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Chapter 3. The Remarkable Career Of Leonard Slatkin, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Interlude. A Colloquy On The Future Of Music, Music Education, And The American Orchestra, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Chapter 2. Music Education And How To Save The American Orchestra, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Chapter 1. A Brief History Of The American Symphony Orchestra And Its Future, Robert S. Freeman

Music & Musical Performance: An International Journal

No abstract provided.

Foreword, Mark Adams

Music & Musical Performance: An International Journal

No abstract provided.

Front Matter

Music & Musical Performance: An International Journal

The late Robert S. Freeman (1935–2022) was a pianist, conductor, and musicologist, but most of all a major administrator in the field of higher education in music: the director of the University of Rochester’s Eastman School of Music (for twenty-four years), president of the New England Conservatory, and, finally, dean of the College of Fine Arts at the University of Texas (Austin). The present book was intended by Freeman to draw together a number of arguments and suggestions—his own and those of notable American figures in American musical life—that aim at reviving the American symphony orchestra.

Freeman’s four chapters trace …

Contributors To Issue 7

Music & Musical Performance: An International Journal

No abstract provided.

Voyage D’Hiver: Franz Schubert/Wilhelm Müller, Winterreise, Op. 89, D. 911. B Records Lbm057, 2024 [Review]., Jennifer Ronyak

Music & Musical Performance: An International Journal

No abstract provided.

William Vincent Wallace: Composer, Virtuoso And Traveller, By Andrew Lamb. West Byfleet, Uk: Fullers Wood Press, 2012 [Review]., Philip C. Carli

Music & Musical Performance: An International Journal

No abstract provided.

Aesthetics Of Pop Music, By Diedrich Diederichsen. Hoboken: Polity Press, 2023 [Review]., Michael Mario Albrecht

Music & Musical Performance: An International Journal

No abstract provided.

Explorations In Music And Esotericism, Edited By Marjorie Roth And Leonard George. Rochester, Ny: University Of Rochester Press, 2023 [Review]., Alison Maggart

Music & Musical Performance: An International Journal

No abstract provided.

Musical History As Seen Through Contemporary Eyes: Essays In Honor Of H. Robert Cohen, Edited By Benjamin Knysak And Zdravko Blažeković. Vienna: Hollitzer Verlag, 2021 [Review]., Diana R. Hallman

Music & Musical Performance: An International Journal

No abstract provided.

The Lied At The Crossroads Of Performance And Musicology, Edited By Benjamin Binder And Jennifer Ronyak. Cambridge: Cambridge University Press, 2024 [Review]., James Parsons

Music & Musical Performance: An International Journal

No abstract provided.

Musical Lives And Times Examined: Keynotes And Clippings, 2006–2019, By Richard Taruskin. Oakland: University Of California Press, 2023 [Review]., Keenan Reesor

Music & Musical Performance: An International Journal

No abstract provided.

Berlioz And His World, Edited By Francesca Brittan And Sarah Hibberd. Chicago: University Of Chicago Press, 2024 [Review]., Peter Bloom

Music & Musical Performance: An International Journal

No abstract provided.

On Music Theory And Making Music More Welcoming For Everyone, By Philip Ewell. Ann Arbor: University Of Michigan Press, 2023 [Review]., George Adams

Music & Musical Performance: An International Journal

No abstract provided.

Coda: On My Six Experiments In Conjoining (And Contrasting) Two Composers, James Porter

Music & Musical Performance: An International Journal

The author has previously published six essays, each based on a novel technique: pairing one piece each from two different composers, in an attempt at teasing out important implications of these (mostly little-known) works. These implications would have been harder to glean if one focused instead, as is normally done, on a small number of oft-performed canonical works by a few great masters.

The present “Coda” offers reflections on the implications of those six essays for a continuing exploration of important themes in the history of Western art music, including romanticism, modernism, “progress,” tonality, text-music relations, and nationalism (including the …

In Black And White, Or Gray? Two World War I Settings Of Walt Whitman’S Poem “Reconciliation”: By Helen Hopekirk (1915), And By Ivor Gurney (1919), James Porter

Music & Musical Performance: An International Journal

Musical settings of Walt Whitman’s poems have proliferated ever since the turn of the twentieth century. Many of these settings were by British composers reacting to the effects of World War I in Europe: the two settings of Whitman’s short poem “Reconciliation” (1865–66) discussed here are those by the Scottish-American composer and concert pianist Helen Hopekirk (1856–1945) and the English composer and poet Ivor Gurney (1890–1937). Both settings reflect the immediate emotions aroused by the poem in the different situations in which the two composers found themselves: the immigrant Hopekirk teaching at the New England Conservatory but concerned about enlisted …

Helen Beach Jones, The Eurydice Club, And Women Musicians In Early Toledo, Ohio, Mary Natvig

Music & Musical Performance: An International Journal

Toledo, Ohio native Helen Beach Jones (1857–1940) was a professionally trained church organist, choral conductor, and music teacher who paved the way for northwest Ohio’s art-music community today. Her story sheds light on the vibrant community of women musicians living in Toledo, Ohio, at the turn of the twentieth century, and as the founder and director of the Eurydice Club, a women’s chorus that was one of the city’s earliest and most prestigious music ensembles, she provided a home for women musicians throughout the region that lasted far longer than her tenure as conductor. In addition to her choral work, …

Likes, Leads, And Livestock, Adam Drapcho

UNH Today Archive

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“It Takes A Big Thrust To Destabilize An Entrenched Practice”: On Taruskin And The Western Traditions, Ronit Seter

Music & Musical Performance: An International Journal

This memorial essay begins with a brief appreciation of Richard Taruskin’s The Oxford History of Western Music and its critical reception (Susan McClary, Charles Rosen). It continues with comments on the early stages of his career, noting his strategic pincer movement, that is, a pivot from his early research on Russian operas—to his 1980 groundbreaking JAMS article on Stravinsky’s The Rite of Spring on the one hand, and a source reading book (Weiss-Taruskin, 1984) on the other. Both became essential for launching his career, and for our field. I then delve into several of Taruskin’s core ideas—about current and past …

Contributors To Issue 6

Music & Musical Performance: An International Journal

No abstract provided.

Taruskin’S Great Contributions And A Few Shortcomings, Ralph P. Locke

Music & Musical Performance: An International Journal

Among the most needed, and durable, features of Richard Taruskin’s life’s work was his consistent interpretation of music and music-making within and against their societal and cultural contexts. This stood in contrast to the positivistic methodologies that German, British, and American musicology valued in the 1960s–70s: instances of the latter include the making of reliable critical editions and, in a very different sense, various “the notes only” methods of music analysis.

The breadth of Taruskin’s vision and his command of musical and cultural history are apparent in the enormous “Nationalism” entry in the 2001 edition of Grove (now available at …

Thoughts Upon Richard Taruskin’S Yahrzeit, Scott Gleason

Music & Musical Performance: An International Journal

Teaching portions of Richard Taruskin’s The Oxford History of Western Music to non-music majors at Columbia University (in the early 2000s) offered special opportunities and challenges. Taruskin’s musical ethics, central to that book, are clearly embodied in his writings about John Adams’s The Death of Klinghoffer. The Princeton School of composer-theorists is a litmus test of Taruskin’s thinking: in particular, Taruskin’s emphasis on music criticism can aid in an analysis of Roger Sessions’s 1958 String Quintet. David Lewin’s unpublished 1959 analysis of that same piece (by his teacher) shows a very different approach; Lewin’s analysis is a vivid but rarely …

“Good For You!”: Remembering Richard Taruskin, Anna Dalos

Music & Musical Performance: An International Journal

Richard Taruskin was a major promoter of Eastern European music. His interest was also shaped by his personal contacts, particularly in Hungary, where he visited more frequently in his later years, presenting at conferences. He developed close relations with several representatives of Hungarian musicology, among them Katalin Komlós, László Somfai, László Vikárius, and Tibor Tallián. In addition to presenting conference keynote lectures, and later courses at the Doctoral School of the Liszt Academy of Music, Taruskin also participated in the advisory board of the Béla Bartók Complete Critical Edition, and became an honorary member of the Hungarian Academy of Sciences. …

Richard Taruskin And His Russian Music, Marina Ritzarev

Music & Musical Performance: An International Journal

Richard Taruskin’s contribution to Russian-music studies can profitably be viewed through a historiographic lens. A comparison of the Russian-Soviet and American schools of musicology shows that both were strongly influenced by the same source – the German fin-de-siècle tradition shaped by Hugo Riemann, Hermann Abert, Hermann Kretzschmar, and others. Brought to the United States by German scholars who fled the Nazis, this tradition was transmitted by Paul Henry Lang in his seminal book Music in Western Civilization (1941). On the Russian side, distorted by the ideologized and emphatically nationalistic doctrine of socialist imperialism, it was carefully preserved by those who …

Taruskin’S Dichotomies: Beyond Text And Act, Alon Schab

Music & Musical Performance: An International Journal

Richard Taruskin’s brilliant rhetoric sometimes led him to overly categorical generalizations. One notable example is his four-stage “genealogy of musical morals,” summarizing the history of music’s objectification as “art” through literacy, printing, the birth of transcendent and autonomous art, and recording. Similarly, Taruskin’s subtle bias against the British early music scene was often camouflaged under various generalized dichotomies such as “straight-style versus crooked-style.”

Taruskin’s views, initially seen in CD reviews and newspaper columns, gained enduring influence through their repackaging in Text and Act. This work also impacted John Butt’s Playing with History, where Taruskin played a key role in summarizing …

Richard Taruskin And The Early Music Movement, Uri Golomb

Music & Musical Performance: An International Journal

Richard Taruskin’s writings on the Early Music Movement had a pivotal influence on debates surrounding the concept of historical authenticity in musical performance. Taruskin championed the thesis that historically-informed performance (HIP) is only tenuously connected to actual past practices, that “a specious veneer of historicism clothes a performance style that is completely of our own time, and is in fact the most modern style around” (as Taruskin wrote in a 1988 essay, reprinted in his seminal collection Text and Act). In arguing his case, he correctly diagnosed the practices and motivations of a major group of performers within the Early …

Farewell To A Beloved Buddy, David Josephson

Music & Musical Performance: An International Journal

“You never know when it’s the last time.” For sixty years, from a chance meeting when we were undergraduates at Columbia until his last days, the incomparable Richard Taruskin gave me the great gift of his friendship. I never knew why, still don’t, but I reveled in every moment we shared. After I decamped for Brown ten years later, and he eventually for Berkeley, our meetings grew fewer and a cherished correspondence (those from its last months excerpted here) filled the gaps. COVID-19 put finis to our reunions. “The last time” would come and go with all too little warning, …

Richard Taruskin: Tender-Hearted Or Tough-Minded?, Rose Rosengard Subotnik

Music & Musical Performance: An International Journal

Our tribute to Richard belongs with JFK’s tribute to Thomas Jefferson sitting alone at his dining room table. Relentless in argument with intellectual opponents, impatient with pieties past and present, gentle with colleagues in need, and unstintingly generous to students and junior colleagues, he encompassed so many poles in so many worlds that it will take us lifetimes to measure his stature and accomplishments. Recalling AMS/Oakland 1990, an exchange precipitated by my search for a copy of the Norton Critical Edition of the Symphonie Fantastique, Richard's take on Theory, and his paper "Shall We Change the Subject," I try to …