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Copyright of Muzikologija is the property of Serbian Academy of Sciences & Arts, Institute of Musicology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As Frédéric Döhl recently noted in his article „Potential und Risiken des Archival Turns in den Digital Humanities für die Musikwissenschaft" (in: „Archiv für Musikwissenschaft" 75,4 [2018], pp. 301–320), the hierarchy of accessibility among sources shifts perceptibly during digitalization, and musicology and archives ultimately become something like a dual form of music historiography. This paper tries to argue that the limited accessibility of private archives can be regarded as a parallel phenomenon to the digital multiplication of already known sources, while non-digitized sources increasingly disappear from focus. To avoid unintended consequences that hinder research attempting to open up new sources, it is necessary to find feasible paths to a fruitful handling of such archives at the intersection of the public and private interest. The limitations of temporary research projects in particular complicate the options for exploitation, as the grey area of private archives offers the services of public archives only to a very limited extent. Here, the researcher is often not a user but a supplicant. Considering some of the main problems regarding persisting inaccessibility, reduced opening hours and dealing with archive catalogues (when they exist), this article attempts to determine the potential for a restricted, though fruitful, use of undiscovered sources during ongoing research in which the exploitation of a private archive with an abundance of material is just part of a research project and not its main focus. The discussion is enriched with personal experiences, with two examples from Venice and Florence. These empirical insights were obtained during research on the production mechanisms of Italian opera in the first half of the 18th Century, but could be extended to other interdisciplinary projects that tackle an extensive corpus of heterogeneous sources. [ABSTRACT FROM AUTHOR]

Historical archives are institutions holding historical sources, in particular deeds and files, that is to say records created in the past for administrative and legal purposes. Today, historical archives are responsible for preserving administrative documents that will become sources of history in the future. This paper reviews the connection – and disconnection – between archives of this type and musicology. In the field of music-historical research, it is most common to use music libraries and other special music collections, particularly to examine original manuscripts of musical compositions. Music historians have focused less on archival sources, though these are increasingly valued thanks to the influence of cultural history. On the other hand, historians dealing with general history have been little interested in the history of the arts and, particularly, in music history, instead focusing mainly on political, social and economic issues. Archivists have shared these preferences. By contrast, this article presents examples of the potential of archival sources for music-historical research, and shows that Archival Science contributes to the management of written cultural heritage in the field of music as well. [ABSTRACT FROM AUTHOR]

Copyright of Theatrical Colloquia is the property of George Enescu University of Arts, Artes Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the most important Hungarian musicologists, chant scholar and conductor, Prof. László Dobszay, PhD (1935-2011), made a significant contribution to our knowledge about Mediaeval chant practice of the Zagreb bishopric in 11th-18th century period. He discovered and labelled its new liturgical sources, drew up and edited inventories of the antiphonaries from Mediaeval Zagreb, and drew new conclusions that have changed the general view about the peculiarities of ritus et consuetudo almae ecclesiae zagrabiensis. This paper deals with the role of his research on the Zagreb Mediaeval rite. Furthermore, it presents reception of Dobszay's scientific work in the writings of Croatian music historians and musicologists from 1995 onwards, and rethinks the importance of his discoveries in the context of the general music history of the Hungarian-Croatian region in the Middle Ages. [ABSTRACT FROM AUTHOR]

Based on a corpus of organ sermons, this paper analyses the theological reception of the Syntagma musicum. As early as 1621 Michael Praetorius’s treatise was explored for the first time by a Lutheran pastor. In 1624, it stimulated Conrad Dieterich to include a description of the Ulm organ into his sermon. After the Thirty Years’ War Michael Praetorius’s work became a regular part of the scholarly apparatus of the sermons. Model sermons and homiletic handbooks helped to shape a distinctive musical-theological discourse. As an example of intercultural exchange the transmission of several excerpts from Girolamo Dirutas Il Transilvano translated by Michael Praetorius merits special attention.

This essay offers a reconsideration of Giambattista Vico's work for scholars interested in history, sound, and aurality. It takes as its point of departure the chronological table that stands at the opening of The New Science, homing in on its blind spots, raw absences, and tangled claims to objectivity. Vico's understanding of history relies--this essay goes on to argue--on a lively world of aural metaphors involved in the act of its writing: imaginary sounds, meaningless speech, false listenings, along with invented onomatopoeic etymologies. Such unruly sounds lead us to a crucial paradox of Viconian history, one that must confront all historians invested in retrieving and rewriting the stories of those who are lost, erased, and unrepresented: what role does imagination play in the writing of history? Can human invention, imagination, and even falsehood lead us toward new historical findings? The essay closes with a gloss of Vico's nascent theory of the physical and aural phenomenon of laughter, presented in the Vici vindiciae as a complex pathway between humanity and animality and, what's more, as a historical interface between incommensurable stages of creaturely life. [ABSTRACT FROM AUTHOR]

This essay presents the song "Area Code 869," an example of a Caribbean genre known as "wilders" or "pep," as a form of what Kodwo Eshun calls "sonic fiction." By focusing on sonic bodies as "bodies touched by sound," the essay suggests that "869" offers a reimagination of the historical relationship between sugar, sound, and speed in the Eastern Caribbean island of St. Kitts, a former British sugar colony. [ABSTRACT FROM AUTHOR]

From the early 1980s, with the common ground of the DIY ethos, lots of and different kinds of popular music idioms (from hardcore, punk to reggae and trip-hop) blossomed in Thessaloniki, Greece. This rich and constant music-making would not have been as vivid during its first period (1982 - 1994) without its own pillars of distribution, which consisted of independent labels and music stores, pirate radio stations and fanzines. In this essay I will focus on Thessaloniki's emblematic fanzine Rollin Under, which was active from 1985 to 1992. I will show the relationship between Rollin Under, Thessaloniki's music scene, the DIY ethos and the Greece's historical and political context of that time. Finally, I will describe fanzines as alternative cultural spaces through which we music historians can "hear" the voices and untold stories of the participants of the music we research. [ABSTRACT FROM AUTHOR]

In many of its areas, the writing of music history in Germany is characterised by the Romantic music outlook and its "Two-World-Model": the real world is seen as opposing the ideal world of music as a higher existence of ideas and ideals. Art music in the emphatic sense, commonly designated as serious music, pretends to represent that ideal world and makes claims to truthfulness. The science of music actually believes it is able to prove the universality of these claims. A large part of musicological publications are characterised by this assumption. However, a public discussion among musicologists as to whether such writings should belong to the field of theology rather than to historico-critical historiography (as a science in the strict sense) is non-existent. As a result, our field has not only disappeared from a public sphere that wishes to leave those claims to small elitist circles, but has also encountered a growing lack of understanding among other disciplines, even to the point of mockery. It would suffice here to refer to the lawyer Bernhard Weck, who wrote with regard to Beethoven's Opus 112: "Only musicology could prove that 'political ideas of freedom can be expressed through gestures of sound.'" [ABSTRACT FROM AUTHOR]

In considering the chosen topic, I proceed from the complex relationship between music history, music historiography and musicology, focusing on musicology as an interdisciplinary branch of music history. I consider the issue of its future from two viewpoints: 1) from the viewpoint of the future which we can control through professional means, striving for a certain professional vision and the highest professional criteria, and 2) of the future we cannot influence through the profession itself. This aspect of the future is a problem of peripheral musicologies, because these are axiologically dependent on the centre's relationships towards the Other and scepticism regarding its evaluation. [ABSTRACT FROM AUTHOR]

The article focuses on the life of Ana de Mendoza y de la Cerda, Princess of Eboli and source material and methodologies are required to analyze women's experience of music. It mentions Spanish musicology on important institutions and compositional works may have fueled the loss of women's voices in early music history. It also mentions exploration of female networks of musical patronage and circulation of musical artifacts.

Copyright of Muzikologija is the property of Serbian Academy of Sciences & Arts, Institute of Musicology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The history of the organs in the Cistercian Abbey in Kraków-Mogiła has not been studied so far. The article elaborates this topic based on the results of an archival query. Most of the sources are preserved in the Cistercian Archive in Mogiła. Examining them, the author discusses the history of instruments in the monastic church and in the former St Bartholomew church. On the basis of the sources, it was stated that at least in the 18th century the monastery church was equipped with two pipe organs. This fact has not been pointed out so far by researchers. The following article is supplemented by archival photographs. [ABSTRACT FROM AUTHOR]

What do we mean by ‘twentieth-century music’? And how are we to square this with the musics of a twenty-first century that is now nearing the end of its second decade? These and other questions are salient for a journal that identifies the former century in its title yet regards the latter as equally within its remit. Just how are we to think the two centuries together? Should we consider the music of the twenty-first century as a continuation of tendencies from the late twentieth? Or are there tendencies within musical production and consumption that have a definitively twenty-first-century character and so mark out the beginning of a new era? If so, when and with what, iconically speaking, did the twenty-first century begin and the twentieth end? Or do these historiographic categories even continue to have currency? [ABSTRACT FROM AUTHOR]

Reasons for the relative neglect of English medieval music are suggested, including the late availability of editions, and the extensive dependence on fragmentary sources. Recent work is noted, and areas for future research identified, including in prosopography, music theory and analysis, especially with a view to identifying how English musical grammars and genres differ from those of continental Europe. As the place of historical musicology in university studies is being squeezed by newer concerns, a plea is made to rectify the poor-relation status of English medieval music, and for the cultivation of skills needed to study it. [ABSTRACT FROM AUTHOR]

In rock historiography, Abbey Road Studios is depicted as the rock canon's ultimate recording house; home to the Beatles, Pink Floyd and a generation of classic rock album production. In recent years, the studio has struggled to maintain itself as an operational recording house, yet effectively exploits its past to secure its future. This article considers issues of heritage, pilgrimage and tourism before elucidating brand ‘Abbey Road’ as a conflation of geographical location, zebra crossing, graffiti wall, recording house and aura. In separating the tangible aspects of Abbey Road's heritage – the zebra crossing, graffiti wall and the Beatles Abbey Road album – out from its intangibles – its ‘magic’, legacy and studio ‘vibe’ – Abbey Road's studio aura is exposed as a commodity in its own right. [ABSTRACT FROM PUBLISHER]

An essay concerning the requirement of introducing the teaching and learning of music history in the school educational system is presented.

The article provides information on the music histories including nature of tertiary music history in the U.S., role of cultural ancestors, and music curricula of several U.S. music departments.

The article focuses on the terminologies used in music education emphasizing on the history of music, the various approaches to the field of music, and aesthetics involved in the field of music education.

Although music historians have begun to consider some of the broad implications of large-scale digitization, the shift from traditional library- or archive-based methods of research to speculative In tern et text searching remains largely invisible within an unchanged scholarly apparatus of footnotes and bibliographies. As a result, quirky details become easier to find, yet that ease is itself concealed, perhaps, this article argues, because to admit it might occasion a variety of academic shame. [ABSTRACT FROM AUTHOR]

The article presents information related to music historian Suzanne Cusick. The totality of her investigation into the bureaucracies and practices of acoustical violence in the twenty-first century is discussed. It is noted that she has limned the contours of a pervasive crisis ordinariness and hazards a risky research program.

An essay is presented which explores scholarship on music during the 14th, 15th, and 16th centuries. Topics discussed include the cultural turn in music research, the impact of performers and the repertory on the study of music, and the impact of technological innovations on musicology. Other topics include online databases, editorial practices in critical editions of music, and the difference between improvisation and composition.

This article engages with issues of musical historiography and politics – mainly in the 1930s and 1940s – through the example of Edward J. Dent, a towering figure of international musical and musicological life during that period. Dent's career was tightly interwoven with musical and musicological practice both in Britain and in the wider Western world. It offers a fascinating access point to European musical modernism on the one hand, and to mid-century concerns with the uses of music history on the other. In this article, I focus on these aspects of Dent's career and their intersections by exploring first Dent's involvement with the International Society for Contemporary Music, before turning to two further and closely related issues: Dent's scholarly work of that period – especially his turn to Handel – and his involvement in international cultural politics during the 1930s and 1940s. [ABSTRACT FROM PUBLISHER]