Musicology Commons^™

Abstracts From The Belfast International Verdi Congress, Roy Johnston, Roger Parker, James Hepokoski, Martin Chusid, Elizabeth Hudson, Philip Gossett, Kathleen K. Hansell, David R.B. Kimbell

Verdi Forum

No abstract provided.

Does Music Theory Need Musicology?, Kofi Agawu

Publications and Research

Understood as a search for "the abstract principles embodied in music and the sounds of which it consists," music theory casts a wide net: it calls for a comparative sample and insists on a systematic methodology. As " the scholarly study of music, wherever it is found historically or geographically," musicology casts an even wider net. In practice, however, it has not been possible to transcend historical and geographical boundaries. (How often have you read an article on contemporary rock in JAMS or on Asian music in 19th-Century Music?) Obviously, any attempt to explore the juncture between music theory …

July 1992

Shake, Rattle & Roll

Vol. II, no. 1 featured Shawn Lane, the Kronos Quartet, and an article about women in the music business.

Two Appendices For Thomas G. Kaufman's 'Verdi And His Major Contemporaries', Linda B. Fairtile

Verdi Forum

No abstract provided.

Abstract: Some Remarks On Stage Music In Dvorak's Last Operas And A Relationship With Verdi, Martin Chusid

Verdi Forum

No abstract provided.

From The Director's Desk, Martin Chusid

Verdi Forum

No abstract provided.

How Verdi's Serious Operas End, David Rosen

Verdi Forum

No abstract provided.

Abstract: Verdi's Patriarch And Puccini's Matriarch Or 'Through The Looking Glass And What Puccini Found There', Helen M. Greenwald

Verdi Forum

No abstract provided.

Representing African Music, Kofi Agawu

Publications and Research

Of all the currents of change that have swept the humanities during the last half-century, the most far-reaching revolve around language. Philosophy, history, and literary criticism, among other language-based disciplines, have developed what is often presented as a largely unprecedented self-consciousness about representation. The message to scholars in nonlanguage-based disciplines is clear: to be taken seriously, one can no longer view language as a transparent window to an objective reality but must confront the foundational political and ideological baggage of the medium itself, as well as its constant slippage in the hands of the producer.

August 1991

Shake, Rattle & Roll

Issue 3 featured Clearance Giddens, "The Black Elvis," Jimi Jamison, Todd Snider, and the Voodoo Village People.

July 1991

Shake, Rattle & Roll

The second issue featured Memphis band Come In Berlin, guitarist Eric Gales, and a follow up on Sweet, Sweet Connie.

Toward A Lexicon For The Style Hongrois, Jonathan D. Bellman

Music Faculty Publications

No abstract provided.

The "Llibre De Franqueses I Privilegis Del Regne De Mallorca": A Source Of Music Iconography, Antoni Pizà, Ramon Rosselló

Publications and Research

The Arxiu del Regne de Mallorca of Palma de Mallorca, Spain, holds numerous collections of manuscripts that have been assembled at random regardless of their unity in subject or time period. The codices kept at the Arxiu comprise many different types of documents whose provenance and compilation history is yet to be determined. One of the most valuable among these codices is the Llibre de franqueses i privilegis del Regne de Mallorca (Codex 1), also known as Códice de los Reyes.

In Memoriam Mario Medici, Martin Chusid

Verdi Forum

No abstract provided.

The Berlin 'Traviata', Sidney Cox

Verdi Forum

No abstract provided.

Abstract: Revising The Revision: Some Thoughts On 'La Forza Del Destino', Roger Parker

Verdi Forum

Abstract for a paper given at a joint meeting of the American Institute for Verdi Studies and the Greater New York Chapter of the American Musicological Society, Feb. 2, 1991.

Abstract: Entrances, Set Pieces, And Exits: Reflections On The Structure Of Verdi's Otello, James Hepokoski

Verdi Forum

Abstract for a paper given at a joint meeting of the American Institute for Verdi Studies and the Greater New York chapter of the American Musicological Society, Feb. 4, 1989.

Abstract: Verdi's Artistic Concerns And Practical Considerations In The Composition Of 'I Masnadieri': A Newly-Discovered Version Of "Tremate, O Miseri", Roberta M. Marvin

Verdi Forum

Abstract for a paper given at a joint meeting of the American Institute for Verdi Studies and the Greater New York Chapter of the American Musicological Society, Feb. 2, 1991.

Abstract:Crossed Stars And Crossed Tonal Areas In Puccini's 'Madama Butterfly', Allan Atlas

Verdi Forum

Abstract for a paper given at a joint meeting of the American Institute for Verdi Studies and the Greater New York chapter of the American Musicological Society, Feb. 3, 1990.

Dynamic And Attack Associations In Boulez’S Le Marteau Sans Maître, Wayne C. Wentzel

Scholarship and Professional Work – Arts

This paper explores dynamic and attack associations in the Bourreux de Solitude movement of Pierre Boulez's pivotal piece, Le Marteau sans maître.

Variation Procedures In Northern Ewe Song, V. Kofi Agawu

Publications and Research

The major organizational principle of Northern Ewe song is one shared by numerous African, Oriental, and European musical traditions: a small number of models (variously described as "basic shapes," "archetypes," "background structures," "basic designs," "core patterns," "deep structures") is transformed in a wide variety of ways during performance. Variation takes place on different hierarchic levels both within and between songs and includes practically all of a song's dimensions (rhythm, interval, register, contour, harmony, and so on). This principle, although widely demonstrated in the literature on African song (see, among others, Jones 1976; Kauffman 1984; Schmidt 1984; and Erlmann 1985), is …

Musical Inspiration As Seen Through The Artist's Eyes, Antoni Pizà

Publications and Research

The role of inspiration in the creation of a musical work has been a matter for conjecture and research by musicians and psychologists. But the realm of inspiration belongs to the creators themselves, who supply mythology, religion, and science to account for the source of an artwork. Throughout history, painters, too, have given their version of musical inspiration and the process of the creation of the work of art. What is musical inspiration? Where does it come from? What are its effects? The following essay explores some painters' responses by surveying some representative works of art.

Francesco Rognoni's "Selva De Varii Passaggi" (1602): Fresh Details Concerning Early Baroque Vocal Ornamentation, Stewart Carter

Performance Practice Review

"One of Milan's most important musicians during the late 16th and early 17th centuries was Francesco Rognoni (died before 1626), a Knight and Count Palatine, son of Richardo Rogniono. The father had published an important treatise on ornamentation nearly thirty years prior to Francesco's. The title page of Francsco's Selva tells us that Francesco was head of instrumental music at the ducal court and maestro di cappella at Santo Ambrosio Maggiore in Milan. In an earlier publication he calls himself a "player of the violin, of the viola bastarda, and other instruments." He may in fact have written the first …

The Verdi Archive At New York University: A List Of Verdi's Music, Linda B. Fairtile

Verdi Forum

A catalog of scores and parts (mostly on microfilm, with some hard copy) for the compositions of Giuseppe Verdi in the collection of the American Institute for Verdi Studies at New York University.

Rossini And The Development Of The Mid-Century Lyric Form, Scott Leslie Balthazar

Music Theory, History & Composition Faculty Publications & Performances

No abstract provided.

Tone And Tune: The Evidence For Northern Ewe Music, V. Kofi Agawu

Publications and Research

Abstract:

One of the most intriguing features of most African languages is that of tone, by which variations in speech tone generate different meanings (Pike, 1948, offers a valuable introduction to this subject and includes an extensive bibliography; Fromkin, 1972, is a comprehensive evaluation of specialised studies). In the Ewe language, for example, the word to [H] pronounced with a high tone means ‘ear’, as in To le venye (HLMM), ‘I have an earache.’ To can also mean ‘through’, Meto akɔnta me [MHLHML], ‘I have gone through the accounts.’ But as soon as the high tone is replaced by a …

Un Ballo In Maschera: Performance Practices At The Met, Siegmund Levarie

Verdi Forum

No abstract provided.

Donations, Martin Chusid

Verdi Forum

A summary of recent donations to the Archive of the American Institute for Verdi Studies.

How Verdi's Operas Begin: An Introduction To The Introduzioni, David Rosen

Verdi Forum

No abstract provided.

Verdi's Aida: The Music, John Mauceri

Verdi Forum

No abstract provided.