bluuebunny/crossref_metadata_2025_split huggingface dataset:
1 MUSICAL RESEARCH IN CRISIS
Authors: Korsyn Kevin 
Published: May 2008

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Abstract
This chapter discusses the collaboration between Michael Jackson and Ladysmith Black Mambazo on the music video “Moonwalker”. In comparing Jackson's dance style with that of the South Africans, certain parallels in black body styles become apparent and how these intersect with the aesthetics of MTV, black dance, and popular music in articulating racial difference.
I Sermons, Sacramentaries, and Early Sources for the Office in the Latin West
Authors: Fassler Margot E. 
Published: May 2008

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

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

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

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

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

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

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

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

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

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

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

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

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

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