Encyclopedia Of Music Research Articles

Reminiscence bump invariance with respect to genre, age, and country.

We report a cross-cultural study investigating musical reminiscence bumps, the phenomenon whereby adults remain emotionally invested in the music they preferentially listened to in adolescence. Using a crowdsourcing service, 4,824 participants from 102 countries were each required to recall five songs (titles and artist names), resulting in a 24,120-song study. In addition, participants provided demographic information and answered questions relating to the songs they recalled, such as age first listened to, levels of nostalgia, and associated emotions. Song titles and artist names were cleaned and genre information established through fuzzy matching recalled information to songs within an open-source music encyclopedia. These data, plus participants' demographic information, allowed reminiscence bumps differentiated by age, sex, country, and genre preference to be explored. Recency-bias effects of recalled songs were also investigated. Results demonstrated that the musical reminiscence bump phenomenon is common to all age groups and both sexes, pervasive across all countries, and is not restricted to particular genres. In sum, musical reminiscence bumps appear to be biologically and culturally ubiquitous.

Moldovan-Ukrainian musical relations in the context of the cultural polylogue of the “Ukrainian Musical Encyclopedia”

Th e article presents the concept of the study of Ukrainian-foreign musical relations in the “Ukrainian Music Encyclopedia”, which is published by the Musicology and Ethnomusicology Department of the M. Rylsky Instiitute, on the example of Moldovan-Ukrainian musical connections. The directions, on which facts were systematized, are investigated. One of the components of the rich and long-lasting Moldovan-Ukrainian musical relationship is composer creativity, aimed at enriching both our cultures. It should be emphasized that the creative relations of figures of both cultures at all times were exclusively friendly and based on partnership. Of course, the creative dialogue of artists — both direct and indirect — began long before its formalizing in 1937 by launching the branch of the Union of Moldovan Composers within the Odessa organization of the Union of Composers of Ukraine. In the last century, the relations were concentrated mainly on the educational and pedagogical sphere and connected with the names of S. Vorobkevych, G. Muzychenko (Muzychescu), and M. Kazanli. One of the aspects of mediated creative dialogue is the appeal to Ukrainian composers concerning the Moldovan theme. In the XIX century, it was manifested in Th e Memoirs of the land of Moldova, op. 85, J. Rukgaber, 48 folk Romanian songs by K. Mikuli. The same aspect is deepened by an appeal to national poetry, for instance, in the romances by S. Vorobkevych, E. Mandychevsky, based on the poems of V. Alecsandri, A. Vlahutse, M. Eminescu, G. Cosbuc, etc

“VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY

The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a significant event – receiving a scholarship at the competition of young talents in Leipzig, which was a significant financial support for his further studies at the University of Vienna. The “Viennese” period of E. Mandyczewski’s creativity, which lasted 54 years, is characterized. In Vienna, he studied German studies, philosophy, literature, art history, musical disciplines; his teachers were music critic Eduard Hanslick, musicologist Martin Gustav Notteb, composer Robert Fuchs. E. Mandyczewski’s professional growth was connected with activities at the Vienna Academy of Music, the Vienna Conservatory; he was the conductor of various choirs and orchestras, archivist and bibliographer of the Viennese “Society of Friends of Music” - one of the significant centers of European musical life.
 It was found that during many years of teaching activity, the Maestro trained a whole galaxy of composers, musicologists, teachers, most of whom became stars of the musical world of Austria, Italy, England, America... Among his students are Hans Gall, Karl Behm, Hilarion Verenko, Manolis Calomiris, George Sell, Leone Sinigaglia, Karel Prochazka (senior), Marcian Negria, Joseph Alois Krieps, Julius Patzak, Ferdinand Rebay, Rosario Scalero, Gustav Uwe Yenner, and Arthur Schnabel, Karl Garinger, Ignaz Brühl, Henry Kimball Hadlita, and others. The Austrian press deservedly called the honorary citizen of Vienna E. Mandyczewski “a living musical encyclopedia”. As a theoretician, he wrote many scientific studies on the work of W. Mozart, L. Beethoven, L. Bach, K. Czerny, A. Bruckner, Strauss, etc., compiled a complete edition of the works of J. Haydn, F. Schubert (in 42 volumes), J. Brahms (in 26 volumes). It is emphasized that E. Mandyczewski is the author of 11 Ukrainian choirs, the canon for three voices “And the day goes, and the night goes...” (to the words by T. Shevchenko), music to the lyrics by Yu. Fedkovich “Wake up, Boian!”, “Kobzar’s dawn” etc., vocal works written to the texts of Serbian, Hungarian, Ukrainian, Moldovan folk songs, author’s works written to the texts by Romanian and Moldovan poets M. Eminescu, H. Koshbuk, V. Aleksandr, O. Vlahutse, etc. Research attention is focused on the authorship of vocal works of a secular and spiritual nature, among which the most significant are: “Greek Mass” for solo, choir and orchestra, the cycle “Tuscan Songs”, church works – 12 liturgies, “Cherub” for mixed choir, “Our Father” for two children’s voices, carol “Silent night, holy night”, psalms, etc.
 On the basis of primary factual sources, the influence of E. Mandyczewski on the development of musical culture and education in Bukovyna is characterized.

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...

LEVKO KOLODUB. LETTERS TO A STRANGER (formation of professionalism in the mirror of the epistolіa)

Introduction. Levko Kolodub – is one of the most outstanding Ukrainian composers of the 2nd half of the XX-th – the beginning XXI-thcentury. Studying of his creative work will never lose its actuality in the context of understanding the integrity, depth and diversity of our national musical culture. Theoretical Background. There is no fundamental monograph about L. Kolodub. The brochure by M. Zaghajkevych (1973), collected articles based on the conference materials, dedicated to the 75th anniversary of the Master (2006), books by K. Bila (2010) about the instrumental concert and by L. Makarenko (2015) about folklore principles of his work, so as biographical articles for the Ukrainian Music Encyclopedia (V. 2, 2008) and for the Festival booklet (2019) – became a milestone on this path. Eight letters from Levko (1954) to Janna Brondz (his future wife Zhanna Kolodub), with whom they lived for almost sixty-five years!), recently found in the family archives, – are important for the scientific reconstruction of L. Kolodub’s creative biography. Objectives. The article aims to describe the letters, first submitted for publication and commented in detail, and determine the meaning of this period. Methods. It was used: analytical – to analyze the literature on this issue; historical – to comment and identify the significance of June 1954 in the L. Kolodub’s life; biographical – for the studying of life facts; interviews with J. Kolodub during 2020–2021 to clarify some details; and also – a source method for studying the epistolary corpus. Results and Discussion. The impetus for the letters was a brief acquaintance of two young people after a symphony concert at the Kyiv Philharmonic during the Republican Plenum of the Ukraine Composers Union. The correspondence lasted a little over a month – until the end of their student life. In the first letter, Levko describes in detail how he first saw Janna, decided to approach and talk. Then he tells about himself, about the years of his study at the Kharkiv Conservatory. As he finishes his own Cantata to the state exam in the specialty. How the composition lessons were held in the Professor M. Titz’s class. He remembers also, how he came to M. Titz on December 31, 1947 at the first time and almost until the New Year he showed the Symphony, improvising on the clarinet. Another letter tells, how Levko prepares carefully for the piano exam, where he will also play his own works – Scherzo and Fuga. During the preparing for the composition exam – in really a symphony concert at the Kharkiv Philharmonic – L. Kolodub considerably reworked his Symphonic poem; he describes the changes in detail because he is sure, she’ll be interested in it. We learn about the passing of the colloquium from the last letter, where the author expresses his confidence in the upcoming meeting: after his graduation he is going to come to Kyiv and congratulate Janna on her diploma. Conclusion. So, from these letters we found out L. Kolodub as a competent specialist – erudite, self-critical, hard-working composer, aimed at self-improvement.

New Periodicals

New Periodicals Edited by Lindsay Hansen Brown This semiannual column selectively lists new periodicals; describes their objectives, formats, and contents; and provides information about special issues, title and format changes, mergers, and cessations. The following resources were frequently consulted when assembling this column: Music Periodicals Database (MPD; http://www.proquest.com/products-services/iimp_ft.html), Music Index (MI; https://www.ebscohost.com/academic/music-index), RILM Abstracts of Music Literature, (RILM; http://www.rilm.org), OCLC Worldcat and Ulrich’s Periodical Directory (http://www.ulrichsweb.com/ulrichsweb/), and the Directory of Open Access Journals (http://www.doaj.org). All Web sites were accessed on 10 March 2021 unless otherwise indicated. ELECTRONICA Reviews, new titles, and publisher and title changes announced elsewhere in this column include additional comments about electronic access. Music Research Annual is a new, peer- reviewed, open-access journal “devoted to publishing review essays from the full range of academic disciplines that study music.” It is published by the Research Centre for the Study of Music, Media, and Place (MMaP) at Memorial University of Newfoundland. The general editors are Harris M. Berger (Memorial University of Newfoundland) and Jocelyne Guibault (University of California, Berkeley) and the editorial board comprises members from all over the world. The latest articles may be viewed at https://musicresearchannual.org/latest-articles/ and the ISSN is 2563-7290. Nordic Research in Music Education is a new, peer-reviewed, open-access journal focused on research in music education. Articles may be published in English, Danish, Norwegian, or Swedish. The editor in chief is Guro Gravem Johansen (Norwegian Academy of Music), with co-editors Anna Houmann (Malmö Academy of Music) and Danielle Shannon Treacy (Sibelius Academy of the University of the Arts Helsinki). Information may be found at https://nrme.no/index.php/nrme/index and the ISSN is 2703-8041. Répertoire International de Littérature Musicale [RILM] has added three titles to its RILM Music Encyclopedias: Richard Carlin’s Country Music: a Biographical Dictionary. New York: Routledge, 2013; Gabriel Pareyón’s Diccionario enciclopédico de múscia en México. Zapopan: Universidad Panamericana, 2006–2007; and Jaimie Vernon’s Canadian Pop Music Encyclopedia. Scarborough, ON: Bullseye Canada, 2020. Retrospective Index to Music [RIPM] has added the following journals to Retrospective Index to Music Periodicals, Retrospective Index to Music Periodicals with Full Text, RIPM European and North American Music Periodicals, and/or RIPM Jazz Periodicals: Musicalische Notizen (Linz, 1812), Musicalische Zeitung für die österreichischen Staaten (Linz, 1812–1813), The Dramatic and Musical Review (London, 1842–1852), Süddeutsche Musik-Zeitung (Mainz, 1852–1869), Chronica dos Theatros (Lisbon, 1861–1871), El Orféon Español (Barcelona, 1862–1864), Napoli musicale (Naples, 1868–1886), Il Progresso musicale (Rome, 1876), La Chanson (Paris, 1878–1880), Neue Musik- Zeitung (Köln; Stuttgart, 1880–1928), Music & Drama (New York, 1882, 1883), Music: a Review (New York, 1882), Weekly Music & Drama (New York, 1883), Amphion (Lisbon, 1884–1887, 1890–1898), The Overture (London, 1890–1894), Revista musicale italiana (Turin, Milan, 1894–1932, 1936–1943, 1946–1955), The Crescendo (Boston, 1909– 1927), L’arte pianistica (Naples, 1914–1925), Opera Magazine (New York, 1914–1916), Music and Musicians / Musica e musicisti (New York, 1916–1922), Música (Santiago, 1920–1924), Sovremennaya muzyka (Moscow, 1924–1929), Revue Internationale de Musique et de Danse (Paris, 1927–1931), Aulos (Santiago, 1932–1933), Zeitschrift für vergleichende Musikwissenschaft (Berlin, 1933–1935), Polyphonie (Paris, 1947–1950, 1956), Ricordiana (Milan, 1955–1957), Lyric. A Review of Serious Music (Los Angeles, 1958–1967), The New Regime (Chicago, 1969), Whiskey, Women, and . . . (Haverhill, MA, 1971–1989), CRC Newsletter (Decatur, GA, 1975–1987), Riffs: Jazz and Blues Review Magazine (Arlington, TX, 1977–1978), Gene Loves Jazzletter (Ojai, CA, 1981–2008), CRC Jazz Journal (New Orleans, 1987–1989), and Jazzbeat (New Orleans, 1989–2020). TITLE, FREQUENCY, AND PUBLISHER CHANGES; CESSATIONS Critical Musicology, published by University of Leeds School of Music, has ceased publication as of 1998. Intégral, the Journal of Applied Musical Thought, has changed from print to open-access. More information may be found at the journal’s homepage: https://www.esm.rochester.edu/integral/. Popular Musicology Online, published by the University of Salford’s Popular Music Research Unit...

An Open Access Scholarly Encyclopedia for Music: A Call to Action

While the idea of reference sources has become synonymous with the internet, online scholarly encyclopedias in music are currently only accessible to those affiliated with institutions that can afford expensive annual subscriptions and to those individuals who purchase costly personal subscriptions. Meanwhile, backup print copies have been inaccessible in libraries closed for the COVID-19 pandemic or closed to unaffiliated visitors. An open access scholarly music encyclopedia could solve these access problems while increasing the visibility and relevance of music scholarship and expanding the possible modes of digital analysis. This paper considers existing models of open access and identifies some potential paths forward for an open access scholarly subject encyclopedia, including leveraging Wikipedia, creating a new encyclopedia, or lobbying publishers to convert existing music encyclopedias to open access using a subscribe to open funding model.

Music Received

Music Received Compiled By Kathleen A. Abromeit The individuals included in this column were listed in The Queer Encyclopedia of Music, Dance & Musical Theater, Claude J. Summers, editor. San Francisco, CA: Cleis Press, 2004. Names were searched in the Theodore Front database. The list of composers was quite extensive and will be divided between two issues of Music Received. This issue contains works by composers whose last names begin with the letters M to Z. Works by composers whose last names begin with the letters A to L were listed in the Music Received column in volume 77 issue 4. The lists of works included are not comprehensive for each composer but are rather either recently published or notable. We at Notes are happy to encourage libraries to diversify their collection and place the achievements of LGBTQIA composers in a historical context from which they have been traditionally marginalized. We hope to return to our regular column once after the COVID-19 pandemic when shipping and mailing schedules return to normal. Special thanks to Jake Balmuth for assisting with this column. TOBY MARLOW Six: The Musical. Leonard, 2020. HL 00319800. ISBN 9781540068491. Vocal score, 126 p. $22.99. COLIN MCPHEE Balinese Ceremonial Music: Transcribed for Two Pianos, Four Hands. Schirmer, 1940. ST 38798. Score, 25 p. $20.00. Tabuh-Tabuhan: Toccata for Two Pianos and Orchestra. Associated, 1960. AMP 9608103. Score, 107 p. $35.00. GIAN CARLO MENOTTI Chip and His Dog: Opera for Children (E). Schirmer, 1979. ED 3169. Vocal score, 31 p. $30.00. Dritti Al Cuore: la Medium di Gian Carlo Menotti. (Studi E Saggi‚ Vol. 12). LIM, 2018. ISBN 9788870969399. vi, score, 278 p. $45.00. Unicorn, the Gorgon and the Manticore (Three Sundays Of A Poet). Columbia, 1957. FC 01836. Vocal score, 156 p. $35.10. MEREDITH MONK Afternoon Melodies, From Book of Days: For STB Chorus (1988). Boosey, 2017. Choral score, 4 p. $27.50. Stringsongs: For String Quartet (2005). Boosey, 2013. ISBN 9781480352919. Score, 23 p. and 4 parts. $60.00. Travellers 4/Chuchyard Entertainment, From Book of Days: For SSATB With Optional Organ Accompaniment (1985). Boosey, 2014. Choral score, 27 p. $37.20. ANGELA MORLEY Morricone, Ennio. Cinema Paradiso: For Solo Violin and Orchestra. Arranged by Angela Morley (1988). Leonard, 2019. HL 04491618. Score, 8 p. $45.00. NICO MUHLY Advice to a Young Woman: For SSAA Choir and Ensemble (2016). St. Rose, 2019. SRO 100142. Vocal score, 24 p. $4.75. Clip: For Ensemble. St. Rose, 2017. SRO 100165. Score 21 p. $16.99. [End Page 127] Patterns with Direction: For Orchestra. St. Rose, 2017. SRO 100156. Score, 15 p. $13.99. PAULINE OLIVEROS Epigraphs in the Time of Aids: For Deep Listening Band and Long String Instrument (1994). Pauline Oliveros, 2016. Spiral score, 6 p. $20.00. Tashi Gomang: For Orchestra (1981). Smith, 1984. Score, 10 p. $25.00 Tri: For Flute, Piano and Page Turner. Smith, 1977. Set of two scores, 16 p. each. $35.00. COLE PORTER 10 Cole Porter Classics. (Jazz Play Along‚ Vol. 16). Leonard, 2003. HL 00843009. Score, 87 p. and compact disc. $16.99. Anything Goes: Revival Edition. Warner, 1988. VF 1450. Vocal selections, 63 p. $17.99. Cole Porter: For Low Voice. (Singer’s Jazz Anthology). Leonard, 2020. HL 00287137. Score, 120 p. and online audio file. $19.99. FRANCIS POULENC 50 Mélodies: For High Voice. Durand, 2017. DF 16403. xxxvi, score, 167 p. $22.99. Piano Album. Salabert, 1989. EAS 18793. Score, 89 p. $29.95. Sonata: For Horn, Trumpet and Trom-bone. Chester, 1924. CH 22901. Three parts, 4 p. each. $12.00. MAURICE RAVEL Introduction Et Allegro: For Harp, Flute, Clarinet and String Quartet. Edited by Peter Jost. Henle, 2017. HN 7069. viii, study score, 45 p. $20.95. Tombeau De Couperin: Pour Piano a Quatre Mains. Transcribed by L. Garban. Durand, 1919. DR 0981000. Score, 32 p. $31.95. Tzigane: Pour Violon Et Piano. Edited by Edmond Lemaitre. Durand, 2017. DR 16455. xliii, score, 23 p. $21.99. NED ROREM Developing Classical Singer, Songs by British and American Composers: For Soprano. Boosey, 2017. HL 48024016. Score, 88 p, and online audio file. $16.99. Songs of Sadness: For...

Briefs / Feuilletons

Briefs / Feuilletons Liza Vick, Santie de Jongh, Valia Vraka, Stephanie Merakos, and Estelle Lowry, Director New Additions to RILM Music Encyclopedias. On 1 January 2021, RILM Music Encyclopedias will add three seminal works to its collection of historical and current titles: • Richard Carlin. Country Music: A Biographical Dictionary (New York: Routledge, 2013). • Gabriel Pareyón. Diccionario enciclopédico de música en México (Zapopan: Universidad Panamericana, 2006–2007). • Jaimie Vernon. Canadian Pop Music Encyclopedia(Scarborough, ON: Bullseye Canada, 2020). With the addition of these titles, RILM Music Encyclopedias augments its coverage and depth, adding titles centered around North America as subject. Transitions at the RISM Zentralredaktion. Klaus Keil, the longtime director of the RISM Zentralredaktion (Editorial Center) in Frankfurt, retired on 31 August 2020. The new director, as of 1 September 2020, is Dr Balázs Mikusi. Klaus Keil's association with the RISM Central Office began in 1982, when he was hired as a student worker when the office was still in Kassel. He became director of the Central Office, by now in Frankfurt, in 1991. He led RISM through many changes and milestones, especially technological ones, as the work of RISM moved from microfiche to CD-ROMs and finally to the publicly available online catalogue. His kindness and good spirit have been a stable force in RISM and are well known to the hundreds of RISM contributors who have worked with him over the decades. Upon his retirement, Klaus Keil was appointed a Member of the RISM Association by the RISM Board of Directors. His position was handed over to Balázs Mikusi, who holds a Ph.D. in musicology from Cornell University and was head of the Music Collection of the National Széchényi Library in Budapest from 2009 to 2020. He has served on the board of IAML as a vice-president and is a noted scholar of Haydn and Mozart, among others. While the retirement of Klaus Keil marks the end of an era, RISM welcomes this new chapter of leadership and is looking forward to the milestones to come. The University of Pennsylvania Libraries has completed the digitisation of more than 2,500 items from the collection of Marian Anderson, one of the most celebrated singers of the twentieth century. The body of primary sources in the collection—including letters, diaries, journals, interviews, recital programmes, and private recordings—spans the Philadelphia-born contralto's six-decade career as a concert singer and advocate for social justice. The digitisation project was funded in 2018 by a $110,000 grant from the Council on Library and Information Resources (CLIR). The newly digitised materials complement a significant collection of four thousand photographs, which are also publicly accessible. 'Marian Anderson achieved worldwide renown as a singer while breaking racial barriers in the United States, and the Penn Libraries is honored to serve as custodian of her archival legacy', says Constantia Constantinou, H. Carton Rogers III Vice Provost and Director of the Penn Libraries. 'Through Anderson's digitized collection, scholars and students worldwide can discover and reflect on her life and career and further illuminate her social, cultural, and historical impact'. [End Page 363] Marian Anderson (1897–1993) was born and raised in Philadelphia, with close ties to the community. Best known as an interpreter of art songs and spirituals, Anderson performed in diverse venues throughout her career, from schools and community centers to formal concert stages. A world-renowned recitalist, Anderson was also a high-profile figure in the fight for Civil Rights. After having been denied permission by the Daughters of the American Revolution to perform for an integrated audience in Constitution Hall, Anderson famously performed an open-air concert for 75,000 people on Easter Sunday, 9 April 1939, on the steps of the Lincoln Memorial in Washington, DC. Additionally, in 1955, she was the first Black singer to perform in a lead role on the stage of the Metropolitan Opera. Anderson officially retired from the stage in 1965. Her life and career continue to be celebrated and studied by a diverse group of learners from schoolchildren to musicologists and social historians. To facilitate the work of teachers, students, and researchers, the Penn Libraries...

Gender Differences in the Global Music Industry: Evidence from MusicBrainz and The Echo Nest

With digital music consumption being at an all-time high, online music encyclopedia like MusicBrainz and music intelligence platforms like The Echo Nest are becoming increasingly important in identifying, organizing, and recommending music for listeners around the globe. As a byproduct, such sites collect comprehensive information about a vast amount of artists, their recorded songs, institutional support, and the collaborations between them. Using a unique mash-up of crowdsourced, curated, and algorithmically augmented data, this paper unpacks an unsolved problem that is key to promoting artistic innovation, i.e., how gender penetrates into artistic context leading to the globally perceived gender gap in the music industry. Specifically, we investigate gender-related differences in the sonic features of artists’ work, artists’ tagging by listeners, their record label affiliations, and collaboration networks. We find statistically significant disparities along all these dimensions. Moreover, the differences allow models to reliably identify the gender of songs’ creators and help elucidate the role of cultural and structural factors in sustaining inequality. Our findings contribute to a better understanding of gender differences in music production and inspire strategies that could improve the recognition of female artists and advance gender equity in artistic leadership and innovation.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization

Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization

The Musical Encyclopedia of Ukraine: achievements and challenges

The article is devoted to the development of the musical encyclopedia publishing. The main attention is paid to the history of the creation of the Ukrainian academic musical encyclopedia, and to the problems that the author’s team overcame while working on it.

The Musical Encyclopedia of Ukraine as a resonator of trends in development and qualitative changes in the Ukrainian musicology at the turn of 20-21 centuries

The article is devoted to comprehending the multi-volume academic work named Musical Encyclopedia of Ukraine in terms of the state and level of development of musicological studies in Ukraine at the turn of 20-21 centuries. The specifics of transformation of main regularities in musicology which was appeared in solving practical and scientific-theoretical issues of creation of this work are revealed.

Making Metadata: The Case of MusicBrainz

MusicBrainz is a 'community music metadatabase' and an 'open music encyclopedia' to which users contribute information about artists, releases, tracks, and other aspects of music toward the goal of creating a 'comprehensive music site'. As a peer-produced music metadatabase, MusicBrainz is a constructed cultural commons where users develop and distribute musical knowledge through the community website, an institution that supports and manages the pooling of metadata into a database. Studying how MusicBrainz works and why people contribute builds on a growing body of research that seeks to understand how contributors cooperate to create and sustain constructed cultural commons. Understanding how these projects develop, thrive, and sometimes fail sheds light on potential solutions to collective action problems and other social dilemmas relating to cooperation, specifically in regard to information pools and collective knowledge systems. This case study provides a point of comparison between other constructed cultural commons as well as links between cultural taste, social habits, and peer-production. It also emphasizes the socio-cultural importance of music metadata. This study employed both quantitative and qualitative research methods, beginning with a survey administered to the MusicBrainz community and data scraped from user profiles, followed by observation and qualitative interviews with registered users, called editors. Qualitative and quantitative data were analyzed and interpreted at the same time. The study sought to answer the following research questions about MusicBrainz: Contribution: Why do people contribute? Who are the MusicBrainz contributors? What characterizes editors’ participation? How is contribution linked to cultural preference? How can one compare contributors’ motivations in MusicBrainz to other constructed cultural commons? Music Information: How does MusicBrainz negotiate guidelines and standards? What is the relationship of MusicBrainz to other music resources? What is the role of metadata in music technology? Findings are split into four categories: Demographics, including information about age, gender, region, and overall editing statistics; How MusicBrainz Works, an overview of the technical components and governance structure; Patterns & Processes, which describes the links between musical taste and contribution, how MusicBrainz serves as a tool for discovery, and the ways editors’ decisions mimic those made by information professionals; and Attitude & Motivation, which examines intrinsic and extrinsic motivations that drive users to contribute, from their belief in the philosophy of open source to a compulsion for accuracy and consistency.

Classical Music Reference Library (review)

[Alexandria, VA]: Alexander Street Press, 2007--. http://bakr.alexanderstreet.com/ (Accessed April to May 2011). [Requires a Web browser (Microsoft Internet Explorer 7.0 or Firefox 1.0 or higher recommended), an Internet connection, and Adobe Reader. Pricing: annual subscription from $545 to $3,229 per year, or one-time purchase from $6,250 to $25,000 depending on library type, size, and materials budget; unlimited simultaneous users.] Launched in 2007, Alexander Street Press (ASP)'s Classical Music Reference Library (hereafter CN1RL) contains 28,504 essays and images from thirty-nine sources as Of II May 2011. A reference text complement to ASP's online audio, video, and score databases, CMRL covers all classical genres, with an emphasis on biographies. The majority of the CURL content is academic research level, with a few juvenile works. Three standard reference works--Baker's Biographical Dictionary of Musicians, Baker's Dictionary of Music, and Baker's Student Encyclopedia of Music--form the core of CNIRL, as reflected in the domain name. The other substantial reference sets are Women Composers: Music through the Ages, volumes 1 through 8, and Music Since 1900, 6th edition. Other content includes ten books from the Princeton University Press ... and His series, a few books from several university presses and Greenwood Press, and liner notes from recordings that are found in ASP's Classical Music Library. The layout of CMRL will be familiar to users of other ASP resources such as Classical Music Library, Garland Encyclopedia of World Music, and Dance in Video. The CMRL and the other ASP music databases are searchable through the Music Online portal at http://muco.alexanderstreetpress.com. This review will focus specifically on the CMRL interface. A basic search box near the top right will satisfy the typical user. According to the Tips on the Help page, this basic search box defaults to an OR search. Boolean operators AND, OR, NOT may be used. Word order is disregarded, but quotation marks can be used to specify phrase searches, although this is not mentioned in the online Help. The search term is highlighted in the results in red font. This highlighting feature functions most effectively with single search terms, or words that appear as a phrase, such as basso continuo or transverse flute. Entering multiple terms in the basic search box brings up results containing all the terms, but only the first is highlighted in red. Multiple-word searches without the use of' quotation marks or Boolean operators bring up relevancy-ranked results, starting with those containing the exact phrase or all the terms, and ending with instances of a single term. Currently, the Advanced Search screen offers a text search box and a title search box. The title search box searches the monograph titles, titles of sound recordings with liner notes, and entry titles in the Baker's sets. This is a convenient way to bring up only the main Baker's entries for a person, along with any of the e-books or CD liner notes where the name is in the title. Interestingly, a title field search also retrieves some images and illustrations, depending on how these were indexed. Illustrations in the Deems Taylor, Ernst von Dohnanyi, Purcell, and Schumann biographies appear both within the text and in a separate section after the back matter. A title field search retrieves results from these individually indexed images at the back. Images from other books, such as The History of Classical Music and The Instruments of Music by Stuart Kallen, appear only within the text and do not come up by a title search. (Illustrations from the Princeton University Press books are omitted entirely.) results are presented in relevancy rank, with the option to resort by title. Additional fields for author, publisher, date range, and subjects appear on the Advanced Search screen in gray, with the note that they will be available in a future release. …

Intensity of Creative Innovations: Construing Samples to Measure Artistic Evolution

To compile samples (sets of poets, composers, painters, etc.) characterizing the development of different fields of creative activity, it is necessary to overcome two methodical difficulties. First, it is needed to choose due source (e.g., literary or musical encyclopedia) containing the raw data for further studies. Second, the task of averaging these data arises, because usually these data are described by so-called ‘stable non-Gaussian distributions.’ Nevertheless, both problems were solved, and evolutionary curves were built, for some national schools of art (creativity of 5982 composers belonging to 40 national schools, 2741 theatrical persons representing 9 national schools, etc.).

Some Hustling This! Taking Jazz to the World, 1914-1929 (review)

Some Hustling This! Taking Jazz to World, 1914-1929. By Mark Miller. Toronto: Mercury Press, 2005. [207 p. ISBN 1-55128-119-8. $19.95] Bibliography, index, photographs. This is latest in an impressive series of books by Mark Miller, jazz critic for Toronto Globe and Mail. His earlier monographs include Miller Companion to Jazz in Canada and Canadians in Jazz (Toronto: Mercury Press, 2001), Such Melodious Racket: Lost History of Jazz in Canada, 1914-1949 (Toronto: Mercury Press, 1997), and Cool Blues: Charlie Parker in Canada, 1953 (London, ON: Nightwood Editions, 1989), among others. Miller has also written for Down Beat, Coda, New Grove Dictionary of Jazz, Encyclopedia of Music in Canada, and other publications. Four years of research and writing went into this project, which Miller describes as the product of a much longer interest in lost, forgotten and overlooked in jazz history (p. 9). As he explains, theoretical implications [of] early exposure to, and contact with, American jazz musicians [abroad] have become a popular subject for critical analysis, bringing together . . . interrelated cultural and sociological themes of modernism, primitivism, exoticism, racism, identity and otherness. . . . Missing from this body of writing, however, is a basic account of who went where, when, and did what. (p. 11) Beginning with first trip of singer-drummer Louis Mitchell to Europe in 1914 with Southern Symphony Quintette (a ragtime ensemble), and closing with precipitous demise of a night club Mitchell opened in Paris in 1929 and his subsequent return to United States, Miller covers intervening fifteen years, later known as Jazz Age, during which many American musicians followed Mitchell abroad, bringing their talents and nascent jazz genre to far corners of globe. This is an account of sojourns by those musicians, only some of whose names are still widely recognized, including Sidney Bechet, Freddie Keppard, Jelly Roll Morton, and Willie The Lion Smith. Meticulous research, incisive writing, and clear layout are hallmarks of all of Miller's books. For this project, in addition to checking normal historical, biographical, and autobiographical print sources, Miller viewed microfilms of many newspapers from around world, some long defunct. One wonders about state of his eyes after four years of such research, but these sources proved invaluable. For example, many letters from musicians them-selves were published in Chicago Defender and other stateside newspapers, giving first-hand accounts and impressions of their experiences abroad. These provide a significant counterpoint to reviews published in contemporary newspapers and periodicals. Puzzled, even hostile, reactions to jazz were a common journalistic theme from early years. book's chapter headings cite numerous examples, such as Fearsome means of discord (p. 22), Hellish disharmony (p. 87), Noisy antics (p. 40), Half a dozen cacophonists (p. 105), and Squirmy cerulean harmony (p. 118). Another theme book explores was marketing of, and reporting about, artists (p. 166), i.e., black musicians. book's title derives from a laudatory 1917 review of Louis Mitchell's drumming with second band he led in London, Seven Spades. As Miller points out, racial inference [of band's name] was direct, unlike subtler geographic allusion, for example, of 'Southern Symphony Quintette.' . . . [F]ew black jazz bands working in Europe even in 1920s announced their ethnicity so explicitly. At this early date, though, 'Seven Spades' may well have been chosen to celebrate group's race as one of its defining attractions, (pp. 34-35) Coverage of, for instance, opening of Five Jazzing Devils in Kristiana (later Oslo) in 1921, and of Thompson's Jazz Band in Copenhagen in 1923, was typical of that found in many foreign newspapers in its pointedly racist rhetoric, including simplistic allusions to . …

African Music Encyclopedia

African Music Encyclopedia

The Economics of Information: DW3 and the Case for Creating a Music Megasite

In recent years, the age-old library paradigm of every institution developing and maintaining its own collections has come under careful scrutiny--perhaps even attack--as issues of both budget and space have made cooperation among libraries and consortia essential. In a Web environment, this paradigm of individual collections is clearly insupportable. Web pages are not physical objects and where they reside is inconsequential. Moreover, except for those sites that are proprietary databases or subscription e-journals, there are no fiscal considerations for many sites. Anyone with a computer and an Internet connection has equal and immediate access to them. Hence, when it comes to Web-based resources, our criteria for collection development cannot be the same as they are for fixed media such as books, scores, periodicals, compact discs, and videos. Our methods and policies must correspond to the format at hand and the reality of our present environment. While few in the library community would disagree with th is assertion, the enormous duplication of resources on our libraries' Web pages positively contradicts it. Librarians have not yet made use of the technologies and techniques developed to collect, organize, and disseminate subject content in an online environment. THE CURRENT STATE OF AFFAIRS Commercial information providers such as Yahoo! and Google have different values and priorities than those espoused by educators and the library community at large. They are, first and foremost, profit-driven enterprises focused on developing as broad a customer base as possible. Their databases are developed serendipitously, either by spidering (robots) or by submissions, and no attempt is made to evaluate or authenticate the content that these information providers deliver. They do not discriminate between information and advertisements, nor do they aim to facilitate learning. In spite of increased efforts of library staff in academic institutions to teach critical thinking skills and evaluative techniques, there are many in the library community who believe that libraries are in danger of losing their constituencies to the multitude of commercial information providers that now populate the Web. The proliferation of personal computers and the Web have caused conventional publishers to lose control over what used to be their exclusive domain--the dissemination of scholarly information. Their traditional role as gatekeepers is being challenged daily, as the ever-increasing number of free, intellectually substantive Web sites demonstrates. These sites--published by scholars, academic institutions, learned societies, and others--challenge the supremacy of content providers such as GroveMusic, whose claims of authoritativeness and comprehensiveness are not credible where the Web is concerned. (1) Nor can we expect such scholarly enterprises to function effectively as gateways to the Web, for they have neither the means nor the inclination to do so. The quantity and quality of well-maintained, intellectually substantive classical music links in Grove's database is small in comparison to what you will find in DW3 Classical Music Resources (see below) or, for that matter, with one of the better commercial search engines. And that is how it should be, because GroveMusic is not intended to be a but rather a music encyclopedia with links to external resources. It is also an expensive proprietary database to which relatively few people around the world have access. There have been numerous articles published in recent years stating the need for libraries and librarians to adapt to the changes in our environment, (2) and there are some notable efforts underway to make scholarly information on the Web more accessible to those who need it. The Association of Research Libraries (ARL) now has a working group charged with developing a plan to explore the feasibility of creating a scholars portal, a multidisciplinary database of links to academically sound sites. …