bluuebunny/crossref_metadata_2025_split huggingface dataset:
From Music-Makers to Virtual Singers: New Musics and Puzzled Scholars
Authors: Magrini Tullia 
Published: November 2023

Abstract
Christian Kaden opened this Round Table by pointing out that a ‘decisive breakthrough’ was reached in music sociology when music began to be seen no longer as ‘an image or an imitation of social reality’, but rather as ‘a social reality in itself, a form of human life’. The view that music is a ‘form of life’ was traditionally held by music anthropologists and many ethnomusicologists too, whose research focused on the human and social meanings implied by different kinds of musical behaviour, events, and interactive group communication, and, more generally, on music-making as a basic form of being human. But what is happening in music and music disciplines at the end of the twentieth century challenges this well-established way of studying music, not only because scholars today question ‘the possibility of a neutral and objective understanding both of music from other times ... and of musics belonging to other cultures or traditions’, to quote from Mario Vieira de Carvalho (see below), but, first and foremost, because in recent decades many forms of musical life have undergone far-reaching changes. Many musical practices have been abandoned or are seriously endangered, particularly those belonging to communities once characterized by a widely shared capability of making music and interacting through it. A few years ago Steve Feld opened his presentation of a CD of the music of the Kaluli (Papua New Guinea) thus: ‘Kaluli ceremonial life has stopped; people have sold or burned their dance paraphernalia.
Authenticity’, ‘Interpretation’, and ‘Practice’: Probing their Limits’
Authors: Katz Ruth 
Published: November 2023

Abstract
The study of music has never been more aware of itself than it is today. This may be an optimistic remark, but I believe that, in the pursuit of knowledge, assessments and reassessments of assumptions, methodologies, and practices generally contribute to the improved understanding of one’s scientific endeavours. However, the reflexive stance of the so-called ‘New Musicology’ was primarily impacted, as were other fields of knowledge, by the sociologizing of science and by the developments in literary criticism that called objectivity into question. Interestingly, the deliberations in philosophy, beyond its ‘linguistic turn’, were never seriously entertained in musicology; neither, for that matter, were the underlying political assumptions of the more fashionable New Historicism and Social Constructionism.
The Circulation of Music in Europe 1700-1850
Authors: Rasch Rudolf 
Published: November 2023

Abstract
This Study Session was presented by a group forming part of the research project ‘Musical Life in Europe 1600-1900’ set up by Christophe-Helmut Mauling (D) and Christian Meyer (F), which was about to be launched in 1998 by the European Science Foundation (Strasbourg) for a period of four years. The group will deal with questions concerning the ways in which music found its way from the composer to the consumer or listener, passing through the chain of publisher, seller, reseller, and performing musician. Attention will be paid to the transmission of music in both printed and manuscript forms. Special focus will be placed on the transportation of printed and manuscript music across cultural, regional, or national borders (however defined), and the changes that music might under go when crossing these borders. The research group consists of Rudolf Rash (coordinator), Axel Beer (D), Klaus Burmeister (D), Anik Devries Lesure (F), Denis Herlin (F), Rosamond McGuinness, and Henri Vanhulst. Since not all these scholars could be present in London during the Congress, the panel consisted partly of other scholars. The goal of the Study Session was on the one hand to present the research group to the musicological community at large and on the other to ascertain the extent to which its specific research interests were shared by that community. The panel members were asked to give brief presentations about the most pressing aspects of those issues with which they are primarily engaged.
Music And/As Ethics
Authors: Morris Mitchell 
Published: November 2023

Abstract
The resonance between musical and ethical questions is an important subtext to many of the most recent controversies in musicology.1 Critics active in the so-called New Musicology write with explicit attention to a host of moral commitments respecting music and social arrangements; more traditional scholars are equally involved in this area. But so far very little has been done to bring specifically philosophical argumentation into contact with musicological concerns.
The Dating And Chronology Of The Works Of Joaquin Des Prez
Authors: Jas Eric 
Published: November 2023

Abstract
Herbert Kellman opened the session by reiterating its main objective: to help establish a rational basis for associating certain traits in Josquin’s works with particular periods and stages of his career, given that there are still no more than four or five works whose datings are relatively secure. Thus, the methodological basis of each speaker’s demonstration is of particular interest. Kellman then introduced all the participants. He noted that Paul Merkley and Lora Matthews had been invited at the last minute to present important biographical documents they had just discovered, and he expressed the panel’s appreciation for their willingness to share these now.
Research In Music Performance: New Methods And Tools
Authors: Bowen Jose 
Published: November 2023

Abstract
This session was co-sponsored by the Centre for the History and Analysis of Recorded Music (CHARM) at the University of Southampton and the National Sound Archive (NSA) of the British Library, and consisted of three one-hour sections. While most musicologists are used to dealing with manuscripts, letters, and theoretical treatises, the first section of the session was devoted to the problems and advantages of dealing with temporal sources. Mostly, this means analysing recordings instead of scores, but Raymond Holden presented a brief introduction to the virtually untapped resource of performing materials, illustrated with examples from the Bruckner scores used by Sir John Barbirolli. (Given the absence of any general catalogue providing the location of these materials, it was suggested that a webpage be initiated at CHARM, which could eventually become such a catalogue; resource information should be sent to jbowen@soton.ac.uk.) This was followed by a report (read by Jose Bowen) on materials in the Conductors on Film Collection at the Stanford Archive of Recorded Sound in California sent by Charles Barber (US), who was scheduled to attend but could not. There are over 900 hours of conductors in rehearsal, concert, and conversation, and this collection includes virtually no commercially released material.
Auditory Scene Analysis: Future Directions For Musicological Research
Authors: Harley Maria Anna 
Published: November 2023

Abstract
This session presented aspects of one of the recent developments in psychoacoustics which promise exciting new directions for musicological research. The concept of auditory scene analysis (ASA) was introduced in the 1980s by Albert S. Bregman (see especially his Auditory Scene Analysis: The Perceptual Organization of Sound, Cambridge, MA, 1990). The theory describes the ability of the human auditory system to organize the acoustic chaos created by multiple sound sources into separate though interacting perceptual ‘streams’ or ‘objects’. This process involves a two-tiered structure of stream segregation (primitive, i.e. innate, and schema-based, i.e. learnt), and a range of acoustic ‘cues’ for integrating simultaneous and sequential components of acoustic patterns (such as frequency proximity, temporal proximity, spatial location, timbre, repetitions, interaction with vision, etc.). The concept of the auditory scene encompasses all possible ‘soundscapes’, including environmental noise, speech, and music.
Study Session 19 british Music Since Britten
Authors: Whittall Arnold 
Published: November 2023

Abstract
In his introduction to this Study Session Arnold Whittall commented that 1976-the year of Britten’s death-did not coincide with any significant change in compositional technique or style in British music, as distinct from the time of Vaughan Williams’s death, some twenty years earlier, which saw the emergence of a kind of modernism that had characterized continental European music since the first decade of the twentieth century. However, in the four position statements that formed the main part of this session a pattern of individual technical and stylistic shifts dating from the mid-r97os was detected, notably in the music of Michael Tippett, Alexander Goehr, and Peter Maxwell Davies-shifts that were characterized by what Whittall described as ‘certain accommodations with tradition’ which, in the cases of Goehr and Davies, ‘their earlier iconoclastic selves would have scorned’.
Sense And Sonority In Aquitanian Polyphony And The Conductus
Authors: Richard Crocker 
Published: November 2023

Abstract
A new confluence of scholarship and practical performance is revolutionizing our conceptions of two major repertories of medieval music: the Aquitanian versus and the so-called ‘Notre Dame’ conductus.1 Stimulated in part by two recent editions of the Aquitanian repertory, Richard Crocker, in collaboration with the Orlando Consort, is currently exploring new ideas about the synchronization of voice-parts in the versus. The germinating idea is that the Aquitanian music does not always require synchronized simultaneities: it is not always counterpoint in the standard Western sense. Mark Everist and Christopher Page have both proposed something very similar for what used to be called the repertory of ‘Notre Dame’ conductus. To reconsider the ways in which we make sense of the sonorities in this early polyphony is to reassess the entire history of Ars Antigua music as we are accustomed to conceive it. Scarcely any of our major structural assumptions about this formative period in Western music (say rr50-1250) are immune from the disturbances caused by thinking afresh about rhythm and sonority. The Aquitanian versus and the ‘Notre Dame’ conductus are now on the same agenda, and that thinking is moving very fast.
Study session 28chant and analysis: where are we, and where do we go now?
Authors: Dobszay Laszlo 
Published: November 2023

Abstract
This session, with two papers on Western and two on Byzantine chant, began with Laszlo Dobszay’s outline of a framework for the analysis of Western chant. Then Theodore Karp considered the subject of analysis as ‘frozen product or changing organism’, Maria Alexandru surveyed the history of analysis of Byzantine chant, and Christian Troelsgard compared two groups of chants of the same genre, liturgical function, and mode, but with different transmission histories. Alexander Lingas (GB) sang some Byzantine music examples. Formulas and modality as represented in the sources emerged as the greatest present concerns.
La Vie Musicale Sous Vichy, 1940-1944
Authors: Chimenes Myriam 
Published: November 2023

Abstract
Reunissant musicologues et historiens, cette session s’inscrivait dans le theme general de ce congres, ‘Musicologie et disciplines soeurs’, et temoignait de la necessite, pour traiter certains sujets, d’etablir partenariat entre des representants des deux disciplines. La vie culturelle des annees noires a suscite depuis une quinzaine d’annees des etudes historiques essentiellement ccntrees sur la litterature, Jes arts plastiques, le theatre, et le cinema. Evoquee parfois de maniere anecdotique, la musique est demeuree absente dice champ de recherches, cequi explique la formation, a )’initiative des musicologues, d’un groupe de recherche pluridisciplinaire sur ‘La vie musicale en France pendant la Scconde Guerre mondiale’,1 dont Vichy constitue le coeur. Les recherches en cours visent a determiner les incidences du temps de guerre d’une part sur Jes carrieres des musiciens, sur la reception des oeuvres, et sur leur esthetique, d’autre part sur certaines formes de sociabilite, la frequcntation des concerts OU la pratique en amateur devant etre considerees comme des derivatifs aux difficultes de la vie quotidienne. Une synthese devrait permettre d’evaluerles persecutions et de mesurer Jes engagements.
Session 3: Eighteenth-Century Opera
Authors: Heller Wendy 
Published: November 2023

Abstract
In Ludovico Muratori’s Della perfetta poesia italiana (1706), gender became an integral part of the discourse on operatic reform. Unlike the music of the ancients, in which ‘the praises of heroes’ were sung or the ‘heroes themselves sang’, modern music, Muratori argued, ‘exuded effeminacy from every pore’, depriving men of ‘manly valour’, and thus leading to a baseness and lasciviousness that corrupted rather than improved the souls of the audience. This paper explored the role of gender in the operatic reforms of early eighteenth-century Italy. I considered the ways in which the homogenization and regularization of the libretto by Zeno and Metastasio suppressed the idiosyncratic treatment of sexuality typical of Seicento opera. Finally, I suggested that these transformations allowed reformers not only to reclaim opera as a masculine art, but also to create a newly idealized operatic hero who was more compatible with Enlightenment gender ideology.
Session 6: The Sixteenth-Century Tradition Bernadette Nelson (GB): Sacred Music at the Court of Fernando de Aragon, Duke of Calabria: The Context of Barcelona MS u66/1967 and a ‘Parody’ Mass on Josquin’s Inviolata
Authors: Nelson Bernadette 
Published: November 2023

Abstract
E-Bc rr66/r967, a choirbook copied in all probability for San Miguel de los Reyes in Valencia, a monastery founded by the duke of Calabria in 1545/6, has been singled out as an important source for the music of Bartomeu Carceres. Besides a handful of works by other Spanish composers, this source also includes a previously unknown unicum by Noel Bauldeweyn, here identified as ‘Noel Valdouin’. The instance of the Bauldeweyn motet led the present writer to investigate the possible origins of other items in this source which are preserved only anonymously and without title, leading to the identification not only of a distinguished international repertory of works by Festa, Verdelot, and Morales, but also of an unknown six-voice Mass-setting largely inspired by all three partes of Josquin’s Inviolata. This paper proposed a context for the Mass and other items of sacred music in the musical establishment of the duke of Calabria. It further speculated as to its origins and compositional genesis, and explored the issue of emulation with particular regard to the Inviolata tradition.
Session 8: Methodologies
Authors: Stock Jonathan 
Published: November 2023

Abstract
Discussion of the contribution to musical understanding seemingly offered by an ethnomusicology of the Western art-music tradition has rumbled on for about as long as there has been a discipline named ethnomusicology. None the less, and despite the gradual appearance of a handful of studies which apply ethno musicological modes of enquiry to the institutions of Western music, this particular field of scholarly endeavour remains sparsely populated. Instead, it seems, ethnomusicologists remain happiest when concentrating on other musical traditions while new musicologists and critical musicologists would rather invent their own theories of social and cultural contextualization than borrow those already developed in ethnomusicologists’ research. This paper considered the musicological avoidance of ethnomusicological materials, methods, and theories. Differences in perspective and scope are identified and exposed, with the aim of clarifying why a fusion between these respective disciplines remains problematic and is, for many music scholars, undesirable.
Session 28: Transnationalism
Authors: Silverberg Ann L 
Published: November 2023

Abstract
With its focus on a canon of masterworks and source-driven studies, historical musicology has tended to ignore issues involving the transference of different types of musics across national borders, across oceans, and from continent to continent. Perhaps the most striking omission in this area is the lack of attention given to missionaries and their work. These individuals selectively presented the Euro-American music tradition to indigenous peoples and just as selectively represented the musical cultures they encountered to their homeland constituents. John Carroll, the first Prefect Apostolic of the American mission, attempted to adjust the European tradition of church music to the exigencies of missionary work. Joseph Marie Amiot, a missionary to China and the author of Memoire sur la musique des Chinois (1779), attempted to compose a musical ethnography about a musical culture contrasting sharply with his own.
Session 29: Hildegard of Bingen
Authors: Meconi Honey 
Published: November 2023

Abstract
What happens when the object of our musicological enquiry is examined by someone from outside the discipline? Such has happened in the case of the twelfth-century nun, mystic, early scientific observer, preacher, theologian, poet, and composer Hildegard of Bingen, a historical figure in her own right long before she took her place among the early great composers. Her achievements in other fields have traditionally overshadowed her musical accomplishments, which means we come to her in a way that differs dramatically from our approach to virtually any other composer. Her privileged canonical position is due in many respects to the scrutiny she received initially from other fields, while the story of her entry into the modern musical canon begins with other disciplines and cannot be separated from them. This paper demonstrated how this intensive study of Hildegard by our sister disciplines significantly shaped our reception and understanding of her in musicology.
Session 3: Databases
Authors: Durante Sergio 
Published: November 2023

Abstract
The Lessico italiano de/la didattica vocale is a relational database connecting bibliographical data, texts, and a thesaurus. In it, singing treatises written in Italian between around 1600 and 1800 have been collected and annotated in order to permit access to them in various ways: by author, place, date, and, more importantly, the keywords listed in the thesaurus. The basic principle of the Lessico is that a correct understanding of performance practice for the periods preceding recorded sound can best be gathered through the systematic study of the vocabulary used to describe musical performance. Each term or expression in the thesaurus is connected with others and all give access to the original sources, including any extant musical examples. Moreover, each term is provided with a note commenting on its history and implications. The overall architecture of the database provides a powerful research tool for musicologists and performers alike.
Milan and Paris: A Lasting Dialogue
Authors: Oberzaucher-Schuller Gunhild 
Published: November 2023

Abstract
To understand Verdi’s approach to ballet we have to proceed from at least two different appreciations of dance in opera: one arising out of the Italian cultural sphere, the other from the French. An event that occurred in London some 150 years ago clearly illustrates the gulf between them. In June 1833 the Italian choreographer Antonio Cortesi mounted one of his ballets, the celebrated Inez de Castro, at His Majesty’s Theatre, London.
The Feminization of Ballet
Authors: Clark Maribeth 
Published: November 2023

Abstract
Knud Arne Jürgensen raises many important issues with regard to Verdi’s intentions and development as a composer, and the benefits of resurrecting long-lost divertissements. My response to his essay aims to provide further background to the ideas he has developed rather than react to it directly. In particular, I want to reflect on the cultural circumstances surrounding the Parisian taste for divertissements as it was expressed at the Paris Opera during the Second Empire, when the state reclaimed control of the Opera management.
Critical Performance
Authors: Degrada Francesco 
Published: November 2023

Abstract
I agree with both the arguments and the conclusions of Philip Gossett, but I should like nevertheless to offer some remarks from another point of view. Since Verdi’s time much has changed inside and outside the world of music. Our attitude towards opera is different. We address from an aesthetic or historical point of view subjects and plots that for Verdi’s contemporaries were part of a direct emotional and cultural experience.
Institutionalization: Semi-Ramism in Reformed Academies, 1580–1600
Authors: Hotson Howard 
Published: November 2023

Abstract
Ramism, as we have seen, spread in Germany not from a few prestigious universities outward to others and downward to academies and gymnasia but in precisely the opposite direction: from gymnasium to gymnasium, upward from them into the academies or gymnasia illustria, and finally in rare instances into full universities. The crucial stage in this process of diffusion was the percolation of Ramism from the gymnasia into the academies, for this upward movement altered the post-Ramist pedagogical tradition in three important respects.
Adaptation: Post-Ramist Methods in Reformed Universities, 1590–1613
Authors: Hotson Howard 
Published: November 2023

Abstract
In the years preceding the foundation of the Herborn academy, Piscator rapidly revised the Ramist textbooks which became the initial basis of philosophical instruction there. In the years immediately after the academy opened in 1584, Piscator, Althusius, and others poured equal energy into the development of a Ramist curriculum for the higher disciplines. Yet Herborn’s philosophical syllabus was not rapidly advanced in these early years. In part this may have resulted from principle: from Piscator’s minimalist approach to philosophical instruction.
The Tripartite Bride: Belief Systems as Structure
Authors: Hopkins David 
Published: November 2023

Abstract
To a degree Le Passage de la vierge á la mariée had the function of ‘constructing’ femininity in preparation for the Mariée and this thematic strand will continue to be under construction as the argument progresses. There was also a suggestion that the work was concerned, however ironically, with ‘illustrating’ the mental journey of a bride-to-be. In this respect the picture responds to an earlier painting, Dulcinée of 1911 (Fig. 4) which has barely been considered up until now. In this transitional work between his Symbolist and Cubist modes, Duchamp had, almost literally, explored the female—in line with the concentration on exclusively ‘gendered’ zones discussed earlier—in terms of a process of’stripping’, this being staggered in five stages across the canvas.
Six Characters in Search of an Author(ity): The Field Day Board of Directors
Authors: Richtarik Marilynn J 
Published: November 2023

Abstract
The enthusiasm generated by Translations was something that a number of interested observers believed should not be allowed simply to dissipate. Seamus Heaney recalls, ‘The excitement which that play caused was palpable and its gratifications had to do with a feeling that the dramatic form had allowed inchoate recognitions, both cultural and historical, to be clarified and comprehended. Most people talked about it with relish, some with resistance, all with awakened attention.’He remembers, ‘I was very much encouraging Brian Friel just after the production of Translations to do something ... to keep the energy rolling because my sense of that moment and that play was that this was what theatre was supposed to do’.