דון הרן
הערות שוליים

↑  אבי בליזובסקי, פרופ' דוֹן הרן מהחוג למוזיקולוגיה באוניברסיטה העברית נבחר לחבר האקדמיה האמריקאית, הידען, 30.4.2006
↑  “Burney and Ambros as Editors of Josquin’s Music,” in Edward E. Lowinsky, ed., Josquin des Prez (Proceedings of the International Josquin Festival-Conference, New York 1971) (London: Oxford University, 1976), 148–77.
↑  “The Concept of Battle in Music of the Renaissance,” The Journal of Medieval and Renaissance Studies 17 (1987): 175–94.
↑  “Cyclical Processes in Beethoven’s Early Quartets,” in Internationaler Musikwissenschaftlicher Kongreß Bonn 1970: Kongreß-Bericht (Kassel: Bärenreiter, 1973), 426–31.
↑  “Domenico Galli e gli eroici esordi della musica per violoncello solo non accompagnato” [דומניקו גאלי וההתחלות ההרואיות של מוזיקה לצ'לו סולו ללא ליווי], Rivista italiana di musicologia 34 (1999): 231–307.
↑  “Elegance as a Concept in Sixteenth-Century Music Criticism,” Renaissance Quarterly 41 (1988): 413–38.
↑  “En inversant le processus historique: la ‘Renaissance’ de la musique instrumentale au Moyen Âge”, in Jean-Michel Vaccaro, ed., Le concert des voix et des instruments à la Renaissance (Paris: Éditions du Centre National de la Recherche Scientifique, 1995), 33–38.
↑  “The Fixed and the Changeable in the Problematic of Stylistic Definition,” in Axel Beer, Kristina Pfarr, and Wolfgang Ruf, eds., Festschrift für Christoph-Hellmut Mahling zum 65. Geburtstag, 2 vols. (Mainzer Studien zur Musikwissenschaft 37; Tutzing: Hans Schneider, 1997), 489–500.
↑  “From Orpheus to Hercules: Differing Conceptions of Power in Music of the Baroque,” in Yosihiko Tokumaru and six others, eds., Tradition and Its Future in Music: Report of the Fourth Symposium of the International Musicological Society, Osaka 1990 (Tokyo: Mita Press, 1991), 211–15.
↑  “Guido Casoni (d. 1642) on Love as Music: A Theme ‘for All Ages and Studies,’” Renaissance Quarterly 54 (2001): 883–913. (חלק הסיום, במאמר זה, דן ב"שיחות האהבה" של יהודה בן יצחק אברבנאל)
↑  “The Hebrew Exemplum as a Force of Renewal in Eighteenth-Century Musical Thought: The Case of Benedetto Marcello and His Hebrew Psalms,” in Andreas Giger and Thomas J. Mathiesen, eds., Music in the Mirror: Reflections on the History of Music Theory and Literature for the Twenty-First Century (Lincoln: University of Nebraska Press, 2002), 143–94.
↑  “Moses as Poet and Musician in the Ancient Theology,” in Marc Honegger and Christian Meyer, eds., La musique et le rite sacré et profane (Report of the Thirteenth Congress of the International Musicological Society, Strasbourg 1982), 2 vols. (Strasbourg: Association des Publications près les Universités de Strasbourg, 1986), 2:233–51.
↑ “The Musical Encomium: Its Origins, Components, and Implications,” in Mediterranean Musical Cultures and Their Ramifications (Proceedings of the Fifteenth International Congress of the International Musicological Society, Madrid 1992), 3 vols. (Madrid: Sociedad Española de Musicología, 1993–95): Revista de musicología 16 (1993): 7–17.
“Praising Music via Poetry: The Poetic Encomium,” in Piotr Poźniak, ed., Affetti musicologici: Book of Essays in Honour of Zygmunt Marian Szweykowski on His 70th Birthday (Kraków: Katedra Historii i Teorii Muzyki, Uniwersytetu Jagiellónskiego / Musica Iagellonica, 1999), 57–65.
↑  “New Variations on O rosa bella, Now with a Jewish Ricercare,” Studi musicali 27 (1998): 241–86.
↑  “Orpheus as Poet, Musician, and Educator,” in Richard Charteris, ed., Altro polo: Essays on Italian Music in the Cinquecento (Sydney, Australia: Frederick May Foundation, 1990), 265–76.
↑  “Research into Music of the Renaissance: New Perspectives, New Objectives,” Israel Studies in Musicology 6 (1996): 81–98.
↑  “The ‘Sack of Rome’ Set to Music,” Renaissance Quarterly 23 (1970): 412–21.
↑  “The Seventeenth-Century Barabano, a Study in Affinities,” in Colleen Reardon and Susan Parisi, eds., Music Observed: Studies in Memory of William C. Holmes (Warren, Mich.: Harmonie Park Press, 2004), 163–91.
↑  “The Subject of Decision-Making in Music as the Choice between Virtue and Pleasure,” Acta musicologica 79 (2007): 107–43.
↑  “Sulla genesi della famosa disputa fra Zarlino e Galilei: un nuovo profilo” [על היווצרות הוויכוח הידוע בין צרלינו וגליליי: פירוש חדש], Nuova rivista musicale italiana 21 (1987): 467–75.
↑  “The Theorist Giovanni del Lago: A New View of the Man and His Writings,” Musica disciplina 27 (1973): 107–51.
↑  “Directions to Singers in Writings of the Early Renaissance,” Revue belge de musicologie 41 (1987): 45–61.
↑  “Text Underlay, ” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 25:320–23.
↑  Word-Tone Relations in Musical Thought: From Antiquity to the Seventeenth Century. Musicological Studies & Documents 40. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1986. xviii + 517 pp.
↑  “How to ‘Lay’ the ‘Lay’: New Thoughts on Text Underlay,” Musica disciplina 51 (1997): 231–62.
↑  “In Pursuit of Origins: The Earliest Writing on Text Underlay (c. 1440),” Acta musicologica 50 (1978): 217–40.
↑  “Intorno a un codice veneziano quattrocentesco” [אודות כתב יד ונציאני מן המאה ה-15], Studi musicali 8 (1979): 41–60.
↑  “Le Munerat, Jean,” in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 14:544.
↑  In Defense of Music: The Case for Music as Argued by a Singer and Scholar of the Late Fifteenth Century. Lincoln: University of Nebraska Press, 1989. xiii + 175 pp.
↑  “Vicentino and His Rules of Text Underlay,” Musical Quarterly 59 (1973): 620–32.
↑  “On the Question of Word-Tone Relations in Early Music,” in Ursula Günther and Ludwig Finscher, eds., Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts (Kassel: Bärenreiter, 1984), 269–89.
↑  “New Light on the Question of Text Underlay Prior to Zarlino,” Acta musicologica 45 (1973): 24–56.
↑  “Stoquerus, Gaspar,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 18:179, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 24:440–41.
↑  In Search of Harmony: Hebrew and Humanist Elements in Sixteenth-Century Musical Thought. Musicological Studies & Documents 42. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1988. xx + 301 pp.
↑  “Toward a Rhetorical Code of Early Music Performance,” Journal of Musicology 15 (1997): 19–42.
↑  Verdelot and the Early Madrigal. Ph.D. dissertation. 2 vols. University of California, Berkeley, 1963. iv + 307 pp.; 170 pp.
↑  “Chi bussa? or The Case of the Anti-Madrigal,” Journal of the American Musicological Society 21 (1968): 85–93.
↑  “Frottola,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 6:867–73, and in Stanley Sadie, ed., The New Revised Grove Dictionary of Music and Musicians, 2nd ed., 29 vols. (London: Macmillan, 2001), 9:294–300.
↑  “Hubert Naich, musicien, académicien: notice bio-bibliographique” [הוברט נייך, מוזיקאי, איש אקדמיה: דיווח ביו-ביבליוגרפי], Fontes artis musicae 28 (1981): 177–94.
↑  Hubert Naich: Collected Works. Corpus Mensurabilis Musicae 94. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1983. lvii + 197 pp.
↑  “Rore and the Madrigale cromatico,” The Music Review 34 (1973): 66–81.
↑  “Some Early Examples of the Madrigale cromatico,” Acta musicologica 41 (1969): 240–46.
↑  “Verse Types in the Early Madrigal,” Journal of the American Musicological Society 22 (1969): 27–53.
↑  “New Evidence for Musica ficta: The Cautionary Sign,” Journal of the American Musicological Society 29 (1976): 77–98.
↑  “In Defense of Cautionary Signs,” Journal of the American Musicological Society 31 (1978): 385–95.
↑  “Towards a Definition of the Early Secular Dialogue,” Music & Letters 51 (1970): 37–50.
↑  למדריגלים של שלמה רוסי, ראו תחת פרק 6 (בייחוד כרכים 1–8 בהוצאה הכוללת של יצירותיו).
↑  The Anthologies of Black-Note Madrigals. Corpus Mensurabilis Musicae 73. 5 vols. in 6. Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1978–81.
לפרטים על תכולת הכרכים ראו, בסוף, תחת "הוצאות ביקורתיות בעריכתו".‏
↑  Hubert Naich: Collected Works. ראו תחת סעיף קודם (מדריגל איטלקי)
↑  “‘Mannerism’ in the Cinquecento Madrigal?” Musical Quarterly 55 (1969): 521–44.
↑  “On the Question of Mannerism in Early Music,” Israel Studies in Musicology 1 (1978): 92–98.
↑  “Maniera” e il madrigale: una raccolta di poesie musicali del Cinquecento [‏"מניירה" והמדריגל: אוסף שירים מוזיקליים של המאה ה-16]. Biblioteca dell’“Archivum Romanicum,” series 1, vol. 158. Florence: Leo S. Olschki, 1980. 123 pp.
↑  ראו פרטים על הספר "בחיפוש אחר הרמוניה" בסעיף 2 לעיל (מוזיקה ומילים).
↑  “‘Adonai con voi’ (1569), a Simple Popular Song with a Complicated Semantic about (what seems to be) Circumcision,” in Maria Diemling and Giuseppe Veltri, eds., The Jewish Body: Corporeality, Society, and Identity in the Renaissance and Early Modern Period (Leiden: Brill, 2008), 427–63.
↑  “Allegro Porto, an Early Jewish Composer on the Verge of Christianity,” Italia: studi e ricerche sulla storia, la cultura e la letteratura degli ebrei d’Italia (Jerusalem: The Magnes Press of Hebrew University) 10 (1993): 19–57.
↑  “Between Exclusion and Inclusion: Jews as Portrayed in Italian Music from the Late Fifteenth to the Early Seventeenth Centuries,” in David N. Myers, Massimo Ciavolella, Peter H. Reill, and Geoffrey Symcox, eds., Acculturation and Its Discontents: The Italian Jewish Experience between Exclusion and Inclusion (Toronto: University of Toronto Press, 2008), 72–98.
↑  “Cultural Fusions in Jewish Musical Thought of the Later Renaissance,” in Fabrizio della Seta and Franco Piperno, eds., In cantu et in sermone: For Nino Pirrotta on His Eightieth Birthday (Florence: Leo S. Olschki, 1989), 141–54.
↑  “David’s Lyre, Kabbalah, and the Power of Music,” in Linda Austern, Kari McBride, and David Orvis, eds., Psalms in the Early Modern World (Aldershot, Hampshire: Ashgate Publishing Company; ‏ .(אמור להופיע ב-2010
↑  “‘Higgayon be-khinnor’ (Sounds for Contemplation on a Lyre),” Sermon 1 in Judah ben Joseph Moscato, Sepher Nefutzot Yehudah (The Book of the Dispersed of Judah), Hebrew text (Venice, 1589) and English translation, 5 vols. (Leiden, Boston: Brill, 2010–), vol. 1 (Sermon 1 ed. and trans. Don Harrán, Sermons 2–10 ed. and trans. Giacomo Corazzol, Regina Grundmann, and Brian Ogren in conjunction with Adam Shear; general editors: Giuseppe Veltri and Miletto) ‏ .(בדפוס)
↑  “Jewish Dramatists and Musicians in the Renaissance: Separate Activities, Common Aspirations,” in Siegfried Gmeinwieser, David Hiley, and Jörg Riedlbauer, eds., Musicologia humana: Studies in Honour of Warren and Ursula Kirkendale (Florence: Leo S. Olschki, 1994), 291–304.
↑  “The Joseph Story as Told by Orlando di Lasso,” in Ignace Bossuyt, Eugeen Schreurs, and Annelies Wouters, eds., Orlandus Lassus and His Time (Yearbook of the Alamire Foundation 1; Peer, Belgium: Alamire Foundation, 1995), 249–69.
↑  “The Levi Dynasty: Three Generations of Jewish Musicians in Sixteenth-Century Mantua,” in Giuseppe Veltri and Gianfranco Miletto, eds., “Uomo sagace”: Judah Moscato and Jewish Culture in the Renaissance (Leiden, Boston:
‏ Brill; בהכנה).
↑  “Notes on a Jewish Renaissance,” Daedalus: Journal of the American Academy of Arts and Sciences 137 (2008): 96–100.
↑  “Note on the Influence of Hebrew Accents on Renaissance Music Theory,” in Judith Cohen, ed., Proceedings of the World Congress on Jewish Music, Jerusalem 1978 (Tel Aviv: The Institute for the Translation of Hebrew Literature, 1982), 36–40.
↑  “Review Essay: In Search of the Italian Sephardi Tradition,” Musica judaica 17 (5764/2003–4): 165–95.
↑  “Stories from the Hebrew Bible in the Music of the Renaissance,” Musica disciplina 37 (1983): 235–88.
↑  “Tradition and Innovation in Jewish Music of the Later Renaissance,” Journal of Musicology 7 (1989): 107–30.
↑  למחקרים על שלמה רוסי (שלמה מן האדומים) ולאונה מודנה (יהודה אריה ממודנה) ראו פרקים נפרדים על שמם; למחקרים על נשים יהודיות ראו תחת לימודי נשים.
↑  Salamone Rossi, Jewish Musician in Late Renaissance Mantua. Oxford: Oxford University Press, 1999. x + 310 pp. מהדורה בכריכה רכה הופיעה ב-2003
↑  As Framed, So Perceived: Salamone Rossi ebreo, Late Renaissance Musician,” in David B. Ruderman and Giuseppe Veltri, eds., Cultural Intermediaries: Jewish Intellectuals in Early Modern Italy (Philadelphia: University of Pennsylvania, 2004), 178–215.
↑  “From Mantua to Vienna: A New Approach to the Origins of the Dance Suite,” Journal of the Royal Musical Association 129 (2004): 181–219.
↑  “Marriage and Music as Metaphor: The Wedding Odes of Leon Modena and Salamone Rossi,” Musica judaica 17 (5764/2003–4): 1–31.
↑  “Psalms as Songs: The ‘Psalms of David’ in Salamone Rossi’s ‘Songs of Solomon,’” in Eleonora Harendarska, Irena Poniatowska, and Cezary Nelkowski, eds., Musica antiqua Europae orientalis (Bydgoszcz 1994) (Bydgoszcz: Filharmonia Pomorska im. Ignacego Paderewskiego, 1997), 47–55.
↑  “Salamone Rossi as a Composer of ‘Hebrew’ Music,” in Eliyahu Schleifer and Edwin Seroussi, eds., Studies in Honour of Israel Adler (Yuval: Studies of the Jewish Music Research Centre, vol. 7; Jerusalem: The Hebrew University Magnes Press, 2002), 171–200.
↑  “Salamone Rossi as a Composer of Theater Music,” Studi musicali 16 (1987): 95–131.
↑  “Salamone Rossi, Jewish Musician in Renaissance Italy,” Acta musicologica 59 (1987): 46–64.
↑  “Salamone Rossi, the Mystery Man of Jewish Art Music Composers,” Notes from Zamir 2 (Spring 2003): 5–7.
↑  “A Tale as Yet Untold: Salamone Rossi in Venice, 1622,” Sixteenth Century Journal 40 (2009; ‏בדפוס).
↑  Salamone Rossi: Complete Works. Corpus Mensurabilis Musicae 100. Vols. 1–12, Neuhausen-Stuttgart: Hänssler-Verlag for the American Institute of Musicology, 1995; vols. 13a and 13b, Middleton, Wis.: American Institute of Musicology, 2003.
לפרטים על תכולת הכרכים ראו, בסוף, תחת הוצאות ביקורתיות בעריכתו
↑  “‘Dum recordaremur Sion’: Music in the Life and Thought of the Venetian Rabbi Leon Modena (1571–1648),” Association for Jewish Studies Review 23 (1998): 17–61.
↑  וגם “Jewish Musical Culture: Leon Modena,” in Robert C. Davis and Benjamin Ravid, eds., The Jews of Early Modern Venice (Baltimore, Md.: The Johns Hopkins University Press, 2001), 211–30, 289–95.
↑  “Nomina numina: Final Thoughts of Rabbi Leon Modena on the Essence of Sacred Music,” Italia: studi e ricerche sulla storia, la cultura e la letteratura degli ebrei d’Italia (Jerusalem: The Magnes Press of Hebrew University) 17 (2006): 7–63.
↑  “Was Rabbi Leon Modena a Composer?” in David Malkiel, ed., “The Lion Shall Roar”: Leon Modena and His World (Jerusalem: Magnes Press, Hebrew University, 2003), 195–248.
↑  “Investigation through Interrogation: The Case of Female Poets and Feminist Poetry in the Sixteenth-Century Madrigal,” Recercare 7 (1995): 5–46.
↑  Rosa Levi,” entry in Italian Women Writers (electronic database, The University of Chicago, 2008).
↑  “Madonna Bellina, ‘Astounding’ Jewish Musician in Mid-Sixteenth-Century Venice,” Renaissance Studies 22 (2008): 16–40.
↑  “Madama Europa, Jewish Singer in Late Renaissance Mantua,” in Thomas J. Mathiesen and Benito V. Rivera, eds., Festa musicologica: Essays in Honor of George J. Buelow (Stuyvesant, N.Y.: Pendragon Press, 1995), 197–231.
↑  “Doubly Tainted, Doubly Talented: The Jewish Poet Sara Copio (d. 1641) as a Heroic Singer,” in Irene Alm, Alyson McLamore, and Colleen Reardon, eds., Musica franca: Essays in Honor of Frank A. D’Accone (Stuyvesant, N.Y.: Pendragon Press, 1996), 367–422.
↑  Sarra Copia Sulam, Jewish Poet and Intellectual in Seventeenth-Century Venice: The Works of Sarra Copia Sulam in Verse and Prose, along with Writings of Her Contemporaries in Her
Praise, Condemnation, or Defense. Introduced, edited, and translated by Don Harrán. Chicago: The University of Chicago Press, 2009. xxxiii + 598 pp.
↑ ‏ בין המחקרים:‏ “L’insegnamento della storia della musica nelle università di Israele: problemi e prospettive” [הוראת תולדות המוזיקה באוניברסיטאות בארץ: בעיות ופרספקטיבות], in Sergio Miceli and Mario Sperenzi, eds., Didattica della storia della musica (Florence: Leo S. Olschki, 1987), 113–20. ‏ לתרגום לאנגלית ראו‏ “Historical Musicology and Musical Culture: Redefining Terms as a Means of Redefining Goals,” in Joachim Braun and Uri Sharvit, eds., Studies in Socio-Musical Sciences (Ramat-Gan: Bar-Ilan University Press, 1998), 99–108.
“L’insegnamento della storia della musica nelle università di Israele: problemi e prospettive” [הוראת תולדות המוזיקה באוניברסיטאות בארץ: בעיות ופרספקטיבות], in Sergio Miceli and Mario Sperenzi, eds., Didattica della storia della musica (Florence: Leo S. Olschki, 1987), 113–20.
“Musical Research in Israel: Its History, Resources, and Institutions,” Current Musicology 7 (1968): 120–27.
“Musicologia storica e cultura musicale: ridefinire i termini per ridefinire gli scopi,” Musica/Realtà 10 (1989): 43–52.
“Historical Musicology and Musical Culture: Redefining Terms as a Means of Redefining Goals,” in Joachim Braun and Uri Sharvit, eds., Studies in Socio-Musical Sciences (Ramat-Gan: Bar-Ilan University Press, 1998), 99–108.
“Musicology in Israel 1980–1990,” in coauthorship with Edwin Seroussi, Acta musicologica 63 (1991): 238–68.
“Musicology in Israel: Its Resources and Institutions,” Ariel 27 (1970): 59–66.
↑  מוזיקולוגיה: תחומים ומגמות. ירושלים: מוסד ביאליק, 1975. 240 עמ'‏
↑ “Israel: Art music,” in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan, 1980), 9:356–58.
“The Israel Composer’s Workshop, 1970,” Orbis musicae 1 (1971): 91–99.
“Report from Israel,” Current Musicology 19 (1975): 23–31.
“Report from Israel: Highlights of the Year 1968–69,” Current Musicology 10 (1970): 40–44.
“Report from Israel: The Composer’s Workshop, 1969,” Current Musicology 11 (1971): 66–75.
“Report from Jerusalem: World Congress on Jewish Music,” Current Musicology 27 (1979): 20–23.
“Testimonium No. 2, 1971,” Current Musicology 15 (1973): 38–43. מודפס מחדש בכתב העת Orbis musicae 2 (1973–74): 139–43.
“A World Première: Josef Tal’s Opera Masada 967,” Orbis musicae 5 (1975–76): 103–
↑  אוסף אחד בסינסינטי, אוהיו, "היברו יוניון קולג'", ספריית בירנבאום, כתב יד 101, משנת 1628 בערך; עשרים ואחת יצירות דתיות בעברית
↑  ראו תחת פרק 6
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