Table of Contents

Editor's Foreword
Julian Rushton: Introduction
PART 1: KEYNOTE PAPERS
Bernard Williams: Scholarship, Authenticity, Honesty
Roger Penrose: The Heritage of Pythagoras: Nineteen to the Dozen
PART 2: ROUND TABLES
Round Table 1: Perception and Cognition
Mireille Besson & Pascaline Regnault: Brain and Music: An Electrophysiological Approach
Lola L. Cuddy & Nicholas A. Smith: Perception of Tonal Pitch Space and Tonal Tension
Bruno H. Repp: The Timing Implications of Musical Structures
Irène Deliège: Listening to a Piece of Music: A Schematization Process Based on Abstracted Surface Cues
Carol L. Krumhansl: Music and Affect: Empirical and Theoretical Contributions from Experimental Psychology
Alf Gabrielsson & Siv Lindström Wik: Strong Experiences of and with Music
John Sloboda: Response
Eleanor Selfridge-Field: First Response to the Respondent
Christian Kaden: Second Response to the Respondent
Round Table 2: Literary Studies
Christopher Butler: Music and Narrative in Recent Theory
Marina Frolova-Walker: All Russian Music is So Sad: Two Constructions of the Russian Soul, through Literature and Music
Heather Hadlock: Drowning in Music: Ophelia's Death and Feminist Hermeneutics
Susan Rankin: The Study of Medieval Music: Some Thoughts on Past, Present, and Future
Elaine Sisman: The Music of Rhetoric
Round Table 3: Directions in Musicology
Andrew Dell'Antonio: Statement
Stefano Castelvecchi: Statement
Margaret Bent: Response
Suzanne G. Cusick: Response
Annegret Fauser: Response
Ralph P. Locke: Response
Jürg Stenzl: Response
Rose Rosengard Subotnik: Response
Andrew DellAntonio: Closing Remarks
Stefano Castelvecchi: Closing Remarks
Round Table 4: Historiography
John Deathridge: Music Historiography, Critical Theory, and Other Tales
Michael Fend: The Problem of the French Revolution in Music Historiography and History
Fabrizio Della Seta: Difficoltà della storiographia dell'opera italiana
Reinhard Strohm: Collapsing the Dialectic: The Enlightenment Tradition in Music and its Critics
Round Table 5: Sociology
Christian Kaden: Music and Sociology: Perspectives, Horizons
Philip V. Bohlman: Ethnomusicology and Music Sociology
Ruth Finnegan: Musical Practices and Hidden Musicians: A Perspective from Sociology and Anthropology
Volker Kalisch: Music from an Anthropological Perspective
Tullia Magrini: From Music-Makers to Virtual Singers: New Musics and Puzzled Scholars
Peter J. Martin: Music and Cultural Practices
Mario Vieira de Carvalho: The Sociology of Music as Self-Critical Musicology
Bibliography
Round Table 6: Philosophy
Lewis Rowell: New Music and Philosophy
Peter Kivy: Absolute Music and the New Musicology
Eero Tarasti: Signs and Trancendence
Ruth Katz: Authenticity, Interpretation, and Practice: Probing Their Limits
Naomi Cumming: Response: Four Philosophies of Musical Interpretation
Round Table 7: Cultural Politics
Philip Brett: Musicology and Sexuality: The Example of Edward J. Dent
Arthur Nestrovski: Beethoven's Ironies
Deborah Wong: Ethnography, Ethnomusicology, and Post-White Theory
PART 3: REPORTS ON STUDY SESSIONS
Carolyn Gianturco: Music in Tuscany: Past Research and Future Projects
Rudolf Rasch: The Circulation of Music in Europe 1700-1850
--: Music and/as Ethics
Eric Jas: The Dating and Chronology of the Works of Josquin des Prez
Dai Griffiths: Musicology, Popuar Music Studies, and Political Economy; Musicology, Popular Music Studies, and Cultural Geography; Musicology, Popular Music Studies, and the Interpretative Sciences
Peter Bloom: Berlioz et autour de Berlioz: Un artiste en son temps
Robert Stevenson: Portuguese Musical Outreach: Five Centuries
José Bowen: Research in Music Performance: New Methods and Tools
Elizabeth Tolbert: Feminist Epistemologies in Ethnomusicology
Philip Olleson: Musicology and Biography
Franco Piperno: Opera Orchestras in Eighteenth- and Nineteenth-Century Europe
Peter Walls: The Early Violin
Maria Anna Harley: Auditory Scene Analysis: Future Directions for Musicological Research
Roman Hankeln: Chant and Liturgy: Compositional Planning in Liturgical Chant
Ann Buckley: Music Iconography: Transmission and Transformation of Symbolic Images
William Weber: Repertory and Canon: The Dynamics of Canon Formation, 1700-1870
John Kmetz & Keith Polk: Perspectives on Instrumental Music of the Late Fifteenth and Early Sixteenth Centuries
Sarah McCleave: Theatrical Dance and Music, 1650-1850
Alastair Borthwick: British Music Since Britten
Márta Grabócz: Semiotics, Structural Semantics, Rhetoric: Musical Language Sciences in Contemporary Musicology
John Rink: Interpreting Performance: Chopin-Playing in Perspective
Ingrid Monson: Theorizing the Transnational
--: Sense and Sonority in Aquitanian Polyphony and the Conductus
Laurence Libin: The Evolution of Musical Instruments
Bernard Schmid: Der Mensuralcodex St Emmeram (Clm 14274): Eine zentrale Quelle für die Musik Mitteleuropas im 15. Jahrhundert und musikalischen, liturgischen, und theologischen Voraussetzungen
David Charlton: Opéra et mélodrame en France, 1800-30: Une enquête sur les genres
Michael Noone: Music, Politics, and Patronage in Spanish and Portuguese Dominions in the Early Modern Period
Barbara Haggh: Chant and Analysis: Where Are We, and Where Do We Go?
--: Musicology, Popular Music Studies, and the Interpretative Sciences
John B. Howard: Musical Data and Computer Applications
John Koster: Keyboard Organology: Past, Present, and Future
Cornelia Szabó-Knotik: Kulturelle Traditionen in Mitteleuropa: Musikleben zwischen Zentralismus und regionaler Spezifik am Beispiel der Rolle von Vereinen
Richard Parncutt: Implications for Mainstream Musicology of Recent Research in Music Cognition
Myriam Chimènes: La vie musicale sous Vichy, 1940-1944
Charles T. Downey: Chant and Palaeography
Mieczyslaw Tomaszewski: Music between East and West: The Work of Lutoslawski, Penderecki, and Górecki in the context of Culture and History
Timan Seebass: Musicology and Art History
Nicholas Cook: Theorizing Mixed Media
Horst Weber: To the Ends of the Earth: Refugee Musicians in East Asia and Latin America, 1933-1945
Richard Sherr: The History of the Papal Chapel
Franco Carmelo Greco: Rapporti tra testo, musica e scena nello spettacolo a Napoli nel Settecento
John Harper: The Early Sixteenth-Century Organ in England: Its Form, Music, and Place in the Liturgy
Jeffrey Nussbaum: Contexts for Brass: History, Performance, Culture
Catherine Parsons Smith: Race and Culture in the Aesthetics of William Grant Still (1895-1978)
Karl Kügle: Redefining the Low Countries
Neal Zaslaw: Recent Mozart Research and Der neue Köchel
Penelope Gouk: Music, Healing, and Culture: Towards a Comparative Perspective
Karen Painter: Facism and Music
John B. Howard: New Methods, New Visions: Computational Initiatives for a New Millennium
PART 4: ABSTRACTS OF FREE PAPERS
Session 1: Liturgy and Homiletics
Peter Jeffery: The Emerging Chant Repertory in Early Roman Sermons and Commentaries (Fifth-Seventh Centuries)
Susan Boynton: The Influence of Homiletic and Exegetical Literature on the Fleury Lament of Rachel
Olivier Cullin: Le vocabulaire de la psalmodie dans Règle de St Benoît, à la lumière des données musicales traditionnelles
Mitchell P. Brauner: How to Build an Alleluia
Kay Brainerd Slocum: History and Liturgy: The Historia of Thomas Becket
Session 2: The Historiography of Early Music
Claudio Annibaldi: Towards a Theory of Musical Patronage in the Rennaisance and Baroque Eras: A Proposal between Anthropology and Semiotics
Sebastan Klotz: Inaudible Efforts, Labeur des doigts, and the Monumentalizing Impulse: Towards a Sociology of Musical Auctoritas in Francophone Europe, 1200-1600
Linda Phyllis Austern: Music in Seventeenth-Century Emblem Books: Mass Manipulation of Cultural Values
Vivian S. Ramalingam: Artusi's Rage: Fear and Loathing in the Prima prattica
Bonnie Gordon: Enemies of Love: Staging Female Excess in Monteverdi's Il ballo delle ingrate
Jeffrey Kurtzman: A Jungian Perspective on Monteverdi's Late Madrigals
Study Session 3: Eighteenth-Century Opera
Wendy Heller: The Rhetoric of the Enlightened Hero: Gender and Operatic Reforms in Early Eighteenth-Century Italy
Marie Cornaz: Les éditions parisiennes de livrets d'opéras et leur contrefaçon bruxelloise dans le seconde moitié du XVIIIe siècle
Wye J. Allanbrook: Trembley's Polyp and the Natural History of Opera buffa
Marita P. McClymonds: Alfieri and the Transformation of Opera Seria
Caryl L. Clark: The London Opera of Joseph Haydn: Loss, Lament, and Lieto fine
Session 4: Broadcasting and the Media
Rose M. Theresa: Opera Studies, Film Studies: Gounod's Faust and the History of Early French Cinema
Nathan E. MacBrien: A Spectre-World Cuts Through Our Space: Early German Radio Criticism and the Listening Subject
Julio Arce Bueno: Unión Radio: Música, communicación e ideología
Juan P. Arregui: La zarzuela como material ideológico en el cine y la televisión 1940-70
Jenny Doctor: New Music on the New Third: Exploring BBC Music Policies and Practices in the Post-War Decade
Juanita Karpf: When Teaching Ten Thousand was Not Enough: E. Azali Hackley and African-American Music Journalism
Session 5: Early Polyphony
Manuel Pedro Ferreira: Is it Polyphony?
Elizabeth Aubrey: The Medieval Motet in Occitania and the Occitanian Motet
Mary E. Wolinski: The Study of Pigments in Medieval Manuscripts
Alice V. Clark: Secular-Song Tenors and the Fourteenth-Century Motet
Elizabeth Leach: Added Contratenors in the Ballades of Gullaume de Machaut
Session 6: The Sixteenth-Century Tradition
Bernadette Nelson: Sacred Music at the Court of Fernando de Aragón, Duke of Calabria: The Context of Barcelona M. 1166/1967 and a Parody Mass on Josquin's Inviolata
Luminita Aluas: Laura, Laura, Laurels: Strategies of Multiplication in Petrarch and Marenzio
Donna Cardamone Jackson: Carnival and Carne vale: Orlando di Lasso and Roman Courtesans
Laura Macy: Music in the Tragedia spirituale
Eugene Casjen Cramer: The Masses Salve regina and O magnum misterium: New Light on Victoria's Parody Technique
Session 7: Analysis of Nineteenth-Century Music
Zohar Eitan: Registral Direction and Melodic Implication
Jeremiah W. McGrann: An Exegisis of the Kyrie from Beethoven's Mass in C, Op. 86
Suzannah Clark: Nineteenth-Century Hallmark, Theoretical Problem: Third Relations in Schubert's Unfinished and Beethoven's Waldstein
Peter A. Hoyt: Rossini as Master of Instrumental Composition: Bonifazio Asioli's Analysis of the Sinfonia from Le cenerentola
Frank Samarotto: Brahms the Autumnal: Cyclical and Progressive Structures and Meanings in Im Herbst, Op. 104, No. 5
Session 8: Methodologies
Jonathan Stock: Ethnomusicologies of the West: Questions of Perspective and Scope
Harry White: American Musicology and the Archives of Eden
Suk Won Yi: Problems in the Application of Linguistic/Semiotic Priciples to Music
Tia DeNora: Music in Action: The View from Sociology
Willem Erauw: 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
M. Jennifer Bloxham: The Wedding of Pious and Profane: A Cultural Context for the Chanson Mass
Andrew Kirkman: Musical Life at the Collegiate Church of Saint-Omer, Northern France, c.1460-1504
Jeffrey Dean: The Meaning of Okeghem's Intemerata dei mater
Sean Gallagher: Obrecht's Anchises: Virgilian Allusion in Mille quingentis
Emilio Ros-Fábregas: The Controversial Indentity of an Iberian Poet-Musician of the Renaissance: Badajoz el musico
Session 10: Baroque Sacred Music
William Summers: Music in the Cathedral of Manila: Evidence for the First Two Centuries from the Archdiocesan Archive
Javier Suárez-Pajares: Modelos de financiación de música en las catedrales españolas: Formas e implicaciones
Greta J. Olson: Music, Ritual, and the Writings of Teodosio Herrera y Bonilla (1652-1734)
Miguel-A. Marín: The Sounding City: Urban History and Music in Baroque Jaén
Alicia González de Buitrago García: Icongrafia musical en la tarasca barroca madrileña: Algunos ejemplos representativos
Juan Ruiz Jiménez: 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
Eva Öhrström: Salon, Gender, and Musical Culture in Sweden around 1800
Kathryn L. Reichard: Chladni as Musician Manqué
Janet Johnson: Byron and the Poetics of Berlioz's Harold Symphony
Judith Etzion: Música sabia: The Reception of Classical Music in Madrid (c.1830-1870)
Thomas Christensen: Four-Hand Transcription: Changing Performing Spaces and Genres
James A. Deaville: Early Nineteenth-Century Virtuosity and its Public: Power, Gender, and Class in the Concert Hall
Session 12: New Music
Nancy Perloff: The Visual Language of American Experimental Music
Jeongwon Joe: Roland Barthes's Text and Aleatory Music: Is The Birth of the Reader the Birth of the Listener?
Paul Attinello: Imploding the System: Kagel and the Deconstruction of Modernism
Susanna Pasticci: Can Literary Criticism Contribute to the Study of Musical Borrowing? The Case of Twentieth-Century Italian Music
Didier Guigue: An Object-Orientated Analysis of Twentieth-Century Piano Music
Elena Markova & Vladimir Mironov: Musical-Historical Conceptions in the Light of the Systematic Approach
Session 13: Early Theory and Music
C. Matthew Balensuela: Law as a Sister Discipline of Music in the Middle Ages and Renaissance
Nancy van Deusen: Time out of Time: Eternity as a Thirteenth-Century Philisophical Issue Exemplified in Music
Gabriella Ilnitchi: Ordo naturalis in Eleventh-Century Theoretical Systems
Charles M. Atkinson: Glosses on Music and Grammar and the Advent of Music-Writing in the West
Session 14: Music and Society Around 1700
Georgia Cowart: Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the Sun King, 1697-1710
Albert Cohen: Musicians, Amateurs, and Collectors: Early French Auction Catalogues as Musical Sources
M. Elizabeth C. Bartlet: Queen Marie Leczinska as Patron of Music: Opera and Chamber Music at the Court of Louis XV
Pablo-L. Rodríguez: The Personal Network: A Sociological Approach to Imported Villancico Texts and Music Supply at Segovia Cathedral (1650-1700)
Cristina Bordas: Collecting and Enlightenment: Musical Instruments in the Natural History Cabinet of Charles III of Spain (1759-88)
Session 15: Nineteenth-Century Topics
Michael Strasser: Virtue, Reform, and Pure Music in Second Empire Paris
Hiromi Hoshino: Felix Mendelssohn Bartholdys geistliche Vokalmusik: Eine Versuch ihrer chronologischen und stilistischen Einordnung
Roberta Montemorra Marvin: The Stornello and its Popularity in Ottocento Italy
Daniel Beller-McKenna: Apocalypse (Now?): Politics in the Sacred Music of Johann Brahms
Firoozeh Khazrai: Orientalism in Borodin's Prince Igor
Stephen McClatchie: Canonizing the Dutchman: Wagnerism and Der fliegende Holländer
Session 16: Technology and Systematic Musicology
Frank Pecquet: Music and Technology
Eugene L. Szonntagh: Did Greco-Roman Hydraules have Keyboards?
Youn Kim: The Applicability of Psychological Methods in the Study of Musical Rhythm
Marie-Cécile Barras: Acoustique musicale et musicologie: L'apport de l'outil acoustique dans l'analyse perceptive
Mario H.A. Koppers: Stochastic Analysis and Music Predictability
Denis Collins and Andrew Schloss: 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
Alessandra Martina: Retorica e tragedia per musica: L'Iphigénie en Aulide di Gluck (1774)
Gluck's L'Iphigénie en Aulide (1774-5): Reception and RevisionDaniel Heartz:
Bruce Alan Brown: Les rêveries renouvelées des Grecs: Facture, Function, and Performance Practice in a Vaudeville Parody of Gluck's Iphigénie en Tauride (1779)
Sheryl Zukowski: Gluck in the Age of Living Reproduction: Fin-de-siècle Critics Speak on Antiquarian Opera
Monika Hennemann: Romantic Music Aesthetics and its Literary Origins in the Writings of Karl Philipp Moritz
James Haar: Gothic Architecture and Baroque Polyphony: A Romantic Blend
Session 18: The Eighteenth-Century Tradition
Ernest Harriss II: Rediscovered East-European Sources of Hasse's Sacred Music
Donald Burrows: Reading the Metre: Verse Forms in Oratorio Librettos written for Handel by Charles Jennens and Thomas Morell
Jean-Paul Montagnier: Musicology, Politics, and Heraldy: The Te deum: A State Motet at the Time of Louis XIV and Louis XV
Stefan Eckert: Riepel, Leibniz, and the Ars combinatoria in Seventeenth- and Eighteenth-Century Musical Thought
Session 19: Early Twentieth Century
Elliott Antokoletz: Musical Symbolism in the Operas of Debussy and Bartók
Judit Frigyesi: Loneliness and Love: The Literary Context of Béla Bartók's Bluebeard's Castle
Thomas P. Gordon: David: Stravinsky's Music-Hall Ballet
Beat A. Föllmi: Schönberg ist Theosoph: Anmerkungen zu einer wenig beachteten Beziehung
Hermann Danuser: Schönbergs Vortagsideal rekonstruiert anhand einer Quelle zu op. 10
Christan Hauer: Objectifs et méthodes d'une herméneutique de la création et de la réception musicales
Session 20: Ethnology
Regula Burckhardt Qureshi: Interrogating Musicological Otherness in India: Madan-ul-Mausiqi as a Mine of Music History
Eduardo Correia: White Facts about Blacks: Interculturalism, Music Education, and Identity in South Africa
M. Erturul Bayraktarkatal: Der Tonartbegriff in der traditionellen türkischen Musik
Lulu Huang Chang: Oral Traditions and Performance Practices in the Encyclopedia Jiu gong da chen nan bei ci gong pu, Collections of Southern and Northern Chinese Songs
Ayako Tatsumura: Objectification of Music and the Domination of Nature (Naturbeherrschung): T. W. Adorno's Theory in the Light of Comparative Music Aesthetics
Ramón Pelinski: The Body in Music
Session 21: Renaissance Source Studies
Jessie Ann Owens: Identifying Composer Autographs in Pre-1600 Manuscripts
Murray Steib: In the Workshop of a Late-Medieval Editor: Johannes Martini and the Manuscript I-MOe ?.M.1.13
Fabrice Fitch: The Structure of the Chigi Codex: An Enigma Resolved
Susan Jackson: Who is Katherine? The Women of the Berg & Neuber-Gerlach-Kauffmann Printing Dynasty
Royston Gustavson: The Printing of the Novum et insigne opus musicum (RISM 1537/1 and RISM 1538/3)
Janet Pollack: Parthenia: A Paradigmatic Epithalamion
Session 22: Opera Around 1700
Annibale Cetrangolo: Comisión nobiliaria en la circulación de la ópera italiana en Iberoamérica en los primeros años des siglo XVIII
John Koegel: A New Source of Seventeenth-Century Spanish Theatre Music from Mexico City
Jose-Máximo Leza: Between the Market and the Public Institution: The First Spanish Opera Company in the Commercial Theatres in Madrid during the Eighteenth Century
Andrea Bombi: Italian Opera and/in Spanish Theatres: Francesco Corradini in Valencia (1727-31)
Bertil H. van Boer, Jr: Sacrilege, Power Politics, and Lèse-majesté: The Political Uses of Opera in Eighteenth-Century Gustavian Sweden
Session 23: Twentieth-Century Topics
Zoltan Roman: (Musical) Jugendstil Revisited: Interspecific Conceptual Modelling and the Turn-of-the-Century Peripheral Artsong
Sue Plumlee Taylor: The Piano in Gustav Mahler's Um Mitternacht: Invention or Error?
K. M. Knittel: To the Jew a Foreign Tongue: Mahler's Orchestrations as a Sign of Difference
Hugh Macdonald: Machine Music
Francis Maes: Rose R. and Emilia Marty: The Representation of the Human Experience of Time in Janácêk's The Makropoulos Affair
Michael Christoforidis: Magic, Ritual, and Mystery in the Poetic Conception of Manuel de Falla's Music
Session 24: Jazz and Pop
Barry Kernfeld: What is Jazz, and How Might Scholars Write About It?
Paul S. Machlin: As Fats Waller Tells It: It's a Sin to Tell a Lie
Philomeen Lelieveldt: We are Not Hurdy-Gurdies: Musicians in a Changing Music World
Ken McLeod: Operatic Intersections with Rock Music: Popularizing Opera
Theo Cateforis: Punk, Funk, Dub, and Disco: British Post-Funk and the Avant-Garde Groove
Session 25: Seventeenth-Century Topics
Kate van Orden: Music and Military Virtue in Early Modern France: The Equestrian Ballet
Don Harrán: Guido Casoni (d. 1642) on Love as Music, a Theme for All Seasons
Kimberlyn Montford: Music of Devotion in Counter-Reformation Rome: Borboni's Musicali concenti
JoAnn Taricani: Behind the Dragon's Mask: Hidden Political Music of the Restoration
Maria Sanhuesa Fonseca: Baroque, musique, littérature: La nouvelle espagnole du XVII siècle, genre littéraire et source musicologique
Session 26: Eighteenth-Century Instrumental Music
Dennis C. Monk: The String Quartets of Franz Asplmayr and their Relationship to the Development of Haydn's String-Quartet Style
Janet Page: Trumpets, Feldmusik, Continuity, and Hierarchy: Music and the Imperial Procession during the Reign of Maria Theresia
John A. Rice: Empress Maria Therese of Austria as Musician and Musical Patron
Dorothea Link: The Hofkapelle under Joseph II and Mozart's Appointment
Eugene K. Wolf: Title, Function, and the Concept of Genre: The Earliest True Symphonies
Session 27: Nineteenth-Century Opera
Denise P. Gallo: Bellini and his Music as Political Symbol
Mary Ann Smart: Mimesis and Hysteria in La muette de Portici
Kerry Murphy: Issues in the Reception of Meyerbeer's Les Huguenots
Jarmila Gabrielová: Music-Literature-Theatre-History: A New Approach to Nineteenth-Century Czech Opera
Ursula Kramer: Che bella cosa scrivere a tre voci: Verdi's Use of the Trio Form (Musical, Dramatic, and Aesthetic Conception)
Helen Greenwald: Beyond Exoticism: Cio-Cio-Sans Screen and the Uses of Convention
Session 28: Transnationalism
Ann L. Silverberg: Musicology and Missiology
Joyce Z. Lindorff: Chinese Politics and Western Musicians in China: A Reflection on Contemporary Exchanges versus Experiences of the Eighteenth-Century Musician-Priests
Tatsuhiko Itoh: The Iwakura Missions Encounters with Western Music and their Consequence
Margarita Mazo: Russian Roots, American Branches: Music in Cognate Cultures
Janna Kniazeva: 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
Honey Meconi: Interdisciplinary Objects: the Case of Hildegard Bingen
Catherine Jeffreys: Rhetorical Chant? The Relationship between Music and Text in the Repertory of Hildegard of Bingen
Margot Fassler: Hildegard's Ordo virtutum: Musical Rhetoric and Monastic Education
Session 30: Early Dance
Barbara Sparti: Would You Like to Dance this Frottola? Choreographic Concordances in Two Early Sixteenth-Century (Tuscan?) Sources
Jennifer Nevile: The Travelling Dance-Band: Patterns of Transmission of Dance and Music in Fifeteenth-Century Europe
G.Yvonne Kendall: The Myth of Stylized Dance
Session 31: Early Twentieth-Century USA
Philip Lambert: Revising Ives
John Andrew Johnson: DuBose Heyward's Drafts for the Porgy Story as Cultural Politics
Teresa Davidian: Ruth Crawford Seeger and John Cage: New Connections between Two American Originals
Session 32: Early Twentieth-Century France
Brian J. Hart: The Symphony as Political Tool in Early Twentieth-Century France
Jane F. Fulcher: French Political Ideology as Performative Context: The Concert by World War I
Carl B. Schmidt: Poulenc and the Painters: The Influence of Art and Artists on his Life and Music
Session 33: Renaissance Theory
Leonora Saavedra: On the One and the Many: Conflicting Ontologies of Sound in Late Fifteenth-Century Music Theory
Walter Kurt Kreyzig: Musica theorica and Musica practica im Lichte der Studia humanitatis: Astronomie und Medizin als Grundlage und Rechtfertigung für Franchino Gaffurios Porportionendenken
Dietrich Helms: Compositio levis et utilis: Simple Formulas as Substitutes for Counterpoint Studies in the Teaching of Composition around 1500
Ryszard J. Wieczorek: Zwischen der Musiktheorie und Poetik der Renaissance: Decorum
Stefano Mengozzi: Glareanus and Vasari: Two Competing Views of Historical Progress from Late Renaissance Europe
Wolfgang Freis: Theories, Proof, and Dissent in Spanish Music Theory, 1508-77
Session 34: Schubert and Song
Eva Badura-Skoda: Schubert Iconography: New and Problematic Issues
Morten Solvik: Franz Schubert and the Liederspiel: From the Kosegarten Cycle to Die schöne Müllerin
Rita Steblin: Schubert's Activities in the Unsinnsgesellschaft (1817-18): New Literary and Iconographical Documents
Jürgen Thym: Schubert's Free Verse Setting
Annegret Huber: Die Gedichte der schwäbischen Dichterin Friederike Robert in den Vertonungen von Fanny Hensel
Robert Toft: Performing Purcell's Mad Bess in Late Eighteenth- and Early Ninettenth-Century England
Session 35: Music and Literature: Twentieth Century
Marco della Sciucca: Indagando la musicalità della poesia di Gabriele dAnnunzio: Il Poema paradisiac
Raymond Fearn: Faustus, Mephistopheles and Gretchen? The Significance of Thomas Mann in the Music of Luigi Dallapiccola 1947-55
Michael Maier: Ghost Trio: Die Musik in Samuel Becketts dramatischem Spätwerk
Barbara Milewski and Bret Werb: Es lebe Kulturkampf!: Polish Parody Songs from Nazi Concentration Camps
Elizabeth Kertesz: At Home and Abroad: The Critical Reception of Ethel Smyth's Operas in England and Germany
Larissa Kirillina: Alexander Mikhailov as Musicologist
Session 36: Nationalism
Melita Milin: General Histories of Music and the Place of the European Periphery
Urve Lippus: Baltic Music-History Writing: Problems and Perspectives
Jean-Marie Jacono and Arnolds Klotin: Le révision de Boris Godounov par le compositeur Letton Melngailis (1924): Premiers éléments sur une version inconnue de l'opéra de Moussorgski
Teresa Cascudo: Some Premisses for the Study of Peripheral Musical Nationalism in the Twentieth Century: Fernando Lopes-Graÿa and the Problem of Tradition in Contemporay Portuguese Music
Joaquina Labajo: How Musicological and Ethnomusicological is Spanish Flamenco?
PART 5: ABSTRACTS OF POSTER SESSIONS
Session 1: Analytical Applications
James Borders: The Antiphons for the Consecration of Virgins and the Changing Role of Plainchant in the Middle Ages
Patricia Hall and William Koseluk: Computer Applications to Sketch Studies: A Database with Image Access for Berg's Sketches for Wozzeck
Daniel C. Jacobson: Multimedia Environments for the Study of Musical Structure
Deron L. McGee: Knowledge-Based Stimulations: Technological Tools for Music Research
Michael Schiano: Toward a Model for Background Motivic Structure
Rainer Zillhardt: Computer Applications and Visual Aids for a Historically Orientated Structural Analysis of Pitches
Session 2: New Computer Applications in Musicology
Peter Desain and Henkjan Honing: POCO: Tools for Analysing, Modifying, and Generating Performance Expression in Music
Ichiro Fujinaga: An Adaptive Optical Music Recognition System
Petri Toivianen and Mauri Kaipainen: Music, Memory, and Time
Piet G. Vos and Erwin W. Van Geenen: A Parallel Processing Key-Finding Model: Strucure and Applications
Session 3: Databases
Sergio Durante: Lessico italiano della didattica vocale
Marco Giuliani: Villanelle alla napolitana e canzonette alla romana
Klaus Keil: RISM A/II CD-ROM
Paul R. Laird: Hispanic Music Archive and Library Project
Dolores Liaño Pedreira: Colleción musical: Fondo Canuto Berea (archivo y partituras) de la Biblioteca de la Diputación Provincial de La Coruña (España)
Jurij Snoj: An Antiphonal from Kranj: Analytical Approach to its Contents
Carol Steyn and Morné Bezuidenhout: The Grey Collection of the South African Library, Cape Town: Studies of Western Plainchant Sources in South Africa
Session 4: Multimedia
Jordi Ballester: Shepherd-Musicians in Catalano-Aragonese Iconography from the Fourteenth and Fifteenth Centuries
Michael Meckna: How did Harry James Make us Love him?
Robert Riggs and Mary Riggs: The Third Symphony of Gustav Mahler: Ballet by John Neumeier
Michael Saffle: Music Criticism Today
Emma Zevik and Chen Zhong: The Duangong: A Qian Shaman
Acknowledgements
Index of Contributors

Reviews

... a huge amount of useful information throughout. Music and Letters The book's strengths lie in its inclusiveness as a record of IMS 1997, for which the organizers and editor are to be congratulated. Music and Letters ... all the book's diversity of contents complements its general sense of challenge to ingrained thinking and openness to a scholarly world in which inclusivity appears to matter. Classical Music