Music Books Research Articles

‘Chosun’ and ‘Japan’ represented in 〈music books〉 during the Japanese colonial rule

‘Chosun’ and ‘Japan’ represented in 〈music books〉 during the Japanese colonial rule

Gooseberries on a Table

Little is known of the mysterious life of Dutch painter AdriaenCoorte (circa 1660–after 1707), but since the recent rediscovery of his work, Coorte’s deliciously appealingpaintingsare receivingever-increasingacclaim.Asdistinguished from more ornate still life paintings of this era, Coorte’s simple compositions emanate an intimacy andmystique that charms the viewer, transcending time and the ordinariness of objects portrayed within. Coorte’s year of birth and death have yet to be determined, but it is believed he resided near Middelburg in the Netherlands, based in part on records from St Luke’s Guild in Middelburg for 1695-1696,where itwas recorded that “Coorde, painter of art” was fined for selling paintings. (Buvelot Q. The Still Lifes ofAdriaenCoorte [Active c.1683-1707]. TheHague, the Netherlands:RoyalPictureGalleryMauritshuis/WaandersPublishers, Zwolle; 2008:18.) It is unclear why he was not registered in the guild and thus licensed to sell his work. Prior to 1903, when a collector bequeathed Coorte’s Still Life With Asparagus to the Rijksmuseum in Amsterdam, Coorte’s work was largely unknown outside a small assemblage of art aficionados. As Laurens J. Bol, former director of the Dordrechts Museum, noted: “Two centuries were to pass before his work reaped national appreciation and ... admirationbeyondtheborders.” (BolLJ.AdriaenCoorte:AUniqueLate Seventeenth Century Dutch Still-Life Painter. Assen/ Amsterdam, the Netherlands: Van Gorcum; 1977:5.) Bol believed Coorte’s work stood out: “Coorte’s reproduction has something extra, an expression of the knowledge—or suspicion—that even in the littleproductsofnature there lies a great mystery.” (Bol, p 16.) Political disturbances in the late 1500s in Antwerp, Belgium, caused amigrationof Flemish subjectswith craftsmanship and artistic skills to Middelburg, which became a flourishing commercial center. This affluence was paralleled by a taste for extravagances that included art. In the early 1600s, painters in the region would include such still life painters as Ambrosius Bosschaert the Elder and Balthasar van der Ast. Details of training received by Coorte are sketchy, but the style of his early work suggests the influence of Amsterdam painter Melchior d’Hondecoeter; it is thus inferred Coorte lived in Amsterdam for a time. As an example, Coorte’s 1683 Mountain Landscape With Ducks and 1683 Pelican and Ducks in a Mountain Landscape resemble paintings of birds by Hondecoeter. It is thought Coorte may have been involved with Hondecoeter’s work by serving as an assistant in the studio, as it is known that Hondecoeter had such assistants. The simplicity of Coorte’s paintings was consistent with theplain, unpretentiousHaarlem tradition, as exemplified by JanJanszvandeVelde’sStill LifeWithStrawberriesandCherries of 1658. In the late 1680s, in concert with older conventions, Coortealsocontributed to thegenreofvanitasart.Theseworks typically includedobjects that served to remindviewersof the fleetingnessof lifeandencourageapathofvirtue.Coorte’s 1688 work Vanitas Still Life in a Niche has been described thusly: “From left to right we see dice, a watch, an oil lamp with a smoulderingwick, apipewith tobacco, a flute-glass filledwith wine, a skull, playing-cards, a music book, a string instrument (a pochette) and a small shell. ... the wine and the tobacco recall the ephemeral pleasures of earthly existence, the playing cards and dice allude to the uncertainty of life. The watch recalls the passage of time, while the oil lamp and the smoulderingwick refer to the ‘extinction’ of ahuman life, here underscoredby thepresenceof the skull.” (Buvelot, pp30, 32.) In the 1690s and onward, Coorte’s repertoire of workwas largely devoted to exactingly executed paintings featuring fruits, asparagus,nuts, andshells.Coorteprobablywouldhave seen Isaac Van Duynen’s works such as Still Life With Strawberries,AsparagusandGrapes, suggestedbythe fact thatCoorte himself would go on to depict asparagus and fruit together in a number of paintings. In earlier work, Coorte had painted gooseberries in association with other elements, but beginning in 1693, gooseberries became a motif all their own. In Gooseberries on a Table, the dramatic illumination spotlights the texture of the leaves andheightens the luster and lucency of berries in their hues of cerise and celadon. “The flesh of the fruit seems to glimmer through the surface, the fine hairs of which give it a certain mat quality.” (Buvelot, pp 42-43.) The fruit repose on a solid stone-like surface, a typical component of Coorte’s still life compositions. In reflecting on the appeal of this oeuvre formodern sensibilities, the philosopher Schopenhauer commented: “Perhaps the reasonwhycommonobjects in still life seemso transfigured and generally everything painted appears in a supernatural light is that we then no longer look at things in the flux of time and in the nexus of cause and effect.” (SchopenhauerA.ManuscriptRemains,Volume I: EarlyManuscripts [1804-1818]. Oxford,UK/NewYork,NY/Hamburg, Germany: Berg Publishers; 1988:43.) To theworld’sdelight,Coorte’s artistic legacyhasemerged from obscurity to take its place with that of other 17thcentury still life painters. Recognition of his exquisite paintingshas includedselectionofGooseberries onaTableas awork of art featured on postage stamps in 1999 for the Dutch domesticpostal service. Incontemplating thestillnessofCoorte’s tranquil yet vivid paintings, for a fewmoments time seems to stop.

일제강점기 초등 ‘修身書’와 ‘唱歌書’에 서사된 性像

This thesis aims at finding out how men and women were represented and what gender roles they took on, based on various gender images represented both in elementary school ‘moral’ books and ‘music’ books in time of Japanese colonial rule. Various images of people were represented in moral books while only a few people were sung in music books, and that most of them were men. Those men were patriots and soldiers known even to the foreign countries. To be more concrete, the ratio of men to women was 83: 17(%) in moral books and 63: 36(%) in music books respectively, though there were a slight difference according to book-publishing years. We can see that some women were described as an individual in moral books while they were described as minor, supplementary roles supporting male heroes. Even in case of little children, boys were sung in an image of future colonial personnel while girls were limited within the boundary of homes. Homes, a combination of men and women, were described as a harmonious unity. But they were also limited to a society under the rule of the Emperor, though each family are assembled into a community and further into a nation.

Japan’s culture policy after 3.1 independence movement - Comparative study of elementary school music books and elementary school supplementary music books

Japan’s culture policy after 3.1 independence movement - Comparative study of elementary school music books and elementary school supplementary music books

Of Hard Joy: Half a Century of Viivi Luik's Creations. Poetry

Viivi Luik has been active in Estonian literature for half a century: from the times of Soviet censorship to regained independence. Her renowned novels Seitsmes rahukevad (The Seventh Spring of Peace, 1985) and Ajaloo ilu (The Beauty of History, 1991) have been published in a number of foreign languages. Her first collection of poetry Pilvede püha (Holiday of Clouds) appeared in 1965. Since then ten more collections have followed: Taevaste tuul (Wind of the Skies, 1966), Lauludemüüja (Song Vendor, 1968), Hääl (Voice, 1968), Ole kus oled (Stay Where You Are, 1971), Pildi sisse minek (Entering a Picture, 1973), Põliskevad (Perpetual Spring, 1975), Maapäälsed asjad (Earthly Matters, 1978), and Rängast rõõmust (Of Hard Joy, 1982). In addition, she has published three books of selected verse together with the volume of collected verse (2006), as well as four books of fiction, three volumes of essays, several children’s books and two dramas. Many Estonian songwriters have appreciated her lyrics, evident in dozens of music books and recordings. Guided by a methodologically holistic perspective and moving towards a “unified field theory” of literary criticism, this contribution to Luik scholarship makes available, for the first time, a biobibliographical comparative introduction of all of her works for the international audience. It illuminates the broadly representative character of her oeuvre and shows how Luik charts the course for an entire generation of “Soviet” writers of the Baltics as “border states”.

Osmanlı Maârifi’nde Okutulan Mûsikî Kitapları

Osmanlı Maârifi’nde müzik kitaplarının yayınlanması on dokuzuncu asrın Osmanlı Maârifi’nde müzik kitaplarının yayınlanması on dokuzuncu asrın sonlarında başlamıştır. Bunun öncesinde münferit kitaplar yazılmışgeneline yayılamamıştır. Bu döneme kadar müzik eğitiminde olması ders kitaplarının müfredata girmesini geciktirmiştir. Ancak eğitimde zamanın olması ders kitaplarının müfredata girmesini geciktirmiştir. Ancak eğitimde zamanın getirdiği yenilikler ve pedagojik anlayışgöstermiştir. Yayınlanan ilk ders kitapları Batı mûsikîsi temelinin verGenellikle Batı’da basılmış olan eserlerden ilham alınarak ya da birebir aynısınıGenellikle Batı’da basılmış olan eserlerden ilham alınarak ya da birebir aynısınınTürkçe’ye çevrilerek yayınlandığı bu sağlanmasına yönelik atılmış önemli bir adımdır. Derslerde ağırlıklı olarak notasağlanmasına yönelik atılmış önemli bir adımdır. Derslerde ağırlıklı olarak notaeğitiminin verilmesi müzik kitaplarının yazımında Batı müziği temelinin esas eğitiminin verilmesi müzik kitaplarının yazımında Batı müziği temelinin esas alınmasını zorunlu kılmıştır. Bunun yanında Türk mûsikîsini anlatan kitaplar da az alınmasını zorunlu kılmıştır. Bunun yanında Türk mûsikîsini anlatan kitaplar da az değildir. Bu makale Osmanlı Maârifi’nde okutulanedinmektedir

An Index to Articles Published in "The Etude" Magazine, 1883-1957 (review)

An Index to Articles Published in Magazine, 1883-1957. By Pamela R. Dennis. 2 vols. (Music Li - brary Association Index and Bibli - ography Series, vol. 37.) Middleton, WI: A-R Editions, 2011. [xvi, 1, 364 p. ISBN 9780-895797117 (pt. 1) and 9780895797186 (pt. 2). $250.] Chronological, author, title, and subject indexes. For seventy-four years The Etude published reflections of the musical scene. Sometimes these were actual photos: a composer in his study, the house where a famous musician was born, the latest set for a new opera production, the current diva at the Metropolitan Opera House in New York, or fourteen women in saris carrying a grand piano on their heads in India. Other glimpses were from interviews with musical personages (Marian Anderson, Leonard Bernstein, Aaron Copland, Vladimir Horo - witz, Lotte Lehmann, John Philip Sousa, Igor Stravinsky, and George Szell), Ameri - can entrepreneurs (Henry Ford, Theodore E. Steinway, Thomas A. Edison), and even a United States president (Harry S. Truman). Articles pertained directly or indirectly to music. This journal attracted professional and amateur musicians, as well as laymen with a passive or passionate interest in music. Even though the main focus of The Etude was music, there was so much more. Its articles communicated trends and attitudes within the country that influenced repertoire and performance and, in turn, the journal commented on art's effect on culture. Its publication began during the Progressive Era and promulgated a particular ideological slant which catered to the Genteel Society. It reflected America before, during, and after World War I; continued through the Roaring Twenties, the Depression, and World War II; and ceased publication a few months before the launch of Sputnik. Specific entries provided music teachers with articles to guide their teaching. Children had their own page(s) of musical games, theory, and history. Glossaries of musical terms, histories of instruments, compositional techniques, opera plots, book and media reviews, as well as essays on non-Western musical traditions all provided educational and entertaining reading. Within the more than 880 issues of The Etude magazine, there was literally something for everyone. It is easy to understand how these magazines became a musical reference library within many homes and why issues were saved. Pamela R. Dennis's two-volume index under review here joins E. Douglas Bom - berger's An Index to Music Published in Magazine, 1883-1957 (Lanham, MD: Scarecrow Press and Music Library Associ - ation, 2004) in providing systematic access to this important chronicle of American musical life. Up until now, a researcher might find information about a particular subject, topic or trend in the magazine, but was then limited to a random-chance method of finding any additional articles pertaining to it. Further explorations were haphazard at best. Dennis has remedied this frustrating and often dead-end situation by tackling the monumental task of compiling an index for The Etude with expertise and skill. As a result, the reader can now identify, locate, read, and utilize material contained within its 24,000 pages. Following a practice similar to the RIPM series, the 1,364 pages are divided into two volumes and four separate indexes. Author and chronological indexes are contained in part 1, with title and subject index in part 2. Every entry includes article title, year and month of publication, and initial page number. The chronological index gives title entries for individual articles in each issue from October 1883 through May-June 1957. These listings are presented by page/ publication order within each issue, not alphabetically. In the Anomalies section of her introduction, Dennis provides brief and concise explanatory notes regarding the omission of various column/section titles used by The Etude at various times during its publication run such as Editorials, World of Music, Musical Books Reviewed, Standard Music Extension Course, Edu ca - tional Study Notes, and European Main Topics, to name a few. …

Preliminary Thoughts on the Dynamics of Music Printing in the Iberian Peninsula during the Sixteenth Century

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

Ars musica septentrionalis: De l’interprétation du patrimoine musical à l’historiographie (review)

BAROQUE AND BEFORE Ars musica septentrionalis: De l'interpretation du patrimoine musical a l'historiographie. Edited by Barbara Haggh and Frederic Billiet. (Musiques, ecritures. Serie etudes.) Paris: Presses de l'universite Paris- Sorbonne, 2011. [262 p. ISBN 9782840506003. euro22.] Music examples, illustrations, facsimiles, bibliography, index. This collection of essays was prompted by the bicentennial birth anniversary of Charles-Edmond-Henri de Coussemaker (1805-76). The volume celebrates the music of northern France (ars musica septentrionalis) from ninth-century chant to the polyphony of the fifteenth century, and had its first incarnation as a conference held in Cambrai and Douai in 2005, directed by Barbara Haggh and Frederic Billiet. The conference was held concurrently with an exhibition of manuscripts held in Douai, Cambrai, and Bailleul (the birthplace of Coussemaker). The exhibition inspired the publication of a separate book that included a catalog and discussion of Coussemaker's library (Bruno Bouckaert, Memoires du chant. Le livre de musique d'Isidore de Seville a Edmond de Coussemaker [Neerpelt: Alamire; Lille: Ad fugam, 2007]); the byproduct of the scholarly conference is the book of essays under review here. An overarching theme of these essays is a concentration, for the most part, on primary source research, including both manuscript studies and archival research. Questions of repertory transmission and interpretation, liturgical issues, and historiography are broached via the examination of certain northern French manuscripts, some of the most beautiful examples of which were owned by Coussemaker, as noted by Billiet in his introduction to the volume (p. 8). Although an amateur musicologist (by profession he was a lawyer and eventually a judge) Coussemaker produced a prodigious amount of influential scholarship on the Middle Ages, and is especially known for his four-volume edition of medieval music theory (Edmond de Cousse - maker, Scriptorum de musica medii aevi. Novam seriem a Gerbertina alteram collegit nuncque primum edidit E. de Coussemaker, 4 vols. [Paris: Durand, 1864-76; facsimile edition, Hildesheim: G. Olms, 1963]). The collection of essays under review is securely situated within a rigorous primary source studies approach (or positivistic approach, as it is now fashionably derided), although some reflection on Cousse - maker's role in the creation of the canon of medieval music history is also apparent, most notably in the essays of Ronald Woodley and Nils Holger Petersen. Their contributions are indicative of the selfreflective trend in medieval musicology that has begun to examine the cultural agenda set forth by such canon-makers as Friedrich Ludwig (Anna Maria Busse Berger, Medieval Music and the Art of Memory [Berkeley: University of California Press, 2005]; Annette Kreutziger-Herr, Ein Traum vom Mittelalter: Die Wiederentdeckung der mittelalterlicher Musik in der Neuzeit [Cologne: Bohlau, 2003]) (discussed by Petersen, pp. 60-61). The book has four sections that address the following topics: the musical inheritance of northern France (Le patrimoine musical du Nord de la France); the legacy of Coussemaker (L'heritage musical d'Edmond de Coussemaker); polyphony and composers of polyphony (Polyphonies et polyphonistes); and an interdisciplinary approach to the chansonniers of the thirteenth century (Le chansonnier: approche interdisciplinaire). The first essay, co-authored by Haggh and Michel Huglo, analyzes the lists of music books inventoried in the libraries of northern France, by both monks and canons, from the ninth century up to the time of Guillaume Du Fay. The authors review the books listed in the library catalogues of the grand abbeys of the North, such as Saint-Amand, Corbie and Anchin (mostly books on musica speculativa); those of the cathedrals and large collegiate churches such as Cambrai that flourished later on (where liturgical books and books on musica pratica dominate); and they end with a discussion of the libraries of some important individuals: of particular interest, of course, is the booklist belonging to Du Fay. …

The Analysis Of The Songs Get Involved In The 6.7.8. Class Music Text Books In Terms Of Musicial Purposes

The Purpose of this study is to determine the musical features, subjects, the tonal and modal forms, the kinds (composition, anonymous etc.) and repated or not of the songs in the Music text books of 2011-2012 academic year. At the end of the study it’s revealed that to print the books by Ministry of Education is a correct application. It was seen that the songs are the same of the songs which had been in the books of 80’ and 90’s. It is o bserved that the tonal and modal songs had place in the books in a balanced way. Most of the songs are composed monophthongly. It is seen that the polyphonic songs are too low. Love, music and nature subjects highest- ly used at songs. Patriotism, heroism a nd Ataturk follows these songs

The 15th. Century Singing Education in Turkish Music Books

The origins of Turkish Music, were written, especially in the age of Ottoman Empire, as known Otoman Turkish is Arabic and Persian (Farsi). Music education will gain experience in researching and comparing these origins with music education.As a starting point, we researched thoroughly Ottoman Turkish; especially written in the 15th. Century, Arabic and Persian. We aimed to contribute today's work with the theoretical and practical information about Singing education, that we found in the Turkish music books, called “Edvar”. These books include every sort of themes about music. These themes are, principally, formation of voice, voice system, tunes “maqams”, ika cycles, singing, musical instuments and treatment with music.The themes of Singing education in these books are related to our paper. And we will research the works about this subject which were done in the 15th. Century and compare them with todays's Singing education

Hermann Potzlinger's Music Book: The St Emmeram Codex and its Contexts. By Ian Rumbold and Peter Wright.

This is a wholly admirable piece of work, a delight to read—somewhat surprisingly, given the nature of the subject; it could easily have been as dull as ditchwater—and also a very finely produced book. In fact, admiration mingles with astonishment as one reads it. The handling of the primary documents and the construction of a narrative from them is first-rate. But it is also astonishing that so much material actually survives to tell us about a very minor figure, whose activities were sometimes restricted to centres of little historical significance. In more ways than one, therefore, the book is an eye-opener, and also a model of historical reconstruction. Hermann Pötzlinger's music book is better known as the ‘St Emmeram Codex’, so named in the subtitle of this volume. It has long been valued as a relatively early source for the music of Dufay, with a significant number of English compositions. One hopes that Pötzlinger's name will now stick, for when he copied the greater part of the book in the early 1440s he could not have prophesied that after his death it would pass into the library of the great Benedictine monastery of St Emmeram in Regensburg. As a young man he would certainly have known about Regensburg and St Emmeram, although his family's home area was further north, nearer Nuremberg, Bamberg, and Bayreuth than Regensburg, and Hermann Pötzlinger himself appears to have come from Bayreuth or nearby. Born probably between 1415 and 1420, he is traceable in Regensburg in the late 1440s, and by 1450 was rector scolarum of the monastery school. He carried out the schoolmaster's duties for only about two years, but by 1459 was resident in Regensburg again, living in a house next to the school. He died ten years later. During his life he amassed a very remarkable library of 110 books, many of which he had copied himself or written in, and he exchanged these for what was known as a ‘precaria’, a sort of retirement annuity, which enabled him to live at St Emmeram, the place of which he was especially fond and where he was buried. So his music book, the only music book in his remarkably extensive collection, was eventually integrated into the monastery library. After the dissolution of the monastery in 1810 its library (or most of it) was taken into the Royal Library in Munich, now the Bavarian State Library. For some years the ‘St Emmeram Codex’ was part of the music collection there, with the shelfmark Mus. ms. 3232a, but it has since resumed its rightful place amidst Pötzlinger's other books, with the shelfmark Clm (codex latinus monacensis) 14274.

Music and the Book Trade from the Sixteenth to the Twentieth Century. Ed. by Robin Myers, Michael Harris, and Giles Mandelbrote.

The title of this volume is that of the 29th annual conference on Book Trade History, held at the Foundling Museum in 2007 under the auspices of the Antiquarian Booksellers’ Association. In addition to revised versions of the seven papers read on the occasion, it includes as an appendix a talk given by Katharine Hogg on the history of the Foundling Hospital and its Handel connection, including the Gerald Coke Handel Collection now housed there. The title perhaps suggests rather more comprehensive coverage of the subject than is contained within these 200 pages. Of the eight contributions, five are on British themes, two focus on Vienna, and one on Spain and Portugal. As far as the time span is concerned, the twentieth century only just creeps in thanks to the Mahler essay, which extends to a 1903 publication. From the point of view of a coherent publication, it would perhaps have been better if the subject had been restricted to the British music book trade and included contributions on Victorian and twentieth-century developments (of which many a story remains to be told). But symposiums are naturally bounded by who is available to prepare and deliver papers at a particular moment, and in such a specialist field it is unrealistic to expect an abundance of choice. As it is, all the papers presented here bestow much enlightenment on their respective topics.

Dedicating Music: The Case of Philippus de Monte’s Motet Prints

The act of dedicating music books was a common practice in the sixteenth century. To date, dedicatory letters introducing printed music have been consulted for retrieving mainly biographical or circumstantial information. This article presents a close reading of the paratexts included in Philippus de Monte’s motet prints. In addition to pointing out a hitherto insufficiently explored connection between the imperial chapel-master and the French court environment, it discusses the political possibilities of one of the editions through a comparison with Orlando di Lasso’s 1571 Paris edition of five-voice motets. Furthermore, Monte’s own awareness of the possibilities and functioning of the dedication medium is traced throughout the paratexts. The study also highlights Monte’s unique treatment of secular motets with regard to both compositional practice and publication choices.

Daniel Goldmark and Yuval Taylor, eds. <i>The Cartoon Music Book</i>

Daniel Goldmark and Yuval Taylor, eds. <i>The Cartoon Music Book</i>

Improvised Song in Schools: Breaking Away from the Perception of Traditional Song as Infantile by Introducing a Traditional Adult Practice

Improvised Song in Schools:Breaking Away from the Perception of Traditional Song as Infantile by Introducing a Traditional Adult Practice Albert Casals (bio), Jaume Ayats (bio), and Mercè Vilar (bio) Within the repertoire of songs coming from the oral tradition of Catalonia there is an interesting corpus of melodies that have been used—and continue to be used—for the improvisation of verses. As is well known, this type of oral communication is not exclusive to Catalonia but forms part of a broad tradition deeply rooted in Mediterranean culture (Scarnecchia 1998) and in the Ibero-American world (Trapero, Santana, et al. 2000). And it is also allied to the Click for larger view View full resolution Map of Països Catalans Marc Belzunces / Albert Casals rap music that originated in the United States that has had such enormous commercial success (Munar 2005). In the Catalan-speaking regions, Països Catalans, Juame Ayats lists up to nineteen genres or classifications of "songs with lyrics that are improvised over a sole melodic formula" (2007:114-18). Most of them originate in Catalonia. In contrast to this variety, the presence of this type of singing is extremely limited within the current repertoire of traditional songs, and in the school orbit it is practically non-existent. In this article we describe a pilot project that has introduced improvised song1 in five Catalan schools. The goal of this presentation is not to present a comprehensive picture of the educational project but rather to provide elements for analysis and reflection. Specifically, we focus on the implications of the educational utilization of improvised song with regard to certain deeply-rooted ideas about its use in schools. Concepts of Traditional Song in Schools In previous research—during the 2003-04 course—we analyzed the concepts and traditional genres associated with the construct traditional song in the context of primary schools in Catalonia. And we related it to educational policies of an identity-making nature (Casals 2004). On the one hand, we examined the song repertoires proposed by the six main publishing houses that print music books for primary education and, on the other hand, we analyzed the repertoire used in 21 schools. One of the most notable aspects of this research was the discovery of the existence of a process of infantilization that affected the traditional part of the song repertoire present in primary schools. Infantilization may be described here as a process where traditional Catalan songs have become a basic and essential part of primary schooling, but one that has also entailed a loss of presence and meaning in higher courses in favor of other types of songs—traditional songs from around the world, adaptations of classical authors, African diaspora spirituals, and so forth. According to Casals, this situation may be explained in terms of at least three factors (2004:59-60): ▪ "The processes of manipulation and reinvention—by folklorists, teachers, and pedagogues—of the meaning and functionality of traditional songs when passing from oral expression to a written version." Moreover, this phenomenon is accentuated when introducing them into the school curriculum. The causes of these modifications lie in the desire to adapt these songs, in keeping with the notion of "folkloristic products" (Martí 2002:121), to the hegemonic values valid during different sociocultural and educational phases in the twentieth century. ▪ "The aspiration of anti-Francoist Catalanism—from the 1960s—to introduce traditional Catalan songs into schools as an expression of the mother tongue and as the first musical language to work with." This aspiration has largely met with success, but because of its serious, symbolic nature other types of traditional song that are more festive and suitable for young people and adults—incorporating humor, denunciation, dramatic narrative, eroticism, and so on—have been neglected. This circumstance has led to the erroneous equation traditional music simple music music for infants that often results when the traditional repertoire is being used as a basic introduction to music (Costa 1997). ▪ "The fact that teaching in schools in Catalonia adopted choral singing as the model of correct singing when choirs and choral societies were already an asset that served to defend an individual tradition." The choral model was very...

A Cello for Michayla

A Cello for Michayla

On source materials for the Gakusho Yoroku (Selections from Musical Books)

On source materials for the Gakusho Yoroku (Selections from Musical Books)

Publishing of Music Liturgical Books in the Russian Émigré in the 20th Century

The edition of musical-liturgical books in Russian Abroad of the 20th century along with texts of prayer books, are not only a lawful part of a complex literature of faith, but also in a broad sense represent the native cultural heritage in the world treasury and enrich potential of the human culture. The article analyses editorial and publishing experience on distribution of the native musicalliturgical heritage within the work of the confessional publishing centre of Russian Abroad of 20th century “Roussikoum”.

A dictionary for the modern flutist

A Dictionary for the Modern Flutist presents clear and concise definitions of common flute-related terms that a player of the Boehm-system flute may encounter. Entries include definitions of words related to flute types, flute parts, repair, technique, acoustics, articulations, intonation, common ornaments, flutemaking, flute history, flute music books, and more.