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Musicology and sister disciplines : past, present, future : proceedings of the 16th International Congress of the International Musicological Society, London, 1997

Author: David Greer; Ian Rumbold; Jonathan King; International Musicological Society. Congress
Publisher: New York : Oxford University Press, ©2000.
Edition/Format:   Print book : Conference publication : EnglishView all editions and formats

Drawing on the work of experts from around the globe, this work offers a defining statement on the scope of musicology at the end of the 20th century and its relationship to other fields of academic  Read more...


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Genre/Form: Conference papers and proceedings
Material Type: Conference publication, Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: David Greer; Ian Rumbold; Jonathan King; International Musicological Society. Congress
ISBN: 0198167342 9780198167341
OCLC Number: 43790431
Language Note: Principally in English; includes contributions in French, German, Italian, and Spanish.
Description: xxix, 681 p. : ill. ; 24 cm.
Contents: Editor's Foreword ; Introduction ; PART 1: KEYNOTE PAPERS ; Scholarship, Authenticity, Honesty ; The Heritage of Pythagoras: Nineteen to the Dozen ; PART 2: ROUND TABLES ; ROUND TABLE 1: PERCEPTION AND COGNITION ; Brain and Music: An Electrophysiological Approach ; Perception of Tonal Pitch Space and Tonal Tension ; The Timing Implications of Musical Structures ; Listening to a Piece of Music: A Schematization Process Based on Abstracted Surface Cues ; Music and Affect: Empirical and Theoretical Contributions from Experimental Psychology ; Strong Experiences of and with Music ; Response ; First Response to the Respondent ; Second Response to the Respondent ; ROUND TABLE 2: LITERARY STUDIES ; Music and Narrative in Recent Theory ; All Russian Music is So Sad: Two Constructions of the Russian Soul, through Literature and Music ; Drowning in Music: Ophelia's Death and Feminist Hermeneutics ; The Study of Medieval Music: Some Thoughts on Past, Present, and Future ; The Music of Rhetoric ; ROUND TABLE 3: DIRECTIONS IN MUSICOLOGY ; Statement ; Statement ; Response ; Response ; Response ; Response ; Response ; Response ; Closing Remarks ; Closing Remarks ; ROUND TABLE 4: HISTORIOGRAPHY ; Music Historiography, Critical Theory, and Other Tales ; The Problem of the French Revolution in Music Historiography and History ; Difficolta della storiographia dell'opera italiana ; Collapsing the Dialectic: The Enlightenment Tradition in Music and its Critics ; ROUND TABLE 5: SOCIOLOGY ; Music and Sociology: Perspectives, Horizons ; Ethnomusicology and Music Sociology ; Musical Practices and Hidden Musicians: A Perspective from Sociology and Anthropology ; Music from an Anthropological Perspective ; From Music-Makers to Virtual Singers: New Musics and Puzzled Scholars ; Music and Cultural Practices ; The Sociology of Music as Self-Critical Musicology ; Bibliography ; ROUND TABLE 6: PHILOSOPHY ; New Music and Philosophy ; Absolute Music and the New Musicology ; Signs and Trancendence ; Authenticity, Interpretation, and Practice: Probing Their Limits ; Response: Four Philosophies of Musical Interpretation ; ROUND TABLE 7: CULTURAL POLITICS ; Musicology and Sexuality: The Example of Edward J. Dent ; Beethoven's Ironies ; Ethnography, Ethnomusicology, and Post-White Theory ; PART 3: REPORTS ON STUDY SESSIONS ; Music in Tuscany: Past Research and Future Projects ; The Circulation of Music in Europe 1700-1850 ; Music and/as Ethics ; The Dating and Chronology of the Works of Josquin des Prez ; Musicology, Popuar Music Studies, and Political Economy; Musicology, Popular Music Studies, and Cultural Geography; Musicology, Popular Music Studies, and the Interpretative Sciences ; Berlioz et autour de Berlioz: Un artiste en son temps ; Portuguese Musical Outreach: Five Centuries ; Research in Music Performance: New Methods and Tools ; Feminist Epistemologies in Ethnomusicology ; Musicology and Biography ; Opera Orchestras in Eighteenth- and Nineteenth-Century Europe ; The Early Violin ; Auditory Scene Analysis: Future Directions for Musicological Research ; Chant and Liturgy: Compositional Planning in Liturgical Chant ; Music Iconography: Transmission and Transformation of Symbolic Images ; Repertory and Canon: The Dynamics of Canon Formation, 1700-1870 ; Perspectives on Instrumental Music of the Late Fifteenth and Early Sixteenth Centuries ; Theatrical Dance and Music, 1650-1850 ; British Music Since Britten ; Semiotics, Structural Semantics, Rhetoric: Musical Language Sciences in Contemporary Musicology ; Interpreting Performance: Chopin-Playing in Perspective ; Theorizing the Transnational ; Sense and Sonority in Aquitanian Polyphony and the Conductus ; The Evolution of Musical Instruments ; Der Mensuralcodex St Emmeram (Clm 14274): Eine zentrale Quelle fur die Musik Mitteleuropas im 15. Jahrhundert und musikalischen, liturgischen, und theologischen Voraussetzungen ; Opera et melodrame en France, 1800-30: Une enquete sur les genres ; Music, Politics, and Patronage in Spanish and Portuguese Dominions in the Early Modern Period ; Chant and Analysis: Where Are We, and Where Do We Go? ; Musicology, Popular Music Studies, and the Interpretative Sciences ; Musical Data and Computer Applications ; Keyboard Organology: Past, Present, and Future ; Kulturelle Traditionen in Mitteleuropa: Musikleben zwischen Zentralismus und regionaler Spezifik am Beispiel der Rolle von Vereinen ; Implications for Mainstream Musicology of Recent Research in Music Cognition ; La vie musicale sous Vichy, 1940-1944 ; Chant and Palaeography ; Music between East and West: The Work of Lutoslawski, Penderecki, and Gorecki in the context of Culture and History ; Musicology and Art History ; Theorizing Mixed Media ; To the Ends of the Earth: Refugee Musicians in East Asia and Latin America, 1933-1945 ; The History of the Papal Chapel ; Rapporti tra testo, musica e scena nello spettacolo a Napoli nel Settecento ; The Early Sixteenth-Century Organ in England: Its Form, Music, and Place in the Liturgy ; Contexts for Brass: History, Performance, Culture ; Race and Culture in the Aesthetics of William Grant Still (1895-1978) ; Redefining the Low Countries ; Recent Mozart Research and Der neue Kochel ; Music, Healing, and Culture: Towards a Comparative Perspective ; Facism and Music ; New Methods, New Visions: Computational Initiatives for a New Millennium ; PART 4: ABSTRACTS OF FREE PAPERS ; SESSION 1: LITURGY AND HOMILETICS ; The Emerging Chant Repertory in Early Roman Sermons and Commentaries (Fifth-Seventh Centuries) ; The Influence of Homiletic and Exegetical Literature on the Fleury Lament of Rachel ; Le vocabulaire de la psalmodie dans Regle de St Benoit, a la lumiere des donnees musicales traditionnelles ; How to Build an Alleluia ; History and Liturgy: The Historia of Thomas Becket ; SESSION 2: THE HISTORIOGRAPHY OF EARLY MUSIC ; Towards a Theory of Musical Patronage in the Rennaisance and Baroque Eras: A Proposal between Anthropology and Semiotics ; Inaudible Efforts, Labeur des doigts, and the Monumentalizing Impulse: Towards a Sociology of Musical Auctoritas in Francophone Europe, 1200-1600 ; Music in Seventeenth-Century Emblem Books: Mass Manipulation of Cultural Values ; Artusi's Rage: Fear and Loathing in the Prima prattica ; Enemies of Love: Staging Female Excess in Monteverdi's Il ballo delle ingrate ; A Jungian Perspective on Monteverdi's Late Madrigals ; STUDY SESSION 3: EIGHTEENTH-CENTURY OPERA ; The Rhetoric of the Enlightened Hero: Gender and Operatic Reforms in Early Eighteenth-Century Italy ; Les editions parisiennes de livrets d'operas et leur contrefacon bruxelloise dans le seconde moitie du XVIIIe siecle ; Trembley's Polyp and the Natural History of Opera buffa ; Alfieri and the Transformation of Opera Seria ; The London Opera of Joseph Haydn: Loss, Lament, and Lieto fine ; SESSION 4: BROADCASTING AND THE MEDIA ; Opera Studies, Film Studies: Gounod's Faust and the History of Early French Cinema ; A Spectre-World Cuts Through Our Space: Early German Radio Criticism and the Listening Subject ; Union Radio: Musica, communicacion e ideologia ; La zarzuela como material ideologico en el cine y la television 1940-70 ; New Music on the New Third: Exploring BBC Music Policies and Practices in the Post-War Decade ; When Teaching Ten Thousand was Not Enough: E. Azali Hackley and African-American Music Journalism ; SESSION 5: EARLY POLYPHONY ; Is it Polyphony? ; The Medieval Motet in Occitania and the Occitanian Motet ; The Study of Pigments in Medieval Manuscripts ; Secular-Song Tenors and the Fourteenth-Century Motet ; Added Contratenors in the Ballades of Gullaume de Machaut ; SESSION 6: THE SIXTEENTH-CENTURY TRADITION ; Sacred Music at the Court of Fernando de Aragon, Duke of Calabria: The Context of Barcelona M. 1166/1967 and a Parody Mass on Josquin's Inviolata ; Laura, Laura, Laurels: Strategies of Multiplication in Petrarch and Marenzio ; Carnival and Carne vale: Orlando di Lasso and Roman Courtesans ; Music in the Tragedia spirituale ; The Masses Salve regina and O magnum misterium: New Light on Victoria's Parody Technique ; SESSION 7: ANALYSIS OF NINETEENTH-CENTURY MUSIC ; Registral Direction and Melodic Implication ; An Exegisis of the Kyrie from Beethoven's Mass in C, Op. 86 ; Nineteenth-Century Hallmark, Theoretical Problem: Third Relations in Schubert's Unfinished and Beethoven's Waldstein ; Rossini as Master of Instrumental Composition: Bonifazio Asioli's Analysis of the Sinfonia from Le cenerentola ; Brahms the Autumnal: Cyclical and Progressive Structures and Meanings in Im Herbst, Op. 104, No. 5 ; SESSION 8: METHODOLOGIES ; Ethnomusicologies of the West: Questions of Perspective and Scope ; American Musicology and the Archives of Eden ; Problems in the Application of Linguistic/Semiotic Priciples to Music ; Music in Action: The View from Sociology ; Queen Elisabeth of Belgium, The A-Bomb, and Einstein's Violin: About Pacificism, Patheism, and the Passion for Music ; SESSION 9: THE FIFTEENTH-CENTURY TRADITION ; The Wedding of Pious and Profane: A Cultural Context for the Chanson Mass ; Musical Life at the Collegiate Church of Saint-Omer, Northern France, c.1460-1504 ; The Meaning of Okeghem's Intemerata dei mater ; Obrecht's Anchises: Virgilian Allusion in Mille quingentis ; The Controversial Indentity of an Iberian Poet-Musician of the Renaissance: Badajoz el musico ; SESSION 10: BAROQUE SACRED MUSIC ; Music in the Cathedral of Manila: Evidence for the First Two Centuries from the Archdiocesan Archive ; Modelos de financiacion de musica en las catedrales espanolas: Formas e implicaciones ; Music, Ritual, and the Writings of Teodosio Herrera y Bonilla (1652-1734) ; The Sounding City: Urban History and Music in Baroque Jaen ; Icongrafia musical en la tarasca barroca madrilena: Algunos ejemplos representativos ; The Interior-Exterior Duality in the Performances of the Musical Ensembles of Granada: Non-Salaried Posts and Extravagantes Performances ; SESSION 11: MUSIC AND SOCIETY IN THE NINETEENTH CENTURY ; Salon, Gender, and Musical Culture in Sweden around 1800 ; Chladni as Musician Manque ; Byron and the Poetics of Berlioz's Harold Symphony ; Musica sabia: The Reception of Classical Music in Madrid (c.1830-1870) ; Four-Hand Transcription: Changing Performing Spaces and Genres ; Early Nineteenth-Century Virtuosity and its Public: Power, Gender, and Class in the Concert Hall ; SESSION 12: NEW MUSIC ; The Visual Language of American Experimental Music ; Roland Barthes's Text and Aleatory Music: Is The Birth of the Reader the Birth of the Listener? ; Imploding the System: Kagel and the Deconstruction of Modernism ; Can Literary Criticism Contribute to the Study of Musical Borrowing? The Case of Twentieth-Century Italian Music ; An Object-Orientated Analysis of Twentieth-Century Piano Music ; Musical-Historical Conceptions in the Light of the Systematic Approach ; SESSION 13: EARLY THEORY AND MUSIC ; Law as a Sister Discipline of Music in the Middle Ages and Renaissance ; Time out of Time: Eternity as a Thirteenth-Century Philisophical Issue Exemplified in Music ; Ordo naturalis in Eleventh-Century Theoretical Systems ; Glosses on Music and Grammar and the Advent of Music-Writing in the West ; SESSION 14: MUSIC AND SOCIETY AROUND 1700 ; Carnival, Commedia dell'arte and the Paris Opera in the Late Years of the Sun King, 1697-1710 ; Musicians, Amateurs, and Collectors: Early French Auction Catalogues as Musical Sources ; Queen Marie Leczinska as Patron of Music: Opera and Chamber Music at the Court of Louis XV ; The Personal Network: A Sociological Approach to Imported Villancico Texts and Music Supply at Segovia Cathedral (1650-1700) ; Collecting and Enlightenment: Musical Instruments in the Natural History Cabinet of Charles III of Spain (1759-88) ; SESSION 15: NINETEENTH-CENTURY TOPICS ; Virtue, Reform, and Pure Music in Second Empire Paris ; Felix Mendelssohn Bartholdys geistliche Vokalmusik: Eine Versuch ihrer chronologischen und stilistischen Einordnung ; The Stornello and its Popularity in Ottocento Italy ; Apocalypse (Now?): Politics in the Sacred Music of Johann Brahms ; Orientalism in Borodin's Prince Igor ; Canonizing the Dutchman: Wagnerism and Der fliegende Hollander ; SESSION 16: TECHNOLOGY AND SYSTEMATIC MUSICOLOGY ; Music and Technology ; Did Greco-Roman Hydraules have Keyboards? ; The Applicability of Psychological Methods in the Study of Musical Rhythm ; Acoustique musicale et musicologie: L'apport de l'outil acoustique dans l'analyse perceptive ; Stochastic Analysis and Music Predictability ; Cognitive-Perceptual Effects in Music: Shepard Tones and the Canon Per tonos from J.S. Bach's Musical Offering ; SESSION 17: GLUCK AND EIGHTEENTH-CENTURY AESTHETICS ; Retorica e tragedia per musica: L'Iphigenie en Aulide di Gluck (1774) ; GLUCK'S L'IPHIGENIE EN AULIDE (1774-5): RECEPTION AND REVISION ; Les reveries renouvelees des Grecs: Facture, Function, and Performance Practice in a Vaudeville Parody of Gluck's Iphigenie en Tauride (1779) ; Gluck in the Age of Living Reproduction: Fin-de-siecle Critics Speak on Antiquarian Opera ; Romantic Music Aesthetics and its Literary Origins in the Writings of Karl Philipp Moritz ; Gothic Architecture and Baroque Polyphony: A Romantic Blend ; SESSION 18: THE EIGHTEENTH-CENTURY TRADITION ; Rediscovered East-European Sources of Hasse's Sacred Music ; Reading the Metre: Verse Forms in Oratorio Librettos written for Handel by Charles Jennens and Thomas Morell ; Musicology, Politics, and Heraldy: The Te deum: A State Motet at the Time of Louis XIV and Louis XV ; Riepel, Leibniz, and the Ars combinatoria in Seventeenth- and Eighteenth-Century Musical Thought ; SESSION 19: EARLY TWENTIETH CENTURY ; Musical Symbolism in the Operas of Debussy and Bartok ; Loneliness and Love: The Literary Context of Bela Bartok's Bluebeard's Castle ; David: Stravinsky's Music-Hall Ballet ; Schonberg ist Theosoph: Anmerkungen zu einer wenig beachteten Beziehung ; Schonbergs Vortagsideal rekonstruiert anhand einer Quelle zu op. 10 ; Objectifs et methodes d'une hermeneutique de la creation et de la reception musicales ; SESSION 20: ETHNOLOGY ; Interrogating Musicological Otherness in India: Madan-ul-Mausiqi as a Mine of Music History ; White Facts about Blacks: Interculturalism, Music Education, and Identity in South Africa ; Der Tonartbegriff in der traditionellen turkischen Musik ; Oral Traditions and Performance Practices in the Encyclopedia Jiu gong da chen nan bei ci gong pu, Collections of Southern and Northern Chinese Songs ; Objectification of Music and the Domination of Nature (Naturbeherrschung): T. W. Adorno's Theory in the Light of Comparative Music Aesthetics ; The Body in Music ; SESSION 21: RENAISSANCE SOURCE STUDIES ; Identifying Composer Autographs in Pre-1600 Manuscripts ; In the Workshop of a Late-Medieval Editor: Johannes Martini and the Manuscript I-MOe ?.M.1.13 ; The Structure of the Chigi Codex: An Enigma Resolved ; Who is Katherine? The Women of the Berg & Neuber-Gerlach-Kauffmann Printing Dynasty ; The Printing of the Novum et insigne opus musicum (RISM 1537/1 and RISM 1538/3) ; Parthenia: A Paradigmatic Epithalamion ; SESSION 22: OPERA AROUND 1700 ; Comision nobiliaria en la circulacion de la opera italiana en Iberoamerica en los primeros anos des siglo XVIII ; A New Source of Seventeenth-Century Spanish Theatre Music from Mexico City ; Between the Market and the Public Institution: The First Spanish Opera Company in the Commercial Theatres in Madrid during the Eighteenth Century ; Italian Opera and/in Spanish Theatres: Francesco Corradini in Valencia (1727-31) ; Sacrilege, Power Politics, and Lese-majeste: The Political Uses of Opera in Eighteenth-Century Gustavian Sweden ; SESSION 23: TWENTIETH-CENTURY TOPICS ; (Musical) Jugendstil Revisited: Interspecific Conceptual Modelling and the Turn-of-the-Century Peripheral Artsong ; The Piano in Gustav Mahler's Um Mitternacht: Invention or Error? ; To the Jew a Foreign Tongue: Mahler's Orchestrations as a Sign of Difference ; Machine Music ; Rose R. and Emilia Marty: The Representation of the Human Experience of Time in Janacek's The Makropoulos Affair ; Magic, Ritual, and Mystery in the Poetic Conception of Manuel de Falla's Music ; SESSION 24: JAZZ AND POP ; What is Jazz, and How Might Scholars Write About It? ; As Fats Waller Tells It: It's a Sin to Tell a Lie ; We are Not Hurdy-Gurdies: Musicians in a Changing Music World ; Operatic Intersections with Rock Music: Popularizing Opera ; Punk, Funk, Dub, and Disco: British Post-Funk and the Avant-Garde Groove ; SESSION 25: SEVENTEENTH-CENTURY TOPICS ; Music and Military Virtue in Early Modern France: The Equestrian Ballet ; Guido Casoni (d. 1642) on Love as Music, a Theme for All Seasons ; Music of Devotion in Counter-Reformation Rome: Borboni's Musicali concenti ; Behind the Dragon's Mask: Hidden Political Music of the Restoration ; Baroque, musique, litterature: La nouvelle espagnole du XVII siecle, genre litteraire et source musicologique ; SESSION 26: EIGHTEENTH-CENTURY INSTRUMENTAL MUSIC ; The String Quartets of Franz Asplmayr and their Relationship to the Development of Haydn's String-Quartet Style ; Trumpets, Feldmusik, Continuity, and Hierarchy: Music and the Imperial Procession during the Reign of Maria Theresia ; Empress Maria Therese of Austria as Musician and Musical Patron ; The Hofkapelle under Joseph II and Mozart's Appointment ; Title, Function, and the Concept of Genre: The Earliest True Symphonies ; SESSION 27: NINETEENTH-CENTURY OPERA ; Bellini and his Music as Political Symbol ; Mimesis and Hysteria in La muette de Portici ; Issues in the Reception of Meyerbeer's Les Huguenots ; Music-Literature-Theatre-History: A New Approach to Nineteenth-Century Czech Opera ; Che bella cosa scrivere a tre voci: Verdi's Use of the Trio Form (Musical, Dramatic, and Aesthetic Conception) ; Beyond Exoticism: Cio-Cio-Sans Screen and the Uses of Convention ; SESSION 28: TRANSNATIONALISM ; Musicology and Missiology ; Chinese Politics and Western Musicians in China: A Reflection on Contemporary Exchanges versus Experiences of the Eighteenth-Century Musician-Priests ; The Iwakura Missions Encounters with Western Music and their Consequence ; Russian Roots, American Branches: Music in Cognate Cultures ; The History of German-Russian Musical Contact: German Musical Families in St Petersburg from the Second Half of the Nineteenth-Century to the Beginning of the Twentieth ; SESSION 29: HILDEGARD OF BINGEN ; Interdisciplinary Objects: the Case of Hildegard Bingen ; Rhetorical Chant? The Relationship between Music and Text in the Repertory of Hildegard of Bingen ; Hildegard's Ordo virtutum: Musical Rhetoric and Monastic Education ; SESSION 30: EARLY DANCE ; Would You Like to Dance this Frottola? Choreographic Concordances in Two Early Sixteenth-Century (Tuscan?) Sources ; The Travelling Dance-Band: Patterns of Transmission of Dance and Music in Fifeteenth-Century Europe ; The Myth of Stylized Dance ; SESSION 31: EARLY TWENTIETH-CENTURY USA ; Revising Ives ; DuBose Heyward's Drafts for the Porgy Story as Cultural Politics ; Ruth Crawford Seeger and John Cage: New Connections between Two American Originals ; SESSION 32: EARLY TWENTIETH-CENTURY FRANCE ; The Symphony as Political Tool in Early Twentieth-Century France ; French Political Ideology as Performative Context: The Concert by World War I ; Poulenc and the Painters: The Influence of Art and Artists on his Life and Music ; SESSION 33: RENAISSANCE THEORY ; On the One and the Many: Conflicting Ontologies of Sound in Late Fifteenth-Century Music Theory ; Musica theorica and Musica practica im Lichte der Studia humanitatis: Astronomie und Medizin als Grundlage und Rechtfertigung fur Franchino Gaffurios Porportionendenken ; Compositio levis et utilis: Simple Formulas as Substitutes for Counterpoint Studies in the Teaching of Composition around 1500 ; Zwischen der Musiktheorie und Poetik der Renaissance: Decorum ; Glareanus and Vasari: Two Competing Views of Historical Progress from Late Renaissance Europe ; Theories, Proof, and Dissent in Spanish Music Theory, 1508-77 ; SESSION 34: SCHUBERT AND SONG ; Schubert Iconography: New and Problematic Issues ; Franz Schubert and the Liederspiel: From the Kosegarten Cycle to Die schone Mullerin ; Schubert's Activities in the Unsinnsgesellschaft (1817-18): New Literary and Iconographical Documents ; Schubert's Free Verse Setting ; Die Gedichte der schwabischen Dichterin Friederike Robert in den Vertonungen von Fanny Hensel ; Performing Purcell's Mad Bess in Late Eighteenth- and Early Ninettenth-Century England ; SESSION 35: MUSIC AND LITERATURE: TWENTIETH CENTURY ; Indagando la musicalita della poesia di Gabriele dAnnunzio: Il Poema paradisiac ; Faustus, Mephistopheles and Gretchen? The Significance of Thomas Mann in the Music of Luigi Dallapiccola 1947-55 ; Ghost Trio: Die Musik in Samuel Becketts dramatischem Spatwerk ; Es lebe Kulturkampf!: Polish Parody Songs from Nazi Concentration Camps ; At Home and Abroad: The Critical Reception of Ethel Smyth's Operas in England and Germany ; Alexander Mikhailov as Musicologist ; SESSION 36: NATIONALISM ; General Histories of Music and the Place of the European Periphery ; Baltic Music-History Writing: Problems and Perspectives ; Le revision de Boris Godounov par le compositeur Letton Melngailis (1924): Premiers elements sur une version inconnue de l'opera de Moussorgski ; Some Premisses for the Study of Peripheral Musical Nationalism in the Twentieth Century: Fernando Lopes-Graya and the Problem of Tradition in Contemporay Portuguese Music ; How Musicological and Ethnomusicological is Spanish Flamenco? ; PART 5: ABSTRACTS OF POSTER SESSIONS ; SESSION 1: ANALYTICAL APPLICATIONS ; The Antiphons for the Consecration of Virgins and the Changing Role of Plainchant in the Middle Ages ; Computer Applications to Sketch Studies: A Database with Image Access for Berg's Sketches for Wozzeck ; Multimedia Environments for the Study of Musical Structure ; Knowledge-Based Stimulations: Technological Tools for Music Research ; Toward a Model for Background Motivic Structure ; Computer Applications and Visual Aids for a Historically Orientated Structural Analysis of Pitches ; SESSION 2: NEW COMPUTER APPLICATIONS IN MUSICOLOGY ; POCO: Tools for Analysing, Modifying, and Generating Performance Expression in Music ; An Adaptive Optical Music Recognition System ; Music, Memory, and Time ; A Parallel Processing Key-Finding Model: Strucure and Applications ; SESSION 3: DATABASES ; Lessico italiano della didattica vocale ; Villanelle alla napolitana e canzonette alla romana ; RISM A/II CD-ROM ; Hispanic Music Archive and Library Project ; Collecion musical: Fondo Canuto Berea (archivo y partituras) de la Biblioteca de la Diputacion Provincial de La Coruna (Espana) ; An Antiphonal from Kranj: Analytical Approach to its Contents ; The Grey Collection of the South African Library, Cape Town: Studies of Western Plainchant Sources in South Africa ; SESSION 4: MULTIMEDIA ; Shepherd-Musicians in Catalano-Aragonese Iconography from the Fourteenth and Fifteenth Centuries ; How did Harry James Make us Love him? ; The Third Symphony of Gustav Mahler: Ballet by John Neumeier ; Music Criticism Today ; The Duangong: A Qian Shaman ; Acknowledgements ; Index of Contributors
Responsibility: edited by David Greer with Ian Rumbold and Jonathan King.
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