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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]

This paper explores the significance of the autobiographical element in hunters' chants among the yoruba. Since hunters primarily occupy the subject position in these chants, they use them to construct and praise themselves and their communities and to contest their representation by others as well as to teach communal history. The paper examines the art of composition and recitation in the chants, showing how subjects are formed, developed, and contested to promote heteroglossia as different discourses and counterdiscourses are developed. Finally, the paper argues that the chants are crucial in reconstructing historical and literary aspects of precolonial Africa. [ABSTRACT FROM AUTHOR]

THIS PAPER PRESENTS AN OBJECT LESSON IN THE challenges and considerations involved in assembling a musical corpus for empirical research. It develops a model for the construction of a representative corpus of classical music of the "common practice period" (1700-1900), using both specific composers as well as broader historical styles and musical genres (e.g., symphony, chamber music, songs, operas) as its sampling parameters. Five sources were used in the construction of the model: (a) The Oxford History of Western Music by Richard Taruskin (2005), (b) amalgamated Orchestral Repertoire Reports for the years 2000-2007, from the League of American Orchestras, (c) a list of titles from the Naxos.corn "Music in the Movies" web-based library, (d) Barlow and Morgenstern's Dictionary of Musical Themes (1948), and (e) for the composers listed in sources (a)-(d), counts of the number of recordings each has available from Amazon.com. General considerations for these sources are discussed, and specific aspects of each source are then detailed. Intersource agreement is assessed, showing strong consensus among all sources, save for the Taruskin History. Using the Amazon.corn data to determine weighting factors for each parameter, a preliminary sampling model is proposed. Including adequate genre representation leads to a corpus of m300 pieces, suggestive of the minimum size for an adequately representative corpus of classical music. The approaches detailed here may be applied to more specialized contexts, such as the music of a particular geographic region, historical era, or genre. [ABSTRACT FROM AUTHOR]

The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzički glasnik (Music Herald, 1922), Muzika (Music, 1928–1929), Glasnik Muzičkog društva “Stanković“ (Stanković Music Society Herald, 1928–1934, 1938–1941; from January 1931. known as Muzički glasnik /Music Herald/), Zvuk (Sound, 1932–1936), Vesnik Južnoslovesnkog pevačkog saveza (The South Slav Singing Union Courier, 1935–1936, 1938), Slavenska muzika (Slavonic Music, 1939–1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians' biographies and bibliographies of the 19th century. Vladimir R. Đorđević published several short biographies in Muzički glasnik (1922) in an article called Ogled biografskog rečnika srpskih muzičara (An Introduction to Serbian Musicians' Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers' biographical data. Other magazines (such as Muzički glasnik in 1928 and 1931, Zvuk, Vesnik Južnoslovenskog pevačkog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers' biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January – June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinović published a detailed analytic study of Josip Slavenski's composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used "indirect" sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology. [ABSTRACT FROM AUTHOR]

This paper examines the past in music metaphorized as the “spirit within you” in the jazz composition and performance of Cape Town-born, New York-based jazz singer, Sathima Bea Benjamin. This “spirit within you” encompasses a particular approach to jazz that invokes both a personal past and collective memory of bygone eras of popular music and jazz performance that are freshly conceived by a woman living in the new African diaspora. The “spirit” contained in, and then emerging from, the body suggests that the past in music is relevant for the present, invoking the idea of living history, a usable past that continues into the present through reiteration in contemporary jazz performance. This view is contrasted with the idea of the past conceptualized in the older African diaspora as “cultural memory” and the past in jazz as contained on the recorded object, and the conventional ways in which jazz history has been narrated. With these contrasts in mind, I compare jazz performance as a particular kind of lived experience, or “walking in the city” (de Certeau), with jazz historiography, considered as a panoptical view of the city/jazz from above. I argue that representations of the past in jazz might benefit from greater dialogue between these two perspectives by introducing the notion of a usable past or living history – a way of thinking about jazz performance that characterizes a new African diasporic sensibility in jazz performance. [ABSTRACT FROM AUTHOR]

This essay explores the relationship between the discursive and affective problems: the difficulty of talking about the progression and of conceptualizing it, the sense of spontaneous disorientation that the progression engenders and the nameless sensations stimulated by that sense. The title of this essay, then, refers to resemblances that both co-relate individual musical representations of the uncanny, and bind those representations to the uncanny. The paper is intended not as a contribution to neo-Riemannian theory per se, but rather as a historical and psychological study of a harmonic phenomenon.

The article discusses the synthesis of musicology with a look at trends in the accompaniment of silent films. In this paper, instances where musical scholarship may be of importance in understanding, presenting and preserving silent films are described. The presentation of a silent film with live musical accompaniment has remained a special occasion, but more on the account of expense. The presentation and interpretation of such films have been hindered by various technical problems. Thus, the process of restoration intends to arrest decomposition and to preserve a film from totally vanishing and to preserve the work in the form closest to its original release format.

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]

This paper analyzes the particulars of two Self-Portraits of Josip Slavenski from his Legacy in Belgrade; although done in one and the same technique (coloured pencils), they differ in stylistic traits and meaning. Slavenski's library is presented as the source of information on his extramusical interests and on his environment at the time the drawings were made (1926). The connections with Zenitists -- Branko Ve Poljanski, with whom Slavenski visited some significant artists of the School of Paris, and Ljubomir Micić in Belgrade -- are pointed out. Two other Slavenski drawings dedicated to astronomy, and France Kralj's portrait of Slavenski, are also mentioned. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research 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.)

Comments on the 12th biennial conference of blues musicians at McGill University in Montreal. Degree of the interaction between people from different countries, ethnicities, disciplines and sexualities; Suppression of the manifestation of the academic star system; Treatment of musicology in the classical canon.

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.

The article presents information on the concept of the "historically authentic" performance. This performance idea, nurtured by the theory and practice of modern musicology, has come to be referred to generally as the concept of "historical authenticity" in performance. In so far as it is possible, then, this paper will be concerned exclusively with the question of what it might mean for a musical performance to be historically authentic, and the author ignores, in so far as it is possible, the question of whether or not an historically authentic performance is a musically desirable goal to attain.

The article provides a summary of research on the provenance of a collection of the composer Georg Philipp Telemann's church music in the Austrian National Library in Vienna, Austria, previously assumed to be of Austro-Hungarian origin. By examining how the owner of the collection, Franz Hauser, acquired the manuscripts, by comparing the inconsistent numbering of the manuscripts with others with which they are linked, and by looking at water marks on the papers, the author attempts to prove that they originate from the regions of Harz and Thüringen in Germany.

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]

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.)

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.

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.

The article focuses on a musicological interpretation of the Akkhadian tem siḫpu, which creates sense to modern musician and is connected with the eight known cuneiform music texts. It mentions that author Jerome Colburn has challenged the original interpretation of the music texts, wherein he assumes that the text relates to practical music. It suggests the use of the term says that the instrinsic symmetry of the tuning system siḫpu to avoid confusion in musical terminology.

The article offers information related to the music historiography in Great Britain. It comments that a persistent idea in chamber music historiography is that 19th century Britain lacked a significant, serious chamber-music culture of the type so prevalent in Austro-Germany. It mentions that 20th century owed much to cultural ideologies embedded in the 19th century.

The article discusses the survey on the history of women in music education careers in the U.S. It notes that women music teachers in the said country have been active in community organizations, churches, and public and private schools. The Crane Institute of Music, founded by Julia E. Crane in 19th century, was the first institute to train music supervisors and kindergarten programs developed by woman in the U.S. The Music Supervisors National Conference which later became Music Educators National Conference (MENC) was organized by Frances E. Clark in 1907, though MENC had only elected 13 women as president from 1907-2010. The survey shows the importance of personal philosophy guidance, supportive mentors, and quality education in developing successful lifetime careers.

Information about the topics discussed at an interdisciplinary graduate student conference held at the Cornell University in New York in March 2007 is presented. Topics include the conversations on gay and lesbian historiography and musical reception and queer male sexualities. The keynote speakers during the event include Suzanne Cusick, Judith Peraino and Tina Majkowski.

The article examines the enactment of a field of cultural and artistic production of popular music in Brazil. The author suggested that those writing traditional Brazilian popular music historiography may have to rethink the subject of national identity and the way ethnic markers in popular music genres are always linked to it if Brazilian popular music starts to be seen as a cultural commodity per se.

From shortly after its premiere in 1931 through the middle years of the twentieth century, Ferde Grofé's Grand Canyon Suite was regular fare on American concert programs, radio hours, and record shelves.' The work's popularity, combined with Grofé's own genuine affection for it, led the composer to reflect from time to time on his attachment to the Grand Canyon and. more trenenllv. to the American Southwest. Certainly there is nothing unusual about an American artist situating nature in this conceptual framework. Historian William Cronon identifies the settling of the frontier as a central theme in Western landscape painting of the nineteenth and twentieth centuries, one sometimes contested and infinitely varied, but nearly always critical to the meaning of a given work.

As exemplified in writings by Carl Dahlhaus and Georg Knepler, a debate about music historiography took place in East and West Germany in the 1960s and 1970s. A comparison between two books, Dahlhaus's Grundlagen der Musikgeschichte (Foundations of Music History) and Knepler's Geschichte als Weg zum Musikverständnis (History as a Means of Understanding Music), both published in 1977, is instructive as a measure of the two poles of the Methodenstreit: the one centered around music as autonomous work, the other around music as a human activity. The central questions raised prove uncannily current. The two scholars, who knew each other and respected each other's work, were both based in Berlin; but with Dahlhaus in the West and Knepler in the East, they represented the two different political systems that existed in the divided city between 1945 and 1989. In their work, and especially in these two books, Dahlhaus and Knepler defended their own positions and sought to point out weaknesses in the other side. While Dahlhaus's work is well known in English-speaking musicology, Knepler's is not. His contribution to music history and historiography was comparable to Dahlhaus's in importance, however, and his ideas anticipate many tenets of the "new musicology." [ABSTRACT FROM AUTHOR]

Examines a previously unknown document witnessing a transaction between composer Wolfgang Amadeus Mozart and his principal Viennese publisher, Artaria, which appears in an inventory ledger compiled by the firm in 1787. Documentary, financial, and bibliographical contexts, which suggest that Mozart was paid in advance for six piano trios and twelve songs, but failed to complete the commissions in full; Decline in his publishing output; Possibility that Artaria may have been unwilling to pay him until the project was finished.

Focuses on the historiography of Reformation music. History of western music; Overview of 16th century English sacred music; Manuscript discoveries; Profile on several musicians and musical compositions.

Discusses the singular character of music technology as a product of Western culture and its potential in helping to understand and articulate fundamental changes in music. Suggestion on an approach to technology so as to confer its meaning and context; History of music and technology in Colombia; Discussion on the emergence of electronic music.

The article informs that it is a pervasive idea in Western culture that music is in some way capable of symbolizing emotions, images or ideas. Equally pervasive however, within the fields of philosophy, musicology, social psychology and linguistics, is the view that, in spite of increasing attention devoted to the topic, attempts to explain empirically music's communicative ability have met with relatively little success. To speak of expressionism as a unified theoretical "block" is, of course, misleading for there is certainly as much difference of opinion within the expressionist position as there is between it and the formalist view. Thus a sociology of musical meaning is also a sociology of styles or modes of work done by the listener and as such it should ask questions about how much work the music requires of the listener. For instance, does s/he find many contextualization cues, as occurs in highly ritualized situations (in which cases s/he need only re-affirm a conventional interpretation of the piece). Or, does s/he find so few contextualization cues that s/he must "on the spot" as it were, manage his/her own production by not constructing the interpretation but the cues of context as well?

The article presents a review of the history of the studies on non-Western music in order to provide the reader with a better understanding of the later trends. This literature review excludes the information not of central interest to the discipline of anthropology in order to concentrate upon the relationship between music and culture. The importance of the study of music in culture is presently very great, however, there are a limited number of ethnomusicologists trained in anthropology. These few anthropologists cannot conceivably advance the study rapidly by themselves, unless many anthropologists take an interest in ethnomusicological research, the development of meaningful statements regarding the topic will be slow.

The article presents a case study of the development of the National Curriculum for music in English schools. This illustrates a relatively rare phenomenon, whereby the content of academic debates within the sociology of education, music education and musicology attain national importance through widespread coverage in the media. It is argued that the very public nature of the debates concerning what should count as school music exemplify an ideological struggle concerning the nature of 'Englishness' and what should lie at the heart of English culture. The analysis suggests that the precise role which institutions or the State play in the maintenance and reproduction of societies is contradictory and elusive. It also illustrates the ways in which the unintended consequences of government intervention in the educational process may provide outcomes severely at odds with their ideological intentions. [ABSTRACT FROM AUTHOR]

Describes a program for introducing general music students to the study of historical performance practices. Additions to old repertoire; Concept of authenticity as possible commercial attraction; Accountability in music; Opportunities for physical and emotional involvement with music; Incorporation of historical performance information into music education; More.