Theory of music and musicology Books

Book SynopsisDeath and grief have often elicited the response of creativity, from elegies and requiems to memorial architecture. Such artistic expressions of grief form the focus of Grief, Identity, and the Arts, which brings together scholars from the disciplines of musicology, literature, sociology, film studies, social work, and museum studies. While presenting one or more case studies from a range of artistic disciplines, historical periods, or geographical areas, each chapter addresses the interdependence of grief and identity in the arts. The volume as a whole shows how artistic expressions of grief are both influenced by and contribute to constructions of religious, national, familial, social, and artistic identities. Contributors to this volume: Tammy Clewell, Lizet Duyvendak, David Gist, Maryam Haiawi, Owen Hansen, Maggie Jackson, Christoph Jedan, Bram Lambrecht, Carlo Leo, Wolfgang Marx, Tijl Nuyts, Despoina Papastathi, Julia Płaczkiewicz, Bavjola Shatro, Caroline Supply, Nicolette van den Bogerd, Eric Venbrux, Janneke Weijermars, Miriam Wendling, and Mariske Westendorp.Table of ContentsAcknowledgements List of Figures Notes on the Editors and Contributors 1 Grief, Identity, and the Arts in the West: An Introduction  Bram Lambrecht and Miriam Wendling PART 1: Collective Religious Identities Introduction to Part 1 2 The Arts of Inclusion and Exclusion: Funerary Art Taken from the Example of the Municipal Cemetery Tongerseweg Maastricht  Christoph Jedan, Mariske Westendorp and Eric Venbrux 3 Mary’s Grief in 18th-Century Passion Oratorios: Some Notes on Its Confessional and Interconfessional Aspects  Maryam Haiawi 4 The Composer as Intellectual: Biblical Interpretation and Jewish Martyrdom in Alexandre Tansman’s Isaïe le prophète  Nicolette van den Bogerd PART 2: Personal Religious Identities Introduction to Part 2 5 Reaching Towards Heaven: An Examination of Robert Schumann’s Views About Religion in his Requiem in D-Flat Major, Op. 148  Owen Hansen 6 “The Rustling in the Trees Is / Not the Rustling in the Trees / It Is Your Voice”  Mystical Relationality and the Liquid Poetics of Postsecular Mourning in Joost Baars’s Binnenplaats [Enclosure] (2017)  Tijl Nuyts PART 3: National Identities Introduction to Part 3 7 Here is Their Spirit: Contemporary Expressions of Grief at the Australian War Memorial  David Gist 8 Mary Vitali “fidanzata dei morti”: An Investigation into the Genre of Grief Memoirs in Gabriele d’Annunzio’s Fiume  Carlo Leo 9 Politics, Memory, and Grief in Contemporary Albanian Autobiographic Writing  Live to Tell; A True Story of Religious Persecution in Communist Albania by Fr Zef Pllumi  Bavjola Shatro PART 4: Family Identities/The Inner Circle Introduction to Part 4 10 Conjugal Mourning in French Neo-Latin Poetry: A Reading of Louis Des Masures’s Carmen 29  Caroline Supply 11 The Empty Chair in Children’s Picture Books: More Than Just a “Classic Image”  Maggie Jackson 12 The Horror of Grief: Monstrous Effects of Unaddressed Grief in Jennifer Kent’s The Babadook  Julia Paczkiewicz 13 Dutch Mourning Poetry in the 19th Century: The Case of Prudens van Duyse’s Natalia (1842)  Janneke Weijermars PART 5: Social/Societal Identities Introduction to Part 5 14 Mourning Someone You Never Knew: A Gesture of Civilization  Lizet Duyvendak 15 Contested Legacies of Modernist Memorialization: The May 4 Memorial  Tammy Clewell PART 6: Identities of a Genre/Artistic Identity Introduction to Part 6 16 The Elegiac Poetry of Kiki Dimoula and the Visual Arts  Despoina Papastathi 17 Musical Representations of Grief and Death  Wolfgang Marx Index

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Book SynopsisGeorge Dimitri Sawa’s Arabic Musical and Socio-Cultural Glossary of Kitāb al-Aghānī is the first comprehensive lexicographical study of Umayyad and early Abbāsid-era music theory and practices. It defines melodic and rhythmic modes, musical forms, instruments, technical terms and metaphors used in evaluating compositions and performances, and the emotional effects of ṭarab. It explains the processes of composition and learning, performance practice, musical change and aesthetics, and addresses the behavior of court musicians to help understand societal views of music. Medieval dictionaries, reference works on Arabic literature, theoretical treatises as well as full quotations from the Aghānī are used. This glossary will be of interest to scholars and students of the music and socio-cultural history of the early Islamic era.

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Book SynopsisIn Eleanor Smith’s Hull House Songs: The Music of Protest and Hope in Jane Addams’s Chicago, the authors republish Hull House Songs (1916), together with critical commentary. Hull-House Songs contains five politically engaged compositions written by the Hull-House music educator, Eleanor Smith. The commentary that accompanies the folio includes an examination of Smith’s poetic sources and musical influences; a study of Jane Addams’s aesthetic theories; and a complete history of the arts at Hull-House. Through this focus upon aesthetic and cultural programs at Hull-House, the authors identify the external, and internalized, forces of domination (class position, racial identity, patriarchal disenfranchisement) that limited the work of the Hull-House women, while also recovering the sometimes hidden emancipatory possibilities of their legacy. With an afterword by Jocelyn Zelasko.Table of ContentsAcknowledgements List of Illustrations Introductory Note, Jessica Payette, Graham Cassano, and Rima Lunin Schultz Hull House Songs by Eleanor Smith (Reproduction of 1915 Folio published by Clayton F. Summy Co.) 1. Hull House Songs and the “Public”, Graham Cassano and Jessica Payette 2. Hull House Songs and Jane Addams’s Political Aesthetic, Graham Cassano 3. Eleanor Smith’s Operettas for Children, Jessica Payette 4. Eleanor Smith and Her Circle: Female Patronage, Cultural Production, and Friendship at Hull-House, Rima Lunin Schultz 5. Cultural Pedagogy at Hull-House: Shaping Ethical Behavior through Performance, Rima Lunin Schultz 6. Democratizing Culture and Mediating Class: The Arts at Hull-House, 1889–1945, Rima Lunin Schultz 7. Hull-House and ‘Jim Crow’, Rima Lunin Schultz Afterword: Eleanor Smith’s Hull House Songs: A Singer’s Perspective, Jocelyn Zelasko Appendix: Libretto for The Trolls’ Holiday by Harriet Monroe Bibliography Index

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Book SynopsisIn this unique edition, Carl Davila takes an original approach to the texts of the modern Moroccan Andalusian music tradition. This volume offers a literary-critical analysis and English translation of the texts of this nūba, studies their linguistic and thematic features, and compares them with key manuscripts and published anthologies. Four introductory chapters and four appendices discuss the role of orality in the tradition and the manuscripts that lie behind the print anthologies. Two supplements cross-reference key poetic images in English and Arabic, and provide information on known authors of the texts. This groundbreaking contribution will interest scholars and students of pre-modern Arabic poetry, muwashshaḥāt, Andalusian music traditions, Arabic Studies, orality, and sociolinguistics.

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Book SynopsisIn this first monograph on E. T. A. Hoffmann and opera, Francien Markx examines Hoffmann’s writings on opera and the challenges they pose to established narratives of aesthetic autonomy, the search for a national opera, and Hoffmann’s biography. Markx discusses Hoffmann’s lifelong fascination with opera against the backdrop of eighteenth-century theater reform, the creation of national identity, contemporary performance practices and musical and aesthetic discourses as voiced by C. M. von Weber, A. W. Schlegel, Heine, and Wagner, among others. The book reconsiders the traditional view that German opera followed a deterministic trajectory toward Wagner’s Gesamtkunstwerk and reveals a cosmopolitan spirit in Hoffmann’s operatic vision, most notably exemplified by his controversial advocacy for Spontini in Berlin.Table of ContentsAcknowledgments Prelude Prologue: German Musical Drama and the Emerging Public Sphere Hamburg – Leipzig – Weimar and Gotha – The National Theater Projects – Mannheim – Vienna – Berlin – E. T. A. Hoffmann’s Theatrical and Operatic Experiences – Evaluating Hoffmann’s Contribution(s) to Opera ACT I. NARRATING OPERA (CRITICISM) FOR THE ALLGEMEINE MUSIKALISCHE ZEITUNG (Berlin, Bamberg, Leipzig/Dresden, 1808-1814) Chapter One Ritter Gluck: On The Art of Judging Opera The Power of Anecdotes – Querelle des Gluckistes et des Piccinnistes. Christoph Willibald Gluck in the French Press – Gluck in the German Press – E. T. A. Hoffmann’s Views on Gluck – Ritter Gluck: A Response to Forkel – Narrating Gluck’s Public Image – Berlin: An Operatic Backwater – A Tale Illuminated by Music – Ritter Gluck: Towards a New Aesthetics of Opera Chapter Two Don Juan: Reflections on (Performing) Mozart’s Don Giovanni E. T. A. Hoffmann’s Don Juan and Lorenzo Da Ponte’s Don Giovanni – Contemporary Performance Practices – E. T. A. Hoffmann and Mozart’s Don Giovanni – Restaging Don Giovanni – Approaches to Mozart – Mozart’s Score and Donna Anna’s Secret – Reflections on Donna Anna’s Role - A Tale Inspired by Music Chapter Three Poet and Composer: Operatic Insights of an Insider Turbulent Times – The Dialogue Der Dichter und der Komponist – Theoretical Discourse: The Poet (A. W. Schlegel) and the Composer (E. T. A. Hoffmann) – How Not to Write a Libretto: Der Opern-Almanach des H[er]rn A. v[on] Kotzebue – Musical Practice – Der Dichter und der Komponist: A Program for Romantic Opera? – A Word to the Composer: Über einen Ausspruch Sachini’s – Der Dichter und der Komponist and the Future of German Opera – The Poet and the Composer: Hoffmann’s Own Creative Production ACT II. BACK IN BERLIN: BALANCING ACTS AS ARTIST AND CRITIC (1814-1822) Prelude: Brühl and the Berlin Theater Chapter Four ‘Patriotic Acts’: Undine on the Berlin Stage ossia Accomplishments of a Trio (Fouqué, Hoffmann, and Schinkel) Preparing the Stage – Fouqué’s Undine – The Staging of Hoffmann’s Undine – Voices of the Critics – Carl Maria von Weber’s Review of Undine for the AMZ – Weber and the German Ideal – Romantic Ideal versus Reality – Dénouement Chapter Five Berlin Reviews I: Dramaturgisches Wochenblatt and Vossische Zeitung Reviews of 1815 – Reviews of 1816 – Envisioning the Future: Visions of a Realist – Contributions for the Vossische Zeitung: Reviewing a Befriended Reviewer – Hoffmann’s Final DW Contribution: Die Kunstverwandten or the Joys and Sorrows of Producing an Opera – Art Beyond Boundaries: Towards a Universal Operatic Style Chapter Six Berlin Reviews II: Standing up for Spontini A Parisian in Berlin – Hoffmann’s Warm Welcome – Briefe über Tonkunst in Berlin. Erster Brief – Hoffmann’s Remaining Berlin Reviews – Zufällige Gedanken or Ritter Gluck Revisited – Spontini’s Opera Olimpie – Hoffmann’s Translation of Olimpie – Hoffmann’s Last Review: Nachträgliche Bemerkungen über Spontinis Oper Olympia – Further Observations on Hoffmann’s Last Review Chapter Seven Falling Silent: The Freischütz Controversy A Tumultuous Première – Contemporary Letters and Comments – ‘Made in Germany’ or An Opera’s Success Story – Reflections on Hoffmann’s Silence Postlude Bibliography Index

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Book SynopsisIn Arthur Upham Pope and A New Survey of Persian Art, fourteen scholars explore the legacy of Arthur Upham Pope (1881–1969) by tracing the formation of Persian art scholarship and connoisseurship during the twentieth century. Widely considered as a self-made scholar, curator, and entrepreneur, Pope was credited for establishing the basis of what we now categorize broadly as Persian art. His unrivalled professional achievement, together with his personal charisma, influenced the way in which many scholars and collectors worldwide came to understand the art, architecture and material culture of the Persian world. This ultimately resulted in the establishment of the aesthetic criteria for assessing the importance of cultural remains from modern-day Iran. With contributions by Lindsay Allen, Sheila S. Blair, Jonathan M. Bloom, Talinn Grigor, Robert Hillenbrand, Yuka Kadoi, Sumru Belger Krody, Judith A. Lerner, Kimberly Masteller, Cornelia Montgomery, Bernard O’Kane, Keelan Overton, Laura Weinstein, and Donald Whitcomb.Trade Review"In addition to offering an overview of Pope's role in the study of Persian art, the book provides new insights into the historiography of Islamic art." – Sarah Piram, in: Abstracta Iranica 37-39 (2018) [http://journals.openedition.org/abstractairanica/42714]. "Kadoi’s edited volume, which gauges the impact of American Orientalist Arthur Upham Pope (1881–1969) on the fields of Iranian art, architecture and archaeology, joins an ever-expanding literature on the historiography of Islamic art and architecture.... the papers introduce a variety of valuable perspectives and much that is new. We form a good understanding of the characters populating – and the life of – an unfolding field" – David J. Roxburgh, in: Bulletin of the School of Oriental and African Studies (2018)Table of ContentsCONTENTS List of Illustrations Abbreviations Note to the Reader Preface and Acknowledgements INTRODUCTION Arthur Upham Pope and A New Survey of Persian Art Yuka Kadoi I. POPE, ACKERMAN, AND THEIR PEERS The Scramble for Persian Art: Pope and His Rivals Robert Hillenbrand Gendered Politics of Persian Art: Pope and His Partner Talinn Grigor II. ARTHUR UPHAM POPE: LIFE AND ACHIEVEMENTS Arthur Upham Pope: His Life and Times Jonathan M. Bloom Archaeology in Iran and the Experience of Arthur Upham Pope Donald Whitcomb Arthur Upham Pope and the Study of Persian Islamic Architecture Bernard O'Kane III. CURATORS, COLLECTORS, AND ART DEALERS: POPE AND PRE-ISLAMIC PERSIAN ART ‘The Greatest Enterprise’: Arthur Upham Pope, Persepolis and Achaemenid Antiquities Lindsay Allen Arthur Upham Pope and the Sasanians Judith A. Lerner IV. CURATORS, COLLECTORS, AND ART DEALERS: POPE AND ISLAMIC PERSIAN ART The Rise of Persian Art Connoisseurship: Arthur Upham Pope and Early Twentieth-Century Chicago Yuka Kadoi Arthur Upham Pope and Collecting Persian Art for Kansas City Kimberly Masteller Equivocal Position as Expert or Dealer! The Long and Contentious Relationship of George Hewitt Myers and Arthur Upham Pope Sumru Belger Krody My Dear Holmes: Arthur Upham Pope and the Museum of Fine Arts, Boston Laura Weinstein Filming, Photographing and Purveying in ‘the New Iran’: the Legacy of Stephen H. Nyman, ca. 1937–42 Keelan Overton V. ARTHUR UPHAM POPE: HIS LEGACY Surveying Persian Art in Light of A Survey of Persian Art Sheila S. Blair Arthur Upham Pope: A Personal Memoir Cornelia Montgomery List of Contributors Index

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Book SynopsisTime holds an enduring fascination for humans. Time and Trace investigates the human experience and awareness of time and time’s impact on a wide range of cultural, psychological, and artistic phenomena, from reproductive politics and temporal logic to music and theater, from law to sustainability, from memory to the Vikings. The volume presents selected essays from the 15th triennial conference of the International Society for the Study of Time from the arts (literature, music, theater), history, law, philosophy, science (psychology, biology), and mathematics. Taken together, they pursue the trace of time into the past and future, tracing temporal processes and exploring the traces left by time in individual experience as well as culture and society. Contributors are: Michael Crawford, Orit Hilewicz, Rosemary Huisman, John S. Kafka, Erica W. Magnus, Arkadiusz Misztal, Carlos Montemayor, Stephanie Nelson, Peter Øhrstrøm, Jo Alyson Parker, Thomas Ploug, Helen Sills, Lasse C. A. Sonne, Raji C. Steineck, and Frederick Turner.Table of ContentsINTRODUCTION ACKNOWLEDGEMENTS Time and Traction: Blazing the Trail, Frederick Turner I. NARRATIVE TRACING: THE WORK OF CRITICISM The Chaotic Trace: Stoppard’s Arcadia and the Emplotment of the Past, Jo Alyson Parker Beyond the Forensic Imagination: Time and Trace in Thomas Pynchon’s Novels, Arkadiusz Misztal Time, Trace, and Movement in Stravinsky’s Three Japanese Lyrics, Helen Sills Tracing Space in Time: Morton Feldman’s Rothko Chapel, Orit Hilewicz II. LOOKING BACK: TRACING HISTORY Traces of Viking-Age Temporal Organization, Lasse C. A. Sonne Time and Memory in the Odyssey and Ulysses, Stephanie Nelson Time, Cognition, and Attic Performance: Tracing a New Approach to Theatre History’s “Vexing Question”, Erica W. Magnus III. THOUGHT TRACES: PHILOSOPHY, MEMORY, AND THE HUMAN MIND A. N. Prior’s Ideas on Keeping Track of Branching Time, Peter Øhrstrøm and Thomas Ploug Psychoanalysis and the Temporal Trace, John S. Kafka Memory: Epistemic and Phenomenal Traces, Carlos Montemayor IV. LEAVING TRACES: SOCIETY AND ETHICS Heredity in the Epigenetic Era: Are we Facing a Politics of Reproductive Obligations?, Michael Crawford The Trace of Time in Judicial Reasoning: A Case of Conflicting Argument in the High Court of Australia (Al-Kateb v. Godwin, 2004), Rosemary Huisman Time, Waste, and Enlightenment, or: On Leaving no Trace, Raji C. Steineck CONTRIBUTORS INDEX

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Book SynopsisThe Companion to Music in the Age of the Catholic Monarchs, edited by Tess Knighton, offers a major new study that deepens and enriches our understanding of the forms and functions of music that flourished in late medieval Spanish society. The fifteen essays, written by leading authorities in the field, present a synthesis based on recently discovered material that throws new light on different aspects of musical life during the reign of Ferdinand and Isabel (1474-1516): sacred and secular music-making in royal and aristocratic circles; the cathedral music environment; liturgy and power; musical connections with Rome, Portugal and the New World; theoretical and unwritten musical practices; women as patrons and performers; and the legacy of Jewish musical tradition. Contributors are Mercedes Castillo Ferreira, Giuseppe Fiorentino, Roberta Freund Schwartz, Eleazar Gutwirth, Tess Knighton, Kenneth Kreitner, Javier Marín López, Ascensión Mazuela-Anguita, Bernadette Nelson, Pilar Ramos López, Emilio Ros-Fábregas, Juan Ruiz Jiménez, Richard Sherr, Ronald Surtz, and Jane Whetnall.Trade Review'A milestone of state-of-the-art research by nearly all of the most active scholars in the field. The scholarship is rigorous and wide-ranging, and clearly the product of recent and ongoing colloquy between the authors and the editor… a deeply satisfying mosaic of current knowledge that richly serves both specialists and the informed general reader and that will set the research agenda for further decades.' Michael Noone in: Renaissance Quarterly LXXI (2018). "Sin duda indispensable y modélico para cualquier estudioso de la historia de la música y de sus períodos." Juan Carlos Asensio, in Anuario de Estudios Medievales 49 (2019).Table of ContentsContents List of Figures vii List of Music Examples x List of Tables xii List of Contributors xvi Introduction 1 Tess Knighton 1 Music for the Royal Chapels 21 Kenneth Kreitner 2 Secular Song in Fifteenth-Century Spain 60 Jane Whetnall 3 Instruments, Instrumental Music and Instrumentalists: Traditions and Transitions 97 Tess Knighton 4 Music and Spectacle 145 Ronald E. Surtz 5 Love and Liberality? Music in the Courts of the Spanish Nobility 173 Roberta Freund Schwartz 6 Music and Musicians at the Portuguese Royal Court and Chapel, c. 1470–c. 1500 205 Bernadette Nelson 7 Cathedral Soundscapes: Some New Perspectives 242 Juan Ruiz Jiménez 8 Chant, Liturgy and Reform 282 Mercedes Castillo-Ferreira 9 Musical Cultures in the Reinos de Indias at the Time of Isabel and Ferdinand 323 Javier Marín López 10 The Roman Connection: The Spanish Nation in the Papal Chapel, 1492–1521 364 Richard Sherr 11 Manuscripts of Polyphony from the Time of Isabel and Ferdinand 404 Emilio Ros-Fábregas 12 Spanish Treatises on Musica Practica c. 1480–1525: Reflections from a Cultural Perspective 469 Pilar Ramos López 13 Unwritten Music and Oral Traditions at the Time of Ferdinand and Isabel 504 Giuseppe Fiorentino 14 Lost Voices: Women and Music at the Time of the Catholic Monarchs 549 Ascensión Mazuela-Anguita 15 Musical Lives: Late medieval Hispano-Jewish Communities 579 Eleazar Gutwirth Works Cited 617 Index 702

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Book SynopsisThis book offers an overview of all facets of musical life in sixteenth-century Venice. It addresses the city’s institutions (churches, confraternities, and academies) against the background of public and private occasions of music making. Supported by a generous collection of archival, literary, and iconographical sources, it treats both ceremonial life in the Serenissima and private forms of patronage. The Companion also addresses the dense web of musical activity (from chapel masters and singers to instrumentalists and instrument makers to music printers and theorists) and the rich variety of styles and musical genres (the frottola, the madrigal, motets and masses, instrumental music, polychoral music, Venetian-language polyphony), broadening the geographical perspective beyond the Veneto to Istria and Dalmatia. Contributors are Rodolfo Baroncini, Sherri Bishop, Bonnie J. Blackburn, David Bryant, Ivano Cavallini, Paolo Da Col, Daniel Donnelly, Rebecca Edwards, Iain Fenlon, Jonathan Glixon, Don Harrán (†), Jeffrey Kurtzman, Giulio M. Ongaro, Francesco Passadore, Elena Quaranta, Katelijne Schiltz, Eleanor Selfridge-Field, and Giovanni Zanovello.Trade Review"...L’immagine comune della vita musicale veneziana del Rinascimento generalmente viene focalizzata sulla basilica ducale dove si svolgevano le cerimonie solenni e sfarzose che rappresentavano il potere della Serenissima, e nella quale operavano i più prestigiosi musicisti dell’epoca, ma dai diciotto saggi che compongono questo A Companion to Music in Sixteenth-Century Venice […] emerge un panorama sonoro incredibilmente ampio, dettagliato e unico per la sua specificità. A Venezia la musica risuonava in tutti i suoi sestieri grazie alla quantità di chiese, conventi, confraternite, saloni di palazzi nobiliari e accademie, e agli stampatori e ai costruttori di strumenti musicali attivi nella città lagunare." - Paolo Scarnecchia on http://www.giornaledellamusica.it/dischi/riscoprire-la-musica-di-giovanni-croce.Table of ContentsContents Acknowledgements List of Figures List of Tables List of Music Examples Abbreviations Contributors Introduction: Mapping Musical Life in Cinquecento Venice  Katelijne Schiltz Part 1: Musical Institutions 1 San Marco  Giulio M. Ongaro 2 Music at Parish, Monastic, and Nunnery Churches and at Confraternities  Jonathan Glixon 3 Parish and Monastic Churches: Civic Custom and the Quotidian in the System of Institutional Patronage  Elena Quaranta 4 Music and the Academies of Venice and the Veneto  Iain Fenlon Part 2: Music in the Public and Private Space 5 Music, Ritual, and Festival: The Ceremonial Life of Venice  Iain Fenlon 6 Ridotti and Salons: Private Patronage  Rodolfo Baroncini Part 3: Musical Actors 7 The Maestri di Cappella  Francesco Passadore 8 Silent Voices: Professional Singers In Venice  Paolo Da Col 9 Instrumentalists and Instrument Makers before c. 1550  Bonnie J. Blackburn 10 Instruments, Instrument Makers, and Instrumentalists in the Second Half of the Sixteenth Century  Jeffrey Kurtzman 11 Music Printing and Publishing in Cinquecento Venice  Sherri Bishop 12 From Aaron to Zarlino: Music Theorists in the Social and Cultural Matrix of Sixteenth-Century Venice  Rebecca Edwards Part 4: Genres, Styles, and Cross-Cultural Traditions 13 Cori Spezzati in Composition and Sound  David Bryant 14 The Frottola in the Veneto  Giovanni Zanovello 15 Venetian Instrumental Music in the Sixteenth Century  Eleanor Selfridge-Field 16 Language, Style, and Subgenre in Venetian-Language Polyphony  Daniel Donnelly 17 Jewish Art Music in Late Sixteenth- and Early Seventeenth-Century Italy  Don Harrán 18 The ‘Other’ Coastal Area of Venice: Musical Ties with Istria and Dalmatia  Ivano Cavallini Bibliography General Index

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Book SynopsisThis collection of seventeen essays newly identifies contributions to musical culture made by women before 1500 across Europe. You will learn about repertoire from such diverse locations as Iceland, Spain, and Italy, and encounter examples of musicianship from the gender-fluid professional musicians at the Islamicate courts of Syria to the nuns of Barking Abbey in England. The book shows that women drove musical patronage, dissemination, composition, and performance, including within secular and ecclesiastical contexts, and also reflects on the reception of medieval women’s musical agency by both medieval poets and by modern recording artists. Contributors are David Catalunya, Lisa Colton, Helen Dell, Annemari Ferreira, Rachel Golden, Gillian L. Gower, Anna Kathryn Grau, Carissa M. Harris, Louise McInnes, Lisa Nielson, Lauren Purcell-Joiner, Megan Quinlan, Leah Stuttard, Claire Taylor Jones, Melissa Tu, Angelica Vomera, and Anne Bagnall Yardley.Table of ContentsAcknowledgements List of Figures, Tables and Music Examples Notes on Contributors Introduction: Female Authorship, Female Voice, and Female-Voice Song  Anna Kathryn Grau and Lisa Colton PART 1: Ritual Discourse 1 The Feminine Voice in the Early Islamicate Courts (661–1000)  Lisa Nielson 2 Music, Liturgy, and the Discursive Construction of Gender in a Thirteenth-Century Double Monastery  Lauren Purcell-Joiner 3 A Female-Voice Ceremonial from Medieval Castile  David Catalunya 4 Religious Reform and Liturgical Change in the Fifteenth Century: Chant as Women’s Protest Music  Claire Taylor Jones PART 2: Materiality 5 Beyond this Mist: Uncovering Material Multiplicities in Amis, amis  Rachel May Golden 6 Transmission of Female-Voice Motets in Late Thirteenth-Century Manuscripts  Anna Kathryn Grau 7 Chants for the Holy Trinity of Barking Abbey: Ethelburg, Hildelith, and Wulfhild  Anne Bagnall Yardley PART 3: Subjectivity and Emotion 8 Handmade Women: The Manufacture of Femininity in the Chansons de femme  Helen Dell 9 The Voice of Emotion: Constructing an Identity for the Comtessa de Dia in Performance  Leah Stuttard 10 “Going all the Way with Marot”: Empowerment in the Pastourelle Motet L’autrier m’esbatoie/Demenant grant joie/MANERE  Lisa Colton 11 Sexuality, Pedagogy, and Women’s Emotions in Middle English Songs  Carissa M. Harris 12 “Who cannot wepe come lerne at me”: Voicing Refrains in Late Medieval Passion Lyric  Melissa Tu PART 4: Representation 13 A Song from the Mound: The Female Voice as a Repository for Genealogical Knowledge in Hyndluljóð  Annemari Ferreira 14 Eye, Mouth, and Heart: The Female-Voiced Contrafacta of Can vei la lauzeta mover  Meghan Quinlan 15 A Musical Letter from Eleanor of Provence to Margaret of Scotland: Patronage as Authorship in the Sequence Ex te lux oritur  Gillian L. Gower 16 Female Voice in the Trecento Song  Angelica Vomera 17 Saints and Sinners: The Representation of Women in Late-Medieval English Carols  Louise McInnes Index

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Book SynopsisRobert Lachmann’s letters to Henry George Farmer, from the years 1923-38, provide insightful glimpses into his life and his progressive research projects. From an historical perspective, they offer critical data concerning the development of comparative musicology as it evolved in Germany during the early decades of the twentieth century. The fact that Lachmann sought contact with Farmer can be explained from their mutual, yet diverse interests in Arab music, particularly as they were then considered to be the foremost European scholars in the field. During the 1932 Cairo International Congress on Arab Music, they were selected as presidents of their respective committees.Table of ContentsContents Foreword Israel J. Katz Preface Sheila M. Craik Acknowledgements List of Illustrations Abbreviations 1 The Berlin Years (1892-1935)  1.1 Introduction  1.2 From his Birth through his Formative Years (1892-1911)  1.3 Graduation from the Gymnasium, Courses at Berlin Univ., Military Service, and Degree in Librarianship (1911-8)  1.4 Return to Civilian Life, Berlin Univ., the Phonogrammarchiv, Attainment of his Doctorate, Librarianship, and Fieldwork in Algeria and Tunisia (1918-27)  1.5 Appointment as Music Librarian at the Preussische Staatsbibliothek, and Additional Fieldwork in Tunisia and Algeria (1927-30)  1.6 From the First Mention of the Cairo Congress of Arab Music (Feb. 1930) to his Participation (Mar.-Apr. 1932) and Egyptian Fieldwork (Apr.-May 1932)  1.7 Post-Congress Visit of Johannes Wolf and Kurt Schindler to Jerusalem, where they met with Judah L. Magnes (April 1932)  1.8 Dismissal from the Staatsbibliothek (Berlin 1933)  1.9 Initial Contacts with Judah L. Magnes at the Hebrew University, Jerusalem (1934-5) 2 The Jerusalem Years (1935-1939)  2.1 Background  2.2 Lachmann’s Initial Academic Year at the Hebrew University, Jerusalem (1935-6) [Oct. 22–June 28]  2.3 Second Academic Year (1936-7) [Oct. 11–June 24]  2.4 Lachmann’s Students at the Archive for Oriental Music (Jerusalem)  2.5 The Oriental Music Broadcasts (Nov. 1936–Apr. 1937)  2.6 The World Centre for Jewish Music in Palestine (WCJMP) (1936-9)  2.7 Boundary-Crossing, Brith Shalom, Stefan Wolpe, and Music Education  2.8 Third Academic Year (1937-8) [Sept. 30–July 10]  2.9 Fourth Academic Year (1938-9) [Oct. 8–July 17]  2.10 Last Weeks in Jerusalem (1939) 3 Lachmann’s Letters to Henry George Farmer [FC 467/1-90]  3.1 From his Years in Berlin (1923-35)  3.2 From his Years in Jerusalem, Palestine (1935-8)  3.3 Letters from Edith Gerson-Kiwi to Henry George Farmer (1945-7) Appendix 1:  Lachmann’s Published Works, Reviews, Lectures, and Unpublished Manuscripts  1 1923-35 (from his Berlin Years)  2 1935-8 (from his Jerusalem Years)  3 Lectures  4 Posthumous Works Appendix 2: Lachmann’s Sole Transcription of a Tunisian Wedding Song that was Included in E. Ubach and E. Rackow, Sitte und Recht in Nordafrika, Stuttgart 1923, 244-5 Appendix 3: Lachmann’s Transcriptions for Albert von Le Coq’s Von Land und Leuten in Ostturkistan. Bericht und Abenteuer der 4. Deutschen Turfanexpedition. Leipzig 1928 Appendix 4: Lachmann’s Transcription of a) Mesʿud Djemil’s Call to Prayer (adhān) and b) Instrumental Piece (Beśrew Salim Bey) from his Musik des Orients, Breslau 1929 Appendix 5: Lachmann’s Doctoral Diploma (Mar. 11, 1922) (LA F 07) Appendix 6: What Do We Know about Kurt Schindler? Appendix 7: Johannes Wolf’s Letter to Friedrich Smend (Nov. 1, 1933) Appendix 8: Lachmann and Zionism Appendix 9: Magnes’ October 29th Communication Published by the Jewish Telegraph Agency (Nov. 11, 1934, p. 3) Appendix 10: News Item from the University’s June 1934 Information Bulletin Concerning Lachmann’s Archive Appendix 11: Three Judeo-Spanish Lyric Songs, from the Lachmann Archive, National Library of Israel Appendix 12: Stefan Wolpe: A Biographical Sketch of his European Years Appendix 13: Letter from Yiska Idelsohn to Prof. Harry Torczyner Bibliography General Index

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Book SynopsisWhile the trans-Atlantic slave trade ended in the nineteenth century, slave raiding and dealing and the extensive use of slave labor continued into the twentieth century in many parts of Africa. Using primary oral sources such as songs, proverbs, names, and everyday sayings as a basis for critical reflection, the overriding aim of this book is to shift emphasis from conventional historical methodology by exploring previously neglected oral sources. Bringing such sources into the academic conversation proffers new insights relating to victims’ responses and adjustments to slave raiding and trafficking in the late nineteenth century northern Ghana.Trade Review"In this important and well-researched book, Emmanuel Saboro draws from original oral sources to show us how communities in northern Ghana are bearers of a collective memory of the transatlantic and internal trades." - Ana Lucia Araujo, Professor of History, Howard UniversityTable of ContentsContents Foreword Acknowledgements List of Illustrations Note on Transcriptions and Translations Introduction: Envisioning the Past in the Present: Hearing the Unsaid  1 Northern Ghana and the Historiography of the Slave Trade  2 Reconfiguring Enslavement and the Slave Trade in Africa: the Place of Oral Tradition  3 Memory/Remembering  4 Sources and Methods  5 Structure of the Book 1 Remembering a Fractured Past: Historicizing Violence, Captivity, and Enslavement in Northern Ghana in the Nineteenth Century  1 Introduction  2 The Gold Coast and the Trans-Atlantic Connection  3 Navigating Histories, Constructing Identities: Geography and People of Northern Ghana, the Bulsa and Kasena in Perspective  4 Post-abolition Slavery and the Slave Trade in the Nineteenth Century  5 Asante and the Slave Trade in Northern Ghana in the Nineteenth Century  6 The Zabarima Slave Raiding Hegemony in Northern Ghana  7 “Babatu Has Really Dealt with Me and I Know”: the Portrait of a Ruthless Leader  8 ‘Places, Places Are Still There’: Salaga, a Bloodied Landscape of Captivity, Enslavement, and Dispossession  9 Conclusion 2 The Song as a Cultural and Historical Archive for Reconstructing the Past  1 Introduction  2 The African Song Tradition: a Brief Overview  3 Song Traditions in Northern Ghana: the Bulsa and Kasena in Perspective  4 “They Have Killed Me, Killing of a Different Kind”: Dirges/Laments/Sorrow Songs  5 War and Victory Songs  6 The Bulsa Battle Cry  7 The War Flute  8 Performing Pain: Song, Ritual Dance, and Performance  9 “Singing Rocks”: The Pikworo Slave Camp Songs  10 Conclusion 3 ‘Unspeakable Things Spoken’: Cultural Constructions of Trauma, Mourning Loss  1 Introduction  2 Framing Violence: Metaphorizing the Kanbong (Foreign Enslaver) as the Other  3 Sexual Violence  4 Of Mothering and Motherhood  5 Of Place, Belonging and Home  6 Where There Are No Graves: Metaphorizing Death and Mourning Loss 4 “Sins of Our Fathers”: Re-reading Indigenous Complicity Narratives  1 Notions of Betrayal: the Insider Motif  2 The Politics of Silence: Survival or Complicity?  3 Conclusion 5 “We Are Free at Last”: Local Adaptations and Indigenous Resistance Strategies against Captivity and Enslavement in the Hinterland  1 Introduction  2 “We Have Fled, Fled a Lot”: Flight as a Survival and Resistance Strategy  3 The Landscape and Hollow Trees as “Refuge Sites”  4 Hiding in Hollow Trees  5 Drums of War: Contestations and Deconstructing Notions of Victimhood  6 Animistic Metaphors as Counter Representation Strategies  7 The Lion  8 The Elephant  9 Celebrating Triumph over Tragedy  10 Conclusion Conclusion: Freedom beyond the Wound and the Silences Glossary Bibliography Index

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Book SynopsisFrom prehistoric bone flutes to Confucian bell-sets, from ancient divination to his beloved qin, this book presents translations of thirteen seminal essays on musical subjects by Jao Tsung-i. In language as elegant and refined as the ancient texts he so admired, his journey takes readers through Buddhist incantation, the philosophy of musical instruments, acoustical numerology, lyric poetry, historical and sociological contexts, manuscript studies, dance choreography, repertoire formulation, and opera texts. His voice is authoritative and intimate, the expert crafting his arguments, both accessible and sophisticated, succinct and richly tapestried; and concealed within a deft modesty is a thinker privileging us with his most profound observation. The musician’s musician, the scholar’s scholar, bold yet cautious, flamboyant yet restrained, a man for all seasons, a harmoniousness of time and place.

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Book SynopsisA legend that captures the imagination of audiences and shapes representations of the Holocaust is that in Nazi concentration camps Jewish musicians were forced to play a Tango of Death as men, women and children made their way to the gas chambers. This book traces the origins of this legend to a little known concentration camp in Ukraine where musicians were forced to perform a Jewish tango at executions before they themselves were murdered. By reconstructing the creation of this legend, the book shows how the actual history is hidden, distorted, or even lost altogether.Table of ContentsAcknowledgements List of Illustrations 1 Memory and Myth  1 Serendipity  2 Legend and Myth  3 Holocaust Legends  4 Methodology  5 Ethics 2 Music in the Camps  1 Nazi Concentration Camps  2 Music in the Camps  3 Singing  4 Camp Orchestras  5 Purpose of Camp Music  6 Repertoire  7 Memories of Wagner  8 Wagner Myths 3 The Tango of Death  1 Singing Tangos  2 Three Versions  3 Which One Is It? 4 The Orchestra of Death  1 Nuremberg  2 Provenance  3 The Photographer  4 The Photograph  5 Location  6 The Court  7 Returning to the Iconic Image 5 The Death of the Orchestra  1 Reasons for Doubt  2 Fictionalizing Testimony 6 The Fugue of Death  1 The Poet  2 The Poem  3 The Title  4 Inspiration  5 The Legend 7 Preserving History  1 Imagining Horror  2 Capturing the Imagination  3 Memorializing and Obfuscating  4 Visualizing the Tango of Death  5 Preserving History Literature

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Book SynopsisThe present volume is a double edition in English and Arabic about the art of ornamentations in the performance of the Arabic qanun (psaltery), and a historical document spanning more than one hundred years. It is based on George Sawa's experience as an artist and performer, as well as the experience of his teachers and their teachers. For the latter, Dr Sawa used his recollections of what his teachers said about their teachers, as well as recordings made by European companies that recorded their works on 78 rpm at the beginning of the 20th century. .

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Book SynopsisIn this volume, the first panoramic study of music in the apocalyptic mode, an international and trans-disciplinary array of scholars and composers explore the resonance of the ancient biblical Revelation of John across the centuries in musical works as diverse as El Cant de la Sibil·la, the Dies Irae, cantatas and oratorios by Bach and Telemann, Wagner's Der Ring des Nibelungen, Schoenberg’s Second String Quartet, African American Spirituals, Messiaen’s Quatuor pour la fin du temps, Christian “ApokRock,” Hip-hop, Grimes’s album Miss Anthropocene, and the songs of Bob Marley and Bob Dylan. This innovative volume will engage scholars, students, and all those interested in the intersection of music, religion, history, and popular culture.

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Book SynopsisThe manuscript from the thirteenth century deals with musicians’ behaviour at the court; singers'qualities; the eminence of music and its effect on people and animals; the importance of drinking when listening to music; the process of composition; rhythmic and melodic modes, and repertoire in Andalusia, the Maghreb, Persia and the Middle East; Andalusian song lyrics and the appearance of new poetic forms such as the zajal and the muwashshaḥ; Andalusian musical instruments; dances of Egypt, Iraq, Syria, India and China; Andalusian dances and shadow plays and shadow dancers; aesthetics of dance; poems describing the dances.

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Book SynopsisHow does a Romantic composer approach the poetry he sets: as raw material to be remade, a pretext for self-expression, a sanctified artefact, or a message to be illustrated with music? In my book, I examine Franz Liszt’s songs for voice and piano, which remain little known to scholars, artists, and music lovers alike. The objective is to present Liszt’s songs in all their complexity and diversity as well as identifying the key elements of the composer’s broadly understood song-writing technique – both those that make him unique and those that relate him to the European tradition. This approach also makes it possible to shed light on a major though previously neglected aspect of the composer’s workshop, namely, his work with the poetic text, which to Liszt was just as important as the musical setting.

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Book SynopsisWhile the trans-Atlantic slave trade ended in the nineteenth century, slave raiding and dealing and the extensive use of slave labor continued into the twentieth century in many parts of Africa. Using primary oral sources such as songs, proverbs, names, and everyday sayings as a basis for critical reflection, the overriding aim of this book is to shift emphasis from conventional historical methodology by exploring previously neglected oral sources. Bringing such sources into the academic conversation proffers new insights relating to victims’ responses and adjustments to slave raiding and trafficking in the late nineteenth century northern Ghana.Trade Review"In this important and well-researched book, Emmanuel Saboro draws from original oral sources to show us how communities in northern Ghana are bearers of a collective memory of the transatlantic and internal trades." - Ana Lucia Araujo, Professor of History, Howard UniversityTable of ContentsContents Foreword Acknowledgements List of Illustrations Note on Transcriptions and Translations Introduction: Envisioning the Past in the Present: Hearing the Unsaid  1 Northern Ghana and the Historiography of the Slave Trade  2 Reconfiguring Enslavement and the Slave Trade in Africa: the Place of Oral Tradition  3 Memory/Remembering  4 Sources and Methods  5 Structure of the Book 1 Remembering a Fractured Past: Historicizing Violence, Captivity, and Enslavement in Northern Ghana in the Nineteenth Century  1 Introduction  2 The Gold Coast and the Trans-Atlantic Connection  3 Navigating Histories, Constructing Identities: Geography and People of Northern Ghana, the Bulsa and Kasena in Perspective  4 Post-abolition Slavery and the Slave Trade in the Nineteenth Century  5 Asante and the Slave Trade in Northern Ghana in the Nineteenth Century  6 The Zabarima Slave Raiding Hegemony in Northern Ghana  7 “Babatu Has Really Dealt with Me and I Know”: the Portrait of a Ruthless Leader  8 ‘Places, Places Are Still There’: Salaga, a Bloodied Landscape of Captivity, Enslavement, and Dispossession  9 Conclusion 2 The Song as a Cultural and Historical Archive for Reconstructing the Past  1 Introduction  2 The African Song Tradition: a Brief Overview  3 Song Traditions in Northern Ghana: the Bulsa and Kasena in Perspective  4 “They Have Killed Me, Killing of a Different Kind”: Dirges/Laments/Sorrow Songs  5 War and Victory Songs  6 The Bulsa Battle Cry  7 The War Flute  8 Performing Pain: Song, Ritual Dance, and Performance  9 “Singing Rocks”: The Pikworo Slave Camp Songs  10 Conclusion 3 ‘Unspeakable Things Spoken’: Cultural Constructions of Trauma, Mourning Loss  1 Introduction  2 Framing Violence: Metaphorizing the Kanbong (Foreign Enslaver) as the Other  3 Sexual Violence  4 Of Mothering and Motherhood  5 Of Place, Belonging and Home  6 Where There Are No Graves: Metaphorizing Death and Mourning Loss 4 “Sins of Our Fathers”: Re-reading Indigenous Complicity Narratives  1 Notions of Betrayal: the Insider Motif  2 The Politics of Silence: Survival or Complicity?  3 Conclusion 5 “We Are Free at Last”: Local Adaptations and Indigenous Resistance Strategies against Captivity and Enslavement in the Hinterland  1 Introduction  2 “We Have Fled, Fled a Lot”: Flight as a Survival and Resistance Strategy  3 The Landscape and Hollow Trees as “Refuge Sites”  4 Hiding in Hollow Trees  5 Drums of War: Contestations and Deconstructing Notions of Victimhood  6 Animistic Metaphors as Counter Representation Strategies  7 The Lion  8 The Elephant  9 Celebrating Triumph over Tragedy  10 Conclusion Conclusion: Freedom beyond the Wound and the Silences Glossary Bibliography Index

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Book SynopsisTom Drayton is Senior Lecturer at The University of East London.Joshua Kalin Busman is Associate Professor of Music at the University of North Carolina at Pembroke where he also serves as Assistant Dean of the Esther G. Maynor Honors College. Maren Haynes Marchesini holds a PhD in ethnomusicology and studies Christian music, ritual, ethics, and identity formation in contexts ranging from American megachurches to progressive and post-Christian organizations. Greg Dember is an independent researcher and co-founder of the What Is Metamodern? website and research network with Dr. Linda Ceriello.

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Book SynopsisJulie Turley is assistant professor and open education librarian at Kingsborough Community College/City University of New York in Brooklyn.Joan Jocson-Singh is library director at the Lucas Museum of Narrative Art in Los Angeles, CA.

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