International Musicological Society Research Articles

Musical sources: 70 years of RISM

Celebrating the 70th anniversary of Répertoire International des Sources Musicales (RISM), the international conference ‘Musical sources: past and future’ took place between 7 and 9 October 2022 in the Plenarsaal of the Akademie der Wissenschaften und der Literatur of Mainz, in cooperation with the local Johannes Gutenberg-Universität. The aim of the conference, according to the organizers, was to discuss past, present and future scholarship concerning musical sources, not just focusing on research linked to RISM’s scope but also reflecting on new methodologies, types of sources and geographical locations hitherto overlooked by RISM. The conference opened with messages from officials of the Akademie der Wissenschaften und der Literatur of Mainz, the International Association of Music Libraries, the International Musicological Society, the Schweizerische Akademie der Geistes- und Sozialwissenschaften, and the International RISM Association, who welcomed the delegates and paid tribute to RISM’s 70th anniversary. This was followed by the third edition of the RISM Lecture, which functioned also as the keynote address of the conference. Inaugurated online during the winter of 2021, the RISM Lectures were launched as a forum to promote among musicologists and musicians some of the most interesting collections of sources around the world, during a time when travelling was generally impossible owing to the COVID-19 pandemic. Previous lectures celebrated the Fondo Cappella Sistina of the Biblioteca Apostolica Vaticana and the Bach collections of the Staatsbibliothek zu Berlin. The third one, given at the RISM anniversary conference, moved the focus beyond Europe by being dedicated to the musical sources of Mexico. In their lecture, titled ‘From data, understanding the past, orienting the future’, the three speakers, Lucero Enríquez, Drew Edward Davies and Analía Cherñavsky, reflected on their experience of cataloguing the music archives of Mexico City Cathedral. They debunked the myth of a preponderance of Renaissance sources (stemming from Mexico City’s heritage as part of the early modern colony of New Spain), instead showing how the majority of sources date from the 19th century. The examination of some settings of the Mass Ordinary, in the form of bass lines used by organists, revealed that these were originally from German prints, and offered an extremely interesting starting point for discussing the completeness of these sources. Furthermore, focusing on a location previously considered peripheral by mainstream musicology provided remarkable insights on the ways that scholars treat these sources.

Briefs / Feuilletons

Briefs / Feuilletons Deborah Campana, Richard Griscom, Judy Pinnolis, and Sandi-Jo Malmon The Board of Directors of Répertoire International de Littérature Musicale (RILM) is delighted to announce that Tina Frühauf, current Deputy Executive Director of RILM, will become its next Executive Director effective 29 August 2022. She will be the fifth person to lead RILM, succeeding Barry S. Brook (1966–1989), Terrence E. Ford (1989–1991), Adam P. J. O'Connor (1991–1996), and Barbara Dobbs Mackenzie (1996–2022). Following an international search, the Board of Directors unanimously selected Dr. Frühauf as RILM's next Executive Director. 'Tina brings to the position a unique breadth of experience at RILM and in the academic community', said Dr. Mackenzie, RILM's current Executive Director and President of the Board of Directors. 'At RILM she has already worn many hats, all successfully, including as an editor, as head of marketing, and as licensor of full-text content for RILM Abstracts of Music Literature with Full Text and RILM Music Encyclopedias. Tina is also a widely published and active scholar and teacher. What impressed the Board most about Tina is her passion for RILM's global mission and her vision for the organisation and its role in music research of the 21st century'. 'I am thrilled and honored to serve as RILM's next Executive Director and, by extension, all researchers, educators, students, and librarians worldwide who seek to access music literature and scholarship in all its facets and contexts', says Dr. Frühauf. 'Barbara Dobbs Mackenzie created a stable and entrepreneurial work environment, and I am excited to head an organisation that is well prepared to continue its development. As a scholar, teacher, and editor, I have relied on RILM's research tools for over two decades and I strongly believe in their scope, which is driven by the global mission they represent. Expanding RILM's global network and strengthening the appreciation of bibliography and historiography as crucial pillars of solid academic work is at the forefront of RILM's future work. With this, I hope that RILM's resources remain indispensable sources of knowledge that support all those who are engaged in the study of music'. RILM's 2021 Board of Directors served as the search committee: Zdravko Blažeković (RILM), L. Charles Fink (RILM), Elizabeth Davis (Columbia University), Richard Freedman (Haverford College), Barbara Dobbs Mackenzie (RILM), Philippe Vendrix (CNRS), and Richard W. Young (Quarles & Brady, ret.). The committee benefited from the assistance of Mary Gail Biebel, succession consultant, and Sara McWilliams, executive search consultant. Répertoire International de Littérature Musicale (RILM), New York publishes a suite of online reference works for music research, including the German music encyclopedia Die Musik in Geschichte und Gegenwart (as MGG Online) and the lexicographic collection RILM Music Encyclopedias. Its well-known bibliographic database RILM Abstracts of Music Literature with Full Text has some 1.5 million records representing publications concerning all types of music, published in more than 170 languages, coming from some 150 countries, and includes several hundred journals in full text. RILM also published the Index to Printed Music, and the forthcoming online version of Dizionario enciclopedico universale della musica e dei musicisti (as DEUMM Online). RILM functions under the auspices of the International Association of Music Libraries, Archives and Documentation Centres; the International Association for the Study of [End Page 327] Popular Music; the International Musicological Society; the International Council for Traditional Music. RILM is housed at the Graduate Center of the City University of New York in New York City. Tina Frühauf has been a core member of the RILM staff since 2003, working in a number of capacities over the years. She is an active scholar and writer; the study of Jewish music in modernity has been Dr. Frühauf's primary research focus for two decades, culminating in monographs such as Orgel und Orgelmusik in deutsch-jüdischer Kultur and Transcending Dystopia: Music, Mobility, and the Jewish Community in Germany, 1945–1989. Her most recent scholarly work focuses on the historiography of music scholarship and migration, examining the mass dislocation of peoples in the twentieth century and the conditions of globalisation, genocide...

Recent Developments in the Japanese Branch of Répertoire International de Littérature Musicale (Rilm National Committee of Japan): Its Task and Future

At the twentieth Congress of the International Musicological Society (IMS), held in Tokyo March 2017, RILM Japan organised a session ‘Collaboration and Dialogue: RILM in Japan’, in which the invited speakers pointed out the current problems of RILM Japan: for example, the difficulties in the transliteration of Japanese documents and ensuing misinterpretation, and the still estranged position of popular music studies in traditional Japanese musicology. On the other hand, since its foundation in 1967, RILM Japan has undergone several changes in its office location, editorial principles, and publication methods, which are almost always a result of financial challenges. Despite its constant efforts, therefore, RILM Japan has been facing fundamental problems in its operations for a long time. In June 2018, IAML Japan and RILM Japan jointly hosted a conference ‘Music Information in Asia and Advancement of International Collaboration: Searching the Music Source and Connecting the Music Libraries’ at Rikkyo University, Tokyo. A formal declaration of the conference was unanimously approved as follows: ‘We the members of IAML and RILM Japan hereby state our intent to be in closer contact with others in Asia concerned with the care, collection, and dissemination of music materials to facilitate mutual understanding and collaboration.’ Finally, as a result of such endeav-ours, in April 2021, the Japanese Society of Popular Music has joined RILM Japan as a subsidising support group, and an online Web system, RILM Japan Online (only for domestic use at this point), has been placed in operation after a long debate over its implementation.

Gregorian Chant in Medieval Manuscripts in the Slovenian Lands

As an astute researcher of the musical heritage in medieval codices, the Slovenian musicologist Jurij Snoj condensed in one book his life’s work, which he pursued both professionally (as well as privately) at the Institute for Musicology of the Research Centre of the Slovenian Academy of Arts and Sciences, Ljubljana, between 1980 and 2018. Eight years after commencing his research, in 1988, he received his doctorate in the field of Gregorian chant with a discussion of partially preserved medieval codices in Ljubljana. He remained faithful to this field of expertise until today, but has deepened his knowledge consistently through codicological analyses of sources within the Slovenian national and cultural space, yet simultaneously looking for answers and connections to the musical traditions of neighbouring countries, especially those of Italian and Germanic origin. It is of no small importance that the author has been attending the symposia of the group Cantus Planus for more than twenty years: a study group of the International Musicological Society that concentrates on specialist questions about medieval Latin monody.

Cantus Planus 2016 in Dublin

The biannual meeting of the International Musicological Society’s study group Cantus Planus is certainly an excellent opportunity to learn about the most recent findings in the field and engage in discussions about them in a friendly and inspiring environment. This year’s Cantus Planus took place from the 2nd to the 7th of August in Dublin. The University of Notre Dame’s Keough-Naughton Centre and the Royal Society of Antiquaries of Ireland, conveniently located on the same street, hosted it for three days. University College Dublin, which also served as the accommodation for most delegates, was the last day’s venue, and was likewise very suitable for this event. The programme included nearly 100 papers, a session with posters, a delightful Compline service chanted by Peregryne at the Church of St Audoen, a packed day-trip to the counties of Wicklow and Kildare, and visits to view manuscripts in the Royal Irish Academy, the Chester Beatty Library and the Old Library at Trinity College.

ISME and the Twilight of History

In addition to the International Musicological Society there exists an International Society for Music Education, an association (affiliated with UNESCO) that gathers music educators from over 80 countries. Between the end of the last century and the beginning of the present one, the ISME issued three main policy papers: “Declaration of Beliefs for Worldwide Promotion of Music Education” (1994-96); “Policy on Music Education” (2002); and “Vision and Mission: Leading and Supporting Music Education Worldwide” (2006). A comparative analysis of the three ‘manifestos’ reveals that, while in 1994-96 the ISME explicitly included the triad ‘history – culture – aesthetics’ in its conception, and regarded the ‘listening’ of music as an educationally significant activity, after just a few years the first and third notions (‘history,’ ‘aesthetics’) have all but vanished, and music listening has also disappeared from the agenda. The fact that the notion of ‘history’ and the aesthetic approach to musical art have disappeared from the perspective of music educators worldwide may have to do with scruples about political correctness, motivated by the “Mexico City Declaration on Cultural Policies” of UNESCO (1982), where the notion of ‘culture’ had already replaced that of ‘history’. To be sure, this ignorance, or suspicion, about the historical aspects of music production does not in any way facilitate the task of musicologists (or of ethnomusicologists), nor that of music education teachers.

EL "REVIVAL" DE MÚSICA DEL SIGLO XVIII EN ESPAÑA DURANTE EL PERÍODO DE ENTREGUERRAS. CUATRO CASOS DE ESTUDIO RELACIONADOS CON LA RED SOCIAL DE JOSÉ SUBIRÁ

Spain was a fertile place for the reconstruction and performance of eighteenth-century music repertories during the interwar period. Its official neutrality during the two world wars permitted the free movement of researchers, managers, and performers who specialized in early music. The purpose of this article is to discuss, in the context of Jose Subira's social and professional network, four case studies related to the re-emergence of eighteenth-century secular music in the time before the Spanish Civil War. First, I discuss the problematic revival of the tonadilla and its relationship to the epistemology of musicology at the time. Second, I analyze an event of outstanding importance for the academic and performative dimensions of eighteenth-century repertoires: the conference of the International Musicological Society held in Barcelona in 1936. Then, I study the role of the Asociacion de Cultura Musical in the international transfers of administration patterns and performance practices of early music. Finally, I assess the performance of eighteenth-century repertories in the conglomerate of institutions covered by the Junta para la Ampliacion de Estudios. This research aims to contribute to a history of early music performance in Spain that takes into account not only public professional concerts, but also private and amateur spheres.

Notes for Notes

Notes for Notes Mark McKnight The University of North Texas Music Library and College of Music recently acquired a significant collection of vocal jazz-related materials from the late Grammy-winning arranger and vocalist Gene Puerling. The collection, donated by Puerling’s widow, Helen, includes arrangements by Puerling from his earliest days in the 1940s until his death in 2008, as well as instrumental accompaniments by Frank Comstock, Patrick Williams, Roger Kellaway, Rob McConnell, Les Hooper, and Clare Fischer, among others. In addition to scores, the collection contains memorabilia related to Puerling’s life and work, including letters of admiration from renowned musicians, material for live television programs, and numerous recordings made throughout his life. Puerling, a singer and vocal arranger for The Hi-Lo’s! and The Singers Unlimited, wrote intricate, harmonically complex arrangements, and his pieces for those ensembles influenced countless future vocal groups, including The Beach Boys, The Manhattan Transfer, The Real Group, and Take 6. Puerling’s vocal writing for The Hi-Lo’s! and The Singers Unlimited earned him fourteen Grammy award nominations, and he won the award for his highly acclaimed 1982 arrangement of “A Nightingale Sang In Berkeley Square,” recorded by The Manhattan Transfer. In addition to The Manhattan Transfer, Puerling received commissions from other professional vocal groups, including The Real Group and Chanticleer, as well as such solo artists as Linda Ronstadt and Gloria Estefan. The Gene Puerling Collection resides in the Special Collections section of UNT’s Music Library, and is accessible by special arrangement. A finding aid is available at http://findingaids.library.unt.edu/index.php?p=collections/findingaid&id=734. The collection complements other collections maintained collaboratively by the UNT Music Library and the UNT College of Music’s Division of Jazz Studies, the Stan Kenton and Maynard Ferguson collections. Kenton, famed jazz orchestra leader, gave UNT a collection of arrangements in 1962 and bequeathed the remainder of his collection to UNT in 1979, while the Ferguson Collection came to UNT in 2008. The UNT Division of Jazz Studies plans to publish new editions of Puerling’s arrangements through the newly formed publishing entity, North Texas Jazz Press. Gala concerts and other events to celebrate the Gene Puerling Collection and feature Puerling’s music are scheduled for the weekend of 16–18 April 2015. For further information and up-to-date [End Page 672] information on events related to the collection, visit http://jazz.unt.edu/genepuerling. Mark McKnight University of North Texas The Music Library Association is hosting a historic joint congress of IAML (International Association of Music Libraries) and IMS (Inter -national Musicological Society) at The Juilliard School in New York, 21–26 June 2015. The conference theme, Music Research in the Digital Age, also celebrates the fiftieth anniversary of RILM. Anniversary essay alert: We conclude our series of composer “anniversary essays” with this issue’s tribute to Carl Nielsen by Anne-Marie Reynolds. And we also extend eightieth birthday wishes to Peter Maxwell Davies with Justin Vickers’s essay and catalog of his “Sea Works.”—Ed. Click for larger view View full resolution [End Page 673] Mark McKnight University of North Texas Copyright © 2015 Music Library Association, Inc

The Foundations of Mozart Scholarship

What are the foundations of scholarship? The facts--there are many of them, and we are always learning more--of a remarkable composer's short life? Or the meanings we read in that life, and the meanings we experience in the music left behind? The composer's present jubilee year offers a chance to reflect on these questions. My reflections begin with a polemical call for change in scholarship proposed more than forty years ago by a young music historian to the skeptical audience of a round-table discussion at an international conference. The young scholar, Wolfgang Plath, had just assumed the editorship of the largest project of his day (and of ours), the Neue Mozart-Ausgabe. The tone of his argument interests me as well as its contents: it was a polemic, designed as much to discredit the position of his opponents as to strengthen his own position. Plath's straw man was the school of German historiography that dominated writing in history and the history of the arts for more than a century, a school that sought, above all else, to discern meaning in history's ebb and flow. His critique, as we shall see, was as controversial as it was effective; I will argue here that specialist scholarship today has been shaped in no small part by it. Indeed, the issues Plath raised in making his argument have implications that extend far beyond the narrow confines of studies. Today the NMA is winding up its work after fifty years, more than thirty of those under Plath's direction. The occasion of the recent tenth anniversary of Plath's untimely death in 1995, the caesura brought about by pending completion of the NMA, and Mozart's own 250th birthday invite a reexamination of the contours, contexts, and consequences of Plath's intervention. I will begin by summarizing Plath's densely written polemic, which has never been translated into English. I will then illuminate what I believe were two of his most important sources of inspiration: first, a nostalgia for a strictly source-critical brand of nineteenth-century that he saw as a corrective to the vagaries of interpretation, and second, his enthusiasm for a empirical approach to music history gaining momentum at that time in the United States. Next, I will examine the replies of Plath's critics, scholars like Friedrich Blume who, suspicious of Plath's empiricism, defiantly proclaimed the difference of humanistic inquiry. For these critics, understanding Mozart's Geist always took precedence over dissecting the material remains of his works. This insistence, I will argue, links conservatives like Blume with many of the protagonists of the North American new musicology who took to the field some years later with similar attacks on positivism. Finally, I will suggest how reflection on the Plath controversy can help us to orient ourselves as students of in a world that has changed so much in the last forty years. Sacrificing the Luxury of Interpretation: Plath's Polemic At a round-table discussion at the ninth congress of the International Musicological Society in Salzburg in 1964, the young German musicologist Wolfgang Plath rose to defend two theses about the state of scholarship, which he had circulated in advance. In the first he claimed, Mozart research, because of its unclear sense of its own identity, has fallen into a crisis, whose proximate cause is neglect of fundamentals, and in the second, Basic research is the methodological and systematic study of sources. Only in this manner, at present, can progress in the treatment of fundamental problems of research be expected (Plath [1964] 1991:78). (1) These claims were to become the stuff of intense controversy, as the discussion at the round-table that day in Salzburg and subsequent articles would show. For all of the resistance Plath was to engender, however, I will argue that his departure from interpretation and proposed return to factual or positivist scholarship was to set the agenda in much of studies for years to come. …

Cantus Planus in Venice

Nearly a hundred chant scholars from all over the world met at the island of San Servolo in the Venetian Lagoon from 28 July to 1 August 2014 to attend the 17th meeting of the International Musicological Society’s Study Group ‘Cantus Planus’. The venue, owned by Venice International University, is located a ten-minute vaporetto ride from the centre of Venice, far enough from the overwhelming crowds of tourists. Monks and nuns inhabited San Servolo during the Middle Ages, and consequently plainchant was practised there for years. If we ignore the catering of its main restaurant (some attendees confessed that it made them miss even the food provided at previous International Congresses on Medieval Studies in Kalamazoo, Michigan) and the fact that San Servolo had no other restaurant (or any other establishment for that matter) open after 6.30pm to compensate, this venue would have been absolutely perfect. Over 80 scholars presented the most recent findings of their investigations in a programme consisting of 29 sessions held in parallel, two at a time. A strong presence of Italian topics was noticeable from the beginning—the inspiring inaugural session, featuring papers by internationally renowned scholars, contrasted Peter Jeffery’s findings on the early rite of Venice with vestiges of Venetian influence in a 15th-century Lisbon Order of Canons traced by Manuel Pedro Ferreira. Attendees were also greeted with a splendid concert at San Servolo Church in which Letizia Butterin performed Giovanni Battista Fasolo’s Missa Beatae Mariae Virginis, ‘in cantu gregoriano et organo alternatim’, displaying remarkable skill in both organ playing and chanting.

Historia Sancti Ludgeri edited by Morné Bezuidenhout: a new contribution to chant scholarship

The Historia Sancti Ludgeri, edited by Morné Bezuidenhout, appeared recently as part of the Historia series of the Cantus Planus Group of the International Musicological Society. Manuscript Grey 4.b.5, a composite breviary and antiphonal that is at present in the Grey Collection in Cape Town, contains the complete rhymed office for the feast of St Liudger, who was bishop of Münster in Westphalia from 805 to 809, making it possible to determine the provenance of the manuscript as Münster. With Ms Grey 4.b.5 as a starting point, Bezuidenhout edits the full Historia Sancti Ludgeri with reference to a wide array of manuscripts and prints that include the entire corpus of chants. The comparison of many sources containing the Historia Sancti Ludgeri contributes towards an understanding of the transmission and dating of chant and office style.

RISM Series A, pt. II: Music Manuscripts after 1600 (online catalog) (review)

For information regarding the scope of this column, consult the headnote in the September 2010 issue (p. 164 of this volume). The dates of access for each review of an online source indicate the dates during which the reviewer was evaluating the source. RISM Series A, pt. II: Music Manuscripts after 1600 (online catalog). Repertoire International des Sources Musicales, der Staatsbibliothek zu Berlin, and Bayerischen Staatsbibliothek (Munchen). http://opac.rism.info/(Accessed November 2010).* [Requires a Web browser and an Internet connection.] HISTORY Repertoire International des Sources Musicales A/II, or RISM AII, is a union catalog of music manuscripts from around the world. The majority of the manuscripts included in this database is from 1600 to 1800, but also included are some manuscripts through the end of the 19th century. This is one of a series of projects to enable access to extant musical sources by RISM, a nonprofit organization founded in 1952 in Paris by the International Musicological Society (IMS) and the International Association of Music Libraries (1) (IAML). At the time, there were two major tools for finding musical sources: Robert Eitner's Biographisch-Bibliographisches Quellen-Lexicon der Musik und Musikgelehrten (Leipzig, 1898-1904; rpt., rev., Graz 1959-60) and his Bibliographie der Musik-Sammelwerke des XVI. und XVII. Jakrhunderts (Berlin, 1877; rpt., Hildesheim, 1963). (2) However, these publications were significantly out-of-date, and RISM decided to publish an updated and improved version of these resources in two series. Series A is a listing of sources by individual composer, divided into two parts. The first part (A/I) includes music imprints before 1801 and has been issued in nine volumes with four supplements and an index volume. The updated version of this resource will be available on CD-ROM in early 2011. (3) The second part (A/II) is the music manuscripts database that I will review in detail below. Series B contains catalogs of repertories of music and writings about music. Subsequently, a new series, C, was published, containing directories of music libraries. In 1999, a supplemental volume, RISM Bibliotkekssigel, covering the RISM sigla, was also published. All of these projects are results of the contributions of the RISM branches from various countries. Each of the thirty-two participating countries operates independently from the Zentralredaktion (Central Office) and provides its own financial support. The Central Office acts as the conductor and nerve center for the projects. Originally, the results of the projects were conceived as printed volumes. However, because there were an estimated 1.5 million existing music manuscripts, Series A/II would have required approximately two hundred printed volumes. (4) In 1984, the first edition of this catalog was made available in microfiche instead, and a second microfiche edition was issued the following year. Although it had the standard indexes, more refined searches had to be sent to the Zentralredaktion to be executed on the database. As technology advanced, the database was issued in CD-ROM format by K. G. Saur in 1995. In 2002, as online sources became common, RISM contracted NISC to issue its first online database. Both Saur's CD-ROM and NISC's online database were preempted by advancing technology and ceased publication in 2008. NISC was bought out by EBSCO, which launched a new interface the same year. In June 2010, the new open-access RISM OPAC was unveiled, while EBSCO continues to offer the Series A/II database. Because the RISM branches operate independently, several countries started issuing their own data via open-access Web sites. The first was in 1997, when the US-RISM office (under the direction of John B. Howard) issued its data through a user-friendly interface with sponsorship from Harvard University. The initiative was universally lauded, but it ceased publication in 2002. …

Musical iconography in Ravenna

In the last few years the Dipartimento e Facoltà di Conservazione dei Beni Musicali of Bologna University at Ravenna has organized a couple of conferences on musical iconography that have been the only point of reference in Italy for scholars interested in this discipline. The founder and host of these conferences has been Nicoletta Guidobaldi, formerly Maître de Conférence at the Université de Tours and Centre d'Études Supérieures de la Renaissance (CESR), but today professor at the University of Bologna at Ravenna, after she had participated for a long time in the Study Group on Musical Iconography at the CNRS of the International Council for Traditional Music (Unesco), directed by Tillman Seebass. With this study group Guidobaldi also planned and chaired conferences and seminars on musical iconography in Tours and at the Fondazione Levi in Venice. This most recent iconographical conference, Musical iconography in the 21st century: mapping European art for context and meaning, held in Ravenna 7–10 June 2006, was the biggest ever held in Italy. It was devoted to the creation of a new International Study Group on Musical Iconography under the patronage of the International Musicological Society. There were more than 60 active participants, as well as dozens of students and observers. The high number of speakers forced the organizers to plan seven sessions of free papers (some simultaneous), two study sessions and a final round table. Inevitably, therefore, I cannot report in detail on each of the papers, although I shall try to find an ideal itinerary (in both chronological and thematic order) through the themes presented to reflect the current state of the iconographical discipline within musicology.

Armide: Tragedie en musique (review)

Jean-Baptiste Lully. Armide: Tragedie en musique. Edition de Lois Rosow; edition du livret: Jean-Noel Laurenti. Hildesheim: Georg Olms Verlag, 2003. (OEuvres completes. Ser. III: Operas, vol. 14.) (Musica Gallica.) [Gen. pref. in Fr., Eng., Ger. (Jerome de La Gorce, Herbert Schneider), p. v-vii; introd. in Fr., Eng., p. ix-xxxi; introd. to the livret, p. 3-8; livret, p. 9-24; table, p. 25-27; list of characters, p. 29; score, p. 31-311; plates, p. 313-15; crit. apparatus, p. 317-32; table of contents, p. 333. Cloth. ISBN 3-487-12524-2. euro315.] It is not often that a major composer is the object of two competing critical editions. It is even less often that the publisher of one of these editions reviews a volume from the other. Yet, in the spirit of full disclosure, I must declare at the outset that this is just what is happening in the review that follows. Jean-Baptiste (1632-1687) was one of the most influential composers in the history of Western music. He was also one of the most unpleasant. Ambitious, autocratic, and vindictive, he was a skillful and ruthless intriguer, and those who fell afoul of him did so to their misfortune; his victims included his quondam secretaire Jean Francois Lallouette (1651-1728), the claveciniste Jacques Champion, Sieur de Chambonnieres (1601/2-1672), and the great actor-manager-playwright Moliere (Jean-Baptiste Poquelin, 1622-1673). One might well believe that the curse of one of Lully's enemies has pursued the composer down the centuries, denying him the modern edition that has made available for performance and study the music of virtually every other composer of his stature. Just the sort of friction that characterized Lully's own career has plagued the modern editions of his works. The first collected edition, the OEuvres completes (Paris: Editions de La revue musicale, 1930-39; reprint, New York: Broude Brothers, 1966-74), directed by Henry Prunieres and underwritten by Louise B. M. Dyer, passed through the French courts. (Jim Davidson's Lyrebird Rising: Louise Hanson-Dyer of OiseauLyre, 1884-1962, Miegunyah Press Series, 14 [Portland, OR: Amadeus Press, 1994], chronicles the litigation.) Of the thirty-six volumes projected, ten were published before World War II, and an eleventh (edited, engraved, and proofread under Prunieres before his death in 1942) was brought out by Broude Brothers in 1972. At the 1976 meeting of the International Musicological Society in Berkeley, California, a new edition, The Collected Works, was organized in accordance with new editorial guidelines, to be published by Broude Brothers Limited (with responsibility transferred to the nonprofit Broude Trust in 1981). Yet the members of the editorial committee, whatever their individual competencies, proved unable to work together or with the publisher, and it was not until 1996 that a volume was issued (ser. 4, vol. 5, containing motets). By then some of the original editors had departed in search of a more congenial publisher, while others remained with the Trust. The departing editors eventually signed on with Georg Olms Verlag, a German firm known to musicologists principally for its extensive backlist of reprints, to create a new edition under the old title OEuvres completes-a decision certain to confuse library catalog users. The success of the Olms edition as a musicological enterprise will depend upon how accurately editors and publisher identify the users to whom the edition is best addressed and how skillfully they negotiate the compromises that are inevitable in critical editions of seventeenth-century music. Potential users range from researchers and performers capable of extracting every bit of meaning from a baroque score to casual naifs quite unfamiliar with seventeenthcentury notation. No edition can hope to satisfy every possible user, but an edition that attempts to satisfy too many will end up making no one happy. Under the general supervision of Jerome de La Gorce and Herbert Schneider, the OEuvres completes, sponsored by the Association and issued as part of the Musica Gallica project, aims for a nineteen-volume edition that is scientifique but not inconveniently so, its approach summed up in a set of principles dealing with matters that range from the choice of principal source through the mechanics of transcription to the management of specific baroque symbols; these guidelines (as they stood in 2000) appear as Principes editoriaux de la Monumentale Lully in Editionsrichtlinien Musik (ed. …

Review: Musicology and Sister Disciplines: Past, Present, Future. Proceedings of the 16th International Congress of the International Musicological Society, London, 1997

Review: Musicology and Sister Disciplines: Past, Present, Future. Proceedings of the 16th International Congress of the International Musicological Society, London, 1997

Das <i>Répertoire International des Sources Musicales</i> (RISM) nach Fünfzig Jahren

[de] 1952 konstituierte eine Commission Mixte aus Mitgliedern der Internationalen Gesellschaft fur Musikwissenschaft (IGMW) und der Internationalen Vereinigung der Musikbibliotheken (IVMB) in Paris das Répertoire International des Sources Musicales (RISM). 1971 erschienen die ersten beiden Bande des RISM, die von François Lesure bearbeiteten Écrits imprimés concernant la musique. 1960 wurde in Kassel eine Zentralredaktion für die Serie der Einzeldrucke vor 1800 gegründet, die inzwischen mit 13 Bänden bis auf einen noch fehlenden Registerband abgeschlossen ist. Die 1987 nach Frankfurt a.M. umgezogene Zentralredaktion konzentriert ihre Arbeit nun auf die Handschriften nach 1600. Dies Projekt stellte schon wegen seines Umfanges das RISM vor große Herausforderungen. Deshalb wurde schon sehr früh auf die Digitalisierung gesetzt. 1995 erschien eine erste CD-ROM mit der RISM- Handschriften-Datenbank, die seither jährlich kumuliert herauskommt; die 6. erschien Ende 2000 und umfaßt ca. 350 000 Werknachweise aus 575 Bibliotheken in 31 Ländern. Wenn man das in den zurückliegenden 50 Jahren Erreichte betrachtet und in die Betrachtung auch die inzwischen auf 29 Druckbände angewachsene Reihe mit Spezialkatalogen einbezieht, dann verdient dies Respekt. Aber es bleiben Lücken. Dazu gehört auch, daß in einigen Landern mit besonders reicher Überlieferung die noch nicht erschlossenen Quellen in den RISM-Katalog eingebracht werden müssen. Spanien ist ein solches Land und F. Gonzalez Valle hat sich große Verdienste darum erworben, diese Quellen zu heben. Seine Schüler und Nachfolger sind aufgerufen, alie Kräfte zu mobilisieren, damit Spanien innerhalb der internationalen Gemeinschaft des RISM den Platz einnimmt, der seiner reichen musikalischen Kultur in Geschichte und Gegenwart entspricht.

A Descriptive Study of Subject Indexing and Abstracting in International Index of Music Periodicals, RILM Abstracts of Music Literature, and The Music Index Online

There are now three major online databases dedicated to current indexing of the literature of music: The Music Index (hereafter MI); RILM Abstracts of Music Literature (RILM); and International Index to Music Periodicals (IIMP). [1] The online version of MI provides citations, but not abstracts, for periodical literature in music going back to 1979, and is available both on CD-ROM and via the Internet. It is produced by Harmonie Park Press, which has published the print version of MI since 1949. The Web version was used in the present study. Chadwyck-Healey, after briefly marketing an earlier CD-ROM version of MI, launched its own music database, IIMP, in 1996. Now owned by Bell & Howell Information and Learning, IIMP, provides indexing and abstracts for music periodical literature since 1996 and is steadily adding citations (without abstracts) for pre-1996 literature. IIMP is available on CD-ROM and in two Web versions: a basic product with traditional citations and abstracts, and IIMP Full Text, which add s access to the full text of articles from over forty journals. Trial access to IIMP, Full Text was used for the present study, though no use was made of the full-text options. RILM is a joint project of the International Musicological Society and the International Association of Music Libraries, Archives, and Documentation Centers. Since 1967, it has published abstracts of the whole range of scholarly literature in music, going beyond journal articles to include books, dissertations, catalogs, Festschriften, conference proceedings, and other formats. RILM exists in two electronic versions: it is available on CD-ROM and via the Web from National Information Services Corporation (NISC USA), and Web access is also provided through OCLC FirstSearch. The OCLC product was the primary means of access for the present study, though trial access to the NISC product was arranged for comparison of a few points. These three databases differ greatly in the ways in which they index the literature. The present study identifies a group of articles that have been treated by all three databases and compares those treatments in both quantitative and qualitative terms. [2] The quantitative section involved randomly selecting a large group of articles and comparing the number of subjects assigned, total words in the subjects, and unique words in the subjects in each of the three databases, and the number of words in the abstracts in RILM and IIMP. The qualitative aspect required looking more closely at a smaller number of items to compare the appropriateness of subjects chosen for indexing, the content and style of abstracts (for IIMP and RILM), and the accessibility of vocabulary in both. A search of the library literature found no studies comparing both indexing and abstracting of the same articles by different databases. Though many articles can be found comparing various utilities' coverage of particular topics or journals, very few actually examine subject access at the individual record level. MaryEllen C. Sievert and Alison F. Verbeck [3] come closest with a document-level comparison of subject indexing of the literature of online searching in Library and Information Science Abstracts and the education database ERIC, but their study did not include comparison of abstracts. QUANTITATIVE ANALYSIS In order to carry out the comparisons envisioned for this study, it was necessary to generate a group of articles for which full treatment could be found in all three databases. This study was meant to be descriptive rather than predictive, and care was taken to make the sample generation process as objective as possible. The sample was limited to articles from 1996 in order to eliminate pre-1996 citation-only records in IIMP and post-1996 brief records added to RILM as part of its current citations project. A list was created of ninety-eight journals which each of the three databases claimed to index comprehensively. …

Tradition and Its Future in Music: Report of SIMS 1990 Osaka. The Fourth Symposium of the International Musicological Society

Tradition and Its Future in Music: Report of SIMS 1990 Osaka. The Fourth Symposium of the International Musicological Society

MEDIEVAL PLAINCHANT FROM CAMBRAI. A PRELIMINARY LIST OF HYMNS, ALLELUIA VERSES AND SEQUENCES

1 A fuller discussion of these compositions is forthcoming. Manuscript citations use RISM sigla. Prints have ?pr? following the shelf number. Manuscript numbers not in parentheses are those assigned by A. Molinier, Catalogue g?n?ral des manuscrits des biblioth?ques publiques de France. D?partements, vol. 17: Cambrai, Paris, 1891. Those in parentheses were assigned by A. Le Glay, Catalogue descriptif et raisonn? des manuscrits de la Biblioth?que de Cambrai, Cambrai, 1831. Both will be given for the first reference to a manuscript; thereafter only Molinier's numbers will be cited. Many liturgical compositions from Cambrai or surrounding regions are edited by C. Blume and G. M. Dre ves in Analecta Hymnica Medii Aevi, 55 vols., Leipzig, 1886-1922 (hereafter cited as AH). AH uses Le Glay's numbers; where numbers in parentheses appear, these are Molinier's. The content of the sources is indicated as follows: N=nondiastematic notation; D=diastematic notation; T=texts only. Liturgical items are abbreviated as follows: A=antiphon, Ab=Benedictus antiphon, Am=Magnificat antiphon, I=Invitatory antiphon, R=Responsory, Rv=Responsory verse. Offices are abbreviated as follows: 1 V=First Vespers, 2V=Second Vespers, M=Matins, Nl=First nocturn, L=Lauds. 2 At the last meeting of this society, I reported my discovery of an entire plainchant office newly-composed by Guillaume Du Fay and Gilles Carlier for Cambrai Cathedral in 1457. See B. Haggh, ?The Celebration of the 'Recollectio Festorum Beatae Mariae Virginis', 1457-1987,? Atti del XIV Congresso della Societ? Internazionale di Musicologia, ed. A. Pompilio et al., Turin, 1990, vol. 3, p. 559-571; also id., ?The Aostan Sources for the 'Recollectio Festorum Beatae Mariae Virginis' by Guillaume Du Fay,? International Musicological Society Study Group Cantus Planus: Papers read at the Third Meeting, Tih?ny, Hungary, 19-24 September 1988, ed. L. Dobszay et al., Budapest, 1990, p. 355-375. The office has been recorded by the Schola Hungarica, dir. L. Dobszay and J. Szendrei (Hungaroton SLPD 31169 and HCD 31292).

EVENTS

Journal Article EVENTS Get access International Musicological Society Congress Royal Conservatonum, Madrid, 3-10 April 1992 MICHAEL NOONE MICHAEL NOONE Search for other works by this author on: Oxford Academic Google Scholar Early Music, Volume XX, Issue 3, August 1992, Page 522, https://doi.org/10.1093/earlyj/XX.3.522 Published: 01 August 1992