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In his book Music, Ideas, History: Texts 1990–2022 Matti Huttunen sheds light on the world of Western art music by showing how past historiographies of music have given it form and meaning. While grounded in Dahlhaus’ principles of structural history, Huttunen also challenges such models by allowing greater interpretive multidimensionality. In future accounts of Finnish musicology, Huttunen’s writings may provide a focus for a “long 20th century” of musical historiography.

The relationship between the notions of “music” and “world” can be considered in terms of the history of ideas. While music has always been linked to one or more worlds, it is also important to ask which music and which worlds we mean here. Between antiquity and the nineteenth century, there was a shift away from the single vision of “music of the world”—a functional music reflecting the harmony of the spheres—toward a more pluralistic conception. This newer conception can be neatly summed up using the expression “there are as many musics as there are worlds.” The emphatic conception of the works and composers of the nineteenth century stood in stark opposition to the harmony of the spheres. Since then, these worlds and musics have continually been diversified by globalization.

International audience; The relationship between the notions of “music” and “world” can be considered in terms of the history of ideas. While music has always been linked to one or more worlds, it is also important to ask which music and which worlds we mean here. Between antiquity and the nineteenth century, there was a shift away from the single vision of “music of the world”—a functional music reflecting the harmony of the spheres—toward a more pluralistic conception. This newer conception can be neatly summed up using the expression “there are as many musics as there are worlds.” The emphatic conception of the works and composers of the nineteenth century stood in stark opposition to the harmony of the spheres. Since then, these worlds and musics have continually been diversified by globalization.

In Words and Music, as in Cascando, Beckett deploys music as an actual 'char acter', cast against "Words" in an exploration of their different capacities for generating significance either separately or when working together. The radio play was originally commissioned by the BBC, and this 1962 production used music especially composed by the author's cousin John Beckett. However, the score was then withdrawn. A later production by Katharine Worth (recorded in 1973) commissioned music from Humphrey Searle, but the most publicly avail able versions - there are currently two different recordings available - use music written by Morton Feldman in 1986-87 at the request of Everett Frost. The concerns of Words and Music are clearly related to Beckett's general preoccupation with the limitations of the expressive powers of language. However, the fact that the music could not be composed by Beckett and therefore changes with the individual composer involved in each produc tion has always rendered the word-music opposition, and hence the play as a whole, somewhat problematic. Beckett gives some instructions to the

Arnold Schoenberg’s twelve-tone technique made him one of the most influential composers of the twentieth century, but his contribution to music pedagogy remains far less well known. This article is a descriptive and interpretive work and therefore tries to present the main ideas of Schönberg, from theoretical references. This paper explores Schoenberg’s concepts about music education as they emerge in the collection of essays published under the title Style and Idea: the dialectic between tradition and modernity; the social dimensions of music education; the notion of musicality; the presence of emotion in twelve-tone composition; and the composer’s conviction that contemporary creation could be an axis of music education. This research also argues that Schoenberg’s ideas about music education make him deserving of greater attention amongst music teachers and pedagogues today. Arnold Schönberg ha sido uno de los compositores más influyentes en la música del siglo XX a través de su método de composición dodecafónico. No obstante, sus aportaciones a la pedagogía musical han pasado desapercibidas. Este artículo es un trabajo descriptivo interpretativo, a partir de referencias teóricas, que pretende dar a conocer las ideas de Schönberg acerca de la enseñanza de la música mediante el análisis de sus escritos más relevantes que hacen referencia a aspectos pedagógicos y que se recopilan en la primera edición de escritos con el título Style and Idea. Entre sus aportaciones cabe destacar la dialéctica entre la tradición y la modernidad, las dimensiones sociales de la educación musical, la musicalidad, la emoción en la composición dodecafónica y la creación contemporánea como eje de la enseñanza musical. Por todo ello creemos que Schönberg es merecedor de una mayor consideración entre los pedagogos musicales de la actualidad.

Philosophers since Plato, at least some philosophers, have, from time to time, seen music as an appropriate object of philosophical scrutiny. And, of course, in the nineteenth century, Schopenhauer and Nietzsche elevated music to a level of philosophical importance never reached before that time. But the marriage of music to philosophy ended in divorce at the close of the nineteenth century, and, as well, there occurred a sharp decline in the philosophical study of the arts tout court. However, with the rise of interest in aesthetics and the philosophy of art, in the late 1960s, it was inevitable that philosophy and music should again enter into matrimony. And it is that remarriage, during the past thirty-five or so years, that I explore in the present article.

Shakespeare is one of the most widely read figures in literature, but his use of music is not usually touched on in literary discussions of his works. This paper discusses how Shakespeare portrays music within the context of his plays, both through dialogue and songs performed within each work. In Shakespeare’s time, Boethius’ philosophy of the music of the spheres was still highly popular. This was the idea that the arrangement of the cosmos mirrored musical proportions. As a result, every aspect of the universe was believed to be highly ordered, and this idea is prominent throughout Shakespeare’s works, from Hamlet to A Midsummer Night’s Dream. To make this clear to the reader, the paper discusses dialogue symmetry weaved throughout The Merchant of Venice , clear allusions to the music of the spheres in Pericles, and the use of music as a signifier of the strange and mysterious – from madness to love – in numerous works, always relating these topics back to the philosophy of the music of the spheres. In order to compile this information and make it clear, the author researched the philosophy of music during Shakespeare’s era. The author also researched how Shakespeare uses music thematically to emphasize different characters’ struggles as well as plot details. After examining his plays as well as the other sources available on the subject, it is clear that Shakespeare was highly influenced by the philosophical and practical ideas regarding music of his time, specifically the theory of the music of the spheres.

Medieval discourse about both the theory and practice of music featured much debate about the views of moderni and antiqui from when Guido of Arezzo devised a new way of recording pitch in the early eleventh century to the complaints of Jacobus in the early fourteenth century about new forms of measured music in the ars nova. There was also a shift from a Boethian notion that practical music was a manifestation of cosmic music, towards a more Aristotelian model, that privileged music as sensory experience. That this could have a profound effect on human emotion was articulated by Johannes de Grocheio writing about music c. 1270 and Guy of Saint-Denis soon after 1300 about plainchant. Jacobus, writing in the 1320s, was troubled by this shift in thinking about music not as reflections of transcendent realities, but as sounds of human invention that served to move the soul. He argued that musical patterns should reflect a transcendent harmony that was both cosmic and celestial.

Music in Vienna, 1700, 1800, 1900. By David Wyn Jones. Woodbridge, Suffolk, Eng.: Boydell Press, 2016. [x, 277 p. ISBN 9781783271078. $45.] Illustrations, tables, bibliography, index.In a musicological climate in which contextual and cultural studies are the rule, rather than the exception, David Wyn Jones's new book Music in Vienna, 1700, 1800, 1900 stands out. Music in Vienna is exceptional not in departing from this rule, but in demonstrating how a thoroughly contextual and broadly cultural exploration of music and place can illuminate both. The book is divided into three sections, each comprising three chapters, preceded by an introductory chapter, "Telling Tales of Music in Vienna." This introductory chapter sets up the three frames of reference within which Jones has confined what might otherwise have been the subject of at least three volumes. His frames of reference-which comprise historiographical narratives and paradigms described below-provide the book with an excellently balanced discussion of social, political and musical matters. Chapters within section 1 cover "Music at the Imperial and Royal Court," "Catholicism, Ritual and Ceremony," and "Italian Opera and the Preservation of the Habsburg Dynasty." The section on 1800 includes "Court, Aristocrats and Connoisseurs," "Demand, Aspiration and the Ennobling of the Spirit," and "Music, War and Peace." And the final section, on 1900, encompasses "Vienna, City of Music," " 'Seid umschlungen, Millionen' " (focusing on Beethoven reception), and "From Johann Strauss to Richard Strauss."Regarding the overall framing of the book, Jones has chosen not to rely on the traditional parsing of music into historical periods (baroque, classical, romantic, etc.), or on the traditional emphasis on composers' biographies. These, he finds, lead to a narrowness of vision and tend to overemphasize change. Instead, he focuses on manifold human agents, operating in capacious "epochs" around 1700, 1800, and 1900. In this way he sets out to create "a portrait of each period that allows contrasts to emerge and continuities to be articulated" (p. 2). Extending his painterly metaphor, one might consider the three sections as three panoramas, painted from an impressively wide palette of evidence about Vienna and its music. His palette includes, but is by no means restricted to: eyewitness accounts, portraits, title pages, stage designs, city planning information, patrons' biographical information, memoirs, programs, publishing catalogs, and of course music-works in diverse genres by manifold composers. In sum, Jones offers what anthropologist Clifford Geertz might have called a "thick" history of Vienna at the turns of each of three centuries, a history that fully takes account of human agency and recognizes that it "was not the prerogative of composers only, but routinely involved emperors, princes, publishers, institutions, administrators, scholars, and others" (p. 2). The result is path-breaking in its contextual depth.Indeed, such is the wealth of detail on social and especially political matters in each chapter that one might think that the discussion of music would suffer. Music is, in fact, nowhere in sight in this book, in that there are no music examples. This is unfortunate for the musically literate reader, who might well like to refer to scores during Jones's numerous detailed references to works by lesser-known composers (for example, Johann Baptist Wanhal and Franz Xaver Sussmayr). Much of the music to which he refers is not readily available in modern editions. Overall, though, there is no question that music remains at the forefront with detailed description and interpretation of music figures throughout, beautifully woven into the narrative. On the largest scale (that of the entire book), his narrative focuses on music in relation to place: he traces the increasingly strong identification of Vienna as a "city of music." By 1900, he argues, the conception of "Musikstadt Wien" was so strong that music had tended to gain the upper hand, rather than becoming subservient to any overarching civic identity (p. …

MUSICS OF THE WORLD The Cambridge Companion to Jewish Music. Edited by Joshua S. Walden. (Cambridge Companions to Music.) Cambridge: Cambridge University Press, 2015. [xiii, 293 p. ISBN 9781107023451 (hardcover), $89.99; ISBN 9781107623750 (paperback), $29.99; ISBN 9781316434895 (e-book), $24.] Music examples, illustrations, bibliography, index.The Cambridge Companion to Jewish Music, edited by Peabody Conservatory professor Joshua S. Walden, seeks to answer the seemingly obvious question, "What is Jewish music?" In the course of this book, however, the reader will learn that the response is not so clear-cut. Since Jews have lived in a multitude of countries, they have adopted and adapted numerous disparate musical styles to their own ancient traditions, thereby creating a rich musical tapestry that continues to evolve. Walden informs us that the term "Jewish music" comprises "folk songs in multiple languages, dance music played by ensembles of instrumentalists, forms of religious music developed in the synagogue and the home in far-flung communities, methods of chanting the text of the Hebrew Bible, classical music written for the concert hall, and commercial popular music . . . " (p. 6). Indeed, Walden offers the example of the tune for "Hatikvah" in the book's introduction as a means of demonstrating the ubiquity of Jewish music. While most Jews (and some non-Jews) recognize this tune as the Israeli national anthem, Walden explains that it shares a common folk song ancestor with Bedrich Smetana's Die Moldau, as well as Mozart's "Ah! Vous dirai-je, maman" ("Twinkle, Twinkle, Little Star"), among several others (p. 2). In this way, he illustrates the vast influences on Jewish music, explaining that what makes the music Jewish is its associations.This particular focus on ontology pervades the book and separates it from other works on Jewish music that emphasize primarily history (Abraham Z. Idelsohn's seminal tome, Jewish Music: Its Historical Development [New York: H. Holt, 1929; reprint, New York: Dover Publications, 1992]; Marsha Bryan Edelman, Discovering Jewish Music [Philadelphia: Jewish Publication Society, 2003]) or genre (for example, Mark Slobin, Fiddler on the Move [Oxford: Oxford University Press, 2000]). Instead, Walden utilizes a gestalt approach, allowing for a very broad yet in-depth examination of the topic. The book's back cover states that it "is a key resource for students, scholars, and everyone with an interest in the global history of Jewish music." Due to the detailed examination of numerous topics, however, this author feels that the book is best suited for musically-knowledgeable readers seeking an overview of Jewish music, or perhaps a college course on the topic. Therefore, The Cambridge Companion to Jewish Music is similar to the other books in the Cambridge series, which offer indepth investigations into various genres, styles, composers, and instruments.Walden divides the sixteen-chapter book into three sections. Part I, entitled "Conceptions of Jewish Music," attempts to pinpoint its essence. Chapter 1, "Ontologies ofJewish music" by Philip Bohlman, informs us that there are five conditions of Jewishness in music: religion, language, embodiment (contextuality), geography, and identity, adding that these definitions continue to evolve as the music itself also evolves. He states that Jewish music is often defined by what it is not, noting, "Jewish music comes into being when an original text or ritual process undergoes transformation that expands upon its meaning, enhancing them within the multiplying contexts of Jewish culture and history" (pp. 15-16).Edwin Seroussi addresses the multiple meanings of "diaspora" in chapter 2, asserting that "the mapping out of clusters of Jewish musical styles and repertoires" by simple binaries such as Ashkenazic/ Sephardic "obliterated countless nuances based on place and time" (p. 30). Since the term has now grown "to describe every possible physical or imagined, voluntary or forced displacement of individuals or communities" (p. …

The next morning the dreaded moment came. Caterina, stupefied by the suffering of the previous night, with that dull mental aching which follows on acute anguish, was in Lady Cheverel’s sitting-room, copying out some charity lists,* when her ladyship came in, and... ‘Tina,...

The relationship between psychology and music is characteristic of that between a new science and an established discipline. Western music theory has a very old tradition, dating at least from the time of Pythagoras; and the philosophical underpinnings of this tradition that were established in ancient times still exist today. Most characteristic of this tradition is its rationalism. In contrast with the scientific disciplines, the development of music theory over the last few hundred years has not been characterized by a growth in the empirical method. Rather, while composers have constantly experimented with new means of expression, music theorists have on the whole been system builders who sought to justify existing compositional practice or to prescribe new practice on numerological grounds. Further, when an external principle has been invoked as an explanatory device, most commonly such a principle was taken from physics. The concept of music as essentially the product of our processing mechanisms and therefore related to psychology has only rarely been entertained. There are several reasons why this rationalistic stance was adopted, most of which no longer apply. One reason was a paucity of knowledge concerning the nature of sound. It is understandable that the inability to characterize a physical stimulus should have inhibited the development of theories concerning how this stimulus is processed. A related reason was poor stimulus control, which made experimentation difficult. A third reason was the lack of appropriate mathematical techniques with which to study probabilistic phenomena. However, another reason, which is still with us today, lies in the peculiar nature of music itself. There are no external criteria for distinguishing between music and nonmusic, or between good music and bad music. Further, it is clear that how we perceive music depends at least to some extent on prior experience. Thus the relevance of psychological experimentation to music theory requires careful definition. In this chapter I first review major developments in music theory from an historical point of view. Following this I explore various issues that are currently being studied both by music theorists and by psychologists. Finally, I discuss the role of psychology in music theory.

The article surveys the course of the tension within Christianity over the role of the aesthetic in music for worship and in religious music more widely, from Augustine to the present day. It outlines the recurrent features of debate. It then focuses specifically on England, beginning with the tension over the aesthetic in music during the sixteenth century Reformation and in the two subsequent centuries. It looks at major changes, such as the autonomy of the aesthetic, associated with nineteenth century romanticism. The main section of the article traces debates over both church music and mass collective singing, in part as they bear on the construction of national identity. The article concludes with developments in Evangelicalism and in spirituality in a secular society.

Recent studies on musical signification have been characterized by an apparently insurmountable gap between disciplines that focus on the musical text as sound (music theory, musicology), those that focus on the hearing subject (cognitive sciences, psychology of music), and those that focus on social discourses about music (ethnomusicology, anthropology, sociology). This article argues that the most recent theoretical advances in music semiotics provide means to overcome this gap. After a brief examination of some key concepts in music semiotics, the author identifies three approaches to this problem: the semiotic-hermeneutic approach, the cognitive-embodied approach, and the social-political approach. This classification allows him to introduce a brief methodological proposal for the study of musical signification from different academic perspectives. Citation: Hernández Salgar, Óscar. Musical Semiotics as a Tool for theSocial Study of Music. Translated by Brenda M. Romero. Ethnomusicology Translations, no. 2. Bloomington, IN: Society for Ethnomusicology, 2016. Originally published in Spanish in Cuadernos de Música, Artes Visuales, y Artes Escénicas 7, no. 1 (January 2011):39-77.

Although it is not expressed in the title, this new book by professor Matjaž Barbo deals with the aesthetics of music; its chapters discuss classical topics of musical aesthetics, emphasizing to some extent issues that have dominated recent philosophical discourse on music.

Lionello Sozzi’s relationship with music wasn’t the outcome of an intellectual pursuit; it was, rather, instinctive and direct, to the point that music became the acoustic background of his very life. This naturalness is confirmed by the way his passion for music was born and grew: at first within his family and later on in meetings with friends who happened to be musicians and in fortuitous encounters, almost never along the traditional avenues of concert halls and opera-houses. Sozzi was fond of saying of himself that he was “just a lover of music”, but he would talk about music with a flair that revealed deep acumen and mature connoisseurship, especially evident in his autobiographical volume Why I love music and in his essays written for the Teatro Regio of Turin. In them his familiarity with literary sources, such as Goethe, Merimee, Anatole France and Beaumarchais, opened the way to fresh interpretations of musical works deriving from them. The amount of music taken into consideration, including songs, is a concrete proof of the capital role Enlightenment and French culture of the xviiith century played in shaping Sozzi’s intellectual personality; at the same time his unending listening to music sheds light on the depth of his sensibility, which couldn’t but lead towards the shores of “decadence” and of modernity.

(ProQuest: ... denotes non-USASCII text omitted.)1. IntroductionI have always been haunted by the second side of the official formulation in the relevant documents of the ultimate goal of music education: formation of musical culture as an integral part of the spiritual culture. (Emphasis added - "integral part"!) Formerly, in "materialist" times, I paid little attention to the essence of this second side or I understood it abstractly, without great pretensions: the music is a spiritual phenomenon; it is the representative and the expression of the human spirit etc. In general terms, it is true, of course. Then I started to realise that this is the outside of what spirituality is in the true sense of the word. But spirituality still has an inner side, respectively - an inner experience. So music can appear before us as "spirituality" both in the first and in the second sense. This side of the question has aroused interest in the philosophy of music and of music education / training. After all, the "spirituality" is a philosophical, metaphysical concept. Therefore, besides the works on the philosophy of music [1] and music education, published by me (as a result of researches, reflection, study of the matter and on the basis of my own experience of music at this level), some books with musical and metaphysical contents are both emerged "spontaneously" [2; 3; 4]. The results received were reflected in the content of academic subjects at the Faculty of Music and in the course of teaching traineeships for students, but also in the curriculum of music education, updated, in music education textbooks, of which I am co-author and scientific coordinator.2. DiscussionsSo the question is: In the process of music education, do we arrive to the second side of the stated objective - "as an integral part of the spiritual culture"? Do we correctly understand this situation in all its complexity? What is the unique specificity of music in that sense, what are the properties of its spiritual essence? There are many questions. Compared with the educational principles and methods of music education, D. Kabalevsky said they should be based on the nature of music, come from the essence of music itself etc. It is reasonable to assume that not only the educational principles and methods need to "represent" the music itself (therefore, not only the learning process itself), but also the solution of the final goal, that is the result (or in other words, what is left in the soul or consciousness of the child / adult) must bear the stamp of the immanent nature of music.The first point (most importantly), when we talk about music in the context of spirituality (or its connection to spirituality), requires the separate existence of the two sides (or they may exist that way). This interpretation implies that when it will be a must, we can "bring them into line", that is to sa y, "implant" spirituality in music or "teach" it the spirituality, for example, using the titles of works, programs or words (works on a religious text - Requiem, Mass, Liturgy etc.). But it's not like that. Spirituality is the objective quality of music, the same sound, the same sounds that compose it. But this "spirituality" is understood in its deep and true sense, that is to say, in the sense of "cosmic and universal". Do we have the right to say that Mass in B minor of Bach is a spiritual work, but his Brandenburg Concertos or the famous Scherzo from Suite no. 3 are not? The instrumental performance is no less spiritual than the vocal one of a "sacred" text. So the question: what is the spirituality of a purely instrumental work (e.g. the fugues). Because they do not have lyrics to express spirituality. But they express, contain, transmit spirituality etc.Spirituality is not related only to the "religiosity" (in the ordinary sense of the word). There is also a kind of spirituality that is not related to religion. Spirituality contained within music is above the religious one (of course it includes it in known situations. …

The analysis of mutual dependence of historical compositional, historical interpretative practice and the properties of historical instruments is essential for baroque style revival. The Baroque music epoch is dominated by the neo-Platonic idea of the ability of music to demonstrate harmony in cosmos, human society and nature. The three basic principles of baroque music, improvisation, ornamentation and polyphony, are all rooted in the idea of music harmony, whose 'key' has been hidden in figured (thorough) bass. Reconsideration of the Italian, French and German baroque music reveals various concepts of universal harmony, and different ways of its reflections in music. Baroque music revival reconsiders the ancient question of the role of music in society and the interpreter's power. The true value of historical interpretative practice revival is seen as revitalization of the musician's freedom, creativity and inspiration in the improvisation practice.

Anxiety Muted: American Film Music in a Suburban Age. Edited by Stanley C. Pelkey II and Anthony Bushard. New York: Oxford University Press, 2015. [xviii, 298 p. ISBN 9780199936151 (hardcover), $105; ISBN 9780199936175 (paperback), $36.95; (e-book, Oxford Scholarship Online).] Music examples, illustrations, bibliographic references, index.This fourteen-essay volume advances the thesis that American films-and consequently film music-that are either of the 1950s or 1960s (or that represent those decades) project or mute specific anxieties of the time. These anxieties relate especially to the Cold War, consumerism, alienation, suburban spread, technology, the women's movement, and civil rights. The argument extends to television series, and indeed, four out of thirteen articles in this volume are devoted to this genre.The interdisciplinary essays, written mostly by formally-trained musicologists but also by individuals with backgrounds in film studies, history, library science, and arts journalism, address a broad readership. The volume is accessible; while it is necessary reading for those already well-versed in film-music studies, it also offers an engaging, informative starting point for those just becoming familiar with the subfield.The arguments developed in each essay consistently spark larger dialogues regarding the place of music in audiovisual mate - rial, and the cultural meaning of film as a multimedia object. The text is suitable for adoption in an academic course on film music within curricula in film studies, music, and American studies, but also in gender and, in one case, disability studies. The numerous references to audiovisual materials beyond the object of the individual essays offer fertile ground for exploration and expansion through further research. The music excerpts and analyses included in seven of the essays require basic understanding; they could be adapted to an undergraduate course for non-majors. The collection could easily be used in a seminar for majors, and could launch extensive discussion in a graduate seminar in music and film studies. Most essays deal with one visual text; the author contextualizes the in dividual film or television episode(s), then comments on the music. Ideally, a companion Web site would have supplemented the reading with video excerpts, but perhaps that proved to be unfeasible; the current $36.95 paperback price maximizes accessibility for a broad readership.Stanley Pelkey's opening survey situates the collection within the social context of postwar America, especially, starting in the 1950s, in the phenomenon of suburbia, a phenomenon that coincides with the rise of television and a general decline in civic life. He presents two goals: first, to address the lack in screen-music studies of "technical language to consider both music's affective and material qualities" among readers; and second, to explore "how films and television programs implicitly and explicitly broadcast anxieties through music, or . . . emotionally mute those anxieties . . . " (p. 20). Pelkey lists the many roles of music on screen, not just as signifier, but as object, structuring tool, and persona. This multivalency extends to the impact on the receiver; each reception is unique, dependent on "personal histories, identities, and perceptions" (p. 2).The next seven contributions move chronologically, from 1950 to 1968, through the films featured. Christina Gier, in "Music and Mimicry in Sunset Boulevard (1950)," offers a guide to a nearly throughcomposed, leitmotivic score, the result of a collaboration between fellow immigrants from Hitler's Europe: the composer Franz Waxman and director Billy Wilder. She seeks to "explore how [the score] works with the filmic narrative to heighten the portrayal of the film's core idea of mimicry" (p. 31). Walking the reader through the psychodramatic narrative, Gier highlights how music "does even more than is typical to shape [it]" (p. …

In 1876, Albert-Louis Bourgault-Ducoudray published a collection of “melodies from Greece and the Orient” in the conviction that he had found vestiges of Ancient Greek music in Greek folk music of his day. Bringing folk music to the attention of the educated classes, he hoped to fertilize art music and create the preconditions for a Greek national music. He also supplied the melodies that he collected with piano accompaniment, that is, he harmonized them. In his mind, harmonization was but the first step toward the formation of a Greek national music. Soon after this, his Greek project was embedded in hindsight in a broader Aryanist project explicitly described in the “Introduction” to his 1885 collection of Breton folk songs. Folk song harmonizations then became the first step toward the formation of the Aryan art music of the future. In the 1890s, he worked with Greek baritone Periklis Aravantinos, alias Aramis, to produce what he thought of as musical arguments for Aryanism. Aramis, a collector and harmonizer of folk songs himself, appeared in 1903 before Greek audiences in an attempt to promote a national school of music. Aramis’s and Bourgault-Ducoudray’s ideas on folk song harmonization and national music were in part vindicated by composer Spyros Samaras, a common friend, especially in the latter’s symbolically loaded Rhea (1908). His and other musical nationalisms were eclipsed by the appearance of the man most readily connected today to a Greek national school of music, Manolis Kalomoiris.

Well-Tempered Woodwinds: Friedrich von Huene and the Making of Early Music in a New World , by Geoffrey Burgess. Publications of the Early Music Institute. Bloomington and Indianapolis: Indiana University Press, 2015. xxviii, 290 pp. Geoffrey Burgess's biography of the German-American recorder builder, performer, and early music patron Friedrich von Huene is a niche book: it is not intended for musicologists in general but rather for recorder players and other early music practitioners in particular (as its inclusion in Indiana's Publications of the Early Music Institute series and book jacket endorsements make clear). Von Huene (b. 1928) is well known to early music aficionados, having played a central role in fostering “historically informed performance” (aka HIP)1 in the Boston area as a maker and restorer of historical woodwinds and as a founder of the Boston Early Music Festival. Since the 1960s historical performers (myself included) have flocked to von Huene's Early Music Shop of New England, the primary North American source for the purchase of instruments, facsimile editions, treatises, and other HIP “tools of the trade.” Though mainly focused on von Huene and the recorder, this book also constitutes a welcome addition to the growing body of literature on the twentieth-century historical performance movement. In the past thirty years HIP scholarship has shifted from documenting “early music” (i.e., European music composed before 1800 and its performance practice) to documenting “Early Music” (i.e., period practitioners and their social practices as distinguished from the musical repertory they perform). By the 1980s critics were debating the meaning and philosophy of “authenticity” in performance and HIP's position in twentieth-century musical aesthetics. In addition to reflexive critiques, attempts to document the …

In this philosophical paper, I propose a theory of music education inspired by ancient Chinese philosophy. In particular, I draw on five classical Chinese philosophical texts: the Analects (lunyu 論語), the Mencius (Mengzi 孟子), the Zhuangzi (庄子), the Xunzi (荀子) and the Yue Ji (樂記). Given that music education was an integral part of the social fabric in ancient China, it is potentially illuminating to uncover the theoretical underpinning of this enterprise, and to examine the implications of such a theory for contemporary music education. Based on the texts, I posit an ancient Chinese-inspired theory of music education that comprises four facets: society, teacher-model, effortful training and effortless action. I conclude this paper with implications for contemporary music education.

Zygmunt Krauze is the founder of a new current in art: unistic (unitary) music. He developed this concept in the first period of his artistic work, inspired by the unistic paintings of Władysław Strzemiński. Traces of this style are also detectable in Krauze’s later post-unistic works. Unistic music is characterised by a paradoxical unity in diversity. Most of the composer’s statements collected in this paper refer to specific features of unism in music. Other, more general comments concern the essence of music, the composer’s personal stance, the creative process, the autonomy of the composer, the audience and the performers, etc. Two longer texts by Zygmunt Krauze have been quoted in full. One can be considered as a unistic manifesto, while the other is a kind of personal credo.

Folkloristic musical works played an essential role in the creation of a ‘Slovak idiom’ in classical music of the post-war period. From the simple arrangement of folk songs to a more autonomous art music (which may have been only partly influenced by folk traditions) there existed a broad spectrum of musical practices, including also film music and music for the professional ‘folk music ensembles’ that appeared after 1948. By referring to specific examples from this large body of music, I will show how composers worked with harmonic and poetic elements that were particular to folk music: my discussion of examples from the breadth of this music — including music for the film Zem spieva ([The land sings], music by F. Škvor), the ‘model’ compositions for the ensemble SĽUK (A. Moyzes) and, finally, the subjective folklorism of the avantgarde in the 1960s and 1970s — shows how Slovak composers worked under changing ideological influences to bring about an ‘ennobling’ of folk music.

On the day of 4th July 2015 in Castel Gandolfo, His Holiness Benedict XVI, Pope-Emeritus, received the Degree honoris causa from the Pontifical John Paul II University in Cracow and the Cracow Academy of Music. On 20th April 2015 the Senate of the Pontifical John Paul II University in Cracow, upon hearing the reviews, conferred on Pope-Emeritus Benedict XVI the Degree of Doctor honoris causa. In the justification we can read that the honorary doctorate has been awarded for: proving great respect to the musical tradition of the Church and remarkable sensitivity to the dialogue between music and faith; long-years demonstrating, from all his clerical posts, a special concern for the noble beauty of sacred music and its proper place in the celebration of the sacred liturgical rites of the Church; emphasising in his teaching the meaning of via pulchritudinis – the way of beauty which may become the way to get to know and worship God by the modern man; brave testifying, with his life, service, teaching and scientific work, the Truth which gives strength to the Christian faith in the times of spiritual turmoil caused by liberalism, post-modernism and relativism, as well as tireless endeavor to restore the spiritual dimension in Europe; giving wholehearted support for the actions aiming at transforming the Pontifical John Paul II Academy of Theology in Cracow into the Pontifical John Paul II University . On 22 April 2015 the Senate of the Cracow Academy of Music passed the resolution to have been submitted by the Faculty Council for Artistic Creativity, Interpretation and Music Education, and on hearing the excerpts from the reviews, granted the Pope-Emeritus Benedict XVI the honoris causa degree. The appointed lauadator was Professor Stanislaw Krawczynski. In the justification of the Senate resolution it is written that the honorary doctorate has been granted in recognition of the following merits: exhibiting by his example the model of moral and civil demeanour in the deeply religious and humanistic dimension; referring in his teaching to the highest values invariably present in human life and artistic activity; cherishing music and indicating its special role as an integral part of the solemn liturgy of Catholic Church accompanying man in the act of professing faith . The retired Pontiff Benedict XVI thanked once again for the recognition granted by conferring upon him honoris causa doctorate. He said: I am especially happy that this recognition has deepened my relationship with Poland, with Cracow, with the mother country of our great Saint John Paul II without whom I could not imagine my spiritual and theological way. Through his living example he showed to us, as well, how to combine the joy of exquisite sacred music with the duty of common participation in liturgy, how to combine exalted delight with humble simplicity of celebrating faith . Then, when reminding the history of the revival of sacred music he accented his peculiar love for the music of Mozart. My memory still bears this indelible recollection of the first chords of Mozart’s Coronation Mass which sounded as if heaven opened and when one might feel very deeply the presence of the Lord . It seems also worth mentioning how he described certain tension between participatio actuosa and the position of sacred music in the modern liturgy, particularly this solemn accompanied with a choir and orchestra. The Pope’s questions raised in this context were masterly: What is music really? Whence does it come and toward what does it tend? I think there should be posited three ‘loci’ from which music arises . And the questions were followed by a truly prophetic vision of the place of music in today’s liturgy. Thus amongst the specified three “loci” from which music originates, the first is the experience of love, the second is the experience of sadness, death, pain and the abyss of existence, and the third one is the encounter with the divine, which from the beginning is part of what defines man. About the first origin of music the Pope-Emeritus said: When men were seized by love, another dimension of being burst within them, another greatness and another breadth of reality. And it also led them to express themselves in new ways. Poetry, song and music in general were all born from this being affected, from this unfolding of a new dimension of life . When analysing the second origin of music the honoris causa laureate stated that it also opens up, in the opposite way, new dimensions of reality which can no longer find an answer in mere speeches . The most extended interpretation presented by the Pope-Emeritus concerned the third reality in which the totally-other and totally-great arouses in man new ways of expressing himself. Perhaps we can say that actually in the other two areas – love and death – the mystery of the divine touches us and, in this sense, it is being touched by God which together constitutes the origin of music. It is touching when we discern that, for instance as regards Psalms, people do not confine to mere singing, but refer to all instruments: and the hidden music of creation is aroused with its mysterious language. Along with the Psalter in which we can find the two motifs of love and death, we can reach the very source of the music of the God’s Church. We can say that the quality of music depends on the purity and greatness of one’s encounter with the divine, with their experience of love and of pain. The more pure and true that experience is, the more pure and great will be the music from which it was born and developed . What the Pope-Emeritus said in the ensuing part of his doctorate speech – I am truly convinced – was the manifestation of profound wisdom and experience of sanctity of the Pope who does not only knows what liturgy and music in are but who is also a true apostle in this field. The magnificent and pure Western music has developed as an answer to the encounter with God who embodies Himself in liturgy in the person of Jesus Christ. This music is for me the expression of Christian truth. Wherever such an answer is developed we encounter the truth, with the true Creator of the world. Because of this the great sacred music is a reality of theological rank and of permanent significance for the faith of all Christianity, even if it is not at all necessary that it be done always and everywhere. On the other hand, such music cannot disappear from the liturgy and its presence can be a special way of participation in the sacred celebration, in the mystery of faith . In the final part of his lecture the Pope-Emeritus referred once more to Saint John Paul II, finishing with the rhetorical question: We do not know what will be the future of sacred music, but one thing is clear: wherever the encounter with the Living God, who in Christ comes close to us really occurs, there is born anew and there again grows the answer, the beauty of which arises out of truth itself. Showing again the great respect for both universities he emphasised and indicated their future prospects: The activities of both Universities which confer on me the honoris causa doctorates have greatly contributed to sacred music so that this tremendous gift of the music derived from the Christian tradition would still be living and so that the creative power of faith would not falter in the future. For all this I wish to thank you profusely, not only for the honour which you bestow upon me, but also for the entire work you do in the service of the beauty of faith . For the Intercollegiate Institute of Sacred Music in Cracow, for the faculty members and students of this institute which initiated the entire event and which integrates both universities by running the mutual sacred music studies, these were the encouraging words to make us work even harder so as to serve the beauty of music. The closing sentence expressed by the Pope in Polish was especially touching: May the Lord bless you all!

Whereas it is a commonplace in Western Art Music, particularly since the mid-nineteenth century, to imagine music representing landscape, the notion that landscape is in some respects formed by and/or through music is relatively untheorised. With reference to music by Vaughan Williams and Webern, this essay investigates the ways in which music plays a role in forming landscape, understood from a contemporary geographical perspective as a site where nature and culture encounter and produce one another (rather than as a site privileging one over the other). Drawing on ideas of Lefebvre, Smalley, and Appleton some theorisations of the broader epistemological and ideological tropes organising the landscape–music relationship are proposed. That landscape and music are both mediated in embodied ways positions the active, embodied, creative experience as an articulation of nature-culture through which these tropes are played out.

John Wallis: writings on music, edited by David Cram and Benjamin Wardhaugh, Farnham & Burlington, VT, Ashgate, 2014, xiii + 239 pp., £65.00 (hardback), ISBN 978-0-7546-68701Slowly but surely the important series, Music Theory in Britain, 1500-1700: Critical Editions published by Ashgate, is expanding with new volumes. So far, most of those which have appeared are concerned with the more esoteric and nerdy aspects of music theory. It is indeed thought provoking how much seventeenth century English music theorists and natural philosophers wrote on music and how few of the writers have been the objects of study among musicologists today. The series is seminal for an entirely new interpretation of the position of music theory in early modern English intellectual circles. Looking at the present volumes of the series published so far, it is obvious that there seems to have been a close and influential discussion between professional musicians and natural philosophers; however, also the music connoisseur played a vital role asking inquisitive questions. From a musicological point view, some of the most complex writings, truly demanding a profound knowledge of early modern mathematics, are those concerned with temperament and tuning for instance. The present critical edition comprising the main musical writings of John Wallis (1616-1703) is one of those volumes that the modern reader may find hard to get through.John Wallis, mathematician and for 54 years Savilian Professor of Geometry in Oxford, was ordained in 1640 becoming a doctor in divinity and elected royal chaplain in 1660. He was elected a fellow of the Royal Society in 1661 and published frequently in the Society's journal Philosophical Transactions on a wide range of subjects including hearing, theology, logic, mathematics, grammar and ancient music theory - many of the topics in fact required by the job description as Savilian professor, as the editors of the present volume note. Apparently, it was not until the beginning of the 1660s that Wallis began to show a greater interest in music when the violist, teacher and music theorist John Birchensha presented his musical ideas to the Royal Society. The secretary of the Society, who thought that Birchensha'sideas might be of interest to Wallis, wrote to him about these ideas. Wallis was indeed interested and wrote a treatise on the mathematics of music and musical tuning. The treatise, here edited as Chapter 1, sets the basis for Wallis's later writings on music, in particular the coincidence theory of consonance. Wallis was also fascinated by the syntonic diatonic scale (Ptolemaic scale) which, contrary to the "medieval" Pythagorean scale which was most often mentioned and explained in contemporary music theoretical treatises, included not only pure octaves, fifths and fourths but also thirds and hence sixths. Though the tuning was nearly impossible to use in practice since it advocated two distinct sizes of the whole tone, it nevertheless drew some attention, especially from natural philosophers and musical connoisseurs. Musicians still argued in favour of the Pythagorean tuning though it certainly was not used in practice. There was, as Wallis mentions, a discrepancy between music theory and music practice and he was simply trying to describe in theory what musicians did in practice. As the editors argue (6-7),Walliswasmostlikelyinspiredbyothercontemporary natural philosophers such as Johannes Kepler, Marin Mersenne and Rene Descartes who all seem to have based their ideas regarding the Ptolemaic scale on Gioseffo Zarlino's famous Le Istitutioni harmoniche first printed in 1558.In 1677, Wallis became aware of the discussions concerning the sympathetic vibrations of strings and nodes of vibration. He wrote a letter on the matter to the Royal Society which was subsequently published in the Philosophical Transactions as a " New Musical Discovery" (Chapter 2 in the present edition). The article was, with a few revisions, later published in a Latin version in 1693. …

This essay defines ethnomusicology as the study of people making music. People make sounds that are recognized as music, and people also make “music” into a cultural domain. The essay contrasts this idea of music as a contingent cultural category with earlier scientific definitions that essentialized music as an object.

in the period following the 1968 protests, the question arose of how a transparent music could be conceived, especially one which it would be impossible to misunderstand, and which would therefore be protected against political misuse. this was very often the object of discussion. in a paper delivered at the ‘musik und politik’ symposium held in vienna in 1991, i developed four political aspects of music: function, content, means of production, and the poetic.to explain:function: music composed for ritual and representation, etc, or music composed to increase productivity, or enable an increase of consumption, either in the workplace, the cowshed, or the shopping centre.external content/subject: music with text, plot, or programme.means of production and distribution: free art or dependent work.the methods by which the music is made, its poetry and its style (spahlinger, 1991).as a composer, i am most interested in the final point. i would like to explore this as posing the main set of problems for this p...

Many associate David Elliott with his praxial music education philosophy, but careful examination of his early writings on jazz education reveal that his beliefs were once very much rooted in aesthetics similar to those of Susanne Langer, Leonard Meyer, and Bennett Reimer. Bennett Reimer is widely recognized as having provided the profession with a cogent, understandable, and relatable philosophy of music education, which united the profession unlike any previously. Reimer's book, A Philosophy of Music Education, first published in 1970, changed measurably with each edition--one in 1989 and the last in 2003--but his underlying premise remained consistent: music education is a form of aesthetic education whereby we know ourselves more fully through experiencing the feelings that music can evoke. (1) Reimer's notion of music education as aesthetic education was challenged in the 1980s when music education philosophers such as David Elliott, Reimer's former doctoral student at Case Western Reserve, began questioning whether the fundamental value of music and, by extension, music education might lie in something other than the education of feeling. Elliott and others suggested that music is a diverse human practice that is experienced in ways that extend beyond Western European notions of aesthetic experience and musical works. Music's value, Elliott contended, lies not in contemplating but in doing. Purpose and Research Questions Originally rooted in aesthetics, David Elliott's thoughts about jazz education have changed considerably from his 1983 dissertation through his 1995 landmark book, Music Matters, which outlined his praxial music education philosophy. This is not surprising; reflective practitioners continually refine their arguments and develop different positions over time. Tracing the development of those arguments and positions often reveals myriad paths, detours, and U-turns and reminds us that who we are today is a product of time, reflection, and evolution. The purpose of this article is to extrapolate the apparent evolution of David Elliott's thoughts about jazz education by examining his writings on the topic from 1983 through 1995. The research questions are: (a) What were the paths that led Elliott to his thoughts about jazz education in Music Matters? (b) What previously held positions were abandoned, and with what were they replaced as his philosophy evolved? Broadening Aesthetics to Accommodate Jazz Education For his doctoral dissertation, Elliott surveyed Canadian music educators about the status of post-secondary jazz education in Canada. (2) From that data, he formulated a philosophical position for jazz education. Elliott, in 1983, wished to situate jazz within aesthetics but acknowledged that aesthetics, as it had traditionally been presented, was inadequate and in need of expansion: "By refining and expanding the current philosophical foundations of music education we intend to build a theoretical position on the nature and value of jazz education that will facilitate the full realization of its potential and its place in aesthetic education." (3) Elliott began his philosophical argument by describing how his position on jazz is "fundamentally congruent with Susanne Langer's theory of art, which together with Leonard Meyer's position on musical meaning and affect, forms the foundation of Bennett Reimer's concept of music education." (4) Elliott wrote that jazz offers what (presumably) all music offers--objective forms of subjective life. However, the affective nature of jazz is located in the unique representation of the structural elements of music (i.e., rhythm, melody, harmony, and form), and thus makes up what we perceive as jazz "style." Understanding, experiencing, and engaging with these objective conditions allows one to have an aesthetic experience of jazz. Elliott then described how this line of reasoning is accurate only to the extent that it deals with the syntactical aspects of the art and contended that it does not account for the "spiritual essence" of jazz. …

Phenomenologist Merleau-Ponty, early on, neglected music's theoretical value in favor of painting's. Later, however, he found that it is the transience of music that speaks to the phenomenological experience of Being. This transition from painting to music presents the possibility of an ontological understanding of music for psychoanalysis. For Freud, music and morality were both from a “beyond” that was an effect of neurosis. Drawing on psychoanalyst Bion's idea of container–contained, and his disciple Meltzer's application of this to art, as well as Bion's later innovation of the unknowable O, I apply Merleau-Ponty's distinction between painting and music to the therapeutic nature of art in order to see what sort of psychoanalytically significant revelation is obtained through music.

In this paper I provide an account of certain key aspects of Hugh Davies’s electronic music research and documentation in the 1960s. By presenting evidence from a range of Davies’s published and unpublished writings I aim to show how Davies sought to document the development of the electronic music phenomenon up to 1967. In his writings from this period, Davies commented upon the fragmented nature of the electronic idiom, as evidenced—for example—in multiple parallel nomenclatures (elektronische Musik, musique concrete, Cage’s ‘Music for Tape-Recorder’ group, Varese’s ‘organised sound,’etc.). ‘This proliferation of different names for what is basically the same kind of music,’ Davies wrote in 1963, ‘shows that a considerable number of composers in different countries are all trying to find a workable idiom.’ I aim to provide an account of some of the ways that Davies described the idiom’s maturation as an international, interdisciplinary praxis, conveying—perhaps for the first time—a sense of the various international, aesthetic, and disciplinary threads coalescing into an apparently coherent whole, a process driven by the exchange of ideas across international and disciplinary boundaries. Even in his earliest unpublished writings on the subject (dating from 1961), Davies drew attention to the presence of ‘a large group of international composers’ at the WDR studio in Cologne, and also indicated the existence of studios in various different countries throughout the world. Davies’s tendency to classify by nation was not merely an organisational device, since he went on to emphasise the role of internationalisation as a potent source of musical innovation, both in the fledgling idiom of electronic music in particular and in avant-garde music more generally. Specifically, he pointed to the developmental avenues opened up via the hybridisation of already-developed international musical traditions—a phenomenon that he contrasted with the ‘on-the-spot’ invention of new musical forms, syntaxes, etc., which he referred to as ‘parlour games.’ He also drew attention to the exchange of ideas mediated by visits to electronic music studios by composers with different international and disciplinary backgrounds, and to the catalytic effect this had on the development and maturation of the electronic idiom in the late 1950s and early 60s. He sought to convey a sense of the interdisciplinary nature of electronic music by drawing parallels with the techniques of painting, sculpture and other musical traditions such as jazz in his earlier writings, and via the provision of several appendices in his International Electronic Music Catalog, each of which focussed on the use of electronic music techniques in a different interdisciplinary area. All the while, Davies was working toward the production of a comprehensive inventory of electronic music, beginning in earnest with his ‘Discography,’ which listed recordings available commercially on records or for hire on magnetic tape. This endeavour reached its pinnacle with the publication of the Catalog in 1968, which Davies estimated (quite accurately, as far as anybody can tell) accounted for ‘probably about 90% of all electronic music ever composed.’ (Davies made this suggestion in unpublished promotional materials dating from 1967.) The Catalog remains, to this day, the most complete record of international electronic music activity up to the end of 1967. A broader aim of this research is to work towards an evaluation of the implications of this, historiographically speaking. To what extent, and with what consequences, do subsequent published histories of electronic music rely upon data provided in the Catalog, for instance? In what ways might Davies’s model of electronic music as an international, interdisciplinary praxis be criticised, and what might be the implications of such criticism for the field of electroacoustic music studies?

The article is devoted to analyzing the peculiarities of implementing the genre of the lamentation into Russian choral music in the context of certain stylistic tendencies of the second half of the 20th century. The author highlights two chief principles: recreating of the folk genre as an integral structure with preservation of the basic typological features: reinterpretation of the genre through its separate components by means of synthesis with other genres. The peculiarities of the approach toward folk music material are disclosed in the current of the neo-folkloristic trend and in the context of sacred music. The neo-folkloristic musical compositions from the 1960s and 1970s demonstrate the aspiration towards complication and psychologization of the folk music genre source, which often brings it towards reevaluation and deformation. The opposite tendency – of preserving the original semantics of the folk music pre-image – predominates in sacred music, since in the sacred space the folk musical original source manifests itself as a sign of the national element. Keywords: lamentation, neo-folkloristic trend, sacred music, synthesis of genres, polyphony of strata of folk music genres