Musicology – serie

First Published in 1979. This book represents the work done by its author to begin to lay the ground musically and philosophically for enormous tasks that still remain to be done and may require a team of researchers in various fields relating to experiential phenomena. Coming from a background of musicological studies as well as active musical performance, the author's orientation is different from that of the professional philosopher as such, who is apt to understand sound phenomena in more generalized manner rather than addressing himself to specifics in music and music theory. These essays trace the path taken by the author in the last years and are studies that were a necessary prelude to a systematic work on the philosophy of musical sound, a work that is in preparation. Most important has been the attempt to show the qualitative steps taken from Helmholtz through German and French phenomenology to the beginnings of a dialectic of musical sound.

First Published in 1984.  This is the second volume in a series on musicology and related areas edited by F. Joseph Smith. Deciphering the specific social characteristics of music has long lagged behind the analytical dissection of musical composition and biographical musicology. The essays in this volume have been produced in an attempt to redress the balance. The sociology of music as examined here is an investigation into the ways social formations come together in musical structures. These essays specifically address the problem of our neutralized music consciousness, the separation of music from the social context and the artificial insulation of musical understanding from the realms of social meanings. One theme in these essays concerns the struggle against ideological distortions arising from the insulation of music from its sociological context. The author argues that there is a stronger connection between music and society than is generally assumed.

First Published in 1984.  This is the second volume in a series on musicology and related areas edited by F. Joseph Smith. Deciphering the specific social characteristics of music has long lagged behind the analytical dissection of musical composition and biographical musicology. The essays in this volume have been produced in an attempt to redress the balance. The sociology of music as examined here is an investigation into the ways social formations come together in musical structures. These essays specifically address the problem of our neutralized music consciousness, the separation of music from the social context and the artificial insulation of musical understanding from the realms of social meanings. One theme in these essays concerns the struggle against ideological distortions arising from the insulation of music from its sociological context. The author argues that there is a stronger connection between music and society than is generally assumed.

The contributors are leading scholars from the United States, Canada, Great Britain and Italy. The essays examine the history of music publishing from its inception to the early twentieth century. The Dissemination of Music provides new insight into the social history of music, illustrating how certain types of music were made popular because publishers made them more available, and how the reputations of composers were made or broken by the whims of publishers. This important reference work will interest scholars and students in all areas of music This collection brings the history of music publishing into the realm of social history, looking beyond the printing process to examine why and for whom music publishers produced their work. The book shows how technological limitations and printers' and publishers' preferences significantly influenced musical tastes in Europe from medieval times to the modern age.

Regarding Fauré , the result of a 1995 conference on Fauré's important contribution to classical music, was written by Tom Gordon, artistic director the Ensemble Musica Nova and a professor in the Department of music at Bishop's University in Quebec. Also included are contributions from some of the world's most renowned Fauré scholars including Jean-Michel Nectous, Robert Orledge, Edward Phillips, and Steven Huebner. With a lifetime that spanned the developments of Chopin, Debussy, Schoenberg, and Stravinsky, the great French composer Gabriel-Urbain Fauré (1845-1924) lived during one of the most interesting periods in music history, yet steered a course uniquely his own. Exploring the composer's role as an educator, critic, composer, and advocate for French music, Regarding Fauré is critical, analytical, and interdisciplinary in its approach to understanding Fauré's prodigious works and life. Also includes musical examples. His numerous compositions include more than 100 songs (known as 'melodie', or French a

First Published in 1988. Though many standard musicological reference works document the use of the trombone from its beginning in the middle of the seventeenth century, and then from Mozart to the present, few deal with the intervening years. This book reproduces the texts from two dozen treatises, dictionaries, and encyclopaedias, along with English translations, published between 1697 and 1811. It provides an overview of the use of the trombone during that time in America and seven European countries and examines its use in choral music, opera, symphonic music and military music.

This is Volume 18 of eighteen in a book series on Musicology. Originally published in 1996, this is a collection of essays in honor or Paul Brainard. Critica Musica-thinking critically about music-is at the heart of Paul Brainard's long career, and of his legacy to his students, colleagues, and friends. As a scholar, performer, and teacher, Professor Brainard has embodied a thorough, meticulous, and reasoned approach to music and scholarship that has set a high standard for all who have come in contact with him.

This volume provides a transnational study of the impact of musicalcultures in the Eastern Baltics—Lithuania, Latvia, Poland, and Russia—at the end of theCold War and in the early post-Communist period. Throughout the book, thecontributors explore and conceptualize transnational musical collaboration and thediffusion of information,people, and ideas focusing on musical activity which shaped the moral and artisticoutlook of several generations.The volume sheds light on the transformative power of politically and socially engaged music and offersa deeper understanding of the artistic potential of societies and its impact on social and politicalchange.

First Published in 1987. This study presents the background for the sacred musical patronage at the court, with specific reference to the polyphonic settings of the Mass Ordinary - during the reign of Holy Roman Emperor Rudolf II (1576-1612). One function of the present work is to collect the various relevant data concerning the chapel and the Mass, and to demonstrate basic relationships at the court. This study approaches the chapel of Rudolf II through archival research, musical sources, and comparing the compositional process of its composers. The goal is a better understanding of the sacred musical practice at the chapel.

First Published in 1988. This is Volume 5 of seven in the Musicology: A Book Series. Witnesses and Scholars, is a collection studies in musical biography. The series covers a creative range of musical topics, from historical and theoretical subjects to social and philosophical studies. Volumes thus far published show the extent of this broad spectrum. disciplinary studies, ethnomusicological works, and performance analyses. With this series, it is the aim to expand the field and definition of musical exploration and research.

First Published in 1988. Though many standard musicological reference works document the use of the trombone from its beginning in the middle of the seventeenth century, and then from Mozart to the present, few deal with the intervening years. This book reproduces the texts from two dozen treatises, dictionaries, and encyclopaedias, along with English translations, published between 1697 and 1811. It provides an overview of the use of the trombone during that time in America and seven European countries and examines its use in choral music, opera, symphonic music and military music.

The contributors are leading scholars from the United States, Canada, Great Britain and Italy. The essays examine the history of music publishing from its inception to the early twentieth century. The Dissemination of Music provides new insight into the social history of music, illustrating how certain types of music were made popular because publishers made them more available, and how the reputations of composers were made or broken by the whims of publishers. This important reference work will interest scholars and students in all areas of music This collection brings the history of music publishing into the realm of social history, looking beyond the printing process to examine why and for whom music publishers produced their work. The book shows how technological limitations and printers' and publishers' preferences significantly influenced musical tastes in Europe from medieval times to the modern age.

Contact between cultures may also lead to rejection as well as suppression of certain types of music. This process leads to such unfavorable circumstances as abandonment of entire works, genres or concepts or loss of instruments; yet such conflicts may also generate new and more positive creative achievements. Contributors include Andrew Alter, Tan Sooi Beng, Zdravko Blazekovic, Stephen Blum, Lê Tuân Hùng, Margaret J. Kartomi, Marcello Sorce Keller, Margarita Mazo, Bruno Nettl, Don Niles, William Noll, Jann Pasler, Ankica Petrovic, Chris Saumaiwai, John M. Schechter, Graeme Smith, Doris Stockmann, Sumarsam, and S. Venkatraman. Music -- Cultures in Contact examines how and why change occurs in musical culture, particularly change engendered by contact between two or many impinging cultures, sub-cultures or classes within a culture. This contact can have positive or negative effects. It may result in an influx of new musical ideas, leading to a greater level of crea

This is Volume 18 of eighteen in a book series on Musicology. Originally published in 1996, this is a collection of essays in honor or Paul Brainard. Critica Musica-thinking critically about music-is at the heart of Paul Brainard's long career, and of his legacy to his students, colleagues, and friends. As a scholar, performer, and teacher, Professor Brainard has embodied a thorough, meticulous, and reasoned approach to music and scholarship that has set a high standard for all who have come in contact with him.