International Musicological Society Research Articles

Computing in musicology, 1966?91

While there are many parallels between computing activities in musicology and those in other humanities disciplines, the particular nature of musical material and the ways in which this must be accommodated set many activities apart from those in text-based disciplines. As in other disciplines, early applications were beset by hardware constraints, which placed a premium on expertise and promoted design-intensive projects. Massive musical encoding and bibliographical projects were initiated. Diversification of hardware platforms and languages in the Seventies led to task-specific undertakings, including preliminary work on many of today's programs for music printing and analysis. The rise of personal computers and associated general-purpose software in the Eighties has enabled many scholars to pursue projects individually, particularly with the assistance of database, word processing, and notation software. Current issues facing the field include the need for standards for data interchange, the creation of banks of reusable data, the establishment of qualitative standards for encoded data, and the encouragement of realistic appraisals of what computers can do. The musicologist Eleanor Selfridge-Field, who is the author of three books on Italian music and numerous articles, editions, and reviews, has worked at CCARH since its founding in 1984. Her most recent book, The Music of Benedetto and Alessandro Marcello (Oxford: Clarendon Press, 1990), which contains 1300 musical examples, was produced from camera-ready copy supplied by CCARH. Drs. Hewlett and Selfridge-Field jointly edit the series Computing in Musicology, which is published by CCARH, and co-chair the International Musicological Society's Study Group on Musical Data and Computer Applications.

Wanggasongs of northwest Australia: Reflections on the performance of aboriginal music at the symposium of the international musicological society '88

Abstract This critical examination of presentations of Aboriginal music at the Symposium of the International Musicological Society in Melbourne in 1988 discusses a number of issues concerning representational politics. A paper written by Marett in association with Aboriginal performers, Martin Anggalitji Warrigal and Robert Ilyerre Daly and presented immediately prior to a performance by Warrigal and Daly of wangga songs from northwest Australia, is presented here in an unaltered form. In an Introduction and a subsequent Reflection, Marett outlines the representational strategies adopted and assesses them in the light of recent literature and the reactions of both the audience and participants.

Reply to Brown and Dempster

All of us Catholics, Jews, Protestants, Buddhists, Muslims are gentiles to the Mormons. And all of us-Babbitt, Kerman, Boretz, Meyer, Rahn, Cone, me-are particularists to Matthew Brown and Douglas Dempster. Levelling perspectives like these are uninformative: All Buddhists and Protestants have in common is that they are not Mormons. And all that Benjamin Boretz and I would seem to have in common is that we are neither Brown nor Dempster, who seem as little concerned with the distinguishing characteristics of the people they write about as they profess to be about individual pieces of music. Their great show of callow unobservance does not enhance one's confidence in their approach to music theory and analysis. Nor in their forensic skills: They attack with great courage positions no one to my knowledge has ever advanced. They take aim, colors flying, at barn walls from a distance of three paces. They miss. There is an unearthly aura of born-yesterday about this jeremiad. The authors really seem to be convinced that they are telling us all things we've never dreamt of. They really seem not to know how much wider an airing the D-N model was given than their citation of a few Princeton dissertations implies. They seem not to know about Arthur Mendel's famous pitch to the International Musicological Society in 1961 on behalf of Carl

The Representational Impulse in Late Beethoven, II: String Quartet in F Major, Op. 135

The Representational Impulse in Late Beethoven, II: String Quartet in F Major, Op. 135 Author(s): Christopher Reynolds Source: Acta Musicologica, Vol. 60, Fasc. 2 (May - Aug., 1988), pp. 180-194 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/932790 Accessed: 22-01-2016 05:27 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica. http://www.jstor.org This content downloaded from 128.120.194.194 on Fri, 22 Jan 2016 05:27:40 UTC All use subject to JSTOR Terms and Conditions

The Representational Impulse in Late Beethoven, I: An die ferne Geliebte

The Representational Impulse in Late Beethoven, I: An die ferne Geliebte Author(s): Christopher Reynolds Source: Acta Musicologica, Vol. 60, Fasc. 1 (Jan. - Apr., 1988), pp. 43-61 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/932699 Accessed: 22-01-2016 05:28 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/932699?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica. http://www.jstor.org This content downloaded from 128.120.194.194 on Fri, 22 Jan 2016 05:28:23 UTC All use subject to JSTOR Terms and Conditions

International Musicological Society. Report of the Twelfth Congress: Berkeley 1977

International Musicological Society. Report of the Twelfth Congress: Berkeley 1977

Production, consumption and political function of seventeenth-century opera

This article was first planned in 1976. It owes its existence to Pierluigi Petrobelli who, charged with organising a round table on seventeenth-century music drama for the Twelfth Congress of the International Musicological Society, Berkeley 1977, invited the authors to prepare a paper as a focus for discussion and offered them constant encouragement throughout its preparatory stages. It is our pleasant duty to mention that during the time of preparation of the paper Lorenzo Bianconi held scholarships from the Centro Tedesco di Studi Veneziani and the Istituto Storico Germanico of Rome.

Participation in the thirteenth congress of the International Musicological Society

Participation in the thirteenth congress of the International Musicological Society

Tribute to Arthur Mendel

On 14 October 1979, aged 74, Arthur Mendel died of leukemia at Beth Israel Medical Center in Newark. Six years earlier, he had retired from active teaching at Princeton as Henry Putnam University Professor of Music Emeritus, having served on the Princeton faculty for 21 years. The world of professional musicians hardly needs to be reminded of Arthur Mendel's achievements. They know him as a world authority on Bach, editor with Hans David of the Bach Reader and sole editor of the critical edition of the St John Passion for the Neue Bach Ausgabe. They know him as a pioneering scholar in the history of musical pitch (most recently visible in Acta Musicologica, 1978) and as a leader in the international committee for a new Josquin edition, along with his work towards the use of' the computer as a tool for musicology. They know him too for his masterly translations, his editions, his performances and recordings of Schiitz and Bach, his trenchant articles and reviews. Direct reflections of his wide interests were brought together in 1974 in the festschrift, Studies in Renaissance and Baroque Music in Honor of Arthur Mendel, edited by Robert Marshall; with contributions by 24 scholars, it was a festschrift of truly international character. Although this is not the forum in which to dwell on his influence as a teacher, there are many who are well aware of what his teaching has meant to them, personally and professionally. They know what I mean when I speak of Arthur's taste for candour, his wit, his marvellous ear for language, his unflinching critical intelligence. Having been one of his graduate students myself, I am sure I speak also for others when I say that no one of'my acquaintance has more vitally exemplified the questioning attitude to knowledge that underlies scholarship. I almost feel a sense of poignant irony in saying these things, not that I do not believe them deeply; but Arthur, who wanted no eulogy yet must have one, would have been the first to cock his head back with a quizzical smile and shatter the target with a few well-aimed questions: How do you know? What makes you think so? How can we be so sure? No one ever loved an argument more; and, as a distinguished member of this Society put it to me, no one was ever more delightful to disagree with, yet no one was more open to new convictions or more gracious in confessing the limits of his own knowledge. His contributions to the American Musicological Society (from 1939) form a long and distinguished record. His influence on the publication activities of* the Society was profound, and his sharp editorial sense must always have been felt in what was done and what was decided upon. In 1961, when the Eighth Congress of the International Musicological Society was held in New York, for the first time ever in the United States, its plenary sessions had three major addresses-one each by a German, French, and an American scholar. The American was Arthur Mendel. His opening paper, given at Columbia before the largest group of musicologists that had ever assembled in this country, dealt with the central topic, 'Evidence and Explanation'. He gave the field and its practitioners a brilliant exposition of* basic problems in the nature of* historical knowledge, applying current thought on the philosophy of history to music-historical issues and procedures. Nothing could be more characteristic of* the Mendelian style than these brief excerpts firom that paper:

Supplement (1973) to Doctoral Dissertations in Musicology

Research Article| October 01 1973 Supplement (1973) to Doctoral Dissertations in Musicology Cecil Adkins; Cecil Adkins Search for other works by this author on: This Site PubMed Google Scholar Alis Dickinson Alis Dickinson Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (1973) 26 (3): 440–479. https://doi.org/10.2307/830409 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Cecil Adkins, Alis Dickinson; Supplement (1973) to Doctoral Dissertations in Musicology. Journal of the American Musicological Society 1 October 1973; 26 (3): 440–479. doi: https://doi.org/10.2307/830409 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the American Musicological Society Search This content is only available via PDF. Copyright 1973 The American Musicological Society, Inc. Article PDF first page preview Close Modal You do not currently have access to this content.

Rism, Series A: A Progress Report

The International Musicological Society and the International Music Library Association have been concerned, for over twenty years, with the compilation of an inventory of musical sources on a world-wide basis. The Repertoire Internationale des Sources Musicales (RISM) is the result of this. Series A is to be an alphabetical catalogue of composers and of the publishers of individual printed items. On 1 April 1960 a center was established at Kassel in order to coordinate the efforts of RISM's agents throughout the world towards a uniform inventory of sources. Only now, in 1968, can the final editing begin, with a view to the appearance of the first volume in 1971 or 1972. The editors in Kassel have received, so far, over 150,000 entries from about 1,100 libraries. More are promised by countries which are in the process of cataloguing on a national scale, while some countries have yet to report. In the central card-catalogue the titles, together with the names of composer or publisher, are noted literally: this ensures the exactitude necessary for comparison between entries from various people and countries. The imprint is noted in a standardized form: it consists of information such as the place and house of publication, the printer, engraver or lithographer, and the plate or edition number. The number of copies and parts extant may also be recorded on the cards. As a rule the editor does not complete partial entries, nor does he attempt to affix dates when these are missing. The first task is to extract identical titles sent in from different libraries and to arrange them according to publisher and edition. This often involves reference to keys or, in vocal music, to first lines. The arrangement of the larger list of works is generally chronological for music of the sixteenth and seventeenth centuries, while for that of the eighteenth century opus numbers often provide a satisfactory order. In exceptional cases, classification has to be made along divisions of sacred and secular, instrumental and vocal, or larger and smaller combinations. Seventy particularly problematic lists are entrusted to a special editor whose own researches may influence the outcome. In preparation for the final editing, the cards were reproduced on sheets corresponding with the format of the finished work. The places

RILM: Repertoire International de la Litterature Musicale International Repertory of Music Literature Internationales Repertorium der Musikliteratur: Report No. 2: September 1967

It is most appropriate that the first issue of RILM Abstracts should have come into being during this fortieth anniversary of the International Musicological Society, especially while it is under the presidency of Vladimir FMdorov. It was Monsieur Fedorov who, almost twenty years ago at the Liineburg Congress of the International Association of Music Libraries, called for an Entente et organization internationales pour le depouillement des periodiques musicaux. Since I first brought the idea of RILM to his attention two years ago, his help, encouragement and, on occasion, his penetrating criticism have been invaluable. As most of you know, RILM was formally established in the summer of 1966 under the joint sponsorship of the International Musicological Society (IMS) and the International Association of Music Libraries (AIBM). It also enjoys the support of the American Council of Learned Societies (ACLS) and the National Endowment for the Humanities (NEH). The members of the Commission Mixte of RILM, as designated by the respective executive boards of the IMS and the AIBM in Ljubljana and Salzburg, are as follows: Harald Heckmann (AIBM) and Fran§ois Lesure (IMS), vice-presidents; Zofia Lissa (IMS), Israel Adler (AIBM), Clemens von Gleich (AIBM), Alexander Hyatt King (AIBM), Jan LaRue (IMS), and Claudio Sartori (IMS). Although RILM will eventually hope to deal with retrospective materials, its immediate objective is to deal with current literature by compiling and publishing abstracts and computer-generated indexes of all scholarly writings on music appearing after 1 January 1967. This includes:

RISM: A Report on U. S. Activities

In January 1952 at Paris a series of meetings under the auspices of the International Music Council was held by a joint committee of the International Association of Music Libraries and the International Musicological Society for the creation of an International Inventory of Musical Sources. Representing the I.M.S. were Mons. Higinio Angles, Professor Friedrich Blume, and Professor Albert Smijers, while I.A.M.L. was represented by Messrs. Vladimir F6dorov, Richard S. Hill, A. Hyatt King, Dr. Hans Halm, and Professors Leopold Nowak and Nino Pirrotta. The purpose of the meeting was to set up a project for the publication of a book catalogue of editions and manuscripts of early music to replace the pioneering works of Robert (1832-1905). Eitner's monumental Biographisch-Bibliographisches Quellen-Lexicon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhunderts-a work as imposing as its title-sought to provide a complete catalogue of manuscripts and printed editions of all musical works composed up to the middle of the nineteenth century, including locations for specific copies of each item. His Bibliographie der Musik-Sammelwerke des XVI und XVII Jahrhunderts attempted to give the contents and locations of all collections of music by more than one composer published before 1701. Both of these works had proved indispensable to musicologists since their publication, and still stand as major monuments of musical scholarship. But fifty years of musicological progress, much of it built on Eitner's foundations, had uncovered much material and information on old material since the publication of Eitner's works, while natural change and the events of two world wars had caused what might be politely called major changes in the distribution and state of music collections; besides, Eitner, working alone, had not been able to cover thoroughly the holdings of all European libraries, while the holdings of American libraries, even in Eitner's time beginning to amass sizable collections of early music, were completely unrepresented in his bibliographies. Periodically, cries for a new Eitner had been heard, and the provisional Committee for the International Inventory of Musical Sources

REVIEWS OF BOOKS

Journal Article REVIEWS OF BOOKS Get access International Musicological Society: Report of the Eighth Congress, New York 1961. Vol. I: Papers. Vol. II: Reports. pp. xi + 472; xv + 184. ( Bärenreiter, Cassel & Basel; Novello, London, 1961, £3 18s. 6d., £1 15s. 6d.) F. W. S. F. W. S. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 44, Issue 3, July 1963, Pages 278–279, https://doi.org/10.1093/ml/44.3.278 Published: 01 July 1963

Re: Questions of Music Theory at the Seventh Congress of the International Musicological Society

The professional work undertaken by the congress, held at Cologne June 23-28, 1958, was arranged as follows: three general subject areas, each of which consisted of two principal papers which were treated further in a number of prepared discussion papers; three public lectures without discussion; ten panel discussions on special topics; and six general sections with a series of various themes.

Toward a New Inventory of Musical Sources

The joint MLA-AMS session, held during the National Meetings in Washington last December, devoted much of its time to discussing the projected revision of Eitner's Quellen-Lexikon. The following report gives a summary of my paper presented on that occasion and of the ensuing discussion which was carried mainly by the editor of NOTES and Mr. Richard Angell. Since the speakers in the discussion voiced unanimous agreement with the basic approach and objectives, and restricted themselves to adding suggestions about the modus operandi, it has been thought advisable to incorporate all of the ideas offered, together with some more recent developments, in a unified report. The question of a new Quellen-Lexikon has been raised several times in the musicological profession and those who are familiar with the various reports of musicological congresses will remember that it came up after the first world war but never got further than a committee report. It was raised again after the last war at the Fourth International Congress of Musicology in Basle (1949) in a paper by Hans Albrecht (see the report in NOTES VI, 1949, p. 540). The outline presented by Dr. Albrecht, though adhering perhaps a little too closely to the pattern set up by Eitner, contained some valid ideas about the revision, and led to the appointment by the International Musicological Society of a special committee in charge of the project. I should like to introduce at this point the translation of a paragraph from a letter written by M. Vladimir Fedorov of the Bibliotheque Nationale to M. Marc Pincherle, President of the Societe fran~aise de musicologie. Copies of this letter were sent also to all of the national delegates of the new International Association of Music Libraries, of which organization M. Fedorov is the General Secretary, in order to keep them informed on developments. The paragraph seems particularly pertinent here since it not only gives a clear summary of events, but also reveals some interesting information in regard to the relations of the two groups in Europe: