Introduction: Scholarly Inquiry in Historical Musicology: Sources,
Methods, Interpretations - Roberta Marvin
A Collaboration between Cipriano de Rore and Baldissera Donato? -
Jessie Ann Owens
New Perspectives on Bach's Great Eighteen Chorales - Russell
Stinson
Historical Theology and Hymnology as Tools for Interpreting Bach's
Church Cantatas: The Case of Ich elender Mensch, wer wird mich
erlösen, BWV 48 BWV 48 - Stephen Crist
Performance Practice Issues That Affect Meaning in Two Bach
Instrumental Works - Michael Marissen
Mozart's Mitridate: Going beyond the Text - Ellen T. Harris
Carl Philipp Emanuel Bach and the Aesthetics of Patricide - Richard
Kramer
Joseph Haydn's Influence on the Symphonies of Antonio Rosetti -
Lawrence F. Bernstein
Reason and Imagination: Beethoven's Aesthetic Evolution - Maynard
Solomon
Schubert as Formal Architect: The Quartrttsatz, D.703 - Lewis
Lockwood
Sex, Sexuality, and Schubert's Piano Music - Jeffrey Kallberg
"Le Belle Exécution": Johann Nepomuk Hummel's Treatise and the Art
of Playing the Pianoforte - Mark Kroll
"For You Have Been Rebellious against the Lord": The Jewish Image
in Mendelssohn's Moses and Marx's Mose - Jeffrey Sposato
Andrea Maffei's "Ugly Sin": The Libretto for Verdi's I masnadieri -
Roberta Marvin
Mozart's Piano Concertos and the Romantic Generation - Claudia
Macdonald
"Wo die Zitronen blühn": Re-Versions of Arie antiche - Margaret
Murata
Material Culture and Postmodern Positivism: Rethinking the
"Popular" in Late-Nineteenth Century French Music - Jann Pasler
Otto Gombosi's Correspondence at the University of Chicago -
Laurence Libin
In this book some of the best minds in current musicology explore
untrodden territory. They show that the classic source study and
the traditional methods of musical analysis are not only alive and
kicking, but generating new rich ideas -- some of them
controversial, all of them stimulating. --Nicholas Temperley,
professor emeritus of musicology, University of Illinois, and
author of Bound for America: Three British Composers
*.*
Striding onto the stage of the 'New Musicology', the seventeen
contributors to Historical Musicology proceed to kick in the
footlights. Out of the broken glass, they manage to create an
approach to the scholarly study of music that recognises that
musical scholarship [whatever its methodological imperatives]
remains rooted in the study of primary sources, and go on to
demonstrate brilliantly how the benefits of the 'New' can be
combined with the 'Old'.
*Mark Everist, professor of music, University of Southampton*
Ask a Question About this Product More... |