bluuebunny/crossref_metadata_2025 huggingface dataset:
Defamation and Product Disparagement
Authors: Harvey Brian W , Shapreau Carla J
Published: November 2023

The law of defamation protects damage to one’s reputation. The concept is not n w -· as Shakespeare’s Iago says to Othello:Generally, in violin commerce, a claim for defamation may arise in a situation in which false statements are made regarding the skills, character, or attributes of a violin maker or dealer, such as that he or she sells fake instruments, sells instruments for inflated prices, or that he or she does not have sufficient skill or expertise. Such statements, if false, have the potential for greatly damaging a professional’s reputation, resulting in economic loss, to say nothing of the emotional damage such an instance may cause. The foundation for the law of defamation is federal law arising from the United States Supreme Court’s interpretation of protection warranted under the First Amendment, which is binding throughout the states. However, state constitutions, legislation, and common law may have an impact on the analysis and outcome of such a claim.
Tax Issues
Authors: Harvey Brian W , Shapreau Carla J
Published: November 2023

This chapter only includes brief reference to recent opinions relating to the issue of depreciation of instruments of the violin family and does not involve an exhaustive discussion of all tax issues relating to violin commerce. Two very recent opinions in the USA have held that if a working musician uses an instrument in a trade or business and the instrument is subject to wear and tear, the instrument may be depreciated even though it actually may appreciate in value because it is a rare antique. One of those two cases involved Richard and Fiona Simon, both first violinists with the New York Philharmonic. Their recent court victory in the Second Circuit against the United States Internal Revenue Service involved the depreciation of two Prancois Xavier Tourte violin bows, which were purchased from Moes & Moes, Ltd. for $21,500 and$30,000 in 1985 and were previously in Hans Weisshaar’s collection.
Intellectual Property Rights
Authors: Harvey Brian W , Shapreau Carla J
Published: November 2023

Is that secret wood treatment, varnish formula, source of supply, or violin pattern that you worked years to develop a pro testable property interest? The field of intellectual property, which includes the areas of patent, copyright, trademark and trade dress, unfair competition, and trade secrets, protects a broad range of ideas, processes, designs, expression, names, and secrets all of which, under the right circumstances constitute ‘property’ that one may protect from another’s use. Violin makers and dealers are individuals who, for the most part, have come to the profession out of their devotion, passion, and keen interest in the art of making instruments. Although deception and other misdeeds do occur, they are the exception and not the norm. The AFVBM, discussed above, has attempted to set high ethical and professional standards for its members regarding obligations to fellow members, clients, and the public at large. Those entrusted with instruments of the violin family for a professional purpose, such as restoration, generally recognize their duty to protect and conserve these objects which frequently have great historical and artistic significance.
Shostakovich in Harmony: Untranslatable Messages
Authors: Fanning David
Published: November 2023

The context is fascinating. Shostakovich’s relationships with literary figures, with friends and fellow-musicians, with the power-brokers in the Soviet system, and, not least, with women, are all pertinent to the many enigmas of his musical legacy; and it is vital, not only for our understanding of Shostakovich the Man but also for the general de-mythologizing of Soviet cultural history, that a lot more Russian material, including his voluminous correspondence, should become available in translation, properly commented on by writers sensitive to the way Russian minds work. But what is it that we are trying to get in context? Were it not for the music he created, we would not now be so avidly attending Shostakovich concerts, buying recordings, organizing conferences, and publishing books. Looking at recent trends in published commentaries, there is reason to fear that his career may become merely an arena for ideological mud-slinging, and however fascinating it may be to observe the swing of the Shostakovich reception history pendulum, we may not thereby be getting any closer to what makes the music tick. We surely need to remember that even the bravest composer, the most subversive, the most socio-politically challenged, the most politically correct composer, never gained immortality on that strength alone. Music commemorating the victims of pogrom, holocaust, terror, and atom bomb has to be more than anecdote or reportage if it is to survive; unless, that is, we are prepared to yield to emotional blackmail.
Shostakovich’s Highth
Authors: Haas David
Published: November 2023

The best and the worst interpreters of Shostakovich’s Eighth Symphony are agreed on at least one point: This symphony, begun in July 1943, two days before the Battle of Kursk, has something to do with war. Too often, however, speculation as to Shostakovich’s precise inspiration, whether personal or collective experience, Fascist invaders or Stalinist terror, Second World War or war in general—so occupies the commentators that they neglect basic description of the music. Thus in their reviews of the New York premiere on 2 April, 1944, neither Olin Downes nor Virgil Thomson bothers to mention that this is a symphony in C minor, a striking omission in Downes’s case, since he proudly informs the readership that he had been granted special access to the score. This is unfortunate, since key is our first, and not insignificant link back to Beethoven’s Fifth Symphony. There are other shared traits as well: Shostakovich’s Eighth Symphony—like Beethoven’s Fifth—is unmistakably tragic, occasionally lyrical, memorably ferocious. It is also a powerful emotional experience—or journey—meant to provide the same range of highs and lows that a nineteenth-century audience once heard in Beethoven. Most intriguing of all, Shostakovich’s Eighth-like Beethoven’s Fifth-is a symphony without subtitles, without Red and Black army markers for its themes. And the many passages of apparent expressive intent—the multiple onslaughts of searing violence, the straining lyrical lines, the chaotic textures that clear away into soft, shimmering azure skies—depend for their coherence on abstract musical schemas traceable to the nineteenth century.
Millennial Prelude
Authors: Whittall Arnold
Published: November 2023

In 1989, Alexander Goehr described a fundamental feature of twentieth-century music with exemplary concision: a great deal of music written in the last seventy years or so cannot be regarded as a straight-forward continuation of Classical and Romantic music, either in the way it is conceived or in the way it is meant to be listened to. Background-foreground perception is inapplicable here because, in reality, insufficient background is implied. Continuity is fragmented or constructed of events unrelated to each other, pitch succession too complex to be memorable, and constructional procedures too difficult to be perceived as aural logic.
Opera
Authors: Whittall Arnold
Published: November 2023

Attempts to argue that opera in the modern age is an anachronism have never carried much conviction, and even composers who, in youth, dismissed the genre with contempt have found themselves drawn to the challenge of developing a personal response to its opportunities for large-scale structuring. Many of these efforts will be chronicled in later chapters. This one concentrates on composers who remained committed to tonality, and whose careers flourished, or were well-launched, before 1950.
Béla Bartòk 1915—1927
Authors: Whittall Arnold
Published: November 2023

Bela Bart6k completed his Second String Quartet in October 1917, and Halsey Stevens rightly said that ‘the whole direction of Bart6k’s later writing might be deduced from this one work’. Back in 1911, when he finished his opera Blue-beard’s Castle, Bart6k had still not written a wholly successful instrumental work on a large scale. The First String Quartet (1909) has many remarkable qualities, but it is not a completely coherent conception, and the composer’s confidence was hardly increased when Bluebeard’s Castle was rejected by a Budapest competition jury. Bart ó k devoted himself to the collection and arrangement of folk music, only returning to ‘serious’ composition when war broke out and travel became difficult. The Second Quartet, like its contemporary, the ballet The Wooden Prince (1914—17), took a significantly long time to complete, but it laid the foundations for the next twenty-five years of creative achievement, not only in the way its musical language explores Bart6k’s distinctive stylistic conjunction between the materials of folk and art music, but also in the tension between tonal and post-tonal characteristics which his detennination to preserve the large-scale sonata-based structures of earlier times made possible.
Tāl theory as a model of rhythmic organization
Authors: Clayton Martin
Published: November 2023

All North Indian rāg music may be classified as either nibaddh (bound by tāl ) or anibaddh (unbound); in principle, all metrically organized music falls into the first category, and is set to one of a number of authorized metric frameworks called tals.
The Romantic Decade
Authors: Rushton Julian
Published: November 2023

On 1 November 1829 Berlioz presented his second grand concert. More cautious this time, he did not confine it to his own music, but included vocal items by other composers and the first French performance of Beethoven’s Fifth Piano Concerto played by Ferdinand Hiller. Berlioz’s two overtures were repeated. The Resurrexit resurfaced as Le Jugement dernier, and the only new work was the sylphes’ scene from Huit scenes de Faust. He withdrew the scenes shortly afterwards, but the grip Goethe’s Faust exerted had led to an unsuccessful attempt, in 1828, to obtain the commission for a ballet; more significant, during 1829, was his idea for a ‘descriptive symphony’ on Faust.2 The hypothesis that much of Symphoniefantastique, composed early in 1830, was conceived with Faust in mind is certainly tempting (see Chapter 9).
Implications of a Musical Biography
Authors: Rushton Julian
Published: November 2023

In Part I, discussing Berlioz’s transference of musical material from one work to another, I avoided the usual practice of describing, for example, Cleopatre in terms of Lelio and Benvenuto Cellini, instead deferring talk of recycling until it actually happened.
Techniques of Composition
Authors: Rushton Julian
Published: November 2023

In view of my frequent references to The Musical Language of Berlioz (MLB), and a return in this chapter to its main topic, the nuts and bolts of Berlioz’s music, a summary of its contents and some updating of its conclusions may be useful; specific examples in these paragraphs add to those in MLB, to which page-references in parentheses refer. Discussion of Berlioz’s education (Chapters 1 and 5) can be amplified by lessons from the Messe solennelle (see below and Chapter 8). Several chapters in MLB adopt the approach of earlier studies by tackling elements of technique and style separately. Two chapters on pitch assume that Berlioz’s development of the expressive and structural resources of rhythm, colour, and space did not entirely separate him from his contemporaries; melody, harmony, and counterpoint retain priority in defining the uniqueness of his music.
A Fantastic Symphonist
Authors: Rushton Julian
Published: November 2023

By the time Berlioz published his thoughts on instrumental expressiveness, he had composed three titled overtures and a symphony, although Symphonie fantastique and La Tempête had not yet been performed. In his 1830 article, Berlioz mentions Weber in the same breath as Beethoven, presumably thinking of the overtures. Les Francs-juges and Waverley, his first two sharply contrasted pieces, had been performed without detailed programmatic exegesis, and in their original form were written without much knowledge of Bee hoven.
Patterns of Development
Authors: Talbot Michael
Published: November 2023

Up Till now, our discussion of finales has been taxonomic rather than chronological, and chronological rather than genre-related. The time has come to investigate how and where the three basic types of finale have been employed in each of the main multimovement genres of Western instrumental music between 1700 (with occasional backward glances) and 1900 (with occasional forward glances). Examining the genres separately reveals that each, in any given period, has its charact eristic preference for a type of finale—modified but rarely altogether overridden by the individual preferences of 1schools, and composers-and that these preferences are sometimes strikingly divergent.
Final Thoughts
Authors: Talbot Michael
Published: November 2023

Any system of classification needs constantly to be interrogated. The fundamental questions are always primarily two. Why classify at all? Why use precisely these categories and not others? The first question has to be answered pragmatically. If it is true, as nominalists would argue, that every manifestation is unique-that no two pieces of music are the same (for otherwise, we would not recognize them as separate pieces)-then no attempt to yoke them together under some heading wil1 capture their real essence. This is undeniable. However, the history Ian’s or the analyst’s aims are more modest. The objective is not to reveal the complete truth or the full information but to expose a selected part of both. Calling the finales of Beethoven’s Ninth Symphony and Bruckner’s Eight Symphony, summative, or those of Mozart’s, Heffner, Symphony and Schumann’s, Rhenish, Symphony, relaxant, is a convenient way of drawing attention to one particular aspect of them that is of special interest because it relates to a tradition. For other, equally valid, purposes one might classify works or movements according to entirely different criteria. For example, one might speak of a class of, D major, works related by a complex history of, first, modal transposition and, later, instrumentation and style.
Introduction: On Reading Critics Reading
Authors: Parker Roger
Published: November 2023

Everyone ‘reads’ these days: a book, a person, a bodily gesture, a picture, a set of moral principles, a musical performance; and claims for the startling new ness of the activity thus renamed are often exaggerated. But perhaps in the present case there is some justification for the overt banner of difference. Our project is to examine in new ways some small part of the opéra and ballet criticism in early nineteenth-century France, most of it journalistic; and our starting point came with the feeling that this body of writing had been undervalued and, for that reason, insufficiently thought about. In that sense, the project falls into a developing pattern in musicology generally (at least in its Anglo-American wing). Whether from a new mistrust of analysis or-in some extreme cases-of any detailed explanation of the internal workings of pieces of music, or as a way of suggesting new and broader fields of meaning for those pieces, musicological conferences, journals, dissertations and books seem increasingly dominated by ‘reception studies’.
Gluck, Berlioz, and Castil- Blaze: The Poetics and Reception of French Opera
Authors: Everist Mark
Published: November 2023

By the middle of the 1820s, the fifty-year tradition of performing Gluck’s stage works in Paris was coming to an end, and the discipline of professional music criticism was just beginning to emerge. Two critics, Hector Berlioz and Frarn çois-Henri-Joseph Blaze (Castil-Blaze) engaged with this disappearing repertory in a way that held great significance for Gluck’s opéras and their place in the musical and theatrical culture of the Bourbon Restoration and July Monarchy. Comparing how these two critics read Gluck’s works shows how they adopted different philosophical standpoints and points up key areas in which their views-surprisingly, given Berlioz’s distrust of Castil-Blaze are remarkably similar; such comparison and contrast may form the basis of an understanding of the position held by Gluck’s opéras in the period.
About the House
Authors: Smith Marian
Published: November 2023

A good bit of the journalistic ink expended on the Paris Opera during the July Monarchy was devoted to the ballet-pantomimes created there. In this ballet journalism there are several types of comments which on first reading might strike one as very odd-and far harder to digest than the oft-quoted and readily understandable snippets about such matters as nascent pointe technique, the decreasing importance of the male dancer, and the new ethereal dancing style of Marie Taglioni. Because of their potential for affording new insight, or at least for offering an interesting confrontation with the ‘otherness’ of the past, these strange comments seem particularly intriguing.
Building a Repertoire: Original Compositions for the British Brass Band, 1913—1998
Authors: Hindmarsh Paul
Published: November 2023

In a typically provocative talk broadcast on BBC Radio 3 in 1972, the composer Robert Simpson called into question the way in which musical commentators and composers have used words like ‘progress’ or ‘advance’ when charting the paths which ‘serious’ composition has taken during the twentieth century. If we consider the composing of music to have progressed or advanced, Simpson argues, are we to regard Wagner’s powers of musical thought as superior to Beethoven’s, or to consider Beethoven more musically intelligent than Mozart, simply because the style and structures they employed have developed and changed? In Simpson’s view, creative powers and musical intelligence should not be confused with mode of address or changing fashion—concepts which are equally pertinent to any overview of the contribution made by composers writing for the brass band in the twentieth century.
Spain: La Guitarra de quatro órdenes
Authors: Tyler James , Sparks Paul
Published: November 2023

In his set of variations on the Conde Claros ground for vihuela (Delphin de musica ... 1538), the excellent Spanish composer Luis de Narvaez (fl. 1530--50) provides conclusive evidence that the guitar and vihuela were regarded as two distinct instruments in sixteenth-century Spain. He specifically heads one section of his fifteenth variation ‘contrahaciendo la guitarra’ (in imitation of the guitar), and for this section employs only the four inner courses of the vihuela, which comprise the interval pattern (though not the pitches) of the four-course guitar.
France: The Creation of the Repertory
Authors: Tyler James , Sparks Paul
Published: November 2023

Whereas in Spain the music for guitar was limited to a few items found in the vihuela books, French publishers produced substantial collections exclusively for the guiterre (or guiterne). And not only was there far more of it, but the French repertory was considerably more varied, comprising fantasias, intabulations of vocal music, songs to the guitar, and dance music, all composed in a style that involved a much greater degree of ornamental passagework than is found in the Spanish sources. French composers further augmented the guitar’s repertory by providing solos that could also be used as parts in ensemble versions of the pieces.
Italy: The Role of the Guitar in the Rise of Monody
Authors: Tyler James , Sparks Paul
Published: November 2023

Music historians have recounted at length the rise of the new style of ltalian solo song, known today as monody, and its new approach to accompaniment called basso continuo. Especially well chronicled are those activities that occurred in the north Italian cities of Florence, Ferrara, and Mantua. Much has been written about the ‘Florentine Camerata’, a circle of noblemen and intellectuals who met regularly to discuss and formulate theories on the nature of ancient culture and music, and how the latter might have been performed. An influential figure at these gatherings was the singer composer Giulio Caccini (c.1545-1618), whose patrons were the Medici and whose 1602 publication Le nuove musiche, a book of solo songs with basso continuo accompaniment and a preface on the performance of’the new music’, is considered by many to be central to the rise of monody.
Spain, Portugal, and the New World
Authors: Tyler James , Sparks Paul
Published: November 2023

The history of composed music and instruction for the Spanish guitar in Spain begins in the year 1596 with a modest tutor on chord playing by Juan Carlos Amat (c.1572-1642). Amat was Catalan, a prominent medical doctor in the town of Monistrol near Barcelona, who also wrote a book on medicine in 1623 and a popular book of 400 Catalan aphorisms in 1636. No copies of the original 1596 edition of his guitar tutor survive.
Recording a Reputation
Authors: Kildea Paul
Published: November 2023

Uncle Matthew was no respecter of other people ‘s early morning sleep, and after five o ‘clock one could not count on any, for he raged round the house, clanking cups of tea, shouting at his dogs, roaring at the housemaids ... and all to the accompaniment of Galli Curci on his gramophone, an abnormally loud one, with an enormous horn, through which would be shrieked ‘Una voce poco fa ’-‘The Mad Song ’ from Luda--‘Lo, here the gen-tellar-ha-hark ’-and so on, played at top speed, thus rendering them even higher and more screeching than they ought to be.1Nancy Mitford ’s ‘Uncle Matthew ’ is the patriarchal English squire personified. Above the chimney-piece in the hall of his large country house he proudly displays the entrenching tool with which he bludgeoned to death eight German soldiers in the First World War. Blood and hair has never been removed from it lest the story be doubted, the verismo undermined. To him Oscar Wilde is a ‘ sewer ’, clearly not a literary criticism, since the only book he has ever read is White Fang--a work he found so impressive that he has never bothered to read another. He sits-and more frequently sleeps-in the House of Lords, protesting once from the floor that Peeresses should be kept out of the chamber since, once in, they would be certain to use the Peers ’ lavatory. He speaks of ‘writing paper ’ not ‘notepaper ’ and is finnly against the education of women. But this rich, prejudiced, and deeply uncultured person nonetheless knows parts of the ‘ Mad Scene ’ from Lucia di Lammermoor-not usually a trophy of the ignorant. Moreover, ‘ Uncle Matthew ’ (in reality Mitford ‘s own father) has catholic, seasonal tastes: Luda is eventually replaced by ‘Thora ’ ( ‘I live in a land of roses, but dream of a land of snow ’), who lasts a full winter.
The Programme of Mendelssohn’s ‘Reformation’ Symphony, Op. 107
Authors: Dinglinger Wolfgang
Published: November 2023

The notion that part of Mendelssohn’s ‘Reformation’ Symphony fails to follow a clear programme is central to the conventional wisdom concerning this composition, and despite several excellent recent attempts to answer this question the situation has changed little. The problem lies in an ostensible discrepancy in the programme between the outer movements and the middle ones. The assertion that there is a gaping hole in the work’s programme, encountered even in recent studies, differs but little from that of Hermann Kretschmar, who declared already a century ago that the work was a ‘halfserious contribution to programme music’.
Similarities and Differences in the Artistic Development of Fanny and Felix Mendelssohn Bartholdy in a Family Context: Observations Based on the Early Berlin Autograph Volumes
Authors: klein Hans-günter
Published: November 2023

We know very little about the domestic and musical atmosphere in the Mendelssohn household when Fanny and Felix were children. However, we may assume that this very atmosphere decisively influenced the musical development of the two siblings, apart from their lessons with the house tutors Stenzel and Heyse and from the training in playing musical instruments that Fanny and Felix received. That the stimulation leading to the development of the two artistic personalities had its source in family life can easily be recognized in the area of vocal composition when we know of personal contact with a particular poet or of certain literary works the Mendelssohn children were reading. By investigating the verse Fanny and Felix favoured and parallel settings of verse where these are extant, we arrive at a further level of investigation.
Felix Mendelssohn and his Place in the Organ World of his Time
Authors: little Wm. A
Published: November 2023

Most biographers of Mendelssohn correctly portray him as one of the greatest organists of his time, yet the achievement of that distinction came neither easily nor quickly. From earliest youth Mendelssohn was drawn magnetically to the organ, and throughout his life he evinced a fascination with every aspect of the instrument, its music, and its players. Comments and observations on organs and organists abound in his correspondence, overshadowing by far any similar preoccupation with either the piano or pianists. For Mendelssohn the piano was the obvious and eminently practical instrument; the organ, however, was his instrument of choice.
Epigones of an Epigone? Concerning Mendelssohn’s String Quartets—and the Consequences
Authors: Krummacher Friedhelm
Published: November 2023

The beginning of Bernard Molique’s String Quartet in B flat major could hardly sound more like Mendelssohn. Ludwig Finscher described this work in 1965 as ‘at the very least a composition on the same level as its model’. Yet Molique, who died in 1869, was seven years older than Mendelssohn; and after an encounter between the two composers in Stuttgart in 1832 Mendelssohn expressed the same admiration for Molique’s violinistic virtuosity that would later be expressed by Schumann. Thus we can hardly speak of a teacher– student relationship, any more than we can speak of personal influences—and in any case Molique’s quartet was not published until 1851.
The Timing Implications of Musical Structures
Authors: Repp Bruno H
Published: November 2023

For the last decade or so, the author has been engaged in empirical research on the small, unnotated variations in musical sound patterns that convey what is commonly referred to as expression in performance. The work has focused on piano performance, in part for methodological reasons and in part because the author is a pianist himself. Among the several parameters of expression, timing (rubato) has received the greatest attention. This paper summarizes the results of recent studies which have yielded four kinds of empirical evidence converging on a single hypothesis: that musical structures have specific timing implications which constrain the considerable variety of expressive timing patterns observed in individual performances.
Response
Authors: Sloboda John
Published: November 2023

All the presenters at this Round Table would, I believe, characterize themselves as experimental psychologists. I would include myself in that category. Therefore I could take a comfortable role as a fellow psychologist, commenting on what I see to be the strengths of and potential problems with each paper from a scientific point of view. If I did this, however, I fear that musicians and musicologists would be eavesdropping on an internal dispute between specialists, which might be interesting as an informal exercise in social anthropology, but would be of little value in illuminating specific musical concerns. I am inclined, therefore, to direct my remarks more widely. First, I will comment briefly on the broad psychological enterprise, and try to situate the papers within that. Then I will raise some general questions about ways in which psychology and musicology might relate to each other.
Second Response to the Respondent:
Authors: Kaden Christian
Published: November 2023

I was very impressed by the results of the studies presented, and especially by the homogeneity of the responses between groups of different musical training and different aesthetic attitudes. Nevertheless, I doubt if this homogeneity is really proof of the existence of perceptual facts in John Sloboda’s sense ‘that they vary least between different people and situations’ and perhaps even are indications of musical universals.
Drowning in Music: Ophelia’s Death and Feminist Hermeneutics
Authors: Hadlock Heather
Published: November 2023

Thoughts and affliction, passion, hell itself, She turns to favour and to prettiness. (Hamlet, Act 4 scene v, II. 191-2) In recent years, questions about ‘female vocality’, female singers, and the feminine qualities attributed to musical performance and to music itself have emerged as a diverse yet coherent body of concerns for feminist literary critics and musicologists alike.1 Much of the resulting work, which I have characterized in my title as ‘feminist hermeneutics’, relies on a psychoanalytical model of creativity according to which the artist consolidates himself (sic) against inchoate matter-sound, colour, or line-and against the existential dread of not-being. The fundamental assumption is that Freudian and post-Freudian models of individual development may be mapped onto the creative process; or (to put it the other way round) that the creative process recapitulates the developmental task of individuation, the subject’s sense of an individual self and of mastery over the Other. The artist’s presumed antagonism against his ‘feminine’ material in this model resonates with narrative paradigms that align ‘Woman’ with obstacles to be overcome-a structural presumption summarized in Teresa de Lauretis’s oft-quoted remark that ‘the hero is always male’.2 The result is a system of identification and projection according to
Statement
Authors: Castelvecchi Stefano
Published: November 2023

In an early sketch for this paper I pretended to speak as a linguist from Mars: a visitor to American academia from outer space (that is, from Europe) who explored the language and culture of the so-called New Musicology. Some of the ‘novelty’, I suspected, had to do with the formulation (or reformulation) of ideas in a particular kind of language. I even considered a prank: I would update the language of an excellent article from decades ago, and see if I could get it published as ‘New’. Someone smarter than me, however, had already had a better idea: the physicist Alan Sokal got an article published in the journal Social Text, and later revealed that it was a carefully prepared patchwork of deliberate and demonstrable nonsense.1 Sokal showed how the use of acertain language and the concomitant appeal to a pantheon of intellectual cult figures position the writer within a field morally and politically pre-approved; after this, any absurdity can pass as a ‘demonstration’ of something that is accepted from the beginning.
Response
Authors: Cusick Suzanne G
Published: November 2023

I want to begin by confessing that I wrote not one, not two, but three responses for this Round Table. The first, drafted long ago, sought to pick up one thread in Andrew Dell’Antonio’s paper that he deliberately chose not to develop. I tried to show how current controversies over evidence concealed disputes about who has the right to speak, about whom and what, in our discipline.1 The second, drafted a few weeks ago, was in its way also about evidence. It used data provisionally drawn from a reading of the programme to explain, largely to myself, why the sight of the programme had made me feel alienated, estranged, irrelevant, and afraid even to speak.
Response
Authors: Fauser Annegret
Published: November 2023

Both Stefano Castelvecchi’s and Andrew Dell’Antonio’s statements raise a wide range of issues that lie at the heart of current methodological discussion in musicology. I shall limit my response to three issues: first, the location of Castelvecchi’s ‘Mars’; secondly, the question of ‘newness’ or ‘trendiness’ which Dell’Antonio raised; and finally, the issue of hierarchy within the musicological canon and its meaning for this debate.
Music Historiography, Critical Theory, and Other Tales
Authors: Deathridge John
Published: November 2023

C. F. Abdy Williams’s Short Historical Account of the Degrees in Music at Oxford and Cambridge contains fascinating information about the earliest Elizabethan statutes, dating from 1559, concerning degrees at Cambridge. A few years after that date, Williams tells us, we meet with a curious decree of the Prefects, dated May 8, 1571, referring to Bachelors of Music amongst other graduates. It is to the effect that any student bathing, or washing, in the river or any pond in the County of Cambridge, shall be punished by public whipping by the Vice-Chancellor; and for the second offence he shall be expelled [from] the University. If the delinquent is a Bachelor of Arts, he is to be put in the stocks for one day; [but] if he is a Master of Arts or Bachelor of Law, Medicine, or Music, or holds any higher degree, he shall be punished according to the judgement of the head of his college.1
Collapsing the Dialectic: The Enlightenment Tradition in Music and its Critics
Authors: Strohm Reinhard
Published: November 2023

This article refers to the ‘Enlightenment tradition’ not as a circumscribed period in eighteenth-century European culture but as a large complex of critical initiatives whose trail of consequences reaches our own age and includes, according to such writers as Theodor W. Adorno, Walter Benjamin, and Hans Robert JauB, the dialectic of Romanticism and modernism and the concomitant socio-political crisis of modern industrialized society.1 From Adorno and Horkheimer’s Dialektik der Aufklarung (1947), JauB derives a historiographical view of the roots of modernism in the arts and literature: That the bourgeois enlightenment, with its distinction between nature and civilization, has shown itself to be conscious of a fundamental alienation of social life and has led to a progress of instrumentalized reason which has always also implied regression, because the control over non-human nature had to be paid for with a denial of nature in humans: these famous hypotheses make it inescapable to seek the epochal threshold of our modernist consciousness not in the mid-nineteenth but in the mideighteenth century.2
Music and Cultural Practices
Authors: Martin Peter J
Published: November 2023

One of the most interesting features of the contributions to this Round Table is the extent to which certain common themes run through them, and I propose to concentrate on these here. As a sociologist with a particular interest in musical activities, rather than a musicologist seeking to add a ‘social’ dimension to the analysis, I wish to argue that the development of a thoroughly sociological perspective on music will have profound implications for many established beliefs and practices in musicology. Not all of these need be seen as challenging or threatening to conventional musicological work: on the contrary, it is possible to clear away some of the misunderstandings that have hindered the effective collaboration of musicologists and sociologists, and to point to examples of recent work which promise much for the future.
Signs and Transcendence
Authors: Tarasti Eero
Published: November 2023

Semiotics and structuralism, together with all their ‘pre-’ and ‘post-’ phenomena, will surely stand out in history as central paradigms of the sciences of meaning in our century. Semiotics has a long tradition, but it solidified into a discipline only in the period c.1880--c.1980. In those years, in both Europe and the USA, a certain unity of concepts and approaches took shape that I refer to as ‘classical semiotics’. In it one can distinguish two main streams. The first is a language-based semiotics that flows simultaneously from the structural linguistics of Saussure on the one hand and the Russian formalist school (including the Finnish school of folklore studies) on the other. One may aptly call this language-based paradigm ‘European semiotics’. The second main stream is ‘American semiotics’, which focuses more on non-verbal communication than on language proper, and takes its inspiration from philosophy and from the behavioural and natural sciences. The father of American semiotics was of course Charles Sanders Peirce, a contemporary of Saussure. These two schools have engaged in stormy battles against each other’s views, but now, from the vantage-point of the end of the century, they seem to have become reconciled in a broader vision of semiotics. One might generalize further, and say that most so-called classical semiotics now accepts the idea that semiosis is equivalent to communication plus signification. The central notions of semiotics-sign and meaning-are not exhausted by mere description of the process of communication as a chain going from sender to receiver.
Music In Tuscany: Past Research And Future Projects
Authors: Gianturco Carolyn
Published: November 2023

Recent research forays elsewhere in Tuscany reveal that Florence was not by any means the only centre of music-making, and that other cities were also training musicians of high calibre and performing music of excellent quality. This strongly suggests that the investigation of the whole of Tuscany could be undertaken with profit. Certainly the level of Tuscan culture in general has been exceedingly high throughout the centuries, and there is no reason to assume that music did not also receive the attention known to have been given to literature, art, and architecture, for example. In order to pool and evaluate information on the musical heritage of Tuscany, each speaker approached his or her particular topic with two specific questions in mind: (1) What is the present state of research in Tuscany on this topic? (2) How could further fruitful investigation on it be carried out? Jean Grundy Finely assessed the municipalities of Tuscany (of which there are almost 300), whose music histories have for the most part not been investigated. Many cities had contacts with the Medici, another avenue of research; patronage by local aristocrats is also largely unexplored. In each of the provinces, a number of cities had at least one opera theatre active before 1900: in the province of Siena, for example, there were 21 such cities, in Arezzo 19, in Pisa 15, in Lucca and Pistoia 13 each, in Grossetto 9, in Massa 8, and in Livorno 7. Moreover, there are 27 Tuscan cities with a cathedral. All theatres and cathedrals offer fruitful areas of investigation. The musical histories of confraternities and congregations are also still to be written, as are those of major abbeys.
5amusicology, Popular Music Studies, And Political Economy ;5b Musicology, Popular Music Studies, And Cultural Geography; 29 Musicology, Popular Music Studies, And The Interpretative Sciences
Authors: Griffiths,Georgina Dai
Published: November 2023

This series of three Study Sessions, all with titles of the form ‘Musicology, Popular Music Studies, and ... ‘, was coordinated by Richard Middleton. The series was plagued by the withdrawal of a number of the contributors who had originally agreed to speak, and a fourth session on gender study had to be cancelled. The substitute speakers were all British, and the sessions unfortunately became rather male-dominated. Even so, the original purpose remained attainable, and, to generally large audiences, a diversity of voices was heard from the floor.
Study Session 7 Portuguese Musical Outreach: Five Centuries
Authors: Stevenson Robert
Published: November 2023

Robert Stevenson pointed out in the opening paper of this session that, despite the fact that Vicente Lusitano was declared winner in a debate with Nicola Vicentino staged at Rome on 4 June 155 r in the presence of the latter’s patron, Ippolito d’Este II (1509-72), cardinal of Ferrara, the mulatto priest born at Olivern;a has been consistently snubbed in all recent textbooks. Omnipotent Grout and his kind salute Vicentino, but ignore Lusitano. Canonized period histories, such as H. M. Brown’s Music in the Renaissance (Englewood Cliffs, NJ, 1976) and The Age of Humanism 1540-1630, ed.
Feminist Epistemologies In Ethnomusicology
Authors: Tolbert Elizabeth
Published: November 2023

This Study Session addressed the intellectual and political issues that have shaped, and which will continue to inform, the directions of ethno musicological research on gender and sexuality. Panellists’ topics included a consideration of the constraints and forces that have kept feminist theories on the margins of ethno musicological research, the promise of feminist pedagogy for teaching ethnomusicology, suggestions as to what feminist epistemologies might have to offer recent debates concerning ethnographic writing, and the ways in which ethnomusicologists and musicologists differ in their use of feminist methodologies.
Opera Orchestras In Eighteenth-And Nineteenth-Century Europe
Authors: Petrobelli Pierluigi , Piperno Franco
Published: November 2023

This Study Session was devoted to introducing the International Research Project planned and directed by the Instituted National di Studio Verdiani, Parma, and headed jointly by Pierluigi Petrobelli and Franco Piperno, which is part of the larger-scale research project ‘Musical Life in Europe, 1600-1900’ sponsored by the European Science Foundation (Strasbourg).
Study Session 12 The Early Violin
Authors: Walls Peter
Published: November 2023

New research in the last two decades has greatly refined our understanding of the early violin and its history. Advances have been made in the study of its origins, in understanding its role in musical life, in identifying its early repertory, and in rediscovering its playing techniques through practical experiment as well as scholarly research. This Study Session brought together scholars from three continents who are at the forefront of this new research. It covered organology, source studies, archival evidence for social history, performance practice, and iconography. It was pleasing that, in addition to other IMS members attending the Congress, a number of Renaissance and Baroque violinists attended the session and contributed helpfully to the discussion.
Chant And Liturgy: Compositional Planning In Liturgical Chant
Authors: McKinnon James
Published: November 2023

The session began with an introductory paper by James McKinnon, whose research has revealed traces of structurally homogeneous, pre-planned sections in the chant repertory and liturgy of the ecclesiastical calendar. A starting-point for McKinnon’s study was the observation that the texts of the communions for ferial days in Lent are derived from Psalms 1-26 in numerical order. Not only this section of the liturgy, but the communions of the whole of the Temporale are constructed on similar schematic principles. Other components of the Mass Proper behave in a comparable fashion, especially during the periods of Advent and Christmas. The scholarly significance of an investigation of this phenomenon lies in the fact that it might provide indications about chronological layers in the development of a group of chants.
Music Lconography: Transmission And Transformation Of Symbolic Images
Authors: Buckley Ann
Published: November 2023

This multidisciplinary session addressed various aspects of the visual representation of music-making. A diverse range of materials was presented, including neolithic carvings from the East Mediterranean, medieval and Renaissance manuscripts, engravings of Paris street musicians, nineteenthcentury paintings, and gramophone sleeves from recordings of Indian music.
Repertory And Canon: The Dynamics Of Canon Formation, 17oo-R 870
Authors: Weber William
Published: November 2023

William Weber began this Study Session with a discussion of the evolution of repertory and canon. During the last two decades scholars in a variety of fields have been using the term ‘canon’ to identify the intellectual frameworks that have defined ‘classics’ in the arts and letters. The term has come into increasing use recently among music historians analysing the values and musical practices that surrounded the works of great composers. Yet the concept has still to obtain a common definition or application, and some scholars are still unconvinced of its utility.
Study Session 17 Pe.Rspectives On Instrumental Music Of The Late Fifteenth And Early Sixteenth Centuries
Authors: Kmetz John
Published: November 2023

Of the refractory problems facing music historians, none looms so large as that of establishing the actual sound of secular music of the late fifteenth and early sixteenth centuries. After many years of research and heated discussion, answers to several basic questions are still uncertain. One that has solicited especially intense debate is that of the role of instruments and instrumentalists. For example, it is still uncertain what surviving repertory can actually be identified as having been conceived for or, for that matter, even performed by instrumental ensembles. Likewise, music historians are still grappling with such fundamental issues as to what musical features in fact constitute an instrumental ‘style’.
Study Session 18theatrical Dance And Music, I 650-I 8 50
Authors: Marsh Carol G
Published: November 2023

The interrelationship between European theatrical dance and music was explored in a series of papers which examined dramatic developments in no fewer than four countries while covering some 200 years of theatrical history. The session was structured around the common goal of assessing the function of dance within specified theatrical genres by observing the possible relationships between dance and text, noting continuities of dance traditions and structures, and exploring the potential connections between musical and choreographic styles.
Study Session 24 The Evolution Of Musical Instruments
Authors: Libin Laurence
Published: November 2023

This session dealt primarily with extramusical influences on the development of instruments. The speakers stressed that instruments evolve largely independently of musicians’ concerns, and that political and economic forces and technological innovation can powerfully stimulate or retard their development. New types of instruments, such as the piano in the eighteenth century, can inspire unpredictable changes in musical style. But, as the piano’s history demonstrates, extension of an instrument’s idiom in unexpected directions (e.g. by Henry Cowell and John Cage) may have minimal effects on its design. Common assumptions about the relationship between musical style and instrument design were thus brought into question. Innovative instrumentmakers do not merely serve composers’ ‘needs’. Rather, the medium precedes the message; the saxophone, for example, developed a distinctive idiomatic voice only after much experiment—some would say, only in the jazz age. As the fate of the once ubiquitous reed organ demonstrates, an instrument’s immediate success in the market-place may bear little relation to the quality of its repertory; but an instrument survives in general use only if it inspires a critical mass of enduring music.
Musicology And Art History
Authors: Seebass Tilman
Published: November 2023

Ever since the beginnings of modern musicology in the second half of the nineteenth century, scholars have been aware of the intellectual context provided by neighbouring fields. After language and literature, art history was closest. Jakob Burckhardt’s and Heinrich Wolfflin’s periodizations were adopted, and an interest in style history as well as a tendency towards Personenkult in the writing of biographies was typical for both disciplines. The twentieth century brought an emphasis on synaesthetic questions and, most recently, reception history.