation to the spiritual dimension of a work, and the nature of Hanslick’s ontological enquiry.
Paul Collins (ed.), Renewal and Resistance: Catholic Church Music from the 1850s to Vatican II (2010)
Authors: Schaefer Edward
Published: October 2019

A review of Paul Collins (ed.), Renewal and Resistance: Catholic Church Music from the 1850s to Vatican II (Bern: Peter Lang, 2010), ISBN 978-3-03911-381-1.
Charles Rosen, Music and Sentiment (2010)
Authors: Tinney Hugh
Published: October 2019

A review of Charles Rosen, Music and Sentiment (New Haven & London: Yale University Press, 2010), ISBN 978-0-300-12640-2.
Philip Ross Bullock, Rosa Newmarch and Russian Music in Late Nineteenth and Early Twentieth-Century England (2009)
Authors: Rodmell Paul
Published: October 2019

A review of Philip Ross Bullock, Rosa Newmarch and Russian Music in Late Nineteenth and Early Twentieth-Century England, RMA Monographs, 18 (Aldershot: Ashgate, 2009), ISBN 978-0-7546-6662-2.
Ralph Locke, Musical Exoticism: Images and Reflections (2009)
Authors: Zon Bennett
Published: October 2019

A review of Ralph Locke, Musical Exoticism: Images and Reflections (Cambridge: Cambridge University Press, 2009), ISBN 978-0-5213-4955-0.
Alison M. Garnham, Hans Keller and Internment: The Development of an Emigré Musician 1938-48 (2011)
Authors: Cox Gareth
Published: October 2019

A review of Alison M. Garnham, Hans Keller and Internment: The Development of an Emigré Musician 1938-48 (London: Plumbago, 2011). ISBN 978-0-9556097-7-3.
Schenkerian Theory, Neo-Riemannian Theory and Late Schubert: A Lesson from Tovey
Authors: Rusch René
Published: October 2019

Current analytical studies on Schubert’s tonality have tended to favour either Schenkerian theory or, more recently, neo-Riemannian theory to explain the composer’s signature harmonic progressions. What remains unclear with respect to these two prevailing analytical purviews is the extent to which one may relate to the other.This article offers a new way of understanding how Schenkerian and neo-Riemannian views of Schubert’s late tonal practices may be complementary, using Tovey’s concept of key-relations from his article ‘Tonality in Schubert’ of 1928. It suggests that Tovey’s key-relations can function as a bridge between these two theories because they approximate parsimonious voice-leading operations while preserving chord function within a tonal hierarchy. In forming an intermediate pathway between Schenkerian diatony and neo-Riemannian theory’s parsimonious voice-leading operations, Tovey’s key-relations highlight the important contributions that Schenkerian theory and neo-Riemannian theory offer to our understanding of Schubert’s tonality.
Death of an Icon: Deconstructing the Irish Harp Emblem in the Celtic Tiger Years
Authors: O’Donnell Mary Louise
Published: October 2019

The Irish harp emblem, adopted as the official emblem of Ireland following the foundation of the Irish Free State in 1922, has remained an image of continuity and stability in Irish politics and society for almost a century. Since the mid-1990s there have been considerable shifts in the representation of the Irish harp emblem, particularly in various government departments and quangos: e.g. the Department of Agriculture, Food and the Marine, the Department of Defence, the National Asset Management Agency (NAMA) and the National Treasury Management Agency. This article explores the shifting interpretations of the iconography of the emblem in the ‘Celtic Tiger’ years - and, more recently, in the economic downturn - and attempts to analyse critically these images as postmodern visual representations of changing political, social and cultural values over the last two decades. By drawing on the studies of Fredric Jameson, Jean Baudrillard and Charles Sanders Peirce, it argues that the deconstruction of the Irish harp emblem is indicative of a wider attempt to construct a new postmodern Irish identity.
Bax and the ‘Celtic North’
Authors: Thomson Aidan J.
Published: October 2019

Scholars of Arnold Bax have long acknowledged the influence of the Irish Literary Revival on the composer’s compositional output up to about 1920, of Sibelius from the late 1920s onwards, and of the continuity of styles between these two periods. In this article I argue that this continuity relies on what Bax draws from early Yeats, which is less Celtic mythology or folklore than a particular way of imagining nature; that Bax’s use as a compositional stimulus of what he called the ‘Celtic North’ (essentially the landscapes of western Ireland and north-western Scotland) had parallels in the literature and art of 1920s Ireland; and that the ‘Celtic North’ offers a means of critiquing inter-war English pastoralism, which has traditionally been associated with what Alun Howkins, after Hilaire Belloc, has called the ‘South Country’. Bax thus offers a musical engagement with nature that is essentially dystopian, sublime and (within the discourse of British pastoralism) non-Anglo Saxon.
Timothy A. Johnson, John Adams’s Nixon in China: Musical Analysis, Historical and Political Perspectives (2011)
Authors: Ap Siôn Pwyll
Published: October 2019

Review of Timothy A. Johnson, John Adams’s Nixon in China: Musical Analysis, Historical and Political Perspectives (Farnham: Ashgate Press, 2011). ISBN 978-1-4094-2682-0.
John Finney, Music Education in England, 1950-2010: the Child-Centred Progressive Tradition (2011)
Authors: Stakelum Mary
Published: October 2019

Review of John Finney, Music Education in England, 1950-2010: the Child-Centred Progressive Tradition (Farnham: Ashgate Press, 2011). ISBN 978-1-4094-1076-8.
‘The meretricious charms of melody’? On Late Victorian Settings of the Nicene Creed
Authors: Rodmell Paul
Published: October 2019

In 1889 Frederick Harford, a canon of Westminster Abbey, and Charles Villiers Stanford, then one of the United Kingdom’s leading composers, entered into a fractious argument in the pages of The Musical World regarding the manner in which the Nicene Creed should be set to music for use in Anglican communion services. This article sets out the terms of this argument by examining Harford’s proposed guidance, initially directed at aspiring composers of church music, which covered matters of doctrine, syntax, and verbal accentuation. The responses of Stanford and other correspondents are then scrutinized, as is the fallout from the episode, which included the widespread canvassing of eminent clergymen on the niceties of Harford’s argument, and a competition for new settings, organized by The Musical World. This is followed by an examination of Stanford’s own settings of the Creed, most particularly those in B flat, Op. 10, and in F, Op. 36, and the responses to Harford’s guidance that can be seen in contemporaneous settings of the text by other composers. The intricate aspects of this debate are put into the wider context of the changing status of music and musicians, and evolving liturgical practices and attitudes to the employment of music, in the Anglican Church of the Victorian era.
The Correspondence between Roberto Gerhard and Arnold Schoenberg
Authors: Ortiz-de-Urbina Paloma
Published: October 2019

On 18 October 1923 Roberto Gerhard wrote a long letter to Arnold Schoenberg asking to be accepted as his pupil. Two weeks later he received a positive answer and left for Vienna at once. There he met Schoenberg and began a master-pupil relationship that would gradually turn into deep friendship, as attested by fifty-three extant letters written between 1923 and Schoenberg’s death in 1951. Existing in archives in several countries and, for the most part, as yet unpublished, these letters provide a wealth of information about Gerhard’s personal life and professional career, with interesting insights into Gerhard’s compositional process.
Louise Duchesneau and Wolfgang Marx (eds), György Ligeti: Of Foreign Lands and Strange Sounds (2011)
Authors: Morse Daniel
Published: October 2019

A review of Louise Duchesneau and Wolfgang Marx (eds), György Ligeti: Of Foreign Lands and Strange Sounds (Woodbridge: The Boydell Press, 2011). ISBN 978-1-84383-550-9.
Tamara Levitz, Modernist Mysteries: Perséphone (2012)
Authors: Walsh Stephen
Published: October 2019

A review of Tamara Levitz, Modernist Mysteries: Perséphone (Oxford: Oxford University Press, 2012). ISBN 978-0-1997-3016-2.
Tony Langlois (ed.), Non-Western Popular Music (2012)
Authors: Jones Jaime
Published: October 2019

A review of Tony Langlois (ed.), Non-Western Popular Music, The Library of Essays on Popular Music 5 (Farnham: Ashgate, 2012). ISBN 978-0-7546-2984-9.
Helen Lawlor, Irish Harping 1900–2010: ‘It is New Strung’ (2012)
Authors: Caldwell Conor
Published: October 2019

A review of Helen Lawlor, Irish Harping 1900–2010: ‘It is New Strung’ (Dublin: Four Courts Press, 2012). ISBN 978-1-84682-367-1.
Musical Legacies: The Contribution of the Music Association of Ireland to an Irish Musical Infrastructure
Authors: O’Donnell Teresa
Published: October 2019

Drawing on archives preserved in the National Library of Ireland, Dublin, this article examines the history and significance of the Music Association of Ireland (MAI). During its sixty-year lifespan, from 1948 to 2007, the association contributed considerably to the musical life of Ireland, particularly in its educational initiatives and its efforts to influence national music policy and create an infrastructure for composers. Its voluntary efforts, especially its initiatives such as the Composers’ Group, Country Tours, Coming Out recitals, the Schools’ Recitals Scheme, the Irish Youth Orchestra and the Dublin Twentieth-Century Music Festival, grew into or influenced many of the independent, professional organizations prominent in Irish musical infrastructure today. At a time when government funding of the arts was limited, the MAI filled an important niche and acted as a voice for classical music, particularly in Dublin. The association’s initiatives, particularly the Schools’ Recitals Scheme (1967) and the Irish Youth Orchestra (1970), thrived in a climate which experienced pioneering developments in the arts and increased educational opportunities and leisure time. The times were marked by remarkable transformations in cultural, social and pedagogical practices which resulted in the opening up of access to the arts from the 1970s. The MAI benefitted greatly from this surge in cultural activity and the association became the Arts Council’s model in its pursuit of professionalizing the arts in Ireland. However, the MAI was unable, or unwilling, to make the transition from a voluntary organization to a professional one, and gradually went into decline. The long-term nature of a number of its projects meant that the MAI’s six objectives could not be achieved by one voluntary organization. Some sixty years later, many of these objectives are only now being realized through professional, government-funded agencies. The evidence of the MAI archive shows that the association played a valuable role in developing music and music education in Ireland—a notable achievement that deserves to be remembered.
New Light on ‘Father’ Smith and the Organ of Christ Church, Dublin
Authors: Duncan Cheryll
Published: October 2019

According to received opinion, Bernard Smith never built the new organ that Christ Church, Dublin, commissioned from him in May 1694, and the contract was later awarded to his rival Renatus Harris; documents from the courts of Chancery and King’s Bench show that narrative to be only partially true. In 1697 William Moreton, Bishop of Kildare, instituted proceedings against Smith for breach of contract, from which it emerges that Smith actually built two organs for the cathedral. However, for various reasons, including Moreton’s dithering over stops, difficulties arranging delivery and transferring money, the cost and Harris’s meddling, both agreements ultimately foundered, leaving Smith with two unsold instruments. Great St Mary’s, Cambridge, took one of them, and St Michael’s, Barbados, probably the other. The documentation, comprising the lost contract and specification for Smith’s first Dublin organ, as well as depositions from Harris, Henry Aldrich and John Blow, illuminates a shadowy corner of Christ Church’s musical history.
Yo Tomita, Robin A. Leaver and Jan Smaczny (eds), Exploring Bach’s B-minor Mass (2013)
Authors: White Harry
Published: October 2019

A review of Yo Tomita, Robin A. Leaver and Jan Smaczny (eds), Exploring Bach’s B-minor Mass (Cambridge: Cambridge University Press, 2013). ISBN 978-1-107-00790-1.
Julian Horton (ed.), The Cambridge Companion to the Symphony (2013)
Authors: Rushton Julian
Published: October 2019

A review of Julian Horton (ed.), The Cambridge Companion to the Symphony (Cambridge: Cambridge University Press, 2013), ISBN: 978-0-521884-98-3.
Harry White and Barra Boydell (eds), The Encyclopaedia of Music in Ireland (2013)
Authors: Solie Ruth A.
Published: October 2019

A review of Harry White and Barra Boydell (eds), The Encyclopaedia of Music in Ireland, 2 vols (Dublin: University College Dublin Press, 2013), ISBN 978-1-906359-78-2.
Epitaph for a Musician: Rhoda Coghill as Pianist, Composer and Poet
Authors: Watson Laura
Published: October 2019

A pianist by profession, Dublin woman Rhoda Coghill (1903–2000) also sought to establish herself as a composer from the 1920s to the early 1940s before abruptly switching her artistic focus to poetry in the late 1940s and 1950s. This article is the first detailed study of Coghill’s work. It explores her career in the first half of the twentieth century chronologically and thematically; it addresses her impact as a performer, the nature of her compositions and the circumstances of their creation, and further claims that her poetry captures the essence of her musical experience and ideas. These themes are considered in relation to nationalist cultural politics as Ireland transitioned from Free State to Republic. As part of this, the institutional influences of Radio Éireann and the Feis Ceoil on Coghill’s musical identity and activities are scrutinized. Building on current developments in Irish musicology and reflecting literary scholars’ recent efforts to reassess Coghill’s importance, this article aims to understand her musical and literary outputs as the expression of a unified aesthetic and to stimulate interdisciplinary dialogue about this underappreciated pianist-composer-poet.
Harty’s Ode to a Nightingale: A Confluence of Wagner and Elgar
Authors: Dibble Jeremy
Published: October 2019

Hamilton Harty, a figure readily associated with an assimilation of Irish culture, in 1907 composed a setting of Keats’s Ode to a Nightingale specially for his wife, the soprano Agnes Nicholls. Nicholls had become a pre-eminent Wagnerian soprano in London thanks largely to the encouragement of Hans Richter who engaged her for many of the major female roles in productions at Drury Lane and Covent Garden. A further aspect of her success were the roles she played in Elgar’s heavily informed Wagnerian oratorios, and especially the role of Mary in The Kingdom at Birmingham in 1906. Hamilton Harty, in his capacity as one of Britain’s finest accompanists, ‘coached’ Nicholls for this role and, in response, composed his own thoroughly Wagnerian Ode to a Nightingale the following year. This article seeks not only to connect Harty’s work with the influence of Wagner and Elgar but also to identify the powerful connection poetically and musically between Harty’s ‘scena’ and Wagner’s Tristan.
Beate Kutschke and Barley Norton (eds), Music and Protest in 1968 (2013)
Authors: Robb David
Published: October 2019

A review of Beate Kutschke and Barley Norton (eds), Music and Protest in 1968 (Cambridge: Cambridge University Press, 2013). ISBN 978-1-107-00732-1