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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]

Copyright of Social & Cultural Geography is the property of Routledge 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.)

Copyright of Social & Cultural Geography is the property of Routledge 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 article discusses the significance of musicology to better understand the theory of social and cultural geographies in Australia and Great Britain. The geographers are using music in their effort to study ethnology, literature and culture in several nations. They study the connections between music, historical geographies of citizenship and the state of a nation.

Copyright of Social & Cultural Geography is the property of Routledge 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.)

Copyright of Social & Cultural Geography is the property of Routledge 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.)

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]

Starting from the findings of previous studies, which have proved the long existence of the melodic category, in which the finale is situated on the fifth step of the six-cord scale, in this paper, the investigation is expanded onto the instances taken by this phenomenon in the repertoire of Romanian carols. The songs are grouped into general profile patterns. Groups and subgroups are constituted, on the basis of correlating the following criteria: architectonic patterns, sound structure and pitch of final cadences. From the findings, it follows that the finale on the fifth step is just one of the possibilities. Despite the variety of instances, there is a tight connection amongst the different melodic categories, due to the use of elements of common musical language. [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]

Copyright of Social & Cultural Geography is the property of Routledge 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.)

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.

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]

This article recounts the collaboration between a music librarian and a music history professor, who worked together to craft a challenging historiography assignment for music majors. We shared two goals: getting the students to perform new and advanced research using sources and techniques previously unknown to them, and teaching them that the reception of a piece or composer changes over time and place. This project and its outcomes may serve as a useful model for integrating research into music history classes, making students aware of how history gets written, and forging a successful collaboration between librarian and professor. [ABSTRACT FROM PUBLISHER]

This article presents two hitherto unexplored manuscripts containing Mass Ordinary and Proper cycles from the first half of the 16th century. Masses by Josquin des Prez, Heinrich Isaac, Antoine Brumel, Dionisius Prioris, Heinrich Finck, Thomas Stoltzer and Wolfgang Grefinger, as well as works by other composers, are to be found there. These two choirbooks originated around 1550 in Brno, today in the Czech Republic, to service the liturgy at the parish church of St James. They are preserved as a part of a unique parish library comprising predominantly medieval manuscripts and early prints dating from before c.1530, now kept in the Brno City Archive. There were probably three manuscripts extant in the first half of the 19th century, with one of the smaller choirbooks now lost or unidentified. The two choirbooks that are preserved alone contain sufficient polyphonic repertory for the festive liturgy at St James. Due to their repertory, these manuscripts are unique within the Moravian musical culture of the 16th century, and within the Czech lands only a newly discovered choirbook from northern Bohemia, now in Prague, contains similar compositions by Isaac, Josquin and Brumel. [ABSTRACT FROM PUBLISHER]

Music printing in the Iberian Peninsula has been little studied and rarely has this specialized aspect of book production been considered in the broader context of more general trends in printing there during the sixteenth century. Music historiography has tended to assume that music printing failed to flourish because of poor local demand. However, more recent evidence, including analysis of book inventories, suggests that there was a thriving market, based on both international and local distribution, but that the printing of music books was affected by many of the factors that beset printing in general, including the expense of importing high quality paper, limited availability of specialized fonts and the socio-economic vicissitudes of individual printers. This essay explores the dynamics of the production of and market for music books through analysis of three major cities – Seville, Barcelona and Madrid – which appeared to offer the right conditions but which ultimately produced only a limited number of editions. [ABSTRACT FROM PUBLISHER]

Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre 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.)

Copyright of Musicology of Lithuania / Lietuvos muzikologija is the property of Lithuanian Academy of Music & Theatre 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.)

This article presents a detailed account (provenance, codicology and contents) of Surrey History Centre, Woking. MS LM/1083/91/35, a late Restoration manuscript of lyra-viol and keyboard music. Originally from the papers of the More-Molyneux family of Loseley Park, LM/1083191135 is a source of otherwise unknown music by John Moss and Gerhard Diesineer. Two of the lyra-viol pieces in particular demonstrate that the Woking manuscript dates to at least 1687 or 1688, making it the latest known English source of viol music in tablature. The primary purpose of the manuscript seems to have been didactic. It was copied by a single scribe, who was evidently a musician actively engaged with the popular music and current political events of mid- to late-1680s London. LM/1083/91/35 allows us a rare glimpse into the amateur musical world of 1680s London. [ABSTRACT FROM AUTHOR]

Where do musicians locate, and why do creative industries such as music continue to cluster? This paper analyzes the economic geography of musicians and the recording industry in the US from 1970 to 2000, to shed light on the locational dynamics of music and creative industries more broadly. We examine the role of scale and scope economies in shaping the clustering and concentration of musicians and music industry firms. We argue that these two forces are bringing about a transformation in the geography of both musicians and music industry firms, evidenced in a shift away from regionally clustered, genre-specific music scenes, such as Memphis or Detroit, toward larger regional centers such as New York City and Los Angeles, which offer large markets for music employment and concentrations of other artistic and cultural endeavors that increase demand for musicians. We use population and income to probe for scale effects and look at concentrations of other creative and artistic industries to test for scope effects, while including a range of control variables in our analysis. We use lagged variables to determine whether certain places are consistently more successful at fostering concentrations of musicians and the music industry and to test for path dependency. We find some role for scale and scope effects and that both musicians and the music industry are concentrating in a relatively small number of large regional centers. [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.

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]

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 introduces the empirical papers published within the issue which provide examples of current scientific approaches to the music communication process. According to the article, the papers discusses the nature of empiricism and how musical meaning relates to scientific study from the perspective of cognitive psychology. It adds that music empiricism has been guided by the privileged status of pitch and rhythm.

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]

The article profiles the several authors including Laura Dolp, John Latartara, and Shay Loya.

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]