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This forum presents a conversation among seven scholars who explore the theme of discomfort in the emergent field of global music history. Prompted by Yvonne Liao and Olivia Bloechl, co-founders of the American Musicology Society's Global Music History Study Group in 2019, these contributions address ideas of globality by decentering knowledge production and productively engage different ways to resist hegemonic pasts, narratives, and processes entrenched at home, whatever and wherever home may be. This forum thus confronts home-based challenges that resist or obstruct the implementation of this decentering principle: What does it mean to locate a "home" and to identify various "discomforts" in the global musical and sonic spheres? How does the thinking of "home" relative to "discomfort" help to theorize the concepts of agency, locality, temporality, community, regionalism, and nationality? All seven articles share one structural feature--an extensive selfintroduction in the spirit of Jessica Bissett Perea's call for "intertribal visiting protocols" developed by critical Indigenous studies. This grounds each contribution by exposing the contingency of arguments and allows for a weaving of themes of space, boundary, and interconnection across articles. The forum's topics range from world-making to relationality, from cripping musical taste to making Siamese music legible to colonial ears, and from listening for political taboos to problematizing "Latin American" music and theorizing intimacy through the notion of "scale" itself. Writing with candor, all contributors bring global music history into uncomfortable terrains. [ABSTRACT FROM AUTHOR]

This article analyzes the main themes in the critical reception of John Antill's orchestral ballet Corroboree (1944), a musical representation of indigenous culture by a non-Indigenous composer widely regarded as the most prominent piece of Australian classical music composed before the 1960s. In the historiography of Australian music that developed in the 1960s and 1970s, Antill's work occupied a foundational position as the moment when Australian composition purportedly caught up with developments in international musical modernism. The reception history demonstrates, however, that Corrorboree was rarely described in reviews as "modern," "contemporary," or "new," especially in the two decades after its 1946 premiere. I argue that Corroboree's positioning as Australia's attainment of musical modernity was a retrospective interpretation by modernist writers associated with the compositional "new wave" of the 1960s and reflected their rethinking of Australian music history as a modernist teleology. In both international and Australian reviews, responses most frequently reference tropes and concepts associated with primitivism and exoticism. Primitivist language occurs throughout the whole course of the work's reception, whereas exoticizing terms such as "weird" and "bizarre" are more frequent in the early years, before its modernist reinterpretation. Importantly, this early reception corresponds with recent analyses of Antill's compositional aims and Nicholas Thomas's notion of settler primitivism. Thomas described a type of primitivism broadly distinct from modernist primitivisin's aesthetics of formal innovation, cultural renewal, and emulation of the "primitive." Settler primitivism is instead a type of representation and identity-work in settler societies based on the nationalist desire of settler artists to create a sense of belonging through identification with local indigenous cultures. In the case of Corroboree, as understandings of the work in exoticist terms waned, the reception shifted and its primitivism tended to be framed in relation to modernism's concern with stylistic innovation and formalism. [ABSTRACT FROM AUTHOR]

This article considers the spectral afterlives of castrati in nineteenthcentury music historiography, reading them as transhistorical mediators between the "stuff" of archives and embodied musical experience. The article first sketches out the germane late eighteenth-century notions of feeling, art history, and aesthetics--from the empirical potential of sensibility to J. J. Winckelmann's systematization of classical art--that invited people to imagine certain bodies as capable of sensing history and, in turn, of rendering history "sense-able" through artistic style. Bringing these historical threads into dialogue with recent theories of queer temporality and queer aesthetics, the article argues that castrato singers were cast as once-living art objects and thereby invested musically, dramaturgically, and bodily with the same hybrid temporalities associated with artifacts of material culture--enabling later writers to invoke castrati as having materialized both the ephemerality and the historical situatedness of past musical styles. Moving from the generalized castrato figure to one particularly salient example, the article then focuses on three writers' representations of Gasparo Pacchierotti (1740-1821). The authors discussed here--Alessandro Pepoli (1790s), Stendhal (1820s), and Vernon Lee (1880s)--each portrayed Pacchierotti as embodying the frictions between the singer's late eighteenth-century moment and the writer's own hybrid present. Imaginatively encountering Pacchierotti as, respectively, a living body, a rememberedvoice, andmaterial remains, each grappledwith the limitations--and the stakes--of music histories. Ultimately, the castrato emerges from these scattered remains as a ghost of the feelings, fictions, and fantasies that haunt historiography. [ABSTRACT FROM AUTHOR]

Media histories of music often frame technological innovation in the early twentieth century within a general zeal for automated musical reproduction. The engineering efforts of the Aeolian Company and its Pianola counter such narratives by fostering active music-making rather than passive listening. As a pneumatically powered attachment to a piano, the Pianola was initially limited to reproducing strictly mechanical renditions of music from perforated paper rolls. But the invention of the Metrostyle in 1903, a hand lever to achieve tempo-specific effects, significantly refined the musical capacities of the instrument. It allowed for inscribing onto the music rolls authoritative performance instructions that could be enacted by the player. Revisiting the various places that the Metrostyle Pianola inhabited, from the manufacturing site to the concert hall and the bourgeois living room, I illuminate the different sociocultural relationships and musical experiences that it mediates. By relegating certain tasks of conventional piano-playing to the mechanical workings inside the instrument, the Pianola was marketed as facilitating simplified music-making in ever wider parts of society. The Metrostyle annotations served as a pedagogical device for instructing novice players in principles of nuanced and tasteful interpretation. My analysis exposes the reciprocal relationships between the instrument and its human players, from attempts to adapt the physical interface to human physiologies, to the ways in which the instrument, in turn, imposes certain mechanistic affordances on its players. [ABSTRACT FROM AUTHOR]

In the foreword to his Grundlagen der Musikgeschichte (1977), translated into English as Foundations of Music History (1983), Carl Dahlhaus names three reasons for writing the book: the lack of theoretical reflection in his own field; the problem of mediation between methodological maxims and their political implications; and the difficulties he encountered while preparing his history of nineteenth-centurymusic. Each of the three reasons can now be understood more precisely and historically contextualized in light of recently uncovered letters and notes. Dahlhaus's methodological critiques of political music as conceptually distinct from aesthetically autonomous works--contrary to a popular claim by Anne Shreffler (2003)--were directed mainly at the "Western left." Moreover, in the 1980s this controversy became intertwined with historiographical questions regarding the concept of "event" that was reinforced in publications by the "Gruppe Poetik und Hermeneutik." A postscript discusses the English translation of the book and the concept of "structural history" in late Dahlhaus. [ABSTRACT FROM AUTHOR]

During the Cold War, American private foundations subsidized American modernist composers, supporting their work through commissions, underwriting recordings and concerts, and promoting their ideas in radio programs and periodicals circulated at home and abroad. From its establishment in 1952, the Fromm Music Foundation (FMF) acted as an important player in this field. Using archival material and interviews with people who worked with the founder Paul Fromm, I show how Fromm's involvement in his foundation, and his reliance on professional advice, constituted a unique patronage model that enabled select composers to participate actively in the promotion of their music. Fromm's relationship with Elliott Carter provides an especially complex example of a mutually beneficial and successful partnership. Fromm's goal was to integrate contemporary music into American musical life by supporting the production and dissemination of new compositions. Fromm sought to play the role of patron, fostering close relationships with composers who received funds and acted as his artistic advisers. Fromm's partnership, and consequent friendship with, Carter illustrates the many ways the FMF served composers. In 1955 Fromm commissioned what became Carter's Double Concerto for piano, harpsichord, and two chamber orchestras (1961). Fromm's subsequent help, administered through his Foundation and personal connections, enabled Carter to secure high-quality premieres of this piece and other difficult-to-perform repertoire, helped facilitate repeat performances and recordings of these compositions, and allowed Carter, together with his wife Helen, to establish a system to fund musicians who performed his music-and also reap tax benefits. Among the recipients who benefited from Fromm's largesse were Charles Rosen, Paul Jacobs, and Jacob Lateiner. Fromm's actions spawned a familiar fable. Carter's career and the way he talked about it reinforced many persistent falsehoods about an artist's relationship, or lack thereof, to potential listeners and audiences-a source of financial support for artists since the advent of public concert life. Fromm's financial support and Carter's ability to supplement it helped buttress the late-Romantic myth of creative autonomy. The details of this partnership-the words exchanged, the other figures involved, and its variegated benefits-harbor broad implications for the study of Cold War-era patronage networks and for our view of Carter's career. [ABSTRACT FROM AUTHOR]

Within a single decade, Bolshoi Theater in Moscow produced distinct versions of Aram Khachaturian's ballet Spartacus by Igor Moiseyev (1958), Leonid Yakobson (1962), and Yuri Grigorovich (1968). A close examination of the three productions, analyzed along with evidence from the transcripts of the theater's artistic committee meetings, newspaper criticism of the ballets, and audience surveys from the theater's archive reveals how the productions participated in Thaw-era debates about the place of nationality in Soviet society. The original two choreographers, like Khachaturian, used the ballet as a place to stage the ''Friendship of Peoples,'' a metaphorical representation of Soviet society as a meeting place for diverse nationalities, conceived of as essentialized folk cultures. In 1968, when Grigorovich staged the ballet, he radically rearranged the score, replacing Khachaturian's multi-ethnic display with an exhibition of ethnic homogenization. Grigorovich's revisions reflected Khrushchev's and Brezhnev's campaigns to shape a single, unified Soviet national identity. [ABSTRACT FROM AUTHOR]

The purpose of the discussion, which served as keynote at a conference convened under the title ''Music and Power,'' is to complicate what is often a simplified and overly dichotomized view of that relationship. Two figures, Dmitry Kabalevsky and Tikhon Khrennikov, are singled out for commentary as musicians who wielded political power or conspicuously benefited from it under the Soviet regime. The titular serendipities were occasions through which the author was made unexpectedly aware of the ambiguities and nuances that attended the interactions of music and musicians with the Soviet state. [ABSTRACT FROM AUTHOR]

In the article the author expounds on the benefits of studying the discipline of musicology as it relates to the landscape in art history and cultural geography. Topics discussed include the differences between auditory and visual notions of landscape, the importance of landscape in historical debates about music and representation, the common ground between research on musicology and cultural geography, and an introduction to the essays published within the issue.

In book 7 of his Speculum musicae, the fourteenth-century music theoristjacobus structures a defense of music as it had been practiced in the thirteenth century by such eminent musicians and theorists as Lambertus, Franco, and Petrus de Cruce against the practices of certain unnamed modemi active at the time of Jacobus's writing. While Jacobus's quotations from various theoretical works by Jehan des Murs have long been recognized, it previously had been supposed that the remaining quotations were jumbled references from many different theorists. With specific reference to Philippe de Vitry only two quotations from the text edited in vol. 8, Corpus scriptorum de musica, had been identified previously. In fact, there is substantial sustained treatment of a single author, whom I have termed the doctor modernus and who is not Jehan des Murs, that occupies at least five contiguous central chapters of book 7. Following Jacobus's practice in the previous six books of commentary on a handful of specific works, the writing of Book 7 appears to have been structured around the written works of just four theorists: Lambert, Franco, Jehan des Murs, and the doctor modernus. Furthermore, Jacobus's vehemence toward the doctor modernus was particularly pronounced and may indicate a personal relationship between the two men. His treatise is quoted with reference to some fundamental ars nova theories, such as extension of long notes beyond the duplex long, remote imperfection, the use of imperfect longs, and imperfect measure in general, and his treatise is described as outlining the precepts of both the old and new arts. The similarities between the treatise of the doctor modernus and many ars nova theory texts (some of which were attributed to Vitry) hints at the possibility that the treatise of the doctor modernus may have been the ancestor text that these other texts had in common, and hence also that Philippe de Vitry may have been the author of the text known to Jacobus, whose subject was the Ars vetus et nova. [ABSTRACT FROM AUTHOR]

Song was frequently disciplined in the sixteenth-century Consistory of Geneva as part of the broad program of social Reform led by Calvin. Between 1542 and 1552, more than one hundred Cases involving illicit singing came before the Consistory court. These cases reveal the Consistory's persistent attempt to control the singing of all members of Genevan society regardless of social status or situation. They also offer a new field of evidence for exploring the boundaries between proper (honneste) and improper (deshonneste) singing in Reformed communities. The bulk of the cases sun-eyed from this period involved charges of illicit singing alongside other immoral behaviors, such as gambling and fornication. These cases direcdy linked indecent singing to other forbidden acts--a connection that worked out a neo-Platonic view of music in juridical process and provided the rationalization for the entire project of disciplining song in the courts. Concerns over improper song leading to illicit behavior and ultimately to social disorder were dramatically illustrated in a cluster of Consistory cases related to the famous Bolsec affair that exploded in Geneva near the end of the year 1551. Bolsec's contrafactum on the tune of Psalm 23 from the Geneva Psalter--1 written during Bolsec's lengthy stay in prison--spread his dissenting theology to his supporters and enacted the dangerous potential of song to disrupt the unity of the Reformed city. [ABSTRACT FROM AUTHOR]

Western studies of musical life in the USSR have typically placed great emphasis on the constraints to which composers were subject and often appear to have accepted as axiomatic the notion that the styles of Soviet composition of the Stalinist era were fundamentally conditioned by external pressures. One of the most influential formulations of this view is to be found in Boris Schwarz's Music and Musical Life in Soviet Russia, which has remained a standard work of reference for over four decades. Schwarz considered the promulgation of the Communist Party's resolution of 23 April 1932 ''On the Reconstruction of Literary and Artistic Organisations'' to represent a fateful turning point in the fortunes of Soviet music, marking the inauguration of a stultifying new era of ''regimentation'' and the demise of freedoms that had remained after the persecution of leading modernists by the Russian Association of Proletarian Musicians. According to Schwarz ''advanced composers turned conventional, and conventional composers turned commonplace.'' In Schwarz's view, the newly founded Composers' Union, just as Goebbels's Reichsmusikkammer, presided over an artistic wasteland. In this essay I question such generalizations. I focus on Nikolay Myaskovsky (1881-1950), regarded by Schwarz as a prime example of a modernist who retreated into safe conventionality in the early 1930s after the composition of his notorious Twelfth Symphony, ostensibly written to glorify Stalin's grandiose project of agricultural collectivization. Are-examination of the circumstances surrounding the symphony's genesis suggests that the constructions Schwarz placed on this phase of Myaskovsky's career are questionable. Although the composer's harmonic language became noticeably less dissonant after 1932 than in certain works of the 1920s, I argue that this cannot be attributed solely to external pressures, as Myaskovsky's later style evinces strong continuities with tendencies manifest in his earlier work. The essay closes by reflecting on the wider implications of these findings for our understanding of Soviet composition of the Stalinist era. [ABSTRACT FROM AUTHOR]

The article discusses "The Oxford History of Western Music" by Richard Taruskin and focuses on criticisms against it. Topics discussed include the author's reaction to pieces in the issue by Peter Schmelz, Karol Berger, and Michael Gallope, the musical canon, and questions related to historiography.

In 1980 Soviet Ukrainian composer Valentin Silvestrov began a series of "postludes," a genre representing, in his words, a "collecting of echoes, a form opening not to the end, as is more usual, but to the beginning." This article examines Silvestrov's Symphony no. 5 (1980-82), and the theory, practice, and reception of his evolving "post" style. The symphony represents a unique congruence of modernism and postmodernism, nostalgia and continuity, expressed at the end of the Soviet Union, the end of the twentieth century, and what many believed to be the end of history. Completed near the conclusion of the Brezhnev period of stagnation, the symphony was intended to assuage the public's acute dissatisfaction with life in the USSR. Yet when it was first heard in the mid-1980s, it offered a comforting familiarity amid the bewildering acceleration of perestroika. Examining Silvestrov's "post" style requires considering the sociocultural impact of his sense of ending by treating his eschatology as a useful fiction that illuminates the conflicting sensa-tions of stasis and acceleration during the last decades of the USSR. This article draws on interviews with Silvestrov and his close associates, as well as the Silvestrov Collection at the Paul Sacher Stiftung. [ABSTRACT FROM AUTHOR]

This article begins with a description of the essential features and current state of the social practice called art music, concluding that as recently as the late twentieth century it was in excellent shape, as docu-mented by a series of canonic masterpieces. I continue with an outline of the principal questions pursued by, and the current state of, music his-tory, demonstrating that it too was flourishing in the same period, pro-ducing work of enduring worth. In conclusion, I consider the main dangers that currently threaten a successful cultivation of music history. These include our inability to notice historical developments that really matter when we are blinded by thinking in terms of group identities, and the unfortunate confluence of two recent cultural trends: the flood of ever new products of the music (or entertainment) industry, combined with our inability and unwillingness to discriminate. [ABSTRACT FROM AUTHOR]

From the late eighteenth century onward, composers began to use dynamic signs as an independent layer of expressive meaning, deployed either to reinforce the dynamic tendencies inherent in the music (through melodic or harmonic trajectory, phrasing, texture, etc.) or to counteract them. The study of this phenomenon thus far has been limited to individual observations regarding particular events, such as "surprise dynamics" (for example sudden peaks in volume or a subito piano following a crescendo), with no attempt to reach a systematic understanding. This article elucidates a little-noticed device, the preventive or cautionary dynamic. Some nineteenth-century composers reiterate dynamic instructions in their instrumental music several times in succession. The purpose of these repetitions is to maintain a desired dynamic level that runs counter to the intrinsic ebb and flow of tonal music (the "internal dynamic" as defined by some authors). The device is used most frequently at the extremes of the dynamic spectrum, often to create expressive tension in a poetic/extramusical sense. The first composer to make substantial use of this technique was Beethoven, but it is Mendelssohn who developed and deployed it most fully. This type of dynamic instruction is most prevalent in large-scale instrumental compositions, such as the symphony, and highlights another aspect of musical practice of the period: composers increasingly had to contend with conductors and performances over which they had no direct control. The increased use of dynamic signs in general and preventive or cautionary dynamics in particular can thus be read as an attempt to assert control over expressive aspects of their compositions that traditionally had been left to performers. [ABSTRACT FROM AUTHOR]

Volga-Volga (1938), the third musical comedy made by the Soviet director-composer team of Grigory Aleksandrov and Isaak Dunayevsky, is one of the most emblematic films of the Soviet 1930s. Indeed, it won its makers a Stalin Prize in 1941 and was supposedly Stalin's favorite film. But Volga-Volga was also a success with Soviet viewers: they flocked by the millions to see the film, which was still playing in theaters at the outbreak of war in June 1941. As a combination of slapstick comedy and memorable musical numbers that addressed an appropriately Soviet theme, the film clearly spoke to both the masses and officials. But what does Volga-Volga have to say? The film tells the story of a musical "civil war" between a folk ensemble and a classical orchestra, both of which head to Moscow to participate in the national musical Olympiad. Due to "accidental" circumstances, the two ensembles eventually join forces and win the competition with a performance of the "Song about the Volga." Though this merger of musical forces and styles seems to serve predominantly comedic purposes, the "story of a song" can also be read as a commentary on the development of music in the Soviet Union in the 1930s. In a period marked by debates and uncertainties in all realms of musical production about what exacdy Socialist Realist music was to be, Aleksandrov and Dunayevsky offer as their solution a musical practice that advocates inclusivity by seeking to combine features from many types of music into a distinctly Soviet blend. This thematization of music is enhanced by the nature of the film musical, whose stylistic reliance on music as a bridge between real and ideal worlds embodies the aesthetic demands of Socialist Realism. Furthermore, the film can be understood as an instance of what film scholar Miriam Hansen calls "vernacular modernism," namely, the adaptation of an American cinematic model into a foreign context as a tool for reflecting and refracting experiences of modernity. [ABSTRACT FROM AUTHOR]

Prokofiev's cantata Zdravitsa (1939) was appreciated by Soviet officialdom immediately upon its premiere, and its fame lasted throughout subsequent decades. In post-Stalin times, however, critics re-evaluated the cantata, arguing that Zdravitsa had not been written as pro-Stalinist propaganda. Eventually, the idea that it was not Stalin but "the people" whom Prokofiev actually glorified in this cantata became the accepted interpretation of the piece, unchallenged even today. Based on insights drawn from the musical and literary sources of Zdravitsa, its relationship to the pseudo-folk Soviet tradition, and its critical reception, the present article proposes a revised framework for interpretation. I show that Prokofiev's cantata fully corresponds to the Stalinist cultural Myth of the Father of Nations, as represented in Soviet arts and media. Examining archival sources and scholarly literature, I describe the official demands on the cantata. In the second part of the essay I undertake a thorough exploration of the music, identifying its adherence to Socialist Realist aesthetics in Stalin's times. [ABSTRACT FROM AUTHOR]

The whimsical upper-voice texts of the anonymous fourteenth-century motet Musicalis/Seiende stage an epistolary exchange between Rhetoric, Music, and a long list of French composers and singers. The letters complain that these musicians, whose ranks include Guillaume de Machaut and Philippe de Vitry, split words with rests when they write hockets. The critical tone of Musicalis/Seiende implies that some ars nova composers must have regularly split words with hockets, while others-- the motet's composer, for one--held this to be bad practice. But since modern editions and medieval scribes alike are imprecise in the placement of text around hockets, the existence of such opposing camps seems difficult to substantiate. An analysis of text-note alignment in four sources for Apta/Flos reveals that some scribes were prescriptive in their texting of hockets, while others, like the scribe of the important Ivrea codex, were pragmatic. An awareness of these differences can lead to alternate modes of interpreting ambiguous text underlay. In the case of Philippe de Vitry's Petre/Lugentium, shifting syllables adjacent to hockets can transform the work, highlighting carefully differentiated textural zones that are key to its structure. Such editorial intervention can in turn yield fresh insight into competing compositional approaches. [ABSTRACT FROM AUTHOR]

In this essay, I aim both to elucidate and to problematize Adorno's reading of Beethoven's middle and late styles as essentially dichotomous. Specifically, Adorno holds that the middle-style works express the utter interdependency of the subjective and objective spheres in their emphasis upon organic wholeness and totality. By contrast, the late-style works express the alienation of subject from object in isolating and laying bare musical conventions. Yet middle Beethoven, as Adorno himself intimates, often calls organic unity into question, especially with respect to the recapitulation and coda in a sonata-form piece. Moreover, although Adorno does not seem to acknowledge it, the middle style exhibits fragmentation both in partitioning the sonata principle into subprinciples and, more concretely, in partitioning a theme into various subcomponents. Conversely, using Schenkerian techniques, one can expose subthematic unity underlying foreground fragmentation in the late works (as demonstrated by Daniel Chua and Kevin Korsyn). Drawing on Schenker's reading, I use Beethoven's Piano Sonata in A, op. 101 as a case study. In the second half of the essay I confront the political connotations of Adorno's argument, again problematizing particular stylistic binarisms with respect to issues of freedom, solidarity, and hope. [ABSTRACT FROM AUTHOR]

This paper, taking its cue from the movement's heading, reads the "Heiliger Dankgesang" from Beethoven's String Quartet, op. 132, in terms of spirituality, divinity, and death, following a formal narrative understood in terms of Eastern-influenced conceptions of death and afterlife found in Beethoven's Tagebuch. It has often been noted that the movements of op. 132 present extremely strong contrasts with one another, and this paper draws connections between the narrative shapes of the various movements and several of the quite varied spiritual perspectives explored by Beethoven. Viewed in this way, op. 132 synthesizes two of the areas in which Maynard Solomon has argued that Beethoven was open to multiple contrasting and even contradictory possibilities-- the musical and the spiritual. The contrasts and conflicts among the movements and among the spiritual narratives that they suggest add new dimensions to inter-opus connections as well, giving new depth to the intertextual relationship between the String Quartet, op. 132, and the Ninth Symphony. [ABSTRACT FROM AUTHOR]

In his brilliant studies and accurate editions Anthony Newcomb has shown Alfonso Fontanelli's contributions to the definition of "the new Ferrarese style of the 1590s" and, therefore, to the birth of the seconda pratica. My article focuses on a specific aspect of Fontanelli's polyphonic writing: the handling of cadences for not only syntactical and tonally structural but also expressive purposes. The literary-musical analyses of some of the most representative settings published in Fontanelli's two books of madrigals (1595 and 1604)--including masterpieces such as "Tu miri, o vago ed amoroso fiore" (Anonymous), "Io piango, ed ella il volto" (Petrarca), "Lasso, non odo più Filii mia cara" (Anonymous), and "Dovrò dunque morire" (Rinuccini)--shows, above all, the unusually wide range of Fontanelli's cadential palette. He used not only traditional models (such as the perfect, authentic, Phrygian, and half cadences) but also a great variety of alternative solutions (including what Newcomb has named "evaporated" and "oblique" cadences) that are often so experimental and bold as to escape rigid classification. In the context of a basically chromatic, dissonant, harmonically restless, and tonally unfocused polyphonic flow such cadential variety seems to reflect Fontanelli's intention not only to underscore the conceptual and emotional meanings represented in the verbal text but also to sharpen their large-scale affective contrasts. In these and other experimental traits of his "cadential style" Fontaneiii further developed (possibly through the mediation of Jacques de Wert, and also under the influence of composers such as Luzzaschi and Gesualdo) those basic compositional techniques and exegetic principles that Cipriano de Rore, the real father of the seconda pratica, had already established in his later madrigals, and that Vincenzo Galilei, in turn, had neatly codified in his treatise on counterpoint (ca. 1588-1591). [ABSTRACT FROM AUTHOR]

The article presents an analysis of the career and works of the 16th- and 17th-century Italian madrigal composer of Giovambattista Strozzi the Younger. Contextual information is given distinguishing several Strozzis who were prominent during the period. Subjects addressed include his professional life in Florence during the late 16th century, his relationship with and influence from Giovambattista Strozzi the Elder, and his style of engagement with the poetic texts of his songs.

The article presents an examination into the music collected in the 16th-century Italian madrigal anthology "L'amorosa Ero," by the Brescian Count Marc'Antonio Martinengo di Villachiara. An historical overview of the volume's context is given including details of the musical culture of Italy at the time and the author's life as a music patron. A comparison is then given between the several composers featured in the anthology, including Alfonso Ferabosco, Claudio Merulo, and Antonio Morsolino.

An essay is presented examining the musical setting of poems by the 16th-century Italian poet Torquato Tasso, particularly his works seen in the anthology "Rime." Introductory comments are given noting scholastic focus on Tasso's more serious poems. It is then asserted that Tasso also produced several lighter poems which were also set as canzonetta madrigals, suggesting the poet's contributions to the repertoire were greater than previously credited.

The article presents an in-depth examination into two old Beneventan chant antiphons, taken from the feast service to St. Mercurius found within a breviary copied in 1161. Contextual information on the history of St. Mercurius is also included. Reproductions of the two canticle antiphons are provided and extensive analysis is given of their forms and features. Comments are then offered regarding their placement within the canon of Beneventan modal music.

The article presents an analysis of the vocal musical work "Prenez sur moi," by the 15th-century Franco-Flemish composer Johannes Ockeghem. Details are given outlining the unorthodox notation utilized for the three-voice canon, particularly its key signature. Analysis is then offered for both the textual basis and the melodic constructions of the work.

The article presents an examination of two Renaissance motets composed near the year 1500, illustrating their structural forms. The pieces "Inviolata integra et casta es Maria," and "Alma redemptoris mater," by Heinrich Isaac are presented and contrasted with each other, focusing on their differing use of the cantus firmus as the primary compositional feature.

The article presents a musical analysis of the Renaissance motet "Virgo prudentissima," a 1520 six-voice sacred choral work by the Franco-Flemish composer Heinrich Isaac. Details are given describing the history of the work, its distinct musical features, and its printing in the choirbook "Liber selectarum cantionum quas vulgo mutetas appelant."

The article presents analysis of the popular reception, distribution and use of music written by the Renaissance Franco-Flemish composer Heinrich Isaac. Details are given describing how Isaac's music was particularly received in England during the early Tudor period, reviewing multiple manuscript anthologies featuring his works. Notes are also given comparing Isaac's compositional style with that of his contemporaries.

The article presents an in-depth analysis of the history and composition of the mid-15th century vocal mass "Missa Se la face ay pale" by the Franco-Flemish composer Guillaume Du Fay. Discussion is offered analyzing the work's structural idiosyncrasies and noteworthy innovations as a sacred mass based on secular song melodies. Particular attention is given to the piece's significance as a wedding composition and its origins.

The article discusses the spatial representation of musical form which is conceptualized in two approaches such as temporally and spatially. It states that temporal approach conceives of form diachronically, while spatial approach conceives of form synchronically. It says that the approaches are interdependent and not mutually exclusively. It believes that the slow emergence of spatial representations of musical form is due to the unwillingness of showing linear time in two-dimensional space.

The article offers the author's insights on the music history, criticism, analytical thinking, and performance patterns of composer Joseph Haydn's symphonic slow movements of the 1770s. The author says that the slow movement manner is a mixture of feelings and emotions described by strange gestures or unexpectedly timed events, but maintains a balance in tone and style delivery. He adds that a slow movement is an indication of expression and expressiveness as well as the expectations that composers may provide.

The article reports that the work of Giovanni Maria Bononcini exemplified the persistence of the modes in the 17th century, their importance in Baroque-era musical thought, and the effect of modal theory on composition. Bononcini was a violinist, maestro di cappella, and proponent of twelve-mode theory. He wanted to incorporate modal technique in an unprecedented arrangement of musical styles, as well as the realization of his modal principles in his duos, madrigals, and sonatas. The modal theory of Bononcini proves to be less a system of tonal organization than a musical symbol.

The righoletto was a type of round dance current in Florence and its surrounding countryside in the late 14th and 15th centuries. It was above all a dance accompanied by song, one in which all the dancers sang the refrain, and a soloist sang the stanzas. Twelve "canzone a righolett"o have been identified in literary sources, together with three closely related works also appropriate to accompany the dance. The lyrics occupy a medium or lower poetic register; they range from moralizing texts to ribald narratives. Despite its country origins, the righoletto and its "canzone" were shared across social classes, largely via oral transmission. One "canzona a righoletto" survives with its music, the lauda "In su quell'alto monte." Another, the satiric "Non ti fidare che oggi è sì pocha fé," has been reconstructed from its model in the Squarcialupi Codex. The righoletto thus offers valuable glimpses of a vanished form of vernacular culture in late medieval Italy. [ABSTRACT FROM AUTHOR]

Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the early 14th century, our understanding is dominated by views drawn from lyric poetry, romance, criticism of musical and literary register, traditions of performance, and other abstract conceptualizations of this remarkable moment in the history of music. But there exists an extensive body of musical evidence that points to an energetic and sophisticated experimentation with musical and poetic elements that anticipated the style of polyphonic song cultivated by Machaut and his contemporaries. One such experimental repertory consists of the 22 motets based on vernacular tenors copied into the seventh and eighth fascicles of the Montpellier Codex (F-MOf H 196) and in the Turin motet book (I-Trvari 42) ca. 1300. The vernacular tenors that underpin these motets exhibit the types of repeating structures familiar from secular monody around 1300: six- and eight-line rondeaux and various other types of structure as described by Ludwig, Gennrich, and Walker. What has been less systematically explored is the degree to which the upper voices of the motets reflect the repetitions that characterize their tenors. The composers of these motets were attempting-within the stylistic restraints that the genre imposed on them-to create polyphonic works whose entire texture followed the structure of the tenor: in other words, to construct a musical entity that had much in common with the polyphonic song of the next generation, but that still retained the overlapping phrase patterns and poetic line length of the motet as had been traditional for nearly a century. [ABSTRACT FROM AUTHOR]

Adorno's engagement with postwar music is reflected in the complex history of his reception among composers, theorists, and critics of the time. His work was seen both as pointing the way forward and as hopelessly outmoded, and his ideas were often eagerly adopted only to be transformed into something very nearly their opposite. This tangled and contradictory reception stems in part from misreadings of his texts, but it also parallels his changing positions on the music and ideas of the period. Changes and constants in Adorno's thinking can be seen by comparing two of his central essays on postwar music: "Das Altern der Neuen Musik" and "Vers une musique informelle." Key concepts in these essays (and his music philosophy in general) include material, time, subjectivity, and the ethics of new music. An analysis of these essays and concepts reveals that despite relevant changes, Adorno's narrow reading of an Austro-German compositional tradition is a constant that defines the standard for his engagement with postwar music. [ABSTRACT FROM AUTHOR]

The article presents information about Andrea Most's Making American: Jews and the Broadway Musical. This studies eight musicals: the Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I. This was done in an effort to explore how first and second generation American Jewish writers, composers, and performers used the theater to fashion their own identities as Americans. The problem exemplified by writings such as Most's-the distortions and misreading that may result from a social history that does not engage music--may be seen in the broader context of Broadway and opera scholarship.

Although the "Jupiter" Symphony has been the subject of much analytical commentary, little attention has been paid to placing the work within the context of Mozart's times and the heritage of earlier 18th century practices on which it draws. Filling this lacuna involves the consideration of myriad factors, including Mozart's exposure to the music of J. S. and C. P. E. Bach, Joseph Haydn, Michael Haydn, Carlo d'Ordonez, Antonio Salieri, and others; his knowledge of Killian Rheinhardt's Rubriche Generali; his exposure to the Viennese C major trumpet-symphony tradition; and the possible effect of the Turkish War under way in 1788 on the Charakter of K.543, 550, and 551 both in terms of their individual movements and the cycle as a whole. In this larger context, K.543 is the most normal work of the series; K.55o, in minor, is dominated by music of mourning; and K.551 is both an elevated and celebratory symphony most appropriate for a victory after battle. Given the C major trumpet-symphony tradition of the first movement of K.551, the elevated nature of the slow second movement's French sarabande, the mixture of idioms of the minuet, and the fugal finale, Mozart fulfills in K.551 every Viennese celebratory requirement. [ABSTRACT FROM AUTHOR]

Although the "Jupiter" Symphony has been the subject of much analytical commentary, little attention has been paid to placing the work within the context of Mozart's times and the heritage of earlier 18th century practices on which it draws. Filling this lacuna involves the consideration of myriad factors, including Mozart's exposure to the music of J. S. and C. P. E. Bach, Joseph Haydn, Michael Haydn, Carlo d'Ordonez, Antonio Salieri, and others; his knowledge of Killian Rheinhardt's Rubriche Generali; his exposure to the Viennese C major trumpet-symphony tradition; and the possible effect of the Turkish War under way in 1788 on the Charakter of K.543, 550, and 551 both in terms of their individual movements and the cycle as a whole. In this larger context, K.543 is the most normal work of the series; K.55o, in minor, is dominated by music of mourning; and K.551 is both an elevated and celebratory symphony most appropriate for a victory after battle. Given the C major trumpet-symphony tradition of the first movement of K.551, the elevated nature of the slow second movement's French sarabande, the mixture of idioms of the minuet, and the fugal finale, Mozart fulfills in K.551 every Viennese celebratory requirement. [ABSTRACT FROM AUTHOR]

Focuses on the book "Choralis Constantinus," written by Henricus Isaac concerning the history of music in the city of Constance in the 16th century. Contents of the book; Theories underlying Choralis music; Analysis of the revised editions of the book.

Explores the Italian influences on French music in the 18th century. Rhetoric basis of judgment and Mondain aesthetic thought; Principles of rhetoric in music; Emotional aspects of Italian music; Role of the principles of politesse in Italian music.

Analyzes the interpretations of the printing history of Johann Sebastian Bach's 'Musical Offering.' Discussion on the installment theory; Question of the identity of the engravers of the collection; Examination of the publication process.

Discusses the symphonic minuets composed by Joseph Haydn. Difference between the Baroque minuet and the Classic minuet; Discussion on topical consonance, dissonance and enrichment; Information on the dance minuets of Haydn; Analysis of the learned style in Haydn's early symphonic minuets.

Discusses the considerations involved in the style analysis of music. Discussion on the style-analytical approach; Dimensions of the style analysis of music; Categories of the style analysis of music.

Describes the differences between the music of musicians Franz Joseph Haydn and Wolfgang Amadeus Mozart. Processes involved in their music; Examination of several passages in Mozart's music; Analysis of the Haydn-Dedication quartets.

Presents case studies which revealed the imaginative ways in which Wolfgang Amadeus Mozart organized his concerto finales. How such movements preserved a balanced effect despite differences in their expressive and structural conceptions; Guidelines for the composition of rondos; Analyses of Mozart's blend of artifice and good taste in his sonata-rondo concerto finales in the 1770s.