Musicology and Sister Disciplines: Past, Present, Future. Proceedings of the 16th International Congress of the International Musicological Society, London, 1997

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
• Irene Deliege: 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 Lindstrom 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
• Jurg 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: Difficolta 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
• Jose 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
• Marta Grabocz: 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 fur die Musik Mitteleuropas im 15. Jahrhundert und musikalischen, liturgischen, und theologischen Voraussetzungen
• David Charlton: Opera et melodrame en France, 1800-30: Une enquete 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 Szabo-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 Chimenes: 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 Gorecki 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 Kugle: Redefining the Low Countries
• Neal Zaslaw: Recent Mozart Research and Der neue Kochel
• 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 Regle de St Benoit, a la lumiere des donnees 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 editions parisiennes de livrets d'operas et leur contrefacon bruxelloise dans le seconde moitie du XVIIIe siecle
• 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: Union Radio: Musica, communicacion e ideologia
• Juan P. Arregui: La zarzuela como material ideologico en el cine y la television 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 Aragon, 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-Fabregas: 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 Suarez-Pajares: Modelos de financiacion de musica en las catedrales espanolas: Formas e implicaciones
• Greta J. Olson: Music, Ritual, and the Writings of Teodosio Herrera y Bonilla (1652-1734)
• Miguel-A. Marin: The Sounding City: Urban History and Music in Baroque Jaen
• Alicia Gonzalez de Buitrago Garcia: Icongrafia musical en la tarasca barroca madrilena: Algunos ejemplos representativos
• Juan Ruiz Jimenez: 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 Ohrstrom: Salon, Gender, and Musical Culture in Sweden around 1800
• Kathryn L. Reichard: Chladni as Musician Manque
• Janet Johnson: Byron and the Poetics of Berlioz's Harold Symphony
• Judith Etzion: Musica 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 Opera 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. Rodriguez: 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 Hollander
• 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-Cecile 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'Iphigenie en Aulide di Gluck (1774)
• Gluck's L'Iphigenie en Aulide (1774-5): Reception and RevisionDaniel Heartz:
• Bruce Alan Brown: Les reveries renouvelees des Grecs: Facture, Function, and Performance Practice in a Vaudeville Parody of Gluck's Iphigenie en Tauride (1779)
• Sheryl Zukowski: Gluck in the Age of Living Reproduction: Fin-de-siecle 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 Bartok
• Judit Frigyesi: Loneliness and Love: The Literary Context of Bela Bartok's Bluebeard's Castle
• Thomas P. Gordon: David: Stravinsky's Music-Hall Ballet
• Beat A. Follmi: Schonberg ist Theosoph: Anmerkungen zu einer wenig beachteten Beziehung
• Hermann Danuser: Schonbergs Vortagsideal rekonstruiert anhand einer Quelle zu op. 10
• Christan Hauer: Objectifs et methodes d'une hermeneutique de la creation et de la reception 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 turkischen 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
• Ramon 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: Comision nobiliaria en la circulacion de la opera italiana en Iberoamerica en los primeros anos des siglo XVIII
• John Koegel: A New Source of Seventeenth-Century Spanish Theatre Music from Mexico City
• Jose-Maximo 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 Lese-majeste: 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 Janacek'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 Harran: 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, litterature: La nouvelle espagnole du XVII siecle, genre litteraire 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 Gabrielova: 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 fur 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 schone Mullerin
• Rita Steblin: Schubert's Activities in the Unsinnsgesellschaft (1817-18): New Literary and Iconographical Documents
• Jurgen Thym: Schubert's Free Verse Setting
• Annegret Huber: Die Gedichte der schwabischen 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 musicalita 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 Spatwerk
• 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 revision de Boris Godounov par le compositeur Letton Melngailis (1924): Premiers elements sur une version inconnue de l'opera de Moussorgski
• Teresa Cascudo: 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
• 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 Liano Pedreira: Collecion musical: Fondo Canuto Berea (archivo y partituras) de la Biblioteca de la Diputacion Provincial de La Coruna (Espana)
• Jurij Snoj: An Antiphonal from Kranj: Analytical Approach to its Contents
• Carol Steyn and Morne 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