Historical Musicology: A Reference Manual for Research in Music 0313205485, 9780313205484

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Historical Musicology

Wissenschaftliche Abhandlungen Nr. 4

Musicological Studies No. 4

Historical M usicology A REFERENCE

MANUAL

FOR

RESEARCH

IN

MUSIC

by

LINCOLN

BUNCE

SPIESS

with articles by ERNST TU der ER TATSUO

CG Av

ROHN)

—

ELOY DeHEE

tt IM ERs a

MINAGAWA

-

SPAIN Ge ZDENEK

BERD OWE

eS EU)

NOVACEK

GREENWOOD PRESS, PUBLISHERS WESTPORT, CONNECTICUT

Library of Congress

Cataloging

Spiess,

Bunce.

Lincoln

Historical

in Publication

Data

musicology.

Reprint of the 1963 ed. published by the Institute of Mediaeval Misic, Brooklyn, which was issued as no. } in series: Musicological studies. Includes bibliographies and indexes. 1. Musicology. 2. Music--Bibliography. I. Title. II. Series: Institute of Mediaeval Misic, Brooklyn.

Wissenschaftliche

[ML3797-S7 ISBN

1980]

0-313-20548-5

Abhandlungen

780'.01

(lib.

; Bd. 4.

78-50147

bdg.)

This is a reprint of the second printing of the first edition. Reprinted with the permission of Institute of Mediaeval Music Ltd. Reprinted in 1980 by Greenwood Press A division of Congressional Information Service, Inc.

88 Post Road West, Westport, Connecticut 06881 Printed in the United States of America

MO) Ghtes Wey Sy Gh By ak jl

PREFACE

Historical musicology, the study of the development of music in Western culture, provides the major and common professional course of study for musicologists in the United States of America and Western Europe. Since proper research techniques are developed more through the practice of investigation than through the mastery of substantive information, a text devoted to historical musicology must take more the form of a vademecum, a guide to students and instructors, than a self-contained repository of complete information. The present manual presents in its first part an introduction to the problems of research in the various chronological epochs of Western musical culture and includes a large assortment of topics as suggestions for term papers or seminar reports. The class research problems are usually more general, argumentative, and of wider interest and importance involving speculative judgments; the individual research problems are more precise, demonstrable, and of specific interest and importance involving objective

findings. The second part presents a selective bibliography of studies directly related to the topics at hand; entries have been chosen with consideration of

comprehensiveness, availability, and language. Space is provided at the end of each section of the bibliography for the addition of further titles as they become available or pertinent. The various appendices provide: I.

an appraisal of the development of musicology in the modern historical tradition,

2. 3.

an appreciation of the topic of the doctoral dissertation in musicology, astudy of the four principal non-English languages of musicology, French, German,

4. 5.

Italian, and Latin,

a glossary of basic musicological terms in Chinese and Japanese which are written in ideograms rather than in interstices with Latin letters, and a survey of the important contributions and current literature of Slavic countries.

In the numbered bibliographic entries, information about the publisher has been reduced; more complete information regarding the publisher and place of publication is given in the Index of Publishers. Where a publisher has moved, only his present address is given; thus, Breitkopf & Hartel which prior to 1945 published in Leipzig is now listed in Wiesbaden. Since the Index of Publishers gives the addresses of current publishers (and of successor firms when known), cities are given in the language of the country or section of the country where applicable, except 1. Belgian cities are given in French and Flemish, 2. Finnish cities are given in Finnish and Swedish, and 3. StraBburg in France and Freiburg in Switzerland, cities close to the linguistic borders, are given in their German form rather than Strasbourg or Fribourg. No notice has been taken of the attempted changes of names of Russian cities by the

UNI

VI

Preface

present régime in Russia. Hyphens are not used to connect different individuals or entries even where this is common practice elsewhere, e.g. instead of Morehouse-Gorham,

we have listed Morehouse

& Gorham.

In the Index of Names, all proper names found in the course of this book are listed and located either by bibliographic entry number or by page, except 1) publishers unless otherwise significant, and 2) names of characters in musical works, e.g. Tristan or Pelléas. Compound names are listed under each significant component; e.g. Fuller-Maitland is listed under Ff and M. Definite and indefinite articles are generally not taken into consideration in determining alphabetical arrangements except in the case of Arabic names. The transliteration of cyrillic characters from Russian and Bulgarian into Latin letters is meaningful only if it produces an unambiguous image of the original. The presence of other Slavic languages which use Latin letters does provide a basis for transliteration, but differences among these orthographies also add some

confusion,

since the Slovene

will use v and y, where

the Pole

uses w and 7. Transliteration, if it is to be meaningful, must render each character by an unique sign. Pronunciation must follow according to the rules of the language in question; accordingly, the transliterated forms used in this manual attempt to portray more the image of the original, e.g. Ilpoxo@ses as Prokofhjew, rather than the rendition of the approximate pronunciation in English as Prahkoffyef; such a rendition as Prokofief is neither flesh nor fowl since it does not distinguish the pronunciation of the unaccented and accented o’s while suggesting that the two f’s, indicate the same symbol in the original. Accordingly, the following system is used consistently except in direct quotations and bibliographic entries not originally in cyrillic: Ewe @) A ja Peemn|c 3

©

um au Oo

i, y (for wit) j, y (for uit) oO

Ké

jo

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ju

B b B WwW rg, v (Genitive) Ay

Gl

K* Z Ch Vi, Keak in

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sts

b h Ea

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* Following the consonants >, u, 4, m, and iw, the jotated written as a, e, 0, and u, as occasionally otherwise.

vowels

are

Preface

Titles

VII

and

names

in Arabic,

Bulgarian,

Chinese,

Japanese,

and

Russian

are given I) in their usual orthography, 2) in transliteration, and where applicable 3) in English translation. Translations into English of Czechoslovakian, Polish, and Yugoslavian titles are also provided for convenience. Certain arbitrary decisions were made for philological reasons. Our preference of the form Handel to Handel is a case in point. Two issues proved decisive in this instance, 1) the obscuring of the etymological significance of the name and consequently the paternity (Handel springs from Middle, not South Germany), and 2) the possible misrepresentation of the pronunciation of the name, especially since another composer, Handl, is also important musically. Diacritics form part of English orthography and are desirable since they tend to clarify the etymology and pronunciation of many words; for example, the circumflex in vdle immediately suggests that a syllable has been suppressed, and that the word is related to rotulus and rotula.

a

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TABLE

OF CONTENTS

PREFACE

PART

I - INTRODUCTION

Chapter I - BIBLIOGRAPHY

AND

THE

Introductory Research Problems

Chapter II - MUSICOLOGY RENAISSANCE.

AND

HISTORICAL

MUSICOLOGIST

.

THE

MIDDLE

AGES

AND

Class Research Problems Individual Research Problems .

Chapter III - MUSICOLOGY Class Research Individual

AND

BAROQUE

THE

CLASSIC

ERA.

Problems

Research

Problems

Chapter IV - MUSICOLOGY ROMANTIC

THE .

AND

AND

THE

PERIODS

Class Research Problems Individual Research Problems .

Chapter Vv - MUSICOLOGY

AND

THE

TWENTIETH

CENTURY

Class Research Problems Individual

PART A.

Research

Problems

.

II - BIBLIOGRAPHY

GENERAL

BIBLIOGRAPHY

IN

MUSICOLOGY

1. Reference Works a. General Reference Publications . . Language Dictionaries . Music Dictionaries and Encyclopedias

.

. Bibliographical Reference Works in Music. . Catalogues “ot 50 Oi

of Libraries and Special Manuscripts and First Editions .

f. Thematic Catalogues . g. Surveys of Musicology h. Miscellaneous

Reference

Works

.

2. Music Histories a. Short Histories of Music

.

b. General Histories of Music

TP

c. Histories Devoted to Special Categories

Collections;

Bibliographies

of

Table

60

. Countries and Geographical Areas

2. Media and Forms

of contents

.

61

anes

62

3. Style, Technique, Performance, Theor and Criticism

63

d. Histories of Notation, and Palaeography . Collections of Music

64

a. Introductory Anthologies

b. Historical Editions (Denkmdler)

Fe

at

:

c. Complete Editions or Collected Works of Individual perce

65 76

. Theoretical Works

a. Modern

89

Editions of Theoretical Sources

gI

b. Studies of Theoretical Materials. . Periodicals and Collections of Articles

a. Major Musicological Periodicals

gI

b. Proceedings (KongreBberichte)

94

c. Yearbooks (Jahrbiicher)

ee

96

d. Collected Essays in Honor of One Individual (Festschriften)

97 100

e.. Miscellaneous

. Recorded

ee

a

.

Music

a. Reference Works

103

.

104

b. Historical Record Collections . Histories of Related Arts, Culture, and Religion

a. Surveys and Studies

104

b. Source Materials

105

. Addenda

106

B.

BIBLIOGRAPHY

OF

C.

BIBLIOGRAPHY

OF

ibe

ANCIENT

AND

MEDIAEVAL

ORIENTAL

AND

107

MUSIC

RENAISSANCE

MUSIC

Historical Studies :

108

b. The Middle Ages

a. General

108

c. The Renaissance

108

. Monographs on Individual Composers and Theorists

109

. Original Historical and Theoretical Writings

IIo

.

. Studies of Specific Categories a. Notation b. Instruments

c. Vocal Music

EL2

and Instrumental

Music

LEZ

Table

XI

of contents

113

1. Plainsong 2. Troubadours, Trouvéres, and Minnesinger 3. Polyphonic Music

II3

.

114

.

5. Related Arts and Cultural Studies

114

.

6. Music a.

II5

General Collections

b . Plainsong

II5

cs Troubadours, Trouvéres, and Minnesinger .

116

d . Polyphonic Music (1100-1400) 1. Notre-Dame Period (circa 1150 - circa 1225)

LO

2. Thirteenth Century

117

3. Fourteenth Century e.

118

Vocal Music (1400-1640)

.

118

fe Instrumental Music (1450-1625) .

120

7. Addenda D-

i2ZE

BIBLIOGRAPHY

OF

BAROOUE

MUSIC

2

Historical Studies

122

Zs

Monographs on Individual Composers and Theorists

E22

124

Be Original Historical and Theoretical Writings . . Studies of Specific Categories a. Ornamentation,

Interpretation,

126

and Performance

127

b. Instruments and Instrumental Music Cc.

127

Opera

. Related

Arts and Cultural

127

Studies .

. Music a.

Collections of Organ Music

b . Collections of Clavier Music

128 128

.

128

Cr Collections of Vocal Music d . Collections of Music of an Individual Composer

129

1. Organ 2. Clavier

130

:

3. Chamber Music

130

4. Opera and Solo Song

ieeyai

5. Choral Music

132 133

7. Addenda E.

BIBLIOGRAPHY

OF

1. Historical Studies

CLASSIC

AND

ROMANTIC

MUSIC

134

of contents

Table

XII

2. Monographs on Individual Composers and Theorists 3. Original Historical and Theoretical Writings.

.

.

entra

ton

.

.

.

.

-

-

134

.

.

-

-

.

-

138

4. Studies of Specific Categories as Performancerand) Criticisr

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bicArt. Somes

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Part

1- INTRODUCTION

Chapter

I - BIBLIOGRAPHY

AND

THE

HISTORICAL

MUSICOLOGIST

One individual cannot today know the entire literature of music or the entire bibliography of the whole field of music. The area is enormous, and one lifetime is hardly sufficient to obtain detailed knowledge of all the present books on music and publications of music. We can, however, come to know the most important publications and how to locate such additional information and material as occasion might demand. We can also, by becoming specialists, develop a reasonably exhaustive knowledge in one or more regions of specialization. The publications and manuscript materials of past centuries present the twentieth-century musicologist with a mass of such scope that one can no longer “take all knowledge to be one’s province,” as Francis Bacon once wrote in the latter years of a far simpler age. One may specialize (and one should in this twentieth century) but, even in specialization, musicological “knowledge” is not so much an amassing of enormous amounts of fact and figure as it is an understanding of how and where to learn more. To apply this basic principle is far better than attempting to learn the shape, color, and contents of every book of or about music. This is the basic reason for making a study of bibliography and learning how to use the volumes which librarians so carefully and lovingly order, arrange, and catalogue for our benefit. An understanding of the use of bibliographical materials, complete editions, musical Denkmaler, periodicals, etc., can best be achieved empirically, 7.e., by actually doing research. No amount of rules for learning the aims and methods of bibliographical musicology will really teach one the fundamentals of research. Research itself requires patience and an infinite capacity for persistent and unrelenting investigation: the patience to be exhaustively thorough and the persistence to continue until an entire subject has been completely explored. A few basic principles may be indicated regarding bibliography. In general, dictionaries and encyclopedias provide our first source of information. In these, we find basic facts and definitions, as well as concise surveys of subject material. Most good dictionaries and encyclopedias will also provide bibliographical references. Histories of music and histories of special categories provide our second source of information. Music histories are able to present a more extensive discussion and correlation of facts than is possible in the confines of most dictionaries. Since histories vary greatly in quality, it is always wise to consult more than one. Periodical articles provide our third source of information, and it is there that we most often find the latest information on a subject. The music itself is most important for almost any research problem; it is the ultimate source of information. Regardless of the amount of writing that may have been done on a subject, the music is the final, irreducible arbiter of fact. It may be in the form of monumental editions, complete works of a single composer, original editions, early prints, or manuscripts. Microfilm and

2

Bibliography

and the historical musicologist

photostatic reproduction enable us to consult rare editions and manuscripts which are not immediately at our disposal. In addition to these four sources, there are other bibliographical areas, such as biography and theory. Ethnomusicology (formerly called “comparative musicology”), hymnology, and liturgics also are of value to the historical musicologist, and are allied in one way or another to music history. We shall be concerned only with the most essential bibliography in these areas. One often finds the best writing on a subject written by an author from the country in question. For example, the best writing on the early sixteenthcentury English composers John Redford and Robert Fayrfax is apt to be in a modern English publication such as the fifth edition of Grove’s Dictionary. However, national biases and prejudices are often present in such an author’s writing. One must consequently be wary of remarks if there has been a traditional historic antipathy between nationalities. Fortunately, the unbiased approach is becoming more and more universal and, generally, the more recent a publication the more completely impartial it can be expected to be. Conversely, one must expect more bias with earlier writings. Scholarship has become increasingly exhaustive and exacting in the twentieth century. This suggests the principle that the more recent the date the more reliable and the more scholarly the publication is likely to be. For that reason, any information that one reads must be conditioned to some extent by the date of the publication of the work at hand. Not only will a more recent date tend to indicate a work of better scholarship (though not invariably so), but also one which may include the results of the most recent research on a subject. Hence, a new book or the latest edition of a dictionary or history of music would be the best publication to investigate. This should not be taken to mean that older editions consequently have no further value (or conversely, that all new publications must necessarily be faultless). In many cases, an earlier edition is a classic of its sort and will always have some value. The first two volumes of the original Oxford History of Music (1901-1905), “The Polyphonic Period” by H.E. Wooldridge, are a notable instance of this; Wooldridge’s pioneering investigation and literary style will always make these two volumes valuable. Another such instance is J. N. Forkel’s early biography of J.S. Bach, which will always be of inestimable worth, in spite of its deficiencies, because of Forkel’s proximity to Bach’s own lifetime. (Of course, an original edition or manuscript has a totally different value for the musicologist, and this temporal principle does not apply.) One often tends to accept the printed word as truth. The question arises, of course, as to what extent one can rely on a given source and how one can detect inaccuracies. The most basic defense is simply not to rely on a single source, particularly if there is any possible suspicion of inexactitude. Typo-

Bibliography and the historical musicologist

3

graphical errors are easily corrected by a comparison with another source. The

problem

becomes

greater,

however,

if the

mistake

results

from

the

perpetuation of an error on the part of an earlier, well-known, and accepted authority. In this case, an original source may have to be examined to discover the correct information. The most common errors fortunately are those that slip by the proof reader; where a date is particularly vital to an investigation, it is always advisable to check it in one or two other books. Typographical errors involving numbers are most frequent, though the mistake is often obvious to the reader. For example, in a brief article ! by this writer, Leoninus was mentioned as writing about 1160, and Perotinus, his immediate successor

at Notre Dame, as writing about 1290! The misprint is painfully obvious, and should of course have been 1190. Until the end of the 1920’s, German scholarship was accepted as the most thorough, exhaustive, and extensive, with French scholarship a close second.

There was some fine scholarly work from specific English, Italian, and Spanish musicologists; American scholarship was, in the main, superficial. Since the Second World War, there has been an important shift in musicology. A far larger percentage of the best scholarship is being done in the English language, much of it in the United States. The future seems to indicate that many countries will provide their share of first-rate musicological studies and editions. Hence, more languages are becoming important for research. This, of course, complicates the problems of the musicologist. Much fine scholarship is now emerging from countries which, before the war, were relatively inactive. Holland has begun to produce important works about music, as well as important editions of early Franco-Flemish composers. Spain has lately been producing some splendid editions of a monumental nature, and Latin America is beginning to show signs of scholarly activity. Russia is producing important complete editions of the major Russian composers. The periodical, Sowyetskaja Muziika (Cosemcxan Mysviwxa) gives us an insight into the state of music in present-day Russia. Most major research, however, is still being published in English, German, French, and Italian. These languages, together with Latin, are stiJ] the irreducible minimum for musicological study. We are now on the verge of a golden age of musicology. Excellent studies, often definitive in their areas, are appearing in profusion in various languages ; historical monuments and complete editions are emerging with challenging frequency. The result is a serious problem for most music library budgets. A music library must keep abreast of new publications, because important editions often go quickly out of print and become difficult to obtain. In spite of its seemingly vast bibliography, musicology is still a young discipline, and 1 Cf. the Journal of the American Musicological Society, vi1I (1954), p. 46.

Bibliography and the historical musicologist

4

the amount of work yet to be done is far vaster than the material already available in print. Even in a supposedly explored and exhausted field such as the nineteenth century, there is much to be done. The young musicologist who feels that there is not much left to be done in music might be likened to a certain employee of the U.S. Patent Office in the nineteenth century, who resigned because he felt that everything had been discovered and patented.

INTRODUCTORY

RESEARCH

PROBLEMS

I

Note: For each of the following problems, do not simply look up a single article in a dictionary, but read a variety of references on the subject so that you can become acquainted with the relative merits of and the type of information available in different reference works; cf. especially sections 1 and 2 in the General Bibliography in Musicology, pp. 45-64. . Boéthius and music. . St. Ambrose’s achievements in music. . Isidor of Sevilla and the seventh-century Renaissance. The works attributed to Hucbald. . Musical and theoretical sources for the Notre-Dame School. “Anonymous Iv” as a source for our understanding of the music of the wWNH Duh thirteenth century. 7. The troubadour-trouvére movement: its forms and its composers.

8. 9. O. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

The “Mass of Tournai.” The origin of the term, “Ars nova.” The isorhythmic motet: its structure and significance. The “Coronation (?) Mass” of Machaut as a milestone in the history of the polyphonic mass. The Italian trecento madrigal: its structure and its composers. The importance of the “Old Hall Manuscript.” The Trent Codices: their contents and their significance. The composers represented in the Odhecaton. John Redford’s place in keyboard music. The origin of the hymn tune, Ein’ feste Burg. Vers mesuré and its literary origins Ricercare and canzona compared. Bach’s Passions: extant and lost settings.

Introductory research problems

5

21. The very earliest operas, through 1608: a listing based on authoritative opera dictionaries. 22. The origins of the cinquecento madrigal.

II

Note: In exploring large collections of music and editions of theoretical sources, such as are listed in sections 3 and 4 of the General Bibliography in Musicology, indices in the edition itself or in “thematic catalogues” (cf. section 1-f of the General Bibliography in Musicology) and entries in the more recent dictionaries can be most helpful; cf. especially the article “Editions, historical” in W. Apel, Harvard Dictionary of Music, Harvard University, 1944 and A. H. Heyer, Historical Sets, Collected Editions and Monuments of Music, Chicago: American Library Association, 1957. 1. The Symphoniae sacrae of Heinrich Schiitz: cantatas or motets? . Availability of the music of Andrea and Giovanni Gabriel. . Extant operas of Monteverdi. Roman opera and Stefano Landi’s San Alessio in modern editions. . Elizabethan composers in modern editions. The musical forms used by J. S. Bach for organ and clavier. Beethoven’s compositions for the organ. . Brahms’ compositions for four hands for one or two pianofortes. . The philosophical and the intangible in the titles of Frangois Couperin’s CO ANAWN ON harpsichord works. HH [o) . A comparison of the external nature of the Casimiri and Haberl editions of the music of Palestrina. 11. Pergolesi’s operas in modern editions. 12. The Venetian influence in the works of Praetorius. 13. Modern editions of the following mediaeval treatises (in Latin and in translation) : a. Musica enchiriadss. b. Discantus positio vulgaris. c. Ad Organum faciendum. d. “Anonymous Iv.” 14. Composers for whom there is a complete edition (in process of realization or completed) in the Corpus mensurabilis musicae. 15. Investigate the complete orchestral scores of the following in the Denkmdaler

der Tonkunst in Osterreich: a. Cesti: [1 Pomo d’oro. b. Gluck: Orfeo ed Euridice (original edition).

Bibliography and the historical musicologist

16. Investigate the following in the Denkmaler der Tonkunst in Bayern:

a. Hans Leo HaBler’s Madrigali a 5, 6, 7, e 8 voct (1596). b. Symphonies by composers of the “Mannheim School” ( 3 vols.). 17. Investigate the complete orchestral scores of the following in the Denkmdler deutscher Tonkunst: a. Hasse: La Conversione di Sant’ Agostino. b. J.C. F. Bach: Die Kindheit Jesu and Die Auferweckung Lazarus. 18. Investigate the following in the edition enclosed in parentheses: a. The Antiphonarium ambrosianum (Paléographie musicale). b. The complete works of John Dunstable (Musica britannica). c. Machaut’s La Messe de Nostre Dame (Opera omnia and Polyphonic Music of the Fourteenth Century).

III

Note: Information for the following problems should be gathered from articles in periodicals; lists of pertinent articles can be obtained from the bibliographies in E. Krohn, The History of Music: An Index... of Musicological Publications, Washington University, 1952; W.. Apel, Harvard Dictionary of Music, Harvard University,

1944;

T. Baker,

Brographical

Dictionary,

5th

ed.

G. Schirmer,

1958; the Music Index Annual Cumulation, Information Service, 1949 ff.; and W. Schmieder, Bibliographie des Mustkschrifttums, Hofmeister, 1936ff.

. Mediaeval Polyphony: a. Polyphony before 1100. b. Polyphony in the twelfth century. c. The thirteenth-century motet. . The Italian trecento. . The lute in the cultural life of the High Renaissance. Dramatic music of the English Restoration. G. B. Sammartini. . Russian opera in the nineteenth century. . American composers civca 1900. . The Art Song since 1900. . Charles Ives. DN ANAW DY OO . Berg’s operas. . Walter Piston. lem’NH lel lol . Younger composers, whose work seems significant, since 1950.

in articles written

Chapter II - MUSICOLOGY MIDDLE

AGES

AND AND

THE RENAISSANCE

The Middle Ages and the Renaissance are certainly the most challenging areas for the research student in musicology. We are just beginning to understand the music of the Middle Ages, and our interest in the Renaissance is still of comparatively recent date. The twentieth-century mind has far greater sympathy with the mediaeval arts than with the romantic ideology of the nineteenth century. One can see this most strikingly in the visual arts, where, in our own time, the element of distortion shows an obvious parallel to mediaeval art. There are linguistic and notational prerequisites to working in the mediaeval and Renaissance areas. The student who is acquiring a basic understanding of musicology in order to become a better musician may find himself held back by deficiencies in these areas. The student who hopes to go on to advanced research, however, must overcome

these obstacles at least as far as necessary

for his own field of research. Perhaps the primary obstacle is that of language. For any serious work in original sources a working knowledge of Church Latin (mediaeval Latin) is essential; it is some slight consolation to know that mediaeval Latin is somewhat simpler than the classica] language and certainly more akin to a modern language in many respects. Besides Latin, some acquaintance may be required with one or more of several other languages, such as Greek, mediaeval French, fourteenth-century Italian, or pre-Luther German. All of these language barriers become surprisingly less awesome when one is thoroughly interested in the spirit of the period and its music. Nevertheless, this problem is present and one must be aware of its existence. The language problem for research in the Renaissance is comparable to that of the mediaeval period, though there will be generally less dependence on Latin and more opportunity for work in the modern languages. Nevertheless, the difference is one of degree rather than of kind. It is, of course, the era when theoretical works begin to be written to some extent in the vernacular — for example, such works as Zarlino’s [stitutiont armoniche (1558) and Schlick’s Spiegel der Orgelmacher und Organisten (1511). On the other hand, Michael Praetorius, writing in the early seventeenth century, still used Latin for the first volume of his Syntagma Musicum (1615-1620); the other two volumes are in German. A study of notation is almost as basic to work in the Middle Ages and Renaissance as are linguistic studies. Certainly, no matter how much material may seem to be available in modern edition when one starts an investigation, sooner or later one will wish to refer to manuscripts or original editions, and an understanding of the notation will be essential. In music of the Renaissance, this research may only involve the checking of an occasional controversial point with an original vza microfilm ;in mediaeval music, extensive transcribing

Musicology and the middle ages and renaissance

8

from photostats or microfilms may be involved, because less music 1s available in modern edition. Acquiring an understanding of notation is a skill somewhat akin to learning a language. There is a “vocabulary” of signs and symbols which can be learned mechanically and quickly, but, as with a language, the understanding of the vocabulary in context takes much patient practice. In studying the Middle Ages, the student does not have at hand all of the easy “aids to navigation” that are available for later periods. He must largely lay out his course through uncharted seas. To locate a suspected reference to polyphonic music, he may skim through the entire works of Alcuin — in Latin — only to discover with dismay that Alcuin made no such reference. Or, having found a major reference to polyphony in a modern edition of an early document, he may check a photostat of the original page only to discover that the ink of the key paragraph is much blacker, and in a different hand, than the remainder of the page, obviously indicating a much later date than the balance of the manuscript. The most basic principle of mediaeval research is that one must have infinite patience. Also one should have infinite time. If patience and enthusiasm are present, the reward is a first-hand acquaintance and an understanding of a period akin in spirit in many unsuspected ways to our own time. The Renaissance at first glance seems more explored than the Middle Ages. There are complete editions of many of the major figures so that we can obtain a detailed understanding of the style and sound of the music. Yet there is much that still needs to be done, for there was in the Renaissance a vastly greater number of composers, and a far greater outpouring of music with each successive century as the Middle Ages waned and the Renaissance gathered momentum. There are many lesser composers whose music is all but untouched. Even with better known composers, we often must discuss their musical achievements on the basis of modern editions of a few isolated compositions. We have, for example, no “complete works” of Andrea

Gabrieli, who exerted

such an important influence in the rise of music in Venice. The scholar approaching the Renaissance will have no difficulty in finding a wide selection of composers from whom to choose. The scholar has perhaps more contact with manuscript materials when working with mediaeval and Renaissance music than with later periods. Most research with original sources is done via microfilm or photostatic copies. In procuring copies of needed sources from European libraries, only microfilm or photostatic copying methods should generally be expected. A more recent method known as “microcarding” is not so generally used, but should be mentioned because of the extensive collection of original source materials made available in this manner by the Sibley Music Library of the Eastman School of Music in Rochester,

New

York.

The

newer

micro-reproduction

methods,

Musicology and the middle ages and renaissance

9

such as microcarding and microprinting, are primarily publication devices and are not (so far as this author knows) used for reproducing manuscript materials on the request of a single scholar. The microcard system is a photographic method and could feasibly be used for such purposes. The microprint system is very recent and is primarily a method of printing in very fine type rather than a photographic reproduction system. In either case, microcard reading machines, microprint reading machines, and “universal” readers for both types are available in most libraries. In ordering a copy of a manuscript or a first edition, the choice of microfilm or photostatic copy is primarily a matter of preference on the part of the scholar. Modern. microfilm readers are of excellent quality and usually not tiring on the eyes. The cost of microfilm is much less than that of photostatic copies. A photostat may be more desirable if one expects to work for long periods on one manuscript. When ordering microfilm, it is usually wise to specify negative copies since one can easily have a positive photostatic copy made if it should prove necessary. When a photostatic copy is ordered directly from the original manuscript, a negative copy will give the best clarity. If a positive photostat is ordered, a negative film in most cases would be made first, from which the positive photostat would be printed. The enlargement from the small film, while adequate for most purposes, might well obscure some minute detail of the manuscript essential to transcription. To order a photographic reproduction from a European library, one should write directly to the library owning the original. If the identifying number of the manuscript is obtained from the Fitner Quellenlexicon, the name of the library should be checked against a more modern reference work (cf. Grove’s Dictionary of Music and Musicians, fifth edition, “Libraries”). Exact street addresses should be used whenever possible (cf. The Libraries, Museums, and Art Galleries Year Book, No. [8] infra), and communications are best sent by air mail. The length of time involved in finally obtaining a microfilm will vary greatly, but generally at least a month should be expected, and it is not unusual to wait six months for a film; much depends on the individual library. Materials from the British Museum and the Biblioteca Vaticana usually arrive in about a month; those from the Bibliotheque Nationale in Paris take longer. At the start of one’s introduction to advanced research, some division of the wide chronological scope of musical development from earliest Christian times to the opening of the seventeenth century is necessary. We might arbitrarily subdivide the Middle Ages and Renaissance into three broad chronological areas, as follows:

1. The Earlier Middle Ages (from the decline of Rome to the ninth century). ul. The Later Middle Ages (the tenth through the fourteenth centuries).

Musicology and the middle ages and renaissance

10

i. The Renaissance (the fifteenth and sixteenth centuries). The “Earlier Middle Ages” is predominantly the period of monophonic plainsong; the “Later Middle Ages” is dominated by the emergence of polyphony and the crystallization of a clear notation; and the “Renaissance” is the period of the perfected polyphonic style. The “Earlier Middle Ages” presents two divisions of source materials: 1) theoretical writings and 2) manuscripts of plainsong. Research in plainsong manuscripts is complicated by the vague nature of the neumatic notation, which will severely limit the study of such sources for most incipient musicologists. Original theoretical writings of this period are more accessible; even when one concentrates on later periods, there is frequent occasion to consult the vast storehouse of original Latin writings for clarification of some question or to test a point in dispute. Consultation and study of such sources will not necessarily be confined to works of musical theorists; many important but brief remarks which offer significant evidence for musical theory will be found in non-musical documents. For this reason, the musicologist must be familiar with the monumental collections of mediaeval writings, such as the Patrologia latina, the Historiae Francorum scriptores, or the Historrae Germanorum scriptores. One should also be aware that there are individual modern publications of the Latin writings of various important mediaeval authors, such as the Opera omnza of Isidorus, or the Epistolae of Alcuin. The “Later Middle Ages” with its emergence of polyphony is particularly attractive for research. It is an area where many of the problems of notation can

be overcome,

and

it is,

at

the

moment,

the

current

“frontier”

in

musicology’s march backwards in historical time to rediscover our musical heritage. The principal and most needed research in this period involves the transcription of musical manuscripts. The music of the period has already emerged just sufficiently to kindle the interest of the twentieth-century performer. In the actual performance, one discovers with pleasant amazement that this music is not just of “historical interest,” but has a breath of life as viable as the most recent work of a Hindemith, a Copland, or a Britten. It enriches our understanding of the mediaeval individual as a living soul with aesthetic

originality and drive, with

artistic gifts and human

weaknesses,

a

human personality little different from his twentieth-century counterpart. The mediaeval man comes to life in his music, quite as much as in his visual arts. With the Renaissance, more music is available in modern edition and much

more research has been done. Nevertheless, the Renaissance presents a vastly greater amount of music than had existed before the fifteenth century, so that there is still a surprisingly large sweep of material yet to be explored. We must not be misled by the wide selection of several major sixteenth-century composers. The lesser composers are still neglected, if not untouched, and even

Musicology and the middle ages and renaissance

II

some of the major figures are still little known, except for a few isolated pieces. We hear a great deal, for example, of the important influence of the Venetians

in the early seventeenth century, and yet their choral works, which are supposed to have been a major factor in this influence, are still available only to a limited degree in new editions. The Renaissance offers wide possibilities for research: definitive studies of such music as has been published, 2. transcription of music that has hitherto been unavailable in modern edition, and 3. study of theoretical works in vernacular sources as well as in Latin. The choice of subject in each area is wide, if not infinite, and the only real limitation is the curiosity and imagination of the student. The area of interest for mediaeval or Renaissance research will vary with each individual, but one simple principle should always be followed in selecting a subject for study: one must always have a deep interest and an abiding enthusiasm for the chosen subject of investigation. To a certain extent, enthusiasm and interest will develop with the study of the subject.

CLASS

RESEARCH

PROBLEMS

1. The nascent liturgical drama: Quem quaeritis in facsimile and modern transcription. 2. St. Isidorus Hispalensis: editions of his works with particular reference to his works on music. 3. Arabian music and its influence on mediaeval Europe: studies and documents. 4. Byzantine music and ancient Greek music: relative availability of musical materials. 5. The Liber usualis: its arrangement and organization,

II

1. Pope John xxv on polyphony: in modern edition and translation. 2. The availability of Notre Dame organa in modern edition, facsimile, and transcription. 3. The availability of late fourteenth-century polyphony. 4. Editions of Machaut’s Mass and their comparative merits.

.

12

Musicology and the middle ages and renaissance

5. Facsimile publications of major manuscripts of the thirteenth, fourteenth, and early fifteenth centuries. 6. Songs and texts of the troubadours, trowvéeres, and Minnesinger in facsimile and transcription. 7. Discant, descant, diaphony, and organum: a problem in definitions.

Ill

1. Lesser composers of the fifteenth century not yet published in complete editions. 2. The court of Burgundy in music: a survey of modern publications. 3. The chorale and psalm: original collections and modern facsimiles, from 1524 to 1640. 4. Petrucci prints in facsimile and transcription. 5. Significant sixteenth-century composers whose music is only partially published. 6. Sixteenth-century composers whose works merit an opera omnia beyond those in print or in preparation. 7. Ienaissance instrumental music in modern editions. a. English keyboard music b. Continental keyboard music cw Lute music d. Ensemble music 8. Important theoretical writings in the vernacular, 1500 to 1620.

INDIVIDUAL

RESEARCH

PROBLEMS

A. Mediaeval and Renaissance Notation

Note: A study of notation is the key to any advanced work in the Middle Ages or Renaissance and is perhaps the best way for a beginner in research to obtain the “feel” of mediaeval and Renaissance sources. The works by Apel [336] and by J. Wolf [345-6], and the article “Notation” in Die Mustk in Geschichte und Gegenwart are basic for this area.

1. Significant differences between Gregorian notation and modern notation, together with a survey of editions of Gregorian chant. 2. The Dasian notation of the Enchiriadis sources. 3. Conductus notation in the Notre-Dame sources. 4. Notre-Dame motet notation.

Individual research problems

13

Motet notation in the Montpellier Codex. MeFranco’s innovations in notation. Las-Huelgas-Codex notation: advances and retrogressions in relation to earlier manuscripts. Notational advances in the early fourteenth century. Early fifteenth-century choral notation and sources. . Sixteenth-century white choral notation. . English keyboard notation (sixteenth century). re Italian keyboard notation (sixteenth century).

r2. German keyboard tablature notation (fifteenth century). 14. Spanish keyboard tablature notation (sixteenth century). 15. Lute tablature notation. B. Mediaeval and Renaissance Instruments and Instrumental Music 1g

. . . .

.

. . .

The bowed stringed instruments from csbLyJ) (Al-Farabi) to Niccold Amati. a. From Arabian origins to the fifteenth century. b. From fifteenth-century viols to Amati. Plucked stringed instruments of the Middle Ages and Renaissance (lute, dulcimer, psaltery, harp, etc.). Keyboard instruments of the Middle Ages and the Renaissance other than the organ (clavichord, spinet or virginals, organistrum). The organ, its origins and development to the fifteenth century. The organ in the high Renaissance from Schlick to Praetorius. The woodwinds: a. Flute types. b. Double and single reed types. The brasses and the “cornett” family. Bells and carillons to the mid-seventeenth century. Miscellaneous percussion instruments in the Middle Ages and the Renaissance.

. . . . . . . .

Preserved instrumental music (all media) to 1425. Keyboard music in England, 1400-1600. Spanish keyboard music of the Renaissance. Italian keyboard music to 1600. Keyboard music in France and the Netherlands to circa 1625. Ensemble music for strings in Elizabethan England. Venetian instrumental ensemble music. The recorders, their use and their music in the Middle Ages and the Renaissance.

14

Musicology and the middle ages and renaissance

. The lute as a solo instrument, as an accompanying instrument, and as an ensemble instrument.

Organ music in Germany, 1400-1600. . Instruments in the plays of Shakespeare. . Instrumental forms (7.e., musical architecture) from the Middle Ages to the end of the Renaissance.

. The significance of Arnolt Schlick in keyboard music. The place of John Redford in English keyboard music. Organ music from Perotinus to Praetorius. Instrumental music in Venice under Andrea Gabrieli. Instrumental forms in the English Renaissance. The organ hymn from Schlick to Scheidt. The Spanish lute school. The importance of the transcription in the emergence of the instrumental forms. 30. Ornamentation in pre-Baroque keyboard music. C. Mediaeval and Renaissance Vocal Music. is

The “Landini cadence” in the fifteenth century.

2. Fauxbourdon

in Dunstable’s music.

From Perotinus to Petrus de Cruce: a survey of the style and treatment of the thirteenth-century motet. Isorhythm in the motets of Machaut. The emergence of the free motet in the fifteenth century. Stummtausch as a compositional method and as a source for the technique of imitation, 1200-1300.

. . . . . . . . . .

The canon from Odington to Ockeghem. Free imitation, 1350-1450: compositional devices that add interest by purposely avoiding the strict variety of imitation. Contrapuntal devices prior to Ockeghem. Contrapuntal devices in Ockeghem. Structure and style in the motets of Obrecht. The polyphonic vocal chanson of Josquin as a form and a style. Historical backgrounds for the troubadour movement. Form and style in the trouvére songs. Literary and musical relationships between trowvére and Minnesinger. Rhythm and notation in the trouvére songs. Adam de la Halle: a trowveére ? Relationships between the fourteenth-century chanson and the trouvére songs.

Individual research problems

15

. The final cadence from Leoninus to Lassus. . Obrecht as a secular composer. . The Septem psalmi poenitentiales (“Seven Penitential Psalms” ; Bufpsalmen) of Orlandus Lassus.

. . . . . . . . .

The cantus-firmus mass in the sixteenth century. Art-song elements in the English ayre. The genesis of the Protestant hymn. Tonal instinctin the imitative technique of Palestrina. Ballett and madrigal in England: differences and similarities. Chromaticism in the madrigals of Carlo Gesualdo, principe di Venosa. Relationships between text and music in the English madrigal. Chromatic harmony in the madrigals of Monteverdi. Style and technique in the motets of William Byrd.

Chapter IIIT - MUSICOLOGY

AND

THE

BAROQUE

ERA

The difficulties and obstacles which present themselves in mediaeval and Renaissance research are not present to a comparable degree in the Baroque Era. Some knowledge of notation is still desirable for any work in the seventeenth

century,

but since

most

of the notation

is very

close to our

own,

transcription problems present no complications. (German organ tablatures are perhaps the only exception.) For the study of much of the music of the seventeenth and most of the eighteenth century, one must be able to realize figured and unfigured basses, preferably at the keyboard. As to languages, some knowledge of Latin may be desirable, but the more modern languages — German, French, and Italian — are the necessary language tools here, and these should be standard equipment for any detailed study of this period. Aside from these principal matters, the music of the Baroque, together with its composers, its style and stylistic development, is more familiar to everyone than earlier music, and consequently is less formidable to the incipient musicologist than the music of the Middle Ages or of the Renaissance. The basic difference between mediaeval-Renaissance musicology and Baroque musicology is perhaps this: the former is the most appropriate field for what we might call “pure musicology,” whereas the latter is the field for what we might call “practical musicology.” Much of Baroque research deals with interpretive matters relative to actual performance, whereas mediaevalRenaissance musicology — at least at the present time — still concentrates necessarily on somewhat more fundamental studies, such as the preparation of “scholarly” editions in hitherto untouched and unexplored areas. Admittedly, this generalization has many exceptions and will have even more as music of earlier centuries becomes better known.

Music of the Baroque Era, then, is a

particularly valid area for the performer who has developed an interest in musicology. Though the Baroque Era is ideal perhaps for the performer-musicologist, there are several directions from which well-known scholars in the Baroque field have become recognized authorities on aspects of the Baroque Era. Friedrich Chrysander, the biographer of Georg Friederich Handel and editor of the complete edition of Handel’s works, was essentially a litterateur before becoming a musicologist. Johannes Brahms, a composer of not little renown, was much interested in Baroque music, edited keyboard works of Francois Couperin and was also one of the editors of the complete edition of Rameau’s works. Outstanding concert performers who have published works in “interpretive musicology” of the Baroque include: 1. Albert Schweitzer, whose principal musical efforts are his edition of Bach’s organ works (with C. M. Widor) [1424] and his two-volume study of Bach’s music [1312]; 2. Karl Straube, an outstanding organist of the earlier part of the twentieth

Musicology and the baroque era

17

century whose scholarly editions of Baroque organ music did much to awaken the interest of organists in their heritage; 3. Ralph Kirkpatrick, the well-known harpsichordist, whose recent study of Domenico Scarlatti [1444] is outstanding. What needs are there for Baroque research at the present moment? We might divide the possibilities into two general classes: 1) editions of music, and 2) studies. These can be subdivided as follows: I. Editions of music

. Practical editions for performance. . Opera omnia. Complete editions of a composer’s work in one medium. SS Be GO . Reprints of important original publications (in facsimile and transcription).

II. Studies . Biography. . Studies of the style of the works of an individual composer. Interpretive studies (studies of performance practice). . Survey studies of individual media. Survey studies of individual forms. Sie aS Modern editions of original theoretical works (in facsimile and in Oe translation). In each of these subdivisions above, there are already publications, though in most areas surprisingly few (or at least not enough). The Baroque Era is so extensive in materials that there is still a vast amount yet to be done in every one of the above categories. In the realm of practical editions, the most explored field is that of organ music. Probably because of practical need, more editions of Baroque organ music have appeared over the last half century than for any other medium, yet there are still many untouched areas even there. For example, there are a good many seventeenth-century German organ composers of whose music little is available

for performance,

such as Steigleder,

Reinken,

Tunder to mention a few. Keyboard music (harpsichord, clavichord, pianoforte) has more slowly. There are a few outstanding practical editions, vast areas of the clavier literature still unavailable and only by some of the monumental editions. Performing editions for the chamber player are becoming with editions such as the Organum

Bruhns,

and

been emerging but there are partly filled in more available

series, Nagels Archiv, Hortus musicus and

Musicology and the baroque era

18

the various L’Oiseau Lyre publications; the German publishers particularly have brought out a good variety of performing editions of Baroque chamber music (Peters and Barenreiter editions should be mentioned in particular.) Choral editions for performance, outside of the works of Bach and Handel, are surprisingly scant, though there are a few significant exceptions. Peters as well as Barenreiter have published some distinguished editions of individual works; Music Press of New York, and the Concordia Publishing House of St. Louis have made available some works of such men as Schiitz, Pachelbel,

and Buxtehude. However, there is still a vast, largely unseen and unheard reservoir of Baroque choral music, though the present rate of publication is more and more heartening. The area most weakly represented is solo vocal music. Until very recently, such editions as there were in this medium often represented quite unscholarly editing, particularly in the “realizing” of figured-bass accompaniments with rather elaborate nineteenth-century pianism. In the area of complete editions, there is every indication that we are in the midst of a “golden age,” not only for the Baroque Era, but for composers of all periods. In the last ten years, there has been a very large number of new complete works begun, not to mention the reprinting of older editions. Barring a cataclysmic interruption, scholarship in this area should proceed with some regularity, or even with growing speed, limited only by the usual problem of finding funds to subsidize such worthy projects. A refreshing new tendency parallel to the printed “complete edition” is the emergence of gramophone recordings of complete works, especially for individual media of a given composer, such as the complete organ works of J.S. Bach (on Decca, played by Walcha; on Westminster, played by Weinrich). The undertaking known as Archive Production should also be particularly mentioned. In the realm of studies, biography has the best representation. As desirable and necessary as pure biographical studies are, the study of a composer’s life through his style and works is a much more needed type of approach, and studies of that sort are much

less available.

However,

recent tendencies

are

towards this approach. Several studies of ornamentation are available. There are many other interpretive matters in the performance of Baroque music that are by no means fully clear, and about which scholars often differ. Matters of tempo, of orchestral balance, of the interpretation of certain rhythms (such as the dotted rhythm versus the triplet), and even of ornamentation still require definitive clarification. Surveys are needed of individual media, particularly as they apply to the literature, the stylistic development, and the problems of interpretation of each individual medium.

Musicology and the baroque era

19

Finally, the ultimate sources for many of these studies are the original theoretical documents. These originaJs can usually be obtained on film, but modern editions, particularly with translations, are of immense aid not only to the scholar, but also to the performer. Anyone lacking the time or interest to order a microfilm would find an easily accessible modern edition quite valuable. How should one approach research in the Baroque Era and select a subject for study? First of all, one must have a thorough grounding in the whole Baroque Era as well as that of the Renaissance and the latter eighteenth century. The whole Baroque Era is involved, because of the constant interrelation and the inter-influence between forms and media; a background in the Renaissance is desirable because, in many ways, much of the music of the Baroque Era forms a continuation and crystallization of style, medium, and form of certain aspects of that earlier period; and familiarity with the later eighteenth century because in many areas the Baroque did not end with the death of Bach. With this background, one would apply a simple process of elimination to decide on a subject for research: one may be more interested in vocal or instrumental music or in a specific medium. If one has chosen a particular medium, one may survey 1) the composers for this medium and modern studies devoted to each composer and his music, and 2) editions of any original theoretical] works related to the area as to a) modern reprints and translations, b) original editions [cf. Bukofzer, Music of the Baroque Era, p. 417ff., for an extensive list of original editions of Baroque sources], and c) location of original copies of such of these original editions as are not available in modern reprints [cf. Eitner, Quellenlexicon|. Such a survey will be valuable for later reference, if films or photostats prove necessary,-and will indicate what has been done in the chosen area. A similar eliminative approach may be applied to the music to discover what specific areas have been untouched by modern

savants; from that point on, it is a simple process to decide in which of the specific areas one would find greatest interest. The actual subject and title will emerge after one has gone well into the specific area of study. CLASS

RESEARCH

PROBLEMS

I

1. A survey of biographers of composers of the Baroque Era, together with a list of their chief biographical works. 2. A list of editors of complete editions of Baroque composers, with notations as to the edition or part thereof with which the editor was concerned.

Musicology and the baroque era

20

. Performers and composers who have written outstanding Baroque music and its aspects and problems: a survey.

books

on

EE

. Anthologies of pre-Bach organ music for practical performance: a survey of content

and editorial standards.

. Anthologies of Baroque music for clavier and a comparison of content. . A comparison of modern editions of Das wohltemperierte Klavier as to editorial standards.

. A comparison of editions of the Domenico Scarlatti keyboard sonatas, based on a detailed comparison of selected sonatas. A comparison of the editions of the organ works of Buxtehude as to completeness and editorial standards. A comparison of the editions of the organ works of J.S. Bach as to arrangement (order), editorial standards, and completeness. Locate complete editions of Scheidt’s Tabulatura nova. Current anthologies of vocal solo music of tiie Baroque: a survey, together with a comparison of content and standards of scholarship. Available

performing

editions

of

chamber

music

of

Corelli,

Vivaldi,

Purcell, Buxtehude, and LeClair: a survey. . General choral collections for church-choir use containing generous samplings of Baroque choral music. IC)b- Some outstanding performing editions of individual choral works before Bach and Handel. . Performing editions of the Bach cantatas: an investigation of available cantatas from selected major publishers. Ill

Complete editions of Baroque composers currently in progress. z. A comparison of the various major biographical works dealing with J.S. Bach, considering the relative amount of pure biography as opposed to musical analysis. Studies on ornamentation and interpretation compared as to the extent of coverage, clarity of presentation, and extent of quotation from origina. source materials. Historical surveys of individual media presently in print. aeMajor Baroque and Rococo theoretical sources in modern reprint: a. facsimiles. b. transliterated editions. c. translations.

Class research problems

21

IV

. Significant Baroque composers for whom no complete edition exists or has been announced.

. Important Baroque composers for whom no adequate biographical study has been undertaken.

. Baroque instrumental forms of historical significance for which a definitive study is needed. . Some Baroque media for which no satisfactory historical study exists. . Aspects of Baroque harmonic and contrapuntal texture for which historical studies would be desirable.

INDIVIDUAL

RESEARCH

PROBLEMS

A. General subjects What is “Baroque” in music? 2. Improvisatory elements in Baroque music. 3. Praetorius’ Organographia as a source book for information about Baroque instruments. Music in North America in the eighteenth century. English versus Handelian elements in selected examples of the music of Thomas Augustine Arne and William Boyce.

A We

B. Keyboard music 1. The problem of medium in Bach’s Die Kunst der Fuge. Harpsichord versus clavichord and Das wohltemperterte Klavier. The influence of Buxtehude on J. 5S. Bach’s organ music, as to general stylistic elements and specific thematic relationships. The organ in the Baroque Era. The importance of the Bach family in keyboard music. Michael Praetorius as an organ composer. Second-theme elements in the sonatas of Domenico Scarlatti. Thomas Roseingrave and Domenico Scarlatti: a consideration of Scarlatti’s influence on English music. Form and style in the chorale prelude from Scheidt to Buxtehude. . Form and style in the chorale preludes of J. S. Bach. Formal principles in the toccata from Merulo to Muffat. . The toccata versus the prelude and fugue: an interrelation?

Musicology and the baroque era

22

. . . . . 22.

Chaconne versus passacaglia: a ground for argument. Mordent and trill in keyboard music from I600 to 1750: a study and clarification. Sweelinck’s fantasie: the nascent fugue? Fugal style and technique in Buxtehude. The place of Samuel Scheidt in the emergence of the fugue. Scheidt’s Tabulatura nova and its place in the history of organ music. Ornamentation in keyboard music circa 1750. The style periods of J. S. Bach as seen in his organ and clavier music. Keyboard techniques and devices in Francois Couperin and Domenico Scarlatti as cornerstones in the development of the clavier idiom. The variation form in clavier music from Sweelinck to Bach.

C. Instrumental ensemble music rr The orchestral style of J. S. Bach: a study in the emergence of the orchestra. 2. The importance of Corelli’s Violin Sonatas, Opus 5, in the development of chamber music: a study of style, form, and violin technique. Sources of the concerto grosso idea. A comparison of formal and structural principles in the concerts gross of ee BO Corelli and Vivaldi. Vivaldi’s importance in the emergence of the solo concerto. Bach’s transcriptions as a factor in his stylistic and formal development. The bowed strings of the Baroque Era: viol or violin family? The concerto grosso after 1750. Influences of other composers on Bach’s chamber music. Lully’s orchestra. Wind instruments in Baroque chamber music. 1) The emergence of the figured bass. 13. Orchestral color in Rameau’s operas. I4. The place of LeClair in French chamber music. Tae Monteverdi's innovations affecting the orchestra. Ge) Instruments and instrumentation in the later choral works of Praetorius.

D. Dramatic music and the solo song

Tendencies in Monteverdi's operas which show the development of the aria. Dramatic elements in Handel’s opera arias. From Dowland to Arne: a study of the history of the English solo song. NH BWEnglish ballad opera and its réle in the development of dramatic music of the eighteenth century.

Individual research problems

. . .

. .

17 Tek:

23

Machinery and music: the mechanical versus the musical in Baroque opera. Settings of Milton’s Comus in English dramatic music. The preblem of ornamentation in Baroque vocal music. The development of the da capo aria in the seventeenth century. Intermezzo and intermedio, 1550-1650. Comic interymezzt and their relation to the emergence of opera bu/fa. La Servante maitresse in the emergence of oféra comique. The vocal forms in Italian dramatic music of the seventeenth century. The solo cantata from Caccini to Scarlatti. The solo cantatas of Bach and Handel: a stylistic comparison. Indigenous dramatic music in England from Henry and William Lawes to Thomas Augustine Arne: masque or opera? Stylistic influences in the solo songs of Henry Purcell in Harmonia sacra and Orpheus britannicus. Relationship of text and music in English dramatic music of the Restoration. A stylistic comparison of John Blow’s Venus and Adonis and Purcell’s Dido and Aeneas.

E. Choral music

1. The choral style of Georg Friedrich Handel. N

. Influences in Praetorius’ choral music from the .Wusae Srontae of 1605 to the Puericinium

of 1621.

. The emergence of the German cantata in the seventeenth century. . The choral style of Heinrich Schiitz and its place in the Baroque Era. Choral forms in the works of Schiitz.

. . . . .

Carissimi as an oratorio composer. The Italian oratorio after Carissim1. Handel’s contribution to the development of the oratorio form. Bach’s contributions to the structure of the German cantata. Sacred and secular choral styles before Purcell, with especial reference to William and Henry Lawes, Pelham Humfrey, and John Blow. Henry Purcell’s choral style: a stylistic analysis. The oratorio passion from Schiitz’s Dre steben Worte Jesu Christi am Kreuz to Graun’s Der Tod Jesu: a survey. 14: Cantata elements in the smaller choral works of Schitz. £5; The odes of Purcell and Handel compared as to structural and stylistic similarities and dissimilarities.

Chapter IV - MUSICOLOGY CLASSIC AND

AND THE ROMANTIC

PERIODS

The usual reaction to the idea of research involving the late eighteenth and nineteenth centuries is that one can see little, if anything, left to be done. It is quite true that there are more musical editions and studies available here than for other periods, but it is also true that there was a vast amount of music produced in that century and a half. In proportion to this output, the amount of study devoted to the Classical and Romantic periods is not at all large. There is much yet to be done. What has been accomplished in Classic and Romantic musicology? What areas are still left for research? Let us look first at editions of music, and then

at studies about the music and the composers. One would expect, for the century and a half that produced most of the music of our contemporary concert programs, that complete editions of-all the important composers would be available. This is unfortunately not the case. The publication of a complete edition of the works of Franz Joseph Haydn has been interrupted twice, but now is fortunately being continued. There is no true opera omnia of Wagner, though the most important of his works are available in full orchestral scores. Other composers. whose significance to music literature and history is of prime importance and for whom an ofera omnia is lacking, include such giants as Giuseppe Verdi, César Franck, and Carl Phillip Emanuel Bach. The more important works of these men are available in individual editions, but until complete editions are published, there are always problems of varying significance. (The several versions of the Bruckner symphonies might be mentioned as an example, though in this instance the situation is being corrected.) Certain complete editions are currently in preparation. The complete works of Gluck and of Max Reger were begun quite recently. The Tsajkowsky and Rimsky-Korsakow editions are approaching completion. The speed with which these collections progress depends as much upon the availability of funds as upon the time-consuming labors of an editorial board. In many cases, complete editions published in the nineteenth century leave much to be desired for present-day research, either 1) because of improved research methods or 2) because more music of the composer has come to light, so that the original opera are no longer omnia. The opera omnia of Mendelssohn is an example of this; a restudy of the composer’s life and music is in progress, which, we hope, will lead to a new edition of the music.

Hence, even though much music is available in modern edition, the amount of research yet to be done and editions of music yet to be prepared is still considerable. Complete editions of a composer’s works in a given medium are often quite scholarly, even though performance requirements sometimes dictate more editing than is desirable in a true opera omnia. The complete Schubert

Musicology and the classic and romantic periods

25

songs as published by Peters is a fine example of the scholarly approach to a performing edition. Although biography is the area most extensively subjected to research in the Classic and Romantic Eras, definitive studies still are lacking for many composers. Giuseppe Verdi, until very recently was represented by only a few rather brief biographies, and certainly by nothing comparable to the JahnAbert Mozart,

is now

the Thayer. Beethoven,

or the Kalbeck

corrected with the appearance

Brahms. This situation

of the Abbiati biography. Definitive

source-biographies are still lacking for such men

as Liszt, Schumann,

Weber,

and Wolf. In the field of musical architecture, one would expect that such characteristic forms as the concerto, the string quartet, the sonata, and the symphony would have by now a definitive study. In each instance, some smaller studies are available, but these are often little more than program-notes and rarely involve true historical research. The sonata is probably the most distinctive form-principle of the era, yet not even an introductory study of significance is in print. The same is true of rondo form, which is certainly basic to the period in question. It can thus be seen from this brief survey that there is yet much to be done by way of complete editions, biographies of composers, and studies of musical styles and forms. In recent decades, research efforts have tended to concentrate on earlier and still earlier periods. Now we must begin to reévaluate our knowledge of later periods, lest we gain an exhaustive knowledge of the Middle Ages at the expense of ignorance of the century or so immediately past. The time is at hand for a reappraisal of the music of the Classic and the Romantic Periods in the objective light of contemporary, twentieth-century scholarship.

CLASS

RESEARCH

PROBLEMS

A list of works of Haydn not yet printed in modern editions. Works of Mendelssohn not included in the complete edition. Composers, 1750-1900, for whom no complete edition exists. Composers, 1750-1900, for whom a complete edition is in progress. A basic library of scores of nineteenth-century music in one of the following ae hc kr areas: rob) . Art song. b. Oratorio. c. Organ music. d. Pianoforte music.

Musicology and the classic and romantic periods

26

Note: Publishers’ catalogues should be available for this problem. (Advertisements in any current copy of the Music Library Association, Notes or similar periodical will afford the names and addresses of most standard publishers and dealers.)

No

A comparison of some of the relative merits of the three major biographies of Wagner: by Glasenapp, by Ellis, and by Newman. Comparisons of the three major editions of Wagner’s literary works: a. The Prose Works, edited by Ellis.

b. The original Gesammelte Schriften. c. The Gesamtwerk, edited by Kappl. A comparison of the important biographies of Mozart, with special emphasis on those by Jahn, Jahn-Abert, Wyzewa-Saint-Foix, and Einstein. Some of the principal music critics of the nineteenth century, editions of their writings, and collections of historical readings in music criticism. Editions of collected letters of the major composers, 1750-1900. Editions of the collected writings of nineteenth-century composers other than Wagner.

JUL

. Large nineteenth-century orchestral forms for which no definitive study has appeared. NS . Important forms, used in individual movements of larger forms, for which no definitive study has appeared. Available studies of the larger eighteenth- and nineteenth-century forms and a critical evaluation of their stronger and weaker aspects. Form analyses in print of works of specific composers. . Formal and critical studies of specific compositions of Romantic composers in periodical articles and in volumes of analytical essays and an evaluation of them.

INDIVIDUAL

RESEARCH

PROBLEMS

A. General Ie

Classicism versus Romanticism: two separate styles versus one development; or the argument for a “Classical-Romantic” Period.

logical

Individual research problems

iS) .

German

Romanticism

27

versus

French

Romanticism:

an

aesthetic

com-

parison. Music in the United States, 1750-1900. oe Pre-classicism and Rococo: a study of the origins of the Classic style. Virtuosity in the keyboard music of Liszt: musicality versus showmanship. a. The original works for pianoforte. b. The transcriptions. c. The organ works. Goethe and Schiller as influences on music through their poetry and dramatic works, 1800-1850. . The literary works of PuSkin as an influence on Russian music. . The emergence of nationalism: aesthetics versus politics in music. Nationalism in music before 1900 outside of Russia. The case for (or against) the use of the term “nationalism” in discussing German music of the nineteenth century. . Politics and music in the nineteenth century. . Philosophers and musicians: relations and influences from Rousseau to Nietzsche.

. Unfinished masterpieces from Mozart to Mahler. . The influence of Beethoven in the nineteenth century: inspiration or spectre? . Biography and autobiography from Mozart to Mahler. . The emergence of the public concert. . The emergence of the modern symphony orchestra as an institution in Europe and America. B. Specific composers

Spohr’s place in the development of Romanticism. Ze Weakness and strength in the style and ideas of Hector Berlioz: a study in contrasts. The influence of the sons of Bach in the rise of Classicism. Wagner as a writer: literature or bombast? Wagner as an inventor. Brahms as a musicologist and historian. The extent of the influence of Brahms. aoe Oe César Franck: the decadence of Romantic harmony or the beginning of twentieth-century freedom? An evaluation of Wagner’s place in the development of Romanticism, based on a summation of his achievements. . The stature of Hugo Wolf in forms other than Lieder. I.

Musicology and the classic and romantic periods

28

. Beethoven’s “three periods” as demarcated by the pivotal works. . Influences and periods in Mozart’s stylistic development. Haydn’s style periods and their relationship to his development. Mendelssohn and the renascence of J. S. Bach. . Interrelations of Musorgsky and Rimsky-Korsakow. An evaluation of the music of Max Reger, based on selected works. The influence of Wagner on later nineteenth-century German composers. . Neglected composers of the nineteenth century. . The germination of nationalism: Glinka and Dargomiizsky. . Sir Edward Elgar and the resurgence of English music. . The style of Carl Philip Emanuel Bach. . An evaluation of Tsajkowsky’s music, based on works other than those favored in the concert hall.

. Horatio Parker and Edward MacDowell: a study of selected works with a view to distinguishing European influences from American stylistic elements. 24. Schubert and Schumann: a stylistic comparison of a. Orchestral works. b. Chamber works. c. Pianoforte works. d. Lieder.

e. Choral works. C. Theory and form Me

The sinfonia concertante and the serenade: Period?

. Tristan, Parsifal, and the Gurre-Lieder:

Baroque forms in the Classic

the climax of chromaticism

and

the threshold of atonality. . Chopin’s harmonic innovations. Orchestration from Beethoven to Mahler a. From Beethoven to Berlioz. b. Liszt and Wagner. c. The Post-Romanticists. The “defects” in Brahms’ orchestration. Neo-Baroque and neo-Classic form elements in Brahms. Wagner as a contrapuntist. The fugue in the nineteenth

century.

Modality from Beethoven’s Opus 132 to Debussy’s La Damoiselle élue. Keyboard instruments in the nineteenth-century orchestra. HoH Bes BP Es Musical forms in the piano music of Liszt and Chopin.

Individual research problems

29

oe Beethoven’s codas: a study in the technique and art of development. 1: The question of key in Beethoven’s second themes. I4. The developmental principle in the opening movement of Beethoven’s Opus 2, Number i. Is. The symphonic poem: a problem in formal structure. 16. The rise of the cyclic principle in the nineteenth-century symphony. Tie The variation form in Beethoven and Brahms: a study of the technique - of variation. 18. Brahms’ Variations on a Theme of Haydn: a study of the technique of the

“harmonic” variation. 19. The chaconne and passacaglia in the nineteenth century. 20. Beethoven’s Grofe Fuge. ie The developmental principle in Beethoven, Brahms, and Bruckner:

a

comparison. 22. Orchestration in the symphonies of the Mannheim composers. om Form in the Mannheim symphonies. 24. The orchestration methods of Bruckner and Mahler compared. D. Art song 18,

A survey of the German art song: an introduction to the composers, a survey of their works in the area, and a study of representative examples. a. The eighteenth-century Lied. b. Gluck, Haydn, Mozart, Beethoven, and Schubert. c. Schumann, Franz, Loewe, Mendelssohn, and Liszt. d. Brahms, Wolf, Mahler, and R. StrauB.

. The art. song and its relation to literary developments in Germany and France.

. Literary preferences of art-song composers: a study and survey of the poets and the poetry. . The art song in Russia. . The solo song in England and America, 1700-1900. . The German Lied before 1750, especially in Sperontes’ Die singende Muse Don an der PleiBe (1736), J.S. Bach’s Schemellt Gesangbuch (1736), and the second Notenbiichlein fiir Anna Magdalena Bach (1725). . The relationship of text and music in selected Lieder of C. P. E. Bach, Reichardt, Zelter, and Zumsteeg.

nO: Teh.

The influence of Zumsteeg on Schubert’s songs. Schubert’s innovations in the style and structure of the art song. The place of Wolf in the stylistic development of the art song. The song cycle in nineteenth-century art-song literature.

Musicology and the classic and romantic periods

30

12, The relation of music to text in the ballads of Carl Loewe. 13. Fauré and the French art song before 1900. 14. Schumann and Brahms: a study of similarities and differences in selected Lieder by the two major composers of mid-nineteenth century German art song.

Basic differences between the French and the German art song. Text versus music in the Lieder of Mozart and Beethoven.

15. 16. yh 18.

Form in the art songs of Schubert, Schumann,

Brahms and Wolf.

The influence of text in art song. a. The effect of subject matter on the nature of the art song. b. The effect of language on the vocal line of the art song. 19. What constitutes the “art” of art song? 20. The role of the pianoforte in the development of the art song. E. Choral music

The nineteenth-century cantata and oratorio in England and the United

ie

States, 1850-1910.

2. The influence of Handel in choral music, 1750-1910. 3. The influence of Mendelssohn in the choral music of England and America before 1900. . The mass and requiem from Mozart to Fauré. . Wagner as a choral composer: the choral scenes and choral style in Die Meistersinger and Parsifal. 6. Choral music in Russia from Bortnjansky to Tsjesnokow. . Musorgsky and Rimsky-Korsakow as choral composers: a study of the choral scenes in Boris Godunow

and Sadko.

. . . . .

The oratorio and cantata in France, 1800-1900. German secular choral music in the nineteenth century. The English anthem, 1750-1910. Choral music in America from the Bay Psalm Book to Horatio Parker. Style elements in Haydn’s masses and oratorios: a study of the extent of the influence of Georg Friedrich Handel. ee Mendelssohn’s choral style: elements of strength and weakness. 14. The choral style of Brahms. 15. The liturgical suitability and the choral style of the masses of Bruckner. F. Dramatic music: opera 16,

Opera in Germany, I81o-1gIo. a. German Romantic opera: Weber and his contemporaries.

Individual research problems

b. Wagner and the music drama. c. Post-Wagnerian music drama: Pfitzner. Opera in Italy, 1810-19I0. a. Virtuoso

opera:

31

Humperdinck,

Wolf,

R. StrauB,

and

Rossini, Bellini, and Donizetti.

b. Rise of the dramma in musica: Boito and Verdi. c. Verismo. . Opera in France, 1810-1910. a. French grand opera. b. French lyric opera. c. Realism and naturalism in French opera. Russian opera and its relationship to the beginnings of nationalism. The Gilbert and Sullivan comic operas: their importance and place in the development of English opera. 6. Composers of opera in the United states, czrca 1900. French grand opera: spectacle and virtuosity versus the reforms of Gluck. asGluck and the reform of opera serza. a. Vienna: the works of the first reform period. b. Paris: the French operas. Sources of operatic Romanticism. a. Mozart’s Don Giovanni and Die Zauberflote. b. Beethoven’s Fidelio. c. E. T. A. Hoffmann’s literary and operatic works. a study and comparison of Der Frezschiitz and EO. Weber and Marschner: Hans Heiling. Is opera music? Or, what criteria should be applied in judging the worth 10 of an opera? I Neglected nineteenth-century operas: accident, ignorance, or reason? 13. Origins of the leading motive. 14. French opéva comique: sources, results, and influences.

15. Italian opera buffa before Rossini. 16. TZ: 18. 1G.

20.

The English ballad opera from Pepusch to Sullivan. Mozart’s comic operas and their influence in the reform of opera. The origins and the early development of the S:ngsprel. The emergence of dramatic verity in opera. a. Mozart. b. Musorgsky. c. Verdi. d. Puccini. The emergence of “music drama” as a concept.

Musicology and the classic and romantic periods

32

. . . . .

The interrelation of German Romantic opera and German literature. Wagner’s Die Meistersinger and the principles of music drama. Parsifal: supreme failure or epic drama? The Ring cycle and the crystallization of the music-drama concept. Richard Strau8 and the application of the principles of music drama in Salome and Elektra.

. Verdi and Shakespeare. . Scenes of magic and the supernatural in the operas of Weber and Marschner: towards a study of influences on Wagner. . Wagner’s adaptation of Scandinavian and Teutonic mythology in the Ring. . Wagnerian influences in Verdi's later operas. . Russian history as subject material in Russian opera. . Legend and folk tale in Russian opera: a study of subject materials and their relation to the nature of the music.

. Wagnerian influences in Rimsky-Korsakow. . Sources of Wagner’s style and principles: a general study of the varied influences on Wagner. . Sources of Verdi's style. . A comparison of the available versions of Musorgsky’s Boris Godunow. . A comparison of the Vienna and Paris versions of Gluck’s Orfeo. (Cf. the Denkméaler der Tonkunst in Osterreich, Vol. 44a, for the original version of 1762; the French revision is available in the Broude Brothers octavo opera-score series.) 37: The literary origins of verismo opera. G. Dramatic music: ballet 1.

2.

Tsajkowsky and the classic ballet: a study of the musical and dramatic worth of his ballets. The place of ballet in the development of French dramatic music.

H. Orchestral music

Orchestral forms, other than the symphony, 1800-1900. Innovations in the use of woodwinds in symphonic music from Beethoven to Mahler. . The brasses and their use in the nineteenth-century symphony from

iL Py

Beethoven to Mahler.

. Percussion instruments in the orchestral music of the St. Petersburg School to 1g00. Wagner's orchestral innovations, with particular reference to the Ring.

Individual research problems

33

Nineteenth-century compositions for vastly enlarged formers. Concerti for wind instruments:.a study and survey of Mozart, Weber, and Spohr, together with an appraisal selected examples. . The piano concerto from Mozart to Brahms: a study of of solo instrument

numbers

of per-

works of Haydn, of the music of the relative rdles

and orchestra.

. . . . .

Form in the piano concerti of Mozart. Classical elements in Brahms’ orchestration. The influence of Beethoven on the nineteenth-century symphony. Liszt and the origin of the symphonic poem. R. StrauB and the symphonic poem: a study of StrauB’s solution to the problem of form in the symphonic poem. . The symphony in Russia in the nineteenth century. . The symphony in France in the nineteenth century. . A case for (or against) the use of orchestral excerpts from Wagner operas as concert material.

. Berlioz the innovator: a study of the beginning of Romantic orchestration. . Little-known orchestral works of the nineteenth century. . Mahler and Bruckner: a comparison and evaluation of their styles. The “program symphony”: the influence of the programmatic element on the structure of selected works. . Sammartini versus Haydn as the “father” of the symphony. The original concerto cadenzas of Mozart and Beethoven and their musical relationships to their respective movements.

J. Chamber music

Haydn and the string quartet. The réle of the piano in nineteenth-century chamber music. Winds in chamber music from Mozart to Brahms. The violoncello sonatas of Beethoven and Brahms::a stylistic comparison ean ieee of two approaches to a medium. Beethoven’s late quartets: their significance to the development of the quartet medium and to the development of form. Neglected chamber works of the nineteenth century. Supra-quintet chamber media; or are sextets, septets and octets true chamber music? Mastery of medium in Brahms’ trios. g. Verdi, Wolf, and R. StrauB as chamber

music composers.

Musicology and the classic and romantic periods

34

Io.

Jedbe 2s

13. I4. 13: 16.

Franck and Fauré in chamber music: a comparison of the handling of a medium. Brahms’ place in chamber literature. The nineteenth-century string quartet after Beethoven: a survey and appraisal of the understanding of and sympathy with the medium, based on selected examples. The piano quintet: a survey of works for it and study of selected examples, with a view towards the most appropriate approach to the medium. Russian nineteenth-century chamber music: Borodin and Tsajkowsky. Unusual instruments in chamber music. Instrumentation innovations in chamber music from Beethoven to Brahms.

K. Keyboard music (pianoforte, organ, etc.) The keyboard solo recital from J. C. Bach to Franz Liszt. Nineteenth-century organ music, renascence or decadence? Organ music between J. S. Bach and Mendelssohn. Innovations in the construction of the pianoforte from Mozart to Debussy, ARwWN and the resulting influences on piano style. The piano style of Chopin and Liszt; a comparison and evaluation. The late-Beethoven piano sonatas: Classicism or Romanticism? Liszt’s piano transcriptions: music transfigured or disfigured? Brahms’ place in the piano literature. The literature for two pianofortes, four hands, before 1goo. Brahms’ two-piano works: arrangements or original versions? Pianistic and orchestral influences in nineteenth-century organ music, with special consideration of Mendelssohn,

Liszt, and Franck.

. Orchestral influences in Liszt’s piano music. . The chorale in organ literature of the nineteenth century. . The pedal-pianoforte (Pedalklavier) and its literature: a problem in modern performance. . Brahms’ organ music. . Franck’s organ music. . The glass harmonica, the harmonium, and their literature. . Music for mechanical organs and clockwork mechanisms by Haydn and Mozart.

. The piano music of César Franck: a study of forms and influences. . Schumann’s pianistic innovations. . Post-romantic keyboard music in Germany.

Individual research problems

22. Piano music in Russia before 1900.

23. 24. 25. 26.

Piano music in the United States at the turn to the twentieth century. The place of Edvard Grieg in piano literature. The organ sonata from C. P. E. Bach to Rheinberger. The nineteenth-century piano sonata after Beethoven.

Chapter

V - MUSICOLOGY

AND

THE

TWENTIETH

CENTURY

We are sometimes inclined to forget that the twentieth century is as fruitful an area for research as earlier centuries. There are, of course, limitations; in

particular, it is more difficult to be objective about one’s own time than about earlier periods. Yet, on the other hand, there is the possibility of bequeathing first-hand information to subsequent generations. Dr. Burney’s personal contacts with the musical figures of his own century make his works of major importance, for their value as original sources far outweighs their weaknesses from the point of view of modern historical methods. There can never be too much first-hand information to enable posterity to understand fully the crucial changes in music during the first half of the twentieth century, not to mention current musical developments. There have

been some excellent, though usually brief, studies devoted to individual composers of our time. There is still a great need for general studies of contemporary developments in form and style, clarifying the position of our century in the main stream of music history. There is also a need for studies of specific forms in their twentieth-century application; for studies devoted to a composer’s style and his stylistic development; and for editions of contemporary

criticism

and

opinions

of

composers,

critics,

conductors,

and

others about the music of our time. The musicologist interested in the twentieth century could consider music criticism as a possible area for his own talents. Certainly the field of criticism is rather close to that of the musicologist in the twentieth century. What areas of specialization are available for the musicologist studying his own century? The emergence of new styles presents many possible areas: studies of the stylistic changes, achievements of the various movements, and the development of the various composers involved. Superficially, one might say that the twentieth-century composer has simply revived older forms and not introduced any “new” forms. On closer inspection, it may be seen that the contemporary composer has instilled into older forms a wholly different and quite new life. A Strawinsky ballet, for instance, is hardly the same as aballet of Tsajkowsky. Again, the variation form has become a more flexible structure than its older counterpart, yet it is still recognizable. Twentienth-century form has its own architectural “rightness” and clarity; it may adhere nominally to an earlier formal principle, but it has its own inner logic. Individual composers offer multitudinous possibilities for research, from simple biography to studies of a composer’s stylistic development, from lesserknown composers to the major figures of our time. We need not necessarily wait until composers are elderly, or even deceased, before important, if not definitive, work can be done. Appraisals of younger composers may some day become valuable sources for more definitive studies. Studies of individual media can become invaluable tools for the performer,

Musicology and the twentieth century

38

who increasingly tends to look to the musicologist for information about his literature and for the solution to his interpretive problems. Studies are needed in such contemporary areas as pianoforte literature for two and four hands, chamber

music,

choral

literature,

organ

music,

art

song,

opera,

and

the

literature of the chamber orchestra and the full orchestra. Pursuit of a research subject in the twentieth century will usually begin with the compiling of a bibliography of editions. For example, if one were doing research on the twentieth-century piano sonata, it would first be necessary to catalogue such sonatas as have been published and perhaps compile a list of works still unpublished. One would probably start with the standard reference works for the better-known composers, but beyond that publishers’ catalogues and Library of Congress catalogues of copyright entries will be major bibliographical tools. A card file should be prepared for the composers and works within the area of research, and also for the publishers and their addresses. The reason for the list of publishers is that the publisher is often in the best position to provide needed information about living composers. In searching for editions of modern works, you may wish to enlist the aid of a reliable music dealer. The names and addresses of many such dealers can be found in the advertisements in periodicals such as the Music Library Association’s Notes ;local dealers, who may or may not have some understanding of the research problem involved, can often give very satisfactory help, since they may have a more personal interest in you and your project.

CLASS

RESEARCH

PROBLEMS

1. Outstanding music critics of the twentieth century and editions of their writings. 2. A survey of texts dealing with the general development of music in the first sixty years of this century. 3. Books and articles by twentieth-century composers as source materials for the historian. 4. A survey of the authors of program notes for the major symphony orchestras and a comparison of their writings.

II

1. Books and articles on specific forms used by twentieth-century composers. 2. Biographies of major composers of this century.

Class research problems

39

. Studies of the styles and the stylistic development of individual composers and movements. Studies of specific media. Books on twentieth-century harmonic practice. Ill

. Theories of the logic Note especially: a. b. c.

of musical development. Yasser, Theory of Evolving Tonality. Apel, Harvard Dictionary, article “History of Music.” Clarke, Toward a Musical Pertodization of Music, in the Journal of the American Musicological Society, 1956. . A list of books dealing with philosophies of music history and with the philosophy of music, together with a brief summary of the content and ideas presented in a selection of the more important of such books. The place of music in the development of European civilization: a survey of books interrelating the development of music with the sister arts and European culture in general.

INDIVIDUAL

RESEARCH

PROBLEMS

A. The initial period (1890-1915) Twentieth-century harmonic and orchestral elements in Mahler’s Das Lied von der Erde. . The inner conflict of the young Schonberg: chromatic Romanticism versus

Me

pantonal and atonal elements.

The terms “expressionism” and “impressionism” compared, clarified, and defined. Barbarism versus nationalism in Strawinsky’s earlier ballets. ; Influences in the earliest works of Dohnanyi,

Barték, and Kodaly.

The style of Eric Satie as a source of twentieth-century Classicism. The importance of Ferruccio Busoni in the emergence of neo-Classicism. oh CaeThe rise of English nationalism. a. Sir Edward Elgar. b. Frederick Delius. c. Gustav Holst. d. Ralph Vaughan Williams. Manuel de Falla and the emergence of Spanish nationalism.

Musicology and the twentieth century

40

The earliest impressionist works of Debussy. Pelléas et Mélisande: Wagnerian and Musorgskian influences in the principal impressionist opera. 12: Impressionism: Romanticism or “new music’”’? ney The influence of Impressionism in England and the United States.

Io.

Jee

B. The period of experiment (1915-1935)

Tendencies and experiments in Strawinsky’s ballets from Le Sacre du printemps to Perséphone. . The first twelve-tone works of Schénberg and Berg: a survey and study. The jazz influence in Europe, 1919-1932. Neo-Bachian and neo-Baroque tendencies. . Percussive experiments from Strawinsky’s Les Noces to Varese’s Iontsation. Ballet and modern dance from Djagilew to Martha Graham. . NDNA WDChanging thoughts on contemporary music: a comparison of opinions written between 1915 and 1935 with those of the present day. . The later works of Debussy and Ravel, in the light of the new Classicism. a

C. The crystallizing twentieth-century style (1935-1962) The symphony in France in our time. Sonata form in the contemporary piano sonata. Style and form in the twentieth-century piano sonata. . The idiom of Béla Bartdk and the renascence of the string quartet. . Hindemith’s string quartets and string trios. . The place of Schénberg’s quartets in the string-quartet literature. . Twentieth-century orchestration principles as exemplified in the HNSEODU WD BR symphonies of Strawinsky. Musical architecture in the symphonies of Strawinsky. Musical architecture in selected chamber and orchestral works of Bartok. . The symphonies of Ralph Vaughan Williams: nationalism versus neoClassicism.

. Political limitations in the musical development of Prokofhjew and Sostakowits. . Baroque forms in the twentieth century. a. Concerto grosso. b. Passacaglia and chaconne. c. Fugue. 13 The wind quintet, a characteristic twentieth-century medium.

Individual research problems

41

14. Two-piano literature: a growing area for the twentieth-century composer and performer.

15. The art song and neo-Classicism: decline of a’ Romantic form? 16. Britten and Menotti: a comparison of methods, techniques, and approaches

regarding the use of the English language in opera. The significance and potential of the so-called “Broadway show.” Older musical forms available to the modern composer. Major contemporary composers in the United States. Heitor Villa Lobos and Carlos Chavez: nationalists or neo-Classicists? The influence and significance of Martha Graham. The influence of Nadia Boulanger. Neo-Classicism and the contemporary symphonic répertoire. Potentially significant figures among the youngest composers in the United States. 25. The contemporary German School: a survey and study of selected compositions. 26. The operas of Benjamin Britten: a survey and study of selected scenes and excerpts. 2 New forms in the twentieth century. i. 18. 1g. 20. 21. 22. a. 24.

Ni

bi

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ae Se ar

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3

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eyewiee .

]

Aan

abe

Part II - BIBLIOGRAPHY

Se

Ps e & # a ‘ = ty * ——

i)

bf

3

A. GENERAL

BIBLIOGRAPHY

I. REFERENCE

IN

MUSICOLOGY

WORKS

a. General Reference Publications

The Catholic Encyclopedia, 15 Vols., R. Appleton, 1907-1912. Index to The Catholic Encyclopedia, New York: The Encyclopedia Press,.1014, Chevalier, U., Répertoive des sources historiques du moyen age, 4 Vols. New York: Kraus Reprint Corporation, 1949-1960. Enciclopedia italiana di scienze, lettere ed art, 36 Vols. Milano

& Roma:

Istituto Giovanni Trecanni, 1929-1939. La Grande Encyclopédie, 31 Vols. Paris: H. Lamirault, 1886-1902. Der groBe Brockhaus, 15th ed. 21 Vols. Brockhaus, 1939. Irvine, D., Writing about Music, A Style Book for Reports and Theses, University of Washington, 1956. The Libraries, Museums, and Art Galleries Year Book, incorporating The Librarian's Guide, L. R. McColvin, ed. Clarke; Bowker,

1955.

The Modern Language Association Style Sheet, W. R. Parker compiler, Modern Language Association, 1951. The Oxford Dictionary of Quotations, 2nd ed. Oxford University, 1953. Paetow, L. J., A Guide to the Study of Medieval History, Revised ed., prepared under the auspices of The Mediaeval Academy of America, New York: Kraus Reprint Corporation, 1959. Shepherd, W. R., Historical Atlas, 8th ed. Barnes

& Noble, 1956

Standard Dictionary of Folklore, Mythology, and Legend, 2 Vols. Funk & Wagnalls, 1949-1950. Turabian, K.L.,

A Manual

for Writers of Term

Papers, Theses, and

Dissertations, University of Chicago, 1955.

b. Language Dictionaries DUTCH

F. P. H. Prick van Wely, Engels Handwoordenboek; Engels-Nederlands en Nederlands-Engels, 4th ed. 2 Vols. Goor, 1941-1943. Note: A pocket version is also available (Engels

Zakwoordenboek, 1953).

[14]

[15]

ENGLISH

J. A. H. Murray, 1888-1928.

A New

English

Dictionary,

10

Vols.

Clarendon,

[16]

General bibliography in musicology

46

FRENCH

P. Larousse,

Nouveau

Petit

Larousse

illustré,

P.

&.

C.

Augé,

ed.

[17]

Larousse, 1952. GERMAN

E. Muret & D. Sanders, Enzyklopddisches englisch-deutsches und deutschenglisches Worterbuch, 16th ed. 2 Vols. Langenscheidt, 1g10.

[18]

ITALIAN

N. Spinelli, Dizionario italiano-inglese, inglese-italiano, 2nd ed. 2 Vols. Torino: Societa Editrice Internazionale, 1936.

[19]

LATIN

E. A. Andrews, Harper's Latin Dictionary: A New Latin Dictionary, founded on the translation of Freund’s Latin-German Lexicon, edited by E. A. Andrews; revised, enlarged, and in great part rewritten by C. T. Lewis, and C. Short..., American Book, 1907.

J. H. Baxter & C. Johnson, Medieval Latin Word-List from British and Irish Sources, Oxford University, 1934. C. du F. Du Cange, Glossarium mediae et infimae latinatis conditum a Carolo du Fresne, Domino du Cange auctum a monachis ordints Sanctt Benedictt..., 10 Vols. Niort: L. Favré, 1883-1887. Reprinted in 5 Vols. Libra, 1954-1955. A. Forcellini,

Totius

Latinitatis

lexicon,

10

Vols.

Prato:

[21]

[22]

Aldiniano,

1858-1887. W. Smith, A Latin-English Dictionary, based on the works of Forcellini and Freund, Murray, 1926. W. Smith, A Smaller Latin-English Dictionary, rev. ed. by J. F. Lockwood, Murray, 1952. Thesaurus linguae latinae editus auctoritate et consilio academiarum quinque germanicarum berolinensis, gottingensis, lipsiensis, monacensis, vindobonensis, 6 Vols. (through “G” only), Teubner,

[23] [24]

[25]

rgoo-

[26]

1934. PORTUG

[20]

HS»

H. Michaelis, Novo Diccionario da lingua portugueza e inglesa, 8th ed. 2 Vols. Brockhaus, 1932.

[27]

RUSSIAN

V. K. Miiller (B. K. Mioanep), Russian-English Russian Dictionary, 2 Vols. Dutton, 1944.

Dictionary;

English-

[28]

Language dictionaries

47

SEFAWNGiond

A.Cuyas, Appleton’s New English-Spanish and Spanish-English Dictionary, rev. ed. by A. Llano, Appleton, Century & Crofts, 1940.

[29]

c. Music Dictionaries and Encyclopedias Anglés, H.

& J. Pena, Diccionario de la musica Labor, 2 Vols. Labor,

1954. Apel,.W., Harvard Dictionary of Music, Harvard University, 1944. Baker, T., Biographical Dictionary of Musicians, 5th ed. N. Slonimsky,

ed. G. Schirmer, 1958. Barlow, H. &.S. Morgenstern, A Dictionary of Musical Themes, Crown, 1948. Barlow, H. &. S. Morgenstern, A Dictionary of Vocal Themes, Crown, 1950. Blume, F., Die Mustk in Geschichte und Gegenwart: allgemeine Enzyklopadie der Musik, Vols. 1-IX to 1961 (continuing), Barenreiter, 1940 ff. Chuyoz, A., The Dance

Encyclopedia,

Barnes,

1949.

Cobbett, W. W., Cyclopedic Survey of Chamber Music, 2 Vols. Oxford University, 1929. Coeuroy, A., Dictionnaire critique de la musique, Payot, 1956. Corte, A. della, Diztonario della musica, 3rd ed. Paravia,

1952.

Cyclopedia of Music and Musicians, J. D. Champlin & W.F.Apthorp, ed. 3 Vols. Scribner’s, 1888-1890. Encyclopédie de la musique, 3 Vols. Fasquelle, 1958-1961. Encyclopedie van de Muziek, 2 Vols. Elsevier, 1956-1957. Fétis, F. J., Biographie universelle des musiciens et bibliographie générale de la musique, 2nd ed. 10 Vols. Didot, 1860.

rove, G., Grove’s Dictionary of Music and Musicians, 3rd ed. H.C. Colles, ed. 5 Vols. and American Supplement, Macmillan, 1928. Grove, G., Grove’s Dictionary of Music and Musicians, 4th ed. H. C. Colles, ed. 5 Vols. and Supplementary Vol. Macmillan, 1940. Grove, G., Grove’s Dictionary of Music and Musicians, 5th ed. E. Blom,

ed. g Vols. Macmillan; St. Martin’s, 1959. Herzfeld, F., Lextkon der Musik, Ullstein, 1957. Hopkinson, C., A Dictionary of Parisian Music Publishers, 1700-1950, London: author’s publication, 1954. Hull, A. E., A Dictionary of Modern Music and Musicians, Dent, 1924. Humphries, C. & W. D. Smith, Music Publishing in the British Isles,

[46] [47] [48] [49]

General bibliography in musicology

48

from earliest times to the middle of the nineteenth century. a dictionary of engravers, printers, publishers, and music sellers, with a historical

introduction, Cassell, 1954. Julian, J., A Dictionary of Hymnology, rev. ed. Murray, 1915; reprinted in 2 Vols. Dover, 1957.

Larousse de la musique, 2 Vols. Larousse, 1957. Lavignac, A., Encyclopédie dela musique et dictionnatre du Conservatoire. Premiére Partie: Histoire de la musique, 3 Vols. Deuxtéme Partie: Technique, esthétique, pédagogie, 6 Vols. Delagrave, 1913-1931. Manferrari, U.,

Dizionario

universale

-delle

opere

melodrammatiche,

3 Vols. Sansoni, 1954. McCutchan, R. G., Hymn

Tune Names, their Sources and Significance,

Abingdon, 1957. McNamara, D.I., The ASCAP

Biographical Dictionary of Composers,

Authors, and Publishers, 2nd ed. Crowell, 1952.

Mize, J.T. H., The International Who 1s Who in Music, 5th (Midcentury) ed. Chicago: Who is Who in Music, 1951. Moser, H. J., Musik Lexicon, 4th ed. 2 Vols. Sikorski, 1955. Note: The 1st edition was published by Hesse in 1935, although both the 3rd and 4th editions list 1931 as the copyright date for the 1st edition.

d’Ortigue, J., Dictionnaire liturgique, historique et théorique de plainchant et musique de l’église au :noyen age dans les temps modernes, Paris: Potier, 1854. Prieberg, F. K., Lexikon der neuen Musik, Alber, 1958. Pulver, J., A Biographical Dictionary of Old English Music, Kegan Paul, Trench & Trubner; Dutton, 1927. Pulver, J., A Dicttonary of Old English Music and Musical Instruments, Kegan Paul, Trench

& Trubner; Dutton,

1923.

Reis, C. E., Composers in America, Macmillan, 1947. Riemann, H., Hugo

Riemanns

Musik

Lexicon,

11th

ed. A. Einstein,

ed. 2 Vols. Hesse, 1929. Vor. Riemann, H., Riemann Musthk Lexikon, 12th ed. W. Gurlitt, ed. 3 Vols,

Schott, 1959-1961. Sachs, C., Real-Lexicon der Musikinstrumente zugleich ein Polyglossar jur das gesamte Instrumentengebiet, Berlin: Julius Bard, 1913. Saldoni, B., Diccionario biografico-bibliografico de efemerides de miisicos espanoles, 4 Vols. Dubrull, 1868-1881. Sartori, C., Dizionario Ricordi della musica e dei musicisti, Ricordi, 1959. Scholes, P., The Oxford Companion to Music, gth ed. Oxford University,

1955.

[66] [67|

[68] [69]

49

Music dictionaries and encyclopedias

Thompson, O., The International Cyclopedia of Music and Musicians, 7th ed. N. Slonimsky, ed. Dodd & Mead, 1956. Tinctoris, J., Terminorum musicae diffinitorium (circa 1475). Texte latin, traduction francaise, introduction et commentaires par Armand Machabey, Masse, 1951. Vannes, R., Dictionnaire des luthiers, 2 Vols. Amis de la Musique, 1959. Vasconcellos, J. A., Os Musicos portuguezes: biographia-bibliographia, 2 Vols. Porto: Imprenta Portugueza, 1870. Vieira, E., Diccionario biographico de musicos portuguezes, 2 Vols. Lisboa: Mattos, Moreira & Pinheiro, 1goo. Vodarsky-Shiraeff, A., Russtan Composers and Musicians, Wilson, 1940. Die Welt der Mustk, Volksbiicher, 1957.

[70]

[71] [72] [73] [74] [75] [76]

d. Bibliographic Reference Works in Music Boll, A., Répertoire analytique de la musique francaise des origines a nos

jours, Horizons de France, 1958. Bosquet, E., La Musique de clavier: et par extension de luth. Manuel encyclopédique, historique et pratique, Amis de la Musique, 1953. Catalogue

of Music

Saltonstall

for Small

Orchestra,

O. E. Albrecht,

ed.,

77] [78]

C. D.

& H.C. Coffin, compilers, Music Library Association,

[79]

1947. Chase, G., A Guide to Latin American Music, Library of Congress, n.d. [circa 1943].

Coover, J. B., Music Lexicography, Denver Public Library, 1958. Note: An earlier edition, A Bibliography of Music Dictionaries, was published in 1952.

Darrel, R. D., Schirmer’s

Guide

to Books

on

Music

and

[80] [Sr] [82]

L

Musicians,

G. Schirmer, 1951. Daugherty, D. H. A., Report on Publication and Research in Musicology and Allied Fields in the United States, 1932-1938, American Council of Learned Societies, 1938. Day, C.L. & E. B. Murrie, English Song Books, 1651-1702, Bibliographical Society, 1940. Dean-Smith, M., A Guide to English Folk Song Collections, 1882-1952, University of Liverpool (in association with the English Folk

Dance and Song Society), 1954. Dichter, H., & E. Shapiro, Early American Sheet Music, Its Lure and Its Lore, 1786-1889, including a Directory of Early American Music Publishers, Bowker, 1941.

[83]

[84]

[85] [86] [87]

General bibliography in musicology

50

Haywood, C., A Bibliography of North American Folklore and Folksong, Greenberg, 1951. Hewitt, H., Doctoral Dissertations in Musicology, 3rd ed. American Musicological Society, 1961. Note: Supplementary listings appear in the Journal of the American Musicological Society.

Heyer, A. H., Historical

Sets, Collected

Editions,

Music: A Guide to their Contents, American

and

Monuments

Library

of

Association,

1957: Hofmeister,

F.

& A., Handbuch

der musikalischen

Literatur oder all-

gemeines systematisch-geordnetes Verzeichnis der in Deutschland und in den angrenzenden Landern gedruckten Mustkalien, Hofmeister, 1844 to present. Note: This work is published in cumulative quinquennial as well as annual Vols.

Hopkinson, C., A Dicttonary of Parisian Music Publishers, 1700-1950, London: author’s publication, 1954. Hutcheson, E., The Field of Music, 5 Vols. Rinehart, 1946-1954. Kahl, W.,

& W. M. Luther, Repertortum der Mustkwissenschaft; Mustk-

schrifttum, Denkmaler und Gesamtausgaben in Auswahl, 1800-1950, Barenreiter, 1953. Knapp, J. M., Selected List of Music for Men's Voices, Princeton University, 1952. Krohn, E., The History of Music:

im a Selected Group University, 1952.

An Index to the Literature available

of Musicological

Note: A reprint, with minor corrections,

Publications,

Washington

has been published

Baton

Music,

1958.

Locke, A. W., Selected List of Choruses for Women’s Smith College, 1946. McCarty, C., Film Composers Valentine, 1953.

in America:

A Checklist

Voices, 2nd ed. of their Work,

Music Index Annual Cumulation, Information Service, 1940ff.

Music Library Association, A Check-List of Thematic Catalogues, New York Public Library, 1954. [Reprinted from the Bulletin of the New York Public Library, January-March, 1953}. Sartori, C:, Bibliografia della musica strumentale italiana stampata in Italia fino al 1700, Olschki, 1952. Sartori, C., Brbliografia delle opere musicali stampata da Ottaviano Petrucci, Olschki, 1948. Sartori, C., Dizionario degli editor’ musicali italiani, Olschki, 1958.

Bibliographic reference works in music

51

Schmieder, W., Bibliographie des Musikschrifttums, Hofmeister, 1936ff.

[106]

Note. Publication ceased during the years 1940-1949; beginning with the issue Of 1950-1951,

volumes

have been biennial.

Scholes, P. A., A List of Books about Music in the English Language,

Oxford University, 1940. Sendrey, A., Bibliography of Jewish Music, Columbia University, 1951. Smith, W.C., A Bibliography of the Musical Works published by John Walsh during the years 1695-1720. Bibliographical Society, 1948. Sonneck, O., A Bibliography of Early Secular American Music (18th Century), rev. and enlarged by W. T. Upton, Library of Congress (Music Division), 1945. Union List of Serials in Libraries of the United States and Canada, 2nd ed. W. Gregory, ed. Wilson, 1943.

[107] [108]

[109| [110] page|

e. Catalogues of Libraries and Special Collections ; Bibliographies of Manuscripts and First Editions

Albrecht, O. E., A Census of Autograph Music Manuscripts of European Composers in American Libraries, University of Pennsylvania, 1953. Anglés, H.,

[112]

& J. Subira, Catalogo musical de la Biblioteca Nacional de

Madrid, 3 Vols. Instituto Espanol de Musicologia, 1946-1949. Azhderian, H. W., Reference

[113]

Works in Music and Music Literature in

five Libraries of Los Angeles County, University of Southern California, 1953. Backus, E. N., Catalogue of Music in the Huntington Library Printed before r8or, Huntington Library, 1949. Bibliotheque nationale, Catalogue des fonds de musique ancienne de la Bibliotheque nationale, par J. Ecorcheville, 8 Vols. Paris: Société Internationale de Musique {Internationale Gesellschaft fiir Musik, International Music Society}, Ig10-1914. Bibliothéque nationale, Catalogue général des livres imprimés de la Bibliothéque nationale: Auteurs, 185 Vols. (through “Theuret”), Imprimérie Nationale, 1897-1959 (continuing). Bibliothéque nationale, La Musique francaise du moyen age ala révolution: Catalogue redigé par Amédée Gastoué, l’abbé V. Leroquais, André Pirro, Henry Expert, Henry Pruniéres et publiée par Emile Dacier, Bibliotheque Nationale, 1934. British Museum, General Catalogue of Printed Books, 51 Vols. (to “Deo-Dez”), Clowes, 1931-1954. Note: Publication was discontinued

with Vol. Lt.

[114] [115]

[116]

[117]

[118]

[119]

52

General bibliography in musicology

British Museum, Catalogue of the King’s Music Library, by Wm. Barclay-Squire, 3 Vols. British Museum, 1927. British Maseum, Catalogue of Manuscript Music in the British Museum, by A. Hughes-Hughes, 3 Vols. British Museum, 1906-1909. British Museum, Catalogue of Printed Music published between 1457 and 1800 in the British Museum, by Wm. Barclay-Squre, 2 Vols. British Museum, 1912. Note: Supplement I is included in Vol. 11; Supplement II by W. C. Smith was published separately, 1940.

The British Union-Catalogue of Early Music printed before the Year ror, E. B. Schnapper, ed. 2 Vols. Butterworth, 1957. Catalogue général des manuscrits des bibliothéques publiques des départements: Anctenne Série, 7 Vols. Imprimérie Nationale, 1849-1885. Catalogue général des manuscrits des bibliothéques publiques de France: Départements, 48 Vols. Plon, 1886-1933. Chevalier, U., Repertorium hymnologicum: Catalogue des chants, hymnes proses, séquences, tropes en usage dans l’église latine depuis les origines jusqu’d nos jours, 6 Vols. Louvain-Leuven: Polleunis & Ceutrick, 1892-1920. Note: A microfilm edition has been published by The Institute of Mediaeval Music.

Davidson, A., Catalogue critique et descriptif des imprimés de musique des XVIe et XVIIe siécles conserves dans les bibliothéques suédotrses (excepté la Bibliotheque de l’Université Royale d’Upsala), Almqvist & Wiksell, 1952. Davidson, A., Catalogue critique et descriptif des ouvrages théoriques imprimés au XVIe et au XVIIe sitécles conserves dans les bibliothéques suédoises, Almqvist & Wiksell, 1953. Davidson, A. (with R. Mitjana for Vol. 1), Catalogue critique et descriptif des imprimés de musique des XVIe et XVITe siécles conserves a la Bibliotheque de l'Université Royale d’Upsala, 3 Vols. Almqvist & Wiksell, r1g11 & 1951. Eitner, R., Brographisch-bibliographisches Quellen-Lexicon der Musiker und Mustkgelehrten der christlichen Zeitrechnung bis zur Mitte des 19. Jahrhunderts, 2nd ed. (11 Vols in 6), Akademisch, 1959. Note: A reprint of the first edition was published by Musurgia, Vols. and Supplement (Miscellanea).

1947 in 10

Fellowes, E. H., The Catalogues of the Manuscripts in the Library of St. Michael's College, Tenbury, Oiseau Lyre, 1934. Frere, W. H., Bibliotheca musico-liturgica: A descriptive handlist of the musical and Latin-liturgical manuscripts of the Middle Ages preserved

Catalogues and bibliographies

53

in the libraries of Great Britain and Ireland, 2 Vols. Plainsong and Medieval Music Society, 1901 & 1932. Hirsch, P., K. Meyer

& J. Wolf,

Katalog

der Musikbibliothek

[135]

Paul

Hirsch, 4 Vols. in the Veréffentlichungen der Musikbibliothek Paul Hirsch:

Zweite

Rethe,

Berlin,

Frankfurt

am

Main,

Cambridge

(England): Various publishers, 1928-1947. Internationales Quellenlexikon der Musik (Répertotre international des sources musicales, International Inventory of Musical Sources], [30-40 Vols. are projected], r96off.

[136] [137]

Note: This International Inventory is divided into two main parts: 1) a systematic-chronological division, published by Henle, and 2) an alphabetical division, published by Barenreiter. One Vol. has appeared to date: Die Sammeldrucke des 16.-17. Jahrhunderts; Evster Teil: Chronologischer Katalog, F. Lesure, ed. Henle,

[138]

1960.

Jaffé, P., & G. Wattenbach, Ecclesiae metropolitanae colontensts codices

manuscriptt, Weidemann, 1874. Kinsky, G.,

Manuskripte,

Briefe

[139] und

Dokumente

von

Scarlatti

bis

Strawinsky, Stuttgart: Hoffman’sche

Buchdruckerei Felix Krais, 1953: Library of Congress, A Catalogue of Books represented by Library of Congress Printed Cards, 167 Vols. Edwards, 1942-1946. Library of Congress, Supplement, 42 Vols. Edwards, 1948. Library of Congress, Author Catalogue, 1945-1952, 24 Vols. Edwards, 1953 ff. Library of Congress, 1953 ff.

[140]

[141] [142] [143]

Music and Phonorecords, (Annual Vols.), Edwards,

[144]

Library of Congress, Catalogue of Copyright Entries, Series 111, Part 5 (Music), 13 Vols. in 26, Library of Congress (Copyright Office), 1947-1959 (continuing). Library of Congress, Catalogue of Early Books on Music (Before 1800), J. Gregory, ed., Government Printing Office, 1913.

[145]

Note: A Supplement, covering the years 1913-1942, was published in 1944.

[147]

Ludwig, F., Repertorium organorum recentioris et motetorum vetustissimt stili, Band 1, Catalogue raisonné der Quellen, Abteilung 1, Handschriften in Quadrat-Notation, Niemeyer, 1910.

[148]

[146]

Note: Only Vol. 1, Part I was ever published, although parts of Vol. 1, Part 2,

and Vol. 11 was set in type and printed in page proofs; through the kindness of Max Niemeyer, Tiibingen, the Institute of Mediaeval Music will undertake to print these parts.

Ricci, S. de, Census of Medieval and Renaissance Manuscripts in the United States and Canada, 3 Vols. Wilson, 1935-1940.

[149]

General bibliography in musicology

54

Schnapper, E. B., ed., The British Union-Catalogue of Early printed before the Year 1801, 2 Vols. Butterworth, 1957.

Music {150|

Sorbelli, A., Inventart dei manoscritti delle biblioteche d'Italia, 71 Vols.

Olschki, 1890-1940. Weckerlin, J. B., Brbliothéque du Conservatoire national de Musique et Déclamation; Catalogue bibliographique, Didot, 1885.

[151] [152]

f. Thematic Catalogues GENERALE

Music Library Association, A Check-List of Thematic Catalogues, New York Public Library, 1954. [Reprinted from the Bulletin of the New York Public Library, January-March,

1953].

[153|

BACH, ©. P.E.

A. Wotquenne, Catalogue thématique des ceuvres de Charles Philippe Emmanuel Bach (1714-1788), Breitkopf & Hartel, 1905.

[154]

BACH apes W.Schmieder, Thematisches-systematisches V eryzeichnis der mustkalischen Werke von J. S. Bach, Breitkopf & Hartel, 1950.

[155]

BEETHOVEN W. Hess, Verzeichnis der nicht in der Gesamtausgabe verdffentlichten Werke Ludwig van Beethovens, Breitkopf & Hartel, 1957. G. Kinsky, Das Werk Beethovens, thematisch-bibliographisches Verzetchnis seiner samtlichen vollendeten Kompositionen, Nach dem Tode des Verfassers abgeschlossen und herausgegeben von Hans Halm, Henle, 1955.

[156]

[157]

BRAHMS J. Braunstein, Thematic Catalogue of the Collected Works of Brahms, Ars Musica, 1956.

[158]

COUPERIN

M. Cauchie, Thematic Index of the Works of Francois Couperin, Oiseau

Lyre, 1940.

[159]

FOSTER J. Fuld, A Pictorial Bibliography of the First Editions of Stephen C. Foster, Musical Americana, 1957. [160]

Thematic catalogues

55

Library of Congress, Catalogue of First Editions of Stephen Foster (1526-1864), by W.R. Whittlesey & O.G. Sonneck, Government Printing Office, 1915.

[161]

GLUCK C. Hopkinson, A Bibliography of the Works of C. W. von Gluck, 17141787, London: author’s publication, 1959. A. Wotquenne,

Catalogue thématique des euvres de Chr.

(1714-1757), Breitkopf

[162|

W. von Gluck,

& Hartel, 1904.

[163]

HANDEL

J.M. Coopersmith, An Investigation of Georg Friedrich Handel’s Orchestral Style, 12 Vols. Vols. U-x1t provide A Thematic Index of the Printed Works of Georg Friedrich Handel, Ph. D. Thesis in Music, Harvard University, Cambridge, Massachusetts, 1932, unpublished

W.C. Smith, Handel,

[164]

A Descriptive Catalogue of the Early Editions,

[165]

Cassell, 1960,

W. Barclay-Squire, Catalogue of the King’s Music Library, Vol. 1: The Handel

MSS,

British

Museum,

[166]

1927.

HAYDN A. van Hoboken, Joseph Haydn, thematisch-bibliographisches verzetchnis; Band I |Instrumentalwerke|, Schott, 1957.

Werk-

[167]

LANNER A. Weinmann,

Verzeichnis der im Druck erschienenen Werke von Joseph

Lanner, Leuen,

1948.

[168|

MACDOWELL

Library of Congress, Catalogue of First Editions of Edward MacDowell (1861-1908), by O. G. Sonneck, Government Printing Office, 1917.

MANNHEIM

[169]

SYMPHONISTS

H. Riemann, Thematischer Katalog der Mannheimer Sinfonien mit Angabe der Fundorte erhaltener Exemplare in Druck und Handschrift in the Denkmdler der Tonkunst in Bayern, Vol. Iv (Jahrgang 3, Teil 1), pp. xxxviil-liv.

[170]

MENDELSSOHN

Thematisches V erzeichniB im Druck erschienener Compositionen von Felix Mendelssohn Bartholdy, Breitkopf & Hartel, 1853.

[274]

General bibliography in musicology

56

MILHAUD G. Beck, Darius Milhaud: Etude suivie du catalogue chronologique complet de son euvre, Heugel, 1949.

[172]

MOZART, W. A. O. E. Deutsch, Mozart’s Catalogue of his Works, 1784-1791, (Facsimile), New York: Herbert Reichner, n. d. [circa 1956)]. L. Kéchel, Chronologisch-thematisches Verzeichnis. der Tonwerke Wolfgang Amade Mozarts, 5th ed. E. Reichert, F. Giegling, A. Weinmann

&G. Sievers, ed., Breitkopf

[173]

[174]

& Hartel, 1962.

Note: The 3rd edition appeared in 1937 in Breitkopf & Hartel; the 4th edition appeared in 1947 in Edwards and included the Supplement.

[175]

REGER F. Stein, Thematisches Verzeichnis derim Druck erschienenen

Max Reger, Breitkopf

Werke von

& Hartel, 1953.

[176]

ROUSSEL Catalogue de l’euvre Editor, 1947. SAMMARTINI

d’Albert

Roussel,

Paris

&

Bruxelles-Brussel:

[177]

(SAN MARTINI,

ST. MARTIN)

G. de Saint Foix, La Chronologie de l’euvre instrumentale de Jean Baptiste Sammartinit, in the Sammelbdnde der Internationalen Mustkgesellschaft, XV (1913-1914), pp. 308-324.

[178]

SCARLATTI, D, A. Longo, D. Scarlatti: Ricordi, 1952.

Indice tematico delle sonate per clavicembalo,

[178a]

SCHUBERT

O. E. Deutsch,

Schubert:

Thematic

Catalogue

of All His

Works

in

Chronological Order, Dent, 1951.

STRAUSS

[179]

Is

M. Schonherr & K. Reindhl, Johann StrauB Vater, Ein Werkverzeichms, Das Jahrhundert des Walzers, I. Band, Universal, 1959. A. Weinmann, Verzeichnis sdmtlicher Werke von Johann StrauB Vater

und Sohn; Bettrage zur Geschichte des Alt-Wiener Mustkverlages, Reihe I: Komponisten, Folge 2, Krenn, [1956].

[180]

[181]

Thematic catalogues

57

SRE AU UES Ome

E.H. Miller

von

Asow,

Richard

StrauB

thematisches

Verzeichnis,

Doblinger, 1955ff.

TSAJKOWSKY

[182]

(YaiiKoscKuii)

B. Jiirgenson (Iirgenson), Catalogue thématique des euvres de P. Tschatkowsky, New York: Russian American Music Publishers, 1947.

[183]

WAV ANE Di

[G. F. Malipiero], Antonio

Vivaldi: Indice tematico di 200 opere stru-

[184]

mentalt, Ricordi, 1955.

M. Rinaldi, Catalogo numerico tematico delle composiziont di Antonio Vivald1, Roma: Editrice Cultura Moderna, 1945.

g. Surveys of Musicology Broeckx, J. L., Grondslagen van de Muziekgeschtedents ;een Vademecum

voor Muziekstudierenden, Ontwikkeling, 1958. Chailley, J., Précis de Musicologie, Universitaires de France, 1958. Haydon, G., Introduction to Musicology, Prentice & Hall, IQ4I. Kahl, W. & W. M. Luther, Refertorium der Mustkwissenschaft, Barenreiter, 1953.

Kunst, J., Ethno-Musicology; A Study of its Nature, its Problems, Methods, and Representative Personalities, to which 1s added a Bibliography, Niuhoff, 1955. Schering, A., Tabellen zur Mustkgeschichte, 4th ed. Breitkopf & Hartel, 1934. Schiedermair, L.,

Einfiihrung

in

das

Studium

der

Mustkgeschichte,

Leipzig: Schroder, 1930.

h. Miscellaneous Reference Works

Aronowsky, S., Performing Times of Orchestral Works, Benn, 1959. Loewenberg, A., Annals of Opera, 1597-1940, 2nd ed. 2 Vols. Geneve: Societas Bibliographica, 1955. Read G., Thesaurus of Orchestral Devices, Pitman, 1953.

[185]

General bibliography in musicology

58

z. MUSIC

HISTORIES

a. Short Histories of Music

Cannon, B.C.,

A. H. Johnson

&

W.G. Waite,

The

Art, of Music,

Crowell, 1960.

[196]

Einstein, A., A Short History of Music, Knopf, 1947. Ferguson, D. N., A History of Musical Thought, Appleton, Century Crofts, 1948. Ferguson, D. N., A Short History of Music, Crofts, 1947. Gray, C., The

History

of Music,

Kegan

Paul,

Trench

[197] & [198} [199]

& Trubner:

Knopf, 1947.

[200 |

Kinsky, G., A History of Music in Pictures, Dover,

1951.

[201 |

Leichtentritt, H., Everybody’s Little History of Music, Associated Music, 1938.

[202|

Leichtentritt, H., Music, History, and Ideas, Harvard University, 1946. McKinney, H.D. & W.R. Anderson, Music im History, American

[203]

Book, 1940. Miller, H., An Outline-History of Music, Barnes

[204] [205]

Nef, K.,

An

Outline-History

of Music,

& Noble, 1947.

C. F. Pfatteicher,

translator,

A History, J. A. Galston,

translator,

Columbia University, 1935. Pahlen, K., Music Crown, 1949.

of the World:

[206|

Paine, J. K., The History of Music to the Death of Schubert, Ginn, 1907. Parry, H. H., Evolution of the Art of Music, rev. ed. by H. C. Colles, D. Appleton, 1930. Pratt, W.5., A History of Music; rev. ed. G. Schirmer, 1930, Pruniéres, H., A New History of Music: The Middle Ages to Mozart, F. Lockspeiser, translator, Macmillan, 1946. Kkiemann, H., Catechism of Musical History, 2 Vols. Augener, Sachs, C., Our Musical Heritage, Prentice & Hall, 1948. Wolf, J., Kleine Musikgeschichte, Quelle & Meyer, 1931.

1892.

[207| [208]

[209| [210] [211 | (ara)

[213] [214|

b. General Histories of Music

Abbiati, F., Storia

della

musica,

2nd

ed.

5 Vols.

Milano:

Garzanti,

1944-1946.

[215]

Adler, G., Handbuch der Musikgeschichte, Note; A 3rd ed. has been announced

2nd ed. 2 Vols. Hesse, 1930.

by H. Schneider,

Ambros, A. W., Geschichte der Musik, 2nd ed. 5 Vols. Leuckart,

1882.

[216] [217]

1962.

1880-

[218]

General histories of music

59

Note: After 1882, single Vols. were revised and edited independently; example, Vol. iv was edited by H. Leichtentritt in 1909.

Biicken, E., ed.,

Handbuch

der

Musikwissenschaft,

13

Vols.

for

in Io,

Potsdam: Akademische Verlagsgesellschaft Athenaion, 1927-1934. Note: Reprinted in 9 Vols. by Musurgia, n. d. [circa 1949]; the set includes: 1. 2. 3. 4.

C. H. R. E.

Sachs, Die Musik dey Antike, 1929. Besseler, Die Musik des Mittelalters und der Renaissance, Haas, Die Musik des Barocks, 1928. Biicken, Die Musik des Rokokos und der Klassik, 1927.

1931.

5. E. Biicken, Die Musik des 19. Jahrhunderts bis zur Moderne,

1929.

6. H. Mersmann, Die Moderne Musik seit dev Romantik, 1927. 7. E. Biicken, Geist und Form im musikalischen Kunstwerk, 1929.

8. R. Haas, Auffihrungspraxis der Musik,

1931.

g. O. Ursprung, Die katholische Kirchenmustik, 1931. 10. F. Blume, Die evangelische Kirchenmusik, 1931. 11. W. Heinitz, Instyvrumentenkunde, 1928.

12. R. Lachmann, Die Musik volker, 1930. 13. P. Panoff, Die altslavische

dey auBereuropdischen

Natur-

Volks- und Kivchenmusik,

und Kultur-

1930.

Burney, C., A General History of Music, F. Mercer, ed. 2 Vols. London: Foulis; Harcourt

& Brace, 1935.

Note: The original edition was in 4 Vols: London, been issued by Dover, 1957, and Heitz, 1958.

Combarieu,

J., Histoire

de la musique

1776-1789; reprints have

des origines

au

début du XXe

stécle, 2nd ed. 3 Vols. Colin, 1938. Corte, A. della, Storia

della musica,

2nd

ed. 3 Vols.

Torino:

Unione

Tipografico-Editrice Torinese, 1942. Grout, D. J., A History of Western Music, Norton, 1960. Handschin, J., Musikgeschichte im Uberblick, Raber, 1948.

Hawkins, J., A General History of the Science and Practice of Music, 5 Vols. London: T. Payne, 1776. Note: The most recent reprint, in 3 Vols., was the 3rd ed. Novello

& Ewer,

1875.

Kretzschmar,

H.,

ed.,

Kleine

Handbticher

Gattungen, 14 Vols. Breitkopf

der

Musikgeschichte

nach

& Hartel, 1905-1922.

Note: The individual Vols. of this series are as follows: 1. A. Schering,

Geschichte

des Instrumentalkonzerts

bis auf die Gegenwart,

1905. . H. Leichtentritt, Geschichte dey Motette, 1908. A. Schering, Geschichte des Ovatoriums, 1911. H. Kretzschmar, Geschichte des neuen deutschen Liedes,

1911.

E. Schmitz, Geschichte dey Kantate und des geistlichen Konzerts, H. Kretzschmar,

Geschichte dey Oper,

1919.

H. Kretzschmar, Einfihrung in die Musikgeschichte, 1920. Handbuch der Notationskunde, 2 Vols., 1913 & 1919.

ARRYWN SI. J. Wolf,

1914.

General bibliography in musicology

60

9. H. Botsbiber,

Geschichte

dey Ouvertiive

und der freien Orchesterformen,

1913. 10. G. Schiinemann, Geschichte des Dirigierens, 1913. 11. P. Wagner, Geschichte dey Messe, 1913. 12. C. Sachs, Handbuch dey Musikinstrumentenkunde, 13. A. Aber, Handbuch dey Mustkliteratur, 1922.

1920.

14. K. Nef, Geschichte dev Sinfonte und der Suite, 1921.

Lang, P. H., Music

in Western Civilization,

Norton,

1941.

The New Oxford History of Music, J. A. Westrup, G. Abraham, Dom A. Hughes & E. Wellesz, ed. 11 Vols. Oxford University, 1954 ff. Note: To date, Vols. 1-111 have appeared; history of music from [269] and [270].

this is a completely

different

The Norton History of Music, Norton, 1940ff. Note: The individual Vols. of this series are as follows: 1. C. Sachs, The Rise of Music in the Ancient World, East and West, 1943. V2. G. Reese, Music in the Middle Ages, 1940. 3. G. Reese, Music in the Renaissance, 1954. V4. M. Bukofzer, Music in the Baroque Eva, 1947.

5. F. Blume, Music in the Classic Eva, in preparation. 6. A. Einstein, Music in the Romantic Era, 1947.

—7.

W. Austin, Music in the Twentieth Century, in preparation.

Note: A. Salazar, Music in our Time, Norton,

1946, is sometimes considered

as belonging to this series.

The Oxford History of Music, 6 Vols. Clarendon, 1901-1905. The Oxford History of Music, 2nd ed. 7 Vols. and Introductory Vol. Oxford University, 1927-1934. Riemann, H., Handbuch der Mustkgeschichte, 2nd ed. 2 Vols. in 5 parts,

Breitkopf .& Hartel, 1921-1922. Subira, J., Historia de la musica, 2 Vols. Salvat, 1947.

c. Histories Devoted to Special Categories 1. Countries and Geographical Areas

Abraham, G., Studies in Russian Music, London: W. Reeves, n. d. Almeida, R., Historia da musica brasileiva, 2nd ed. Rfo de Janeiro:

[272]

F, Briguiet, 1942, Blom, E., Music in England, Penguin, 1947

[273] [274]

Borren,

C. van

den, Geschiedenis

van

de Muziek

in de Nederlanden,

2 Vols. Wereldbibliotheek, 1949-1951. Calvocoressi, M. D., A Survey of Russian Music, Penguin, 1944. Chase, G., America’s

& Hill, 1955.

[275] [276]

Music from the Pilgrims to the Present, McGraw

[277]

Histories of countries

61

Chase, G., The Music of Spain, Norton, 1941.

Davey, H., History of English Music, 2nd ed. Curwen, 1921. Farmer, H. G., A History of Music in Scotland, Hinrichsen, 1947.

[279| [280]

Montague-Nathan, M., A History of Russian Music, Reeves, 1918. Mooser, R. A., Annales de la musique et des musiciens en Russie au XVIIIe siécle, Mont Blanc, 1948. Saldivar, G. Historia de la musica en México, Ciudad de México:

Publicaciones del Departamento de Bellas Artes, 1934. Schering, A., Musikgeschichte Letpzigs von 1650 bis 1723, Kistner Siegel, 1926.

&

Note: This is the continuation of the Musikgeschichte Leipzigs of R. WustMann,

1909.

Stevenson, R., Music in Mexico: A Historical Survey, Crowell, 1952. Subira, J., Historia de la musica espanola e hispanoamericana, Salvat,

1953. Walker, E., A History of Music in England, 3rd ed. rev. and enlarged by J. A. Westrup, Clarendon, 1952.

2. Media and Forms

Apel, W., Masters of the Keyboard, Harvard University, 1947. Carse, A., Musical

Wind

Instruments:

A

History

of the

Wind

Instruments..., Macmillan, 1939. Dent, E. J., The Opera, Penguin, 1951. Dickinson, E., Music in the History of the Western Church, Scribner’s,

1902. Ellinwood, L., The History of American

Church

Music,

Morehouse

&

Gorham, 1953. Fellowes, E. H., English Cathedral Music from Edward

VI to Edward

VII, Methuen, 1946. Foote, H. W.,

Three

Centuries

of

American

Hymnody,

Harvard

University, 1940. Friedlander, M., Das deutsche Lied im 18. Jahrhundert, 3 parts in 2 Vols. Cotta, 1902. Note: A reprint of this work has been announced by Olms, 1962.

Frotscher, G., Geschichte des Orgelspiels und der Orgelkomposition, 2 Vols. Hesse, 1935; 2nd “unaltered” ed. Merseburger, 1959. Geiringer, K., Musical Instruments:

Their History in Western Culture

from the Stone Age to the Present, Oxford University, 1945. Georgii, W., Klaviermustk, 2nd ed. Atlantis, 1950.

[281|

General bibliography in musicology

62

Grout, D. J., A Short History of Opera, 2 Vols. Columbia University,

1947. Hall, J. H., The Art Song, University of Oklahoma,

1953.

Leichtentritt, H., Geschichte der Motette, Breitkopf

& Hartel, 1908.

Moldenhauer, H., Duo-Pianism, Chicago Musical, 1950. Moser, H. J., Die evangelische Kirchenmusik in Deutschland,

burger, 1954 (copyrighted 1953)

[30T] [302] [303] [304 |

Merse-

[305]

.

Miiller-Blattau, J. M., Grundziige einer Geschichte der Fuge, Barenreiter, 1931. Nef, K., Geschichte der Sinfonie und der Suite, Breitkopf & Hartel, 1921.

[306] [307]

Nelson, R. U., The Technique of Variation: A Study of the Instrumental Variation Form from Antonio de Cabezon to Max Reger, University of California, 1948.

[308}

Newman, W., The Sonata

in the Baroque

Era,

University

of North

Carolina, 1959.

[309]

Note: This is the first Vol. in a projected series of four concerned with the “History of the Sonata.”

Ritter, A. G., Zur Geschichte des Orgelspiels, vornehmlich

vom 14. bis zum Anfange des 18. Jahrhunderts, 2 Vols. Hesse, 1884. Sachs, C., The History of Musical Instruments, Norton, 1940. Sachs, C.,

World

History

of the

Dance,

B. Schonberg,

Stevens, D., ed., A History of Song, Hutchinson, 1960. Sumner, W.L., The Organ: Its Evolution, Principles of Construction, and Use, MacDonald, 1952. Ulrich, H., Chamber Music: The Growth and Practice of an Intimate Art,

Columbia University, 1948. Symphonic

Music:

[311] [312]

translator,

Norton, 1937. Schering, A., Geschichte des Instrumentalkonzerts bis auf die Gegenwart, Breitkopf & Hartel, 1905. Schering, A., Geschichte des Oratoriums, Breitkopf & Hartel, rort.

Ulrich, H.,

[310]

des deutschen

[313]

[314] [315] [316] [317]

[318] Its

Evolution

since

the

Renatssance,

Columbia University, 1952.

Veinus, A., The Concerto, Doubleday

[319] [320]

& Doran, 1945.

Wackernagel, P., Das deutsche Kirchenlied von der diltesten Zeit bis zum

Anfang des 17. Jahrhunderts, 5 Vols. Teubner, 1864-1867. Willams, C. F. A., The Story of Organ Music, Scribner’s, 1905.

[321] [322]

3. Style, Technique, Performance, and Criticism

Carse, A., The

History

Trubner; Dutton,

of Orchestration, Kegan 1925.

Paul,

Trench

&

[323]

Histories of style, technique, etc.

63

Coerne, L. A., The Evolution of Modern Orchestration, Macmillan, 1908.

Demuth, N., An Anthology of Music Criticism, Eyre

1947. Dorian, F., The History of Music in Performance: The Art of Musical Interpretation from the Renaissance to Our Day, Norton, 1942. Ferrand, E., Die Improvisation in Beispielen aus neun Jahrhunderten abendlandischer Mustk, Rhein, 1956. Note: A revised edition, in English is being prepared by the author.

Graf, M., Composer and Critic: Two Hundred

[325] [326] [327] [328]

Years of Music Criticism,

Norton, 1946. Kastner, G., Parémiologie musicale de la langue frangaise ou Explication des proverbes, locutions proverbiales, mots figurés, qui tivent leur origine de la musique..., Paris: G. Brandus

[329]

& S. Dufour etc., n. d.

[circa 1853]. Riemann, H., Geschichte

[324]

& Spottiswoode,

[330] der Mustktheorie

im IX.-XIX.

Jahrhundert,

2nd ed. Hesse, 1920.

[331]

Note: A reprint of this book has been announced by Olms, 1962; a translation of this work into English by R. H. Haggh will be published in 1962.

Sachs, C., Rhythm and Tempo, Norton, 1953. Schneider, M., Geschichte der Mehrstimmigkeit,

[332] [333]

2 Vols. Berlin: J. Bard, r

[334]

1934. Note: A projected third Vol. was never published.

Slonimsky, N., Lexicon

of Musical

Invective, Coleman

& Ross, 1953.

[335]

d. Histories of Notation and Textual Palaeography

Apel, W., The Notation of Polyphonic Music, 900-1600, 4th ed. Mediaeval Academy of America, 1949. Note: A 5th edition is in preparation.

Batelli, G., Leziont di paleografia, 3rd ed. Citta del Vaticano, 1949. Bellermann, H., Die Mensuralnotation and Taktzetchen des XV. und

XVI. Jahrhunderts, 2nd ed. Berlin: G. Reimer, 1906. Cappelli, A., Lexicon abbreviaturum: Dizionario di abbreviature latine ed italiane usate nelle carte e codici specialmente del Medio-Evo riprodotte con oltre 14.000 segni incist, con l’aggiunto di uno studio sulla brachigrafia medtoevale, etc., 4th ed. Hoeph, 1949. Parrish, C., The Notation of Medieval Music, Norton,

1949.

Prou, M., Manuel de paléograpme latine et francatse, 4th ed. Picard, 1924. Vollaerts, J. W. A., Rhythmic Proportions in Early Medteval Ecclestastical Chant, Brill, 1940.

[336] [337] [338] [339]

[340] [341] [342] [343]

General bibliography in musicology

64

Wolf, J., Geschichte

der

Mensural-Notation

Breitkopf & Hartel, 1904. Wolf, J., Handbuch der Notationskunde,

von

1250-1460,

2 Vols. Breitkopf

3 Vols. & Hartel,

TOLSuCel O10, Wolf, J., Musikalische Schrifttafeln fiir den Unterricht in der Notationskunde, 2nd “unaltered” ed. Kistner & Siegel, 1927.

3. COLLECTIONS

OF

MUSIC

a. Introductory Anthologies Davison, A. T. & W. Apel, An Historical Anthology of Music, 2 Vols. Harvard University, 1946 & 1951. Einstein, A., Beispielsammlung zur Mustkgeschichte, Teubner, 1930.

[347] [348]

Note: A new edition of this collection was appended to A. Einstein, 4 Short

History of Music, Knopf, 1947.

Gleason, H., Examples of Music before 1400, Crofts, 1946.

Parrish, C., A Treasury of Early Music, Norton, 1958. Parrish, C. & J. Ohl, Masterpieces of Music before 1750, Norton, 1951. Riemann, H., Musikgeschichte in Beispielen, Breitkopf & Hartel, 1925. Schering, A., Geschichte der Mustk in Beispielen, Breitkopf & Hartel, 1930. Note: Reprinted, Broude,

1951.

Wolf, J., Sing and Sprelmusik aus dlterer Zeit, Quelle Note: Reprinted as Music of Earlier

& Meyer, 19206.

Times, Broude, n.d. [circa 1947].

[349] [350] [351] [352] [353] [354] [355] [356] [357]

b. Historical Collections (,,Denkmaler’’) Note: Individual Vols., except reprints and new

editions, are listed for the

most part only for publications after 1956; for more detailed listings of the contents of earlier collections, cf. W. Apel, Harvayvd Dictionary of Music, Harvard University, 1944, article “Editions, historical” and A. H. Heyer, Historical

Sets, Collected Editions,

theiy Contents,

Chicago:

American

and

of Music:

A

Guide

antica e moderna,

Archives

de l’orgue,

G. Tagliapietra,

[358]

to

Library Association, 1957.

Antologia di musica Ricordi, 1931. des maitres

Monuments

[359]

ed. 18 Vols.

[360] A. Guilmant,

ed.

10

Vols.

Durand,

1897-1910. L’Arte musicale in Italia, L. Torchi, ed. 7 vols. Ricordi, 1897 ff. Note: Reprinted with corrections, n. d. [circa 1958].

[361] [362]

Historical collections

65

Biblioteca de Catalunya, H. Anglés & F. Pedrell, ed. 16 Vols. to date, Institut d’Estudis Catalans, roarff. Note: Vols. 1-xv were published 1921-1943; in 1954, beginning with Vol. xv1, the series appeared under the caption Biblioteca Central, Publicaciones de la Seccién de Musica, Barcelona: Diputacion provincial de Barcelona, Biblioteca Central.

Biblioteca di varita musicali,

O. Chilesotti,

IQI5. Capella, H. Besseler, ed. 2 Vols. Breitkopf

ed. 9 Vols.

Ricordi,

1883-

& Hartel, 1950-1951.

Note: A new edition of Vol. I appeared in 1959.

Capolavort polifonici del secolo XVI, B. Somma, ed. 5 Vols. 1941-1954. Chefs d’euvre (classiques| de l’opéra francais, T. de Lajarte,

C. Poisot,

and others, ed. 40 Vols. Paris: T. Michaelis, 1880-1883. Note:

About

sixty Vols.

were

projected,

but the series has never

completed; the Vols. of the series were unnumbered; Vols., editors,

and subscribers

is included

been

the full list of projected

in the Vol. of Grétry, Cephale et

Pyrocris.

Das Chorwerk, F. Blume (& K. Gudewill 76 Vols. Moseler; Kallmeyer, 1920 ff.

beginning

Heft

Note: Beginning with Heft Li, the series is further named previous Vols. are in course of reprinting.

Lu), Neue

ed.

Folge;

59. A. Willaert, Dre: Motetten zu 5 Stimmen, ed. W. Gerstenberg. 60. Spanisches Hymnar

um 1500, ed. R. Gerber.

61. Zwolf franzdsische Lieder aus Jacques Moderne. 62. L. Senfl, Zwei Marien Motetten zu 5 Stimmen, ed. W. Gerstenberg. 63. Zehn weltliche Lieder aus Georg Forster: Frische teutsche Liedlein, ed. K. Gudewill. 64. Josquin Desprez, Zwei Psalmen zu 4 und 5 Stimmen, ed. H. Osthoff. 65. A. Scandello, Missa super epitaphium Mauriti, ed. L. HoffmannErbrecht. 66. A. Beber, Markus Passion, ed. S. Wallon.

67. G. Gabrieli, Drez Motetten (II) zu 7 und 8 Stimmen, ed. C. Engelbrecht. 68. A. Brumel, Requiem, ed. A. Seay. 69. G. Hemmerley,

T. Bachofen

& J. Kreutzenhoff,

Dre: Motetten zu

5 und 6 Stimmen, ed. W. Brennecke. 70. J. Mouton, Missa Allelwya, ed. P. Kast. 91. Frottolen und frithe italienische Madrigale aus handschriftlichen Quellen, ed. H. Engel. 72. J. Clemens non Papa, Dre: Motetten, ed. B. Meier.

General bibliography in musicology

66

73. 74. 75. 76.

C. T. T. J.

Janequin, Franzdsische Chansons, ed. A. Seay. Stoltzer, Ostermesse, ed. L. Hoffmann-Erbrecht. Morley etc., Englische Madrigale, ed. F. L. Harrison. Mouton, Motetten, ed. P. Kast.

[385] [386} [387] [388]

I Classici della musica italiana, G. d’Annunzio, dir. 36 Vols. Milano: Societa Anonima Notari, 1919. Classici italiani della musica, A. Bonaccorsi, ed. 2 Vols. 1957-1958. 1. L. Boccherini, 4 Quintettini (Opus 30), 6 Quartettini (Opus 33 piccola), ed. P. Carmirelli. 2. A. Vivaldi, Concerto in do maggiore; Concerto in fa maggiore; Dar Concerti dt Dresda, ed. P. Giorgi.

[389] [390]

[391] [392]

I Classici mustcali italiani, G. Benvenuti, ed. 15 Vols. Milano: I Classici

Musicali Italiani, 1941-1943 (Vols. 1-x11 & xv) & 1956 (Vol. xIv). Corona: Werkrethe fiir Schul- und Kammerorchester, A. Hoffmann, ed. 65 Vols. Moseler, n. d. circa 1935ff.

Corpus mensurabilis

musicae,

Institute of Musicology,

[393] [394]

A. Carapetyan,

ed. 24 Sets, American

1947ff.

(395)

13. 14. 15. 16. 17. 18.

Missa Tornacensis, ed. C. van den Borren. Cipriano di Rore, ed. B. Meier. Loyset Compere, edy.L: Pinscher. Robert Carver, ed. D. Stevens. Robert Fayrfax, ed. E. B. Warren. Johannes Tinctoris, ed. F. Feldmann.

[396| [397] [398] [399| (400| [407|

16, 20. 21. 22. 23. 24.

Walter Frye, ed. 5. Kenney. Pierre Attaignant, ed. A. Seay. Cypriot-French Repertory, ed. R. H. Hoppin. Alexander Agricola, ed. E. R. Lerner. Johannes Ghiselin-Verbonnet, ed. C. Gottwald. Giaches Wert, ed. C. MacClintock & M. Burnstein.

[402 ] [403| [404| [405| [406] [407]

Denkmaler der Tonkunst in Bayern, A. Sandberger, ed. 38 Vols. Breit-

kopf & Hartel; 1900-1938.

Koln

& Augsburg,

later

Augsburg:

B. Filser, [408]

Note: This publication is often known as the Zweite Folge of the Denkmdler deutscher Tonkunst.

Denkmaler der Tonkunst in Osterreich, G. Adler, ed. 95 Vols. Wien: Artaria; later Universal; also Osterreichischer Bundesverlag,

1894-1959ff.

[409]

Note: A reprinting of the earlier Vols. is being undertaken by Akademisch,

1950ff.

[410]

Historical collections

Denkmaler

67

deutscher Tonkunst,

W. Liliencron,

ed. 65 Vols. Breitkopf

& Hartel, 1892-1931. Note: Reprinted by Breitkopf

& Hartel, 1957ff.

Denkmaler rheinischer Musik, 8 Vols. Musikwissenschaftliches

Institut

der Universitat Koln, 195rff. 6. 7. 8.

C. Burgh, Gerstliche Konzerte zu 4 Stimmen, 1630, ed. K. Hofer. C. Rosier, Ausgewahlte Instrumentalwerke, ed. U. Niemoller. A. Steffani, Tasstlone, Tragedia per musica, ed. G. Croll.

Documenta Liturgiae polychoralis Sanctae Ecclesiae Romanae, ed. L. Feininger, 9 Vols. Roma: Societas Universalis Sanctae Ceciliae, O. O. O. O. O. G.

Benevoli, Benevoli, Benevoli, Benevoli, Benevoli, O. Pitom,

Haec est virgo sapiens, a 40 contralti. Regna terrae, 12 soprani. Sz quis mth ministraverit, a 3e canti. Haec est virgo sapiens, a 40 canti e 40 bassi. Dirupistt Domine, a 40 soprani. Mzsericordia Domini, a 40 vocl.

Gs O. Pitont, Beata es. a 80 voci. G. O. Pitoni, Iustorum animae, a 80 covi concertato.

G. WNH ARR COI

O. Pitoni, Introito, Kyrie e Offertorio pro defunctis, a 40 voci.

Documenta ed.

matora

Liturgiae polychoralis Sanctae Ecclesiae Romanae,

L. Feininger,

4 Vols.

Roma:

Societas

Universalis

Sanctae

Ceciliae, 1958 ff. 1. 3.

G.O. Pitoni, Messa Cum Clamarem, a 40 voci. G.O. Pitoni, Messa Sancta Maria, a 40 voci. G.O. Pitoni, Messa Sancta Dei Genitrix, a 40 voci concertata.

4.

G.O. Pitoni, Messa Virgo Virginum, a 40 voci concertata.

2.

Documenta polyphoniae liturgicae Sanctae Ecclesiae Romanae, R. D. Feininger, ed. Roma: Societas Universalis Sanctae Ceciliae, 1947 ff. Note; 11 Vols. have appeared in Series 1, 1 each in Series 1 B and Series Iv.

The English Madrigal School, E. H. Fellowes, ed. 36 Vols. Stainer & Bell, 1913-1924. The English School of Lutenist Song Writers, E. H. Fellowes, ed. 2 series of 16 Vols. each, Stainer & Bell, 1920-1932. Note: In course of republication, ed. T. Dart.

Das Erbe deutscher Mustk, 61 Vols. 1935 ff. Note: The music is printed in 10 regular and one special series by different publishers, as follows:

General bibliography in musicology

68

. . . . .

[435] [436] [437] [438] [439] [440] [441] [442] [443] [444] [445]

Orchestval Music, Breitkopf & Hartel. Motets and Masses, Kistner & Siegel. Polyphonic Vocal Music, Moseler. Song and Opera, Schott. Chamber Music, Nagel.

. Organ, Keyboard, and Lute, Litolff. . Mediaeval Music, Barenreiter.

. Selected Works of Individual Masters, Peters. . Ovatovii and Cantate, Barenreiter. lanl

H

. Early Romantic Music, Henle.

HOW ANA ON WN H . Special

Series, Moseler,

Barenreiter,

etc.

Volumes published or announced since 1956 include:

. Orgelchorale um Johann Sebastian Bach, ed. G. Frotscher, Litolff. 10. L. Senfl, Deutsche Lieder, I. Teil: Lieder aus handschriftlichen Quellen bis etwa 1533, ed. W. Altwegg & A. Geering, Méseler. IESE, Gruppenkonzerte der Bachzett, Konzerte von Telemann, Heinichen und J. F. Fasch, ed. K. M. Komma, Breitkopf & Hartel. —

Tee Lautenmustk des 17.-18. Jahrhunderts, ed. H. Neemann, Litolff. ey L. Senfl, Motetten, I. Tel: Gelegenhettsmotetten und Psalmvertonungen, ed. W. Gerstenberg, Kistner

& Siegel.

[446] [447]

[448] [449] [450]

14. Deutsche Bldsermustk vom Barock bis zur Klassik, ed. H. Schultz, Nagel.

[451]

15. L. Senfl, Deutsche Lieder, II. Teil: Lieder aus Hans Otts Liederbuch von 1534, ed. W. Altwegg

& A. Geering, Nagel.

[452]

16. C. Othmayr, Ausgewdahlte Werke, I. Teil: Symbola, ed. H. Albrecht,

Peters. 18. C. P. E. Bach, Vier Orchestersinfonien mit zwolf obligaten Stimmen, ed. R. Steglich, Breitkopf & Hartel. 20. G. Forster, Frische Teutsche Liedlein, I. Teil: Ein AuBzug guter alter und neuer teutscher Liedlein (1539), ed. K.Gudewill & W. Heiske, Moseler. 21.

G. Khau,

Sacrorum

[454]

[455]

G. Rhau, Sacrorum Hymnorum, Liber primus, I. Teil: Proprium de tempore, ed. R. Gerber, Kistner & Siegel.

29%, T. Stoltzer, Ausgewahlte Werke, I. Teil, ed. H. Albrecht, Peters. 22; S. Dietrich, Ausgewdhlte Werke, I. Teil: Hymnen (1545), 1. Abteilung, ed. H. Zenck, Peters.

25.

=

[453]

Hymnorum,

Liber,

II.

Commune Sanctorum, ed. R. Gerber, Kistner

Teil:

Proprium

[456] [457] [458]

et

& Siegel.

PAGE J. A. Hasse, Avminio, I. Teil: 1. und 2. Akt, ed. R. Gerber, Schott. 28. J. A. Hasse, Avminio, II. Teil: 3. Akt und Kritischer Bericht, ed. R. Gerber, Schott.

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[461]

Historical collections

69

29. J. Jeep: Studentengdrtlein, 1614, ed. R. Gerber; J. Steffens, Neue teutsche

weltliche

Madrigalia

und

Balletten,

1619,

ed.

G. Fock,

Méseler.

[462|

34. Der Mensuralkodex des Nikolaus Apel, III. Teil und Kritischer Bericht, ed. R. Gerber & L. Finscher, Barenreiter. 35. J. G. Goldberg & G. Kirchhoff, Kantaten, ed. A. Diirr, Barenreiter. 36. 37. 38. 39.

Liineburger Orgeltabulatur Das Buxheimer Orgelbuch, Das Buxheimer Orgelbuch, Das Buxheimer Orgelbuch,

40. Das

41. 42. 43. 45.

46. 47.

49.

51. 52. 53. 54.

Liederbuch

des

KN 208, ed. I. Teil, ed. II. Teil, ed. III. Teil, ed.

Dr. Hartmann

M. Reimann, B. A. Wallner, B. A. Wallner, B. A. Wallner,

Schedel,

ed.

Litolff. Barenreiter. Barenreiter. Barenreiter.

[463| [464] [465| [466] [467] [468]

H. Besseler,

Barenreiter. Klarinetten-Konzerte des 18. Jahrhunderts, ed. H. Becker, Breitkopf & Hartel. A. P. Coclico, Musica reservata, 1552, ed. M. Ruhnke, Kistner & Siegel. A. Hammerschmidt, Weltliche Oden, ed. H. J. Moser, Schott. Getstliche Konzerte um 1660-1700, I. Teil: Chorkonzerte, ed. H. J. Moser, Barenreiter. Geistliche Konzerte um 1660-1700, II. Teil: Solokonzerte, ed. H. J. Moser, Barenreiter. L. Daser, Motetten, ed. A. Schneiders, Kistner & Siegel. A. Hammerschmidt: Evster Flei6 (1636/1639), Instrumentalwerke zu 5 Stimmen, ed. H. MOnkemeyer, Nagel. Flétenkonzerte des 18. Jahrhunderts, ed. W. Lebermann, Breitkopf & Hartel. J. P. Fortsch, Motetten, ed. H. Kiimmerling, Kistner & Siegel. J. A. P. Schulz, Athalia, ed. H. Gottwold, Schott. H. Buchner, Samitliche Orgelwerke, I. Teil, ed. J-H Schmidt, Litolff.

[469| [470] [471] [472| [473 | [474] [475] [476]

[477] [478] [479| [480]

55. H. Buchner, Sdmtliche Orgelwerke, II. Teil, ed. J-H.Schmidt, Litolff.

[481]

56. J.C. Bach, Konzertante Sinfonien, ed. E. J. Simon, Hartel.

[482|

57. H. Finck,

Ausgewdahlte

Werke,

I. Teil:

Messen

Breitkopf

und

&

Proprium-

kompositionen, ed. L. Hoffmann-Erbrecht, Peters. 58. J. F. Reichardt, Goethes Lieder, Oden, Balladen und Romanzen

[483] mit

Mustk, Teil I, ed. W. Salmen, Henle. 59. J. F. Reichardt, Goethes Lieder, Oden, Balladen und Romanzen

Musth, Teil II mit kritischem Bericht, ed. W. Salmen, Henle. 60. G. Forster, Frische teutsche Liedlein, Teil II, ed. K. Gudewill H. Siuts, Méseler.

[484] mit

[485| &

[486]

General bibliography in musicology

70

61. G. Forster, Frische teutsche Liedlein, Teil III, ed. K. Gudewill & H. Siuts, Méseler. Sonderrethe No. 3. E. Widmann, Ausgewdhlte Werke, ed. G. Reichert,

[488]

Schott.

[489|

Flores musicales belgicae, Librairie Encyclopédique, 1950. Hebrdisch-orientalischer

Breitkopf Instituta

[487]

Melodienschatz,

A. Z. Idelssohn,

ed.

10 Vols.

& Hartel; other publishers, 1914-1932.

et monumenta,

2 Vols.

Cremona:

[490]

Athenaeum

Cremonense,

1954 & 1958.

[491]

2. Sacre Rappresentaziont nel manoscritto 201 della Bibliotheque municipale di Orléans, ed. G. Tintori & R. Monterosso. Istituto italiano per la storia della musica, 9 Vols. Two Series: I - Antologie e raccolte; Il - Monument1;

Roma:

[492]

Istituto Italiano per la Storia

della Musica, 1941-1956 (continuing).

[493]

Note: Since 1956, there have appeared in the various Monumenti series:

1494]

1-3. C. Gesualdo, Madrigal, Libro 111, ed. A. Bizzelli. 111-5. G. Carissimi,

Istitutionta

Oratori,

e monument:

1931-1941

Vol.

v: Historia

dell’ arte musicale

divitis,

[495]

ed. L. Bianchi.

italiana,

8 Vols.

Jicordi,

[496]

& 1957ff.

Note: A reprinting of Vols. 1-1v is planned; The nuova serie begins with Vol. vir; 8 (1). La Capella musicale del Duomo di Milano, ed. G. Cesari.

Madrigalisti italiant, 1 Vol. Ricordi, 1952ff. Maestri bolognest, 4 Vols. Bologna: Biblioteca del Conservatorio G. B. Martini, 1953ff. Les Maitres musiciens de la renaissance francaise, H. Expert, ed. 23 Vols. Leduc, 1894-1908. Melodiarum Hungariae medi aevi, B. Rajeczky, ed. Budapest: Zenemikiadé Vallalat, 1956ff. Die Melodien der deutschen evangelischen Kirchenlieder, J. Zahn, ed. 6 Vols. Bertelsmann, 1889-1893. Miscellanea, 2 Sets, American Institute of Musicology, 1951 ff. Mitteldeutsches Musikarchiv, Two Series: 1- Klaviermusik,; 11 - Kammermusik, Breitkopf & Hartel, 1957 ff.

[497] [498] (499|

[500| [501]

[502] [503] [504|

Klaviermustk:

I.

J.Mattheson,

Die

Wohlklingende

Fingersprache;

Fugen

und

2.

Suitensdtze fiir Cembalo oder Klavier, ed. L. Hoffmann-Erbrecht. J.C.Graupner, Acht Partiten fiir Cembalo oder Klavier, ed. L.

[505]

Hoffmann-Erbrecht.

[506]

- Historical collections

3.

G.B. Platti,

71

Zwélf Sonaten

fiir Cembalo

oder

Klavier,

I. Teil:

Ny. 1-6, ed. L. Hoffmann-Erbrecht.

4.

G.B. Platti, Zwolt Sonaten fiir Cembalo Nr. 7-12, ed. L. H. Hoffmann-Erbrecht.

5.

G.B. Martini,

6. 7.

Hoffmann-Erbrecht. J.G. Mithel, Drei Sonaten fiir Klavier, ed. L. Hoffmann-Erbrecht. J.G. Mithel, Zwet Ariosi mit zwélf Variationen fiir Klavier, ed. L. Hoffmann-Erbrecht.

Sechs

Sonaten

oder Klavier,

fiir Cembalo

oder

II. Teil:

Klavier,

ed.

L.

Kammermustk:

1.

J.C. Pepusch,

Sechs

Triosonaten

continuo, I. Teil: Sonaten

2.

fiir

Violine,

Oboe

&

Basso

I-III, ed. L. Hoffmann-Erbrecht.

J.C. Pepusch, Sechs Triosonaten fiir Violine, Oboe & Basso continuo

IT. Teil: Sonaten IV-VI, ed. L. Hoffmann-Erbrecht. Monumenta Leodienstum musicorum, H. Bragard, ed. 1 Vol. Aelberts,

1939. Monumenta

Liturgiae

Feininger,

ed.

polychoralis

Roma:

Sanctae

Societas

Ecclesiae

Universalis

Romanae,

Sanctae

L.

Ceciliae,

1950ff. Note: This publication is divided into 5 series: 1 A: Ovdinarium missae cum quatuor choris;

sex choris;, 11B: choris; 11D:

1B: Ovdinarium missae cum

Psalmodia

Psalmodia

cum

tribus choris; 11 A: Psalmodia cum

cum quatuor choris; 11 Cc: Psalmodia cum tribus duobus

choris,; since

1956 in series 1B, Vol.

I,

O. Benevoli, Missa Angelus Domini, has appeared.

Monumenta

monodica

medii aevi, ed. B. Stablein,

1 Vol. Barenreiter,

1956. Monumenta musicae belgicae, ed. J. Watelet, 7 Vols. Anvers-Antwerpen: Vereniging voor Muziekgeschiedenis, 1932-1951. Monumenta musicae Byzantinae, C. Hoeg, H. J. W. Tillyard & E. Wellesz, ed. 21 Vols. in Four Series: Facstmilia; Transcripta; Lectionaria; Subsidia, Levin & Munksgaard; later Munksgaard;

some

Vols. were

published Boston:

Byzantine

Institute,

1935 ff.

Facsimilia: 5. Fragmenta Chiliandarica palaeoslavica, 2 Vols., ed. R. Jakobson. 6. Contacarium palaeoslavicum. Transcripta:

9g. The Akathistos Hymn, ed. E. Wellesz. 10. The Hymns of the Sticherarium for January, ed. H. J. W. Tillyard.

General bibliography in musicology

WE:

Subsidia: 4. M.M. Velimirovié, Byzantine Elements in Early Slavic Chant. Monumenta musicae sacrae, Dom J. R. Hesbert, ed. 2 Vols. 1952ff. Monumenta musicae Svecicae, 1 Vol. Almqvist & Wiksell, 1958 ff. 1. J. H. Roman, Assaggi a violino solo, ed. I. Bengtsson & L. Frydén. Monumenta polyphoniae italicae, 3 Vols. Roma: Institutum Musicae Sacrae, 1930ff. 3. C. Festa, Hymni per totum annum, 3, 4, 5, 6 vocibus, ed. G. Haydon Monumenta polyphoniae liturgicae Sanctae Ecclesiae Romanae, L. K. Feininger, ed. Two Series: 1 - Ordinarium missae, Vols. 1-1'> 120, II-I, 11-2, 1-4 & 111-2; Proprium missae, Vol. 1, Roma: Societas

w-2.

Universalis Sanctae Cecilae, 1947 ff. Anonymus. Missa secunda supra L’Homme politensis VI-E. 40)

armé

(Codex Nea-

Monumentos de la misica espaiiola, 20 Vols. Consejo Superior de Investigaciones Cientificas, 1941-1959 (continuing) Monuments de la musique francaise au temps de la renaissance, H. Expert, ed. 10 Vols. Paris: M. Senart, 1924-1929. Les Monuments de l’Ars Nova, G. de Van, ed. 1 Fascicle, Oiseau Lyre,

1938. Musica

britannica,

J. A. Westrup

A. Lewis,

E. J. Dent,

.& T. Dart, ed. 14 Vols.

tr. The Eton Choirbook:

G. Abraham,

Stainer

F. Howes,

& Bell, 1951ff.

II, ed. F. L. Harrison.

12. The Eton Choirbook: III ed. F. L. Harrison

13. W. Boyce, Overtures, ed. G. Finzi. 14. J. Bull, Keyboard Music: I. 15. Music of Scotland 1500-1700, ed. K. Elliott & H. M. Shire. 16. S. Storace, No Song, No Supper, ed. R. Fiske. Musica divina, C. Proske, ed. 10 Vols. Fustet, 1853-1863. Note: Four additional Vols. (Two Vols. in four parts), called Selectus novus missavum are often considered as part of this series. A new series of Musica diwina began publication under the editorship of B. Stablein in 1950; 14 Vols. have appeared to date, including in 1957, Vol. xrv, C. Gindele, Kleine Orgelstiicke.

Musica liturgica,

1-1. 1-2. 1-3. 1-4.

V. C. C. F.

2 Vols. World

Library of Sacred Music,

1958 ff.

Ruffo, Missa sine nomine, ed. R. J. Snow. de Sermisy, Missa pro defunctis, ed. R. J. Snow. Porta, Musica in Introitus missarum, Nos. 1-4, ed. R. J. Snow. Corteccia, Hinnario secondo l’uso della chiesa romana et fioren-

tina, Nos. 1-5, ed. G. Haydon.

Historical collections

73

I-5. P. Isnardi, Missa Angelus Domini, ed. C. MacClintock. 1-6. P. Aretino, Passio Jesu Christi secundum Johannem, ed. K. von

Fischer. u-1.

Anonymous, Valladolid Codex, Missa pro dejunctis, ed. M. Sagués.

u-2. F. Corteccia, Hinnario secondo l’uso della chiesa romana et fiorentuna, Nos. 6-10, ed. G. Haydon. 11-3. C. Porta, Musica in Introitus missarum, Nos. 5-8, ed. R. J. Snow. Musica hispana, 3 Series, 7 Vols. Instituto Espafiol de Musicologia, 1952 ff. . Note: Series A: Cancién Popular, 1 Vol.; Series B: Polifonia, 1 Vol.; Series C: Musica de Camdra, 5 Vols. In series C, since 1956, have appeared: 4. A. Soler, II Concierto parva dos instrumentos de tecla, ed. S. Kastner. 5. A. Soler,

IV Concierto parva dos instrumentos

Musica sacra, F. Commer, others), 1830 ff.

ed. 26 Vols.

de tecla, ed. S. Kastner.

Berlin:

T. Trautwein

(and

Note: The last eight Vols. have separate numberings as a Neue Folge; other publications under this name have also appeared, cf. W. Apel, Harvard Dictionary of Music, Harvard University, 1944, p. 232.

The

Musical Antiquarian Soctety, 19 Vols. London: Musical Antiquarian Society by Chapell, 1841-1848. Mustche vocali e strumentalt sacre e profane secoli XVII-XIX, B. Somma, ed. 19 Vols. (I-XI, XXI-xxXvIII), Santis, 1941ff. rr. F. Manfredini, Undici Sinfonie dell’ op. 2 a due violini (violoncello) col basso per l’organo et una viola a beneplacito, ed. R. Nielsen. 26. A. Ariosti, Se: Sonate per viola d'amore 0 violino o viola, Fascicolo 1, edizione per viola d’amore, ed. R. Sabatini. 27. A. Ariosti, Set Sonate per viola d'amore o violino o viola, Fascicolo 1, edizione per viola, ed. R. Sabatini. 28. A. Ariosti, Ser Sonate per viola d’amore o violino o viola, Fascicolo I,

edizione per violino, ed. R. Sabatini. Musik alter Meister, H. Federhofer, ed. 9 Vols. (I-vi1, vitl-x), Akademisch, 1949 ff. 5. V. Jelich, Sechs Motetten aus “Arion primus” (1625), ed. A. Vidakovic. 6. B. Ducis, Zwei Psalmmotetten, ed. H. Albrecht.

. J. Vaet, Zwer Hymnen, ed. M. Steinhardt. . Zwei Orgelstiicke aus einer Kartner Orgeltablatur des 16. Jahrhundert, (es) Ney ed. A. Wilhelmer. 10. Ausgewdhlte Werke aus der Ausseer Gitarretabulatur des 18. Jahrhunderts, ed. J. Klima. Mustkalische Denkmaler, 4 Vols. Schott, 1955 ff.

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74

[572]

. G. Binchois, Die Chansons, ed. W. Rehm.

. 46 Choréle fiir Schiilern, ed. G. Ae G. Frescobaldi, Das Musikwerk, K.

Orgel von J.P. Sweelinck und seinen Gerdes. Arie musicali, ed. H. Spohr. G. Fellerer, ed. 31 Vols. Volk, 1951 ff.

deutschen

[573] [574] [575]

Note: Since most of the Vols. omit the year of publication, we have given the entire series below. It was usual in German music publications to list the projected series in advance by Vol. numbers (Bande) and then to indicate the year or order of publication by Jahrgdnge. In this publication, the series has been announced in advance, but Vol. Nos. are assigned as published. This same series has been reprinted by Oxford University, under the title Anthology of Music with translations of the introductions into English; it should be noted, however, that the price per Vol. for the English edition is much higher than that of the German edition.

. W. Georgii, Vierhundert Jahre europdischer Klaviermusik. . F. Gennrich,

Troubadours,

Trouvéeres,

Minne-

und

Merstergesang.

3. H. Engel, Das mehrstimmige Lied des 16. Jahrhunderts in Italien, I'vankreich, England und Spanien. . W. Wiora, Europaischer Volksgesang. A. A. Abert, Die Oper (von den Anfangen bis zum Beginn des 19. Jahrhunderts). . K. Stephenson, Die mustkalische Klasstk. . FE. Schenk, Die ttalienische Triosonate. . W. Kahl, Das Charakterstiick.

H. Husmann, Dve mittelalterliche Mehrstimmigkett. . H. Osthoff, Das deutsche Chorlied (vom 16. Jahrhundert Gegenwart). . K. von Fischer, Die Variation.

. E. T. Ferrand, Die Improvisation. . E. Wellesz, Byzantinische Musik. H. J. Moser, Das deutsche Sololied und die Ballade. . F. Giegling, Die Solosonate. F. Noske, Das auBerdeutsche Sololied. . F. Valentin, Die Tokkata.

. Ff. Tack, Der gregorianische Choral. . A. Adrio, Die Fuge. Preparation: Becker, Die Instrumentation. Besseler, Die Motette.

Dreimiller, Die Mustk des mittelalterlichen Dramas.

Engel, Das Instrumentalkonzert.

bis zur

Historical collections

75

KG . Fellerer, Die altklassische Polyphonie. K.G . Fellerer, Die Monodie. shoal usmann, Die Mustk des GeneralbaBzeitalters. B. Lenaerts, Die Kunst der Niederlander. M. Reimann, Die Suzte. J. Schmidt-Gorg, Die Messe. B. Stablein, Lieder der Mittelalters.

K. Stephenson, Die Mustk der Romanttk. Nagels Mustk Archiv, 188 Vols. Nagel, 1927 ff. Note: In course of reprinting.

The Old English Edition,

G. E. P. Arkwright,

ed. 25 Vols.

Williams;

Parker, 1889-1902. Organum, M. Seiffert, ed. 125 Vols. in 5 Series; [Series 1-11: Vocal Music; Series 111, Chamber» Music, Series iv, Organ Musicy™ Series® Vv: Keyboard Music], Kistner & Siegel, 1924 ff. (continuing). Out of Print Classics Series of Synagogue Music, 25 Vols. Sacred Music,

20 A Paléographie musicale, Two Series, 17 Vols. and 2 Vols. Desclée, 18691955 (continuing). Plainsong and Medieval Mustc Society, Publications of the, Faith, 1888 ff. Note: The Publications have not been released as a set.

Polifonia vocale sacra e profana, secolo XVI, B.Somma, ed. 4 Vols. Santis, 1940ff. Polyphonic Music of the Fourteenth Century, L. Schrade, ed. 4 Vols. (with separate additional commentary Vols.), Oiseau Lyre, 1956 ff.

1. 2. 3.

Roman de Fauvel & French Cycles of the Ordinarium Missae. G.de Machaut, Lazs, Complainte, Chanson royale, Motets (1-16) G.de

Machaut, Motets Virelars.

(17-24),

Mass,

Double

Hoquet,

Ballades,

Rondeaux,

4.

F. Landini, Complete Works.

Publikationen

dlterer

Musik,

T. Kroyer,

ed.

11

Vols.

Some

Vols.

are

subdivided, Breitkopf & Hartel, 1926ff. Publikationen dlterer praktischer und theoretischer Musikwerke, lx. Kitner ed. 33 Vols. Breitkopf & Hartel, 1873-1905. Publications of Mediaeval Musical Manuscripts (Verdffentlichungen mittelalterlicher ed. 8 Vols.

1.

Mustkhandschriften,

Institute of Mediaeval

Madrid 20486, ed. L. Dittmer. Wolfenbiittel 1099, ed. L. Dittmer.

L. Dittmer Music,

1958 ff.

&

G. Schuetze,

[6x1 |

[612 |

General bibliography in musicology

76

3. 4. 5.

6.

Eine zentrale Quelle der Notre-Dame Musik (A Central Source of Notre-Dame Polyphony), ed. L. Dittmer. Paris, Bibliotheque nationale, nouv. acq. fre. 13521 & lat. 11411, ed aiey Dittmer, Worcester, Add. 68, London, Westminster Abbey 33327 & Madrid 192, ed..L. Dittmer: Oxford, Lat. lit. d 20, London, Add. 25021 & Chicago, 654Afp., ed. L. Dittmer.

Opera omnia Faugues, ed. G. Schuetze. Seep Sevilla, Columbina, 5-1-53 & Paris, Bibliothéque national, fr¢ 4379, ed. D. Plamenac. Rhau, Georg, Musikdrucke aus den Jahren 1538 bis 1545 in praktischer Neuausgabe, H. Albrecht, ed. 3 Vols. Barenreiter, 1954 ff. Schweizerische Mustkdenkmaler, 2 Vols. Barenreiter, 1955ff. 2.

J.M.Gletle,

Ausgewahlte

Kirchenmusitk,

ed.

[624|

[627| [628|

[629| [630] [631] [632] [633]

H. P. Schanzlin,

M. Zulauf & A. Layer. Smith College Archives, 14 Vols. Smith College, 1935-1959 (continuing).

(634]

14. G. B. Vitali, Artifice musicalt, opus x1, ed.

[635]

L.Rood

& G. P. Smith

Trésor musicale, R. J. van Maldeghem, ed. 58 Vols. in Two Series (Musique religieuse & Musique profane); Bruxelles-Brussel: C. Muquart, 1865-1893. Trésor des pianistes, J. H. A. Farrenc, ed. 23 Vols. A. Leduc, 1861-1872. Tudor Church Music, various ed. 10 Vols. Oxford University, 1922-1929. Van Ockeghem tot Sweelinck, A. Smiers, ed. 7 Vols. Alsbach, 1939-1956. Vereniging voor (Noord-) Nederlandse Muziekgeschiedenis, 45 Vols. plus several unnumbered publications, Alsbach, 1869-1948

(continuing).

[636|

[637] [638] [639|

[640]

Note: The society formerly limited its publications to “Noord Nederlands,” but later dropped “Noord” from its title.

The 4.

Wellesley Edition, J. La Rue, dir. 3 Vols. 1951-1954 (continuing). F. J. Haydn, Notturnz, in preparation.

Wellesley

College,

[641] [642

c. Complete Editions of Collected Works of Individual Composers Note: Wherever “Complete Editions” of the works of a composer are not available, such publications as “Complete Keyboard Works,” “Complete Organ Works,” etc. are included in lieu of an opera omnia. ADAM

DE

LA

HALLE

Oeuvres completes du trouvéere Adam de la Halle, E. de Coussemaker, ed.

Durand

& Pédone-Lauriel, 1872.

[643]

Complete editions

77

AGRICOLA

Opera omnia, 1961 ff. ANNIBALE

Ricercart, Cl bat

E.R. Lerner,

IL

ed. American

Institute

of Musicology,

PADOVANU

N. Perrout

&

J. P. Hennebains,

ed.

Oiseau

Lyre,

1934.

BAGH

Die sechs Sammlungen

von Sonaten, freien Fantasien und Rondos fiir

Kenner und Liebhaber, ed. 6 Vols.C. Krebs, ed. Breitkopf & Hartel,

1895 (reprinted 1953).

J. S. BACH Werke, 47 Vols. Breitkopf Note:

Vols.

XxXv1I

and

& Hartel, 1851-1899 xLvI

contain

the indices;

& 19206. all but Vol.

xLv1r

were

reprinted by Edwards, 1946; addenda were also published in the various Vols. of the Veréffentlichungen der Neuen Bach Gesellschaft, Breitkopf & Hartel, rgor ff.

Neue Ausgabe sadmtlicher Werke, Barenreiter, 1954ff. Wa

Pa BAGH

Complete Works for Organ, E. P. Biggs, ed. Music, 1947. BARBIREAU

Opera omnia, 2 Vols. B. Meier, ed. American Institute of Musicology, 1954ff. BARTOLOMEO Collected

Works,

(da Firenze) N. Pirrotta,

ed. American

Institute

of Musicology,

1954.

BEETHOVEN Werke, 25 Series in 24 Vols. Breitkopf

& Hartel, 1862-1888.

Note: The indices are printed at the end of Vol. xxiv;

reprinted

Edwards,

1949. BERLIOZ

Werke, 20 Vols. C. Malherbe Hartel, 1900-1907.

& F. Weingartner,

ed. Breitkopf

&

[656]

General bibliography in musicology

78

BOHM

Sdmtliche

Werke, 2 Vols. Breitkopf

[657]

& Hartel, 1927-1932.

Note: In the reprint, [circa 1952], Vol. 1, “Klavierdivided into two Vols.

und Orgelwerke,”

was

BRAHMS

Sdmtliche

Werke,

26 Vols. Breitkopf

& Hartel,

[659]

1926.

Note; The index is printed at the end of each Vol.; reprinted Edwards, 1949.

[660]

BRUCKNER

Samtliche Werke. (Projected in 22 Vols. but incomplete), R. Haas, ed. Wien: Internationale Bruckner Gesellschaft, 1929-1934.

(661|

Sdmtliche Werke, Kritische Gesamtausgabe, L. Nowak, Internationale Bruckner Gesellschaft, 1953 ff.

[662]

ed.

Wien:

Note: To 1960, 8 Vols. had been published.

BivBe

Opera omnia, 8 Vols. A. Carapetyan, ed. American Institute of Musicology, 195rff.

(663|

BULL Keyboard Music I, J. Steele

& F. Cameron, ed. Stainer

& Bell, 1960.

[664]

BUXTEHUDE

Orgelwerke,

4 Vols.

P. Spitta, ed. Breitkopf

& Hartel, [1952].

Note: This is a reprint of the edition of 1876-1878, originally published in 2 Vols.

Dietrich Buxtehudes

Werke, 8 Vols to date, Ugrino, 1925 ff.

[665|

[666] [667|

BYRD

Complete Works, 20 Vols. E. H. Fellowes, ed. Stainer & Bell, 1923-1952.

[668]

CABANILLES

Opera omnia, 3 Vols. H. Angles, ed. Institut d’Estudis Catalans, 1927.

[669|

CARISSIMI

Historie ed oratorti, 6 Vols. to date, Roma: Istituto Italiano per la Storia della Musica, 1951-1956 (continuing).

[670]

Complete editions

79

CARMEN

Collected Works, D. Stevens, ed. American Institute of Musicology, 1955

(671

CARVER

Collected Works, 3-5 Fascicles, Musicology, 1950ff.

D. Stevens,

ed. American

Institute of

[672]

CESARTS

Collected Works, D. Stevens, ed. American Institute of Musicology, 1955

CHOPIN

(SZOPEN)

Complete Works, 18 Vols. to 1956, I. J. Paderewski Warszawa: Frederika Szopena Institut, 1940ff.

CLEMENS

[673]

NON

and others, ed.

[674]

PAPA

Opera ommia, 20 Vols. K. P. Bernet Kempers, ed. American Institute of Musicology, 1954 ff.

[675]

COMPERE

Opera omnia, 6 Vols. L. Finscher, ed. American Institute of Musicology, 1950 ff.

[676|

CORDIER Collected Works, D. Stevens, ed. American Institute of Musicology, 1955

[677]

CORELLI

Les Oeuvres, 5 Vols. J. Joachim

& F. Chrysander, ed. Augener, 1890.

[678]

F. COUPERIN Oeuvres complétes, 12 Vols. Oiseau Lyre, 1933.

[679]

L. COUPERIN Oeuvres completes, Oiseau Lyre, 1936.

[680|

DUFAY Opera omnia, 6 Vols. G. de Van of Musicology, 1947 ff.

& H. Besseler, ed. American Institute [681|

DUNSTABLE Complete Works, M. F. Bukofzer, ed. Stainer & Bell, 1953.

[682|

General bibliography in musicology

80

DVORAK

Souborné Vydant (Collected Works), 5 Series in 26 Vols. to 1960, O. Sourek, F. Barto’, J. Hanus and others, ed. Praha: Artia, 1955 ff.

[683]

FAUGUES Collected Works - Gesamtausgabe, G. Schuetze, ed. Institute of Mediaeval

[684}

Music, 1960. RAMI

BAS

Collected

Works,

3 Vols.

E. B. Warren,

ed.

American

Institute

of

[685]

Musicology, 1959ff.

J. K. F. FISCHER Samtliche Werke fiir Klavier und Orgel, E. von Werra, ed. Breitkopf Hartel, rgor.

&

[686]

FRESCOBALDI Orgel und Klavier Werke, 5 Vols. P. Pidoux, ed. Barenreiter, 1950-1954.

[687]

GsGABRIELI Opera omnia, 10 Vols. D. Arnold, ed. American Institute of Musicology,

1957 ff.

[688]

GAFURIUS Missae, 2 Vols. to date, L. Finscher, ed. American Institute of Musico-

logy, 1955 ff.

[689]

Note: This will presumably develop into an opera omnia. GESUALDO

Madrigal,

Roma,

Istituto

Italiano per la Storia della Musica,

1942.

Sdmtliche Madrigale fiir fiinf Stimmen nach dem Partiturdruck von 1613, W. Weismann, ed. Ugrino, 1957ff.

[690] [691|

Note: Vols. tv-v1 have been issued to date.

GHERARDELLO

(da Firenze)

Collected Works, N. Pirotta, ed. American Institute of Musicology, 1954.

[692]

GHISELIN-VERBONNET

Opera omnia, 4 Vols. C. Gottwald, ed. American Institute of Musicology 1961 ff.

[693]

Complete editions

81

GIBBONS Complete Keyboard Music, M. H. Glyn, ed. Stainer & Bell, [circa 1925].

[694]

Tanuka (GLINKA) Llonnoe Cobpanue Couunenut (Polnoje Sobranije Sotginjeny - Complete Collected Works), 7 Vols. Yocyaapcrsennoe Myspixaapnoe M3qateancso (Gosudarstwjennoje Muziikal’noje Izdatjel’swo), 1955 ff. [695] GLUCK Samtliche Werke, 8 Vols. to 1961, R. Gerber, ed. Barenreiter, ro5rff.

[696 |

GOMBERT Opera omnia, 12 Vols. J. Schmidt-Gorg, Musicology, 195r1ff.

ed. American

Institute of

[697]

GRETRY

Collection compléte des euvres de Grétry, 49 Vols. Breitkopf

& Hartel,

1883 ff.

[698]

GUERRERO

Opera omnia, 2 Vols. M. Querol Gavalda, Musicologia, 1955 ff.

ed. Instituto

Espafiol de [699}

HANDEL

Werke, 90 Vols. F. Chrysander, ed. Breitkopf

& Hartel, 1858-1903.

[700]

Note: Facsimiles of the autographs of Jephthe and The Messiah constitute two additional, unnumbered

Vols:

Neue Ausgabe samtlicher Werke, Barenreiter, 1955 ff.

[7or|

Note: This series, as projected, will consist of approximately 100 Vols., to be issued one Vol. per year. HAYDN

Sdmtliche Werke, 11 Vols. (incomplete), E. Mandyczewski and others, ed. Breitkopf & Hartel, 1907 ff, Gesamtausgabe, J. P. Larsen and others, ed. Haydn Society, 1950-1951.

[702| [703]

Note: Only 4 Vols. appeared in this series as a continuation of [702].

Werke, J. P. Larsen, ed. Henle, 1958 ff.

[704]

Note: This is a continuation of [703]; 8 Vols. had been issued to 1960,

Eighty Three String Quartets, reprinted circa 1958.]

3 Vols.

Eulenburg,

n.d.

[circa 1930,

Note: This will probably continue to be the standard edition of the quartets until the completion of the opera omnia.

[705|

General bibliography in musicology

82

ED.

Ay HORE MAN Ni

Mustkalische Werke, 3 Vols. (incomplete), Siegel, 1922 ff. HOFHAIMER

H. J. Moser, Paul Hofhaimer: Ein Lied- und Orgelmetster des deutschen Humanismus, Cotta, 1929.

[707|

Note: Hofhaimer’s complete extant works are appended to this study in an Anhang of 194 pages.

JACOPO

(da Bologna)

The Music of Jacopo da Bologna, W.T. Marrocco, California, 1954.

ed. University of

(708 |

JANEQUIN

[709]

Chansons (Attaignant, 15292), H. Expert, ed. Leduc, 1898. JOSQUIN Werke, 41 Vols. to date, Siegel; later Alsbach,

[710]

1g2rff.

Note: This work is being reprinted and completed by the Vereniging voor Nederlandse Muziekgeschiedenis.

LANDINI Works,

L. Ellinwood,

ed. Mediaeval

Academy

of America,

1939.

The Works of Francesco Landini, L. Schrade, ed. Oiseau Lyre, 1958.

[711] [712]

LANNER

Werke, 8 Vols. Breitkopf La

& Hartel, 1880ff.

[713]

RUE

Liber missarum, Dessain, 1941. TASS

[714]

Us

Samtliche Werke, 21 Vols. (incomplete), ed. Breitkopf & Hartel, 1894-19206.

F. Haberl

& A. Sandberger,

[715]

Note: The continuation of this work was undertaken in 1956, W. Boetticher, ed. Barenreiter. LECHNER

Werke, 5 Vols. to 1960, K. Ameln,

ed. Barenreiter,

1956ff.

[717]

Complete editions

83

LeCLAIR

Selected Sonatas, Oiseau Lyre, 1952. Note:

[718]

A Complete Works of LeClair was projected about 1954 but did not

[719]

materialize.

ES

Cale

Werke, 39 Vols. (incomplete), P. Raabe and others, ed. Breitkopf Hartel, 1907ff.

&

[720] [721]

Liszt Society Publications, Schott, n. d. [circa 1950 ff]. Note: To date, 4 Vols. have been published.

LOEWE Werke: Gesamtausgabe der Balladen..., 17 Vols. M. Runze, ed. Breitkopf & Hartel, 1899-1904.

[722]

LUBECK Mustkalische

[723]

Werke, G. Harms, ed. Ugrino, 1921.

IE UIE AL NG

Oeuvres completes, 10 Vols. Revue Musicale, 1930ff.

(incomplete),

H. Pruniéres,

ed.

Paris:

[724]

MACHAUT

Mustkalische Werke, 4 Vols. F. Ludwig & H. Besseler, ed. Breitkopf & Hartel, 1954. The Works of Guillaume de Machaut, 2 Vols. L. Schrade, ed. Oiseau Lyre, 1956.

[725] [726]

MARENZIO Sdamtliche Werke, 2 Vols. (incomplete), A. Einstein, ed. Breitkopf Hartel, 1929 & 1931.

&

[727]

MENDELSSOHN Werke, 19 Series in 34 Vols. J. Rietz, ed. Breitkopf 5577.

& Hartel, 1874-

[728]

MONTE Opera omnia, 31 Vols. J. van Nuffel Schwann, 1927-1939.

& C. van den Borren, ed. L.

[729]

General bibliography in musicology

84

MONTEVERDI

Tutte Le Opere,

16 Vols.

G. F. Malipiero,

ed. Universal,

1926-1942.

[730]

MORALES

Opera omnia, 5 Vols. H. Anglés, ed. Roma: Consejo Superior de Investigaciones Cientfficas, Delegacién de Roma, 1952-1956. Note: Vols. XI, XIII, XV, XV, and xx of the Monumentos de la musica espanola.

W.

[731] [732]

A. MOZART

Mozarts

Werke,

24 Series

[about

65 Vols.

J. Brahms, P. Spitta and others,

depending

on binding],

ed. Breitkopf

& Hartel,

1876-

Note: Reprinted Edwards, 1951-1956, ed. A. Einstein Vols. plus a Revisionsbericht and 2 Vols. of parts.

& H. David

in 40

1886.

[733]

[734]

Neue Ausgabe samtlicher Werke, Projected in 10 Series, subdivided into “Werkgruppen” ;approximately 110 Vols. Mozarteum, 1955 ff.

[735]

Mycoprckult (MUSORGSKY) TTonnoe Cobpanue

Couunenuti

(Polnoje Sobranie

Sotsinjeny - Complete

Collected Works), 8 Vols. in 24 Parts, YocygapcrBeHHoe MyspmaabHoe Ms3gatreascso (Gosudarstwjennoje Muziikal’noje

Izdatjel’swo); Oxford University (Vol. 1 only); Universal, 1939. Note: For the detailed contents of this edition, cf. J. Leyda The Musorgsky Reader, Norton, 1947, pp. 424-437.

1928-

[736]

& S. Bertenson,

[737]

OBRECHT

Werken, 30 Vols. J. Wolf, ed. Alsbach, 1908-1921. Opera omnia, Vol. 1 (1-5) and Vol. 1 (1-2) to date, A. Smijers, ed. Alsbach, 1953 ff.

[738] [739]

OCKEGHEM

Sdmtliche

Werke,

Vol. 1 only, D. Plamenac,

ed. Breitkopf

& Hartel,

1927. Note: To be reissued by American

Collected

Works,

Vol.

1,

Musicological Society, cf. [742].

D. Plamenac,

ed.

American

Society, 1949 (continuing). Note: Vols. 1 & 111 are in preparation, cf. [740].

[740] [741]

Musicological

[742]

Complete editions

85

PACHELBEL Orgelwerke, 4 Vols. K. Matthaei, ed. Barenreiter, 1931.

[743]

PACELLI Opera omnia, I Vol. to date, M. Glinski, ed. 1947ff. PADOVANO

[744]

(Annibale il ....)

Ricercari, N. Perrout

& J. P. Hennebains, ed. Oiseau Lyre, 1934.

[745]

PALESTRINA Werke, 33 Vols. T. de Witt, F. Haberl and others, ed. Breitkopf & Hartel, 1862-1907. Le'Opere complete, 26 Vols. to 1959, R. Casimiri & L. Bianchi, ed. Roma: Scalera; later Roma:

[746]

Istituto Italiano per la Storia della Musica,

1939 ff.

[747]

PERGOLESI Opera omnia, 5 Vols. in 26 Fascicles, F. Caffarelli, ed. Roma:

Gli Amici

della Musica da Camera, 1939-1941.

PIERRO

(da Firenze)

Collected

Works,

N. Pirotta,

[748]

ed. American

Institute

of Musicology,

[749]

1959. PRAETORIUS Gesamtausgabe der musikalischen Werke, 21 Vols. in 22 Parts, F. Blume,

ed. Kallmeyer, 1928-1960. Note: The index is contained

Ifmoxofpen

[750] in Vol. xx.

(PROKOFHJEW)

Cobpanue Couunenuti (Sobranije SotSinjeny - Collected Works), 11 Vols. in 13 Parts to 1959, TocygapcrsenHoe MyspikaanHoe VUsagateascso (Gosudarstwennoje Muziikal’noje Izdatjel’stwo),

[751]

1955ff.

PUJOL Opera omnia, 2 Vols. H. Angles, Catalans, 1926 & 1932.

ed. Barcelona:

Institut

d’Estudis

[752]

PURCELL The Works, 32 Vols. W. H. Cummings,

and others, ed. 1878ff.

D. Arundell, A. Lewis, T. Dart

[753]

General bibliography in musicology

86

PaxMAHMHOB

(RAXMANINOW)

Tlonnoe Cobpanue Couunenutt dan Dopmenuano (Polnoje Sobraniye Sotsinjeny dlja Fortepiano - Complete Works for the Pranoforte), 2 Vols. Tocyaapcrsennoe Myspikaannoe M3aareanczo (Gosudarstwjennoje Muziikal’noje Izdatjel’swo), 1948.

[754]

RAMEAU Oeuvres completes, 18 Vols.

Durand, 1895-1924.

[755]

REDFORD The Organ Works of John Redford, C. Pfatteicher, ed. Barenreiter, 1934.

[756]

REGER

Sdmtliche Werke, Breitkopf INGaS

WOME.

Th, WW 1,

SSM,

& Hartel, 1954 ff. SKY,

BOY,

SOK,

SOU,

[757] SOM,

SOOM,

SOGa

GY! ne

planned 35 Vols. have appeared.

REGIS Opera omnia, 2 Vols. C. W. H. Lindenburg,

ed. American

Institute of

Musicology, 1956.

[758]

Pumcxuli-KopcakoB (RIMSKY-KORSAKOW) Tlonnoe Cobpanue Couunenuti (Polnoje Sobranije Sotsinjeny Complete Collected Works), 47 Vols. tocygapcrsenHoe Mysprxaapyoe Msaareancso (Gosudarstwjennoje Muziikal’noje Izdatjel’swo),

1940)

[759]

RORE Opera omnia, 9-10 Vols. B. Meier, ed. American Institute of Musicology, 1950 ff.

[760|

ROSSINI Quadernt Rossiniant, 6 Vols. to 1957, Pesaro: La Fondazione Rossini,

1954 ff.

[761|

D. SCARLATTI

Opere complete per clavicembalo, 10 A. Longo, ed. Ricordi, 1906-1910. Note; Reprinted 1947-1951.

Vols.

& Supplementary

Vol. [762|

Complete editions

87

SCHEIDT

Werke, 7 Vols. G. Harms

& C. Mahrenholz,

ed.

Ugrino,

1923-1957.

(764]

SCHEIN

Sdmtliche

Werke, 9 Vols. A. Prifer, ed. Breitkopf

& Hartel, rgorff.

[765]

Werke, 21 Series in 39 Vols. plus Revisionsbericht, J. Brahms, E. Mandyczewski and others, ed. Breitkopf & Hartel, 1888-1897.

[766]

SCHUBERT

SCHUTZ Sdmtliche Werke, 18 Vols. P. Spitta and others, ed. Breitkopf

& Hartel,

1885-1927. Neue Ausgabe sdmtlicher Werke, Barenreiter, 1955 ff. Note: To date, Vols. 1-v1, vi11-Ix

[767] [768]

& x11 have appeared of the 30 Vols. planned.

SENFL

Werke, E.Lohrer, O. Ursprung, Moseler, 1936ff.

W. Altwegg

&

A. Geering,

ed.

[769]

Note: These Vols. appeared in the Series Die Erbe deutscher Musik, Vols. v, 3G, UGE

CE AH.

CKPaABHH (SKRJABIN)

Tloanoe Cobpanue Couunenuti dna Dopmenuano (Polnoje Sobranye Sotsinjeny dlja Fortepiano - Complete Collected Works for the Pianoforte),

2 Vols. TocyazapctsenHoe

(Gosudarstwjennoje

Muztikal’noje

MysbmaanHoe M3gateancso

Izdatjel’swo),

1948.

[770]

SWEELINCK Werke, 10 Vols. M. Seiffert, ed. Breitkopf

& Hartel, 1894-1901.

[771] [772]

Note: A reprinting was begun in 1943 by Alsbach.

TALLES Complete Keyboard Music,

1953.

[773]

Collected Works, G. Reaney, ed. American Institute of Musicology, 1955.

1774]

DANI EAMES RSI

4 Vols.

D. Stevens,

ed. Hinrichsen,

Re

TELEMANN

Mustkalische Werke, Barenreiter, 1950ff. Note: To 1959, Vols. 1-x1 had appeared.

1775]

General bibliography in musicology

88

TINCTORIS

Opera omnia, 1960 ff.

F. Feldmann,

ed. American

Institute

of Musicology,

(776)

TOMKINS Keyboard Music, S. D. Tuttle, ed. Stainer & Bell, 1955. Yalttkosckul

[777]

(TSAJ KOWSKY)

TTonnoe Co6panue Couunenutt (Polnoje Sobranyje Sotsinjeny - Complete Collected Works), 62 Vols. YocyagapcrsenHoe Mys3prkaabnyHoe Vsaateascso (Gosudarstwjennoje Muziikal’noje Izdatjel’swo), 1948 ff. VICTORIA Opera omnia, 8 Vols. P. Pedrell, ed. Breitkopf

& Hartel, 1902-1913.

VIVALDI Opere, 325 Vols.

to 1960, A. Fanna

& G. F. Malipiero,

ed. Ricordi,

1947 ff. Note: A thematic index for Vols. I-CC was published in 1955.

J. WALTER Sdmtliche

Werke,

6 Vols.

O. Schroder

and

M. Schneider,

ed., Baren-

reiter, 1953 (1943) ff. WEBER

Mustkalische Werke, 3 Vols. (incomplete), H. J. Moser, ed. Augsburg & Koln: B. Filser, 1926-1933. WERT

Opera omnia, 12 or more Vols. C. MacClintock American Institute of Musicology, 1961 ff.

& M. Burnstein, ed.

[784]

WILLAERT

Opera omnia, 15 Vols. H. Zenck & W. Gerstenberg, Institute of Musicology, rg5off.

4. THEORETICAL

ed. American

[785]

WORKS

Note: A comprehensive list of writings about music translated into English is contained in James Coover, Music Theory in Translation: A Bibliography, in the Joutrnal of Music Theory, 111 (1959), pp. 70-95; cf. also Gustave Reese,

Four Score Musical Classics, Liberal Arts, 1958.

[786-787]

Theoretical works

89

a. Modern Editions of Theoretical Sources Corpus scriptorum de musica, 7 Sets to date, American Musicology, 1951 ff. I.

Institute of

[788]

2. 3. 4.

Johannes Affligemensis (Cotto), De Musica cum tonario, ed. J. Smits van Waesberghe. Aribo, De Musica, ed. J. Smits van Waesberghe. Jacobus of Liége, Speculum musicae, ed. R. Bragard. Guido of Arezzo, Micrologus, ed. J. Smits van Waesberghe.

5.

Anonymous,

6. 7.

Notztia

del

valore

delle

Note

Canto

Misurato,

of Orvieto,

Coussemaker,

Declavatio

musicae

[793] [794]

disciplinae,

ed. A. Seay.

[795]

E. de, Scriptorum de musica medi aevi, 4 Vols. Durand,

1864-1876. Note:

[790] [791] [792|

ed.

A. Carapetyan. Marchettus of Padua, Pomerium, ed. G. Vecchi. Ugolino

[789]

(796|

Facsimile

reprints:

Milano:

Bollettino

Bibliografico

Musicale,

1931;

Olms, 1962.

[797-798]

Coussemaker, E. de, Histoire de l’harmonte au moyen age, Paris: Didron,

1852. Documenta

[799] musicolegica,

Erste

Reihe:

Druckschriften-Faksimiles,

20 Vols. to date; Zweite Reihe: Handschriften

Faksimiles, 2 Vols.

to date, Barenreiter, 1953 ff.

[800]

Note: This publication is not issued as an uniform

set; the total number

of

Vols. projected is approximately 40; some earlier facsimile reproductions issued by Barenreiter are not part of either series at present; issues to date

comprise: Erste Reihe:

1. G. Rhau, Enchiridion utriusque musicae practicae, Wittenberg, 1538. 2. J. J. Quantz, Versuch einer Anweisung, die flite traversiéve zu spielen,

Berlin, 17809. 3. J.G. Walther, 4. J. Adlung,

[802] Musikalisches

Lexikon,

Leipzig,

Anleitung zu dey musikalischen

5. J. Mattheson, 6. L. Bourgeois,

Gelahrtheit,

Der vollkommene Capellmeister, Le Droict Chemin

de musique,

1732.

[8031 Erfurt,

Hamburg, Geneve,

8. M. B.C. Majer, Museum

musicum,

g. A. P. Coclico, Compendium

Schwabisch-Hall,

musices, Niirnberg,

1758.

1739.

(806!

1583.

1732.

J. Bermudo,

[809]

[8x0]

Declavacion de instvrumentos musicales, Ossuna,

12. G. B. Bovicelli, Regole, passaggi di musica, Venezia, 13. F. Salinas, De Musica, Salamanca,

1555.

1594.

1577.

14. M. Praetorius, Syntagma musicum II: Organographia, Wolfenbiittel, 1619; with the appendage of his Theatrum instrumentorum, Wolfenbiittel, 1620.

[8071 [808

1552.

10. J. Burmeister, Musica poetica, Rostock, 1606. Fray

[804]

[805]

1550.

7. P. de l’Estocart, Cent Cinquante Pseaumes de David, Geneve,

11.

[80x]

[8rxJ

(8121 [813]

General bibliography in musicology

go

15. M. Praetorius,

Syntagma

musicum

III; Termini

musici,

Wolfenbittel,

1610. 16. P. Pontio; Ragionamento di musica, Parma, 1588. 17. N. Vincentino,

L’Antica

Musica

ridotta

alla moderna

[815] [816] prattica,

Roma,

1555.

[817]

19. C. Burney, Tagebuch einer musitkalischen Reise..., Hamburg, 1772. 21. M. Praetorius, Syntagma musicum I: (1) De Musica sacra; (2) De Musica

22.

[818]

veterum organica et instrumentis musicis, Wittenberg, 1615.

[819]

J.C. Weigel, Musicalisches Theatrum, circa 1700.

[820]

Zweite Reihe: 1. Das Buxheimer Orgelbuch,; Handschrift mus. 3725 der Bayerischen Staatsbibliothek, Mimnchen.

2. Codex

Escorial

chansonnier;

[821 |

Biblioteca

del

Monasterio

El

Escorzal/

Signatur: Ms V. IIT. 24.

[822|

Gerbert, M., Scriptores ecclesiastici de musica sacra potissimum,

3 Vols.

Styblasien, 1764. Note: Facsimile reprints: Milano:

[822a | Bollettino Bibliografico Musicale,

Olms, 1962. Lafage, J. A. L., Essais de diphthérographie 1864.

1931;

[823]

[824] musicale,

2 Vols.

Paris, [825|

Musical Theorists in Translation, 2 Vols. to date, Institute of Mediaeval

1. 2.

Music, 1958 ff.

[826|

Anonymous IV, ed. L. Dittmer. Robert de Handlo, ed. L..Dittmer.

[827] [828]

Musicological Studies and Documents, 8 Vols. to date, American Institute

of Musicology, 1953 ff.

[829]

Note: Not all of the Vols. of this series present editions of theoretical sources ; those which are relevant include: 3. Girolamo Mei, Letters on Ancient and Modern

Music to Vincenzo Galilei

and Giovanni Bardi, ed. C. V. Palisca.

[830]

4. George Muffat, Essay on Thorough Bass, ed. H. Federhofer. 5. Johannes Tinctoris, Art of Counterpoint, ed. A. Seay.

[831] [832]

6. H. Glareanus,

[833]

Dodecachordon,

ed. C. A. Miller.

8. René Descartes, Compendium of Music, ed. W. Robert

& C. Kent.

[834]

Musicological Studies - Wissenschaftliche Abhandlungen, 4 Vols. to date, Institute of Mediaeval Music, 1955ff.

[835]

tT. 2. 3.

Auszug aus “The Worcester Music Fragments.” An Introduction to Faugues. Fauxbourdon, an historical Survey, I.

[836] [837] [838|

4.

Historical Musicology.

[839]

Nettl, P., The Book of Musical Documents, Philosophical Library, 1948.

[840]

Theoretical works

gI

Papal Documents on Sacred Music from the 14th to the 20th Century, Society of St. Gregory of America, 1947. Note: Included in The White List (1947; 1958) published by the Society of St. Gregory of America.

Strunk, O., Source Readings in Music History, Norton, 1950. b. Studies of Theoretical Materials

Leichtentritt, H., Musical Form, Harvard University, 1951. Morris, R. O., The Structure of Music, Oxford University, 1947.

Shirlaw, M., The Theory of Harmony: An Inquiry into Natural Principles of Harmony, with an Examination of the Chief Systems of Harmony from Rameau to the present Day, 2nd ed. Coar, 1955. Smits van Waesberghe, J., 4 Textbook of Melody, American Institute of Musicology, 1955.

Tovey, D. F., Essays in Musical Analysis, 6 Vols. Oxford University,

1935-1939. 5. PERIODICALS

Common

Abbreviations

Acta

AND

COLLECTIONS

for Some Standard

OF

ARTICLES

Series

Acta Musicologica.

AfMF Archiv fiir Musikforschung. AfMW Archiv fiir Musikwissenschafjt. JAMS Journal of the American Musicological Society. MD (Md) Musica disciplina. MfM Monatshefte fiir Mustkgeschichte. ML Music and Letters. MM Modern Music MO ~ The Musical Quarterly. RM (Km) Revue musicale. RMI (Rmi) Rivista musicale italiana. SIMG Sammelbadnde der Internationalen Mustkgesellschaft. ViMW Vierteljahrsschrift fiir Musikwissenschafet. ZiMW Zeitschrift fiir Musthwtssenschaft. ZIMG Zeitschrift der Internationalen Musikgesellschaft.

a. Major Musicological Periodicals Note: This list includes only the principal musicological periodicals; a more complete list is contained in Grove’s Dictionary of Music and Musicians,

General bibliography in musicology

Q2

5th

ed.

Macmillan;

St. Martin’s;

article

“Periodicals;”

for periodicals

in

Slavic languages, cf. infra p. 247; for periodicals in Japanese, cf. infra p. 243.

Acta musicologica, 1928 ff. Note:

Jahrbgdnge

I & II were

[864]

[865| called

Mitteilungen

der Internationalen

Gesellschaft fiir Musikwissenschaft.

American Composers’ Alliance Bulletin, 1951ff. Annales musticologiques, 1953 ff. Anuario musical, 1946ff. Archiv fiir Mustkforschung, 1936ff. Archiv fiir Musikwissenschaft, 1918-1927 (Vols. 1-vi1l) ;1952ff (Vol. rxff.) Bulletin of the American Musicological Society, 1936-1947. Caectha, 1873 ff Ethnomusvicology, 1953ff.

[866]

[867| [868| [869 | [870 ] [871] [872] [8724 | [873|

Note: The first Vol. consisted of 11 Newsletters, of which the first 5 were reproduced by the mimeograph process, appearing irregularly from December 1953 to September 1955. Newsletteys v1-x1 appeared during 1956-1957 in printed form. In January 1958, Vol. 11 used the subtitle, “Journal of the Society for Ethnomusicology,” and was published in 3 issues; the Vol. numbers thereafter paralle’ the year.

The Galpin Society Journal, 1948 ff.

[874]

Note: The Journal appears irregularly, but at least once a year.

Journal of Music Theory, 1957 ff. Journal of Research in Music Education, 1951 ff. Journal of the American Musicological Society, 1948 ff. Kuirchenmustkalisches Jahrbuch, 1865 ff.

[875| [876| [877] (878]

Modern Music, 1924-1946.

[879]

Note: An Index was published for Vols. 1-x11.

Monatshefte fiir Musikgeschichte, 1869-1905.

[880]

Music and Letters, 1910ff. Musica disciplina, 1940 ff.

[881] [882|

Note: Vol. 1 was entitled Journal of Renaissance and Baroque Music, since

1957, it has been acknowledged as a Yearbook.

The Musical Quarterly, 1915 ff.

[883]

[884]

Note: A Cumulative Index has been published for Vols. 1-xLv (1915-1959).

Die Mustkforschung, 1948 ff.

[885|

Note: This is a joint publication of: 1) Die Gesellschaft fiir Musikforschung, 2) Das Institut fiir Musikforschung (Berlin), 3) Das Landesinstitut fiir Musikforschung (Kiel), and 4) Das Institut fiir Musikforschung (Regensburg).

The Musical Times, 1844 ff. The Music Review, 1940ff.

[886| (887]

Musicological periodicals

93

[888]

Die Mustk, 1901-1915 (September) ; 1922 (October)-1943. Note d’archivio per la storia musicale, 1924-1943.

[889]

Note: This periodical ended at the time of the death of its editor, Rafaele Casimiri, with a single issue for January-April (numbered Vol. xx, 1-2).

Notes (of the Music Library Association), 1943 ff.

[890] [891] [892]

The Organ, tgarff.

La Rassegna musicale, 1928 ff. Note; The present Vol. numbers date from 1928, but these were preceded by a periodical called I7 Pianoforte, which had begun in 1920 and became La Rassegna musicale in 1928; no publications were issued during the years

[893] [894] [895] [896] [897]

1944-1946.

Revista brasileira de musica, 1934 ff. Revista de estudios musicales, 1940 ff. Revue belge de musicologie, 1946ff. Revue de musicologie, 1917 ff. Note: The continuity of numbering in this periodical lies in the numbering of the fascicles, rather than in the year.

Numero 1 of the Nouvelle Série is the

issue of March 1922 (Sixzéme Année). Issues before that date were called Bulletin de la Société Francaise de Musicologie. There was no publication in 1940-1944, but the fascicle number is unbroken (Numéros 71-72 end the XXIIIe Année, 1939, and Numéros 73-74 begin the XXVIIe Année, 1945). Some separate “Rapports et communications” were issued 1940-1944.

Revue grégorienne, 1910ff. Note: There was no publication from 1940 through 1945.

La Revue musicale, 1920ff. Note: There was no publication from 1941 through 1945; since resumption, publication has been irregular; continuity of numbering lies in the individual fascicles rather than in the years.

Rivista musicale italiana, 1894 ff. Note: Indices were published in 1917 (Vols. I-xx) and XxXxxXv); there was no publication in 1944 and 1945.

1931

(Vols. xxI-

Sammelbande der Internationalen Mustkgesellschaft, 1899-1914. Tempo, 1946ff. Tijdschrift voor Muziekwetenschap, 1882 ff. Note: Before 1948, this series was called Tydschrift der Vereniging voor Neder-

landsche Muziekgeschiedenis; although four fascicles make up the consecutively numbered Vols, the fascicles do not appear at regular intervals; generally, one fascicle appears per year.

Vierteljahrsschrift fiir Musikwissenschaft, 1885-1894. Zeitschrift der Internationalen Mustkgesellschaft, 1899-1914. Note: An Index to Vols. 1-x has been published.

General bibliography in musicology

94

Zeitschrift fiir Musikwissenschaft, 1918-1936.

[908|

b. Proceedings (,,Kongrefberichte’’) Note: Cf. W. Apel, Harvard Dictionary of Music, Harvard University, 1944, article “Societies, musical,” and in Die Musik in Geschichte und Gegenwart, Barenreiter, article ‘‘Gesellschaften und Vereine,” Vol. v, columns I-27, 1956;

[909 |

dates of publication may vary somewhat from the actual dates of the meetings.

[QI0]

AMERICAN

MUSICOLOGICAL

SOCIETY

Papers read at the Annual Meeting, 1936-1941. Bulletin, 1936-1948. Journal of the American Musicological Society, 1948 ff. CERCLE

INTERNATIONAL

Les Colloques de Wégimont,

D’ ETUDES

2 Vols.

[gir] [912] [913]

ETHNO-MUSICOLOGIQUES

to 1959,

F. Collaer, ed. Elsevier,

1956ff.

[914]

Note: The Premier Colloque took place in 1954.

COLLEGE

MUSIC

SOCIETY

Proceedings, 1958 ff.

[915]

Note: cf. [940 a].

DEUTSCHE

GESELLSCHAFT

FUR

MUSIKWISSENSCHAFT

Archiv fiir Mustkforschung, 1936ff.

[g16|

Note: This society was preceded by Die Deutsche Musikgesellschaft, had published the Zeztschrift fiir Musikwissenschaft. GESELLSCHAFT

FUR

which [917]

MUSIKFORSCHUNG

Kongref-Bericht: Gesellschaft fiir Mustkforschung, Liineburg, 1950, Barenreiter. Bericht tiber den internationalen musitkwissenschaftlichen KongreB, Bamberg, 1953, Barenreiter. Bericht tiber den internationalen musikwissenschaftlichen Kongref, Hamburg, 1956, Barenreiter. INTERNATIONALE

GESELLSCHAFT

(International Society Musicologie)

for

FUR

Musicology;

MUSIKWISSENSCHAFT

Société

Internationale

de

[918] [919]

[gIga}

Proceedings

95

KongreBberichte: Liége-Lutk, 1930: Cambridge, Great Britain, 1933; no report published. Barcelona, 1936; no report published. Basel, 1949, Barenreiter.

[920] [921] [922] [923] [924] [925] [926] 1927]

Utrecht, 1952, Alsbach.

Oxford, 1955; no report published. Koln, 1958, Barenreiter.

a ae te ee New York, 1961, 2 Vols. Barenreiter. Note: The Internationale Mustkgesellschaft preceded this society in scope and interest; information is also contained in the Acta musicologica.

[928]

MOZART

Bericht

tiber

den

internationalen

Wien, Mozartjahr,

MUSIC

TEACHERS

musitkwissenschaftlichen

Kongref

[929]

1956, Bohlau.

NATIONAL

ASSOCIATION

Proceedings, 1906-1950 (Vols. I-XLIv).

[930]

Note: There was no publication in 1943.

MUSIQUE

SACREE

Actes du troisiéme congrés international de musique sacrée, ter-S Juillet, 1957, Paris: Edition du Congrés, 1957.

ROYAL

MUSIC

Paris,

[932]

ASSOCIATION

Proceedings, 1874ff.

[932]

Note: Permission to use the prefix “Royal” was granted in August 1944.

SOGIbTE BELGE

DE OM USICOLOGIE

Revue belge de Musicologie, 1946ff. SOCIETE

FRANCAISE

DE

[933]

MUSICOLOGIE

Revue de musicologie, 1917 ff. VERENIGING

VOOR

NEDERLANDSE

[934] MUZIEKGESCHIEDENIS

Bouwsteenen, 1860 ff. Tijdschrift voor Muziekwetenschap, 1882 ff. Note: From 1872 until 1917, the society was called the Vereniging voor Noordnederlandsche Muziekgeschiedenis; there have been other minor variations in the orthography of the name of the society.

[935] [936]

General bibliography in musicology

96

c. Yearbooks (,,Jahrbiicher’’) JESRBACH Bach Jahrbuch, 1904ff.

[937|

BEETHOVEN Beethoven Jahrbuch, 1908-1909. Neues Beethoven Jahrbuch, 1925-1942. Beethoven Jahrbuch, 1953 ff. COLLEGEMMUSIC

Symposium,

[938] [939] [940|

SOGLE T

1958 ff.

[940a|

Note: The Vols. for 1958

& 1959 were entitled Proceedings.

FOLKSONG Jahrbuch fiir V olkshiedforschung, 1928 ff.

[941]

GLUCK Gluck Jahrbuch, 1913 ff.

[942|

HANDEL

Handel Jahrbuch, 1928 ff.

[943]

Note: Vols. 1-vi are dated

1928-1933; Vol. vii is also Vol. 11 of a new series,

which began in 1955. EILLURGICS

SAN DH

Y MN ©

Jahrbuch fiir Liturgtk und

O'G y

Hymnologie, Barenreiter, 1955 ff.

[944]

MOZART Mozart Jahrbuch, 1923 ff. Neues Mozart Jahrbuch, 1941 ff.

[945| (946|

MUSICOLOGY Deutsches

Jahrbuch

der

Musikwissenschaft,

1957 ff. C. F.

W. Vetter,

ed.

Peters,

[947]

PETERS

Jahrbuch der Mustkbibliothek Peters, 1894 ff.

[948]

R. STRAUSS Richard StrauB Jahrbuch, 1954.

[949]

Yearbooks

97

SWITZERLAND

Schweizerisches Jahrbuch fiir

Musikwissenschajt,

1924 ff.

[950]

d. Collected Essays in Honor of one Individual (,,Festschriften’’) Note: An teachers, prepared has been

Index of the contents of Festschriften honoring music scholars, critics, composers, performers, and publishing firms is being by W. W. Gerboth & T. E. Wood; an initial list of Festschriften published by W. W. Gerboth & T. E. Wood, A_ Bibliography of

Festschrift

Publications

honoring

Music

Scholars,

Teachers,

Critics,

Com-

posers, Performers, and Publishing Firms, Brooklyn 10, New York: Brooklyn College, Dept. of Music, 1960; Festschriften in honor of composers are listed below

[1678,

1682,

1690,

1695,

1696,

[951]

1697].

Gedenkschrift fiir Hermann Abert von seinen Schiilern, F. Blume, ed. Niemeyer, 1928. Studien zur Musikgeschichte: Festschrift fiir Guido Adler zum 75. Geburtstag, Universal, 1930. Hommage a Charles van den Borren, Mélanges, Nuyhoff, 1945. Mélanges Ernest Closson: Recuezl d’articles musicologiques offerts a E. Closson 4 l'occasion de son 75€ anniversaire, Société Belge de Musicologie, 1948. Essays on Music in Honor of Archibald Thompson Davison by his Associates, Cambridge,

Massachusetts:

ed.

in

the

Jahrbuch

1953] [954]

[955]

Harvard University, Dept.

of Music, 1957. A Birthday Offering to Carl Engel, G. Reese, ed. Schirmer, 1943. Festschrift Wilhelm Fischer zum 70. Geburtstag, tiberreicht 1m Mozartyahy 1956, H. Zingerle, ed. Jnnsbruck: Sprachwissenschaftliches Seminar der Universitat, 1956. Festgabe zum 70. Geburtstage Max Friedlaender, R. Schwarz & G. Schiinemann,

[952]

der

Mustkbibliothek

[956] [957]

[958]

Peters,

1921, Zweiter Teil, p. 1-78. [Festschrift fiir] Wilibald Gurlitt zwm-siebzigsten Geburtstag, in the Archiv fiir Musikwissenschaft, Vol. xvi, Hefte 1/2, 1959. Gedenkschrift Jacques Handschin: Au/sdtze und Bibliographie, H. Oesch, ed. Haupt, 1957. Mélanges de linguistique et de litterature offerts a Alfred Jeanroy par ses éléves et ses amis, Droz, 1928.

[959] [960] [961| [962|

Der kultische Gesang der abendlandischen Kirche: Ein gregorianisches Werkheft aus AnlaB des 75. Geburtstages von Dominicus Johner, F. Tack, ed. Bachem,

1950.

[963]

General bibliography of musicology

98

Otto Kinkeldey, in Honor of his Seventieth Birthday, November 27, 1948, in the Notes of the Music Library Association, Second Series, Vol’ vuni1o48; p= 27-121; A Musicological Offering to Otto Kinkeldey upon the Occasion of his Eightieth Birthday, C. Seeger, ed. in the Journal of the American Musicological Society, XII, 1960. Festschrift Adolph Koczirz zum 60. Geburtstag, Rk. Haas & J. Zuth, ed. Wien: E. Strache, 1930. Festschrift Hermann Kretzschmar zum 70. Geburtstag, tiberretcht von Kollegen, Schiilern und Freunden, Peters, 1918. Juhlakirja Wmari Krohn’ ille §. XI. 1927, Helsinki-Helsingfors: Suomen Musikkitieteellinen Seura, 1927. Theodor Kroyer; Festschrift zum 60. Geburtstage am 9. September 1933, tiberreicht

von

Freunden

und

Schiilern,

H. Zenck,

H. Schultz

&

W. Gerstenberg, ed. Bosse, 1933. Mélanges de musicologie offerts a M. Lionel de la Laurencie, Droz. 1933. Festschrift zum go. Geburtstage seiner Excellenz des Wirklichen Gehetmen Rates Rochus Freiherrn von Liliencron, Dr. Theologiae et Philosophiae,

tiberreicht

von

Vertretern

deutscher.’

Musikwissenschaft,

Breitkopf & Hartel, 1gro. Muszicologia et liturgica: gesammelte Aufsdtze von Christhard Mahrenholz, als Festgabe zu seinem 60. Geburtstage am 11. August 1960, K. F. Miller, ed. Barenreiter,

1960.

Meélanges d’Mustotre et d’esthétique musicales offerts ad Paul Marie Masson par ses collégues, ses éléves et ses amis, 2 Vols. Masse, 1955. Kirchenmustk heute: Gedanken tiber Aufgaben und Probleme der Musica sacra, Rudolf Mauersberger zur V ollendung seines 70. Lebensjahres), H. Bohm, ed. Union, 1959. Mustkerkenntnis und Mustkerziehung, Dankesgabe fiir Hans Mersmann zu seinem 65. Geburtstage, W. Wiora, ed. Barenreiter, 1957. Festigabe fiir Hans Joachim Moser zum 65. Geburtstag, 25. Mai 1954, Hinnenthal, 1954. Festschrift Karl Nef zum 60. Geburtstag (22. August 1933), dargebracht von Schiilern und: Freunden, Hug, 1933. Festschrift Alfred Orel zum 70. Geburtstag, tiberreicht von Kollegen, Freunden und Schiilern, H. Federhofer,

ed. Rohrer,

Festschrift Helmuth Osthoff zwm 65. Geburtstage, & H. Hucke, Wissenschaft

und

ed. H. Schneider, Praxis;

Bernard Paumgartner,

eine

L.Hoffmann-Erbrecht

196r.

Festschrift

Atlantis,

1960.

1957.

zum

70.

Geburtstag

von

Collected essays

99

Al Maestro Pedrell, escritos heortadsticos, Tortosa: Casa social del “Orfeo

Tortosf{,” IgIt. deutscher Tonkunst,; Festschrift zu Peter Raabes Geburtstag, in Gemeinschaft mit 23 Fachgenossen, A. Morgenroth, ed. Peters, 1942. Mustk in der Schweiz; ausgewahlte Aufsdtze zum 75. Geburtstag Edgar Refardts, E. Mohr & H. Ehinger, ed. Haupt, 1952.

[98r]

Von

Riemann

Festschrift;

Gesammelte

Studien;

Hugo

Riemann

zum

und

die Gegenwart;

Festschrift des Beethovenhauses,

[984] [985]

[986]

&

A. Adrio, ed. Berlin: A. Glas, 1937. Gedenkboek aangeboden aan Dr. Daniel Frangois Scheurleer, of zijn 7osten verjaardag; Budragen van vrienden en vereerders op het gebred der muziek, Nyhoff, 1925. Beethoven

[983]

60.

Geburtstage, tiberreicht von Freunden und Schiilern, Hesse, 1909. Hugo Riemann 70. Geburtstag, in the Zeitschrift fiir Musikwissenschaft, Vol.I, 1919, p. 569-628. Festskrift til O. M. Sandvik, 70 Ars Dagen, 1875 - 9. Mai 1945, Aschenhoug, 1945. Festschrift Arnold Schering zum 60. Geburtstag, in Verbindung mit Max Schneider und Gotthold Frotscher, H. Osthoff, W. Serauky

[982]

[987] [988]

Bonn;

Ludwig Schiedermair zum 60. Geburtstag, A. Schmitz, ed. Dimmler,

[989]

3937: Studien

zur Mustkgeschichte

des Rheinlandes;

Festschrift zum

80. Ge-

burtstag von Ludwig Schiedermair, in Verbindung mit der Arbettsgemeinschaft fiir rheintsche Musikgeschichte und dem Verein Beethovenhaus, Bonn, ed. Volk, 1956.

W. Kahl,

H. Lemacher

&

J. Schmidt-Gorg,

[990]

Joseph Schmidt-Gorg zum 60. Geburtstag, gemeinsam mit seinen Kollegen, Schiilern und Freunden im Auftrag des Beethovenhauses, D. Weise,

ed. Bonn: Beethovenhaus, 1957. Festschrift Max Schneider zum

[991]

60. Geburtstag, tiberreicht von Kollegen,

Freunden und Schiilern, H. J. Zingel, ed. E. Schneider, 1935. Festschrift Max Schneider zum So. Geburtstag, W. Vetter, ed. Deutscher Verlag fiir Musik, 1955. Musik und Bild; Festschrift Max Seiffert zum 70. Geburtstag, in Ver-

[992] [993]

bindung mit Fachgenossen, Freunden und Schiilern, H. Besseler, ed.

Barenreiter, 1938. Max Seiffert zum 70. Geburtstag am 9. Februar 1938, in the Archiv fiir Mustkforschung, Vol. 111 (Heft 1), 1938. Festgabe Julius Smend zum ro. Maz 1927, in the Monatsschrift fiir Gottesdienst und Kirchliche Kunst, Vol. xxxi1 (Hefte 4/5), 1927, p. 81-121.

[994] [995]

[996]

General bibliography of musicology

100

Gottesdienstliche Fragen der Gegenwart; Bertelsmann, 1927.

Festschrift zu Julius Smend, [997|

Festschrift Fritz Stein zum 60. Geburtstag, tiberreicht von Fachgenossen, Freunden und Schiilern, H. Hoffmann & F. Rihlmann, ed.

Litolff, 1939.

(998|

Karl Straube zu seinem 70. Geburtstag: Gaben der Freunde, Koehler

&

Amelang, 1943.

[999]

Festschrift Peter Wagner zum Schiilern

und

Freunden,

60. Geburtstag, gewidmet K. Weinmann,

von Kollegen,

ed. Breitkopf

& Hartel,

1926. Musikwissenschaftliche Beitrdge; Festschrift fir Johannes Wolf zu seinem sechzigsten Geburtstage, W. Lott, H. Osthoff & W. Wolffheim, ed. Berlin: M. Breslauer, 1929.

[1000|

[1001|

Festschrift den Mitgliedern des Musikhistorischen Kongresses, tiberreicht von

der leitenden

Kommuission

der Denkmdaler

der

Tonkunst

in

Osterreich, Universal, 1927.

[1002|

e. Miscellaneous Bethefte

der

Denkmdler

der Tonkunst

in Osterreich,

Wien:

Artaria;

later Universal; also Osterreichischer Bundesverlag, 1913ff. Collection Cheur des Muses, J. Jacquot, ed. Centre National de la Recherche Scientifique, 1954 ff.

[1003| [1004|

Principal Series I. 2. 3. 4.

Musique et poésie au XVTe stécle, 1954. La Musique instrumentale de la Renaissance, 1955. La Renaissance dans les provinces du nord, 1956. Les Fetes de la Renatssance, 1, 1956.

[1005| [1006| [1007| [1008|

“Les Luthistes” Series

1. 2. 3.

Guillaume Morlaye, Pseaumes de Pierre Certon: 1554, 1957. Thomas Mace, Musick’s Monument, I: 1676, 1958. Le Luth et sa musique, 1958.

Musical Heritage of the Lutheran Church, T. Hoelty-Nickel, ed. 5 Vols. to 1959, Concordia, 1944 ff.

Mustkwissenschaftliche

Studien-Bibliothek:

Materialen

[1009 | [1010] [1011| [1012|

fiir Seminar-

uibungen und zum Selbststudium, F. Gennrich, ed. 19 Vols. to date,

Gennrich, 1955 ff. Summa

[1013]

musicae medi aevt, F. Gennrich, ed. 7 Vols. to date, Gennrich,

1957 ff.

[1014]

Miscellaneous’

Guillaume

Ior

de Machaut,

La

Messe

de Nostre

Dame;

Faksimile

Ausgabe. F. Gennrich, Bibliographie der dltesten franzdsischen und lateintschen Motetten.

[1015] [1016]

F. Gennrich, Der mustkalische NachlaB der Troubadours; I, Kriti-

[1017]

sche Ausgabe der Melodien. F. Gennrich,

Der

mustkalische

NachlaB

der

Troubadours;

ITI,

Kommentar und Revisionsbericht. Die Wimpfener Fragmente der Hessischen Landeshibliothek. a: Motettenkodex: Faksimile-Ausgabe der Handschrift, La Clayette. F. Ludwig, Repertorium organorum recentioris et motetorum vetustussimt stilt, Vol. 1, Part 2.

Veroffentlichungen der Musikbibliothek Paul Hirsch (Publications of the Paul Hirsch Music Library), Erste Rethe, 12 Vols. Zweite Rethe, 4 Vols. Various Publishers, 1g22ff.

[1018|

[t019] [1020] [1021 |

[1022|

Erste Reihe Je

Francesco Caza, Tractato vulgare de canto figurato (Milano, 1492), J. Wolf, ed. Berlin, 1922.

Oo

Giovanni Luca Conforto, Breve et facile mantera d’essercitarsi a far passaggt, (Roma, 1603), J. Wolf, ed. Berlin, 1922. Newahrsgriife empfindsamer Seelen; eine Sammlung von Liedern mit Melodien und Bilderschmuck aus den Jahren 1770-1800,

[1023|

[1024]

M. Friedlaender, ed. Berlin, 1922.

[1025 |

Georg Philipp Telemann, Fantaisies pour le clavessin, 3 douzatines, M. Seiffert, ed. Kassel, 1935..

[1026]

Hercole Bottrigari, I] Desiderio, overo de’ concerti di vari strumentt musicalt, (Venezia, 1594), K. Meyer, ed. Berlin, 1924. Karl Friedrich Zelter, Fiinfzehn ausgewahlte Lieder, M. Bauer, ed.

[1027]

Berlin, 1924. Giovanni Spatario [Spataro], Dilucide et probatissime demonstratione contra certe frivole et vane excusatione da Franchino Gafurio (maestro de li errort) in luce aducte, (Bologna, 1521), J. Wolf, ed. Berlin, 1925.

[1028 |

[1029|

Nicolaus Listenius, Musica, ab authore denuo recognita, (Niirnberg,

1549), G. Schiinemann, ed. Berlin, 1927. Carl Philipp Emmanuel Bach, Zwélf zwet- und dreistimmige kleine Stiicke fiir die Flote oder. Violine und das Klavier, (Hamburg, 1770),

[1030]

R. Hohenemser,

[1031]

ed. Berlin, 1928.

10. Christoph Schultze, Das bittere Leiden und Sterben unseres Herren

General bibliography of musicology

102

und Erlésers Jesu Christi aus dem Heiligen Evangelisten Luca nach den Personen mit 4 Stimmen komponiert, (Leipzig, 1653), P. Epstein, ed» Berliny1930: 11. Martin

Luther,

Deutsche Messe,

(Wittenberg,

[1032]

1526), J. Wolf, ed.

Kassel, 1934. 12. Wolfgang Amadeus Mozart, The Ten Celebrated String Quartets, A. Einstein, ed. Novello, n. d.

[1033|

[1034]

Zweite Reihe

1.-4. Katalog der Musikbibliothek J. Wolf,

ed.

Berlin,

Paul Hirsch, 4 Vols.

Frankfurt

am

Main

&

Britain: Various Publishers, 1928-1947. Veréffentlichungen des Beethovenhauses in Bonn, haus, 1920ff.

K. Meyer

Cambridge,

&

Great

[1035|

Bonn:

Beethoven[1036]

Note: From 1920 to 1934, ten Vols. of studies were published; since 1952, additional publications have been issued as a Neue Folge, divided into four Rethen; these four Reihen and the individual issues therein comprise:

Erste Reihe: Skizzen und Entwiirfe (Kritische Gesamtausgabe) 1.

Drei Skizzenbiicher zur Missa solemnis; I: Ein Skizzenbuch aus den

Jahren 1819/1820, 1952. 2.

[1037]

Ein Skizzenbuch zur Chorfantasie, Opus 80, und zu anderen Werken,

1957. Zweite Reihe: Beethoven Jahrbuch

[1038] [1039]

Note: This supersedes the Neues Beethoven ] ahrbuch,. cf. supra [939]; Vol. 1 was the issue of 1953-1954; this should not be confused with the publication of 1908-1909,

Dritte Reihe: Ausgewahlte Handschriften in Faksimile-A usgabe 1. 2. 3.

Entwurf ener Denkschrift an das Appellationsgericht in Bonn, 1953. Klaviersonate in C-Dur (Waldsteinsonate), 1955. Drerzehn unbekannte Briefe an J. Grafin Deym, 1957.

[1040] [1041| [1042|

Vierte Reihe: Schriften zur Beethovenforschung

1. 2.. 3.

J.Schmidt-Gorg, Beethoven» Die Geschichte seiner Familie, (In preparation). P. Mies, Textkritische Untersuchungen bei Beethoven, 1957. L. Misch, Die Faktoren der Einheit in der Mehrsatzigkeit der Werke Beethovens, 1958.

[1043| [1044]

[1045 |

Miscellaneous

103

ADDENDA

Note: The number of series of the miscellaneous,

“omnibus”

type is sub-

stantial; the following additional series also deserve brief mention:

Bettrage zur rheinischen Musikgeschichte, 42 Vols. to 1961, Volk. Forschungsbeitrage zur Mustkwissenschaft, 6 Vols. to 1957, Bosse. Hitstoriae musicae cultores biblioteca, 6 Vols. to 1957, Olschki.

Kolner Bettrage zur Mustkforschung, 14 Vols. to 1959, K. G. Fellerer, ed. Bosse. Literarhistorisch-musikwissenschaftliche Abhandlungen, F. Gennrich, ed. 16 Vols. to 1957, Triltsch. Miinchner Veroffentlichungen zur Musikgeschichte, T. G. Georgiades, ed. 6 Vols. to 1961, H. Schneider. Mustk der Zeit: Eine Schriftreihe zur zertgenossischen Musik, H. Lindlar, ed. 11 Vols. to 1955, Boosey & Hawkes. Mustkwissenschaftliche Arbeiten, 13 Vols. to 1958, Barenreiter. Publikationen der Schweizerischen Musikforschenden Gesellschaft, Serie 11, 5 Vols. to 1956, Haupt.

[x049] [1050]

[1051|

[1052] [1053] [1054]

Publications de la Société Belge de Musicologie, 2 Series, 1 Vol. in each series, (1947-1948), Librairie Encyclopédique. Sammlung musikwissenschaftlicher Abhandlungen (Collection d’études musicologiques), 38 Vols. to 1959, Heitz. Sammlung wissenschaftlicher Einzeldarstellungen, 16 Vols. to circa 1934, Breitkopf & Hartel. Utrechse Bujdragen tot de Muziekwetenschap, E. Reeser, ed. 1 Vol. in 2 Parts to 1958, Creyghton.

6. RECORDED

[1046] [1047] [1048]

[1055] [1056] [1057]

[1058]

MUSIC

a. Reference Works

Bielefelder Katalog Verlagsanstalt.

der Schallplatten

klassischer

Mustk,

Bielefelder

[1059]

Note: Appears semiannually in March and October.

The Gramophone Shop Encyclopedia of Recorded Music, 3rd ed. Crown, 1948. Note: 1st edition, r.p.m. disques.

1936, 2nd edition,

1942; all three editions list only 78

Schwann Long Playing Record Catalogue, W. Schwann. Note: Monthly are deleted.

issues are cumulative;

[1060|

recordings not currently available

[1061|

General bibliography of musicology

104

World Encyclopedia of Recorded Music, Sidgwick

[1062]

& Jackson, 1952.

Note: Three Supplements have been published to 1957; the third Supplement covers new disques through 1955.

b. Historical Record Collections

[1063|

L’ Anthologie sonore, C. Sachs, ed. (78 r.p.m.). Note: Rereleased by The Haydn Society numbering and certain selections omitted.

(33 1/3 r.p.m.)

with

altered

[1064]

Archive Production, Decca (33 1/3 r.p.m.). Columbia History of Music by Eye and Ear, P. Scholes, ed. (78 r.p.m.). History of Music in Sound, R.C. A. Victor & His Master’s Voice

(33 1/3 1.p-m.).

=

[1065| [1066| [1067|

Note: The disques, with some scores, accompany of Music, Oxford University, 1954 ff.

The New Oxford History

[1068|

Masterpieces of Music before 1750, Haydn Society.

(1069 |

1070 | 1071|

Note: Reissued by Norton (33 1/3 r.p.m.).

Seven Centuries of Recorded Music, Lumen (78 r.p.m.). The Society for the Preservation of the American Musical

Heritage,

[1072]

(33/3 T.p-m.). Note: The recordings of this society are not available commercially ;address: P.O. Box 224, Gracie Station, New York 28, New

Two Thousand

York, USA.

Years of Music, Decca (33 1/3 r.p.m.).

7. HISTORIES

OF

RELATED

ARTS,

CULTURE,

[1073]

AND

RELIGION

a. Surveys and Studies Gombrich, E. H., The Story of Art, Phaidon, 1952. Koch, E. E., Geschichte des Kirchenliedes und der Christlichen,

[1074] ins-

besondere der deutschen evangelischen Kirche, 8 Vols. Belser, 18661876. Latourette, K.S., A History of Christianity, Harper, 1953.

[1075] [1076|

Note: A larger edition in 7 Vols. is also available.

Proctor, F. & W.H. Frere, A New History of the Book of Common Prayer, Macmillan, 1955. Sachs, C., The Commonwealth of Art, Norton, 1947. Wackernagel, P., Das deutsche Kirchenlied von diltester Zeit bis zum Anfang des 17. Jahrhunderts, 5 Vols. Teubner, 1864-1867.

[1077] [1078]

[1079]

105

Related arts, culture, and religion

b. Source Materials

Chronicles and Memorials of Great Britain and Ireland during the Middle Ages, 99 Series, (The number of Vols. in each series varies), London: Various publishers, various dates. Dréves,G.M. & C. Blume, Analecta hymnica medit aevi, 55 Vols. Leipzig: Riesland, 1886-1922. Historiae Francorum scriptores, A. & F. Duchesne, Sebastian Cramoisy, 1636-1649.

ed. 5 Vols. Paris: |

Monumenta Germaniae historica inde ab anno Christe quingentesimo usque ad annum mallesimum et quingentesimum, 150 Vols. Weidemann, 1877-1939. Patrologiae latinae cursus completus; sive bibliotheca umiversalis, integra, uniformis,

commoda,

oeconomica,

omnium

SS.

Patrum,

[1080|

[1081|

[1082|

[1083]

doctorum,

scriptorumque ecclesiasticorum qui ab aevo apostolico ad usque Innocenti II tempora florueurnt, 221 Vols. Vols. CCXVIII-CCXXI are indices. J. P. Migne, ed. Paris, 1844-1864.

(1084]

106

General bibliography of musicology

8. ADDENDA

B. BIBLIOGRAPHY

OF

ANCIENT

AND

ORIENTAL

MUSIC

Erlanger, R., La Musique arabe, 5 Vols. Geunther, 1930-1949. Farmer, H.G., A History of Arabian Music to the Thirteenth Century,

[1086]

Luzac, 1929.

Farmer, H.G., W. Reeves, Gevaert, F. A., Gand-Gent: Gevaert, F.A.

[1085|

Historical Facts for the Arabian Musical Influence, n. d. [circa 1927]. Histoire et théorie de la musique de l’antiquité, 2 Vols. C. Annoot-Braeckman, 1875 & 1881. &

C. Vollgraf,

Les

Problémes

musicaux

et vie musicale

[1089 | sous

les pharaons,

3 Vols.

[1090]

Hickmann, H., Quarante-Cing Siécles de musique dans l’Egypte ancienne, Masse, 1956. Idelsohn, Z. A., Jewish Music in its Historical Development, Holt,

1929. Jan, C. von, Musici Scriptores graect, Teubner, 1895. Note: Reprinted Olms, 1962.

[1096]

Reinach, T., La Musique grécque, Payot, 1926. in the Ancient

[1091] [1092] [1093] [1094] [1095]

Note: Reprinted Tudor, 1944.

Sachs, C., The Rise of Music Norton, 1943.

[1088|

d’ Aristote,

Gand-Gent: A. Hoste, 1903. Hickmann, H., Musique Masse, 1956.

[1087}

World,

East and

West,

Schlesinger, K., The Greek Aulos, Methuen, 1939. Wellesz, E., Ancient and Oriental Music, Oxford University, 1960.

[1097] [1098] [1099|

C. BIBLIOGRAPHY

1. HISTORICAL

OF MEDIAEVAL

AND

RENAISSANCE

MUSIC

STUDIES

a. General

Besseler, H., Die Musik des Mittelalters und der Renaissance, Potsdam:

Verlagsgesellschaft Athenaion, 1931.

[1100|

Note: Reprinted Musurgia, n. d. [circa 1950].

Bukofzer, M., Studies in Medieval and Renaissance Music, Norton,1950. Carpenter, N. C., Music in the Medieval and Renaissance Universuties, University of Oklahoma, 1958. Wooldridge, H. E., The Polyphonic Period, 2 Vols. Oxford University, tgor & 1905 (2nd ed. 1929 & 1932)]

[1101]

[1102]

[1103 |

b. The Middle Ages

Dittmer, L. A., A Central Source of Notre-Dame Polyphony: -. Eine zentrale Quelle der Notre-Dame Musik, Institute of Mediaeval Music, 1959. Gérold, T., Histoire de la musique des origines a la fin du XIVe steécle, Laurens, 1936. Gérold, T., Les Péres de l’église et la musique, Paris: F. Alcan, 1931. Gérold, T., La Musique au moyen age, Champion, 1932. Harrison, F.L., Music in Medieval Britain, Routledge & Kegan

Paul, 1958.

[1104] [1105] [1106| [1107|

[1108]

Hughes, Dom A., Early Medieval Music up to 1300, Oxford University,

1957.

Pietsch, G., Studien

zur

Geschichte

der

Musiktheorie

im

[1109]

Mittelalter,

2 Vols. Niemeyer, 1929 & 1932. Reese, G., Music in the Middle Ages, Norton, 1940.

[1110] [I1I1|

c. The Renaissance

Hughes,

Dom

A.

& G. Abraham,

Ars

Nova

and

the Renaissance,

1300-1540, Oxford University, 1959. Marix, J., Histoire de la musique et des musiciens de la cour de Bourgogne sous le régne de, Philippe le Bon (1420-1467), Heitz, 1939. Pirro, A., Histoire de la musique de la fin du XIVe stécle a la fin du XV Ie, Paris: Renouard, 1940. Reese, G., Music in the Renaissance, Norton, 1954. Schering, A., Studien zur Musikgeschichte der Friihrenaissance,

1914.

[i112] [1113] [1114] [1115]

Kahnt,

[1116]

Monographs on individuals

2. MONOGRAPHS THEORISTS

109

ON

INDIVIDUAL

COMPOSERS

AND

ANONYMOUS IV

L. A. Dittmer, Anonymous IV, Institute of Mediaeval Music, 1959.

(X117}

BYRD E. H. Fellowes,-William Byrd, Oxford University, 1936.

[1118]

1) UW)EVAVY

R. Bockholdt,

Die frithen Messenkompositionen

von Guillaume

Dufay,

2 Vols. H. Schneider, 1960. C. van den Borren, Guillaume Dufay, Son Importance dans |’évolution de la musique au XVe siécle, Hayez, 1925.

[1119] [1120]

FAUGUES G. Schuetze, An Introduction to Faugues, Institute of Mediaeval Music,

1960.

[112T|

GESUALDO

C. Gray

& P. Heseltine, Carlo Gesualdo, Prince of Venosa, Musician and

Murderer, Kegan Paul, Trench GUIDO

ARETINUS

(GUIDO

& Trubner, 1926.

'

[1122]

d’AREZZO)

H. Oesch, Guido von Arezzo, Haupt, 1954. J. Smits van Waesberghe, De Musico-pedagogico et theoretico Guidone Aretino eiusque vita et moribus, Olschki, 1953.

[1123] [1124]

HANDLO L. A. Dittmer, Robert de Handlo, Institute of Mediaeval Music, 1960.

—‘[1125]

HOFHAIMER

H. J. Moser, Paul Hofhaimer:Ein Lied- und Orgelmeister des deutschen Humanismus, Cotta, 1929.

[1126]

Note: Hofhaimer’s complete extant works are appended to this study in an Anhang of 194 pages, divided into: 1) Hofhaimers Werke, and 2) Fragliche

Werke. LASS Us

W. Boetticher, Orlando di Lasso und seine Zeit, 1532-1594, Barenreiter, 1958 ff. C. van den Borren, Ovlande de Lassus, Paris: F. Alcan, 1920.

2 Vols. irr 27 | [1128]

Bibliography of mediaeval and renaissance music

IIo

MACHAUT S. Levarie, Guillaume de Machaut, Sheed & Ward, 1954. A. Machabey, Guillaume de Machaut, 130?-1377; La Vie et leuvre musicale, 2 Vols. Masse, 1955.

[1129| [1130]

MILAN J. B. Trend, Luis Milan and the Vihuelistas, Oxford University, 1925.

[1131]

MONTEVERDI

L. Schrade, Monteverdi, Creator of Modern Music, Norton, 1950.

[1132]

PALESTRINA

G. Baini, Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina, 2 Vols. Roma: Societa Tipografica, 1828. H. Coates, Palestrina, Dent, 1948.

[1133] [1134]

PRAETORIUS W. Gurlitt, Michael Praetorius, sein Leben und seine Werke, Breitkopf ee Hartel 1015,

[1135]

REDFORD C. F. Pfatteicher, John Redford, Organist and Almoner of St. Paul’s Cathedral in the Reign of Henry VITI, Leipzig: Roder, 1934. Note: This publication is not identical

with

Works

1934, which also contains

of John

Redford,

Barenreiter,

C. F. Pfatteicher,

[1136]

The Organ extensive

biographical material.

[1137]

SWEELINCK

B. van den Muztek, B. van den Servire,

Sigtenhorst Meyer, Jan P. Sweelinck en zijn instrumentale Servire, 1946. Sigtenhorst Meyer, De vocale Muziek van Jan P. Sweelinck, 1948.

3. ORIGINAL

HISTORICAL

AND

THEORETICAL

WRITINGS

Note: In general, only those works are included here, that are not listed in Section A 4a of the Bibliography.

Artusi, Giovanni Maria, Discorso secondo musicale di Antonio Braccino

[pseudonym] Scherzi

da Todt, per la dichtaratione della lettera posta ne’

Musicali

del Signor Claudio

Monteverde,

Venezia,

1608.

[1138]

[1139]

Original historical and theoretical writings

II!

Facsimile reproduction, Milano: Bollettino Bibliografico Musicale,

1934.

[1140]

Note: Cf. O. Strunk, Source Readings in Music History, Columbia University,

1950, p. 405, footnote 2, for a discussion of the importance of this treatise.

[114]

Coperario, Giovanni, Rules how to compose. A Facsimile Edition of a Manuscript from the Library of the Earl of Bridgewater (circa 1610) now in the Huntington Library, San Marino, California, with an Introduction by Manfred F. Bukofzer, Gottlieb, 1952. Dowland, Robert, Varietie of Lute Lessons, London, reproduction, E. Hunt, ed. Schott, 1958.

[1142]

1610. Facsimile

[1143]

Encomium musices, Antwerpen-Anvers, [circa 1590-1600]. reproduction, O. E. Deutsch, ed. Heffer, 1943.

Facsimile

[1144]

Galilei, Vincenzo, Dzscorso tntorno all’ opera di Gioseffo Zarlino, et altri

importants particolart attenenti alla musica, Venezia, 1589. Facsimile reproduction, Roma: Reale Accademia d'Italia, 1933.

[1145]

Galilei, Vincenzo, Dzalogo della musica antica e della moderna, Firenze, 1581. Facsimile reproduction, F. Fano, ed. Roma: Reale

Accademia d'Italia, 1934. Ganassi, Sylvestro, Opera intitulata Fontegara, laguale insegna a sonare

[1146]

dt flauto chon tutta l’arte opportuna a esso instrumento..., Venezia,.

1585.

Facsimile

reproduction,

Milano:

Musicale, 1934. Mei, Girolamo, Discorso sopra la musica

1602.

Facsimile

reproduction,

Bollettino

Bibliografico

antica et moderna,

Milano:

Bollettino

é Venezia,

[1147]

Bibliografico

Musicale, 1933. Morley, Thomas, A Plain and Easy Introduction to Practical Music [A Plaine and Easte Introduction to Practicall Mustcke], London, 1597. Reprinted, R. A. Harman, ed. Dent, 1952. Note: Facsimile reproduction, Oxford University, 1937.

[1148]

[1149] [1150]

Ortiz, Diego, Tratado de glosas sobre clausulas y otros géneros de puntos en la musica

de violones,

Roma,

1553.

translation by M. Schneider, Barenreiter,

Praetorius, musicum,

Michael,

De Organographia,

Wolfenbiittel,

Reprinted

Zweiter

1619, Appendix,

duction, W. Gurlitt, ed. Barenreiter,

with German

[1151]

1936.

Tiel des Syntagma

1620.

Facsimile

repro-

[1152]

1929.

Note: There is a partial translation into English available, H. Blumenfeld, author’s publication, 1949.

[1153]

Schlick, Arnolt, Spiegel der Orgelmacher und Organisten, Mainz, 1511. Reprinted in New High German by E. Flade, Barenreiter, 1951.

[1154]

Virdung, Sebastian, Musica getutscht, Basel, 1511. duction, L. Schrade, ed. Barenreiter, 1931.

[1155]

Facsimile

repro-

Bibliography of mediaeval and renaissance music

112

Zarlino, Gioseffo, Istitutiont harmoniche del reverendo M. Gioseffo Zarlino

[1156]

da Chioggia..., 2nd ed. Venezia, 1562. Note: 1st edition 1558; 3rd edition 1573; an English translation of excerpts of Books m1 and rv is contained in O. Strunk, Source Readings in Music History, Norton,

1950, pp. 229-261.

4. STUDIES

OF

SPECIFIC

[1157]

CATEGORIES

a. Notation

Dittmer, L. A., A Central Source of Notre-Dame Polyphony - Evne zentrale Quelle der Notre-Dame Musik, Institute of Mediaeval Music, 1959. [1158] Gennrich, F.,

AbriB

der

Frankonischen

Gennrich, 1956. Gennrich, F., Ubertragungsmaterial Gennrich, 1954.

Mensuralnotation,

2nd

ed.

[1159|

zur

Rhythmik

der

ars

antiqua, [1160]

Gennrich, F., Abvif der Mensuralnotation

des XIV. Jahrhunderts und

der ersten Halfte des XV. Jahrhunderts, Gennrich, 1958. Sunyol [Sunol], Dom G. M., Introduccié a la paleografia musical gregoriana, Abadia de Montserrat, 1925. Note: A French translation was published by Desclée, 1935. Tillyard, H. J. W., Byzantine Music and Hymnography, Faith, 1923. Waite, W.G., The Rhythm of Twelfth-Century Polyphony, Yale University, 1954.

[1161|

[1162] [1163| [1164] [1165|

b. Instruments and Instrumental Music

Apel, W. Masters of the Keyboard, Harvard University, 1947. Bedbrook, G.S., Keyboard Music from the Middle Ages to the Be_ -ginnings of the Baroque, Macmillan, 1949. Borren, C. van den, The Sources of Keyboard Music in England, J. E. Matthew, translator, Novello, n. d. [circa 1939]. Panum, H., The Stringed

Instruments

of the Middle

Ages,

rev.

[1166] [1167| [1168 |

ed.,

Je Pulverveds Keeves nod circa 2930/.

[1169|

Noite: The original Danish edition was in 3 Vols., 1915-1931.

[1170]

Rokseth, Y., La Musique d’orgue au XVe

Droz, 1930.

siécle et au début du XVJe,

[1171]

Vocal music - Plainsong

bo)

c. Vocal Music I. Plainsong

Apel, W., Gregorian Chant, Indiana University, 1958. Bas, G., Manuale di canto ambrosiano, Torino: Societa

[1172] Tipografico-

Editrice Nazionale, 1929. Johner, Dom D., A New School of Gregorian Chant, 3rd English ed. H. Erpf

& M. Ferrars, translators, Pustet, 1925.

[1173] [1174]

Note: The 3rd English edition is the most complete and authoritative.

Smits van Waesberghe, J., Gregorian Chant and its Place in the Catholic Liturgy,

W.A.Coyle-Davidson,

translator,

Continental

Book,

n. d. [circa 1948]. [12751 Sufiol [Sunyol], Dom G. M., Text Book of Gregorian Chant according to the Solesmes

Method,

G.M. Durnford,

translator

(from

the

6th

French edition), Desclée, 1930. Wagner, P., Einfiihrung in die gregorianischen Melodien, 3 Vols. 3rd ed. Breitkopf & Hartel, 1911, 1912 & 1921. (Microfilm edition, Institute of Mediaeval Music, 1958).

[1176]

[1177]

Note: Vol. 1 of this set also appeared in an English translation (based on the 2nd

German

edition),

as

Introduction

to the Gregorian

Melodies:

Part

I,

Origin and Development of the Liturgical Chant to the End of the Middle Ages, Plainsong and Medieval Music Society, 1901; reprinted in Caecilia, LXXXIV LXXXV & LXXXVI (1957-1959).

Wellesz, E., A History of Byzantine Music and Hymnography, Clarendon, 1949. Werner, E., The Sacred Bridge; The Interdependence of Liturgy and Music in Synagogue and Church during the First Millenium, Columbia University, 1959. 2. Troubadours,

Aubry, P., Trouvéres

Trouvéres,

Les

et troubadours,

Troubadours

Editions du Chéne, 1945. Frank, I., Répertoire métrique Champion, 1953 & 1957.

[1179] [1179a]

and Minnesinger

3rd ed.

Paris:

F. Alcan,

n.d.

[circa 1919]. Aubry, P., Trouvéres and Troubadours, C. Aveling, translator (from the 2nd French edition of 1910), G. Schirmer, 1914. Beck, J., Die Melodien der Troubadours. und Trouvéres, StraBburg: K. J. Triibner, 1908. Bédier, J., La Chanson de Roland, Paris: L’Edition d’Art, 1927. Briffault, R.,

[1178]

et le sentiment

romanesque,

[1180] [1181] [rr82] [1183]

Paris: c

de la poésie des troubadours,

1184]

2 Vols. [1185|

Bibliography of mediaeval and renaissance music

114

Gennrich, F., GrundriB

einer Formenlehre

des muttelalterlichen

Liedes,

Niemeyer, 1932. Jeanroy 7a, La Poésie lyrique des troubadours, 2 Vols. Didier, 1934. Spanke, H., G. Raynauds “Bibliographie des altfranzdsischen Liedes’’, Brill, 1955. Note: This was printed from the notes of Spanke who had died in 1943; this Vol. 1 actually corresponds to Vol. 1 of G. Raynaud, Bibliographie des chansonniers francais des 13e et 14e siécles; Vol. 1 of this work was published in 1958 in a microfilm edition by the Institute of Mediaeval Music. 3. Polyphonic Music

Chailley, J., L’Ecoles musicales de St. Martial de Limoges, jusqu’a la fin du XTe siécle, Livres Essentiels,

1960.

Einstein, A., The Italian Madrigal, 3 Vols. Princeton University, 1949. Fellowes, E. H., The English Madrigal Composers, Clarendon, 1921.

Fellowes, E. H., The English Madrigal, Oxford University, 1947. Gennrich, F., Bibliographie der dltesten franzdsischen und laternischen Motetten, Gennrich, 1958. Kriiger, W., Die authentische Klangform des primitiven Organum, Barenreiter, 1958. Ludwig, F., Repertorium organorum recentioris et motetorum vetustissimt stilt, Vol. 1, Part 1, Niemeyer,

IgIo.

Note: The completion of this work may be found in [1o21] and [1195]; new edition in preparation by L. Dittmer.

Prado, Dom

G.

& W. M. Whitehill, Liber Sancti Jacobt: Codex Calix-

tinus (facsimile), Santiago de Compostela, 1944. Warlock, P. [P. Heseltine], The English Ayre, Oxford University, 1926. Wagner, P., Die Gesdnge der Jacobusliturgie zu Santiago de Compostela, Freiburg, Switzerland: Universitats Buchhandlung, 1931. Note; Microfilm edition Institute of Mediaeval Music, 1958.

Zaminer, F., Der Vatikanische H. Schneider, 1959.

5. RELATED

ARTS

Organum-Traktat;

AND

CULTURAL

(Ottob.

lat. 3025),

STUDIES

Artz, F. B., The Mind of the Middle Ages, Knopf, 1954. Collins, R. W., A History of Medieval Civilization in Europe, Ginn, 1936.

The Horizon Book of the Renaissance, R. M. Ketchum ed. American Heritage, 196r.

& J. H. Plumb,

Ross, J. B. & M. M. Martin, ed., The Portable Medieval Reader, Viking,

1953.

115

Music collections

6. MUSIC

a. General Collections

Clough-Leighter, H., The E. ©. Schirmer, 1936.

A Cappella

Singer,

Mixed Voices Volume, [1208]

Einstein, A., The Golden Age of the Madrigal: Twelve Italian Madrigals,

G. Schirmer, n. d. [circa 1946]. Engel, L., Three Centuries of Choral Music: 5 Vols. Flammer, 1939-1942 & 1955.

[1209 |

Renatssance

to Baroque, [1210]

Smiuers, A., Van Ockeghem tot Sweelinck, Nederlandse Muziekgeschtede-

nis in Voorbeelden, 6 Vols. Alsbach, 1951.

PE21T|

b. Plainsong AMBROSIAN

CHANT

Antiphonale ambrostanum, (facsimile), Desclée, 1896. Anttphonale ambrosianum, (transcription), Desclée, 1900. BYZANTINE

(1222) [1213]

CHANT

[x24]

E. Wellesz, Trésor de musique byzantine, 2 Vols. Oiseau Lyre, 1934. GREGORIAN

CHANT

M. A. Goodchild, Gregorian Chant for Church and School, Ginn, Liber antiphonarius pro vesperis et completorio officit romani, Solesmes: S, Petri, 1897. Liber gradualis juxta antiquorum codicum fidem restitutus, Solesmes: S. Petri, 1895. The Liber usualis with Introduction and Rubrics in English,

1953. Monumenti ter, ed. [Passion:] 3 Vols.

[1215|

[1216]

2nd ed. peer7

Desclée, [1218]

vaticant.di paleografia musicale, (facsimiles), H. M. Bannis2. Vols. Harrassowitz, 1913. Cantus historiae passionis Domini nostri Iesu Christe... (Synagoga, Christus, Chronista), Desclée, 1958.

MOZARABIC Antifonario

1944. 2nd ed.

[I219 |

[1220]

CHANT visigotico

Barcelona & Isidoro, 1953.

mozararabe

Leon:

Centro

de la catedral

de

Estudios

de

y

Leon,

Madrid,

Investigacion

S. [1221|

Bibliography of mediaeval and renaissance music

116

c. Troubadours, Trouvéres, and Minnesinger

Aarburg, U., Singweisen zur Liebeslyrik der deutschen Schwann, 1956. Appel, C., Bernart von Ventadorn, Niemeyer, 1915. Aubry, P., Le Channsonier

de |’Arsenal,

(facsimile),

Friihe,

L. [1222|

[1223]

Geunther,

n. d.

[1224]

[circa 1909]. Note: This publication was never completed; it lacks the introduction by A. Jeanroy and approximate‘y half of the transcriptions.

Beck, J. B., Le Manuscrit du roy, (facsimile), University of Pennsylvania, 1938.

2 Vols.

Champion;

Beck, J. B., Le Chansonnier

2 Vols.

Champion;

Cangé,

(facsimile),

[1225] [1226]

University of Pennsylvania, 1927. Gennrich, F., Aus

der Formenwelt

des Mittelalters;

52 Betsprele zum

Bestimmen mustkalischer Formen, Gennrich, 1953. Gennrich, F., Exempla altfranzdsischer Lyrik; 40 atfranzdstsche Lieder,

[1227]

Gennrich, 1958. Gennrich, F., Lo Gai Saber; 50 ausgewahlte Troubadourlieder, Gennrich,

[1228]

1959. Gennrich, F., Melodien altdeutscher Lieder; 47 Melodien in handschriftlicher Fassung, Gennrich, 1954.

[1229 |

Gennrich, F., Mittelhochdeutsche Liedkunst; 24 Melodien zu mittelhochdeutschen Liedern, Gennrich, 1954. Gennrich, F., Der mustkalische NachlaB der Troubadours, 2 Vols.

Gennrich, 1958. Gennrich, F., Rondeaux,

[1231] [1232]

Virelais

und

Balladen,

2 Vols.

Niemeyer,

LOZL ECs lO27. Jeanroy, A., Le Chansonnier d’Arras, (facsimile), Paris: Société des Anciens Textes Francais, 1925. Runge, P., Die Sangwetsen der Colmarer Handschrift und die Liederhandschrift Donaueschingen, Breitkopf & Hartel, 1896. Saran, F.L.

[1230]

& E. Bernouilli,

Die Jenaer

Liederhandschrijt,

[1233] [1234]

[1235]

2 Vols.

Leipzig: C, CL. Mirschfeld; 1901:

[1236]

d. Polyphonic Music 1. The Notre-Dame Period (circa 1150 - circa 1225)

Baxter, J. H., An Old St. Andrews Music Book; MS Wolfenbiittel 677, olim Helmstedt 628, (facsimile), Oxford University, 1931. Note: An Index to this Vol. was published separately, Dom A. Hughes, Index to the Facsimile Edition of Ms. Wolfenbiittel 677, Blackwood, 1939.

[1237]

[1238]

Music collections - The Notre-Dame period

Dittmer, L. A., A Central Source

117

of Notre-Dame

Polyphony

- Eine

zentrale Quelle der Notre-Dame Musik, Institute of Mediaeval Music,

1959. Dittmer, L. A., Madrid 20486, (facsimile), Institute of Mediaeval Music, 1957. Dittmer, L. A., Wolfenbiittel 1099, (facsimile), Institute of Mediaeval

[1239]

[1240]

[1241]

Music, 1960. Note: The facsimiles are all reproduced by photographic rather than printing process.

Gennrich, F.,

Musica

sine

litera:

Notenzeichen

und

Rhythmik

der

Gruppennotation, Gennrich, 1956. Gennrich, F., Perotinus magnus; Das Organum “Alleluia Nativitas gloriose virginis Marte” und seine Sippe, Gennrich, 1955. Husmann, H., Die drei- und vierstimmigen Notre Dame-Organa; Kritische Gesamtausgabe, Brietkopf & Hartel, 1940. Perotinus: Organum quadruplum: “Sederunt principes,” R. von Ficker, ed. Universal, 1930.

[1242] [1243]

[1244]

[1245]

Waite, W., The Rhythm of Twelfth-Century Polyphony, Yale University,

1954.

[1246]

2. Thirteenth Century

Angles, H.,

El Codex

musical

de Las

Huelgas,

(facsimile),

3 Vols.

Barcelona: Institut d’Estudis Catalans, 1931. Aubry, P., Cent Motets du XIIle siécle; publiée d’aprés le manuscrit Ed. IV. 6 de Bamberg, (facsimile), 3 Vols. Rouart & Lerolle, 1908. Aubry, P., Le Roman de Fauvel, (facsimile), Geunther, 1907.

[1247]

[1248] [1249]

Note: This facsimile edition of the manuscript, Paris, Bibliotheque nationale,

fonds

francais 146, contains no transcriptions; the entire material is transcribed in L. Schrade, Polyphonic Music of the Fourteenth Century, Vol. 1, Oiseau Lyre, 1956.

[1250]

Auda, A., Les “Motets wallons” du manuscrit de Turin: Vari 42, 2 Vols.

Bruxelles-Brussel, authors publication (Centrale Don Bosco, 90, Avenue du Val d’Or, Woluwe-St.-Pierre), 1953. Dittmer, L. A., Paris 13521 & 11411, (facsimile), Institute of Mediaeval Music, 1959

[1251] [1252|

Dittmer, L. A., Oxford, Latin Liturgical d 20; London, Add. Ms. 20531,

& Chicago, Ms. 654app, (facsimile), Institute of Mediaeval Music,

[1253]

1959. Dittmer, L. A.,

The

Musicology, 1957.

Worcester

Fragments,

American

Institute

of

[1254]

Bibliography of mediaeval and renaissance music

118

Dittmer, L. A., Worcester Add. 68; Westminster Abbey 33327; & Madrid, Bibl. nac. 192, (facsimile), Institute of Mediaeval Music,

1959. Gennrich, F., Ein

[1255] altfranzésischer

Motettenkodex,;

Faksimile-Ausgabe

der Hs La Clayette..., (facsimile), Gennrich, 1958. Gennrich, F., Lateinische Liedkontrafaktur, Gennrich, 1956. Gennrich, F., Sankt

Viktor

Clausulae

und

ihre Motetten,

[1256] [1257|

(facsimile),

Gennrich, 1953. Gennrich, F., Die Wimpfener Fragmente der Hessischen Landeshtbliothek Darmstadt; Faksimile-Ausgabe der HS 3471, Gennrich, 1953. Rokseth, Y., Polyphonies du XIIIe siécle: Le Manuscrit H 196 de la faculté de médecine de Montpellier, (facsimile), 4 Vols. Oiseau

Lyre, 1935-1939.

[1258] [1259]

[1260]

Thurston, E., The Music in the St. Victor Manuscript, Paris lat. 15139,

(facsimile), Pontifical Institute of Mediaeval Studies, 1959.

[1261]

3. Fourteenth Century

Apel, W., French Secular Music of the Late Fourteenth Mediaeval Academy of America, 1950. Guillaume de Machaut; La Messe de Nostre Dame: Note; There are six complete editions of this mass. 1. Opera omnia, Vol. iv (F..Ludwig & H. Besseler, ed. Breitkopf

Century,

[1262|

& Hartel,

1954)

2. ed. A. Machabey (Aelberts, 1948). 3. ed. G. de Van (American Institute of Musicology, 1949). 4. ed. J. Chailley (Rouart & Lerolle, 1948). 5. ed. L. Schrade (Oiseau Lyre, 1956). 6. ed. F. Gennrich (facsimile), (Gennrich, 1957). Marrocco, T., Italian Cacce of the Fourteenth Century, Mediaeval Academy of America, 1942. (New edition, 1962.) Wolf, J., Der Squarcialupi-Codex, Pal. 87 der Biblioteca Medicea Laurenziana zu Florenz, Kistner & Siegel, 1955.

[1263]

[1264] [1265| [1266] [1267| [1268|

[1269| [1270]

e. Vocal Music (1400-1640) Auculns Pseaumes et cantiques mys en chant, StraBburg, 1539. Facsimile reproduction, D. Deletra, ed. Genéve: A. Jullien, 1919. The Bay Psalm Book, being a facsimile reprint of the first edition, printed by Stephen Daye at Cambridge in New England in 1640, New England Society, n. d. [1903]. Note: New edition, 2 Vols., University of Chicago, 1956.

[1271|

(12724 [1272 a]

119

Music collections - vocal music

Blum,

Michael,

Enchiridion

getstlicher Gesenge

und

Psalmen

fiir die

Leten, mit viel Andern, denn zuvor gebessert, Leipzig, 1530. Facsimile reproduction as Das erste Leipziger Gesangbuch, H. Hoffmann, ed. Barenreiter, 1914. [1273] Borren, C. van den, Polyphonia sacra; A Continental Miscellany of the Fifteenth Century, Plainsong and Medieval Music Society, 1932. [1274] Calvin’s First Psalter, [1539]. Facsimile reproduction, R. R. Terry, ed) Benn, 1932. [1275] Eyn Enchiridion oder Handbiichlein eynem ytzlichen Chnisten fast niitzlich bey sich zuhaben, zur stetter Ubung und Trachtung geystlicher Gesenge und Psalmen, rechtschaffen und kiinstlich verteutscht, Erfurt, 1524. Facsimile reproduction, Barenreiter, 1929. [1276] Gassenhawerlin und Reutterliedlin, Frankfurt am Main, 1535. Facsimile reproduction, H. J. Moser, ed. Augsburg & Ko6ln: B. Filser, 1927. Gesangbuch darinn begriffen sind die allenfiirnemisten und besten

[1277]

Psalmen, getstliche Lieder und Chorgesang aus dem Wittembergtschen, Strasburgischen und anderen Kirchen Gesangbiichlin zusamenbracht und mit besonderem Fleis corrigiert und gedrucket,; Fiir Stett und Dorff Kirchen lateinische und deudsche Schiilen, StraBburg, 1541. Facsimile reproduction, Evangelisches Verlagswerk, 1953. Hewitt, H., Harmonice musices odhecaton A, Mediaeval Academy of

America, 1942 Ist ed.; 1946 2nd ed. ; Lochhaimer Liederbuch und Fundamentum organisand: des Conrad Paumann, {circa 1456]. Facsimile reproduction, K. Ameln, ed. Barenreiter, n. d. [circa 1925].

[1278|

[1279| [1280]

Luther, Martin, Deudsche Messe und Ordnung Gottesdienstes zu Wittem-

berg ftirgenomen, Wittenberg, 1526. Facsimile reproduction, J. Wolf, ed. Barenreiter, 1934. Marix, J., Les Musiciens de la cour de Bourgogne du XVe stécle (14201467), Oiseau Lyre, 1937. Petrucci,

Ottaviano

Ottaviano

dei

dei,

Harmonice

Petrucci,

1501.

musices

Facsimile

odhecaton,

Venezia:

reproduction,

Milano:

BolJettino Bibliografico Musicale, 1932.

[1281| [1282]

[1283]

Note: This facsimile reproduction was made from the Treviso copy which is slightly imperfect and the date of which is probably later than 1501; for further details consult [1279], p. Off.

Ramsbotham,

A., The Old Hall Manuscript, (facsimile), 3 Vols. Plainsong

and Medieval Music Society, 1935-1938. Sevilla, 5-I-43 & Paris, fr¢. 4379, (facsimile), D. Plamenac, ed. Institute of Mediaeval Music, 1962. Stainer, J., Dufay and his Contemporaries, Novello, 1808.

[1284] [1285| [1286]

Bibliography of mediaeval and renaissance music

120

f. Instrumental Music (1450-1625) Apel, W., Mustk aus frither Zeit, 1350-1650, 2 Vols. Schott, 1934.

Das

Buxheimer

Orgelbuch:

Staatsbibliothek

Handschnift

Miinchen,

Mus.

(facsimile),

2735

der Bayerischen

B. A. Wallner,

ed.

Baren-

reiter, 1955. The Fitzwilliam Virginal Book, J. A. Fuller-Maitland & W. BarclaySquire, ed. 2 Vols. Reprinted Broude, n. d. [circa 1950]. Gabrieli, G., Composiziont

per

organo,

S. dalla

Libera,

ed.

3 Vols.

Ricordi, 1957-1959. Klein, J., The First Four Centuries of Music for the Organ, from Dunstable to Bach, (1370-1749), 2 Vols. Associated Music, 1948. Morley, Thomas, The First Book of Consort Lessons, 1599, 1611. S. Beck,

Cedar etetss 1050: The Mulliner Book, D

Stevens, ed

Stainer

& Bell, 1951.

My

Lady Nevells Booke, H. Andrews, ed. Reprinted Broude, n. d. [circa 1955]. Parthenta, or the Maydenhead of the First Mustck that ever was printed for the Virginals, London, 1612-1613. Facsimile reproduction, London: Chiswick Press, 1942.

Parthenia, K. Stone, ed. Broude,

1951.

Paumann, Conrad, Fundamentum organisandt, (circa 1456]. Facsimile reproduction, K. Ameln, ed. Barenreiter, n. d. [circa 1925] Radino, Giovanni Maria, IJ Primo Libro d’intavolatura di balli d’arpicordo. Venezia, 1592. Facsimile reproduction, R. E. M. Harding,

ed, Hefter 1040: Schlick, Arnolt, Tabulaturen Orgel

und

Lauten

etc.

etlicher Lobgesang Facsimile

und

reproduction,

Lidlein

uff die

G. Harms,

ed.

Ugrino, 1957. Note: The introductory text is complete in facsimile, but the music is given in transcription.

Bibliography of mediaeval and renaissance music

8. ADDENDA

121

D. BIBLIOGRAPHY

OF

1. HISTORICAL

BAROQUE

MUSIC

STUDIES

Bukofzer, M., Music in the Baroque Era, Norton, 1947. Fuller-Maitland, J. A., The Age of Bach and Handel, Oxford University, Ist ed. 1902, and ed. 1931. Haas,

Robert,

Athenaion,

Die Musik

des Barocks,

Potsdam:

[r300| [1301|

Verlagsgesellschaft

1928.

1302 |

Note: Reprinted Musurgia, n. d. [circa 1950].

[1303]

Parry, C. H. H., The Music of the Seventeenth Century, Oxford University,

1st ed. 1902, 2nd ed. 1938.

2. MONOGRAPHS ON AND THEORISTS

[1304|

INDIVIDUAL

COMPOSERS

{*S. BAGH Bach-Gedenkschrift,

E. Bodky,

The

1950,

K. Matthaei, ed. Atlantis,

Interpretation

of Bach's

Keyboard

1950.

[1305

Works,

Harvard

University, 1960. H. T. David & A. Mendel, The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, Norton, 1945. A. T. Davison, Bach and Handel, Harvard University, 1951. J.N. Forkel, Johann Sebastian Bach: His Life, Art, and Work, C.S. Terry, translator, Constable, 1920. H. Grace, The Organ Works of Bach, Novello, 1922. P. Hindemith, Johann Sebastian Bach: Heritage and Obligation, Yale University, 1952. A. Schweitzer,J.S. Bach, E. Newman, translator, 2 Vols. Black, 1923. Note: The original German edition dates from

P. Spitta, Johann Sebastian Bach, 3 Vols. Maitland, translators, Novello, 1899. Note; Reprinted in 2 Vols. from 1873.

Dover,

[1306] [1307] [1308|

[13009| [1310] [1311] [1312]

1908.

C. Bell

& J. A.

Fuller[1313]

1951; the original German

edition dates [1314]

C.S. Terry, Bach, A Biography, Oxford University, 1928. C.S. Terry, Bach's Orchestra, Oxford University, 1932. C.S. Terry, The Music of Bach, Oxford University, 1933.

[1315] [1316] [1317]

BURNEY P. Scholes, The Great Dr. Burney, 2 Vols. Oxford University, 1948. BUXTEHUDE

J. Hedar,

Dietrich

Buxtehudes

Orgelwerke:

Zur Geschichte

des nord-

[1318]

Monographs on individuals

123

deutschen Orgelstils, Nordiska Musikforlaget; Frankfurt am Main: Wilhelmina Musikverlag, 1951. A. Pirro, Dietrich Buxtehude, Fischbacher,

1913.

[1319] [1320]

CORElal

[1321]

M. Pincherle, Corelli, Paris: F. Alcan, 1933. COUPERIN

W. Mellers, Francois Roy, 1951. BES © OBA

Couperin

and

the French

Classical

Tradition,

[1322]

Da

L. Ronga, Gerolamo Frescobaldi, Bocca, 1930.

[1323]

HANDEL

F. Chrysander, G. fF’. Handel, 3 Vols. (unfinished), Breitkopf

& Hartel,

1858-1867. Note: Reprinted 1919; cf. also [1329].

A. T. Davison, Bach and Handel, Harvard University, 1951. A. Dean, Handel's Dramatic Oratorios and Masques, Oxford University,

1959 O. E. Deutsch, Handel: A Documentary Biography, Norton, 1954. Festschrift zur Handel Ehrung, 1959, Deutscher Verlag fiir Musik, 1959. W. Serauky, Georg Friedrich Handel, Sein Leben, Sein Werk, Vols. ul-v, Barenreiter, 1956-1958. Note: Intended

as a revision of [1324], this work was also left incomplete.

P. M. Young, The Oratorios of Handel, Dobson,

1949.

H. & W. LAWES W. McC. Evans, Henry Lawes: Musician and Friend of Poets, Modern Language Association; Oxford University, 1941. M. Lefkowitz, William Lawes, Routledge & Kegan Paul, 1960.

MONTEVERDI G. F. Malipiero, Claudio Monteverdi, Milano: Fratelli Treves, 1929. L. Schrade, Monteverdi, Creator of Modern Music, Norton, 1950.

PURCELL A. K. Holland, Henry Purcell, Penguin, 1948. J. A. Westrup, Purcell, Dent, 1937 (reprinted 1947).

Bibliography of baroque music

124

RAMEAU

[1337]

P.M. Masson, L’Opéva de Rameau, Laurens, 1930. Al

Ds SCARLATII

E. J. Dent, Alessandro Scarlatti: His Life and Works, Arnold, 1905.

[1338]

Note: A new edition, F. Walker, ed., was published in 1960.

[1339]

R. Kirkpatrick, Domenico Scarlatti, Princeton University, 1953.

[1340]

SCH Ui H. J. Moser,

Heinrich

Schiitz, Sein Leben

und

Werk,

2nd

ed. Baren-

reiter, 1954. H. J. Moser, Heinrich Schiitz, His Life and Work, C. F. Pfatteicher, translator, Concordia, 1959. A. Pirro, Schueiz, Paris: F. Alcan, 1924. H. Schiitz, Gesammelte Briefe und Schriften, E. H. Miller von Asow, ed. Bosse, 1931.

3. ORIGINAL

HISTORICAL

AND

THEORETICAL

[1341|

[1342| [1343]

[1344]

WRITINGS

Note: Some works for the early part of the 17th century are included

in

Section C 3; an extensive list of original sources is included in M. Bukofzer,

Music in the Baroque Eva, Norton, 1947, pp. 417-431. [Amat, Juan Carlos], Guitarra

espanola, y vandola

[1345 | en dos maneras

de

guitarra, castellana, y cathalana de cinco ordenes la qual ensena de templar, y taner rasgado, todas los puntos naturales, y “b’, mollados, con estilo maravilloso..., Gerona, 1639. Note: A facsimile reprint,

[circa 1958], is by an unnamed,

publisher,

[1346]

and is

based on a later edition; the 1st edition was published in, 1596.

Bach, Carl Phillipp Emanuel, Versuch tiber die wahre Art das Klavier zu sprelen mit Exempeln und achzehn Probe-Stiicken in sechs Sonaten von Carl Philipp Emanuel Bach, Koniglicher, PreuBischer Cammermustkus, Berlin, 1753; Zweyter Teil, Berlin, 1762. Facsimile reproduction, Breitkopf & Hartel, 1957.

[1347]

Note: There is an English translation ot this work by W. J. Mitchell, Essay

on the True Art of Playing Keyboard Instruments, Norton, 1949.

[1348]

Burney, Charles, Dr. Burney’s Musical Tours in Europe, P. A. Scholes, ed. 2 Vols. Oxford University, 1959. Burney,

Charles,

A General History of Music,

F. Merver,

London, 1776-1789. London: Foulis; Harcourt Note: Reprinted Dover, 1957 and Heitz, 1958.

[1349]

ed. 2 Vols.

& Brace, 1935. [1351]

[1350] [1352]

125

Original historical and theoretical writings

Caccini,

Giulio,

duction,

Le Nuove

Roma:

Couperin, Francois,

Musiche,

Firenze, 1601. Facsimile

Reale Accademia

d'Italia,

repro-

1934.

L’ Art de toucher le clavecin, Paris, 1717.

Note: Contained in the Oeuvres completes, Oiseau Lyre, 1933, Vol. 1, p. 19; an edition with translations into English and German was published by Breitkopf & Hartel, 1933, and reprinted 1958.

[1353] [1354] [1355]

[1356]

Fantini, Girolamo, Modo per imparare a sonare di tromba tanto di guerra quanto musicalmente in organo, con tromba sordina, con cimbalo, e ogn’altro istrumento. Aggiuntovt molte sonate, come ballettt, brandi, capricct, serabande, correnti, passaggi, e sonate con

la tromba, ed organo insteme di Girolamo Fantini da Spolettt, trombetta maggiore del Serenissimo Gran Duco di Toscana, Ferdtnando

II,

Frankfurt

am

Main,

1638.

Facsimile

Milano: Bollettino Bibliografico Musicale, 1934. Fux, Johann Joseph, Gradus ad Parnassum, Wien, English Translation by A. Mann, Norton, 1943.

reproduction,

[1357] 1725. Abridged

[1358]

Galilei, Vincenzo, Dzscorso intorno all’ opera di Gioseffo Zarlino, et altri

important particolari attenenti Facsimile reproduction, Roma:

alla musica, Venezia, 1589. Reale Accademia d'Italia, 1933.

[1359]

Galilei, Vincenzo, Dialogo della musica antiqua e della moderna, Firenza, 1581. Facsimile reproduction, F. Fano, ed. Roma: Reale Accademia d'Italia, 1934.

[1360]

Geminiani, Francesco, The Art of Playing on the Viclin, containing all the Rules necessary to attain to a Perfection on that Instrument, with a great Variety of Compositions, which will also be very useful to those who study the Violoncello, Harpsichord, etc. Opera IX, London, 1751. Facsimile reproduction, D. D. Boyden, ed. Oxford University n. d. [circa 1951].

[1361]

Mace,

Thomas,

Musick’s

Monument:

or a Remembrancer

of the best

practicall Musick, both divine and civil, that has ever been known to be in the World... London, 1676. Facsimile reproduction, Centre National de la Recherche Scientifique, 1958.

[1362]

Note: A Vol. of commentary with transcriptions of the musical examples is in preparation as a companion to this facsimile.

[1363]

Marcello,

Bendetto,

J/ Teatro

alla

moda,

Venezia,

1720.

English

Translation by R. G. Pauly in The Musical Quarterly, XxxIv (1948),

[1364]

Pp. 371-403 & Xxxv (1949), pp. 85-105. Mersenne,

Marin,

Harmonie

universelle:

The

Books

of Instruments,

R. E. Chapman, translator, Nyhoff, 1957. Note: The original edition of the complete Harmonie universelle, published in Paris, 1636-1637.

[1365] 2 Vols. was

[1366]

Bibliography of baroque music

126

Paradossi, Giuseppi [Troili, Giuseppi], Modo facile di suonare wl sistro nomato il timpano, Bologna, 1695. Facsimile reproduction, Milano: Bollettino Bibliografico Musicale, 1933. Playford, John, The English Dancing Master, or, Plaine and Easve Rules for the Dancing of Country Dances, with the Tune to each Dance, London, 1651. Facsimile reproduction, M. Dean-Smith, ed. Schott, 1957. Praetorius, Michael, Syntagma musicum I, (1) De musica sacra; (2) De Musica veterum organica et instrumentis musicis, Wittenberg, 1615; Syntagma musicum II, Organographia, Wolfenbittel, 1619; Syntagma Theatrum

[1368]

musicum IIT, Termini musict, Wolfenbiittel, 1619; & instrumentorum, Wolfenbiittel, 1620. Facsimile repro-

duction, Barenreiter, 1958-1959. Quantz,

[1367]

Johann

Joachim,

Versuch

[1369] einer Anweisung,

dte flute traver-

siéve zu sptelen, Berlin, 1789. Facsimile reproduction, Barenreiter,

1953: Simpson, Christopher, The Diviston-V upon a Ground..., London,

[1370] iol, or the Art of playing extempore

1665. Facsimile reproduction, Curwen;

G. Schirmer, 1955.

[1371]

Note: This is a facsimile reproduction of the znd edition; the Ist edition dates from 1659.

4. STUDIES

OF

SPECIFIC

CATEGORIES

a. Ornamentation, Interpretation, and Performance

Aldrich, P., Ornamentation

in J.S. Bach’s Organ Works, Coleman

&

Ross, 1950. Arnold, F.T.,

[1372] The

Art

of Accompaniment

from

a Thorough-Bass,

Oxford University, 1931. Beyschlag, A., Die Ornamentik der Mustk, 2nd ed. Breitkopf & Hartel, 1953. Bodky, E., The Interpretation of Bach's Keyboard Works, Harvard University, 1960. Dannreuther, E., Musical Ornamentation,

Novello,

Dolmetsch, A., The Interpretation of the Music

n. d. [circa 1895].

of the 17th and 18th

Centuries, 2 Vols. Oxford University, 1946. Emery, W., Bach’s Ornaments, Novello, 1953. Keller, H., Schule des Generalbaf-Spiels, 4th ed. Barenreiter, 1959.

Schmitz, H. P., Die Kunst der Verzierung im 18. Jahrhundert: instrumentale und vokale Musizierpraxts in Beispielen, Barenreiter, 1955.

[1373]

[1374] [2375] [1376]

[1377] [1378]

[1379]

[1380]

Instruments and instrumental music

127

b. Instruments and Instrumental Music

Bedbrook, G. S., Keyboard Music from the Middle Ages to the Beginnings of the Baroque, Macmillan, 1949. Kenyon, M., Harpsichord Music, Cassell, 1949.

[1381| [1382|

Menke, W., History of the Trumpet of Bach and Handel, G. Abraham,

translator, Reeves, 1934. Meyer, E. H., English Chamber Music: The History of a Great Art from the Middle Ages to Purcell, Lawrence & Wishart, 1946. Rowen, R. H., Early Chamber Music, Kings Crown, 1949. Terry, C.S., Bach’s Orchestra, Oxford University, 1932. Ulrich, H., Chamber Music, Columbia University, 1948. Note: Baroque chamber music (1600-1750) is discussed on Rococo chamber music (1725-1775) is discussed on pp. 145-177.

[1383] [1384] [1385] [1386] [1387]

pp. 3-144;

c. Opera

Dent, E. J., Foundations of English Opera. Cambridge University, 1928. Gagey, E. M., Ballad Opera, Columbia University, 1937.

[1388] [1389]

Goldschmidt, H., Studien zur Geschichte der italienischen Oper im 17.

Jahrhundert, 2 Vols. Breitkopf & Hartel, 1904. Kretzschmar, H., Geschichte der Oper, Breitkopf & Hartel, 1919. Prunieéres, H., L’Opéra italien en France avant Lull1, Champion, 1913. Rolland, R., Les Origines du théatre lyrique moderne: Histoire de l’opéra en Europe avant Lully et Scarlatti, Boccard, 1931. Sonneck, O. G., Early Opera in America, G. Schirmer, 1915. Wellesz, E., Essays on Opera, Roy, 1950.

[1390] [1391] [1392]

Beeei [1394] [1395|

Note: The first five essays deal with Baroque opera.

White, E. W., Rise of English Opera, Lehmann, 1951.

[1396]

Note; Chapters 1-111 deal with Baroque opera.

Worsthorne, S. T., Venetian Opera in the Seventeenth Century, Clarendon,

1954. 5. RELATED

[1397] ARTS

AND

CULTURAL

STUDIES

Bourke, J., Baroque Churches of Central Europe, Faber & Faber, 1958. Lees-Milne, J., Baroque in Italy, Macmillan, 1960. Kaumann, E., Architecture in the Age of Reason: Baroque and PostBaroque in England, Italy, and France, Harvard University, 1955. McComb, A., The Baroque Painters of Italy: An Historical Survey, Harvard University, 1934.

[1398] [1399] [1400] [1401]

Bibliography of baroque music

128

6. MUSIC Note: Dates of publication are not given for standard, generally available editions, which are reprinted from time to time; in general, entries from Section A of the Bibliography are not duplicated.

a. Collections of Organ Music Biggs, E. P., Treasury of Early Organ Music, Music. Bonnet, J., Historical Organ Recitals, 6 Vols. G. Schirmer.

[1402] [1403|

Note: Vols. 1-111 cover the period 1500-1800.

Klein, J... The First Four Centuries of Music for the Organ, Dunstable to Bach, (1370-1749), 2 Vols. Associated Music. Straube, K., Alte Meister des Orgelspiels, Peters. Straube, K., Alte Meister des Orgelspiels,

from

Neue Folge, 2 Vols. Peters.

Straube, K., Choralvorsprele alter Meister, Peters. White, E.,

Masterpieces

of Organ

Music,

72

[1404| [1405| [1406|

[1407| folios

(continuing),

Liturgical Music.

[1408|

b. Collections of Clavier Music

Esposito, M., Early Italian Piano Music, Ditson. Moszkowski, M., Anthology of German Piano Music, Vol. 1: Early Composers, Ditson. Niemann, W., Old Masters of the 16th, 17th, and 18th Centuries, Kalmus. Oesterle, L., Early Keyboard Music, 2 Vols. G. Schirmer. Philipps, I., Anthology of French Piano Music, Vol. 1: Early Composers, Ditson.

[1409 | [1410] [1411] [1412]. [1413]

c. Collections of Vocal Music

Chappel, W., Old Englsith Popular

ed. 2 Vols. Novello

Music,

New

ed. H. E. Wooldrige,

& Ewer, 1893.

[1414]

Note: The original edition of 1855-1859 had the title Popular Music of the

Olden Time.

[1415]

Duncan, W. E., The Minstrelsy of England, Augener.

[1416]

Echos de France, 2 Vols. Durand.

[1417]

Engel, L., Three Centuries

of Choral

Music:

Renaissance

to Baroque,

5 Vols. Flammer, 1939-1942 & 1955. Floridia, P., Early Italian Songs and Airs, 2 Vols. Ditson. Jeppesen, K., La Flora: Arie &c antiche italiane, 2 Vols. Kobenhavn & Oslo: Wilhelm Hansen.

[1418] [1419]

[1420]

129

Music collections - vocal music

Krehbiel, H. E., & M. Spicker, Voices from the Golden Age of Bel Canto, G. Schirmer.

[1421]

Parisotti, A., Anthology of Italian Scng of the Seventeenth and Eighteenth Centuries, 2 Vols. G. Schirmer. Potter, F. H., Reliquary of English Song, 2 Series, G. Schirmer.

[1422] [1423]

d. Collections of Music of an Individual Composer 1. Organ

J. S. BACH Organ Works, 8 Vols. C.M. Widor

& A. Schweitzer, ed. G. Schirmer.

[1424]

Note: Vols. vil-vi1I are in preparation.

Organ Works, 20 Vols. Novello.

[1425]

Note: Vols. Xv-x1X contain the complete chorale preludes in their original order;

these

correspond

to Vols.

vi-vi11

of the

Widor-Schweitzer

edition

[1424]; Vol. xx contains the chorales used in these chorale preludes.

Sdmtliche Orgelwerke, 9 Vols. Peters.

[1426]

BLOW Selected Organ Music, Hinrichsen.

[1427]

BUYS he HU Dr

[1428]

Ausgewahlte Orgelwerke, 2 Vols. Peters. Sdmtliche Orgelwerke, 4 Vols. P. Spitta, ed. Breitkopf & Hartel. Samtliche

Orgelwerke,

4 Vols,

J. Hedar,

ed.

Kobenhavn

&

[1429] Oslo:

Wilhelm Hansen.

[1430]

FRESCOBALDI Ausgewahlte Orgelwerke, 2 Vols. Peters. Orgel und Klavier Werke, P. Pidoux, ed. 5 Vols. Barenreiter.

[1431] [1432]

HANDEL

Seize Concertos pour grand orgue, 3 Vols. M. Dupré, ed Bournemann; Gray.

[1433]

PURCELL Ceremonial Music for Organ, E. P. Biggs, ed. Mercury.

[1434]

SCHEIDT

Ausgewahlte Orgelwerke, Peters.

[1435]

Bibliography of baroque music

130

2. Clavier

J. S. BACH Johann Sebastian Bachs Clavierwerke, 7 Vols. H. Bischoff, ed. Leipzig: Steingraber.

[1436]

Note: This edition is now out of print, but has been reissued in large part by

Kalmus;

the

original

seven-volume

format,

however,

has

not

been

followed.

[1437]

BUXTEHUDE Klaververker, E. Bangert, ed. Kgbenhavn

& Oslo: Wilhelm

Hansen.

[1438]

HANDEL

Fourteen Suites, 2 Vols. Kalmus. Kompositionen fiir Klavier, 4 Vols. Peters.

[1439| [1440]

KUHNAU Six Biblical Sonatas for Keyboard (1700), Broude.

[1441]

PURCELL Harpsichord Works, 4 Vols. W. Barcaly-Squire, ed. Chester. De

SC Ak

[1442]

Ae

Four Sonatas for Harpsichord, R. Newton, ed. Oxford University. Note: These four Sonatas are not included in the Longo edition [762]

[1443] &

[763] Sixty Sonatas, 2 Vols. R. Kirkpatrick, ed. G. Schirmer.

[1444]

3. Chamber Music

Note; The chamber works of J. S. Bach and Handel are available in a number of editions and have not been listed. GCORELLI

Zwolf Sonaten fiir Violine mit figuriertem Bag, Opus V, 2 Vols. Schott; Associated Music.

[1445]

PURCELL

Sonatas I-XII for Two Oiseau Lyre.

Violins,

Violoncello

& Pianoforte,

12 Vols.

[1446]

131

Music collections - opera and solo song

4. Opera and Solo Song BLOW

[1447]

Venus and Adonis, A. Lewis, ed. Oiseau Lyre. CACCINI

Le Nuove Musiche, Firenze, 1601. Facsimile reproduction, F. Vatielli,

ed. Roma:

[1448]

Reale Accademia d'Italia, 1934.

MONTEVERDI

Il Combatimento di Tancredi e Clorinda, G. F. Malipiero, ed. Chester. L’Incoronazione di Poppea, Bocca. L’Orfeo, O. Respighi, ed. Carisch. L’Orfeo, G. F. Malipiero, ed. Chester.

Ritorno d’Ulisse in patria, Universal, 1922; Akademisch 1960. Le Retour d’Ulysse, V. d’Indy, ed.. Heugel.

[1449] [1450] [1451] [1452] [1453] [1454]

PEPUSCH The Beggar’s Opera, ¥. Austin, ed. Boosey

& Hawkes.

[1455]

PERGOLES!

La Serva padrona, Wien: Philharmonia.

[1456]

PERI

Le Mustiche

sopra l’Euridice,

E. M. Dufflocg, ed. Roma:

Firenze,

1600.

Facsimile

Reale Accademia

reproduction,

d'Italia, 1934.

[1457]

PURCELL

[1458] [1459]

Dido and Aeneas, Broude.

Fairy Queen, Novello. King Arthur, Novello.

[1460]

& 1702.

[1461] [1462]

Note: A Vol. each of selected songs from the Harmonia sacra and Orpheus britannicus has been published with realizations by Benjamin Britten, Boosey & Hawkes.

[1463]

Harmonza sacra, 2 Vols. London, 1688

Orpheus britannicus, 2 Vols. London:

& 1693.

Henry Playford, 1698

A. SCARLATTI

Il Trionfo del onore, Carisch.

[1464]

Bibliography of baroque music

132

5. Choral Music

BUXTEHUDE Aperite mihi portas justitiae, Peters. Command Thine Angel to appear, Chantry.

[1465| [1466|

Jesu, Joy and Treasure, Hinrichsen. Lobet, Christen, euren Heiland, Barenreiter. Rejoice Beloved Christians, Gray.

[1467| [1468| (1469 |

Missa brevis, Gray.

[1470]

CARISSIMI

Jephthah, Gray.

[1471]

SCHUTZ Wethnachts Historie, Eulenburg. Kleine geistliche Konzerte, Nos. V, VI & VIII, Music. (Passions according to:) St. Matthew, St. John; St. Luke; Eulenburg.

[1472] [1473]

St. Mark,

[1474-1477]

Note: Four separate Vols. in duodecimo.

The Passion according to St. Matthew, Concordia. Auferstehungs Historie, Eulenburg. Die sieben Wortte..., Eulenburg.

[1478] [1479] [1480]

VIVALDI

Gloria, (“Gloria Mass”), Ricordi. Juditha triumphans, Santis.

[1481] [1482|

Bibliography of baroque music

133

7, ADDENDA

OF

E. BIBLIOGRAPHY

1. HISTORICAL

Biicken, E., Die Mustk

CLASSIC

MUSIC

ROMANTIC

AND

STUDIES

des Rokokos

und der Klassik,

Potsdam:

Aka-

demische Verlagsgesellschaft Athenaion, 1927. Biicken, E., Die Mustk des 19. Jahrhunderts bis zur Moderne, Potsdam: Akademische Verlagsgesellschaft Athenaion, 1929. Note:

[1483]

& [1484] were reprinted Musurgia,

Colles, H. C., Symphony

and Drama,

n. d. [circa 1950].

1850-1900,

Oxford

(1486| Romantic

Period,

Oxford

University,

2nd

ed.

[1487]

1931. Einstein, A., Music in the Romantic Eva, Norton, 1947 Hadow, W. H., The Viennese Pertod, Oxford University, 2nd ed. 1931.

2. MONOGRAPHS ON AND THEORISTS

Note:

[1484] [1485]

University,

and ed. 1934. Dannreuther, E., The

[1483]

Only the major

source

INDIVIDUAL

works

are

listed;

(1488|

[1489 |

COMPOSERS

attention

is drawn

to the

“Master Musician” Series, Dent, which provides monographs of most of the important composers. An extensive catalogue of biography (of all periods) is provided by H. W. Azhderian, Reference Works in Music and Music Literature in Five Libraries of Los Angeles County, University of Southern California, 1953, pp. 21-102.

[1490} [1491]

j. CABACH C.S. Terry, John Christian Bach, Oxford University, 1929.

[1492]

BEETHOVEN

FE. Anderson, ed. & translator, The Letters of Beethoven, 3 Vols. Macmillan, rg6r. W.von Lenz, Beethoven et ses trois styles, 2 Vols. Uerporpaa

(Pjetrograd): Chez Bernard, 1852. A.W. Thayer,

Life of Beethoven,

H. E. Krehbiel,

[1493] [1494 |

translator,

3 Vols.

New York: The Beethoven Association, 1g2t.

[1495] [1496]

Note: Reprinted University of Southern Illinois, 1960. BERLIOZ

J. Barzun, Berlioz and the Romantic Century, 2 Vols. Little

1950.

& Brown,

[1497]

Monographs on individuals

135

BILLINGS J. M. Barbour, The Church Music of William Billings, Michigan State University, 1960.

[1498]

BRAHMS E. Evans, Historical, Descriptive, and Analytical Account of the Entire

Works of Johannes Brahms, 3 Vols. in four Parts. Reeves, 1rg12ff.

[1499]

Note: In the original plan, 3 Vols. were projected: 1 - Vocal Music; 11 - Pianoforte and Organ Music; 111 - Chamber and Orchestral Music; in the completed work, Vol. 111 was divided into two parts, called Sevies One and Series Two.

M. Kalbeck, Johannes

Brahms,

4 Vols. in 8 Parts,

Berlin:

Deutsche

Brahms Gesellschaft, 1904-1914. Note: 2nd and 3rd enlarged editions have also been published,

[1500] 1908-1921

&

1915-1927.

W. Niemann, CHOPIN

Brahms,

C. A. Phillips, translator, Knopf, 1929.

[1501]

(SZOPEN)

F. Niecks, Frederick Chopin as a Man and Musician, 3rd ed. 2 Vols. Novello, n. d. [circa 1902].

[1502]

DVORAK J. Burghauser, Antonin Dvofak, Thematicky, Katalog, Bibliografie, Drehled Zivota a Dila (Thematic Catalogue, Bibliography, Survey of Life and Works), Praha: Artia, 1960. [1503| FRANCK N. Demuth, César Franck, Philosophical Library, 1949. V. d'Indy, César Franck, ®. Newmarch, translator, Lane, 1g10. .. Vallas, César Franck, H. J. Foss, translator, Oxford University,1951.

[1504| [1505| [1506]

GLUCK M. Cooper, Gluck, Chatto & Windus, 1935. A. Einstein, Gluck, Dent, 19306. A. B. Marx, Gluck und die Ofer, 2 Vols. Berlin: O. Janke, 1863.

[1507] [1508] [1509 |

HAYDN M. Brenet, Haydn, C. L. Leese, translator, Oxford University, 1926. K. Geiringer, Haydn, A Creative Life in Music, Norton, 1946. K. F. Pohl, Joseph Haydn, 3 Vols. Breitkopf & Hartel, 1878-1927.

[1510] [1511] [1512]

Bibliography of classic and romantic music

136

HOFFMANN H. Ehinger, E.T. A. Hoffmann als Musiker Olten, Switzerland: Walter, 1954.

und Musikschriftsteller,

[1513]

HOPKINSON

O. G. Sonneck,

Francis Hopkinson, the first American Poet-Composer

(1737-1791) and James Lyon, Patriot, Preacher, Psalmodtst (17351794): Two Studies in Early American Music, Washington, D.C.: author’s publication, 1905.

[1514]

LISZT H. Searle, The Music of Liszt, Williams

& Norgate, 1954.

[1515|

LYON O. G. Sonneck, Francis Hopkinson, the first American Poet-Composer (1737-1791) and James Lyon, Patriot, Preacher, Psalmodist (17351794): Two Studies in Early American Music, Washington, D.C.: author’s publication, 1905.

[1516]

MOZART

E. Anderson, ed. & translator, The Letters of Mozart and his Family, 3 Vols. Macmillan, 1938.

M. Davenport, Mozart, Scribner’s, 1932 (reprinted 1956). A. Einstein, Mozart: His Character, His Work, Oxford University, 1945. O. Jahn, Wolfgang Amadeus Mozart, 4th ed. 4 Vols. Breitkopf &

[1517] [1518] [1519]

Hartel, 1905-1907.

[1520]

Note: An English translation of the 2nd ed. is available.

[1521]

A. H. King, Mozart in Retrospect: Studies in Criticism and Bibliography,

Oxford University, 1955. [1522] E. Reichert, F. Giegeling, A. Weinmann & G. Sievers, Chronologisch thematisches Verzeichnis der Tonwerke Wolfgang Amade Mozarts, 5th ed. Breitkopf & Hartel, 1962. [1523] T. de Wyzewa & G. de Saingt-Foix, W. A. Mozart, sa vie musicale et son euvre, 5 Vols. Desclée & de Brouwer, 1936-1946. [1524] Note: Vols. 111-v are by Saint Foix alone.

Mycorprckuit

(MUSORGSKY)

J. Leyda & S. Bertenson, translators & ed., The Musorgsky Reader: A Life of Modest Petrovich Mttsorgsky in Letters and Documents,

Norton, 1947.

[1525]

Monographs on individuals

Pumcxult-Kopcakos

137

(RIMSKY-KORSAKOW)

N. A. Rimsky-Korsakov, Knopf, 1925. SZOPEN F. Niecks,

My

Musical

Life,

J. A. Joffe,

translator, [1526]

(CHOPIN) Frederick Chopin as

a Man

and Musician,

3rd ed. 2 Vols.

Novello, n. d. [circa 1902].

[1527]

VERDI

F. Abbiati, Giuseppe Verdi, 4 Vols. Ricordi, 1959. I’. Toye, Giuseppe Verdi: His Life and His Works, Knopf, 1945. F. Werfel & P. Stefan, Verdi: The Man in His Letters, translator, New York: L. B. Fischer, 1942.

[1528]

[1529]

E. Downes,

[1530]

WAGNER

W.A. Ellis, Lite Wm. Ashton Wagners,” 6 C. F. Glasenapp, Breitkopf

of Richard Wagner, being an authorized version by Ellis of C. F.Glasenapp’s “Das Leben Richard Vols. Kegan Paul, Trench & Trubner, 1900-1908. Das Leben Richard Wagners, 3rd ed. 6 Vols in 8 Parts,

[1531]

[1532]

& Hartel, 1894-1911.

E. Newmank, The Life of Richard Wagner, 4 Vols. Knopf, 1942-1946. R. Wagner, Gesammelte Schriften, 2nd ed. 10 Vols. Breitkopf & Hartel,

1887-1888.

[1533] [1534]

Note: Later editions add “...und Dichtungen” to the title.

kk. Wagner, Mein Leben, 2 Vols. Bruckmann,

[1535] [1536]

Ig1I.

R. Wagner, My Life, Tudor, 1936. Note: Both the original German copyrighted in IgI1.

edition and the English translation were

Rt. Wagner, Richard Wagner's Prose Works, W. A. Ellis, translator, 8 Vols. Kegan Paul, Trench & Trubner, 1892-1899. Note:

This is essentially a translation

of the Gesammelte

Schriften

[1537]

[1534]

with deletions and additions.

R. Wagner, Richard Wagner: Sein Gesamtwerk, E. Rappl, ed. 3 Vols. to date, Miinchen: Nibelungen, 1954ff. (continuing).

[1538]

WEBER

G. Kaiser,

Sdmtliche

Leipzig: Schuster

Schritten

von

Carl Maria

& Loeffler, 1908.

von

Weber,

Berlin

&

[1539]

Bibliography of classic and romantic music

138

3. ORIGINAL

Beethoven, L. van,

HISTORICAL

AND

Heiligenstddter

THEORETICAL

Testament,

(facsimile),

WRITINGS

H. Miller

von Asow, ed. Stichnote, 1952.

[1540]

Note: Reprinted Doblinger, 1957.

[1541]

Larsen, J. P., Drei Haydn Kataloge, (facsimile), Munksgaard, 1941. Mozart, Leopold, Griindliche Violinschule mit vier Kupfertafeln und einer Tabelle, 3rd ed. Augsburg, 1787.. Facsimile reproduction, H. J. Moser, ed. Breitkopf & Hartel, 1956.

[1542|

[1543]

Note: An English translation has appeared in E. Knocker, translator, A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart,

Oxford University, 1948. Nottebohm, G., Ein

Breitkopf

von

Beethoven

aus

dem Jahre

1803,

& Hartel, 1880.

4. STUDIES

a. Performance

Skizzenbuch

[1544|

OF

SPECIFIC

[1545|

CATEGORIES

and Criticism

Hanslick, E., Vienna’s Golden Years of Music: 1850-1gvo, H. Pleasants, translator, Simon & Schuster, 1950. Hanshck, E., Vom mustkalischen Schénen, Breitkop{ & Hartel, 1859 (and several editions to about 1922). Note: There are translations of this important work into English,

[1546]

[1547|

French,

Italian, and Russian, e.g. The Beautiful in Music, G. Cohen, ed. Liberal Arts,

n. d. [circa 1959].

[1548]

Shaw, G. B., London Music in 1888-1S88q as heard by Corno dit Bassetto (later known as Bernard Shaw) with some further autobiographical particulars, Constable, 1950. shaw, G. B., Music in London, 1890-1894, 3 Vols. Constable, 1950. shaw, G. B., The Perfect Wagnerite: A Commentary on the Nibelung’s Ring, Tauchnitz, 1913. sonneck, O. G., Early Concert Life in America (1731-1800), Musurgia,

1949.

(1549| [1550] [1551|

[1552]

Note: Reprint of the original edition of 1906.

b. Art Song

Friedlander, M., Das deutsche Lied im. 18. Jahrhundert, 2 Vols. Cotta, 1902. Hall, J. H., The Art Song, University of Oklahoma, 1953.

3 Parts

in

[1553] [1554]

Art song

139

Kretzschmar, H., Geschichte des neuen

deutschen Liedes, Breitkopf

&

Hartel, rg1r.

[1555]

Note: Only Teil I was ever published.

c. Choral Music

Ellinwood, L., The History of American

Church

Music,

Gorham, 1953. Fellowes, E. H., English Cathedral Music from Edward

Morehouse

&

(1556|

VI to Edward

VII, Methuen, 1946.

[1557]

Foster, M. B., Anthems and Anthem Composers: An Essay upon the Development of the Anthem from the Time of the Reformation to the End of the Nineteenth Century, Novello, 1got. Metcalf, F. J.,

American

Writers

and

Compilers

of Sacred

(1558)

Music,

Abingdon, 1925.

[1559]

d. Chamber Music Ulrich, H.,

Chamber Music: The Growth and Practice of an Intimate Art,

Columbia University, 1948.

[4560}

e. Keyboard Music Bie, O., Das Klavier, Berlin: P. Cassirer, 1g21. |

(1561!

Georgu, W., Klaviermusik, 2nd ed. Atlantis, 1950. Goodrich, W., The Organ in France, Boston: Boston Music Company,

[1562]

1917. Loesser, A., Men,

[1563] Women,

and

Pianos:

A Social

History,

Simon

&

Schuster, 1954.

1564]

f. Opera Crosten, W. L., French Grand Opera, Kings Crown, 1948.

(1565|

Gagey, E. M., Ballad Opera, Columbia University, 1937. Sonneck, O. G., Early Opera in America, G. Schirmer, 1915.

1566] [1567|

g. Orchestral Music

Carse, A., Exghteenth Century Symphonies: A Short Htstory of the Symphony tn the 18th Century, with special Reference to the Works in the two Series, “ Early Classical Symphonies” and “ Eighteenth-Century

Bibliography of classic and romantic music

140

Overtures,” Augener, n. d. [circa 1951]. Carse, A., The Orchestra in the Eighteenth Century, Heffer, 1940. Carse, A., The Orchestra from Beethoven to Berlioz, Heffer, 1948. der Sinfonie und der Suite, Breitkopf & Hartel, 1921. Nef. K., Geschichte Schering, A., Geschichte des Instrumentalkonzerts bis auf die Gegenwart, Breitkopf & Hartel, 1905. Ulrich, H., Symphonic Music: Its Evolution since the Renaissance, Columbia University, 1952.

[1568| [1569| [1570| [1571]

Veinus, A., The Concerto, Doubleday

[1574]

5- RELATED

ARTS

AND

& Doran, 1945.

CULTURAL

of Art,

1943. Parker, De W. H., The Principles of Aesthetics, 2nd ed. Crofts, 1946. Kunst

des

Klassizismus

und

[1573]

STUDIES

Kimball, F., The Creation of the Rococo, Philadelphia Museum

Pauli, G., Die

[1572]

der Romantik,

2nd

[1575] [1576]

ed.

Propylaen, 1925. Rader, M. M., A Modern Book of Esthetics, An Anthology, Holt, 1952.

[1577] [1578]

6. MUSIC Note: (1) The number of editions for practical performance of the Classic and Romantic composers is enormous (quite apart from opera omnia). In listing editions here, we have observed the following limitations: only those works are cited which a) tend toward completeness within a specific medium, b) adhere closely to Urtext principles, and c) are reasonably available. Particularly well-known works, available in adequate and familiar editions, however, are excluded (e.g. Beethoven’s Pianoforte Sonatas). (2) The following is a partial list of those publishing firms which have distinguished themselves by the publication of fine editions:

Augener (London). Barenreiter (Kassel, Basel, London & New York). Breitkopf & Hartel (Wiesbaden). Broude Brothers (New York). Oliver Ditson (Boston; now owned by Theodore Presser, Bryn Mawr). Eulenburg

Miniature

Scores Library

(New York

& Frankfurt

Peters). H. W. Gray (New York, American Agent for Novello).

International Music Company (New York).

E. F. Kalmus (New York). E. B. Marks Music Corporation (New York). Mercury Music Corporation (New York).

am

[1579] [1580| [1581 | [1582] [1583]

Main,

[1584] [1585]

[1586|

[1587| [1588 ] [1589]

Music collections - publishers

141

Music Press (New York; now owned by Mercury Music Coproration). Novello (London). Oxford University Press (London & New York). C. F. Peters (New York & Frankfurt am Main). G. Ricordi (Milano, Paris, London,

New York, Buenos Aires, etc.)

E. C. Schirmer (Boston). G. Schirmer (New York). More information abount these publishers is included in the index of PublishCrs) PaZz5lit:

(3) Dates are included for the various publications only when a) the publication may not be readily available, or b) the publication is of very recent date.

a. The Eighteenth-Century Art Song 1. General Collections

Friedlander, M., Das deutsche Lied im 18. Jahrhundert, Vol. 1, Part 2, Cotta. Moser, H. J., Alte Meister des deutschen Liedes, Peters. Reimann, H., Das deutsche Lied, 4 Vols. Simrock. Reimann, H., Das deutsche geistliche Lied, 6 Vols. Simrock. Das Wiener Lied, in the Denkmdaler der Tonkunst in Osterreich, Vol. Liv

[1778-1791]; verlag.

Vol.

LxxIx

[1792-1815],

Osterreichischer

[1597] [1598] [1599 [1600 Ld J

Bundes[1601]

2. Individual Composers GC. Pa.

eA CH

[1602]

Getstliche Lieder, Peters. Note: This collection contains a selection of thirty songs; for a complete thematic catalogue of the various original editions (well over two-hundred songs), cf. A.Wotquenne, Catalogue thématique des euvres de Charles Philippe Emmanuel Bach (1714-1788), Breitkopf & Hartel, 1905.

[1603]

J.-S, BACH Geistliche Lieder, Breitkopf

& Hartel

[1604]

Note: This edition contains the sixty-nine Schemelli songs of 1736 in the original order, plus the songs and arias of the second Notenbiichlein (1725) for Anna Magdalena Bach.

[1605]

REICHARDT

Dreifpig Goethe Lieder, H. Wetzel,

ed. Berlin:

Eisoldt

Lieder und Oden in Auswahl, F. Jode, ed. Nagel, 1929.

& Rohkramer.

[1606| [1607|

Bibliography of classic and romantic music

142

J. A. P.SCHULZ [1608|

Fiinf and zwanzg Lieder, B. Engelke, ed. Steingraber.

‘SPERONTES

(J. S. Scholze)

Singende Muse an der Pleife, (1736-1743), in the Denkmaler deutscher Tonkunst, Vols. XXXV

[1609]

& XXXVI.

ZELTER

Fiinfzehn

ausgewahlte

Lieder,

in the

Verdffentlichungen

der Mustk-

bibliothek Paul Hirsch, Vol. V1.

Lieder, Balladen und Romanzen in Auswahl, F. Jode, ed. Nagel, 1930

[1610| [1611|

ZUMSTEEG

[1612]

Ausgewahlte Lieder, L. Landshoff, ed. Berlin: Dreililien. Kleine Balladen und Lieder in Auswahl, F. Jode, ed. Nagel, 1932.

[1613]

b. The Art Song from Mozart to Wolf

Beethoven - Songs, Peters; Kalmus.

[1614] [1615]

Brahms - Songs, 4 Vols. Peters; Kalmus.

tlaydn - Canzonettas and Songs, Peters. Hopkinson - Seven. Songs for the Harpsichord or Forte Piano, The Words and Music composed by Francis Hopkinson, Philadelphia, 1788. Facsimile reproduction, H. Dichter, ed. Musical Americana,

[1616|

[1617| [1618|

1954. Mozart - Lieder, Peters.

Schubert - Gesdnge, 7 Vcls. Peters. Schumann - Sdmtliche Lieder, 4 Vols. Peters.

[1619] [1620| [1621|

Wolf - Sadmtliche Lieder, 22 Vols. Peters.

c. Collections of Organ Music

W. F. Bach - Complete Works for Organ, Music. Brahms - The Organ Works of Johannes Brahms, 2 Vols. Marks. Franck - Orgelwerke, 4 Vols. Peters. Liszt - Orgelwerke, 2 Vols. Peters. Mozart - Drei Sticke fiir die Orgel, Barenreiter. Mozart - Organ Sonatas, 5 Vols. Music. Schumann - Oeuvres de Robert Schumann arrangé pour orgue, complete works for pedal pianoforte.] Borneman; Gray.

[1622| [1623|

[1624 |

[The

[1625| [1626| [1627 | 4

[1628]

143

Music collections - organ music

Stanley, John - Voluntaries jor the Organ or Harpsichord, 3 Vols. London n.d. [circa 1745-1755?]. Facsimile reproduction, D. Vaughn, ed. Oxford University, 1957.

[1629|

d. Collections of Pianoforte Music

Bach, C. P. E., Die sechs Sammlungen

von

Sonaten,

freien Fantasien

und Rondos fiir Kenner und Liebhaber, 6 Vols. Breiktopf

& Hartel.

[1630]

Note: For a list of other available editions, cf. Grove’s Dictionary of Music

[1631] [1632]

and Musicians, 5th ed., Vol. 1, p. 326.

Brahms, J., Prano

Works, 3 Vols. Kalmus.

Note: Vol. 111, unique to this edition, contains Opus 39, and the Paganini Variations.

Cembalistt

italiani

del

settecento,

dictotto

the Concerti,

sonate,

the Waltzes,

G. Benvenuti,

ed.

Ricordi, n. d. [circa 1926]. Chopin, F., Sdmtliche

Pianoforte-Werke,

3 Vols. Peters.

Franck, C., Piano Compositions by César Franck, V. d’Indy, ed. Ditson. Liszt, F., Werke fiir Klavier zu zwet Handen, 12 Vols. Peters. Schumann, R., Samtliche Werke fiir Klavier zu zwei Handen, C. Schu-

mann,

ed. 6 Vols. Peters; Kalmus.

[1633] [1634] [1635] [1636]

Je

[1637]

Thirteen Keyboard Sonatas of the Eighteenth and Nineteenth Centuries, W. Newman,

[1638]

ed. University of North Carolina, 1942.

e. Collections of Choral Music

Most of the available choral music of the Classic and Romantic Periods is published as: separate compositions 7m octavo size, making any listing most extensive. The principal publishers of such editions [1638a) in the United States include: Gray (agents for Novello), E. C. [16380] [1638c] Schirmer, and G. Schirmer. Attention should also be drawn to the Dessoff Chotr Series, Music; The [1639] and to the various choral

[1640]

publications of J. Fischer; the last named publisher presents fine editions of the compositions of the Russian liturgical school of the later nineteenth century. Full orchestral scores of certain large choral works are available in the Eulenburg Miniature Scores Libvary (Eulenburg Kleine Partitur

[1641]

Masterpieces of the Choral Art, Broude,

Ausgaben),

Eulenburg,

and in the series of full orchestral

scores

of Broude. Special mention need be made of one facsimile publication: . F. J. Haydn, Missa in 6 fa (Messe in B Dur; “Schépfungs Messe’), Faksimile nach der im Eigentum der Bayerischen Staatsbibliothek befindlichen Urschrift, Henle, 1957.

[1642] [1643]

[1644]

144

Bibliography of classic and romantic music

f. Collections of Chamber and Orchestral Music

Collections of chamber and orchestral scores of the “arrow” variety, which were available during the 1940’s are now generally out of print; the small “pocket scores” im duodecimo, from which the “arrow” editions had been lithographed, are now generally again in print. The most important of the so-called “miniature” scores include Eulenburg Miniature Scores Library (Eulenburgs kleine [1645|] Partitur-Ausgaben), Eulenburg; Kalmus Miniature Orchestra Scores, [1646 | Kalmus;

and

the Philharmonia

Scores,

Wien:

Philharmonischer

[1647]

Verlag. Attention should also be called to the orchestral scores 7” octavo, Broude,

which include, for example, the complete symphonies of Mozart. Also early works of the Classic Period have been published in Early Class1-

[1648|

calSymphonies, A. Carse, ed. Augener ; Mzttel- und norddeutsche Kam-

[1649 |

mersimfonien, Breitkopf & Hartel; and Mannheim Symphonists, H. Riemann, ed. 2 Vols. Broude (a reprint of the 3 Vols. of the Mannheim symphonies in the Denkmdler der Tonkunstin Bayern, Vols.1v, Xv & xvi). There are additional Vols. of early Classic chamber and orchestral musicin the various “Denkmiéaler” editions; recently, a series of orchestral scores 1m duodecimo of early Classic symphonic works, including some compositions of Sammartini not otherwise generally available, has been published by H. L. Grahl, and available through Peters. A. Carse’s series of Eighteenth Century Concerti and Eighteenth Century Overtures are published by Augener. Special mention need be made of one facsimile publication: B. Franklin, Quartetto a 3 Violint con Violoncello, (transcription by G. de Van, and facsimile), Paris: Odette Lieutier, 1946.

[1650] [1651|

[1652] [1653]

[1654]

g. Operas

Most of the available operas of the Classic and Romantic periods are published as separate compositions im octavo size, making any listing most extensive. The principal publishers of such editions in the United States include G. Schirmer and C. F. Peters. [1655] Full orchestral scores of operas im octavo (or in duodecimo) are available in the opera-score series of Broude, and 7m duodecimo in Eubenburg Miniature Scores Library (Eulenburgs kleine PartiturAusgaben), Eulenburg; in those of New York: International Music Company; and Ricordi. [1659]

[1656]

[1657| [1658| [1660]

Bibliography of classic and romantic music

7,ADDENDA

145

F. BIBLIOGRAPHY

1. HISTORICAL

TWENTIETH-CENTURY

OF

MUSIC

STUDIES

a. General Reference Works

Ewen, D., The Book of Modern Composers, 2nd ed. Knopf, 1950. Goss, M., Modern

Music-Makers:

Contemporary

American

[1661|

Composers,

Dutton, 1952. Hull, A. E., A Dictionary of Modern Music and Musicians, Dent, 1924. Slonimsky, N., Music since rg00, Norton, 1937.

[1662| [1663] [1664|

b. General Historical and Introductory Studies

Austin, W., Music in the Twentieth Century, Norton, (in preparation). Bauer, M., Twentieth Century Music, 2nd ed: Putnam, 1947. Copland, A., Our New Music, McGraw

& Hill, 1941.

[1665] [1666| [1667|

Gray, C., A Survey of Contemporary Music, Oxford University, 1924.

[1668]

Krenek, E., Music Here and Now, B. Fles, translator, Norton, 1939. Lambert, C., Music Ho! A Study of Music in Decline, Faber & Faber,

[1669]

1934.

[1670]

Salazar, A., Music in Our Time, I. Pope, translator, Norton, 1946. Stravinsky, I., The Poetics of Music, A. Knodel & I. Dahl, translators,

[1671 |

Harvard University, 1947.

[1672]

Note: The original French version was also issued by Harvard University.

[1673]

c. Periodicals

Bulletin of the American Composers Alliance, [Quarterly], 1951ff.

[1674|

Note: Vols. begin with the Spring issue each year, the Fall issue being No. 4.

Modern Music,

[Quarterly], New York: League of Composers,

1924-

1946.

[1675]

Note: The final issue, Vol. xx111, No. 4 (Fall, 1946), is inadvertently imprinted “Number 3.”

Die Rethe: Information tiber sertelle Musik, Universal, 1955 ff.

[1676]

Note; Vols. have been issued annually.

Tempo, {Quarterly}, Boosey

& Hawkes, 1946ff.

2. MONOGRAPHS ON AND THEORISTS

INDIVIDUAL

[1677|

COMPOSERS

BARTOK

Béla Bartok: A Memorial Review, including articles on his life and works reprinted from “Tempo,” the quarterly review of contemporary music, Boosey & Hawkes, 1950.

[1678]

147

Monographs on individuals

FE. Haraszti, Béla Bartok: His Life and Works, D. Swainson, translator,

Oiseau Lyre, 1938. M. Seiber, The String Quartets of Bartok, Boosey & Hawkes, n. .d. [circa

1945]. H. Stevens, The Life and Music of Béla Bartok, Oxford University,1953. Studia memoriae Belae Bartok sacra, Budapest: Academia Scientiarum Hungarica, 1956.

[1679| [1680] [1681| [1682|

BERG

W. Reich, Wozzeck: A Guide Composers, I93I.

to the Opera,

New

York:

League

of [1683]

Note: Also printed in The Musical Quarterly, Vol. xxxviil (1954), p. Iff; the original publication was “A Modern-Music Monograph.”

[1684]

Bihan

D. Mitchell & H. Keller, Benjamin Britten: A Commentary Works from a Group of Specialists, Rockliff, 1952.

on his [1685|

COPLAND

A. Berger, Aaron Copland, Oxford University, 1953. J. Smith, Aaron Copland: His Work and Contribution to American Music

[1687|

Dutton, 1955. DE BUSS

[1686]

Y

L. Vallas, Achille-Claude Debussy, Universitaires de France, 1944. L. Vallas,

Claude

Debussy:

His

Life and

Works,

M.

[1688]

& G. O’Brien,

translators, Oxford University, 1933.

[1689|

FAURE Le Centenaire de Gabriel Fauré,

Numéro spécial, Paris: Revue Musicale,

[1690]

1945. MILHAUD

D. Milhaud, Notes sans musique, Julliard; Sequana, 1949. D. Milhaud, Notes without Music: An Autobiography, translator, Dobson, 1952.

[1691| E. Evans,

[1692]

POS T-ROMANTICS

D. Newlin, Bruckner, Mahler, Schénberg, Kings Crown, 1947. IIpoxopres

[1693]

(PROKOFHJEW)

I. Nestyef, Prokofiev, F. Jonas, translator,

Stanford

University,

1960.

[1694 |

Bibliography of twentieth-century music

148

RAVEL Hommage

a Maurice

Ravel,

Numéro

spécial, Paris:

Revue

Musicale,

[1695 |

1938. SCHONBERG

Arnold Schinberg zum 60. Geburtstag, 13. September 1934, Universal,

n. d. [1934]

[1696|

Homage to Schonberg, in Modern Music, XX1 (1944), pp. 130-145. R. Leibowitz,

Schénberg

and

His

School,

VD. Newlin,

[1697]

translator,

Philosophical Library, 1949. A. Schonberg, Briefe, E. Stein, ed. Schott, 1958.

[1698] [1699 |

R. STRAUSS Rt. Specht,

Richard StrauB und sein

Werk,

2 Vols.

Leipzig,

Wien

&

Zurich’ Ey PAL alsao21: CrpaBMuHcKkult

[1700 |

(STRAWINSKY)

H. Kirchmeyer, Strawinsky: Zeitgeschichte im Personlichkeitsbild, Bosse, 1958. I. Stravinsky, Chronicle of My Life, Translator anonymous, Gollancz,

1936. Note:

[1701|

[1702] The

Simon and I. Stravinsky 1959. I. Stravinsky, I. Stravinsky,

American

edition

is entitled

Schuster, 1936. & R. Craft, Conversations

Stravinsky:

An

Autobiography,

[1703|

with Stravinsky, Doubleday, [1704] [1705| [1706]

Memories and Commentaries, Doubleday, 1960. Expositions and Developments, (in preparation).

E. W. White, Stravinsky, His Life and Work, Philosophical Library,

1948.

[1707]

VAUGHAN-WILLIAMS

H. Foss, Ralph Vaughan Williams: A Study, Harrap, 1950.

3. ORIGINAL Note:

From

among

concerned with informative:

music

HISTORICAL the and

many

AND

publications

aesthetics,

[1708]

THEORETICAL by composers

the following

WRITINGS

and

are perhaps

creators the most

Bartok, B. & Z. Kodaly, Corpus musicae popularis hungaricae, 3 Vols. in 4 Parts, Budapest: Academia Scientiarum Hungarica, 19511956.

[1709]

149

Original historical and theoretical writings

Copland, A., Our New Music, McGraw & Hill, 1941. Hindemith, P., The Craft of Musical Composition, Rev. ed. A. Mendel, translator, 2 Vols. Associated Music, 1945.

[1710] [1711]

Kandinsky, W., On the Spiritual in Art, H. Rebay, translator, Museum

[1712]

of Non-Objective Painting, 1946. Milhaud, H., Milhaud, D., Notes sans musique, Julliard; Sequana, 1949. Milhaud, H., Milhaud, D., Notes without Music: An Autobiography, E. Evans, translator, Dobson, 1952. Partch, H., Genesis of a Music, University of Wisconsin, 1949. Salzer, F., Structural Hearing: Tonal Coherence in Music, 2 Vols. Boni, 1952. Schenker, H., Harmony, O. Jonas, ed. & E. M. Borgese, translator,

University of Chicago, 1954.

[1713]

[1714]

[1715] [1716] [1717]

Note; The original German edition was published in 1906.

Schillinger, J., The Mathematical Basis of the Arts, Philosophical Library, 1948. Schillinger, J., The Schillinger System of Musical Composition, 2 Vols. C. Fischer, 1941. 4. STUDIES

OF

SPECIFIC

[1718]

[1719]

CATEGORIES

a. Techniques Hindemith, P., The Craft of Musical Cumposition,

Rev. ed. A. Mendel,

[1720] [1721 | [1722]

translator, 2 Vols. Associated Music, 1945. Hull, A. E., Modern Harmony, Kaimus, 1947. Note: This is a reprint of the original edition of Augener, 1914.

Miller, H. A., New Harmonic

[1723]

Devices, Ditson, 1930.

Partch, H., Genesis of a Music, University of Wisconsin, 1949. Rufer, J., Composition

with

Twelve

Tones

related

to One

H. Searle, translator, Macmillan, 1954. Salzer, F., Structural Hearing: Tonal Coherence in Mustc,2 Vols. Boni,

[1725] [1726]

1952. Schenker, H., Harmony,

[1724 |

Another,

O. Jonas,

ed.

&

E. M. Borgese,

translator,

University of Chicago, 1954.

[1727]

Note: The original German edition was published in 1906.

Schillinger, J., The Mathematical Basis of the Arts, Philosophical Library, 1948. Schillinger, J., The Schillinger System of Musical Composition, 2 Vols. C. Fischer, 1941. Vallas, L., The Theories of Claude Debussy, musicien francats, M. O’Brien, translator, Oxford University,

1929.

[1728]

[1729]

[1730]

Bibliography of twentieth-century music

150

Vincent,J., The

Diatonic

Modes

in Modern

Music,

University

of

California, 1951.

[1731]

Yasser, J., A Theory of Evolving Library of Musicology, 1932.

Tonality,

New

York:

American

[1732]

b. Special Historical Studies Bacharach, A. L., British Music in Our Time, Pelican, 1946.

[1733]

Haskell, A., Ballet, Pelican, 1938. Hill, E. B., Modern French Music, Houghton

[1734 | [1735|

& Mifflin, 1924.

Howard, J. T., Our Contemporary Composers: American Music in the Twentieth Century, Crowell, 1941. Sabaneev, L., Modern Russian Composers, J. Joffe, translator, Inter-

[1736]

national, 1927. Slonimsky, N., Music of Latin America, Crowell, 1945. Trend, J. B., Manuel de Falla and Spamish Music, Knopf, 1929. White, E. W., The Rise of English Opera, Lehmann, 1951.

[1737] [1738] [1739] [1740]

c. Folksong and Folkmusic Note: Only a few of the most folkmusic are listed here.

important

studies and

collections

of folksong

and

Bartok, B. & Z. Kodaly, Corpus musicae popularis hungaricae, 3 Vols. in 4 Parts, Budapest: Academia Scientiarum Hungarica, 195I-

1956.

[1741]

Botsford, F. H., Botsford Collection of Folk-Songs with English Versions by American Poets, 3 Vols. G. Schirmer, 1930-1933. Kremenliev, B., Bulgarian-Macedonian Folk Music, University of California, 1952. Lomax, J. A. & A., American Ballads and Folksongs, Macmillan, 1953.

[1742]

[1743] [1744]

Pedrell, F., Cancionero musical popular espanol, 2nd ed. 4 Vols. Boileau,

n.d. (circa 16922|) Sharp, C., English Folk Song: Some Conclusions, 3rd ed. Methuen, 1954.

[1745| [1746]

Note: The original edition dates from 1907.

5. RELATED

ARTS

AND

CULTURAL

STUDIES

Kandinsky, W., On the Spiritual in Art, H. Rebay, translator, Museum of Non-Objective Painting, 1946. Myers, B.S., The German Expressionists: A Generation in Revolt, Praeger, 1957.

[1747|

[1748 |

Related arts and cultural studies

I51

Rewald, J., The History of Impressionism, Museum of Modern Art, 1946. Rewald, J., Post-Impressionism, Museum of Modern Art, 1956. Selz, P., German Expressionist Painting, University of California, 1957.

[1749] [1750] [1751]

6. MUSIC

a. Publishers Note: There are as yet practically no large-scale collections of twentiethcentury music either in “Denkmdler” or opera-omnia editions, mainly because of copyright restrictions. Instead of listing individual works, we have listed certain of the most important music publishing firms (with their American agents in brackets) and the composers represented in their publications. Concerning copyrights (twenty-eight years, renewable once) and the Bern Convention of 1886, cf. the article “Copyright” in the Encyclopedia

Britannica.

[1752]

Arrow Press, New York (including the former Cos Cob Press Publications), Music of American Composers (Piston, Sessions, Copland, etc.) Associated Music Publishers,

European composers, especially German; many Hindemith & Strawinsky. Boosey

& Hawkes,

—_[1753]

New York,

Bonn, London

of the works

of

[1754]

& New York,

Music of English and American Composers, also many of Bartdk’s works. Durand,

Paris [Elkan-Vogel,

Bryn Mawr,

Music of Debussy, Ravel, and many of their contemporaries, G. Ricordi,

Milano,

Paris,

New

York,

London,

Buenos

Aires,

[1756] etc.,

Music of Italian Composers. Stainer

[1755]

Pennsylvania],

[1757]

& Bell, London.

Music of English Composers.

[1758]

Universal Edition, Wien.

Music of Berg, Schonberg, etc.

[1759]

b. Facsimile Editions

Mahler, Gustav, Zehnte Symphonie, Schénberg,

Arnold,

Moderne

(facsimile), Zsolnay, 1924.

Psalmen,

(facsimile),

Ik. Kalisch,

[1760| ed.

Schott, 1956. Note: This edition, copyrighted by G. Schonberg, presents in facsimile the sketches and texts of Schonberg’s last (unfinished) work.

[1761|

152

Bibliography of twentieth-century music

7, ADDENDA

Appendix

I - THE

DEVELOPMENT

OF MODERN

MUSICOLOGY

BY ERNST C. KROHN

The first modern definition of musicology was made by the German music historian, Johann Nicolaus Forkel (1749-1818), who in 1777 published his Uber die Theorie der Musik insofern sie Liebhabern und Kennern nothwendig und niitzlich ist. This was not a work on harmonic theory but rather a discussion of the divisions of musical science. According to Forkel, there were five main divisions: +

I. II. III. IV. V.

Acoustics Mathematics of Sound (including its application to the construction of instruments) Notation and Theory Form and Style

Aesthetics and Performance Practices

Forkel did not specifically mention history, for to him history was the “gradual revelation of the nature of music in the course of time” ? and was therefore already contained in his system. Forkel published the first volume of his Allgemeine Geschichte der Musik in 1788 and the second volume in r8or. In 1792, his Allgemeine Litteratur der Musik appeared. Forkel was an indefatigable collector of source material and a master of minutiae, forever compiling lists of musical institutions, orchestras, composers, performers, writers on music, and makers of musical instruments. He proposed a Gesamtausgabe of the works of Johann Sebastian Bach and planned a Denkmaler series along modern lines. To be sure, Forkel was not the only eighteenth-century musicologist. The learned Italian, Giovanni Battista Martini (1706-1784), published his threevolume Storia della musica between 1757-1781. Padre Martini resembled Forkel in that he was also a collector of source material. In 1776, A General History of the Science and Practice of Music was published in five volumes by Sir John Hawkins (1719-1789), and in the same year Charles Burney (17261814) published the first of four volumes comprising A General History of Music from the Earliest Ages to the Present Time. Burney travelled the length and breadth of Europe, visiting composers and collecting first-hand data. Another kind of collecting was cultivated by Martin Gerbert (1720-1793), who

gathered a rich harvest of Latin theoretical tracts, published in 1784 as Scriptores ecclesiastict de musica sacra potissimum. Of great historical value are two lexica: Johann Gottfried Walther (1684-1748), Mustkalisches Lexicon, published in 1732, and the Historisch-biographisches Lexicon der Tonkiinstler of Ernst Ludwig Gerber (1746-1819), published in two volumes in 1790-1792. The next step in the definition of the principles of musicology had to wait 1Cf, W. Franck, Musicology XXXV (1949), pp. 588-601. 2 Ibidem, p. 593.

and its Founder, J. N. Forkel,

in The Musical :

Quarterly,

The development of modern musicology

154

nearly one hundred years. In 1863, Friedrich Chrysander (1826-1901) published the first of his two Jahrbiicher fiir musikalische Wissenschaft. The use of the word Musikwissenschaft emphasized the scientific approach to the study of music. In 1868, Chrysander participated with Robert Eitner (1832-1905) and Franz Commer (1813-1886) in the formation of a Gesellschaft fiir Mustkforschung, which began publication in 1869 of a monthly journal, Monatshefte fiir Mustkgeschichte. This very important periodical, with Eitner as its editor, provided a forum for historical problems until 1905, when Eitner died; the Monatshefte then ceased publication with its thirty-seventh volume. Eitner’s greatest achievement was the publication from 1900 to-1904 of his Biographischbibliographisches Quellenlexicon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des 19. Jahrhunderts, in ten truly monumental volumes of musicological research. Eitner’s Quellenlexicon was not the first extensive bibliographical dictionary, for between 1835-1844 the great Belgian musicologist, Francois Joseph Fétis (1784-1871) had published an eight-volume Biographie universelle des musictens. While not measuring up to Eitner’s work, it was a significant accomplishment for its time. Fétis also published a five-volume Histoire générale de la musique between 1869-1876. A work of greater musicological importance was the Geschichte der Mustk by the noted German scholar, August Wilhelm Ambros (1816-1876), published originally in four volumes between 1862-1878. An event of great significance was the publication from 1878-1889 of Sir George Grove’s Dictionary of Music and Musicians; originally in four volumes, it was the first modern English encyclopedia of music. Since Eitner’s Monatshefte were restricted to historical studies, it was inevitable that the other musicological disciplines would eventually require a

journal. Accordingly, Philipp Spitta (1841-1894) and joined forces with Friedrich Chrysander and founded Vierteljahrsschrift fiir Musikwissenschaft. In the very Guido Adler published his musicological manifesto: Ziel der Musikwissenschaft,” ! which,

while

Guido Adler (1855-1941) a new musical quarterly, first issue, January 1885, “Umfang, Methode und

restating

the scheme

of Forkel,

gave it a more exact, and at the same time, a more flexible form. Adler divided his field into historical and systematical sections. Under the historical section, he postulated: I. 2. 3.

Musical Palaeography (Notation). Classification of Forms. Historical Succession of Art Laws:

' Vierteljahrsschrift fir Musikwissenschaft, 1 (1885), pp. 5-20. For the English versions of Adler’s divisions, we have leaned somewhat to Waldo Selden Pratt’s phraseology in his discussion of Adler’s scheme (cf. footnote 3, p. 157).

The development of modern musicology

4.

a. as they b. as they c. as they History of

155

are found in the art works of a given period; are taught by the theorists of each period; are found in the varieties of art practice. Musical Instruments.

In the systematical section were headings:

Speculative Theory (Harmony, Rhythm, Melody). Aesthetics. Paedagogy. Musicology (that is, comparative study for ethnological research). ns This may be the first use of the term Muszkologie in a German source. Adler’s essay gave rise to much discussion. In 1888, the eminent American musicologist, Waldo Selden Pratt (1857-1939), read a paper at the annual meeting of the Music Teachers National Association in which he proposed a new scheme of classification. His system embraced seven divisions: 1 Musical Musical Musical Musical Musical Musical WOAH WDHMusical

Physics or Acoustics. Psychics. Poetics - Composition and Theory. Aesthetics. Graphics - Notation. Technics - Performance Practices. Practics - Organization of Musical Activity.

This has been the most concise and the most conclusive scheme to date. In ‘1894, the Vierteljahrsschrift fiir Musikwissenschaft expired with its tenth volume. The time was ripe for some sort of international organization. In 1899, the German musicologist, Oskar Fleischer (1856-1933), organized the Internationale Mustikgesellschaft, which began the publication of a monthly Zeitschrift for short articles and a quarterly series of Sammelbande for more extended studies. These journals provided a forum for rapidly expanding numbers of musicologists in many countries, until the First World War terminated their activity. An event of great musicological significance was the publication, at the turn of the century, of the Oxford History of Music; its six volumes constituted the first English music history following modern principles. The individual volumes gave evidence of a new division of historical material. Volumes One (1901) and Two (1905) by H. E. Wooldridge discussed The Polyphonic Period; Volume Three (1902) by Hubert Parry treated The Music of the Seventeenth 1 Official Report of the Music Teachers National Association, 12th Annual Chicago, 1888, pp. 173-174. See also The Musical Quarterly, 1 (1915), Pp. 5-7:

Meeting,

The development of modern musicology

156

Century; Volume Four (1902) by J. A. Fuller-Maitland was devoted to The Age of Bach and Handel; Volume Five (1904) by W. H. Hadow discussed The Viennese Period; and Volume Six (1905) by Edward Dannreuther surveyed The Romantic Period. Breitkopf & Hartel now began the publication of the Handbuch der Musikgeschichte by Hugo Riemann (1849-1919). It proved to be the last of the massive, one-man history projects. Riemann’s division of subject matter revealed a shifting of interest to earlier periods. Volume One, Part One (1904) treated Die Musik des klassischen Altertums,; Part Two (1905), Die Musik des Mittelalters; Volume Two, Part One (1907), Das Zettalter der Renaissance; Part Two (1912), Das GeneralbaG-Zeitalter; Part Three (1913), Die Musik des IS und 19. Jahrhunderts. The next great historical project appeared in 1924 and was the Handbuch der Musikgeschichte, edited by Guido Adler, and written by a staff of thirtythree experts; it was published originally in one Jarge quarto volume of over a thousand pages. Music history was divided into stylistic periods, a new conception of Adler’s. The first period included monophonic music, particularly the melodic chant of the early Church. The second period included the development of polyphonic music through the sixteenth century. The third period was devoted to the rise of harmonic music in the seventeenth and subsequent centuries. A fourth period, not too clearly defined, embraced the rise of national schools. Another

monumental

work

was

the

Handbuch

der

Musikwissenschajt

projected by Ernst Biicken and published from 1928 to 1931. Its thirteen elaborately illustrated quarto volumes revealed still another approach to musical classification. The first volume to appear was an exposition of Dve Mustk der auBereuropaischen Natur- und Kulturvolker (1928), and was written by Robert Lachmann. Curt Sachs discussed Die Musik der Antike (1928); Die Mustk des Mittelalters und der Renaissance (1931) was treated by Heinrich Besseler; Robert Haas recorded Die Musik des Barocks (1929), and Ernst Bicken, Die Musik des Rokokos und der Klassik (1928). Ernst Biicken also expounded Die Musik des 19. Jahrhunderts bis zur Moderne (1928), while Hans Mersmann discussed Die moderne Mustk seit der Romantik (1929). Two volumes were devoted to ecclesiastical music Die katholische Kirchenmusik (1931) by Otto Ursprung, and Die evangelische Kirchenmusik (1931) by Friedrick Blume. Four supplementary volumes were Die altslavische Volks- und Kirchenmusik (1930) by Peter Pandff; Geist und Form im musikalischen Kunstwerk (1929) by Ernst Biicken; Auffiihrungspraxis der Musik (1931) by Robert Haas; and Instrumentenkunde (1928). by Wilhelm Heinitz. Meanwhile, scholars continued to devise new schemes of musicological classification. In the sixth edition (1905) of Hugo Riemann’s Mustklexikon,

The development of modern musicology

157

the author included an article on Musihkwissenschajt in which he surveyed the development to date. In 1908, Riemann published a GrundriB der Mustkwissenschaft in which he proposed a new scheme of classification:!

I. II. III. IV. V.

Acoustics Tone Physiology and Tone Psychology. Music Aesthetics. Music Theory. Music History.

In 1905, Erich von Hornbostel (1877-1935), in a lecture in Vienna,” presented what seems to have been the first discussion of the problems of Comparative Musicology (Vergleichende Musikwissenschaft), or the study of primitive and oriental music. The term “Comparative Musicology” has recently been replaced by “Ethnomusicology.” The dissolution of the Internationale Mustkgesellschaft left a gap in the musicological world that was only partially filled by the foundation of a new American journal under the editorship of the very able American musicologist, Oscar George Theodore Sonneck (1873-1928). In the very first issue of The Musical Quarterly, in January 1915, Waldo Selden Pratt published an essay, “On Behalf of Musicology,” in which he discussed the classifications of Adler and Riemann, and then presented a revision of his own scheme of 1888 in four major divisions: 3 I. II. III. IV.

Music History. Musical Encyclopedia (or taxonomy). Musical Criticism. Musical Paedagogy.

Before the conclusion of the First World War, French musicologists had formed a Société francaise de musicologie that had begun the publication of a Bulletin in 1917. After five years of irregular publication, the Bulletin became a quarterly bearing the title Revue de musicologte. No sooner was the war over than the German musicologists organized a Deutsche Musikgesellschaft and began publication of a monthly Zeitschrift fiir Mustkwissenschajft; the first issue appeared in October, 1918, under the editorship of Alfred Einstein (1880-1952). The quarterly Archiv fiir Musikwissenschaft also came into existence at this time; it was edited by Max Seiffert 1H. Riemann, & Meyer,

GrundviB der Musikwissenschaft,

2nd ed. [1st ed., 1908.] Leipzig: Quelle

1914, p. 165ff.

2 Reprinted in the Zeitschrift der Internationalen Musikgesellschaft, v1 (1905), pp. 85-97. 3 The Musical Quarterly, 1 (1915), pp. 1-16. Cf. footnote I, p. 154.

The development of modern musicology

158

(x868-1948) and published by the Fiirstliches Institut fiir mustkwissenschaftliche Forschung at Bickeburg. In 1933, the German government dictated a reorganization of the Deutsche Musikgesellschaft into the Deutsche Gesellschaft fiir Mustkwissenschaft. Shortly thereafter, in 1936, the monthly Zeztschrift became a quarterly Archiv fiir Musikforschung, to replace the Archiv fiir Musikwissenschaft, which had ceased publication with its eighth volume in 1926. The first volume of the Archiv fiir Musikforschung thus displaced the eighteenth Jahrgang of the Zeitschrift. In 1921, the noted Dutch collector and musicologist, Daniel Francois Scheurleer (1855-1927), founded the Société Union musicologique with its semi-annual Bulletin, which unfortunately ceased publication after eleven fascicles in consequence of his death in 1927. The demise of the Unzon musicologique again raised the question of international codperation. At the Viennese Congress of 1927, European musicologists began the organization of the Internationale Gesellschaft fiir Musikwissenschaft (Société internationale de musicologie). This association published eight issues of a Bulletin (Mitteilungen) ; this was superseded by a journal of irregular issue known as Acta musicologica, now in its thirtieth-first year. The Second World War resulted in far-reaching changes in the musicological world. The exodus from Germany of numerous musicologists to the Western hemisphere resulted in a tremendous expansion of musicological activity in the

United

States;

this was

reflected

in the

foundation

of the

American

Musicological Society in 1934, with Otto Kinkeldey (1878) as its first president.' Ten issues of a Bulletin and six volumes of Papers were published from 1936 to 1946. In 1948, the first number of the tri-annual Journal appeared; this publication is now it its thirteenth year. By the end of the Second World War in 1945, the American Musicological Society had twohundred active members, and by 1958 it had just over a thousand members ?; almost 1400 members are listed in 1961.3 Although an American Section of the Internationale Musikgesellschaft was formed as early as 1900, it was not until 1907 that the members held their first annual meeting, in New York. At that time, seven out of a membership of twenty attended.‘ In 1911, the ninth membership list of the Internationale ' Actually, the American Musicological Society was preceded by the New York Musicological Society, which was organized January 29, 1930, and which held regular monthly meetings for several years, and published three Bulletins, (1931, 1932, and 1933-1934). * Bulletin of the American Musicological Society, No. 8 (October, 1945), p. 37-41; and the Secretary's Report for 1958, in the Journal of the American Musicological Society, x1

(1958), p. 254. 8 Journal of the American Musicological Society, X1v (1961), p. 277-299. * On page 120 of the January 1900 issue of the Zeitschrift der Internationalen gesellschaft is a brief note announcing the formation of an American Chapter.

MusikOn the

The development of modern musicology

159

Mustkgesellschaft carried the names of ninety-two American members. Not all of these musicians could qualify as musicologists; however, those that did original research published their papers in the annual volumes of Papers and Proceedings of the Music Teachers’ National Association, which began in 1906 and ended with its forty-fourth volume in 1950. American musicology began with these pioneering works: Theodore Baker, Uber die Musik der nordamerikanischen Wilden (1882); Alice C. Fletcher, A Study of Omaha Indian Music (1893); Theodore Baker, Baker’s Biographical Dictionary of Musicians (1900; 5th ed. revised by Nicolas Slonimsky, 1958); several works by Oscar George Theodore Sonneck: Brbliography of Early Secular American Music (1905; enlarged ed. by William T. Upton, 1945), Francis Hopkinson and James Lyon (1905), Early Concert Life in America (1907), Catalogue of Opera Librettos printed before rS00 (2 vols., 1914), Early Opera in America (1915), Suum Cuique: Essays in Music (1916); Louis A. Coerne, The Evolution of Modern Orchestration (1908); Otto Kinkeldey, Orgel und Klavier in der Musik des 16. Jahrhunderts (1910); Frances Densmore, Chippewa Music (2 vols., 1910 & 1913; also numerous other studies of American Indian music); and Henry Edward Krehbiel, Afro-American Folksongs (1914). An outstanding feat of American scholarship has been the publication by the firm of W. W. Norton in New York of a new series of music histories: The Rise of Music in the Ancient World, East and West (1943) by Curt Sachs; Music in the Middle Ages (1940) by Gustave Reese; Music in the Renaissance (1954) by Gustave Reese; Music in the Baroque Eva (1947) by Manfred Bukofzer ; Music in the Romantic Eva (1947) by Alfred Einstein; and Music in Our Time (1946) by Adolfo Salazar. The Mediaeval Academy of America has published several notable studies, among them The Works of Francesco Landini (1939): Edited by Leonard Ellinwood; The Notation of Polyphonic Music (1942, 4th ed. 1954) by Willi Apel; Fourteenth-Century Italian Cacce (1942), edited by W. T. Marrocco; Harmonice Musices Odhecaton (1942, 2nd ed. 1946), edited by Helen Hewitt; and French Secular Music of the Late Fourteenth Century (1950), edited by Willi Apel. The American

Council of Learned Societies issued, as its Bulletin

19, The

State and Resources of Musicology in the United States (1932) by Oliver Strunk and, as Bulletin 24, Research in Primitive and Folk Music in the United States inner side of the October cover, under Sektionen, is listed “Vereinigte Staaten von Amerika:

Prof. Dr. A. Stanley, Ann Arbor (Mich.). Miss Alice C. Fletcher, Harvard University, Cambridge (Mass.).” The report of the 1907 meeting was published in the Papers and Proceedings of the Music Teachers’ National Association, 29th Annual Meeting, pp. 255258. The officers for 1908 were A. A. Stanley, President; Frank Damrosch, Vice-President; O. G. Sonneck,

Secretary;

W. S. Pratt, Treasurer.

d

The development of modern musicology

160

(1936) by George Herzog. A Bibliography of Periodical Literature in Musicology and Allied Fields was begun in 1940, but expired after two volumes, listing the literature from October 1938 to September 1940. The monumental Dictionary of American Biography in twenty volumes includes biographies of almost three-hundred persons who participated in the development of American Music. A musicological series of great significance was inaugurated by the University of California with the publication of Avmenian Folk Songs (1942) by Sirvart Poladian. The series continued in 1943 with Literary Sources of Secular Music in Italy (circa 1500) (1943) by Walter H. Rubsamen; “Sumer ts icumen in,” A Revision (1944) by Manfred Bukofzer; The Technique of Variation (1948) by Robert U. Nelson; The Diatonic Modes in Modern Music (1951) by John Vincent; The Music of Jacopo da Bologna (1954) by W. Thomas Marrocco; and The Style of J. S. Bach’s Chorale Preludes (1956) by Robert L. Tusler. The Beethoven Association of New York published The Life of Ludwig van Beethoven by Alexander Wheelock Thayer (3 vols., 1921; edited from the original English manuscript by Henry E. Krehbiel); and Beethoven Letters in America (1927; facsimiles, with translation and commentary by Oscar G. T. Sonneck). Two enterprising American musicologists have created a pair of musicological institutes and their achievements are assuming impressive proportions. Armen Carapetyan founded the Institute of Renaissance and Baroque Music at Cambridge, Massachusetts, in 1944. In 1946, the organization was renamed the American Institute of Musicology with headquarters in Rome. A very ambitious program of publication was inaugurated that proposed publication of the complete works of numerous Renaissance composers and the theoretical tracts of many mediaeval theorists. The Corpus mensurabilis musicae will include the complete works of Alexander Agricola, Jacobus Barbireau, Antoine Brumel, Robert Carver, Jacobus Clemens non Papa, Loyset Compére, Guillaume Dufay, Robert Fayrfax, Constanza Festa, Walter Frye, Giovanni Gabrieli, Franchinus Gafurius, Johannes Ghiselin-Verbonnet, Nicolas Gombert, Cipriano di Rore, Johannes Regis, Johannes Tinctoris, Nicola Vincentino, Giaches Wert, and

Adrian Willaert. The theoretical tracts being issued in the Corpus scriptorum de musica

include

those

of Guido

d’Arezzo,

Aribo,

Johannes

Affligemensis,

Jacobus of Liége, Marchettus de Padua, Ugolino d’Orvieto, and Johannes Ciconia. Other series are announced in the journal of the institute, originally published in 1946-1947 as the Journal of Renaissance and Baroque Music; now published as Musica discrplina, it is in its fourteenth year. The Institute of Mediaeval Music lists its publications on the last page of this book; this organization was founded in 1957 by Luther A. Dittmer and Ethel Thurston, and continued by L. Dittmer.

The development of modern musicology

161

The Press of the L’Oiseau Lyre (Lyrebird), supported by the Australian benefactress,

Mrs.

Louise

B. M. Dyer,

must

be mentioned,

although

this is

not strictly an American undertaking. Among the superb publications issued under the imprint of the Editions de l’Oiseau Lyre are the monumental Polyphonies du XIIIe siécle, edited by Yvonne Rokseth (Paris: 4 vols., 19361939); the superb thirteen-volume set of Les Motets d’Attaignant, edited by A. Smijers and A. Tillman-Merritt (Paris, 1934-1960); the twelve volumes of the works of Francois Couperin, edited by Maurice Cauchie (Paris, 1932-1933) ; the Catalogue of Manuscripts in the Library of St. Michael’s College, Tenbury, compiled by E. H. Fellowes (Paris, 1934); the instrumental sonatas of John Blow and Henry Purcell; the keyboard works of Louis Marchand, Nicolas Lebégue, Louis Couperin, and Charles Dieupart; and many other significant publications. Many international musicological congresses have been held from time to time during the last fifty years.! The Internationale Musikgesellschaft sponsored congresses at Leipzig (1904), Basel (1906), Vienna (1909), London (1911), and Paris (1914). The Internationale Gesellschaft fiir Mustkwissenschaft held congresses at Liége-Luik (1930), Cambridge, Great Britain (1933), Barcelona (1936), Basel (1949), Utrecht (1952),? Oxford (1955),4 Cologne (1958),° and New York (1961).® The Gesellschaft fiir Mustkforschung convened congresses at Rothenburg (1948),? Lineburg (1950),8 Bamberg (1953),° Leipzig (1955),1° Hamburg (1956), and a Bach-Tagung (1950) at Leipzig.” 1 Cf. R. S. Angell, Congresses in Musicology,

Notes, 1 (1944), p. 36-40. 2 Vierter KongreB der Internationalen

1900-1939, in the Music Library Association,

Gesellschaft

fir Musikwissenschaft,

1949, 235 P. 3 Fiinfter KongreB dey Internationalen Gesellschaft fiir Musikwissenschaft,

Barenreiter,

Alsbach,

471 Pp. 4 Cf. Die Musikforschung, vi1l (1955), p. 462-464. 5 Siebenteyr KongreB dev Intervnationalen Gesellschaft fir Musikwissenschaft,

1953,

Barenreiter,

1959, 366 p. 6 Report of the Eighth Congress of the International Musicological Society, 2 Vols. Vol. 1 papers, 472 p.; Vol. 11 discussion, Barenreiter, 1961-1962. 7 Cf. Die Musikforschung, 1 (1948), p. 59-69. ® Zweiter KongreB der Gesellschaft fiir Musikforschung, Barenreiter, 1950, 248 p. 9 Internationaley musikwissenschaftlicher KongreB der Gesellschaft fiir Musikforschung, Barenreiter, 1953, 306 p. 10 Cf. Die Musikforschung, 1X (1956), p. 89-91. 11 [nternationaler musikwissenschaftlicher KongreB Barenreiter, 1957, 248 p. 12 Bericht tuber die wissenschaftliche Bach-Tagung Peters, 1951, 503 Pp.

der Gesellschaft

fir Musikforschung,

der Gesellschaft

fiw Musikforschung,

The development of modern musicology

162

As early as 1900, a Congrés international de musique was held at Paris in June of that year and a Congrés international d’histoire de la musique in July of the same year. Rome was the host to a congress in 1903 and again in IgIT." Other independent congresses convened at Basel (1924), Deutsche Musikgesellschajt, Leipzig (1925); Union musicologique, Liibeck (1926); MozartTagung, Salzburg (1927)?; Beethoven Zentenar, Vienna (1927); SchubertForschung, Vienna (1928),3 Salzburg (1931) 4; Salzburg (1951) °; Vienna (1052) ®; Vienna (1956) 7. The International Association of Music Libraries has held several meetings — at Florence (1949) §; Liineburg (1950) 9; Paris (1951) 1°; Brussels (1954 "); and Cambridge, Great Britain (1959).!? An international congress has frequently'been part of the “May Music Festival” at Florence, notably in 1933, 1937,!% 1938,'4 1949,!° and 1950.18 A new development in musicological meetings are the colloques internationaux, the journées d’études, or the entretiens devoted to some specific subject and held at Paris in 1953,17 1954,18 1957,)® at Arras in 1954,”° at the A

1 Cf. the Zeitschrift der Internationalen Musikgesellschaft, X11 (1911), p. 250-251. 2 Cf. Music and Letters, vitl (1927), p. 473-476. 3 Bericht tibey den Internationalen Kongrep fiir Schubertforschung, Wien, 1928. Augsburg & Koln: B. Filser, 1929, 242 p.

4 Bericht tuber die musikwissenschafiliche Tagung der Internationalen Stiftung Mozarteum in Salzburg, 1931, Breitkopit & Hartel, 1932, 312 p. 5 Cf. Die Musikforschung, Vv (1952), p. 216. 6 Internationaler MusikkongreB, Bericht, Wien, 1952, Osterreichischer Bundesverlag,

1953, 164 Pp. “Cf. Die Mustkforschung, X (1957), Pp. 142-146. 8 Cf. Die Musikforschung, U1 (1950), Pp. 74-75. ® Zweiter WeltkongreB der Musikbibliotheken, Barenreiter,

1950, 72 p.

10 Troisiéme Congrés international des Bibliothéques Musicales,

Barenreiter,

1952, 92 p.

11 Cf, the Music Library Association, Notes, X11 (1955), Pp. 41-45. 12 Cf. the Music Library Association, Notes, XVI (1958), p. 40-41. 18 Atti

del secondo

congresso

internazionale

di musica,

Fivenze-Cremona,

1937, Firenze:

F. le Monnier, 1940, 338 p. "4 Atti del terzo congresso internazionale di musica, Firenze, 1938, Firenze, 1940, 338 p. 1 Atti del sesto congresso internazionale di musica, Firenze, 1949, Firenze: G. Barbera, 1950, 190 p. 16 Cf. the Music Review, x1 (1950), p. 210-212. 1” Colloques tnternationaux: Musique et poésie au XVJe siecle, Paris, 1953, Centre National de la Recherche Scientifique , 1954, 384 p. 18 Journées internationales d’ études, Paris, 1954: La Musique instrumentale dela Renaissance, Centre National de la Recherche Scientifique, 1955, 394 p. ”® Colloques internationaux: Le Luth et sa musique; Neuilly-sur-Seine, 1957, Centre National de la Recherche Scientifique, 1958, 356 p. °° Entretiens d’Arvvas, 1954: La Renaissance dans les provinces du Nord, Centre National de la Recherche Scientifique, 1956, 221 p.

The development of modern musicology

163

Abbaye de Royaumont in 1955,! at Wégimont in 1954,? 1955,° and at Marseilles in 1958.4 There have been numerous congresses devoted to sacred music from 1860 to 1959; many of them, however, are without musicological significance. Recent achievements in musicology include the publication of a new German encyclopedia, Die Musik in Geschichte und Gegenwart, a revised edition of Grove’s Dictionary of Music and Musicians, and some French encyclopedias. A monumental French reference work, the Encyclopédie de la musique et dictionnaire du Conservatoire had been published in eleven volumes from 1913 to 1931, edited by Albert Lavignac (1846-1916) and Lionel de la Laurencie (1861-1933). A superbly illustrated Encyclopédie de la musique, undertaken by Francois Michel and over one-hundred other international experts, has appeared in three volumes. A revision of Grove’s Dictionary of Music and Musicians, constituting the fifth edition, was prepared under the direction of Eric Blom (1888-1959) and was published in nine volumes in 1959.° A new edition of the Riemann Mustklexikon, the twelfth, edited by Wilibald Gurlitt is in course

of publication,

this time in three volumes.

The greatest

modern encyclopedic achievement for music is undoubtedly the new German work, Die Mustk in Geschichte und Gegenwart. Prepared under the supervisory direction

of

Friedrich

Blume,

and

with

the

collaboration

of

numerous

musicologists, German and non-German, this encyclopedia is being issued in double fascicles, of which forty five have appeared, constituting nine volumes. The entire work will extend perhaps to sixteen volumes, Both in scope and bibliographical completeness, Die Musik in Geschichte und Gegenwart will surpass anything devoted to music that has ever been published. While it is not of an exclusively musicological nature, the publication of a tri-lingual Realenzyklopadie des Muttelalters will form a continuation of the monumental Pauly-Wissowa Realenzyklopddie der klassischen Altertumswissenschaft; Luther Dittmer will be the music editor. Meanwhile, a beginning has been made on the revision of Eztner’s Quellenlextkon and Sammelwerke. This revision is appearing under the title of International Inventory of Musical Sources. Originally proposed by Hans Albrecht at the musicological congress at Basel in 1949, the project was turned over to committees representing the Internationale Gesellschaft fiir Mustkwissenschaft and the International Association of Music Libraries. Their plan 1 Journées internationales d’ études, Abbaye de Royaumont, 1955: Les Fetes de la Renaissance, I, Centre National de la Recherche Scientifique; 1956, 492 p. 2 Les Colloques de Wégimont, 1954: Centre international d'études ethnomusicologiques, Elsevier, n. d., 240 p. 8 Les Colloques de Wégimont, 4 Colloques

internationaux:

Recherche Scientifique,

> A tenth, Supplementary

1955: L’Ars Nova,

Acoustique

musicale,

Paris:

Les Belles Lettres,

Marseilles,

1959, 259 p.

Volume appeared in 1961.

1958,

Centre

1959, 275 p.

National

de la

The development of modern musicology

164

was approved by both associations at the congress in Utrecht in 1952. A first volume, Recueils imprimés des XVIe-XVIIe siécles, is already in print.*.The volume on music theory to 1400 is in course of publication, and nine more are in preparation. To quote the late Richard S. Hill, “The International Inventory of Musical Sources might be this century’s most important single contribution to the art and science of music.” ? A New Oxford History of Music is also in course of publication under the general direction of J. A. Westrup. The divisions of this work exhibit another scheme of historical classification. Volume One, published in 1957 under the supervision of Egon Wellesz, treated Ancient and Onental Music. Early Medieval Music up to 1300 formed the subject of the second volume, edited by Dom Anselm Hughes and published in 1954. Gerald Abraham and Anselm Hughes are responsible for the third volume, published in 1960 as Ars Nova and the Renaissance, 1300-1540. Projected volumes are: Iv, The Age of Humanism,

1540-1630

(editor: G. Abraham);

v, Opera and Church Music,

1630-

1750 (editor: J. A. Westrup); v1, The Growth of Instrumental Music, 1630-1750 (editor: J. A. Westrup); vit, The Symphonic Outlook, 1745-1790 (editor: E. G. Wellesz); vil, The Age of Beethoven, 1790-1830 (editor: G. Abraham) ; Ix, Romanticism, 1830-1890 (editor: G. Abraham); x, Modern Music, 189g01950 (editor? the late Eric Blom had been announced). The classification of the musicological disciplines seems to be of perennial interest. A completely admirable characterization of the entire field of musicological thought was made by Otto Kinkeldey, dean of American musicologists,

and published in Oscar Thompson’s International Cyclopedia of Music and Musicians (1939).° Reminiscent of Adler and Pratt is the classification to be found in the excellent Introduction to Musicology (1941) by Glen Haydon (1896Y Like Adler, Haydon sets up a systematical and an historical division: 4 Systematical Musicology Acoustics. Physiology and Psychology. Musical Aesthetics. The Theory of Music Theory. HRON 5. Music Paedagogy. 1 Cf. Music Library Association, Notes, XviII (1960), pp. 40-42; IX (1952), pp. 213-225; X (1953), Pp. 365-366, XvI (1959), Pp. 547-549. Actually, the volume in print supersedes Eitner’s Sammelwerke more than his Quellenlexicon. 2 Music Library Association, Notes, 1X (1952), p. 218. * O. Kinkeldey, “Musicology,” in the International Cyclopedia (1939 and later editions), pp. 1218-1221. 4 New York: Prentice-Hall; 5th printing (October, 1954), p. 329.

The development of modern musicology

165

6. Comparative Musicology. Historical Musicology 1. The Philosophy of Music History. 2. The Sources of Music History. 3.

The Problems and Methods of Historical Research.

Another recent book, Einfiihrung in die Musikwissenschaft, by Karl Gustav Fellerer, appeared in 1953.1 Fellerer’s classification may well represent the contemporary attitude toward this much debated subject: I. Die Grundlagen der Musik. II. Die Schallaufnahme und Schallempfindung. III. Die Elemente der Musik.

IV. V. VI. VII. VIII.

Die Werkmittel. Die Werkgestaltung. Die Werkgattungen. Die Werkwertung. Angewandte

Musikwissenschaft.!

That the last word has not been said as to classifications of musicology is all too evident in the penetrating discussion, “Musicology Reconsidered,” by Lloyd Hibberd (1904). At the end of his fascinating essay he offers the following classification: ? The field of music (A classification of musical activity based on the purpose for which it is pursued.): 1 - Performance; 11 - Composition; 11 - Paedagogy; Iv - Research. Hibberd then subdivides “Research” (which he does not consider entirely synonymous with “musicology’”), as follows:

A.

B.

C.

Tangential to Music. 1. Pure Biography. 2. Journalism. Marginal (Music usually secondary to another field). 3. Acoustics of Music. 4. Physiology of Music. 5. Psychology of Music. Intermediate (Music combined with another field). 6. Organology. 7. Ethnomusicology. 8. Aesthetics and Criticism of Music.

11, The Foundations of Music; 11, Hearing and Perception of Sound; 111, The Elements of Music; 1v, The Constructive Elements; v, The Creation of Music; v1, The Types. of

Music; vil, Evaluating Music; and vi11, Applied Musicology. 2 Acta musicologica, XXXI (1959), Pp. 25-31.

The development of modern musicology

166

D.

Primarily Musical. g. Speculative Theory. 10. Musical Lexicography. 11. Musical Palaeography. 12. Editing of Early Music. 13. Execution of Early Music. 14. History of Music. 15. Musicography. A more concise scheme is offered by the Belgian musicologist, Suzanne Clercx-Lejeune, in her Définition de la musicologie et sa position a l’égard des autres disciplines qui lui sont connexes: 1 I. Théorique (mathématique des sons). II. Physique (émission du son). III. Esthétique (étude des formes). IV. Philosophique (essence de la musique et son role psychologique et social). A still more restricted classification is offered by the great mediaevalist Jacques Handschin (1886-1955) in his fascinating study: “Der Arbeitsbereich der Musikwissenschaft.” 2? Handschin suggests grouping the variegated assortment of musicological subjects under three headings: I. Musikgeschichte. II. Volkerkunde. III. Tonpsychologie.? In fact, the modern approach to musicology involves a reduction of the elements of classification to those consistent with the actual situation. Willi Apel, in The Harvard Dictionary of Music, argues that the requirements of scientific accuracy may now be taken for granted and that the idea of musicology may be restricted to the idea of musical research. To quote Apel: “If we interpret musicology as research work in music, then it denotes that activity... which is bent upon the discovery of unknown or obscure matters...

The

musicologist,

then,

is the

pioneer

of music

study,

the

explorer who is equipped with the same zeal which spurs and guides every discoverer

whether

he sets out

to find the North

Pole,

a new

chemical

element, or a new mathematical truth. If the result of his research is valid ' Revue belge de musicologie, 1 (1946-1948), pp. 113-116. Cf. also The Musical Quarterly, XXXV (1949), pp. 588 and 596-597. 1, Theory - Mathematics of Sound, 1, Physics Propagation of Sound; 111, Aesthetics - Study of Forms; and tv, Philosophy - Essence of Music and its Psychological and Social Role. * Gedenkschrift Jacques Handschin: Aufsdtze und Bibliographie, Haupt, 1957, 397 pp., PP. 23-28; article originally published in 1952. * 1, History of Music; 1, Ethnomusicology; 111, Psychology of Sound.

The development of modern musicology

167

and important, ...it will change from the field of musicology into the domain of the theorist, the essayist, the biographer, the performer, and perhaps even the creative artist.” } Thus, musicology is specifically “the gathering and organization of neglected data.” 2 Musicology has assumed impressive proportions throughout the cultured world, and is rapidly becoming, as its objectives are understood, one of the great and respected academic disciplines.

BIBLIOGRAPHY

IN

CHRONOLOGICAL

ORDER

1885 Guido Adler

Umfang, Methode und Ziele der Musikwissen-

1888 Waldo S. Pratt

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1899 Guido Adler

Teachers’

National

Association,

[1762|

12th

Annual Meeting, Chicago, 1888, p. 173-174. Musik und Musikwissenschaft, in the Jahrbuch der Musikbibliothek Peters, v (1899),

[1763]

P. 27-39.

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1902 Rudolph Breithaupt 1905

1905

1908 1909

Kunst und Mustkwissenschaft, in Die Mustk, IV, (1902), p. 2023-2032. Hugo Riemann Musikwissenschaft, in the Musitk-Lextkon, 6th ed. p. go1-go2, Hesse, 1905. Erich von Hornbostel Die Probleme der vergleichenden Mustikwrssenschaft, in the Zeitschrift der Internationalen Musikgesellschajt, vit (1905), p. 85-97.. Hugo Riemann GrundriB der Mustkwissenschaft, Quelle & Meyer, 1st ed. 1908; 2nd ed. 1914. Maurice S. Logan Musicology, New York: Cochrane, 1909,

231 p.

[1765|

[1766|

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1910 Hugo Daffner

Musikwissenschaft und Universitat, Breitkopinc Hartel, 19010,.23) p. 1913 Joseph G. Daninger Einfiihrung in die Musikwissenschajft, Praha, 1915 Waldo S. Pratt

1913, I5 P. On Behalf of Musicology, in The Quarterly, 1 (1915), p. I-16.

[1770]

[1771] Musical [i772 |

1 The Harvard Dictionary of Music, Harvard University, 1944, p. 474. 2 Webster’s New International Dictionary (1955 edition) defines musicology as “the historical study of musical documents, the investigation of sources, the gathering and organizing of neglected data.”

The development of modern musicology

168

Einfiihrung in die Musikwissenschaft, Breitkopf & Hartel, 1915, 165 p. 1918 Ludwig Schiedermair Einfiihrung in das Studium der Mustk-

t915 Karl L. Schaefer

geschichte,

191g Curt Sachs

3rd ed.

Kunstgeschichtliche

Diimmler,

1930,

Wege

Mustkwissen-

zur

III

p.

[1773] [1774]

schaft, in the Archiv fiir Mustkwissenschaft,

[1775]

I (1919), p. 451-464.

191g Guido Adler tg1g Arthur W. Cohn

Ig1g Egon Wellesz

Methode

der Musikgeschichte,

Breitkopf

&

Hartel 1010, 222 p: Die Erkenntnis der Tonkunst: Gedanken tiber Begriindung und Aufbau der Mustkwtssenschaft, in the Zeitschrift fiir Mustkwissenschaft, I (1919), p. 351-360. Die Grundlagen der musikgeschichtlichen Forschung, in the Archiv fiir Mustkwissen-

[1776]

schaft, 1 (1919),Pp.437-450.

[1778]

1920 Hermann Kretzschmar

Einfiihrung

.in

die

Musikgeschichte,

Breitkopf & Hartel, 1920, 82 p. 1920 Arthur W. Cohn

Hugo Riemann als Systematiker der Mustkwissenschaft, in the Zeztschraft fiir Mustk-

1921 Peter Wagner

Zur Mustkgeschichte der Universitat, in the Archiv fiirMustkwissenschaft, 111 (1921), p. 1-16. The Pursuit of Musicology, in Musical America, 22 september, 1922, Pp. 37k 22) On the Principles of Musicology, in The Musical Quarterly, x (1924), p. 244-250. Mustkwissenschaft, in Adlers Handbuch der Mustkgeschichte, Frankfurt am Main: Frankfurter Verlags Anstalt, 1924, p. 1056-1063.

wissenschaft, 111 (1920), p. 46-50.

1922 Carl Engel 1924 Charles Seeger 1924 Wilhelm Fischer

Note: 3rd edition in preparation,

1924 Waldo S. Pratt 1926 Herbert Eimert

1928 Ernst Bticken

1929 Oscar G. Sonneck

[1777]

H. Schneider.

Musicology, in the New Encyclopedia of Music and Musicians, Macmillan, 1924, p. 90. Bekenntnis und Methode: Zur gegenwartigen Lage der Mustkwissenschaft, in the Zeitschrift fiir Mustkwissenschaft, tx (1926), p. 95-109. Grundfragen der Musikgeschichte als Geisteswissenschaft, in the Jahrbuch der Musikbibliothek Peters, XXXIV (1927), p. 19-30. The Future of Musicology in America, in The Musical Quarterly, xv (1929), p. 317-321.

[1779]

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[1782] [1783]

[1784] [1785] [1786]

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The development of modern musicology

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1929 Jacques Handschin Vom Sinn der Musikwissenschaft, 1929; reprinted in the Gedenkschrift Jacques Handschin, Haupt, 1957, p. 29-37. 1930 Edward J. Dent The Scientific Study of Music in England, in the Mitteilungen der Internationalen Gesellschaft fiir Mustkwissenschaft, 11 (1930), \p. 83-92. 1930 Wilibald Gurlitt Franz Joseph Fétis und seine Rolle in der Geschichte der Mustkwissenschaft, in the KongreBbericht der Internationalen Gesellschaft fiir Mustkwissenschaft, Liége-Luik,

1931 Kurt’ Herbst 1931 Arnold Schering 1932 Oliver Strunk

Music

and

[1791]

[1792]

1931, Pp. 35-54. 1931 Edward J. Dent

[1790]

Musical

Research,

in the

Acta

musicologica, Il (1931), p. 5-8. Mustkpsychologie und Musikwissenschaft, in the Acta musicologica, U1 (1931), p. 64-68. Musik und Mustkforschung, in the Acta musicologica, 111 (1931) p. 97-99. The State and Resources of Musicology in the United States, American

[1793] [1794]

[1795]

Council of Learned

1932 J. Miiller-Blattau 1933 Charles Seeger

Societies, 1932, p. 76. [1796] Einfiihrung in die Mustkgeschichte, Berlin. [1796a] Music and Musicology, in the Encyclopedra of the Social Sciences, X¥ (1933), Pp. 143-150. [1797]

1934 J. H. Elliot

Biography in Musicology, in Music & Letters,

1935 Hans J. Moser

Mustkwissenschaft,

1936 Otto Kinkeldey

Hesse, 1935, Pp. 549-552; 3rd ed. Sikorski, 1951, p. 768-772. Changing Relations within the Field of Musicology, in the Papers of the American Mustcological Society, 1936, p. 42-57.

XV (1934), R- 50-54.

1936 Jacques Handschin

1936 Harold Spivacke

1936 Otto Ortmann

Uber

das

Studium

[1798] in

the

der

Musik

Lextkon,

[1799]

{1800]

Musikwissenschaft,

1936; reprinted in the Gedenkschrift Jacques Handschin, Haupt, 1957, p. 38-50. The Place of Acoustics in Musicology, in the Papers of the American Musicological Society, 1936, p. 3-8. The Contribution of Phystopsychology to Musicology, in the Papers of the American Musicological Society, 1936, p. 9-13.

(1801|

[1802|

[1803]

170

1936 Oliver Strunk

1936 Donald Ferguson

1936 Roy D. Welch

1937 Louis Harap 1937 Edward J. Dent

1938 Percy Scholes

1938 Otto Kinkeldey

1939 Charles Seeger

1940 Egon Wellesz

1941 Glen Haydon 1942 Karl G. Fellerer 1944 Willi Apel

1945 Paul Henry Lang

The development of modern musicology

The Historical Aspect of Musicology, in the Papers of the American Musicological Society, 1936, p. 17-23. The Relation of Theory to Musicology, in the Papers of the American Musicological Socvety, 1936, p. 14-16. The Bearing of Aesthetics and Criticism on Musicology, in the Papers of the American Musicological Society, 1936, p. 24-28. On the Nature of Musicology, in The Musical Quarterly, Xxi11 (1937), p. 18-25. The Historical Approach to Musicology, in The Musical Quarterly, XX (1937), Pp. I-17. Musicology, in The Oxford Companion to Music, 9th ed. Oxford University, 1955, p. 673-674; [ist ed. 1938]. Musicology, in The International Cyclopedia of Music and Musicians, 4th ed. Dodd & Mead, p. 1218-1221; [1st ed. 1938]. Systematic and Historical Orientations in Musicology, in the Acta mustcologica, X1 (1939), p. 121-128. Musicology, in Grove’s Dictionary of Music and Musicians, 4th ed. Macmillan, 1940, Supplementary Volume, p. 455-462. Introduction to Musicology, Prentice & Hall, 1954, 329 p.; [1st ed. 1941)].

1946 Otto Kinkeldey

1946 Otto Kinkeldey

[1805]

[1806| [1807|

[1808|

[1809|

[1810 |

[1811]

[1812] [1813]

Evnpiihrung in die Musikwissenschaft, Hahne[1814] feld, .2953;, 100. p.3 jst ed, 1042); Musicology, in the Harvard Dictionary of Music, Harvard University, 1944, p. 473-475. [1815|

Musical Scholarship at the Crossroads, in The

Musical Quarterly, XXX1 (1945), p. 371-380. 1946 Suzanne Clercx

[1804]

[1816|

Définition de la musicologie et sa position a L’égard des autres disciplines qui lui sont connexes, in the Revue belge de musicologie, 1 (1946), p. 113-116. [1817| Musical Scholarshtp and the University, in the Journal of Renaissance and Baroque Music (i. e. Musica disctplina), 1 (1946), p. 10-18. {1818} The Artist and the Scholar, in the Papers of

The development of modern musicology

1947 Paul Henry Lang

171

the American Musicological Society, 1940 (published 1946), p. 126-136. On Musicology, in The Musical Quarterly,

XXXIII (1947), Pp. 557-564. 1948 Friedrich Blume 1948 Walter Wiora 1948 Albert Wellek

Bilanz der Mustkforschung, in Die Mustkforschung, 1 (1948), p. 3-19. Historische und systematische Musikforschung, in Die Mustkforschung, 1 (1948), p. 171-191. Begriff, Aufbau und Bedeutung einer systematischen

1949 Wolf Franck

1949 M. E. Brockhoff

1950 Hans Engel 1951 Charles Seeger

Musikwissenschaft,

in Die Mustk-

forschung, 1 (1948), p. 157-171. Musicology and its Founder, J. N. Forkel, in The Musical Quarterly, Xxxv (1949), p. 588601. Zur

Methodik

der

musikwissenschaftlichen

Analyse, in the KongreBbericht der Internationalen Gesellschaft fiir Musikwissenschaft, Basel, 1949, 1951, p. 80-82. Die Entwicklung der Musikwissenschaft, in the Zeitschrift fiir Mustk, Cx1 (1950), p. 16-22. Systematic Musicology, in the Journal of the American Musicological Society, 1V (1951), p. 240-248

1952 Jacques Handschin Der Arbettsberetch der Mustkwissenschaft, 1952; reprinted in the Gedenkschrift Jacques Handschin, Haupt, 1957, p. 23-28. Die Methode der Mustkwissenschaft, mn the 1952 Ewald Jammers Studium generale, V (1952), p. 177-185. Angewandte Musikwissenschaft, in Musica, 1953 Fred Hamel VII (1953), Pp. 207-211. Musicologie et sociologie, in La Revue musicale, 1953 Francois Lesure 1953, No. 221. p. 4-II. Repertorium der Musikwissenschajt, Baren1953 Willi Kahl & Wilhelm M. Luther Feitehetise a2. D: Musikwissenschaft und Gegenwart, in the 1953 Hans J. Moser Zeitschrift fiir Musthk, CX1v (1953), p- 389-393. Zum Studium der Mustkwissenschaft, in the 1954 Karl G. Fellerer Leitschrift fiir Mustk, CXV (1954), p. 27-29. Uber den Sinn der Musikforschung, in the 1954 Hans J. Moser Festgabe fiir H. J. Moser (1954), p. 158-170 Begriff, Aufbau und Methode einer struktu1955 Franz Zagiba

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1957 Manfred Bukofzer

ralistischen, musikwissenschaftlichen Arbett, in Die Mustkforschung, vitl (1955), p. 298313. The Place of Musicology in American

[1836]

Institutions of Higher Learning, Liberal Arts,

1957, 52 P. 1957 Arthur Mendel,Curt Some Aspects of Musicology: Three Essays, Sachs & C. C. Pratt Liberal Arts, 1957, 88 p. 1957 Armand Machabey Muszcologie, in the Larousse de la musique, Larousse, 1957, Vol. 11, p. 87. 1958 Heinrich Husmann Einfiihrung in die Musikwissenschaft, Quelle & Meyer, 1958, 268 p. An Introduction to Research in Music, 1958 Allen M. Garrett Catholic University of America, 1958, 169 p. Précis de musicologie: ouvrage collectif, 1958 Jacques Chailley Universitaires de France, 1958, 431 p. 1959 Lloyd Hibberd Musicology reconsidered, in the Acta musicologica, XXXI (1959), p. 25-31. 1961 Walter Wiora Mustkwissenschaft, in Die Musik in Geschichte und Gegenwart, 1v (1961), columns 1192-1220. 1961 Scott Goldthwaite The Growth and Influence of Musicology in the United

1961 Jan La Rue

in

the

Acta

States,

in

the

Acta

[1838]

[1839]

[1840] [1841]

[1842 [1843]

[1844]

musicologica,

XXXIII (1961), p. 72-79. Codetta: Some Details of Musicology United

1961 Walter Wiora

States,

[1837]

[1845] in the

musicologica,

XXXII (1961), p. 79-83. Mustkwissenschaft und Universalgeschichte, in the Acta musicologica, XXXII (1961), p. 84-104.

[1846]

[1847]

Appendix II - THE

DOCTORAL

DISSERTATION

IN MUSIC

BY LLOYD HIBBERD

It seems agreed among institutions of higher learning that the doctoral dissertation should be an original contribution to the sum of what is generally known in the field. This primary contribution may be either conventional treatment

of “New”

material,

or innovative

treatment

of familiar material.

“New” material in music means either music composed relatively recently or else newly-recovered material whose existence (and even location) may have been generally known, but which has not yet been made accessible to the general company of scholars — material in short, that even a trained scholar familiar with that branch of the field would probably have to go to considerable trouble to obtain (and perhaps to decipher). Dissertations on a group of composers are rare unless these composers are associated with the same forms or media, either as approximate contemporaries, e.g. Watanabe, Five Italian Madrigal Books by Verso, Roy, Scaramella, Quartiert, and Virgell1,) or else as forming a line of development, e.g. Gelrud, The French Violin School (1782-1882). An instance where the line of development is not explicit in the title, (though it is apparent in the work itself), is Newlin, Bruckner, Mahler, Schonberg.

If the corpus of the work of a single composer is relatively restricted, it is best treated in its entirety. An example is Ellinwood, Francesco Landint; another example is Marrocco, Jacopo da Bologna. More frequently, a dissertation is limited to some unified portion of a composer’s work. It may be a relatively broad division, as in Oberg, The Sacred Music of P. de Monte, or it may be limited to a single form in the works of one composer, as in Steinhardt, J. Vaet and His Motets, or it may be a single collection containing several types of pieces by one composer, as in Borrowdale, The “Musicus Liber Primus” of D. Ortiz. Very rarely, a large and complicated single composition forms the topic, as in Myers, Hdndel’s “Messiah.” Occasionally, a figure who is both composer and theorist forms the subject ot a dissertation, as in Young,

F. Gafurius, Theorist and Composer, sometimes

it is only the theoretical aspect of a composer-theorist that is treated, as in Halliday, P. Hindemith - The Theorist. Indeed, the subject may be known to music only as a theorist, as in Hyde, Mersenne asTheorist of Music. Occasionally, a single theoretical work, but one of great significance, has served as the basis for a dissertation, as in Miller, The “Dodecachordon”

of H.Glarean; or, on the

other hand, a group of related theorists may be treated, as in Packard, Seven French Theorists of the 19th Century. Exceptionally, an historian of music has been the topic of a dissertation, as in Naegele, August Wilhelm Ambros. Even 1 Full titles and bibliographic information of dissertations found infra p. 180.

cited

in this section

can be

The doctoral dissertation in music

174

a patron of music may serve as topic, as in Helm, The Musical Patronage of Frederick the Great. Turning from the works of a composer or theorist to a particular form or style as the topic, we observe that most forms extend over a chonological and geographical area too large for properly thorough treatment in a dissertation. There have, however, been a few forms whose florescence was so brief that most of their history could be thus encompassed, as in Crosten, French

Grand Opera. Usually,

a dissertation

on

a form

must

be restricted

in period,

as in

Livingston, The Italian Overture from A. Scarlatti to Mozart, or in both period and geographical distribution, as in Tischler, The Motet in 13th-Century France, or to a group of composers, as in Watanabe, Five Italian Madrigal Books by Verso, Roy, Scaramella, Quartiert, and Virgelli, or even to one form in the works of a single composer, as in Steinhardt, J. Vaet and His Motets. Not infrequently, where there is a very large quantity of relevant material, only a

selection is made, as in Clendenin, The French Chanson in Some Polyphonic Masses. Sometimes, in addition to being limited chronologically and geographically, the form is limited to a particular performing medium, as in Podolsky, The Variation Canzona for Keyboard Instruments; sometimes, the corpus is further restricted by excluding relevant manuscript material, as in Moe, Dance Music in Printed Italian Lute Tablatures. Occasionally, the topic includes more than one form, though these are usually closely related by similarity in structure and style, as in Murphy, Fantasia and Ricercare, or else by the fact that they occur in the works of a single composer, as in Williains, The Music of Guillaume de Machaut, or of a single period (and country), as in White, Music of the Early Italian Ars Nova, or of a single medium, as in Burns, Neapolitan Keyboard Music, or in a single collection, either manuscript, as in McPeek, The Windsor

Manuscript, or printed, as in Hewitt, Harmonice Musices Odhecaton. Next to the works of a particular composer or a particular form, perhaps the most frequent type of topic is a particular manuscript or printed collection containing the work either of more than one composer, as in McPeek, The Windsor Manuscript, and Hewitt, Harmonice Musices Odhecaton, or of a single

composer, as in Borrowdale, The “Musicus Liber Primus” of D. Ortiz. Sometimes, the collection is so extensive that a section of it alone will suffice, as in

Cuyler, The “Chorals Constantinus Book IIT,” or a selection of a single type of composition (from among several), as in Thurston, The Conductus Compositions in Wolfenbiittel 1206. Some dissertations have as their topic one factor in the music of a composer, as in Haigh, The Harmony of Palestrina, or of a form, as in Waite, The Rhythm of the 12th-Century Organuwm in France. Sometimes, the factor is

The doctoral dissertation in music

175

not explicitly linked to any form or composer, as in Beswick, Tonality in r7thCentury Music; indeed, it is sometimes spread over a long period, as in Turrell, Modulation from Aristoxenus to Glarean. A less frequent type presents some aspect of performance practice (Auffiihrungspraxis), as in Aldrich, Agréments of the 17th and 18th Centuries, or an instance of applied aesthetics, as in Wessel,

Affektenlehre in the rSth Century. In almost every dissertation, some account is given of influences exerted on (or by) the material, but in some instances the title implies that the main emphasis is on the influences, as in Byler, Italian Currents in the Popular Music of England, or Mueller, The Influence and Activities of English Musicians on the Continent. Once in a while, a particular medium seems to receive the main emphasis, as in Kimmel, Polychoral Music and the Venetian School, or even a particular instrument,

as in Ward,

The

Vihuela

de Mano.

Sometimes,

con-

temporary criticism forms a large part of the material, as in Boyd, Elizabethan Music and Musical Criticism, and sometimes, it is a musical activity rather than music itself that is the topic, either in a particular locale, as in Gerson,

Music in Philadelphia, or in a special social milieu, as in Carpenter, Music in the Mediaeval and Renaissance Universities. To the extent that a dissertation on musical activities proceeds beyond the mere presentation of the facts to the implications of these activities, it leans in the direction of sociology, as in Loft, Musicians’ Guild and Unzon. There are other non-musical areas connected in varying degrees of intimacy with certain topics; dance, as in Heartz, Instrumental Music and the Dance in

the French Renaissance, or poetry, as in Eldridge, Campion; His Poetry and Music, and Tegnell, Elizabethan Musical Prosody; or drama, as in Grout, The

Origins of the Opéra-Comique, and Poladian, Handel, as an Opera Composer; or acoustics, as in Barbour, Equal Temperament from Ramis to Rameau. If a dissertation is to be offered for a doctorate in an area of music, it would

seem that the main emphasis should be on the music and that conseguently a greater knowledge of that field than of any other should be required both to prepare, and, as reader, to comprehend the study. However, since every dissertation is preceded by certain course requirements in the United States of America, it sometimes happens that a dissertation which strictly speaking, lies mainly in one field is accepted in another, either because of the preceding course of study, or because a doctorate in the particular area is not offered at that institution. A similar situation occurs even within the area of music itself when what is essentially a dissertation in Music Theory is accepted for a degree in Musicology, or vice versa. Each type of topic embodies special dangers. One that demands a really thorough knowledge of some field outside music (e.g. literature) is likely to lie primarily in that area rather than in music, or else to require a knowledge of

The doctoral dissertation in music

176

both areas too great for a candidate to be capable of treating at the level of scholarship proper to doctoral work; and in general, such topics are perhaps best left to post-doctoral work in one’s riper years. Where a group of composers — either contemporary or in a line of development - is the topic, there is usually too much material for all of it to be treated adequately, and a selection therefore must be made. The dangers here are: 1.

that unless all the material is at least examined,

a casual rather than a

representative or significant selection will be made; and 2.

that the relationships of the selection to the remaining corpus cannot be properly demonstrated. “To be successful and right, a selection must face two ways: it must fairly correspond to the mass of evidence, and it must offer a graspable design to the beholder” }

Even where the topic is confined to the works of a single composer, there is danger (if they are numerous) that the scope will be too great for sufficiently thorough treatment within the limits of the normal dissertation. On the other hand, if only a portion of his work is chosen, it should be a closely related group of works in order that some valid generalizations about a considerable division (taken as a whole) of his music may legitimately’be made. To take too few or only random, examples involves the danger of producing an inadequate dissertation that needs to be completed, rather than merely supplemented, by additional research. A prope1 subject “is defined by that group of associated facts and ideas which, when clearly presented in a prescribed amount of space, leave no questions unanswered within the presentation, even though many questions could be asked outside it.” ? The special dangers in treating a form or style are: 1) that one may confuse name and thing so as either to treat as one what are actually different forms that bear the same name, or, conversely, to miss examples of the chosen form or style because they are otherwise labelled; and 2) that one may: by failing to distinguish between essential and superficial characteristics miss important connections (historical, technical, or aesthetic) with other forms or styles. In the case of a performing medium as topic, there is danger of missing (or being unable to obtain) adequate information on structura] features of early instruments or other important practical considerations (tuning, temperament, acoustics of halls, etc.). In the cases of influences, social aspects, or a particular

factor (e.g. rhythm), there is danger of not being able to isolate the chosen 1 Jacques

Barzun

& Henry

F. Graff, The Modern

p- 159. * [bid., p. 20; italics in the original.

Researcher,

Harcourt & Brace,

1957,

The doctoral dissertation in music

177

topic from its concomitants sufficiently to make valid generalizations about it alone. Finally, in the case of the work of a theorist or historian, there is the danger of inadequate consideration of the contemporary musical documents as well as of related theoretical or historical works. In addition to difficulties native to the type of topic, there are also those arising from other considerations. The candidate has the general choice of attempting to make his original contribution to what is known either through treatment of familiar material or conventional treatment of “New” material. The danger in choosing familiar material (e.g., the works of a famous composer) is that beyond what has already been done, no interpretation may be possible that is original, valid, and significant enough to support research of doctoral worth. To illustrate the dangers of an inadequate preliminary survey of what had already been written, consider the following: “A university teacher of Italian, a Ph. D. candidate,

had worked

for a

year on the contribution of a certain Italian author to the literature of his time. Imagine the disappointment and chagrin of this teacher to find accidently on the library shelves two dust-covered volumes on the same subject, written by a recognized scholar in a much more thorough-going manner than he (the candidate for a degree) could hope to achieve.” } It is true that familiar music may be subjected to more detailed analysis than heretofore, but an analysis, however complete, is properly a project for a course in analysis rather than for a doctoral dissertation (or even, perhaps, than for a master’s thesis). The type of topic based on “New” material which is most likely to result in an original contribution is the music of a recent composer or else an obscure one from an earlier epoch. In the case of a living composer, the material — unless restricted to a closed period of his younger years — is likely to be unsatisfactorily incomplete. Even with a composer only recently dead, there is the danger of inaccurate perspective, while the work of a composer from earlier times presents problems of locating and obtaining the music and other important data. Each of the foregoing types has its special difficulties, as we have seen. They seem at first sight to be simpler in connection with music of the last three or four centuries because the more complicated problems of earlier musical and literary palaeography are avoided - especially if all the music chosen is already edited and published so that no heart-breaking search for the material nor frustrating wait for its arrival need be endured. Moreover, if the topic lies

in the area of American or Modern English music, it is’ likely that only a knowledge of English will be required for the references. Finally, since the 1 Good,

C.V., A.S. Barr & D. E. Scates, The Methodology New York: Appleton-Century-Crofts, 1941, p. 105.

of

Educational

Research,

The doctoral dissertation in music

178

general course of musical and other events is well documented for the last few centuries, there is no need for the imagination to construct hypotheses to explain that for which there is no direct evidence, as is often the case in ancient and mediaeval music, for example. Yet in choosing what seems to be the easiest route to the doctoral dissertation, 7.e., by selecting a topic that does not necessitate extensive research for, and deciphering of, rare material, and by limiting investigation to sources

that require no knowledge of a language other than English, the candidate runs a new danger of producing a work that reveals command of only a few of the facets of that scholarship for which the dissertation is presumed to be the principal evidence. Really broad scholarship in any field of learning would seem to demand that the doctoral candidate be able: I. to conceive a suitable project; 2. to locate the necessary sources; 3.

to decipher,

edit, interpret,

and

evaluate

materials,

including

the

secondary source materials (contemporary and subsequent) in all the requisite languages; 4. to perceive the relevance of the topic to the whole area, including schematic, historic, and (on occasion) social or sociological connections with earlier, contemporary, and later material ; 5. to explain lacunae by means of imagination based on rational procedures rather than on picturesque or romantic fancy; 6. to organize and present the results in formal, concise English (or other language) as devoid of clichés and technical jargon as possible, and in such a way that the reader can perceive exactly what material exists how much ofit was examined and how much was used, what steps were taken to deal with it, and what intellectual processes gave rise to the result. To these demands, scholarship in music adds aspecial one, namely the ability to analyze music from various standpoints, such as form, style, etc. If the dissertation is expected to lead its producer to a responsible position as a teacher, it would be well to bear in mind that — however penetrating and true the scholarship was that went into the candidate’s own dissertation — to the extent that it has evaded linguistic, notational, and heuristic problems, to that extent will it be useless as a background for helping his own future students when such problems arise in their dissertations. It is true that where readings

in Old

or

Middle

French,

German,

Italian,

and

New

Portugese,

Dutch, etc., are required, the advisor may legitimately have recourse to the aid of a specialist, as he might on a difficult problem in harmonic interpretation, or on the capabilities of an instrument. But to be compelled to rely on his colleagues for the translation of ordinary passages in the usual languages of

The doctoral dissertation in music

scholarship (English, French, German,

179

Italian, and Latin) reflects on his own

competence as a scholar. His situation would be analogous to that of, say, a pianist who has managed to obtain his diploma or degree with recitals that carefully avoided certain technical difficulties (such as doubled thirds or doubled octaves), and who later is called upon to teach students pieces containing these very difficulties. In both situations, the teacher can continue to evade by not allowing students to work on such compositions. But is this fair to students who are genuinely interested in, and capable of coping with them? Presumably, a teacher is hired less for what he has done in his own dissertation (or performance) than for what he will be able to do in supervising the work of his own students, including the most intelligent and gifted ones. Yet, despite their number, the various difficulties - and the temptations to evade them — have apparently been overcome in a very respectable number of dissertations accepted by reputable institutions, as can be seen by perusing Helen Hewitt, Doctoral Dissertations in Musicology which offers the prospective writer of a dissertation a fruitful source of information on what types of dissertation have been accepted in the United States. ! A word about the final choice of title for the dissertation. This should be as short, specific, and complete as is compatible with accuracy. The preliminary phrases “A Study of,” or “An Investigation of” are quite unnecessary; any dissertation is a study of, or an investigation of its topic. Nor is there any need to call it “The History and Development of...”; any history of doctoral worth will show the development, and a development can hardly be treated except historically, so that one or the other suffices. Again, to choose “The Motet in the Works of...” rather than simply “The Motets’of...” seems mere verbosity. What Barzun ? calls “noun clusters,” like “composition techniques” should almost always.be avoided, partly because they suggest that the title was thrown together, and partly because they fail to show which is the true substantive and which is the modifier, and consequently raise the question as whether the writer’s own mind is quite clear about it: “you must do more than lay your ideas side by side like an infant, you must articulate them.” 3 Yet there are some exceptions sufficiently hallowed by use, lke “opera composer,” and others that cannot be avoided without clumsiness. Vague qualifications should also be abjured, as, for example: “early,” which means “Renaissance” in Hibberd, The Early Keyboard Prelude, and means “Baroque” 1 Baldwin, New York: Music Teachers National Association, 2nd ed. 1958 (3rd. ed. American Musicological Society, 1961). 2 The House of Intellect, New York: Harper, 1959, p. 234. 3 Jacques Barzun & Henry F. Graff, The Modern Researcher, Harcourt & Brace, 1957, DaZOle

180

in Rowen, Early

The doctoral dissertation in music

Chamber Music. On the positive side, because the dissertation

(if it is of any real value) will come to be classified in indices and catalogues under the form(s), composer(s), period(s), medium(a), and country(ies) treated (as well as under author and title), these should all be specified in the title; and with little-known composers, the dates should be added. In conclusion, it must be stated that it seems impossible to define adequately in advance what will constitute a worthwhile “original contribution to knowledge,” except the scholarly discussion of the music either of 1) a wellknown composer considered from some aspect that has not previously been presented to the world of scholars (a dissertation aims at informing them, not laymen or amateurs) or else that of 2) a little-known composer, with particular emphasis on its historical (rather than on its aesthetic) importance. A satisfactory dissertation is one which a researcher, working on an allied topic, would be bound to take into account; the same researcher would be advised

by one who had read an unsatisfactory dissertation: “Oh, don’t bother to send for it. There is nothing in it of importance that you couldn’t find out yourself in a few hours with the sources available in your own library.” In these days of microfilm services and inter-library loans, every writer of a dissertation, whether he is conscious of it or not, is placing his work before the scholars in his field; and through the years, its value will stand revealed by

the amount and kind of reference to it that is included in the subsequent scholarship of his colleagues. Every dissertation should aim to serve as a stepping-stone for future research.

Aldrich, Putnam, The Principal “Agréments” of the Seventeenth and Eighteenth Centuries: A Study in Musical Ornamentation, Harvard University, Ph. D., 1942, 3, Vols., cxxviii, 719 p.; summary in Summary of Theses..., 1942: Harvard University, 1946, p. 324-330. Barbour, Murray J., Equal Temperament: Its History from Ramis (1482) to Rameau (1737), Cornell University, Ph. D., Musicology, 1932, 354 p.; published in revised form as Tuning and Temperament: A Historical Survey, Michigan State University Press, 1951, xiv, 228 p. Beswick, Delbert M., The Problem of Tonality in Sixteenth-Century Music, University of North Carolina, Ph. D., Music, 1951, xii, 341 p.; published on microcards University of Rochester UR 318. Borrowdale, George, The “Musices Liber Primus” of Diego Ortiz, Spanish Musician, University of Southern California, Ph. D., Musicology, 1952, 3 Vols. 1086 p. Vol. 1-11 Text; Vol. 111 Music.

[1848]

[1849 }

[1850]

[1851]

The doctoral dissertation in music

Boyd, of of Burns,

Morrison C., Elizabethan Music and Musical Criticism, University Pennsylvania, Ph. D., Music, 1932; published by the University Pennsylvania Press, 1940, xi, 347 p. Joseph A., Neapolitan Keyboard Music from Valente to Fresco-

baldi, Harvard University, Ph. D., Music, 1953, 2 Vols. Vol. I 255 p. text and 25 p. with 13 plates and Appendices A-D; Vol. II 142 p. music. Byler, Arthur W., Italian Currents in the Popular Music of England in the Sixteenth Century, University of Chicago, Ph. D., Music, 1952, 206 p. Carpenter, Nan C., Music in the Mediaeval and Renaissance Universities, Yale University, Ph. D., History of Music, 1948, 2 Vols. Vol. 1 ix, 210 p.; Vol. 11 370 p. (unnumbered p. 211-581); published by the University of Oklahoma Press, 1958, xiii, 394 p. Clendenin, William R., The Use of the French Chanson in Some Polyphonic Masses by French and Netherlands Composers, 1450-1550, University of Iowa,

Ph. D., Musicology,

William

L., French

Grand

Opera,

[1853]

[1854]

[1855]

1952, 2 Vols. Vol. I xi,

454 p. commentary; Vol. II vii, 371 p. transcriptions; published on microcards University of Rochester UR 676. Crosten,

[1852]

An

Columbia University, Ph. D., Musicology, 1947; published by King’s Crown Press of Columbia University Press, 1948, 162 p. Cuyler, Louise E., The “Choralis Constantinus

[1856]

Art and a Business,

[1857]

Book III” of Heinrich

Isaac (circa 1445-1517), University of Rochester, Ph. D., Musicology, 1948, 3 Vols. Vol. 1 commentary; Vols. 1 & 11 transcriptions; published as Heinrich Isaac’s Choralis Constantinus Book ITI, transcribed from the Formschneider first edition (Niirnberg, 1555), Ann Arbor, Michigan: Universityof Michigan Press, 1950,

[1858]

456 p. Eldridge, Muriel T., Thomas Campion (1567-1620): His Poetry and Music; A Study in Relationships, University of Pennsylvania, Ph. D., Musicology, 1958, 179 p.; published by University Microfilms 58-3321.

[1859]

Ellinwood, Leonard W., The Works of Francesco Landini, University of Rochester, Ph. D., Musicology, 1936, 2 Vols. Vol. 1 commentary ;

Vol.

11 musical

examples

and transcriptions;

Mediaeval Academy of America, Cambridge,

published

Massachusetts,

by the 1939,

[1860| 316 p. Gelrud, Paul G., A Critical Study of the French Violin School (17821882), Cornell University, Ph. D., Musicology, 1941; cf. Abstacts of (1861| Theses, Cornell University, 1941, 651 p.

The doctoral dissertation in music

182

Gerson, Robert A., Music in Philadelphia, University of Pennsylvania, Ph. D., Music 1939; published by Theodore Presser, 1940, 422 p.

[1862]

Grout, Donald, The Origins of the opéra-comique, Harvard University, Ph. D., Music, 1939, 5 Vols. Vols. I-11 402 p. text; Vols. III-v 97,

143, 18F p. supplements. Haigh, Andrew

[1863|

C., The Harmony

of Palestrina,

Harvard

University,

Ph. Ds Music. 1046, 324"p: Halliday,

John

R., Paul

[1864 |

Hindemith

- The

Theorist,

University

of

Rochester, Ph. D., Music Theory, 1957, 2 Vols. 420 p.

.

Daniel J., Instrumental Music and the Dance in the French Renaissance, Harvard University, Ph. D., Music, 1957, 424 p.

[1865]

Heartz,

[1866|

Helm, Ernest E., The Musical Patronage of Frederick the Great, North Texas

State University,

Ph. D., Musicology,

1958, x1li, 305 p.;

published as Music at the Court of Frederick the Great, Oklahoma University Press, 1960, xx, 268 p. Hewitt,

Helen

M., Harmonice

Musices

Odhecaton,

The

[1867|

First Printed

Collection of Part-Music (Venice: Petrucci, 1501), Transcribed into Modern Notation, Edited, and with a Commentary, Radcliff College of Harvard University, Ph. D., Music, 1938, 2 Vols. Vol. 1 xliv, 83,

3 p. text and 4 plates; Vol. 11 206 p.; published as Harmonice Musices Odhecaton A. by the Mediaeval Academy of America, 1942; 2nd edition, 1946, 421 p. Hibberd, Lloyd, The Early Keyboard Prelude; A Study in Musical Style, Harvard University, Ph. D., Music, 1941, 383 p. text and 66 unnumbered pages of music; summary in Summary ot Theses..., 1941, Harvard University, 1945, p. 381-385.

[1868 |

[1869 |

Hyde, Fred B., Mersenne as Theorist of Music, Yale University, Ph. D.,

History of Music, 1954, 605 p.

[1870 |

Kimmel, William B., Polychoral Music and the Venetian School, University of Rochester, Ph. D., Musicology, 1942, 2 Vols. Vol. 1

165 p. commentary; Vol. I! 111 p. transcriptions; microcards University of Rochester UR 1676.

published on

[1871]

Livingston, Herbert, The Italian Overture from A. Scarlatti to Mozart, University of North Carolina, Ph. D., Music, 1952, 343 p. text;

vii, 198 p. musical supplement ;published on microcards University of Rochester UR rSo9. Loft, Abram, Musicians’ Guild and Union: A Consideration of the Evolution of Protective Organization among Musicians, Columbia University, Ph. D., Musicology, 1950, 408 p.; published by University Microfilms 1870.

[1872]

[1873]

The doctoral dissertation in music

183

Marrocco, W. Thomas, Jacopo da Bologna and His Works, University of California at Los Angeles, Ph. D., Music, 1952, 2 Vols. Vol. 1 108 p. text; Vol. 11 116 p. music; published as The Music of Jacopo da Bologna, Berkeley & Los Angeles: The University of California Press, 1954, Xi, 162 p., including the 34 compositions identified as having been composed by Jacopo. [1874] McPeek, Gwynn S., The Windsor Manuscript: British Museum, Egerton 3307, University of North Carolina, Ph. D., Music,

1950,

vi, 147 p., musical supplement on file in the Music Department Library of the University of North Carolina, 130 p.

[1875]

Miller, Clement A., The Dodecachordon of Heinrich Glarean, University

of Michigan, Ph. D., Musicology, 1951, 2 Vols. 871 p.; published University Microfilms 2424.

[1876]

Moe, Lawrence H., Dance Music in Printed Italian Lute Tablature from 1507 to 1611, Harvard University, Ph. D., Music, 1956, 2 Vols.

Vol. I 309 p. text; Vol. 11 195 p. music. Mueller, Paul E., The Influence and Activities of English Musicians on the Continent during the Late-Sixteenth and Early-Seventeenth Centuries, University of Indiana, Ph. D., Musicology, 1954, 2 Vols.

[1877]

Vol. 1 303 p.; Vol. 11 301 p.; published University Microfilms 7534.

[1878]

Murphy, Richard M. Fantasia and Ricercare in the Sixteenth Century, Yale University, Ph. D., History of Music, 1954; 222 p.

[1879]

Myers,

Robert

M.,

Handel’s

“Messiah,”

A

Touchstone

of Taste,

Columbia University, Ph. D., Musicology, 1948; published by Macmillan, 1948, 338 p. Naegele, Philipp P., August Wilhelm Ambros: His Historical and Critical Thought, Princeton University, Ph. D., Music, 1956, 2 Vols. 486 p.; published University Microfilms 20743. Newlin,

Dika,

Bruckner,

Mahler,

Schénberg,

Columbia

[1880|

[1881]

University,

Ph. D., Musicology, 1945; published by King’s Crown. Press of Columbia University Press, 1947, 293 p. Oberg, Paul, The Sacred Music of Philippe de Monte, University of Rochester, Ph. D., Musicology, 1944, 2 Vols. Vol. 1 commentary; Vol.11 transcription of a Mass and 24 Motets

[1882]

[1883|

Packard, Donald, Seven French Theorists of the Nineteenth Century, University of Rochester, Ph. D., Music Theory, 1952, 322 p.;

published on microcards University of Rochester UR 2203. Podolsky, Saul, The Variation Canzona for Keyboard Instruments in Italy, Austria, and Southern Germany in the Seventeenth Century, Boston University, Ph. D., Musicology, 1954, 201 p.

[1884]

[1885]

The doctoral dissertation in music

184

Poladian,

Sirvart, Handel

as an Opera Composer,

Cornell University,

Ph. D., Musicology, 1946, 481 p.; cf. Abstracts of Theses, 1946; published by University Microfilms as O-P book.

[1886]

Rowen, Ruth H., Early Chamber Music, Columbia University, Ph. D.,

Musicology, 1950; published by King’s Crown Press of Columbia University Press, 1949, 188 p. Sparks, Edgar H., Cantus-firmus Treatment in Fifteenth-Century Music, University of California at Berkeley, Ph. D., Music, 1950, 372 p. Steinhardt, Milton,

biittel 1206, New

York

University,

Ph. D., Music,

1954,

B., Modulation:

A

Study

of tts Pre-History

Ruth,

Five Italian

Madrigal

Books

of the

[1890]

[1891] [1892]

from

Aristoxenus to Henry Glarean, University of Southern California, Ph. D., Musicology, 1956, 800 p.; published on microcards University of Rochester UR 2891. Waite, William G., The Rhythm of the Twelfth-Century Organum in France, Yale University, Ph. D., History of Music, 1951, 3 Vols.; the text and about one-third of the transcriptions were published as The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice: Yale University Press, 1954, 141 p. introduction; 245 p. transcription of the Magnus Liber Organi de Graduali et Antiphonario after the manuscript Wolfenbiittel, Helmstadt 628. Ward, John M., The Vihuela de Mano and Its Literature (1536-1576), New York University, Ph. D., Music, 1953, 490 p. text, and 50 p. of examples. Watanabe,

[1889]

2 Vols.

Vol. 1 231 p. commentary; Vol. 11 311 p. transcriptions; published by University Microfilms 58-4999. Tischler, Hans, The Motet in Thirteenth-Century France, Yale University Ph. D., History of Music, 1942, 2 Vols. 552 p. Frances

[1888]

Jacobus Vaet and His Motets, New York University,

Ph. D., Music, 1950; published by East Lansing, Michigan State University Press, 1951, vii, 189 p. Tegnell, John C., Elizabethan Musical Prosody: A Study of the Style of the English Madrigal and Ayre, Northwestern University, Ph. D., Music, 1948, 222 p. Thurston, Ethel, The Conductus Compositions in Manuscript Wolfen-

Turrell,

[1887]

[1893]

[1894]

[1895]

Late-Sixteenth

Century: A Transcription and Study of the First Books a Cinque by Antonio

Il Verso,

Bartolomeo

Roy, Bernardino

Scaramella,

Pietro

Paolo Quartiert, and Emilio Virgelli, University of Rochester, Ph. D., Musicology, 1951, 6 Vols. Vol. 1 208 p. commentary; Vols. II-viI transcription of the madrigals in score; published on microcards University of Rochester UR 2979.

[1896)

185

The doctoral dissertation in music

Wessel, Frederich T., The “Affektenlehre” in the Eighteenth Century, University of Indiana, Ph. D., Musicology, 1955, 433 p.; cf. Dzssertation Abstracts, XV1 1, p. 134f; published by University Microfilms 14674. [1897] White, John R., Music of the Early Italian Ars Nova (ca. 1325-1375), University of Indiana, Ph. D., Musicology, 1952, 2 Vols. Vol. 1 204 p.; Vol. 11 350 p. [1898] Williams, Sarah Jane, The Music of Guillaume de Machaut, University, Ph. D., History of Music, 1952, 396 p.

Yale

Young, Irwin, Franchinus Gafurius; Theorist and Composer, University of Southern California, Ph. D., Musicology, 1954, iv, 372 p.

[1899]

[1900]

Appendix III

- LANGUAGE AND THE BY LUTHER A. DITTMER

MUSICOLOGIST

Since the search for musicological truth is a truly international endeavour, an acquaintance with the working, or classical, languages of musicology — English, French, German, Italian, and Latin — is essential to all persons engaged in serious work in musical research. A minimum standard of proficiency is attained when the scholar is able to read scientific prose with complete understanding,

pronounce

excerpts

with

an

acceptable

accent,

and

follow

a

lecture with comprehension. The scholar’s primary aim is not to express himself in an unfamiliar language, but to understand the grammatical usage, the syntactical force, and the semantic relationships of every word ina sentence; this is possible only through continued experience with the languages in question. Scholarly writing expresses ideas which must be understood precisely and exactly to be appreciated. Fortunately, all of the classical languages of musicology belong to the Indo-European (or Indo-Germanic) group, so that problems of phonetics, morphology, semantics, grammar, and syntax are greatly simplified. The study of these languages should begin, in my opinion, with their similarities. It is well hnown that each of these classical alnguages has one accepted form; this may be Oxford English, la langue de Vile de France, die deutsche Biihnensprache, la lingua di Firenze nella bocca romana, or the lingua Ciceronts. It should be borne in mind, however, that such languages represent fairly rigid norms, which are usually quite conservative, and which are not always so closely followed by other classes of society. We are primarily interested in the standard language, as written and spoken by scholars. The present study concerns itself mainly with phonology, in the hope that the student will quickly learn to recognize cognates and their semantic and constructional differences from language to language; the student should provide himself with adequate dictionaries. English is basically a Germanic tongue. Most of the words written in German have cognates in one form or another in English. Germanic roots entered (or really formed) the English language by way of the Anglo-Saxon settlers (after 450 A.D.) although some of them sprang from the Scandinavian settlers (after 600 A.D.). Norman French was introduced into Great Britain during the eleventh to the thirteenth centuries with the result that a great many French words entered the English language. Under humanistic influence, beginning with the sixteenth century, many classical words, especially Latin, were introduced into English. The introduction of a new word caused an older word meaning.

either to be discontinued,

or to be used in a more

limited

To exemplify the presence in English of vocabulary introduced from each of these three sources, a humorist has written the same passage three times,

Language and the musicologist

187

using only words of Anglo-Saxon origin for the first, Norman-French for the second, and learned (mostly Latin) words for the third. I.

2.

3.

“Stung by the foe’s twitting, our forefathers (bold wights!) drew nigh their trusty friends and were heartily welcomed; taught by a former mishap, they began the fight on that spot and showed themselves unaffrightened by threatening forbodings of woe.” “Provoked by the enemy’s abuse, our ancestors (brave creatures!) approached their faithful allies and were nobly received; instructed by a previous misfortune, they commenced the battle in that place and proved themselves undismayed by menacing predictions of misery.” “Exacerbated by the antagonist’s vituperation, our progenitors (audacious individuals!) approximated to their reliable auxiliaries and were ovated with empressement; indoctrinated by a preliminary contretemps, they inaugurated hostilities in that locality and demonstrated themselves as unintimidated by minatory vaticinations of catastrophe.”

It is not always possible to distinguish in English between a word derived from French and one from German, especially in the case of monosyllabic words. Combinations such as gh th tw w are used mostly in Germanic words, but there are exceptions (e.g. faith); 7 is not found in Germanic words. Latin derivates are usually polysyllabic and are often accented on syllables other than the first. Once a cognate is recognized, its approximate meaning in the context should become readily evident. Nevertheless, meanings often change from language to language. For example, English clean does not refer to physical size, but the German

klein does; klein means

small, but the German

cognate

schmal must be rendered in English as narrow. Again, English invariably uses Germanic

words to refer to animals on the hoof, and Romance

words to refer

to the same animals on the platter; thus a calf (Kalb) gives veal (veau), a swine (Schwein) or farrow (Ferkel) gives pork (porc) or ham (jambon), a sheep (Schaf) or lamb (Lamm) gives mutton (mouton), etc. The apparent richness of the English language in containing clear French, German, Latin (and Italian) roots is a tremendous aid in learning these languages, but it can become selfdefeating unless one realizes that the semantic significance of a word can change from language to language. Preference in this study has been given to 1) musical terms,? and 2) words 1 Quoted

without

ascription

in

L. Reiner,

Stilkunst,

Ein

Lehybuch

Miinchen: O, H. Beck’sche Verlagsbuchhandlung, 1943, p. I5. 2 Especially those listed in R. Vannes, Dictionnaive universel, musicale, 1925.

Essai

deutscher

Prosa,

de terminologie

Language and the musicologist

188

frequently used.! Obscure English words have been given if they are etymologically related to words in common use in another language (e.g. agen = yaw, to hunt), but obscure words in other languages are used only to exemplify specific points (e.g. French noise is somewhat obscure, having been replaced by bruit except in a special meaning). Every author, however has the right to include some of his favourites (e.g. liitzel = little, as in Luxemburg, as opposed to Mecklenburg, with the root mickel = large, English cognate much). If the student will master the various phonetic laws, he will have developed a basis for understanding the classical languages of musicology. Concerning Pronunciation 1. Accentuation

In classical Latin, the penultimate (next-to-the-last) syllable is accentuated if it is long (i.e. if the vowel is long, or if there is a double consonant). The antepenultimate (second from the last) syllable is accentuated whenever the penultimate syllable is short (i.e. if the vowel is short and there is a single consonant). This may result in a shift of the accent in the various declensions and conjugations (e.g. proféssor, professérem; amare, dmo).? In Italian, the same syllable is accented as in Classical Latin (with rare exceptions, e.g. sapere — sapére). A grave accent is used in Italian only where the accent falls on the last syllable (oxytones) ; this occurs in cases of haplology, where the accented syllable has become final (e.g. bonitade > bonta = bounty) and in monosyllabic words, especially after semivocalic 7 (e.g. gia). In French,

the vowel

accented

in Classical

Latin

has become

the final

pronounced vowel in all words of popular derivation. In the case of imparisyllabic * substantives and adjectives, French and Italian forms derive from 1 Especially those listed in H.S. Eaton, Semantic Frequency List, for English, French, German, and Spanish, 1940. 2 Observe that in Latin the antepenultimate vowel when accented may be long (e.g. édidit = he edited) and, contrary to English usage (where the accented antepenultimate vowel is always short, e.g. holiday), must be accorded its full length. The penultimate vowel, when accented, may be long even if it falls in a closed syllable (e.g. infans, consul) ; English usage requires a short vowel. ’ Imparisyllabic substantives and adjectives in Latin have one less syllable in the nominative and vocative (and accusative for neuters) of the singular than in the other forms. These are mostly consonant stems of the third declension (e.g. tempus - temports), but masculine substantives and adjectives of the second declension ending in -er -iy are also imparissyllabic (e. g. puer - pueri; vir - viri). Since the Italian and French forms of substantives

and

adjectives

are

taken

from

the declined

forms,

we

have,

in general,

given the accusative singular of Latin substantives and adjectives. Latin dictionaries usually give the nominative and genitive singular, especially where there is a significant difference in form.

Language and the musicologist

189

the declined forms (e.g. accusative singular). French cognates or English derivates from French can be most helpful in locating the accent in the Latin forms. In German, the first syllable is accented in almost all Germanic words except I) most verbs and parts of speech derived from verbs beginning with the so-called inseparable prefixes: be- ent- er- ge- mif- ver- voll- zer-; 2) formations of different components in which the logical accent does not fall on the first part (e.g. Petersplatz as distinct from Petersgraben, but Pétersplatz as distinct from Ludwigsplatz); 3) verbs with the ending -zeven (Latin -izare; French -over -1€7).

2. Pronunciation

In Classical Latin, every letter was sounded as written, except before c or g which was nasalised as in English-German ng. The only duplicate symbols used for the same sound were ckq; k was rarely used and only before a (e.g. kalendas); gq was used only before uw. In addition, # was an aspirate and did not combine with c # ¢ to form és f / in Classical Latin. Sounds may be divided into vowels, consonants, and semivowels. In Latin,

aetov(u) are vowels; bcdfghkimnpgqrst are consonants; ¥ z are affricates or double consonants; ? (j) v are semi-vowels when they precede a vowel and are not accentuated nor in hiatus. Among the vowels, a is the fundamental sound made by the organs of speech, open and relaxed; e 7 are palatal vowels formed with the palate or roof of the mouth; o w are velar vowels formed with the soft palate of the mouth. Vowels are long (usually indicated by: in international phonetics) or short; nasalized (indicated phonetically be a tilde over the vowel) or pure; accented or unaccented; open (a € 19 u) or closed (a e 7 0 %); single (monophthongs) or double (diphthongs). The following sample words will show the approximate distribution of these vocalic sounds through the languages under consideration :

English

a a: a a: a

French

passé father map

pate patte car en

a:

defendre

.

[ée

German

—

Italian

Latin

Lamm

canto

canto

lahm

cantare

cantare

penna

ego

Language and the musicologist

190

e: E es é é: a

a ie 0 0: ) 9: 4)

hen

father sit seal domain r6le hot saw

mals béte faim feindre grenade

cn dire gros vole voler porc ondulation

on

trompe

ce

eux!

Oe

leur

@

un

Ges 6 Oo:

humble neveu sevreuse

u

tout

U: u y Vis y ar au 3) él

soon good

bourre

volume nature

write house boy fate

Ehre

avere

gelb

ser preno

gegeben bin Biene wohl Sonne

lingua vicino foga fore viola nobile

chorea habere

fidibus tibia cortum corona

Holle

Hohle numero

Mut Mutter

fihlen fiillen ein Haus Leute

musa

musica tuba

aequalis auris poena deinde

The consonants and semi-vowels may be classified in different ways: I) according to the region in which the sound is produced (e.g. gutturals, dentals or labials); 2) according to whether the flow of air is occluded (mutes) or only constricted (liquids, nasals or spirants = fricatives); 3) whether they are surd (= hard, tenuis or voiceless) or sonant (= soft, media or voiced).? 1 There is no exact correspondence of these sounds; they are shorter in French than the corresponding sound followed by a liquid. 2 Surd consonants are possible only with mutes and spirants; the equivalents to sonant lmny are not used.

Language and the musicologist

The consonants

1gI

and semi-vowels can be presented below in tabulatory

form. We have differentiated between those sounds found in classical Latin, for which we have used Latin letters, and those sounds not found in classical

Latin, for which we have used other symbols (combinations of consonants) are not listed.

(cf. infra p. 193). Affricates

GUTTURALS Occlusives

velar mutes

palatal

Dentals _ labial- bilabials dentals

k g

t d

x

Deses OLE

p b

_surd sonant

vs

surd sonant

Constrictives spirants

1

liquids

ral

nasals

n

f b

m

When sounded at all, / is a surd laryngeal spirant, which differs from vowels only in that it is voiceless. Latin ” before c g is guttural. In Latin, x represents the affricate gs ks, and z (only in Greek words, especially in the ending -vzare) probably represents dz; we are using z, however, to represent the sonant equivalent of s. Consonants may be simple or aspirated; in Latin, aspiration is indicated by an h/ placed after the consonant; in the other languages, no special sign is used (e.g. German # is aspirated in Pre). h is therefore used for other functions: 1) in German after a vowel as a sign of lengthening that vowel (e.g. lahmy), 2) in Italian after c g sc before e 7 (e.g. che chi ghe ghi sch schi) to indicate the pronunciations c g sc instead of the palatalised ¢S dz § (e.g. ce ci ge gi sce scr), 3) in French after c to indicate § (e.g. ch). Consonants may be strong (fortes) or weak (enes), (cf. infra p. 207). Doubled consonants arose through combination, assimilation or gemination (doubling of originally single consonants) doubled consonants are pronounced as such in Latin and Italian, but as single consonants in English, French, and German. In the following tables, a hyphen indicates that the character to the left is used generally when followed by one of the letters on the right.

Language and the musicologist

192

Sounds found in classical Latin

Latin

English

French

German

Italian

b c

b c-aloru k-ein q-u (doubled ck) d

b c-aloru qu — vowel

b k q-U (doubled ck)

b c-aoru ch—et

(varely doubled) d d

(doubled ce cch) d

f

f ph

/ bh

f

g

g

g-aloru gu-—et 1 — vowel l m n

d

h 7 (7) l m n

vowel

h vy — vowel l m n

/ ph v—aeto g

h J Ll m n

g-aoru gh—et 1 — vowel l m n

ng

ng

-

neg

a

ni — vowel

ni — vowel

gn

nm — vowel

gn

p

2

P

p

p

r s sc-aloru sk—e1t

7 s —

x S -

r s sc-aou sch-—e1

t

t

t

t

t

v — vowel FEE SeS z

w

ou — vowel

-

-

Giz r s SC

s (intervocalic) s (intervocalic)s (before vowel) — s (intervocalic) of same syllable)

Sounds not found in classical Latin

Phonetic Sign

Sample Word

y b hw 5

English

French

German

Italian

acht = eight —

_

ch

=

give when ship

v ch

w ~ sch

v sc—et

v wh sh

Language and the musicologist

“A

azure

-t1 — on -st — On

b a ts

thorn them church

th th ch

dé

judge

ts dz

rats loads

193

-

scl-aou -

7 g-e. -

= ~ isch

— c (cc) -—e1 ct (cct) -aou

j g (dg) -e4

4

6

SAgs) a2 bt (ggt) -ao u

ts ds

-

z (tz) -

z (22) z (22)

ORTHOGRAPHY

The languages of those countries christianized by Rome are expressed in Latin letters. The continued presence of Latin as a written or cultural form of expression provided a normal orthography for the various national languages. Difficulties in the use of proper symbols developed when 1) the national language developed sounds not native to the Latin languages, or 2) when the establishment of a written tradition of a national language discourages orthographic changes necessitated by the further development of the tongue. Difficulties of the first type may be exemplified by the sounds in English hate, hat, French muse, German wer, Italian barbozza, none of which normally

appears in classical Latin. Difficulties of the second type are encountered primarily in English and French, which have preserved orthographies typical of a much earlier stage of their development. We intend to concentrate our attention on the popular derivation of words; learned words, introduced for the most part through the written language, present fewer problems in recognition, since they tend to maintain the full root. It is obvious that there must be exceptional words in any composite language. While the literary languages present almost intact the dialect of London-Oxford,

Paris,

Florence,

and

Prague-Niirnberg,

many

individual

words defy this tendency, since they are of learned introduction (as the many Italian musical terms now found in English, French, and German), or they spring from other dialects (as French cazsse, from the south of France, instead of the expected chasse = cashier). I. Romance Languages

The various Romance languages developed in the wake of 1) a shift in Latin pronunciation from an harmonic to a dynamic accent in the first few centuries

Language and the musicologist

194

of the Christian era, and 2) the gradual discontinuance of Latin as a vernacular language. Certain phonetic, and consequently orthographic, changes appear to have developed so early and so generally that they are actual changes in Vulgar Latin. Such changes include the syncope or omission of the short, unaccented penultimate vowels (vinclum from vinculum) and shifts in the accent of a word (essére from ésse, sapére from sapere). For the sake of clarity, however,

we shall for the most

part, confine ourselves

to the forms

used in

Classical Latin. Parentheses will be placed around short penultimate vowels, where their syncope is necessary for the understanding of the further development of the sounds. For example, masculum developed first into masclum in vulgar Latin, then into Italian maschto, and the French male (from the older

masle). English male represents the form thus derived through popular etymology; English masculine, French masculin, and Italian mascolino represent learned introductions. Cognate forms, mostly in English, which are derived without additions of prefixes or suffixes will be included in parentheses. The development of the various sounds from classical Latin into literary French and Italian (and in some cases into English) depended on whether the sound was a vowel, a consonant, or a semi-vowel (English w and y before a vowel). Vowels tend to develop differently in free syllables (where the vowel sound terminates the syllable) and in checked syllables (where a consonant terminates the syllable). In Latin, free syllables are those in which a vowel terminates a word or in which the vowel is followed either by a single consonant or by dr gr tr between syllables. A vowel succeeded immediately by another vowel with which it does not form a diphthong (or otherwise weaken the identity of one of the vowels) is said to be in hiatus; hiatus is often marked by the diaeresis. In Latin, a checked syllable has a vowel followed by two consonants (except dy gr tr) between syllables or one or more consonants at the end of a word. Consonants tend to develop differently in strong and weak position. They are in strong position (fortes) when they 1) begin a word, or 2) are the second of two consonants between vowels. They are in weak position (lenes) when they are 1) singly between vowels, 2) at the end of a word, or 3) the first of two consonants between vowels. Vowels are furthermore affected by their position in a word. We shall therefore separate our discussion of the development of accented vowels from that of initial and final vowels. Since the development of consonants is less dependent on the accent, the discussion of the consonants will not be further subdivided.

Language and the musicologist

1k

195

The Latin Vowels.

Vowels in Accented Syllables, Vowels in Final Syllables. Vowels in Initial Syllables. Vowels in Other Positions. Vocalisation of Consonants. ee OG Ia Development of the Vowels in Verbal Forms. Il.

The Latin Consonants and Semi-Vowels.

A. In Strong Position. 1. Initial Consonants.

2. The second of Two Medial or Initial Consonants. B. In Weak

. . . ta!. TS) (SS BSS

Position.

The First of Two Medial Consonants. Single Medial Consonants. Consonants followed by Semi-Vocalic 7. Final Consonants.

In general, discussion of the semantic differences of the various cognates has been omitted; where ambiguity of forms might develop, the pertinent form is identified (e.g., perch = pole and not the variety of fish). Latin substantives are normally given in the accusative singular; all masculine and feminine substantives end in -m in Latin in the accusative singular; this -m is lost early in vulgar Latin in all but a few monosyllabic substantives (e.g., vem - French yien). The orthographies of the different languages are used and the pronunciation of some combinations may vary (e.g., ct is pronounced cz in Latin, t§ in Italian, and sz in French and English).

I. THE

LATIN

VOWELS

A. Vowels in Accented Syllables Classical Latin long a, and short a I. In checked syllables Latin a

Italian a

French a

English

annum carrum

anno carro

an char

(annual) cay (chariot)

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196

partem

parte

part

part

arcum cantat cambiat -antia

arco canta cambia -anza

arc chante change -ance

arc cant, chant, (chanson) change, (cambiale) -ance

English

Before ct (nct) Latin

Italian

French

act, anct

att, ant

ait, aint

factum

fatto

fait

fact, feat

lactem sanctum

latte santo

lait saint

(Jactzs) saint, (sanctz/y)

Latin al

Italian al

French au

English

alt(e)rum cal(z)dum falsus

altro caldo falso

autre chaud fausse

(alter) calid false, (fault)

Latin a

Italian a

French ClOmie

English

pratum

prato

pré

(pratal, prairie)

cantare

cantare

chanter

cant, chant

mare spatam

mare spada

mer épée

(marine) spade, spatha

clavem

chiave

clef

clef, (clavicle)

Italian a

French ie

English

Before J plus consonant

II. In open syllables

After the palatals c g Latin a canem

cane

chien

(canine)

paganum

pagano

paien

pagan, paien, pawn

negare plicare

negare pilegare

nier plier

(negate) ply, (plicate, plissé)

1@ (usually written without a grave accent) is used before a final consonant that is pronounced (e.g. chef); é (written usually with acute accent except in the infinitive forms

of the verb and in certain monosyllabic words) is used before a silent consonant clef), or at the end of a word (e.g. marché).

(e.g.

Language and the musicologist

197

But also with secondary simplification } Latin

Italian

French

a

a

e

English

caput mercatum

capo mercato

che} marché

caput, cap, chief, chef (merchant, mercantile)

Latin a

Italian a

French ai

English

panem lanam famem amas

pane lana fame ami

pain laine faim aimes

(panary) (lJanated, lanolin) (famish) (amzcable)

Before the nasals m n

Before s plus consonant Latin as

Italian as

French a

English

masc(u)lum as(z)nus

maschio asino

male ane

male, (masculine) (asznine)

Latin au

Italian oO

French o (ou)

English

aurum causam pausam

ovo cosa posa*

ov chose pose?

auvum, (aurate) cause, chose (subst.) pause, pose

Classical Latin au

thesaurum

tesovo

tvésor

thesaurus, treasure

para(b)ola * alaudam pauperum

parola lodola povero

parole alouette povre

parable, parole (alauda arvensis) poor, pauper

1 Old French has ize throughout, whence English chief. The simplification to e is secondary or later in development and applies to the infinitives of most verbs of the first conjugation. Verb forms accented on the root (e.g. the singular of the present indicative and subjunctive) have a even in open syllables (except when followed by m ) by virtue of the analogy to forms accented on the ending (e.g. tu aves = you wash, as vous lavez, instead of tu leves or lieves; cf. infra p. 204). The Latin suffix -alum continues to yield forms both in -al (e.g. malum - mal) alongside of those with -e/. Other accented suffixes develop normally (as e.g. -atum, -ata, -atos, -atas =

-é, -ée, -és, -ées).

2 The musical term pausa, pause is of learned introduction, 8 Vulgar Latin *paraula.

Language and the musicologist

198

Classical Latin short e

Ie

In checked syllables English

Latin e

Italian e

herbem perditam perticam

erba perdita pertica

perche

tevram

terra

terre

septem

sette

sept

herbe (perdition) perch (= pole) terva, (tevvain) (septet)

French

English

French

e

herbe perte

Before / plus consonant Latin el

Ttalian el

bellum castellum

bello castello

eau beau

belle, beau

chateau

castle, chateau

French

English

Before s plus consonant

iL

Latin es

Italian es

festam

festa

feast, féte, (festival)

testam

testa

test, testa (= shell), téte

In free syllables Latin

Italian

French

e

ie (e)

ie

English

mel

miele

miel

(melifluent, mildew)

pedum

piede

pied

bene venit

bene viene

bien

(pedal) (benediction)

mel (iu) s

meglio

vient mieux

(venture)

French

English

(meliorate)

Before the palatals c g Latin

Italian

e

ie (e)

decem lectum

dieci letio

leggere

leggere

Classical Latin long e: and oe;

if,

In checked syllables

(decimal) (Jectual, littey = (legend)

bed)

Language and the musicologist

Latin e

199

Italian e

French

deb(1)ta

debita

fem(i)na

femmina

dette femme

English

e

debt, debit femme, (female)

II. In free syllables Latin e

Italian e

oi (ai) 1

predam

preda

proie

me, te, se

me, te, se

credere telam

credere tela

tectum

tetto

d(1)rectum

divezione

moi, toi, soi croive toile toit droit voile foire

velum

velo

feriam

feria

French

English prey, (predatory) (cf. me, thee from German) (credit, credable, creed) tela, (toilet) (tectly) direct, (adroit) veil, velum

fair, (ferial)

After the palatals c g, especially in paroxytones English

Latin e

Italian e

i

placere

piacere

plaisir

cervam mercedem

ceva mercede

cive merci

please (pleasure, placate) cere (mercenary)

Italian e

French

English

ei

French

Before the nasals m n Latin e plenum

preno

poenan1

pena

plein peine

plene, (plenary) pain, (penalty)

Classical Latin short 2 2 I. In checked syllab les 1 The Old-French form ez (written as ey, ai) has been retained in some English derivatives. French oi has undergone a further change to ai in: 1) endings of the imperfect and conditional of the verb (connais, connerais), 2) names of certain peoples (e.g. frangats, but suédois and Frangois as a proper name), and 3) a few other words, such as monnaie (money), crate (chalk, crayon), dais (duis), marais (morass). 2 Classical Latin short 7 and long e have both developed into closed e in vulgar Latin, so that their further development is identical throughout most of the Romania.

Language and the musicologist

200

Latin i

Italian e

missam

mMeSSa

virgam firmum

verga fermo

litteram

letteva

English

Frecnh

e

messe verge ferme lettre

mass, (missal) verge, (virgule) firm letter, (litteral)

French oi

English

poil poire

pile (= hair), (poi/u) (piriform) (umbibe, beverage) faith, (fidelity) styaight, strict

II. In free syllables Latin

Italian

i

e

pilum pira bibit

pelo pera beve

fidem

fede

boit foi

stvi(c)tum

stretto

étroit

Classical Latin long 7: I. Inchecked and free syllables Latin i

Italian i

filiam filum amicam ripam

figlia filo amica viva

mille libvam

mille libbra, liva

scriptum

scritto

French

English

i

amie vive mille

(filial) file (= series) (amiable) (riperial, river) mill (= 1/1000 dollar), (millenium)

livre (fem.)

(libvate, lira, livre, £, 1b.)

écrit

(escribed, escritoire)

French

English

fille fil

Classical Latin short o I. In checked syllables Latin oO

Italian oO

porcum cornu organum

porco corno organo

oO

cor

pork (cornet, corner)

orgue

organ

English

porc

II. In free syllables Latin

Italian

French

Co)

uo (0)

eu (oeu, oe, ue)!

novum SOvOY

nuovo suova

neuf

soeur

(novice) (sorority)

1 The sound @ is written eu in preuve, oe in wil, oeu in beuf, and ue in cueillir.

Language and the musicologist

cor opera solum

cuore opera solo

201

coeur oeuvre

core

seul

sole (= alone)

French

English

opera

Classical Latin long o: I. In checked syllables Latin fo)

Italian co)

0 (ou)

formam

forma

forme

form

cop(u)lam c(oh)ovtem

coppia corte

couple

couple, copula, (copulate)

court

cohort, court

English

II. In free syllables Latin

Italian

French

oO

oO

eu (ou) ?

codam (= caudam) coda solum 2 hora

solo ova

florem

fiore

honovem

onore

queue seul heure fleur honneur

cue, coda, queue, (caudal) sole (= alone) hour flour, flower, (floral) honour

French

English

Classical Latin short 2 3 1. In checked syllables Latin u

Italian oO

o (ou)

duplum

doppio

double

turvem

torre

touyv

duple, double tower, (turret) (German roots only sezn, ves)

sunt

sono

sont

muttum

motto

mot

conductum

condotto

conduit

motto, mot, (mutter, motet) conduct, conduit, (condottiere)

Italian o

French

English

u

eu (ou) !

gulam qugum

gola g10go

II. In free syllables Latin

gueule

joug

gule, (gullet) jugum, (yoke is of Germ. origin)

1 Forms in ou in French are much more likely to be derived from Latin short uw; English derivatives are preserved from Old-French (e.g. flour, hour and the endings -ourv and-ous from Latin -ovem and -osum, French -eur and -euse). Classical Latin long o and short u have both become vulgar Latin closed o and develop together for the most part throughout the Romania.

2 Solum has either a long o or a short o in Classical Latin and is therefore

listed

under

both o and o..

3 Classical Latin long o and short uw have both become vulgar Latin closed o and develop together for the most part throughout the Romania.

Language and the musicologist

202

ubi

(d) ove

ou

(ubsquitous)

yubiam

vobbia

yvouge

vuby, rouge

Before the palatals c g Latin u

Italian oO

French oi

English

crucem nucem

cvoce noce

cvoix noix

crois, cvoss, (crucify) (nuccamentum, nut is Germanic)

Classical Latin long u I. In checked and free syllables Latin u

Italian u

French u

English

lacunam

lacuna

lacune

lacune, lacuna

durum

duro

duy

dur, (endure, durable)

justum una

giusto una

juste une

gust (unanimous)

unus

uno

un

(one, an, only, alone are Germanic),

musicam

musica

musique

(unit) music

B. Vowels in final Syllables In all words of popular derivation in French, every final vowel has disappeared from the language except: 1) Latin a, 2) final vowels of proparoxytones (words accented in Latin on the antepenultimate syllable), 3) after certain combinations of consonants. All such vowels are rendered as mute e. Mute e has been reintroduced, however, in positions in which it is not etymologically justified (e.g. 7e chante from ego canto = I sing). This results in the fact that all words of popular derivation in French have the accented vowel in final position. This rule is so important in French, that even those learned terms (introduced through the written form of the language), conform to this principle (e.g., adagio, crescendo, opera, oratori6, prano; solo, soprano, etc.). Since final Latin a generally was associated with feminine forms, French (and to an extent also English) associated final mute e with feminine forms. Final vowels are generally preserved in Italian. Latin a

Italian a

French e

English MUSIC

musicam

musica

musique

notam

nota

note

note

missam veginam

messa regina

messe veine

mass vena, veina, (veign)

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203

Latin e

Italian e

French -

English

vallem septem amare institutionem

valle sette amare istituzione

val sept amer institution

vale (septet) (amateur, amatorial) institution

Latin i

Italian i

French -

English

feci

feci

fis

(fecit, fact)

amici viginti foris

amici venti fuori

amis vignt hors

(amicable) (vigintiverate) (hors d’ceuvre, faubourg)

Latin ol

Italian o

French =

English

homo

uomo

on

(homage)

canto

canto

chante

cant, chant

English

Latin

Italian

French

ul

(0)

—

tempus

tempo

temps

tempo, temps, (temporal)

hymnus

inno

hymne

hymn

1 Latin substantives and adjectives of the o (second) declension have u in the nominative and accusative singular; o is present in the accusative plural, as opposed to win w (fourth declension) stems (e.g. hymnos as opposed to cantus). In Italian, both of these declensions have become identical in favor of forms with 0. While Italian has formed its plural endings from the Latin nominative plural (salto - salti, English soo or sault as in somersault), French has taken its plural forms from the accusative plural (musicas, libros, partes, cantus, dies =

musiques,

livres,

parts,

chants,

jours

from

the

adjective

diurnum

=

diurnal),

which with the loss of most vowels in final syllables (except a) resulted in plural forms in s undifferentiated according to vowels. Forms with s in the nominative singular in parisyllabic words of the o declension have lost the s for the most part (e.g. mur instead of murs from murus). The development of plural forms with s in English owes its origin in part to the development of such forms in French and in part to a similar development of Germanic words in Old English. The use of x to form the plural of certain French substantives ending with a vowel (e.g. bureau - bureaux) was caused by the misunderstanding of a Latin abbreviation. A similar mistake is made in English, where the abbreviation mark for videlicet is considered to be a z (e.g. viz.). Today, only a few Italian plurals preserve the neuter forms (which always paralleled the masculine forms except in the nominative and accusative). Thus, the plural of braccio, as in viola da braccio, is braccia = arms, from Latin bracchia, (cf. German Bratsche). The confounding of the neuter plural in a with the feminine singular in a, can already be found in Classical Latin, where

the plural of opus (opera) already had the function ofa feminine singular. Whereas certain musical terms originally formed Latin neyter plurals (e.g. organa, officia, opera), they have become singular substantives in French. Opera (in analogy to opus) has become masculine, but is feminine in Italian; orgue (= organ) is masculine in the singular in French, but feminine in the plural; and office (from officitum) is mostly masculine in French, but is feminine in a special meaning (= pantry).

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204

C. Vowels in initial Syllables Latin

Italian

French

a

a

a

English

avenam

avena

avoine

(avenaceous)

castellum

castello

chateau

castel, chateau

cantare

cantare

chanter

cant, chant

In open syllables before m y or after c Latin a

Italian a

French e (a)

English

granarium caballum canalem maritum

gvanatio cavallo canale marito

grenier cheval chenal mart

granary (cavalry) canal, channel (marital)

Latin au

Italian u (0)

French 0 (ou)

English

gaudere audive aucellum

godere udire uccello

jour ouiy Oiseau

gaud, (gaudy), joy’ (audible, auditor) (osel = ouzel, German Amsel)

pausare

posare

poser

pause

auric(u)lum

ovecchia

oveille

auricle, (oretllette)

Latin e

Italian i

French e

English

mensuram

misura

mesure

mesure,

nepotem de patre

nipote di padre

neveu de pére

nephew (Germ. Neffe), (nepotism) de- (comb. form), (patriot)

Italian o

French e

English

(memnsural)

Before the labials p b v Latin e debere

dovere

devotr

devotr,

de mane

domant

demain

(matiana)

(debit)

veversare

vovesciare

veversey

veverse

Latin e

Italian e

French a

English

perfectum delphinum

perfetto delfino

parfait dauphin

perfect delphin, dolphin

Before 1 n 7

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205

Latin

Italian

French

i

i (e)

iS)

English

minutam piscinam videre

minuta piscina vedere

minute piscine vou

minute, (minuet) piscine (videlicet = viz.)

Latin Co)

Italian to)

French ou (0)

English

coronam morire dolerem portare

corona morire dolere portare

couronne mourire douleur porter

crown, (coronation) (mortal, morendo) dolor, (dolerous, doleful) port, (porter)

Latin u

Italian u

French u

English

humanum luctosum lugubrem bucina

umano luttose lugubre buccina

humaine luctueux lugubre buccin

humane (Juctual) (lugubrious) (buccinal)

D. Vowels in other Positions

In Latin, the reduction of proparoxytones to paroxytones can already be found in Classical writers; when a liquid / 7 preceded the ‘penultimate vowel (e.g. laridum - lardum

=

lard; valide - valde =

valid; saeculum - saeclum

= century)

other vowels were occasionally assimilated (e.g. cohors - cors = cohort). In mediaeval Latin, one should especially note the disappearance of the diphthongs ae oe (e.g. caelum - celum; poenam - penam) and also the introduction of words from the vulgar languages (e.g. motetum from French motet, instead of mutatum). In Italian, many proparoxytones are preserved, whereby the penultimate vowel is retained intact except: 1) a before 7 becomes e (e.g. cammarum gambero = crab; also all future tenses of the first conjugation, formed from the infinitive and the present tense of habeo = to have, e.g. *cantar-ho - cantero = I. shall sing); 2) « before 1 becomes o (e.g. flebilem - fievole = lamentable; mespilum - nespolo = medlar tree); 3) 1 before r becomes e (e.g. dactilum dattero = date). Occasionally, both the proparoxytone form (e.g. maculam macolo) and the paroxytone form (e.g. maclam - macchia) were inherited, whereby the language was quick to make a semantic difference between the two forms. A few Italian substantives have lost their final syllables through

haplology, whereby the last retained vowel bares a grave accent, and the form is not declined (e.g. citta from cittade = city; bonta from bonitade = bounty). In French, all vowels but a (= mute e) tend to disappear, especially in the

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206

penultimate syllables of Latin preceding the accent.

proparoxytones

and in non-initial

syllables

E. Vocalization of Consonants

In Italian, / after a consonant and before a vowel becomes 17(e.g., planum -piano, but French plain; clavem - chiave, but French clef). In French, 1) / before a consonant becomes wu (e.g. caldem - chaud, but Italian

caldo);

2) c before

a consonant

becomes

7 (e.g. conductus - conduit,

but Italian condotto); 3) s before a consonant at the beginning of a word develops a parasitic e, which absorbs the s in most cases and is written é or @ (e.g. strictum - étroit, but Italian séretto). F. Development of Vowels in Verbal Forms

Many of the so-called irregular forms of French and Italian verbs spring from Latin

accentuation,

Latin

verbs

have

some

forms

in

which

the stem is

accented and others in which the ending is accented; the development of these vowels will often be different. While it is true that many forms have been reconciled through analogy, differences in the vowels of the first, second and third persons of the singular together with the third person of the plural of the present indicative and subjunctive on the one hand, and the first and second persons of the plural of the same tenses on the other hand, still exist in the following groups of verbs: In French 1. Latin a in free syllables

accented e (ai) unaccented a but

2. Latin a in free syllables before m n

but 3. Latin short e in free syllables

4. Latin long e or short 7 in free syllables

tu. sais tu laves

vous savez vous lavez

accented ai

unaccented ai (a)

tu aimes tu clames

vous aimez (but amant) vous clamez

accented ie

unaccented e

tu viens tu tiens

vous venez vous tenez

accented oi

unaccented e

tu dois tu recois

vous vecevez

vous devez

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207

5. Latin o if free syllables

accented eu

unaccented ou

tu meurs

vous mourez

tu veux

vous voulez

In Italian, there are fewer such forms, the most important being: 1. Latin short e in free syllables

2. Latin short o in free syllables

3. Latin long e in free syllables beforeb pv

accented ie

unaccented e

tu vient tu tient

vot venete vot tenete

accented uo

unaccented o

tu muort tu puor tu vuot

vot morete vot potete vot volete

accented e

iunaccented o

tu devi

vot dovete

Again, formation by analogy has often reconciled these forms. One further point should be raised. Up to the present, we have only discussed individual words, as if each word were an entity unto itself. If we consider words as forming parts of sentences, then we shall find that many monosyllabic words may be in either accented or unaccented position. In accented position, vowels will develop according to the patterns of accented vowels, otherwise according to those of unaccented vowels. This accounts for the double forms in French moi from Latin me in accented position, and French me from Latin me in unaccented position. Il. CONSONANTS

Latin consonants are much more stable in their development in Italian and French than vowels and are less subject to change. Consonants may be described as being in strong position (e.g. initial, or the second of two medial or initial consonants) or in weak position (e.g. the first of two medial consonants, single medial consonants, or final consonants). Consonants in strong position are less subject to change or loss than consonants in weak position. A. Consonants in Strong Position I. Initial Consonants

Most initial consonants have been preserved: Latin

Italian

French

English

bassum

basso

basse

base, bass

duplum

doppio

double

duple, double

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208

falsam ligatum medium

falsa legato mezzo

nauseatum

nauseato

perfectum

perfetio

refringere sonum tempus vocem

rifrangere suono tempo voce

fausse lié moyen noise parfait refrain son temps voux

false ligate, (ligature) medium, mezzo noise, (nauseating) perfect refrain, (refringency) sound tempo, temps, (time) voice, (vocal)

Most initial double consonants have been preserved, except that combinations,

the second element of which is /, develop in Italian into consonant plus 7, and that. combinations,

the first element

of which

is s, develop into parasitic e,

written é é; plus consonant in French. Latin

Italian

French

English

blanch (Germ.)

bianco

blanc

clavem flovem

chiave fiove

cle

glandem planum

ghianda piano

gland plain

brevem crucem fructum gravem praesto tremulantem

breve croce frutio

bréve croix fruzt

grave

grave

blank clef, (clavicle) flower gland plain, plane brief crux, cross fruit, (frugal) grave

presto tremolando

prét

prest, presto

tremblant

quietum

quieto

scalas scribere

scala scrivere

spiritum

spivito

strictum

stretto

quiet échelle écrive esprit étrozt

trembling quiet scale (scribe, scribble) spirit strict, straight, (d’Etroit)

fleur

It should be noted, that the palatals c g develop in Italian into ¢s dz (written as c g) before the vowels ez, and in French into § 2 (written as ci 7) before the vowel a, and into s Z (written as c g) before the vowels ¢ 2).}

English

Latin

Italian

French

cantare

cantare

captiare

cacciare

cant, chant catch, chase

cedentem cinevem

cedendo cenere

chanter chassey cédant cendre

ciconia

cicogna

cigogne

(ciconine)

ceding cinder

* The Northern French dialects did not all develop c into #§ (written as ch) before a, but often retained c. This accounts for many of the double forms in English (e.g. canal, channel; cape, chape; cattle, chattel) with semantic differences developing between the forms.

Language and the musicologist

genum gaudium gementem giga (Germ.)

gamba godio gemendo giga

209

jambe jove gemant gigue

jambe, (gambit, genuflect) joy, (gaudy) gemendo jzg (Germ. Geige)

The semi-vocalic 7 (j) v (written as 7[j]v in Latin, 7 wz [w] in Old High German) have developed into consonants in French and Italian. 7 appears regularly in Italian as dz (written as gz) in French as Z (written as 7). Latin semi-vocalic v appears as consonant v in Italian and as v in French for the most part. Germanic semivocalic v (written as uw or w) appears as gu in Italian and French. Certain early acquisitions from Latin also develop gu (with labial component in Italian pronounced gw, without in French, pronounced g). After c (written as gu), semi-vocalic v is retained in Italian but lost in French; (in a few cases, it is also lost in Italian). In such cases, gu develops normally as c (written as c), i.e. it develops into ¢§ in Italian and s in French (both written as c) before e 1. Latin

Italian

French

English

iocosum iam

giocoso gid

joieuse (de)ja

jocose, joyous (= already)

vinum

vino

vin

wine, vine

velatum vespa

velato vespa

voulé guépe

vetled wasp

vadum wervra (Germ.)

guado (vado) guerra

gué (vais) guerre

wade war

quartum

quarto

quart

quart

quinque

cinque

cing

(quinquenial, cinque-pace cinquecento)

In Italian, / is seldom used (except after c g before e 7 to indicate the preservation of the single palatal, and in the present tense of avere = to have). It is not pronounced in French, but is used 1) in Germanic words where elision did not develop, 2) by reinstatement for etymological reasons (not without inconsistencies in both directions (e.g. homo - on; altum - haut). The aspirated consonants ch th are developed in the same way as the single sounds, but ph develops into / (written as / in Italian, pf in French) except in rare instances (Latin colaphum, Italian colpa, French coup, originally a box on the ears). Vulgar Latin appears to have developed a non-aspirated form of h.

2. The Second

of two medial or initial Consonants

Double consonants are retained as single consonants in French, only mm rr ss being retained in the orthography; mm often derives from mn. Most double

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210

consonants in Classical Latin are retained in Italian especially after the accent, and some single consonants are geminated (doubled) in Italian after the accent

or after the first syllable. Latin

Italian

French

English

flammam

fiamma

flamme

flame

stellam

stella

étotle

(stellar)

stuppam

stoppa

étoupe

stupe

terram vaccam febvem

terra vacca febbre

terre vache févre

(terrain) (vaccare, vaccine) fever

cathedram

cattedra

chaire, chaise

chair

fem(2)nam peregrinum imaginem academiam alacrem

femmina pellegrino immagine accademia allegro

femme péelerin (zmaginatif) académte (alacrité)

(feminine) pilgrim, (peregrinations) (cmaginative) academy (alacrity)

The second of two consonants, is retained for the most part with the following exceptions: 1) in Italian, / after a consonant and before a vowel is vocalised to 1, whereby the palatals c g retain their gutteral sound and are written ch gh; 2) In Italian, the affricate x loses its palatal element, and is written s. Latin

Italian

French

English

clavem plenum planum (expressum) exemplum

chiave pieno piano espressivo esemp1o

cle plein plain expressif exemple

clef, (clavicula) (plenary) plain, plane, piano expressive example

B. Consonants in Weak Position I. The first of two medial Consonants

In Italian, there is a great tendency to absorb the first of two medial consonants into the second, especially after the accent. Latin

Italian

French

English

subtus octavam capsam vuptam stvictum exemplum laxat sanctum

sotto ottava cassa rotta stretto es(s)empio lassa santo

subtil octave (huit) caisse route étyoit example laisse saint

subtle octave cash, (capsule) route, (rupture) straight, strict example (Jax, let is Germ.) saint, (sanctify)

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211

Actually, this is only a further extension of a tendency in Latin to assimilate the first of two medial consonants into the second. The unassimilated forms

do not appear in any of the derived languages. Unassimilated

Classical Latin

Italian

French

adcuvatum

accuratum

accurato

a

English accurate

adgestum adsonantem adleviatum adportatum adtactum adridere adfectum obcurrvere subponere obferve

aggestum assonantem alleviatum apportatum attactum arridere affectum occurrere supponere offerre

(aggestivo) assonanza alleviato (appore) attacco arridere affetto occorrere suppore offrive

— assonance (alléger) apporter ile

ieffecier) (occurence) (supposer) offrir

aggest assonance (alleviate (apportion) attack arride (affection) occur suppose offer

comrumpere

corrumpere

corrumpere

corrompre

corrupt, corrump

comlectum

collectum

colletta

(collection)

collect

Most of the other combinations remain in Italian, except for the following: vv becomes 7b; mn becomes nn; ty becomes dr, but only after a. Latin

Italian

French

English

cervum somnum patrem petram

cerbio sonno padre pietra

cerf somme pére pierre

(cervine) (somniferous, sommez?/) (patriot) (petrifaction)

In French, the first of two medial consonants is altered when it is / (to u), s (to or 7), », r, and m (to either m or 7). /

Latin

Italian

French

English

albam ardentem

alba ardente

aube ardent

alb, aube, (aubade) ardent

centum

cento

cent

cent

festam gambam

festa gamba

féte jambe

feast jamb

sem (t)tam

semita(sentiero)

sente

semita

In French, when the second consonant is a liquid / or 7, the first consonant 1) develops normally (e.g. b p v all develop into v before 7), 2) is assimilated (e.g. d ¢ are assimilated into a following 7), 3) develops a parasitic consonant, which is also found in English derivatives, (e.g. ly - udr; wr - ndr; mr - mbr; ml - mbl; sr - tr), 4) is unchanged (e.g. c before / remains unchanged, instead of developing into g, into 2, or disappearing; p before / remains unchanged, or changes into 0b), 5) disappears.

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212

I.

2.

3.

4.

5.

Latin

Italian

French

English

aprilem febrem viv(e)re

aprile febbre vivere

avril

fiévre vivre

april fever, (febrile) vivers

larron chaire (chaise)

ladrone chair, (cathedral)

faudra gendre

(falter) gender chamber, camera tremble

circle, bugle, male, couple people duple,

latronem

ladrone

cathedra

cattedra

fal(le)re habet gen(e)rum cam (e)ram tvem(u)lave antecess(o)rem

fallera genero, (genere) camera antecessore

chambre tvembley ancétre

cirvc(u)lum buc(u)lum masc(u)lum cop(u)lam pop(u)lum duplum mob(1)lem

cherchio, civcolo

cercle

biucolo

bugle

maschio, (mascolino) male, (masculin) couple cupola peuple popolo double doppio meuble mobile

tab(u)lam parab(o)lam

tavola

tole, table

parola

parole

tvemolare

In other cases, the first of the French. The middle of three poudre). Two consonants made except that voiced consonants Dut):

ancestor

(circular) (bucolic) (masculine)

double

mobile, moble

table parable, parole

two consonants between vowels disappears in consonants disappears (pulv(e)rwm - *polrefinal are treated exactly like medial groups, are made surd (e.g. cervum - cerf; cf. infra,

2. Single medial Consonants

In Italian, most single medial consonants are retained from Latin, except that before the accent or in the accented syllable in proparoxytones c p ¢ often become g v d. In French, b p v often become v, c often becomes g. Latin

Italian

French

English

pacare

pagare

dvaconem secale pauperum saporem (sapiens) vetinam habere

payer dragon seigle povre saveur sage vétine avour

pay

dragone segale povero

sapore Savio vedina avere

dragoon secale poor, pauper savour sage vetina

(have is Germ.)

Language and the musicologist

Many single medial consonants formation of diphthongs.

213

are lost in French,

causing hiatus or the

Latin

Italian

French

English

mutare

mutare

muer

mute

nubentem

(nube)

nuance

nuance, (nubilous)

3- Consonants followed by semi-vocallic i

In Italian, Latin sz (se) and ti (te) become dz (written gi ggi) before the accent and ¢§ (written cz ccz) after the accent. This process is similar to the principle inherent in Verner’s law (cf. infra p. 227): surd consonants tend to remain voiceless immediately after the accent and become voiced before the accent. The voiced group, Latin di, remains voiced as dz (written zz) after the accent, but is not differentiated in the orthography from the surd ¢s (written zz). In French, Latin sz (se) and & (te) become z (written as s) before the accent. Forms of these groups after the accent are possible only before Latin a and are surd s (written ss or c). Latin

Italian

French

English

occasionem basium caseum vationem pretiare puteum tustitia medium vadium plateam fortiam hodie

cagione bacio cacio vagione pregiare pozzo giustezza MeZZO YAZZO piazza forza oggi

occasion (baisier) vaison priser (purts) justice (moyen) var place force (aujourd hui)

occasion (buss) (cheese) veason, vation prize, price pit justice medium vay, vadium place, (plateau) force (hodiernal)

Otherwise, consonants followed by semi-vocalic z in Latin tend to geminate in Italian; y often disappears in this position. Otherwise, the development is normal, taking into account the normal variations of the orthography (Latin uz ne in hiatus are written gn in Italian and French, Latin Js le in hiatus are written g/ in Italian, // :J/ in French, Latin ce is written as z in Italian before a o u). In French, the labials develop # into § (written ch) and b into Z (written g 7). Metathesis of the 7 is often found in French (e.g. Italian formaggio, French fromage) Latin

Italian

French

English

sepiam sapiat

seppia sappia

seche sache

sepia (sapid)

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rubeum caveam ceraseum vineam brachium calceam

vobbio gabbia

cilegia vigna braccio calza

rouge cage cerise vigne bras chausse

rouge, ruby cage, cave cerise, (cevasite) vine, (vignette) brachium, (brassard) (calced)

calceare

calciarve

chausser

calk, caulk

folia aream

foglia aia

feuille aire

folia, folio, (foliage) area

4. Final Consonants

In Italian, all Latin single final consonants (except in monosyllabic pronouns and prepositions) are lost. Final vowels in Latin are present in all Italian words, except in cases of haplology, where the fina] syllable of paroxytones is lost (e.g. Latin bonitate, Italian bontd, French bonté, English bounty; Latin citade, Italian citta, French cité, English czty). In French, most final Latin consonants were lost, though several have been reintroduced into the orthography. because of etymological considerations. The most important of the final consonants to be retained include s (from the accusative plural of substantives and adjectives) for plural forms (e.g. muros murs ') and ¢ for verbal forms of the 3rd person singular (e.g. dicit - dit). Single, double and occasionally groups of consonants in paroxytones in Latin became single final consonants in French except before Latin a (= French mute e), by virtue of the fact that 1) all other vowels had disappeared, and 2) most final Latin consonants (except s ¢) had been absorbed. For the most part, these secondary final consonants have been retained in the orthography, although many are not pronounced except before a vowel in the following word. As we have observed, Latin single medial d ¢ and } f v normally developed respectively into d and v (cf. supra pp. 211, 212). These voiced consonants develop into surd¢and fif they are final. For etymological reasons, however, d is presented in the orthography, where forms in d are otherwise in use (e.g. grand instead of grant because of feminine grande); the distinction, however, is still retained in vert - verdiy (English verdure). For similar reasons g is written instead of c in long - longue. Only the distinction between / and v is maintained consistently in the orthography (natdvum - naif; nativam - naive). ' Old French preserved a declension of parisyllabic substantives of the 2nd declension (e.g. Singular: nominative murs, accusative muy; plural: nominative mur, accusative murs). Because of the predominance of plural forms with s from other declensions and the lack of s in the singular of other declensions (and imparisyllabic substantives of the second declension, e.g. /iber-livve) s was removed from most singular substantives.

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This same process may be observed in English (cf. infra p. 230) not only with Germanic words, but also with words derived from Romance languages. This affects only those English words, in which final voiced consonants were justified in Old English. The New English orthography does not always indicate the state of affairs in Old English, because, among other things, final e

was often removed after closed syllables (but instead of bute) and was introduced after some open syllables (life instead of lif, wife instead of wiz). The series dbpu-tfff can be exemplified in English 1) with words derived from Romance languages, 2) with words of Germanic derivation. Romance

Roots

vert

—

proof chief

— —

safe

—

verdure

Germanic

Roots

hat

—

head

probe cap

hoof coit

— —

hob cop

save

staff

—

staves

In English, secondary shortening (loss of final e in Middle English, although retained in the orthography after open syllables) does not produce voiceless consonants; such losses are found in verb forms rather than in substantives and

adjectives (e.g. to live - the life). In German, then, all consonants at the end of syllables (except / mn r) are surd, though the orthography does not always indicate this.

II. Indo-European Indo-European is that reconstructed language which serves as the ancestor of the Indian and of most European languages. Because Latin-Italian-French and English-German are Indo-European tongues, these languages will present common roots (e.g. septem - seven; laxat = lax - let). Thus, the languages we are studying will contain words common to all which are similar in form. It is also possible, however, that all of these languages’ will have common forms because they were borrowed secondarily from one-another (e.g. puteum - pozzo puits - Pfiitze - prt). Indo-European possessed a variable accent, whereas both Latin and German had fixed accents (e.g., Classical Latin accented the penultimate if it were a long syllable, otherwise the antepenultimate; Germanic languages accented the first syllable). Certain changes in the various vowels and consonants of these languages had taken place before the accent had shifted. In general, the changes are more apparent in Germanic languages. Between the cognates of the Latin language and those of Germanic languages, far reaching semantic changes have taken place. Some forms have developed into actual

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opposites (e.g. host - guest; give - have). Yet there is still much unity present. It should be borne in mind that we are presenting here only Latin and German words inherited simultaneously from Indo-European, rather than words which were borrowed from one language to another during classical antiquity or during the Middle Ages. To clarify the relationships, we shall give the IndoEuropean letter and its position in a word if that is critical, the Latin form, the German form and the English form as transmitted through Germanic languages. Those differences between the German and English forms will be treated below in the section concerned specifically with Germanic languages. An apostrophe is used to denote an aspirated (4) consonant in Indo-European.

Indo-European

Latin

German

English

b’ initial

f

b

b

fero fratrem findo

gebaren Bruder

bear brother

beiBen

bite

b’ medial

d’ initial

d’ medial

g’ initial

g’ medial

gw initial

b

b

v

habere nebulam

geben Nebel

give (nebulous, Lat.)

5

t

d

fores

Tir, Tor

door

d

t d (tt)

d

offendicem fidere

binden bitten

bind bid

h

g

gy

hortum hostem habere helvum hominem

Garten Gast geben gelb Brautigam

garden, yard guest give, yive yellow bridegroom

g

g

gy

vestigium lego

steigen liegen

stag, stair lie, lige

f

w

w

formum

warmen

warm

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Indo-European

English

German

gw’ medial

Ww

Schnee (snewes) 1 fi turba

Dorf

labi

schlafen werfen

verbevare

c initial

ct

ct octo noctem

qu

Cw

quod quando

pt

! Middle-High

German

wann

d

Bz

duo

Zwet

decem viderve

zehn

pedem

wissen Fuh

8

ch ck k

genu

Kuze Acker

agrum iugim

Joch

togam

Dach

Pp

fv

patvem nepotem

Vater

father

Neffe

nephew

pt

cht ft

ft

captum neptem

Haftling

hatt (niece deriv. French)

Nichte

singular genitive;

after sch z, except in Léwe

ewig Mowe

German dialects (cf. below p. 228).

=

w is preserved lion eternal mew,

in German

only initially and

words derived

from the low-

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Indo-European

Latin

German

English

sc

sc

sch

sk (ks) sh

muscere piscem

mischen Fisch

misken (=, m1x) fish, fisk

sp

sp

sp

spernere

-

spurn

spuere

speien

spit

sp

st

longa

long o

st

st

st (s)

hostem est

Gast ist

guest is

a

u

fe)

fratrem matrem

Bruder Mutter

brother mother

oO

a

a

hortum quod

Garten was

garden what

Most of the other vowels and consonants are similar between German-English on the one hand and Latin-Italian-French on the other. Differences develop mostly in the further history of these languages. German-English together with Frisian represent the three basic languages of West-Germanic (as opposed to North-Germanic: Danish, Icelandic, Norwegian, and Swedish; and Fast Germanic: Gothic). To avoid confusion with the term North-Germanic, we are referring to the Germanic dialects of Northern Germany, Holland, Belgium and France as Low-German (Lower Saxonian) and Dutch (lower Franconian). The main difference between the Germanic elements in modern or New English and modern or New High German is to be found in a series of fundamental changes which affected each language separately.

III. Germanic Languages (German-English) A. Vowels

in Accented

Position

Full vowels in words of Germanic origin, or in words of early derivation from other languages (especially from Latin) are preserved for the most part only in accented position. Originally Germanic words are accented only on the first syllable, although the addition of an unaccented preposition (the so-called inseparable prefix) may cause a word to be accented on the second syllable

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(for, by - forget, become, fiir, bei - vergessen, bekommen). Thus, for the most part, unaccented syllables in English and German have either disappeared or developed into neutral e. Among the consequences of this, 1) endings of the declined or conjugated forms have for the most part become lost or identical with other forms (causing an increase in the use of prepositions and other such parts of speech, and the development of a more rigid word order in a sentence); 2) semantic combinations of substantives are encouraged (especially in German), whereby the autonomy of each element is preserved to the degree that it is understood in its own right (e.g. churchyard, Kirchhof); 3) a normal trochaic (/u/u/y) oriambic (¥/U/U/) flowin English and German prose. German uses the vowels a e7 0 wu, the umlauted vowels a 6 ti (y = ii), the diphthongs az (= et) au (au = eu) and the diagraphs aa ee te (= longa e7). The symbol h, an aspirate at the beginning of a word or word fragment, is otherwise used only to indicate the length of the preceding vowel (e.g. Mahler) or occasionally the succeeding vowel when ¢ precedes the vowel (e.g., Thal, never pronounced po:el but always ta-l). English orthography preserves much of the Middle English tradition (making derivation simpler), although the pronunciation of many of the vowels has changed decisively. The only major changes in the orthography which tend to obscure the etymology of New English words are: 1) Middle English long e, written as ez (in French derivatives) e ee te ea, (e.g. receive, here, sweet, thief, eat); 2) Middle English long 0, written as 0 0a oe 00 (e.g. womb, coast, foe, stool); 3) New English ou for Middle English long wu (e.g. out, bout, loud), for Middle English du (e.g. crow, know, soul), and for Middle English short u (e.g. young, cousin, touch). Accordingly, English e will also include ee ea ez 1e; English o will also include 0a oe 00; and ou will represent either Ou OF U. It should be borne in mind that the causes of change in the vowels are the differing effects in English and German of: 1) the presence of palatals c (A), g, ch (gh), also w, 2) breaking of vowels into diphthongs before combinations including / 7, 3) the presence of m n, 4) the absorption of consonants, 5) gemination or doubling of consonants because of a following 77 sound or consonant combination. The understanding of two processes, however, will aid in the recognition of cognates, the lengthening and shortening of vowels and the effects of the 77 (etc.) Umlaut. I. Both Middle English and Middle High German experienced lengthening of the vowels in open syllables and shortening of them in closed syllables. Since, however, the development of the two languages had been somewhat different, certain variations occur in the length of accented vowels in cognates in the two languages. It should be remembered that German long 71s usually

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220

represented by the diagraph ze, and that long wu often developed into the diphthongs owin English, avin German. English long

German short

short

evkor

chose

Apfel

apple

Laute

lute

Busch

Maulesel Name Seite Sohle stehlen treiben _ Weber Zahl:

mule name side sole (shoe) steal drive weaver tale

danken Ende Fisch folgen Milch Nest Nuf Rof

bush thank end

fish follow milk nest

nut

horse

German short

German long

English short

auf Bad Beet Fahvre Honig Monat saugen Stab steif Streifen

up blind bath essen (flower) bed hoffen serry Hund honey machen month mild suck Mond staff yund stiff Schatten sprechen strip

English

German long

English long

blind eat hope hound make mild moon vound shade speak

II. Both Old English and Old High German experienced Umlaut, a change in the quality of an accented vowel by absorption or diphthongisation brought about by a vowel or semi-vowel in the following syllable. The most important kind of Umlaut in English and German is that occasioned by 7 or 7 in the following syllable.1 The Umlaut is expressed in German and English by the following pairs: German

English

a

G (e)

au

du (eu)

0G u (i) uU German without

Mann

Umlaut

with

Umlaut

a 0 (00, oa) 0 (ou, ut) u (0, 00, ou) English without

Umlaut

e 1 (ee, ea) 1 (ee, ea) 1 (ee, ea)

with Umlau

man was fall

men were fell

fare Sat

ferry set

fiillen

goose tooth (groat) gold full

geese teeth greater gilder fill

FiiBe

foot

feet

Manner ware

way fallen

fallen

Fahrgeld saB

seizte

Gans Zahn

Ganse Zahne

grop

evoBer

Gold voll

Gilden

Fuf

Fahre

‘ Similar vocalic changes are occasioned by some of the other processes mentioned above (e.g., breaking, effects of nasals, palatals, etc.). For simplicity’s sake, we are not differentiating among these in the following examples.

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laufen

lauft

lope

leaps

Laus Maus

Lause Mause

louse mouse

lice mice

tyauen

tveu

trust

trig

Baum

Baume

boom

beam

In German, forms with @ and du are used when the etymological connection with forms with a and au is apparent, otherwise e and ew are used. In English, formation by analogy has ridded the language of most duality in the conjugations and declensions, so that either forms with Umlaut or forms without Umlaut

are maintained.

The duality is maintained,

however,

whenever

the

semantic or etymological connection is not evident (e.g. doom and deem; tart and tear). In German, the use of forms with Umlaut is still quite functional. The Umlaut is applied inter alzos to 1) the plural of many substantives (except -n stems, e.g. Ochs - Ochsen: ox - oxen); 2) the 2nd-3rd persons singular present indicative and the preterite subjunctive of so-called strong verbs (e.g. schldgt, asse = beats or slays, ate); 3) diminutives (e.g. Mann - Mannchen = man mantkin), adjective formations, etc. German a and the form with Umlaut a (e) correspond to English a and the form with Umlaut e (ee, ea) in many cases. German a

English a

German ae

English e ea ee

German ae

English a

German a

English e ea ee

benches elders ferry fell bear (verb)

Enkel

ankle

fett Gerte kvaftig letzte

fat yard (36in.) crafty last

Abend Bank brauen Mahi Nadel

evening bench brew meal needle

mane

Schaf

sheep

als

as

Banke

bavfuB dap Faden halb

barefoot that fathom half

Eltevn Fahve fallen gebahven

kann

can

hlaven

clear

Mahne

Katze Mann Pfanne Warnung was Wasser

cat man pan warning what water

Manner Mehl schlaft Stamme Trane ware

men meal sleeps stems (subs.) tears(subs.) were

mannlichmanly namlich namely Sage saw schamen shame Segel satl Wasche wash

Schale — shell Schlaf sleep Stamm — stem (subs.) StvaBe street Tat deed Wrack wreck

German a and the form with Umlaut d (e) also correspond to English o (0a 00 ou). Forms in English with Umlaut become identical with those given above (e.g., € ea ee). German a

English 0 0a 00 ou

German a

English O 0a 00 ou

German ae

English 0

alt

old

kalt

cold

gehen

go

ander

other

Kamm

comb

mahen

mow

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222

blow brought thought fold goose song hold

blasen brachte dachte

falten Gans

Gesang halten

laden

lang Nase

sanft Wald Zahn Zange

load long nose soft wood tooth tongs

more sow sword stvong world work worth

mehr saen Schwert stveng Welt werken Wert

There is another e in German and English which regularly alternates with 7 in both languages. e ee

English e ea

lernen See sehen selbey

learn sea see self

German

German

English

German

English

German

English

1

1

e

i

1

e€ €a

bricht ift mipt

breaks

gibt gives sight Sicht springen springs sticht

sticks

geben keck

— give quick

leben sechs

live six

eats

measures treads

tritt

Middle English and Middle High German long 7 have both developed into the diphthong ae, written 7 in English, ez (az) in German. Middle-High-German short 7 which was lengthened in open syllables developed into ze (2). New English orthography uses 7 to indicate both the diphthong ae and short 7; only rarely does z actually represent long 7 (e.g., machine). German ie (i)

English i

German i

English i

German ei

English i

German ei

Fliege

fly him delivery smith

bringen Ding Finger Fisch

bring thing finger fish

einLeinwand

sick forbid

Milch milk schwimmen swim Silber silver

inlinen shit since stiff strip wisdom

dein Eis mein Pfeife ve} weise weiB

ihm liefern Schmied siech verbieten

Zwielicht twilight

scheifpen seit

steif Streifen Weisheit

English 1

thine ice my

pipe ripe wise white

German o corresponds to English o « or wmlauted (broken) forms in ea ee. The Umlaut of o in German is sometimes 0, sometimes #, forms with 6 having been introduced where the etymological connection is clear. German 06

folgen frvohlich Gott

English o

German

English

00

u

benommen

numb

Brot

bread

Donner

thunder

grop

great

groper

greater

hear need ved

German 00

hostlich

follow frolic God costly

fordern further (verb) geschwommen swum

ober (tiber)

over (upper)

Rost

yust

horen Not

odev

Ov

solch

such

vot

English ea eee

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Ro Tor (Tiir) Vogel Wort

horse door (dearn) fowl word

223

Sommer Sonne Trommel voll

summer sun drum full

schwoven Strom tot wohl

swear stveam dead well, weal

German w corresponds to English u ow 00 0 or umlauted (broken) forms ea ee 1. German ii is the umlauted form of German o uw. German uli du Furche Hund Hiitte Jugend Krumme kund Lunge Nuf Stumpf

English u ou thou furrow hound hut youth — crumb

couth lung nut stump

German u ti

English 0 00

German uli

English ea ee i

Brut Buch Bude Flut gut Mutter

brood book booth flood good mother do worthy to tongue

Brust fiihlen fullen furchtlos griin Hiifte

breast feel fill fearless green hip reed (vod) speech seek sweet

tun wirdig zu Zunge

Rute Spruch suchen stv

German au and umlauted (broken) forms au eu correspond to English o 00 ou u with umlauted forms with ea. German au au eu

English 0 00 ou OW

German au aueu

u ue

English

German au aueu'

English eaee

Bauer

boor (oer)

auf

up

auch

each

Baum Beute braun euey Haus laut yau

boom booty brown your house loud rough

blau Daumen deutsch Euter Laute Maulesel Pflaume

blue thumb Dutch udder lute mule plum

Baum Haufe haufen Haupt kauflich laufen vauchen

beam heap (subs.) heap (verb) head cheap leap (lope) veek ‘

sauer Schauer

souy shower

saugen tveu

suck tyue

taub Traum

deaf dveam

German e2, which otherwise derives from Middle-High-German’? (cf. supra, p. 222), also derives from Germanic az, which appears in English as 0 a. German

English

German

English

German

English

German

English

el

ao

ei

ao

ei

ao

ei

ao

allein

alone

ein

an, one

Heim

home

nein

no

beide Bein

both bone

einige Geist

any ghost

hei kleiden

hot clothe

Reihe Stein

vow stone

Eid

oath

heil

hale, whole

Leiter

ladder

Zeichen

token

eigen

own (owe)

heilig

holy

meist

most

zwei

two

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A further systematic interchange of vowels is found in the Ad/aut-series of the so-called strong verbs. These verbs form their preterite and preterite participles by changing their stem vowel; they add no ending to form the first and third person singular preterite indicative in German and in the entire preterite in English; they form their preterite participles in both languages by adding -en (-n).1 In contradistinction to these so-called strong verbs, the so-called weak verbs do not change their stem vowels (except under the influence of consonant

combinations

or Umlaut,

e.g. rennen - rannte, where rennen

shows

the 7 Umlaut of a) and add English -ed -t, German -te (preterite) -¢ (preterite participle).2 It should be noted that while there are few so-called strong verbs in German and English, that those verbs which are present belong to the most important ones in the language, those which indicate basic functions. There are six classes of such verbs; a seventh class (those which had once formed their preterites by reduplications, as Latin cado cecidz) is added to these.

I II iat

present

DECLETILEs=

preterite participle

beiBen bite /liegen fly singen sing

biB bit flog flew sang sang

gebissen bitten geflogen flown gesungen sung

1 Concerning the prefix ge- added in German to the preterite participle when the verb would otherwise be accented on the first syllable, cf. p. 231, footnote 1. 2 Indo-European and Germanic languages originally distinguished between preterite singular and preterite plural forms. In both New English and New High German, the “accented vowel of either the singular or the plural is used for both the singular and plural in each of the Ab/aut-series. Exceptions to this are found in German only in the praeteritopraesentia verbs, those verbs which are preterite in form but present in meaning (e.g. I ich weiB wir wissen

=

I know

wit, we know;

III ich kann

wiv kinnen

=

I can we can;

III ich darf wiry diivfen = I am permitted we are permitted; VI ich muB wiry miissen = I must we must). Because of many complex factors, the various series will not always be completely parallel in English and German. Latin-Italian-French also have three forms of the verb corresponding directly to those of German-English: 1) the present system (present, future, imperfect, present participle, gerund, imperative both in the active and passive voices, indicative and subjunctive), 2) the perfect system (perfect, pluperfect and future perfect in the active voice, indicative and subjunctive), 3) perfect preterite participle (supine, future participle, and the perfect and pluperfect passive indicative and subjunctive). The perfect system is formed by adding v (vocallic or semivocallic) or s or in a few cases by reduplication (e.g. curro cucurrt). Before s, d and ¢ are lost, b becomes (e.g. scribere - scripsi), c or g followed by s is written x. The preterite participle is formed by adding -itus or -tus; where ¢t or dt would result, s is used; b becomes p before ¢ (e.g. scribeve - scriptus). All verbs in English derived from Latin are weak and are quite often formed from the preterite participle.

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IV

Vv VI VII

225

brechen break essen

brach brake ap

eat

ate

schlagen slay fallen fall

schlug slew fiel fell

gebrochen broken gegessen eaten

geschlagen slain gefallen fallen

In German, only so-called strong verbs have Umlaut (a - a, 0 - 6, u - i) .caused by the z once present in certain inflected endings.1 Umlaut is found in the preterite subjunctive and in the present indicative second and third person singular (in the latter case, we also have the interchange of e - 2: ich gebe du gibst = I give you give). Remnants of the preterite plural of series 111 and Iv (cf. p. 224, footnote 2), are found in the preterite subjunctive (begdnne = began, drosche = threshed) and occasionally in the indicative, as in the texts of the compositions by Heinrich Schiitz and Michael Praetorius (e.g. Wie uns die Alten sungen). Almost all other variations in the accented vowels between English and German have been caused by analogical formations.

B. Unaccented

Vowels

Except in the presence of unseparable prefixes, there are no syllables before the accent in words of Germanic origin. Most vowels after the accent have developed into neutral e. In composite words, the accent fell mostly on the first part (cf. p. 189 & 218). As long as the different parts of a composite word were able to preserve their independent existences, they preserved their equality. Some Germanic words, however, have lost their independent existence and have been reduced to suffixes. These words have, nevertheless, been able

to retain their vocalic quality better than inflectional endings; they include: Nominal abstract suffices German

English

German

English

-nis -heit (keit) -tum -schaft

-ness -hood -dom -scape

Wildernis Gottheit Christentum Landschaft

wilderness Godhood Christendom landscape

1 The Old High German verbal endings with 7 developed already in Middle High German into neutral e after they had produced Umlaut. Some weak verbs have Umlaut in the, entire present, but the Umlaut of a is usually written as e (e.g. bvennen - brannte; vennen vannte; kennen - kannte

=

burn, run, ken).

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226

Adjective suffixes German

English

German

English

-bar -end -ig -isch -lich -los -sam

-bour -ing -y -ish -ly -less -some

Nachbar (ehybar) kommend zwanzig auslandisch lieblich namenlos einsam

neighbour (honest) coming twenty outlandish lovely nameless lonesome

Other Nominal suffixes German

English

Function

German

English

-chen -lein -er -erin

-kin -y -er -er

Diminutive Masculine Agent Feminine Agent

Madnnchen Sanger Sdangerin

manikin, manequin singer singer

-in

-en

Feminine Agent

Fiichsin

vixen

C. Consonants

The consonants of Germanic words, present in both English and German, correspond, for the most part, according to the following tables: German

English

English

German

b ch ck d

t (ff)

bfuw + c ch gk k ck dtth

tp

i) c ch ck

b chk ch ck k ck

g

gghwy

cy

h

je

d

ky dt

7

o,

t

bfp

k kl kn ky l m n

cchk cl kn cy 1 m n

g gh h k kn 1 m

g ch g h chk kn l m

cl

Rl

1 English 6 corresponds to German 6 only initially and in gemination. * Only initial German h corresponds to English initial h; medial German h is usually missing in English.

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227,

jae

P

p

b

fit p> pf

qu ?

sp

qu Vis VISE, s sh sk sp

qu Y s sh sk

qu? vee 72S Seip sch sch

st

st

sp

Sp

B (ss) t 0) (== 7) w Zz

t dt th

st t th Uv w 4% (== hs)

st GaBi(SS)\eschetez dt b bdag

yy

gI

Zz

Ss

pf

Y Ss sch

n

w t

n

Whereas German has preserved the Germanic vowels better than English, English has maintained the Germanic consonants to a greater degree than has German. Many of the consonant changes can be explained by sound shifts (Lautverschiebungen) ; the first sound shift was completed by 500 B.C., and its results are common to both English and German (as well as to the Scandinavian languages and Gothic). The second sound shift, begun in Middle and Southern Germany after 500 A.D., affects New High German, but not English, Dutch, Flemish, or Low German.

Many of the effects of the first sound shift have been exemplified above (cf. p. 216). The Indo-European explodents f¢k, the aspirated explodents p t Rk and the spirant s, developed into the fricative /, b (= th in thunder), 1 German words beginning with p, rather than pf, are either late derivatives from other languages (e.g. Post = Postoffice; Pilgey = Pilgrim) or low-German dialectical words accepted in the written language (e.g. pellen = peel; piepen = peep). p occasionally represents a surd b in the Bavarian dialects (e.g. Paumann = Baumann); otherwise p is not found before a vowel in German in germanic words, except after s, 2 Rarely, English qu = German k in quick = keck (but ervquicken) ;such forms are usually derived from those dialects which lost the labial components (e.g. alemannic). 3 Rhotacism,

resulting in the interchange

of s y in different forms of the same

word, is

present both in Latin (e.g. genus - geneva) as also in English-German where s was intervocalic (cf. infra p. 228). 4y (never sonant in German except in foreign words) is quite often used as the orthographic sign for / at the beginning of words before vowels except u. In Dutch and Flemish (vlams), it is also used initially before 7y u. In German, borrowings from Latin have sonant v if a late addition, surd / if an early one (e.g. Vers, surd; Versus, sonant = both are English verse). German-Dutch

words with initial v, when used in English, should be

pronounced surd (e.g. van de Veer, van Beethoven) never sonant as is often done in vulgar English. Initial German / has become sonant in a few words (e.g. FaB = vat; Fahne = vane; Fichsin = vixen).

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228

y (=ch in acht) and s. These sounds developed into the sonant fricatives 5, g and z except when the Indo-European accent immediately preceded it (Verner’s law), when they remained surd. The Indo-European consonants thus resulted in the following pairs: Indo-European

German

English

RR

chh

g

gh

LPs

f

b

f

gy

v

s

s

i

Sue

y

tt

d

t

th

d

Since the accent shifted between different forms of a word and certain consonant combinations prevented such a shift (e.g. ff), such changes are known as grammatical change. Except for the pair s 7 (rhotacism of s via z), these changes are not too significant for the modern languages (e.g., g¢ft - give, clothe -clad, ziehen - Zug, Gift - geben, schneiden - geschnitten). Changes between s and 7 may be exemplified by: r

s (z)

were war hare 1r0on frieren forlorn verlieren evkor ycore Walktire better besser

was gewesen Hase Eisen frost Frost freeze loose Verlust choose kiesen best Beste

The second (or High German) shift of sounds had been substantially completed by 1000 A.D. in those regions in Germany (Prague-Niirnberg) which gave rise to the written German language. Only in the Netherlands and Belgium has a literary language developed (Dutch and Flemish) which takes no cognizance of the second shift of sounds. With a knowledge of English and German, the student will not have too many special problems in reading Dutch. New High German observes these phonetic changes in words derived directly from Indo-Germanic

and in those words, derived mostly from Latin,

which were introduced before 1000 A.D. German does not observe these phonetic changes for the most part in words introduced from Low German (e.g. Diine = dune;

prahlen = prate;

Teer = tar; fett = fat; bldken =

bleat;

Bake =

beacon:

Mowe = mew; Roggen = rye) nor in words introduced from

other languages after ca. tooo A.D.1 1 Certain

combinations

of consonants

were

not

shifted

in German:

sp and

st do

not

develop as one might expect of p and ¢, but the combinations remain sp and st. However, sk develops in both English and German into §, written sh in English and sch in German; English words derived directly or indirectly from the Scandanavian languages often have sk. Before ¢, English v and German 6 are rendered as f (e.g., give gift; geben Gift).

Language and the musicologist

229

English

German

German

I. initially 2. after m n 3. doubled consonants

1. between vowels 2. after 17 3. at end after vowel

ch?

k (ch 1)

k (ck)

Pp

pt

t (ff)

t

z (tz)

B (ss)

German

English

German

English

German

English

German

English

ck k

cckk

ck k

ch

ch

cckk

ch

ch (tch)

danken dick Kalb kann Katze Kern Kuoten kund wecken

thank thick calf can cat kernel knot couth waken

Bank Birke Kalk kauen kduflich Key] Kinn Kirche kiihlen

bench birch chalk chew cheaply churl chin church (kirk) chill (cool)

Buch book -chen -kin gleich = like Joch yoke machen make Milch milk Sache sake Sichel — sickle wach wake

auch Bruch Buche Kirche veichen solch Sprache Wache welcher

each breach beech church veach such speech watch which

German

English

German

English

sch

sh

sch

sc sk

Asche Fisch Schale Scham Schicht schlieBen Schvein Tisch waschen

ashes fish shell shame shift shut shrine dish (disk) wash

-schaft Schale schelten schie} Schiff schinden schveien Schirze wischen

-scape skull scold skew

skiff (ship) skin scream skirt whisk

' Palatal k (before Old-English ez y) developed into ¢s,'‘written as ch in English, adopting the Old French orthography for the same sound (e.g., chief). 2 German ch derives not only from Germanic k but also from Germanic ¥. This ch corresponds to English gh (no longer pronounced or pronounced as /, but retained in the orthography). German

acht dachte durch fechten Flucht hoch

English

eight thought through fight flight high

German keuchen Knecht lachen Licht Macht Nacht

English

German

English

cough knight laugh light might night

nicht Schlacht Sicht suchte Tochter tuichtig

nought slaughter sight sought daughter doughty

Also, Burg = borough and bury; Trog = trough.

Language and the musicologist

230

German

English

German

English

German

English

pf

P PP

f ff

P

sp

sp

Apfel hipten Kopf pfanden Pfanne Pfeife Pfennig Pflaume Tropten

apple hop cap cop pawn (verb) pan pipe penny plum drop

auf greifen helfen hoffen laufen Schat taufen tief triefen

up grip help hope lope leap sheep dip deep dyip

lispeln sparen SpieB Spindel spinnen sprechen spreizen springen Sprop

lisp spare spit spindle spin speak spread spring sprout

German tz z

English t

German B ss

English t

German st t tt

English st t tt

gotzen heizen Netz vitzen sitzen Witz Zeichen ziehen Zunge

get heat net write sit wit token tug tie tongue

dak drosseln Fah heh NuB sah suB vergessen wissen

that throttle vat hot nut sat sweet forget wit

bitter Fett gestern Hut Hiitte Laute platten Stab treu

bitter fat

yesterday hat hut lute flatten staff true trig

The sonant fricatives 6 g and the spirant z developed in a way similar to their surd counterparts, except that double forms did not develop in German (as might have been caused by the position of the consonant in the word). In German,

all sonants at the end of a word or before a surd consonant

are surd

(except 1mn vr), although in most cases the sonant symbol is used in the orthography for etymological reasons (e.g. Land instead of Lant). In English, sonants become surd when, combined with surd consonants (e.g., fs as opposed to ds); otherwise sonants are surd only when they were final in Middle English (cf. p. 215). As in French, this distinction is maintained consequently in the orthography only in the combination v-/ (e.g. wife-wives; naif-naive). German

English

ps g

betel) Le

t (a)

th 8

1 In a few words, German b has developed from Germanic w. * b is used in English only 1) at the beginning of a word; 2) in gemination (doubling, even though this was later simplified), 3) after m. 3 fis used before ¢ and wherever

v would

have been in final position in Middle

English;

th is surd wherever it was final in Middle English. d instead of ¢ developed in German after m in most cases;

d for ¢ is also found

in certain words

derived

from those dialects

(mostly Low German) where the sound is regularly d. 4 y is the expected sound in English and is found in most cases in medial and final position

Language and the musicologist

German b

231

English b

German b

English b

Grab haben Knabe lieben Nabel Rabe Silber uber weben

grave have knave love naval (subs.) vaven silver over weave

Balg

bellows

bez

by

beiBend Bindung Blume Bogen Brust Buch Gewebe

biting binding bloom bow breast book web

German b

English f ff

German b

Dieb

thief woof half calf loaf (subs.) leaf Itfe staff wife

yew fallow gelb yellow hieb hew miwvbe mellow Schwalbe swallow Sperber sparrow albern _ (all-ware) Farbe (fard)

Gewebe

halb Kalb Lazb Laub Leben Stab Weib

English w

Extbe

falb

German g

English g

German g

English y (initial) }

German g

English i y (medial & final)

Garten geben Geist glithen Gold gotzen Griff groB Grund gut

garden (yard) give (yive) ghost glow gold get grip great ground good

begehren gahnen garen Garten geben gelb gellen gelten Gerte gestern

yearn yawn (yeast) yard (garden) _—yive (give) yellow _—_-yell yteld yard (36 in.) yesterday

Auge Lige mag Magd Nagel schlagen Segel Tag Weg Ziegel

eye lie may maid nail slay (slag) sail day way tile

German

English

German

j

M

8

English

w

ja Jacht jagen Jahr Jammer Joch jodeln Jugend jung Junker

yea (yes) yacht yaw (= hunt) year —yammer yoke yodel youth young younker

Bogen borgen eigen Galgen geflogen heiligen nagen Pflug Sdge Vogel

bow borrow own owe gallows flown hallow gnaw (nag) plow saw (subs.) fowl

but also quite often initially. Where g is found, Scandanavian influence is likely (e.g. egg instead of ey, German £2). English y also renders German 7 (found only at the beginning of a few germanic words) ; the 7 in je developed from Middle High German ie by becoming a rising instead of a falling diphthong; it corresponds to English ay and ever, gothic aw = time; jeder = every is a contraction of je and weder = whether. German g is also vocalised as w in medial or final position. 1 The German preterite participle begins with ge- except 1) when the accent does not fall on the first syllable, in which case it is omitted, 2) when the accent falls on a separable prefix, in which case -ge- is inserted after the prefix, an iambic law (e.g. angesehen from ansehen). This prefix is retained in English as syllabic y in yclept (from clepe) and in obsolete forms (e.g. ybe = been; ydo = done; yclad = clothed etc.).

Language and the musicologist

232

English th corresponds for the most part to German d; in those cases in which English th corresponds to German ¢, either German d has developed into ¢ (e.g., tausend), or English d has developed into th (e.g., mother, father). German

English

German

d

th

t

English th

baden

bathe

fort

forth

dap

that

Monat

month

denken dey dick dveschen

think the thick thresh

Mutter tausend Vater verwittern

mother thousand father weather

kund

couth

vierte

four

lind sud

lithe south

Wert Wetter

worth weather

English d corresponds for the most part to German ¢; it corresponds mostly to German

d after / n, in forms derived from the Low German

dialects, and in

those cases in which English d is a further development of th (e.g., fiddle = Fiedel; rudder = Ruder). German

English

German

English

d

d

t

d

blind Deich

blind dike

dritte laut

third loud

dumm

dumb

Tag

day

Ende

end

-te -t

-ed -ed

finden

find

tragen

dvag

Hand mild vund W unde

hand mild vound wound

Trommel tun unter Wort

drum do under word

The following special developments should be noted:

1.

# 1s lost in English before fs th v. German

English

German

English

German

andey Dunst fiinf

other dus! five

Gans konnte kund

goose could couth

lind lithe Mund mouth sanft (sacht) soft

English

German

English

uns us wiinschen wish Zahn tooth

2. ris quite often subject to metathesis (inversion of position with vowel) in English. German

English

German

English

brennen Bronnen Dorf dreizehn

burn (but also bren) burns (but also brun) thrope (but also thorp) thirteen (but also three)

durch Furchi Rof wirkte

through (but also thoroughfare) fright (but also fear) horse wrought (but also work)

Language and the musicologist

3.

233

English mb (whether thed is parasitic in numb cf. p. 211 for parasitic b between m and /7, or etymologically proper in dumb and has been assimilated in German) corresponds to German m or mm. German

English

German

English

mmm

mb

mmm

mb

benommen

numb

Kyrumme

crumb

Daumen

thumb

Lamm

lamb

dumm

dumb

Wams

womb

kliummen

climb

Zimmer

timbey

For the most part, other consonants and groups of consonants remain identical in English and German.! German h (initial) Hand helyen Herz hoch Horn

English h hand help heart high horn

German kl Klang (klingen) klar kleben kletben klezden klein

English cl clang clear cleave clothe clean

German kn knabbern kneten Knve Knopf Knauf Knote

English kn knibble knead knee knob knot

German kr

English cr

German 1

English 1

German m

English m

Kraft

craft

klein

clean

Arm

aym

Krampf

cramp

lang

long

Dampf

damp

Kran Krahn krank Krebskanon

crane cranky crab canon

leer lutzel litt Segel

leve (= empty) little sail

mehr mitiel warm

more middle warm

German n

English n

German r

English r

German w

English w

danken kann namenlos nehmen niedey

thank can nameless nim (nimble) nether

horen Rast reden reuen teuer

hear rest read rue dear

schwanken Schwem warten zwet Zweig

swagger sword wait two twig

1 Except for the Low German Wvrack = wreck and wringen = wring, German has simplified wr to r (e.g. Rache = wrath; Recken = wretch; ringen = wring, wrong; ritzen = write; Runzel = wyinkle; rupfen = wrap). In English, mis generally missing in the infinitive of the verb (except loosen = loose = lésenetc.). German kn is English gn in knarren = gnarl; knirschen = gnash, and n in nagen = gnaw but also nag. Occasionally consonants are changed for reasons of dissimilation (e.g. Mértel = morter; Zwilling = twin; Himmel = heaven;

Kind

=

child but also kind); assimilation

(e.g. Welt =

world;

machte

=

made).

Addendum

A - CHINESE

BY TSANG-HOUEI

MUSICOLOGICAL

TERMINOLOGY

af * B

SHU

+=

su)

A. Chinese Musical Instruments

For more than two-thousand years, Chinese musical instruments have been traditionally classified into Pa Yin /\ ay , literally the Eight Sounds or Families. Modern Chinese scholars and historians are engaged in developing new systems for the classification of instruments, but they have not yet succeeded in overcoming all of the obstacles. For the time being, it is wise to follow the traditional classification. Pa Yin

J\

_

, or the eight families

consist of: I - Chin (gold)

4,

of Chinese

musical

instruments

the family of metalic instruments; most instruments of this family are made of bronze, which has long been called chi chin (lucky gold).

Examples: 1. Chung 46, the bell (bronze percussion). 2, Lo

Si , the gong (brass percussion).

II - Shih (stone)

A , the family of stone instruments.

Example: Ch’ing

ze , the chime (stone percussion).

III - Sst (silk)

rae , the family of silk instruments.

Examples: 1. Ch’in

x , the zither of 7 strings.

2. Seh

or , the zither of 19, 23, 25 or 27 strings.

3, Chéng

“*", or the zither of 12, 13, 14, 15 or 10 strings.

is

many chéng made: since the Ming dynasty (1368-1644 A.D.) have brass not silk strings.

IV - Chu (bamboo)

‘H] , the family of bamboo instruments.

Examples: 1: Ti

, the transverse flute of 6 holes.

Ae

2. Hsiao

V - Pao (gourd) Exaple: Shéng

VI - Tu (clay or earth)

, the recorder flute of 5 holes.

5th , the family of gourd instruments. “4 , the mouth organ.

+., the family of ceramic instruments.

Chinese musicological terminology

Example: Hsiin

235

ya , the ocarina.

VII - Keh (leather)

#. , the family of leather instruments.

Example: Ku

aX , the drum.

VIII - Mu (wood)

5 , the family of wooden instruments.

Examples: 1. P’ai-pan

2.Mu-yi

fff AR , or the block castanets.

44 , or the wooden fish.

B. A Selected List of Chinese Musical Terms = Yin-ytieh:

Music.

AE Li-yiieh:

Rite or Ritual Music.

a

; Dance or Dance Music.

r Wu-ytieh:

frag Ko-ytieh:

— Song or Vocal Music.

ag Tsou-ytieh:

Instrumental Music.

re Yen-yiieh:

Banquet or Festival Music.

yh6 Fa-ytieh: see venice a

4% Tso-pu-chi:

“Sitting” Music.

ue

4% Li-pu-chi:

“Standing” Music.

ay 3 ai f

Formal Music (originated from the Buddhist Taoist Music).

Shih-yiieh:

fh Wa=cliaties

za) th Tzu-ch’ii:

and

“Poetry” Music (Music composed after “The Classic or Book of Poetry”). Grand

Music.

| Music of “the Longer and Shorter Lines.”

ae | Tsa-ch’ii:

Dramatic Music (actually the Music of the Yiian Drama)

{hi A Chuan-ch’i:

Romance Music (actually the Music of the Ming drama).

fal 5B Luan-t’an:

Loud Playing (actually the Music of the Peking opera, the later classical Chinese opera).

Chinese musicological terminology

236

ey

th K’un-ch’ti: AZ.

8

The Music of the K’un-shan opera (the earlier classical Chinese opera). :

Wu yin:

The Pentatonic System.

TH Ch’i1-yin:

The Heptatonic System.

— 48

1 Shih-érh-lii:

The Twelve-Tone System.

+ Husang-chung yin:

The Absolute Pitch of a Sound.

oH St tO + 0X

Ku-ch’ut:

Drum and Wind Music).

14 (Pk) KA Kung or Chiin:

Music

(Classical Military

The Octave.

The following two books represent the basic studies of the history of Chinese music:

1

&.

H

Sr.

ie

fit £

(Wang, Kuan-ch’i),

(Chung-kuo yin-yiieh shih- me ane of Chinese Music), (Shanghai), 1934.

2 te EAA

& SE X 4A (Vang, Vin-lin),

ates yin-yiieh shih-kang - An Outline of the History of Chinese Music), (Chungking), 1934.

Addendum

B - JAPANESE

BY TATSUO MINAGAWA

ep

MUSICOLOGICAL

1]

=a

TERMINOLOGY

oa

A. Japanese Musicological Terms

The following terms are arranged according to the initial character simple to complex, as is usual in Japanese dictionaries.

te,

— }

2

—

a

y

F

Fiiga (fu:ga), Fugue.

}

Furyito (furju:to), Flute.

2.

7

3

77

4.

vw

a

—~

}f Rekodo (reko:do), Phonograph Record.

5.

+

—

&

=

6

4zyF-aonh_

7,

kh >yw-~y

8

k ayw+—vy

ae

/,

10.0

7

18

1

a Y

&

—

[|

from

fh Fagotto (fagoto), Bassoon.

Korasu (ko:rasu), Chorus. Koncheruto (kontSeruto), Concerto.

_}f Torampeto (torampeto), Trumpet.

Torombén (torombo:n), Trombone. 4

Sonata (sonata), Sonata.

&

Kantata (kanta:ta), Cantata.

™

Jianiritsu

(dzu-niritsu),

The

traditional

twelve-tone

scale on d, which is almost the same as the chromatic

scale in Western Music.

12.

2%

ow F

T3004)

14, #7 5.

mK

—

+

f+

xk “~

16. #4 27 7

4

wm

—

Merodi (merodi:), Melody.

2,

Rizumu (rizumu), Rhythm.

x

Oboe (o:boe), Oboe.

3

Opera (opera), Opera.

bh VY F Oratorio (oratorio), Oratorio. AF

y

Orugan (orugan), Organ.

Japanese musicological terminology

238

Piano (piano), Piano. Burasu (burasu), Brass. Tinpani (tinpani), Tympani. Romanha-ongaku Romantic Music.

Pleo

(romanha-ongaku), Western

Chero (tSero), ’Cello. Sanwaon (sanwaon), Triad.

(1

Shamisen (Samisen), A Japanese Traditional Plucked String Instrument without Frets; Three Strings are Tuned in a Fourth and a Fifth, and are Played witha Plectrum. Sanjiiso (sandzu:so:), Trio.

Kotsuzumi (kotsuzumi), A Traditional Side Drum used in the N6 orchestra. Shosetsu (So:setsu), Measure. Otsuzumi (o:tsuzumi), A Traditional Side Drum used in the No Orchestra. Shakuhachi Bamboo

(Sakuhatsi),

A Traditional

Five-Holed

Clarinet without Reed; the Four Holes on the

Front and the One on the Back produce a Five-Tone otale:

4

Nihon-ongaku (nihon-ongaku), Japanese Music. + Gosei (gosei), Same as No. 32.

Goin (goin), The Japanese pentatonic Scale of Chinese Origin; There are two Kinds Ryosen (No. 49) and Ritsusen (No. 59).

33.

Chusei-ongaku (tSu:sei-ongaku), Mediaeval Music.

34.

Kotenha-ongaku (kotenha-ongaku), Western Classical Music.

Japanese musicological terminology

sep Es

239

gy Taiko (taiko), Generic Name struck by Sticks or Hands.

36. Eh

=

oF fae Hikaku-ongakugaku,

for Japanese Drums

(hikaku-ongakugaku),

Musicological Ethnology.

37.

7F4AWY

ec

= fo

Baiorin (baiorin), Violin. 7)

Biora (bicra), Viola,

“Hl

5

*& Heikinritsu (heikinritsu), Equal Temprament.

40. DB

Ht

#8 Shijiiso (Sidzu:so), Quartet.

A

2% Min-yo (minjo:), Folk Song.

42.

=

43.

Pa

4 CE

=

MN, ey

Shudai (Sudai), Subject or Theme.

3K Seiyd-ongaku (seijo:-ongaku), Western Music.

MB Gasshé (gasSo:), Chorus.

45. &B

aa

M: Tachosei (tat&o:sei), Polytonality.

ewe

ee

HH Kokydkyoku (ko:kjo:kjoku), Symphony.

47.

VE

fH Sakkyoku (sakjoku), Composing.

48. VE

i

49.

fi Ryosen (rjosen), One scales: cdeg ac.

50,

#1

&

of the Japanese Pentatonic

°K Hogaku (ho:gaku), Japanese Traditional Music (as Distinguished from Yogagu [No. 71], Western Music).

51. 4H 52.

Sakuhin (sakuhin), Composition.

=f- Hiydshi (hjo:8i), Beat. Ze

HH Hensokyoku (henso:kjoku), Variation.

e He nk #

“#3

~Toyd-ongaku (to:jo:-ongaku), Oriental Music.

Japanese musicologica! terminology

240

54.

Ché-onkai (t8o:onkai), Major Scale.

mt

Nagauta (nagauta), Japanese Vocal Music in Utamono (No. 95) style with Shamisen (No. 24) and Taiko (No.

J:

35). 56.

Kinkan-gakki (kinkan-gaki), Brass Instruments.

57:

Junankyoku (dzunankjoku), Passion.

58.

Sitsunaigaku (sitsunaigaku), Chamber Music.

59:

Ritsusen (ritsusen), One of the Japanese Pentatonic Scales:cdfgac’.

60.

Onkai (onkai), Scale.

Ox:

Onpu (onpu), Musical Note.

62.

Onbukig6o (onbukigo:), Clef.

On.

Ongaku (ongaku), Music.

64.

Ongaku-shinrigaku (ongaku-Sinrigaku), Psychology of Music.

65.

Ongakushi (ongakusi), History of Music.

66.

Ongakugaku (ongakugaku), Musicology.

07;

- Ongaku-bigaku (ongaku-bigaku), Aesthetics of Musics.

68.

Ongaku-riron (ongaku-riron), Theory of Music.

69.

Onkyogaku (onkjo:gaku), Acoustics.

oe

Shiki (§iki), Conducting.

as

Yogaku (jo:gaku), Western Music (as Distinguished from Hogaku [No. 50], Japanese Traditional Music).

Wee

4 -Ry

Zokugaku (zokugaku), Japanese Secular Music.

Japanese musicological terminology

241

73:

Sho (§0:), The Traditional Mouth-Organ after the figure of a phoenix; one of the most important instruments in the Gagaku (No. 87) ensemble.

74-

Fue (fue), The Japanese Transverse Flute.

75:

Gendai-ongaku (gendai-ongaku), Modern Music.

70.

Kumikyoku (kumikjoku), Suite.

77-

Senpo (senpo:), Mode.

FO:

Senritsu (senritsu), Melody.

.

Hs

7980.

Joruri (dzo:ruri), Japanese Vocal Music in Katarimono (No. 93) style with Shamisen (No. 24).

me

Tencho (tentSo:), Modulation.

ah # a& wa eB St

81. 82.

Gengaku-shiytiso (gengaku-Sidzu:so:), String Quartet. Gengakki (gengaki), String Instrument.

84.

zon 6 F

85.

BE

86.

EE

Biwa (biua), The Traditional Lute-like Instrument (but with a flat back) of 4 Strings with Several Fixed Frets.

BF:

Ate

Gagaku (gagaku), The Old Chinese Temple and Court Music which was Introduced into Japan about the 7th Century; Gagaku is still practised in the [Imperial Household.

83.

88. 89.

Kifuho (kifuho:), Notation. Tan-onkai (tan-onkai), Minor Scale.

Koto (koto), The Traditional Zither of 13 Strings with Movable Bridges.

is

Muchosei (mutSo:sei), Atonality. Zettai-ongaku (zetai-ongaku),

Absolute Music.

Japanese musicological terminology

242

go.

FE

YX Shoko (S0:ko), A Kind of Gong hung from a Wooden Frame facing the Player and struck with Two Sticks.

ol. &&

Koto (koto),Cf.No. 85.

92.

HH Sdkyoku (so:kjoku), Koto (No. 85) Music which includes the Solo Piece and the Song with Koto accompaniment.

93. an

4g) Katarimono

(katarimono),

A

Kind of Recitative

Accompanied by the Shamisen (No. 24).

94. =

HH Kakyoku (kakjoku), Song.

o 5. aK

4] Utamono (utamono , A Generic Name Songs composed in Japanese Style.

96. ak

Bl| _Kageki (kageki), Opera.

G7.

Pret

=

8.

F&F

09.

(E

4

Chosei (tSo:sei), Tonality.

Loo.

za

fase

Gakkyoku (gakjoku), Musical Composition.

IOL.

2K

Ht

Gakusho (gakuSo), Movement.

OZ?

25K

3

Gakusetsu (gakusetsu), Phrase or Period.

103.

2B

BE

Gakki (gaki), Musical Instrument.

104.

298

105.

f#

Om

applied to p

Enso (enso:), Performance.

2s Kangakki (kangakki), Wind Instrument.

TORK Gakufu (gakufu), Sheet Music.

mul

GH

=F

2

Hyodai-ongaku

(hjo:dai-ongaku), Programme Music.

Japanese musicological terminology

243

B. Names of Japanese Traditional Drama Connected with Music Ti. is)

Ae

oe

BS Nogaku (no:gaku), No Drama

#

f& Kabuki (kabuki), Kabuki Drama

eS

##$ Bunraku (bunraku), Bunraku Puppet Drama

C. Important Musicological Periodicals in Japan

i. =

25K

= (ongaku-gaku), Mustcology; published by Ongaku-no-

Tomosha, 396 1-chome Takadaminamicho Toshimaku, Tokyo; quarterly, subscription Yen 150.00; contains: musicological studies, book reviews, booklist and the Annual Report of the Japanese Musicological Society. Sales agent: Nippon Gakki, 7-chome Ginza Chiidku, Tokyo. 2 eee

ee

eo

Ongaku-no-Tomosha,

ij (ongaku-geidzutsu), The Art of Music; published by 396

1I-chome

Takadaminamicho

Toshimaku,

Tokyo;

monthly journal, subscription Yen 150.00; contains: articles on music and musicians, book reviews, current chronicle especially as pertains to foreign news, and critical reviews of concerts. Sales agent: Nippon Gakki, 7-chome Ginza Chioku, Tokyo. 3. 74 N4y—= 4 (filuha:moni:), Philharmony; published by the NKH Symphony Orchestra, 2 2-chome Uchisaiwaicho Chiyodaku, Tokyo; published at irregular intervals, annual subscription Yen 60.00 (available only to subscribing members);

contains:

articles on music and musicians,

book lists, current news from abroad. I 4-chome Ginza Chuoku, Tokyo.

4. RYE EEAFE

Sales agent: Mitsukoshi

book reviews,

Play-Guide,

(to:jo:ongakukenkju:), Studies of Oriental Music;

published by Ongaku-no-Tomosha, 396 1-chome Takadaminamicho Toshimaku, Tokyo; yearbook, subscription Yen 500.00 or Yen 600.00 with leather cover; contains: musicological studies on Oriental music and musical ethnology (some in English), Annual Report of the Society for Research in Asiatic Music, book reviews, book list. Sales agent: Nippon Gakki, 7-chome Ginza Chidku, Tokyo.

Addendum

C - SLAVIC

MUSICOLOGY

v

BY ZDENEK NOVACEK

The various Slavic languages have retained more homogeneity among IndoEuropean languages than have the Romance and Germanic groups. Only the Southern Balkan tongues, Bulgarian and Macedonian, vary somewhat more from a common Slavic language. In addition, differences affecting both the grammatical structure and the vocabulary distinguish East- and West-Slavic. The older words especially, those which the Slavs have retained from the time

of migration, are similar in all tongues, and in general, Slavs of one country have little difficulty in reading literature in another Slavic tongue. All research into the origins of the various national Slavic languages ultimately involves Church Slavic. In the early historical stages of the Slavic languages, Church Slavic served as an instrument of inter-Slavic culture and helped to preserve a strong linguistic unity among Slavic groups. Because Church or Old Slavic developed in Bulgaria and Macedonia, and was the official language of ecclesiastical writings, it was enriched through contact with the Greek language. It is impossible here to discuss the philological similarities and peculiarities of each of the national languages; one should perhaps note that those languages in countries originally Christianized from Constantinople, (i.e. Russian, Bulgarian, and Serbian), utilize Cyrillic, a variant of Greek script with certain Hebrew symbols; languages in countries originally Christianized from Rome utilize Latin script. For comparison purposes, we give a table of I.

modern Russian characters,!

2. 3.

corresponding maiuscule Greek forms, and the phonetic equivalent or transliteration of the individual sound.

Russian Greek Equivalent

A (a) B B

A B

iE

if

vA

A

E (ce)

E

Z

E (é) HK 3 uM VU

Russian

Greek Equivalent

Russian

Greek

x

Equivalent

a b b

K A M

K A M

k ] m

x U SI

d

O

O

6)

IW

ic

Ll

II

p

b

(h) hard sign

jo Z Z i j

Ie C al 2% 0)

P x At ¥ oy

r S t u f

bl b 3 IO Al

ii (’) soft sign e ju ja

g

H

(H)

on

rit

x ts te

S

St®

Two interconnecting processes produce changes in Slavic sounds: I. jotation, or the development of a parasitic semi-vocalic ] between vowels, and * In Russian, the maiuscule and minuscule forms are identical except for A a and E e.

Slavic musicology

2.

245

palatalisation of consonants before such vowels. Hard- and soft-signs are used when ambiguity might otherwise result. Russian distinguishes vowels without initial parasitic semi-vocalic j, i.e. AS O Y BI, from those with

this phenomenon, i.e.

A E E JO WU.

Musicological research in Slavic countries has already achieved impressive accomplishments. Czechoslovakian musicologists occupy a significant position in this development. The foundation of Czechoslovakian musicology was laid by Otakar Hostinsky and Zdenék Nejedly; Nejedly is especially to be remembered for his multi-volume study of the life and works of Bedfich Smetana. Similarly, Otakar Sourek published several books devoted to Antonin Dvorak; these were supplemented later by: Antonin Sychra, Estetika Dvorvdkovy symfonické tvorby (Aesthetics of Dvorak’s symphonic production), Praha, 1960. J. Burghauser, Thematicky Katalog, Bibliografie, Prehled Zivotaa dila (Thematic Catalogue, Bibliography, Survey of Life and Works), Artia, 1960. In the same tradition, the Brno (Briinn) musicological school, represented by Vladimir Helfert, Jan Racek, and Bohumir Stédron, brought out a series of studies devoted to Leo Jana¢ek. The edition of old Bohemian musical sources, Musica antiqua Bohemica, edited by Jan Racek, is a significant contribution to European musical history; to date, 49 vols. have been published: 1. u. ur. Iv. v.

vi. vil. vil. Ix. x. x1.

xl.

Jan Hugo VoriSek, Impromptus, Opus 7, piano. Jiti Benda, Sonata a tre, 2 violini e piano. Boh. M. Cernohorsky, Composizioni per organo. Jan Hugo VoriSek, Sonata, Opus 20, piano. Frantisek Kramar-Krommer, Quartetto d’Archt, Opus 5 No. 1 M1 b maggiore, parti. Frantisek Adam Miéa, Jo Quartetto d’ Archi, Do maggiore, parti. Vaclav Pichl, 6 Fughe e Fuga-preludium, violino solo. Frantisek Xaver Du&Sek, Sonate, piano. Jan Zach, Sonata a tre, 2 violini e violoncello. Jifi Benda, Concerto Sol minore, piano solo ed archi. Classici boemict, (Fr. Benda, Jitf Benda, Jan Benda, Jan Kit. Vanhal, Jos. Myslivetek, J. H. VoffSek, J. L. Dusfk), violino e piano. Classici boemici (B. M. Cernohorsky, J. Zach, J. Seger, J. I. Linek, F. X. Brixi, J. K. Vanhal, J. K. Kuchar,

A. Rejcha, K. F. Pic), organo.

[x1901|

[1902|

[1903 | [1904] [1905| [1906| [1907]

[1908| [1909] [1910] [1911] [1912] [1913]

[1914]

K. Kopfiva,

[1915]

Slavic musicology

246

XIII.

XIV.

XV. XVI. XVII.

Franti8ek Kramaf-Krommer, clarinetto e piano.

XIX.

XX.

XXI. XXII. XXIII.

XXIV. XXV.

XXXVI.

XXVII.

Mib

maggiore, [1916]

Classici boemici I (A. F. Betvatovsky, Jiti Benda, F. X. Brixi, M. A. Cibulka, F. xX) Dusek, J. 1. Held, Va Jirovec; Le Koze-

luh, J. A. Stépan, J. A. Vitasek, P. Vranicky) piano. Leopold Antonin KoZeluh, Quartetto d’Archi Si b maggiore. Antonin Vranicky, Concerto Si b maggiore, violino e piano. Sonatine boemiche (J. Benda, F. X. DuSek, J. L. Dusfk, L. A. Kozeluh)

XVIII.

Concerto

J Myslivecek?

Jaki:

Vanhal,

J. V. H. VorfSek),

piano. Antonin Fils, Concerto Re maggiore, flauto e piano.

[1920] [1921|

Jan Adam Frantisek Mita, Concertino notturno in Dis, violino principale, 2 violini, 2 obot, 2 cornt, 2 fagottr, 2 viole e

basso, partitura. Classici boemict II (J. L. Dusfik, A. Rejcha, V. J. Tomasek,

[1922|

J. V. H. Vo#fSek, F. Skroup), piano.

[1923]

Jan Ladislav Dusik, Douze Etudes mélodiques, piano. Jan Ladislav Dusik, Six Sonatines pour la harpe.

[1924| [1925 |

Pastorelle

boemiche

(D. A. F. Miléinsky,

T. N. Koutnik,

J. I.

Linek, J. Michalicka), partitura. [1926] Jiffi Antonin Benda, Sonate I-XVI, piano. [1927| Pavel Vranicky, Quartetto d’Arch, Opus XV No. 3 Si 6b magegvore, parti. [1928] Franti$ek Xaver Brixi, Concerto Fa maggiore, organo ed orchestra, partitura. [1929 | Frantisek

Kramai-Krommer,

Concerto,

Opus

XXXVI

Fa

maggtore, oboe e piano. XXVIII.

XXIX. XXX.

XXXII.

Jan Vaclav

Stamic, Sonata,

[1930] Opus 6a Sol maggiore,

violino

e

continuo. Vaclav Jan Tomasek, Tre Ditirvambi, Opus LXV, piano. Jan Hugo VofrfSek, Sonata, Opus V Sol maggiore, violino e piano. Josef Myshvetek, Tre Quintetti d’ Archi, partitura e parti.

XXAII.

Frant. Ant. RdoBler-Rosetti, Notturno in D per flauto traverso,

XXXII.

violino, viola, violoncello, corni in D. Antonin Rejcha, Tve Quintetti per stromenti da fiato, partitura. Jan Hugo VofriSek, Sinfonia Re maggiore, partitura.

XXXIV. AXXV,

XXXVI,

[1917] [1918] [1919]

Serenate boeme, Partite e Notturnt

F. X. DuSek,

V. MaSek), partitura.

Pavel Josef partitura,

Vejvanovsky,

(A. Kammel,

Serenate

[1931 | [1932|

[1933] [1934| [1935 | [1936] [1937|

J. Druzecky,

[1938 | e sonate

per

orchestra,

[1939]

Slavic musicology

XXXvu.

247

Jifi Antonin Benda, Sonatine, piano.

XXXVIH. Jan Antonin Losy, Préces de guttarre. XXXIx. J. A. Stépan, Concerto Re maggiore per cembalo, partitura. XL. Jan Kftitel Tolar, Balletti e Sonate, partitura. XLI. Jan Ladislav Dusik, Sonate, violino e piano. XLi.

Franti$8ek

Kramaf-Krommer,

XLVI. XLvil. XLV. IL.

[1941| [1942] [1943| [1944]

rr Quartetti per oboe, violino,

viola e violone, partitura e parti. XLUI. Jan Zach, Cinque Sinfonte, partitura. XLIv. XLV.

[1940}

Antonin Fils, Ser Sinfonze, partitura. Jiri Antonin Benda, Tve Concerti per il cembalo, partitura.

Jan Ladislav Dusfk, Sonate, parte prima, piano. P. J. Vejvanovsky, Composiziont per orchestra I, partitura. P. J. Vejyvanovsky, Composiziont per orchestra II, partitura. P. J. Vejvanovsky, Composizioni per orchestra III, partitura.

[1945] [1946| [1947] [1948] [1949}

[1950] [1951] [1952]

The most important anthology of Bohemian music is: J. Pohanka, Déjiny éeské hudby. v prikladech (History of Czech Music in Examples), Praha, 1958. [1953] One of the most important and ambitious undertakings in Czechoslovakian musicology will be the musical subject catalogue, now in the course of publication: Slovnik ¢eskoslovenskych hudebnych umélcov (Dictionary of Czechoslovakian Musicians), Gracian Cernu8ak, Zdenék Novaéek, and

Bohumil Stédron, ed. Information regarding earlier Czechoslovakian studies may be found inDejiny slovenskej hudby (History of Slovakian Music), BratislavaPreBburg, 1955. Current musicological studies and articles are published primarily in the bi-monthly: Hudebni rozhledy (Music Review), Praha 1, Vald&Stejnské namesti Gaus K.cs'36 per year, and the monthly: Slovenské hudba (Slovakian Music), Bratislava-PreBburg, Gorkého 19; Kés 36 per year. The latter publication includes articles devoted to aesthetics as well as to Czechoslovakian and general European music. Certain works devoted to local folklore have achieved significant results, namely: Jozef Kresanek, Slovenska l’udovd piesen so stanoviska hudobného (The Slovakian Folksong from the Musical Standpoint), Bratislava-PreBburg, 1949.

[1954]

[1955]

[1956]

[1957]

[1958]

Slavic musicology

248

Béla Barték, Slovenské l’udové piesne (Slovakian Folksongs), Bratislava-PreBburg, 1959.

[1959]

Vladimir Karbusicky & Vaclav Pleta, Nase délnickd pisen (Our Working Song), Praha, 1953. [1960] Russian researchers have devoted themselves primarily to the study of their own musical history, especially Glinka, Musorgsky, Rimsky-Korsakow and the Russian classical aestheticians. In addition, they have focused their attention on current problems of aesthetics, notably: contemporary musical performance, musical skill, and the relationship between older and more recent music. An extensive bibliography of musicological works published during 1948-1953 is listed in: C. A. Yceneucxas (S. A. Uspjenskaja), umepamypa o Mysvixe (Litjeratura o Muztikje, Literature concerning Music), Mocxsa (Moskwa): TocygapcrsenHoe MyspikaapHoe Ms3gareancrso (Gosudarstwjennoje Muziikal’noje Izdatjel’stwo), 1955. [1961| Current Russian music is described in detail in the three-volume: Cospemennan cosemcxan Mysvxa (Sowrjemjennaja sowyjetskaja Muzika, Contemporary Soviet Music), Mocxspa (Moskwa) : TocyagapcrsenHoe MyszrkaanHoe M3gareancrso (Gosudarstwjennoje Muziikal’ noje Izdatjel’stwo), 1959. [1962] The monthly journal: Cosemcxaan Mysvixa (Sowjetskaja Muziika, Soviet Music), Mocxsa K-9, Orapesa 13 (Moskwa, Ogarjewa 13), single issue 90 Kps. [1963] contains studies, critiques, and reviews devoted mostly to local questions, by a myriad of Russian writers. Of greater international importance are the analyses of the works of Sostakowit, Prokofhjew, yatSaturjan, Kabaljewsky, and the younger composers. The following books deserve special attention: V1. Hecmes (I. Njestjew), [/poxoghoes (Prokofhjew), Mocxsa (Moskwa): Tocyaapcrsenuoe Mysprkaabnoe Vsaaareanctso (Gosudarstwjennoje Muziikal’noje Izdatjel’stwo), 1957. [1964| A. Aauunesua (L. Daniljewit8), Zocmaxoeuu (Sostakowits), Mocxsa (Moskwa): TocygapersenHoe Mysprkaannoe VMsaareanctso (Gosudarstwjennoje Muzitikal’noje Izdatjel’stwo), 1958. [1965| Interesting monographs, dedicated to the music of the different ethnic groups in Russia, began appearing in 1948, edited by A. M. Acraxosa (A. M. Astayowa), Pyccxutti Donoxnop (Russky Fol’klor Russian Folklore), Mocxsa(Moskwa) :TocyagapcerBsenHoe Mysprkaannoe Usqareanctso (Gosudarstwjennoje Muziikal’noje Izdatjel’stwo). [1966| These various studies are extremely important for an evaluation of

Slavic musicology

folksongs still practiced in Russia and offer a rewarding point of departure for research. Traditionally, Polish musicology has developed around the University chairs at Lwéw (Lemberg) and Cracow. Excellent studies of old Polish music include: Jozef M. Chominski & Zofia Lissa, Muzyka polskiego odrodzenia (Music of the Polish Renaissance), Warszawa, 1953. Z. M. Szweykowski, Zdziejow polskie] kultury muzyczne7, I, ed. Kultura staropolska (From the History of Polish Musical Culture, I. The Culture of Old Poland), Warszawa, 1958. Studies of Chopin include the publication of the Warsaw University: F. F. Szopen, Warzawa, 1960. and the three volumes of: Annales Chopin, Warszawa, 1960. Current articles devoted to music in general, especially in the contempoporary scene, may be found in the periodicals: Ruch Muzyczny (Musical Events), Warszawa; Zloty 24 per year. Kwartalnik Muzyczeny (Musical Quarterly), Warszawa, ul. Krakowskie Przedimiescie 27/237 Zloty 72 per year. The Bulgarian tradition of musicology is of more recent vintage, having developed really only since 1945. Palikarova Verdeil, who actually published most of her works outside of Bulgaria, has given us a clear account of the origin-and notation of Bulgarian music. Again, Bulgarian researchers have concentrated their attention on the forms of folkmusic and dance. The most recent, available bibliography is; Rayna Katzarova-Koukoudova, L’Ethnomusicologie en Bulgarie de 1945 a nos jours (1959), inthe Acta musicologica, XXX (1960),

Pp. 77-89. Contemporary Bulgarian musical activity is covered in the monthly journal: Bbarapcxa Mysuxa (Bhigarska Muzika, Bulgarian Music), Coua (Sofia). Yugoslavian musicology has investigated the entire gamut of problems; studies of early chant are found in: S. Lazarevi¢, Monumenta Musicae Byzantinae 1 hilandarskt muztckt vukopist, in Zvuk (1955), pp. 99-108. A bibliographic summary of the contributions of Yugoslavian musicologists is contained in: Dragotin Cvetko, Les Formes et les résultats des efforts musicologiques yougoslaves, in the Acta musticologica, XXXI (1959), p. 50-62. A similar one devoted to studies in folklore:

249

[1967!

[1968| [1969| [1970]

[1971] [1972]

[1973]

[1974]

[1975 |

[1976]

250

Slavic musicology

Ljubica S. Jankovié, La Situation actuelle de l’ethnomusicologie en Yougoslavie, in the Acta musicologica, XXXII (1960), p. 94-102. Current articles and analyses of contemporary works may be found in three periodicals: Zouk (Sound), Beograd: Savez Kompozitora Jugoslavye; Misarska ul. 12-14/ 111; yearly subscription, 10 issues 1,200 Din. Akordi savrement (Contemporary Accords), Beograd; yearly subscription 550 Din. Slovenska Glasbena Revija (Slovenian musical Review), Ljubljana. Translated by L. A. Dittmer

[1977]

[1978 } [1979| [1980]

LIST

OF

PUBLISHERS

Books that are out of print are usually obtainable only: through Antiquarian Book Sellers, especially those specializing in musical materials. Since such dealers compile their mailing lists from the published rolls of members of national and international societies, a person wishing to be informed of publications available should certainly take up and maintain membership in societies such as the American Musicological Society, the Royal Music Association the Deutsche Musikforschende Gesellschaft, the International Musicological Socrety, etc. Prices of books that are out of print are affected by numerous conditions including: scarcity and value of the book, condition of the individual copy, imminence of a republication, the manner and cost of the purchase by the Antiquarian, etc. If one is seeking a rather high priced or scarce book, one might communicate his needs to several ‘different Antiquarians. Books that are in print generally are sold at a fixed price as determined by the publisher. In setting the retail sale price of a book, a publisher is guided usually by factors which include: the cost per copy of the edition, the need to meet overhead expenses, the size and amount of royalties and advances to the author, the need and desire of being competitive etc. Theoretically, the price of books in print should be the established sale price plus transportation and taxes. This is true, by and large, of books published, distributed, and sold in the same country. It is not true, by and large of books published and sold in two different countries. Except in rare instances, a book can be purchased most advantageously in the country in which it is published. Except where one must obtain materials in a hurry, or when the amount of the purchase is small, it is usually advantageous to order foreign publications from abroad. Publishers, in order to increase the potential distribution of their books, often

either establish

branch

offices in different

countries,

or enter into bi-

lateral agreements with foreign publishers to represent their publications in such areas. In almost all such agreements, exclusive representation is assured and requested.! It is certainly an advantage to a potential purchaser to know that foreign publications are available nationally and locally. It is, however, a matter of record that most such representatives and.branch offices establish new retail prices that exceed the sum of original retail sale price, transportation costs, and taxes. It is, thus, quite often to the advantage ofa potential purchaser to order such materials from abroad. Since, however, the bi-lateral agreement between publisher and representative requires the publisher to forward all orders for ultimate delivery within the franchised area to his representative of 1 A typical advertisement, which recently appeared in a British Trade Publication, stated: “British and European Publishers seeking Profitable United States Sales of English Language Titles are urged to contact us for immediate orders. All subjects considered. Exclusive representation necessary.”

Schott Number

List of publishers

252

that area, a potential purchaser should address his orders not to the publisher, but rather to a Book Dealer in the country of original publication.? It is the policy of the Institute of Mediaeval Music to sell its publications throughout the world at the established Dollar and DM-West prices or their equivalent in convertible currencies. Of course, the largest differential in price is found when materials cross the ocean; the difference in the sale price of the encyclopedia Die Musik in Geschichte und Gegenwart, in Germany and in the United States actually almost doubled the price of each volume sold in the United States. Since Barenreiter, KASSEL can not send material ordered directly to customers in the United States without invoicing at the prices of Baerenreiter, NEw YORK, one might order such volumes from H. Schneider, Sikorski or other dealers in Germany.” Differences in prices, however, are great from country to country in Europe also. Within a month of each other, for example, we received Schott’s

Keyboard Music Catalogue, from London, and Schott’s Klaviermustk Catalogue from Mainz. At the then prevailing rate of exchange £ 1 = $2.80: = DM 11,80, we compared sample prices from the two catalogues of the same publisher: Composer and English Title

0876 1/2 J. S. Bach, Italian Concerto 01096/7 J. S. Bach, 3-Part Inventions Handel, 76 Pieces for 149/50 Harpsichord 2582 Haydn, Easy Dances 37723/6 L. Mozart, Notebook for Nannerl 2504 W. A. Mozart, 15 Waltzes

English Price

Equivalent |German in Dollars | Price

Equivalent in Dollars

z2/od. 3/o d.

$0.28 $0.42

DM 1,80 DM 2,40

$0.43 $0.57

54% B0u,

7/6d. 5/6d. 3/6 d. 2/6d.

$1.05 $0.77 $0.49 $0.35

DM DM DM DM

$1.43 $0.71 $0.59 $0.59

36% —8% 209% 69%

6,00 3,00 2,50 2,50

cag OT | aoe English

1 Thus, for example, Peters, NEw York, claims that it is the sole agent in the United States for the following firms: Alsbach, Dessain, Eulenburg, Hinrichsen Edition, Hug, Litolff, Merseburger, Schott Freres, etc. While it is true that a potential purchaser in the United States may wish to avail himself of the excellent service provided by Peters, he

should realize that claims to exclusive representation at most indicate that a bi-lateral agreement has been entered into to promote (the publisher’s viewpoint) or to restrict (the consumer’s viewpoint) the distribution of the publications in question; rarely is such an agreement protected in law. 2 Just before returning the final proofs to the printer, we have received a series of communications and counter communications from those companies interested in the sale of Barenreiter publications in the United States of America. The positive factor that seems to have emerged from all of this is that Bdrenrveitey publications may again be purchased from the Bdrenreitey Antiquariat at the original prices. We note furthermore with approbation the policy of the American Institute of Musicology in selling its publications in Germany at equivalent DM prices.

List of publishers

253

From among the many fine Book Dealers and Antiquarians in the different countries, a prospective purchaser of books in (and out of) print may wish to place his orders with:

AUSTRIA Christian M. Nebehay, WIEN 1, Annagasse 18. BELGIUM Les Amis de la Musique, 58, Rue Dautzenberg, BRUXELLES-BRUSSEL.

DENMARK Dan Fog, 7 Graabrgdretorv, K@BENHAVN

K.

FRANCE

Minnie Ganz, 86, Faubourg Saint-Antoine, PARIS I2e. E. Ploix Musique, 48, Rue Saint-Placide, PARIs 6e.

GERMANY Barenreiter Antiquariat, KAssEL-Wilhelmshohe, Heinrich Schiitz Allee 35. Musikantiquariat Hans Schneider, TutzinG iiber Miinchen, Mozartweg I. Hans Sikorski, Musikverlag, HAMBURG GREAT

13, Johnsallee 23.

BRITAIN

H. Baron, 136 Chatsworth Road, LONDON

N.w. 2.

Otto Haas, 49a Belsize Park Gardens, LONDON N.w. 3. Kenneth Mummery, 9, St. Winifred’s Road, BOURNEMOUTH. PirAwX

G. & C. Ricordi, Via Berchet 2, MILANO. de Santis, Via del Corso 133, ROMA. NETHERLANDS

Creyghton Musica Antiqua, 45 Lassuslaan, BILTHOVEN. Henri de Korne, Nieuwe Gracht 33, UTRECHT. SPAIN José Porter, Porter-Libros, Avenida Puerta del Angel 9, BARCELONA

2.

SWITZERLAND Nicolas Rauch, 2, Place du Port, GENEVE. Hellmut Schumann, RamistraBe 25, ZURICH

UNITED

STATES

I.

OF AMERICA

Institute of Mediaeval Music, 1653 West 8th Street, BROOKLYN 23, New York.

List of publishers

254

The situation is somewhat different when ordering from Soviet colonies. On the one hand, the currency of these countries is not open to free-market exchange, so that prices are completely out of line with those prevailing in the Free World. In addition, publishing houses in such countries are nothing more that extensions in the cultural sphere of the monopolistic state-capitalism of the ruling clique. On the other hand, one ought not provide the Soviet colonies with hard currency with which to perfect the machinery to doom Free Man. Yet one should not isolate oneself from the solid achievements of the reputable scholars. Perhaps purchases could be organized on a barter basis with scholars in the various countries, who would willingly exchange publications from the Soviet colonies for material from the Free World, which they can not purchase because of exchange regulations. When ordering directly from a publisher in the Soviet territories, one should make every attempt to be billed in and pay in the local currency, rather than in $, £ or DM-West. Perhaps no other policy toward musicology on the part of the Soviet overlords is so reprehensible as the establishment in their German colony of publishing firms with the same names as those that resided in Middle Germany prior to 1945. We have listed the legitimate firm in our tabulation, and have warned against the bogus establishment in a footnote. The deceit of these firms is even more exposed by the monstrous prevarication Volks Eigener Betrieb, since these firms are not public property at all, but merely extensions of the oppressive ruling power. The legitimate firms in the Free World have in most cases reached a working arrangement with the pretenders in that the one Namensvetter represents the other in its part of the world. Thus, the Deutsche Musikbibliographie, which appears monthly and which lists current musical publications, is published by the VEB Friedrich Hofmeister Musikverlag in LEIpzic, but is available through Friedrich Hofmeister, FRANKFURT am Main. Other firms from

our

list

include

Breitkopf &

Hartel,

Brockhaus,

Niemeyer,

and

Peters.) Only those publishers of books cited in the bibliography by number (printed in a bold face) for which a recént address (and telephone number) were available are given below. The names of cities are given in the language(s) of the country; names of countries are given in French (as required for Postal Union Mail) and English. Since publishers change 1) their name (Novello & Ewer -> Novello; Kegan Paul, Trench & Trubner — Routledge & Kegan Paul), and 2) their address (Breitkopf & Hartel, Lerpzic — Breitkopf & Hartel, WIESBADEN), we have given I) the publisher’s name under which the 1 An asterisk is used in the list of publishers to denote an address in the Russian Zone of Occupation of Germany. Mail to this area will be expedited if the country is given as German Democratic Republic, République Populaive Allemande.

List of publishers

255

book was published with a cross reference to the successor firm, and 2) the present address(es) of the publisher, and 3) the telephone number, if known. Publishers for which no recent address has been found are listed only in the bibliographic entries with the original city of publication. In certain cases, a firm listed below may have ceased its existence, e.g: The Haydn Society, or Musurgia. In cases, such as Ricordi, where the firm is represented directly in many different countries, we have restricted our listing of address to the home office, and officesin Great Britain and the United States.

In the short forms of the publisher’s name, we have, in general, omitted words such as Company, Incorporated, Limited, Press(e), Publishing, Verlag, etc. One should observe that the resultant forms (e.g. Harvard University) refer in the bibliographic entries to the University Press (e.g. Harvard University Press) except in the entries involving dissertations, where, e.g. Harvard University indicates the institution, and Harvard University Press the Publishing Company. Number entries given below in parentheses refer to individual titles in the bibhography, where the publisher’s name is not given. The following list has been compiled from sources which include? Publishers’ Alexander

International P. Wales,

Year

Book

- World

Directory

26, Charing Cross Road, LONDON

of Book Publishers,

w.c. 2, Great Britain-

Angleterre. The Musicians Guide - The Directory of the World of Music, 1957; Music Information Service, Inc., 1697 Broadway, NEw York 19, New York: USA. The Music Trades - The Purchaser's Guide to the Music Industries; Music Trades Corporation, 111 West 57th Street, NEw YorK 19, New York, USA.

J. Coover, ed., A Directory of American Publishers and American Agents for Foreign Publishers of Classical Music, Revised Edition 1960; Music Library, Vasser College, POUGHKEEPSIE, Abingdon

Academia Scientiarum hungarica Aelberts

Akademisch

New York, USA.

Abingdon Press, 201 8th Avenue South, NASHVILLE 3, Tennessee, USA: CH 2-1621.

Abingdon Press, 150 5th Avenue, NEW YORK II, New York, usA: WA 4-9300. 55, 1559. Academia Scientiarum hungarica, BUDAPEST V, Hungary-Hongrie. 1682, 1709, 1741. Editions Dynamo, Pierre Aelberts, Boulévard de la Sauveniére, 184, LizGe-Lurk, Belgium-Belgique. 514, 1264.

Akademische Druck- und Verlagsanstalt, GRAz, Auersperggasse 12, Austria-Autriche: 82 3 58. 132,

410, 565 (566-570).

List of publishers

be sao

Alber Almaqvist & Wiksell Alsbach

Karl Alber Verlag, FREIBURG im Breisgau, HermannHerder StraBe 4, Germany-Allemagne: 3 12 40. 60. Almqvist & Wiksells Boktryckeri, Gamla Brogatan 26, STOCKHOLM, Sweden-Suéde. 129, 130, 131. G. Alsbach & Co., AMSTERDAM-C, Voetboogstraat 19, Netherlands-Hollande.

639, 640, 710, 738, 739, 772;

Qg24, 1211. American

Book

American Book Company, 55 Fifth Avenue, York 3, New York, USA: WA 4-6622. 20, 204.

American Composers

American

Alliance American Council of Learned Societies

New York 23, New York, USA: TR 3-1250. 1674.

American Heritage

American

Institute

of Musicology

Council

Alliance,

of Learned

2121

Broadway,

Societies,

345

East

46th Street, NEw York 17, New York, usa: yu 67393. 84, 1796. American Heritage Publishing Company, Inc., 551 Fifth

American

Composers

NEW

Avenue,

NEW

YorK

17,

New

York,

USA:

MU 2-6550. 1206. American Institute of Musicology, P. O. Box 12233, Daias, Texas, USA. American Institute of Musicology, C. P. 515, San Silvestro, Roma, Italy-Italie. 395 (396-407), 503, 644, 052, 653, 663, 671, 672, 673, 675, 681, 685, 688,

O89, 692, 693, 697, 749, 758, 760, 774, 776, 784, 785, 788 (789-795), 829 (830-834), 847, 1254, 1265. American

Library Association

- American Musicological Society

Amis de la Musique

D, Appleton R. Appleton Appleton, Century & Crofts Arnold

Arrow

American Library Association, 50 East Huron Street, CHICAGO 11, Illinois, USA. 91, 359. American Musicological Society, 204 Hare Building, University of Pennsylvania, PHILADELPHIA 4, Pennsylvania, USA. 89, 90, 741, 742. Les Amis de la Musique, Librairie musicale, 58, Rue

Dautzenberg, BRUXELLES-BRUSSEL, Belgique-Belgium 47 81 18. 72, 78. Cf. Appleton, Century & Crofts. 209. Cf. Appleton, Century & Crofts. 1. Appleton-Century-Crofts, Inc., 35 West 32nd Street, New

York

1, New York, USA: PE 6-0500. I, 29, 198,

209. E. J. Arnold & Son, Ltd., Butterly Street, LEEDS 10, Great Britain-Angleterre: LEEDS 32241. 1338, 1339. Arrow Music Press, Inc., 250 West 57th Street, NEW YorK 19, New York, usa. 1753.

List of publishers

257

Artia

Artia, Smecky 30, PRAHA 11, Czechoslovakia- Tchécoslovaquie. IOI, 1902 (1904-1952).

Aschehoug

Aschehoug Dansk Forlag A/S, KgBENHAVN k, Fiolstrede 10, Denmark-Danemark: MI 5130. 986. Associated Music Publishers, Inc., 1 West 47th Street NEw York 36, New York, USA: PL 9-8470. 202, 1291,

Associated Music

Atlantis

1404, 1445, 1453, 1711, 1720, 1754. Atlantis Verlag ac, Limmatquai 18, ZURICH 32, Switzerland-Suisse: 24 40 43. 300, 980, 1305, 1562.

Augener

Augener, Ltd., 18 Great Marlborough Street, LONDON

Bachem Barenreiter

w. 1, Great Britain-Angleterre: GER 6706. 212, 678, 1416, 1568, 1579, 1649, 1653, 1722. J. P. Bachem Verlag, GmbH, KOLn, MarzellenstraBe 35, Germany-Allemagne: 23 24 71. 963. Barenreiter Verlag, KasseL-Wilhelmshohe,

Heinrich

Schiitz Allee 29, Germany-Allemagne: 2891. Baerenreiter Music Publishers, 250 West 57th Street, New York 19, New York, USA: CI 7-4562.35, 95, 138,

189, 306, 441, 443, 445, 463, 464, 466, 467, 468, 469, 473, 474, 517, 632, 633, 634, 650, 687, 696, 701, 716, 717, 743, 756, 768, 775, 782, 800 (801-822), g10, 918,

919, 923, 926, 927, 928, 944, 972, 975, 994, 1053, 1127, 1137, II5I, 1152, 1154, 1155, 1196, 1273, 1276, 1280, 1281, 1288, 1297, 1329, 1341, 1369, 1370, 1379, 1380, 1432, 1468, 1580, 1626, 1832. Barnes

A.S. Barnes

Barnes & Noble

Yor«K 16, New York, USA: MU 6-9050. 36. Barnes & Noble, Inc., 105 5th Avenue, NEw YorK 3,

& Company,

11 East 36th Street, NEw

New York, USA: AL 5-8100. 12, 205.

Baton Music Belser Benn

Baton Music Company, 6503-05 Delmar Boulevard, St. Louis 5, Missouri, uSA. 98. Chr. Belser Druckerei und Verlag, STUTTGART-w, AugustenstraBe 9, Germany-Allemagne: 6 19 41.1075. Ernest Benn, Ltd., 154 Fleet Street, LONDON E.C. 4, Great Britain-Angleterre: FLE 3212. 193, 1275.

Bertelsmann

C. Bertelsmann,

Bibliographic Society

14, Germany-Allemagne: 2651. 502, 997. Bibliographic Society o/o The British Burlington

GmbH,

Garden,

Angleterre. 85, 109.

GUTERSLOH,

LoNpDOoN w.c.

EickhoffstraBe

Academy,

1, Great-Britain-

List of publishers

258

Bibliothéque nationale

Bibliothéque nationale, 8, Rue de Richelieu, PARIS 8e,

France: RIC 00-06. 118.

Bielefelder Verlagsanstalt Black

Blackwood

Bocca

Bielefelder

Verlagsanstalt

KG,

BIELEFELD,

Schiller-

platz 20, Germany-Allemagne: 6 41 11/6 67 97. 1059. A. & C. Black, Ltd., 4/6 Soho Square, LONDON w. I, Great Britain-Angleterre: GER 5788. 1312. William Blackwood & Sons, Ltd., 45 George Street, EpInpurcH, Scotland-l’Ecosse: Caledonian 5835. 1238. Fratelli Bocca Editori S.P.A., Via Monte del Gallo 86,

Roma, Italy-Italie: 559 552. 1323, 1450. Boccard

Editions

Eugéne

de

Boccard,

1,

Rue

de

Médicis,

Paris 6e, France: DAN 00-37. 1393. Bohlau

Hermann

Bohlau,

Nachfolger,

GmbH,

GRAz-

Boni

Kroisbach, Rosenhof, Austria-Autriche: 2871. 929. Editorial de Musica Boileau, Provenza 285, BARCELONA, Spain-Espagne: 27 51 76. 1745. (Boni & Liveright) ;Liveright Publishing Corporation

Boosey & Hawkes

386 Park Avenue South, NEw York 16, New York, USA: MU 3-2050. 1716, 1726. Boosey & Hawkes, GmbH, Bonn, Kronprinzenstrabe

Boileau

26, Germany-Allemagne: 3 44 24. Boosey & Hawkes, Ltd., P. O. Box 418, LYNBROOK, L. 1., New York, usA: Ro 6-0850.

Boosey & Hawkes, Ltd., 295 Regent Street, LONDON w.1I, Great Britain-Angleterre: LAN 2060. 1052, 1455, 1463, 1677, 1678, 1680, 1755. , Bornemann

S. Bornemann,

15,

Rue

de

Tournon,

Paris

668,

Bosse

Gustav Bosse Verlag, REGENSBURG,

Bowker

Germany-Allemagne: 7173. 969, 1047,1049,1344,170I. R. R. Bowker Co., 62 West 45th Street, NEW YORK

Breitkopf & Hartel

36, New York, usA: MU 2-0150. 8, 87. Breitkopf & Hartel, WIESBADEN, BurgstraBe

6,

Germany-Allemagne:

156,

163,

270a,

303,

France: DAN 05-88. 1433, 1628.

171,

174,

175;

176,

5 92 41. IQI,

243

154,

AlbertstraBe 12,

155,

(244-258),

397, 314, 315, 344, 353, 354, 366, 408, 411, 435, 448, 454, 470, 477, 482, 490, 504 (505-513), 621, 622, 646, 649, 654, 656, 657, 658, 659, 665, 666, 686, 698, 700,

702, 713, 715, 720, 722, 725, 727, 728, 733, 740, 746, 757, 765, 766, 767, 771, 779, 971, 1000, 1057, 1135,

List of publishers

259

1177, 1235, 1244, 1263, 1324, 1347, 1356, 1374, 1390, 1391, 1429, 1512, 1520, 1523, 1532, 1534, 1543, 1547, 1555, 1571, 1572, 1581, 1603, 1604, 1630, 1650, 1770,

1773, 1776, 1779. Note: The firm Breitkopf & Hartel, Volks Eigener Betrieb, Leipzig C.1, KarlstraBe 10, Germany-Allemagne,* which began publishing in 1945 does not represent the successors to Breitkopf & Hartel, Lrrpzic.

Brill

E. J. Brill, N.V. Boekhandel, LEIDEN, Oude Rijn 33a,

British Museum

The

Brockhaus

Great-Britain Angleterre. 120, 121, 122, 123, 166. F. A. Brockhaus, WIESBADEN, Leberberg 25,

Netherlands-Hollande. 343, 1188. British

Museum,

Germany-Allemagne: Note:

The

firm

Bloomsbury,

LONDON

w.c.

I,

5 94 66. 6, 27.

F. A. Brockhaus,

Volks

Eigener

Betrieb,

Lerpzic c. 1, SalomonstraBe 17, Germany-Allemagne*, which

began publishing in 1945 does not represent the successors to F. A. Brockhaus, LEIpzia.

Broude

Bruckmann Butterworth

Broude Brothers, 56 West 45th Street, NEW YorRK 36, New York, USA: MU 7-4735. 355, 357, 1289, 1294, 1296, 1441, 1458, 1582, 1640, 1643, 1648, 1657. F. Bruckmann, MUNCHEN 2, NymphenburgerstraBe 86, Germany-Allemagne: 6 29 II. 1535. Butterworth & Co.,

Ltd.,

88

Kingsway,

LONDON

w.c. 2, Great Britain-Angleterre: HOL 6900. 124, 150.

Cambridge University

Cambridge University Press, Bentley House, Euston Road, Lonpon N.w. 1, Great Britain-Angleterre: EUS 5451. 1388.

Carisch

S. P. A. Carisch,

Cassell

Italy-Italie: 650 741. 1451, 1464. Cassell& Co., Ltd., 35 Red Lion w.c.

Via

General

I, Great Britain-Angleterre:

Fara

39,

MILANO,

Square, LONDON CHA 6281. 50, 165,

1382. Cassirer

Bruno

Cassirer,

Ltd.

31

Portland

Road,

OxFrorD,

Great Britain-Angleterre. 1561.

Catholic University of America

Catholic University of America Press, Inc., 620 Michigan Avenue, N. E., WASHINGTON 17, D.C., USA:

AD 2-6000. 1841. Centre national de la Recherche

Scientifique

Editions du Centre national de la Recherche Scientifique, 45, Rue d’Ulm, Paris 5e, France: ODE 81-95. 1004, 1302.

List of publishers

260

Champion

Chantry

Librairies Honoré Champion, 7, Quai Malaquais, Paris 6e, France: DAN 51-65. 1107. 1185. 1225, 1226, 1372. Chantry Music

Press,

Ltd.,

Box

425,

FREMONT,

Ohio, USA. 1466.

Chapell

Chapell & Company, Ltd., 50 New Bond Street, LONDON w. I, Great Britain-Angleterre: MAY 7600.

Chatto & Windus

Chatto & Windus,

559Ltd.,

40

William

Iv _ Street,

LONDON w.c. 2, Great Britain-Angleterre: TEM 0127.

1507. Chester

J. & W. Chester, Ltd., rr Great Marlborough Street,

LONDON w.1,

Chicago Musical

Clarendon Clarke

Clowes

Great

Britain-Angleterre:

GER

9546.

1442, 1449, 1452. Chicago Musical Press was absorbed by Roosevelt University, 400 South Michigan Avenue, CHICAGO, Illinois, USA. 304. The Clarendon Press now forms part of the Oxford University Press. 16, 269, 288, 1179, 1193, 1397, James Clarke & Company, 33 Store Street, LONDON w.c. I, Great Britain-Angleterre: MUS 2696. W. Clowes & Sons, Ltd., Little New

Street, LONDON

E.C. 4, Great Britain-Angleterre: FLE 6791. I19. Coar

B. Coar,

501

Garden

Road,

DeKA.p,

Illinois,

usa.

846. Coleman & Ross

Coleman-Ross

Co.,

Inc.,

550

Fifth

Avenue,

NEW

YORK 36, New York, USA: PL 7-6454. 335, 1372. Colin

Librairie Armand Colin, 103, Boulevard Saint-Michel,

Columbia University

PaRIs 5e, France: ODE 37-33. 237. Columbia University Press, 2960 YORK

Concordia

Cientificas Constable

NEW

108, 206, 301,

318, 319, 1179a, 1387, 1389, 1560, 1566, 1573. Concordia Publication House, 3558 South Jefferson Avenue,

Consejo Superior de Investigaciones

Broadway,

27, New York, USA: UN 5-2000.

ST.

Louis

18, Missouri,

USA:

MO

4-7000.

1012, 1476. Consejo Superior de Investigaciones Cientfficas, Serrano 117, MADRID, Spain-Espagne. 731. Constable & Co., Ltd.,

w.c. 2, Great

1550.

10

Orange

Britain-Angleterre:

Street,

WHI

Lonpon

1627.

1309,

List of publishers

Continental Book

Cos Cob

261

Continental Book and Publications Distributing Company, Regerinsgatan 39, STOCKHOLM, SwedenSuede. 1175. Available through Arrow Music Press, Inc., 250 West 57th Street, NEw

Cotta

Cotta’sche

Crofts Crowell

19, New

Buchhandlung

STUTTGART-O,

Creyghton

York

Adolf

York,

USA.

Nachfolger,

KrdénerstraBe

24,

1753.

GmbH, Germany-

Allemagne: 24 OI 59. 296, 707, 1126, 1553, 1597. Creyghton, 45 Lassuslaan, BILTHOVEN, NetherlandsHollande. 1058. Cf. Appleton, Century & Crofts. 1058. Thomas Y. Crowell Company, 432 Park Avenue South,

NEw

York

16, New

York,

USA:

OR 9-0630.

56, 196, 286, 1736, 1738. Crown

Crown

YORK 1060. Curwen

Publishers,

419

Park

Avenue

South,

NEw

16, New York, USA: MU 5-8550. 33, 34, 207,

J. Curwen & Sons, Ltd., 24 Berners Street, LONDON

w. 1, Great Britain-Angleterre: MUS 4876. 279. Delagrave

Librairie

Dent

J. M. Dent & Sons, Ltd., 10 Bedford Street, LONDON

Denver Public Library

w.c. 2, Great Britain-Angleterre: TEM 8981. 49, 179, 1149, 1336, 1508, 1663. Bibliographic Center for Research, Denver Public

Delagrave,

15,

Rue

Soufflot,

PARIS

5e,

France: ODE 36-94. 53.

Desclée

Desclée & de Brouwer

Library, Desclée France: Desclée

DENVER, Colorado, usA. 81. et Cie., 30, Rue Saint-Sulpice, Paris DAN 02-17. et Cie., S.A., Rue Barthélémy Frison

De

Brouwer

BruGES-BruGGE, Maison

Deutscher

Verlag

et

Cie.,

Quai

au

Bois

22,

Belgium-Belgique: 368 81. 1524.

H. Dessain,

MALINES-MECHELEN,

Deutscher Verlag

13,

TournalI-Doornik, Belgium-Belgique: 231 04. Desclee Company, Inc., 280 Broadway, NEW YORK 7, New York, USA: CO 7-4270. 613, 1163, 1176, 1212, 1213, 1218, 1220. Desclée De Brouwer et Cie., 76 bis, Rue des SaintsPeres; PARIS: 7e,: France: LIT 07-11. Desclée,

Dessain

6¢,

7,

Rue

de

la

Blanchisserie,

Belgium-Belgique: 131 10. 714. fiir

Musik,

Lrspzic

ci,

Karl-

List of publishers

262

fiir Musik Didier

Didot Ditson

Doblinger Dobson

straBe 10, Germany-Allemagne*:

27 311. 993, 1328.

Librairie Marcel Didier, 4, Rue de la Sorbonne, PaRIs 5e, France: ODE 24-41. 1187. Firmin Didot & Cie., 56, Rue Jacob, Paris 6e,

France: BAB 00-26. 43, 152. Oliver Ditson Company, BryN Mawr, Pennsylvania, USA. 1409, 1410, 1413, 1419, 1583, 1635, 1723. Ludwig Doblinger (Bernard Herzmansky) kG, WIEN 1, Dorotheergasse 10, Austria-Autriche: 52 35 04. Ludwig Doblinger (Bernard Herzmansky) kG, WIESBADEN, Adolfsallee 34, Germany-Allemagne. 182. Dennis

Dobson,

80

Kensington

Church

Lonpon w. 8, Great Britain-Angleterre: 1330, 1692, 1714. Mead & Company,

Inc.,

432

Street,

BAY

Park

0225.

Dodd & Mead

Dodd,

Doubleday

South, NEw York 16, New York, USA: MU 5-6464. 70, 1810. Doubleday& Co., Inc., 575 Madison Avenue, NEW YorK 22, New York, USA: MU 8-5300. 320, 1574. Cf. Doubleday. 1704, 1705.

Avenue

Doubleday & Doran Dover

Dover

Droz

York 14, New York, USA: AL 5-3755. 51, 201, 1351. Librairie E. Droz, 8, Rue Verdaine, GENEVE,

Dimmler

Ferdinand Diimmlers Verlag, Bonn, KaiserstraBe 33,

Publications,

Inc.,

180

Varick

Street,

NEW

Switzerland-Suisse. 962, 970, 1171. Germany-Allemagne:

2 36 44. 989, 1774.

Durand

Durand & Cie., 4, Place de la Madeleine, Paris 8e,

Durand & Pédone

France: OPE 45-74. 361, 755, 796, 1417, 1756. Cf. Durand. 643.

Lauriel Dutton

Dutton & Company,

Inc., 300

Park

Avenue

South,

NEw York 10, New York, USA: OR 4-5900. 28, 61, 62, 323, 1662, 1687. Edwards

Elkan & Vogel Elsevier

J.W. Edwards,

Inc., ANN

ARBOR,

Michigan,

USA:

2-0545. 141, 142, 143, 144, 655, 660, 734. Elkan-Vogel Co., Inc., 1716 Sansom Street, PHILADELPHIA 3, Pennsylvania, USA. 1756. Elsevier, N.V., Uitgevers Maatschappij, AMSTERDAMC, Spuistraat 110, Netherlands-Hollande: 32211.

Elsevier

Uitgeversmaatschappij,

10,

Avenue

de

List of publishers

263

l’Astronomie,

BRUXELLES-BRUSSEL,

Belgium-Bel-

Encyclopdia

gique: 17 20 00. 42, 914. EneyclopediamiPress) (Lids, 115 Salisbury) Road, Kilburn, LONDON N.w. 6, Great Britain-Angleterre. 2. Encyclopedia Britannica, Ltd., 11 Belgrave Road,

Britannica

LONDON s.w. I, Great Britain-Angleterre: vic 8400.

Encyclopedia

1752. Eulenburg

Edition Eulenburg, kG, StuTTGART-S,

Hohenstaufen-

straBe 19, Germany-Allemagne: 70 83 66. Eulenburg Scores, 373 Park Avenue South, NEw YorK 16, New York, USA: MU 6-4147. 705, 1472,

(1474-1477), 1479, 1480, 1584, 1642, 1645. Evangelisches Verlagswerk

Eyre & Spottiswoode

Evangelisches

Verlagswerk,

GmbH,

STUTTGART-S,

StafflenbergstraBe 28, Germany-Allemagne: 24 14 95. 1278. Eyre & Spottiswoode, Ltd., 15 Bedford Street, LONDON w.c. 2, Great Britain-Angleterre: TEM 8514.

325: Faber & Faber

Faith

Faber & Faber, Ltd., 24 Russell w.c. 1, Great Britain-Angleterre: 1670.

Square, LoNDON MUS 9543. 1398,

Paith Press; Ltd. 7-fufton Street, LONDON;

S$;W..1,

Great Britain*Angleterre: ABB 3940. 614, 1164. Fasquelle

Fasquelle,

Fischbacher

France: LIT 07-71. 41. Fischbacher, 33, Rue de Seine, DAN 07-97. 1320.

C.. Fischer

Carl Fischer,

61,

Rue

des

Saints-Péres,

Paris

PARIS

6e,

6e, France:

Inc., 62 Cooper Square, NEW

YORK

3,

New York, USA: SP 7-0900. I719, 1729. J. Fischer

J. Fischer

Flammer

Harold Flammer, Inc., 251 West roth Street, New York 11, New York, USA: WA 4-6221. 1210, 1418. Frederika Szopena Institut, Foksal 18, WARSZAWA,

&

Brothers,

Harristown

Road,

GLEN

Rock, New Jersey, USA: Enterprise 6182. 1641.

Frederika Szopena Institut Funk & Wagnalls Gennrich

Poland-Pologne. 674. Funk & Wagnalls Company,

153 East

24th Street,

NEw York Io, New York, USA: LE 2-7850. I2a. Dr. Friedrich Gennrich, DARMSTADT, BismarkstraBe

84, Germany-Allemagne.

1013

(1014-1021),

1159,

List of publishers

264

1160, 1161, 1195, 1227, 1228, 1229, 1230, 1231, 1232,

1242, 1243, 1256, 1257, 1258, 1259, 1268. Geunther

Librairie Orientaliste

Ginn

Vavin, PARIS 6e, France: DAN 90-27. 1085, 1224, 1249. Ginn and Company, Statler Office Building, BosToN 17, Massachusetts,

Paul Geunther,

S.A., 12, Rue

USA: LI 2-3520.

Ginn and Company, Ltd., 18 Bedford Row, LONDON w.c.1I,

Great

Britain-Angleterre:

HoL

8823.

208,

1205, I215. Gollancz

Victor Gollancz,

Goor

w.c. 2, Great Britain-Angleterre: TEM 8365. 1702. G. B.van Goor Zonen’s Uitgeverij Maatschappi,

Ltd., 14 Henrietta

Street, LONDON

N.V., ’s-GRAVENHAGE, Frankenslag 173, Netherlands-

YocygapcrBennoe MyspikaabHoe Ms3qareancso

Hollande: 55 9I 00. 14, 15. TocygapcrsenHoe Myspixaapyoe M3agateancso (Gosudarstwjennoje Muziikal’noje Izdatjel’swo), Mocxsa .(Moskwa), Russia-Russie. 695, 736, 751,

754, 759, 779, 778. Gottlieb

Ernest E. Gottlieb, 855 Regal Drive, PALM

SPRINGS,

California, USA. 1142. (Succeeded by Theodore Front, 1046 South Halt Avenue, Los ANGELES 35, California, USA: OL 2-4322.) Government Office Grahl

Printing

Gray

Greenberg

Hahnefeld

Harcourt & Brace

Harper

Harrap

Government

Printing Office, WASHINGTON

25, D.C.,

USA. 146, 147, 161, 169. H.L.Grahl, publications are available through Peters. H. W. Gray Co., Inc., 159 East 48th Street, NEw YorK 17, New York, USA: PL 5-4323. 1433, 1470, 1471, 1588, 1628, 1638a. Greenberg Publishers, 315 East 72nd Street, NEW YORK 21, New York, USA: LE 5-5977. 88. Bernard Hahnefeld Verlag, MUNCHBERG/Oberfranken, Friedrich Ebert StraBe 61, Germany-Allemagne: 730. 1814. Harcourt Brace and Company, Inc., 750 Third Avenue, NEw YorK 17, New York, usa: ox 7-8400.

235, 1350. Harper & Brothers, 49 East 33rd Street, NEw

16, New York, USA: MU 3-1900. 1076. George G. Harrap & Co., Ltd., 182 High

YorRK

Holborn,

List of publishers

265

LONDON 1708.

w.c. I, Great Britain-Angleterre: HOL 9935.

Harrassowitz

Otto

Harvard University

Germany-Allemagne: 2 80 68. 1219. Harvard University Press, 79 Garden Street, CAMBRIDGE 38, Massachusetts, USA: UN 8-7600. 31,

Harrassowitz,

WIESBADEN,

TaunusstraBe

5,

203, 289, 295, 347, 358, 558, 844, go9, 1166, 1306, Haupt Haydn Society Hayez

1308, 1325, 1375, 1400, 1401, 1672, 1673, 1815. Paul Haupt, Falkenplatz 11, BERN, SwitzerlandSuisse: 2 16 95. 961, 983, 1054, 1123, 1790, 1801, 1828. The Haydn Society, 30 Huntington Avenue, BosTON

15, Massachusetts,

Hayez,

112, Rue de Louvain,

USA. 703, 1064, 1069. BRUXELLES-BRUSSEL,

Belgium-Belgique: 12 04 65. 1120.

Heffer

W. Heffer & Sons, Ltd., CAMBRIDGE,

Great

Britain-

Angleterre: 58351. 1144, 1298, 1569, 1570. Heitz

P. H. Heitz, 16, Rue du Maréchal Joffre, STRASSBURG

(Strasbourg), France: 35 40 39. P. H. Heitz, GmbH, BADEN-BADEN, YburgstraBe 36, Germany-Allemagne: 2423. 236, 1056, 1113, 1352. Henle

G. Henle Verlag, MUNCHEN 55, SchongauerstraBe 24, Germany-Allemagne: I 5555. 138, 157, 444, 484,

485, 704, 1644. Hesse

Heugel Hinnenthal

Hinrichsen

Hoepli Hofmeister

Max

Hesses

Verlag,

BrERiIN-Halensee,

Joachim

FriedrichstraBe 38, Germany-Allemagne. 216, 298, 311, 331, 984, 1706.

58,

64,

Heugel et Cie., S.A., 2 bis, Rue Vivienne,

PARIS

2e,

France: GUT 43-53. 172, 1454. Johann Philipp Hinnenthal Verlag, KAssEL-Wilhelmshohe, Heinrich Schtitz Allee 35, Germany-Allemagne: 2891. 976. Hinrichsen Edition, Ltd., 10 Baches Street, LONDON

N. I, Great Britain-Angleterre: CLE 1638. 280, 773, 1427, 1467. Ulrico Hoepli, S.A., Via Hoepli 5, MiLano, ItalyItalie: 865 446. 340. Friedrich Hofmeister, FRANKFURT am Main, EppsteinerstraBe 43, Germany-Allemagne: 72 2677. 92, 106. Note; The firm Friedrich Hofmeister, which began publishing in LErpzic,

Volks Eigener Betrieb, Germany-Allemagne*

List of publishers

266

after 1945

does not represent the legitimate successors

to

Friedrich Hofmeister, LEIpzic.

Holt

Henry Holt & Co., Inc., 383 Madison Avenue, New York 17, New York, usA: Mu 8-gI00. 1092, 1578.

Horizon

Horizon

Press,

Inc.,

220

West

42nd

Street,

NEW

Yor«kK 36, New York, USA: WI 7-9445. 1206. Horizons de France

Horizons de France, 39, Rue du Géneral-Foy,

Houghton & Mifflin

Se, France: LAB 76-34. 77. Houghton Mifflin Company, 2 Park Street, Boston Massachusetts, USA: CA 7-9300. 1735.

Hug

Hug dé Co,22,

Huntington Library

Suisse: 32 68 50. 977. Henry E. Huntington

Pe Box

SZURIGH

PARIS

7,

Switzerland-

22,

Library and Art Gallary, SAN

MarRIno, California, USA: RY I-6601. 115.

Hutchinson & Co., 178 Great Portland Street, LONDON w. 1, Great Britain-Angleterre: LAN 3020.

Hutchinson

315; Imprimérie Nationale Indiana University

Imprimérie nationale, 27, Rue de la Convention, PaRIS 15e, France: VAU 79-90. I17, 125. Indiana

University

Press,

BLoomincTon,

Indiana,

USA! 9704. 1172.

Information Service

Information Service ,Inc., 10 West Warren, DETROIT

Institut d’Estudis

1, Michigan, USA: TE 3-5220. IOI. Institut d’Estudis Catalans, Carrer de Paris, Apartat 1140, BARCELONA, Spain-Espagne. 363, 364, 669,

Catalans Institute of Mediaeval Music

752, 1247. Institute of Mediaeval Music, 1653 West 8th Street, BROOKLYN 23, New York, USA: ES 2-4345. 128, 148, 623 (624-631), 684, 826 (827-828), 835 (836-839), 1104, III7, 1121, 1125, 1158, L1g0, 1202, 1239, 1240, I24I, 1252, 1253,'1255, 1285.

Instituto Espanol de

Instituto

Musicologia International

Spain-Espagne. 113, 554 (555-556), 699.

International

Espanol

International Music

de

Musicologia,

Publishers,

381

Park

BARCELONA, Avenue

South,

NEw York 16, New York, USA: MU 5-2864. 1737. International Music Company, 509 Fifth Avenue,

NEw York 17, New York, usA. 1586, 1659. Julhard

René

Julliard,

S.A., 30,

Rue

de l'Université,

7e, France: BAB 17-90. 1691, 1713.

Paris

List of publishers

267

Kahnt

C.F. Kahnt,

Kallmeyer

Germany-Allemagne. 1116. Georg Kallmeyer Verlag, KG, WOLFENBUTTEL, GroBer Zimmerhof 20, Germany-Allemagne: 2681. 370 (37I-

Musikverlag,

Linpau,

Hofstatt

8,

388), 750.

Kalmus

Kegan Paul, Trench & Trubner Kings Crown Kistner & Siegel]

Bdwin

fs Kalmus,

West

“23thiistreet,

NEw York 1, New-York, USA: PE 6-4950. 1411, 1437, 1439, 1587, 1614, 1615, 1632, 1637, 1646, 1721. Cf. Routledge & Kegan Paul. 61, 62, 200, 323, 1122; T531, 1537. King’s Crown Press forms part of Columbia University Press. 1385, 1565, 1693, 1857, 1882, 1887. CPt OW

sitistnercé&. Bre

LuisenstraBe

Knopf

“ines =421

"Siegel & Coy

Viprsrans,

8, Germany-Allemagne.

284, 285, 346,

436, 450, 456, 459, 471, 475, 478. 611, 1270.

|

Alfred

NEW

A. Knopf,

YorRK 22, New

Inc.,

501

Madison

Avenue,

York, USA: MU 8-0600.

197, 200, 349,

1204, 1501, 1526, 1529, 1533, 1661, 1739.

Koehler & Amelang

Koehler & Amelang,

Krenn

Germany-Allemagne*: 2 73 72. 999. Ludwig Krenn, WIEN xv, Reindorfgasse 42, AustriaAutriche: 54 72 368. 181.

Labor

Editorial

Labor,

Lrrpzic

S.A.,

c.1,

Provenza

HainstraBe

84,

2,

BARCELONA,

Spain-Espagne: 30 14 00. 30. Lane

John Lane, The Bodley Head, Street, LoNDON w.c. 2, Great

Ltd., 10 Earlham Britain-Angleterre:

Langenscheidt

TEM 1467. 1505. Langenscheidt, KG, BERLIN-Schéneberg, 29, Germany-Allemagne: 71 04 21. 18.

Larousse

Librairie Larousse,

BahnstraBe

13, Rue Montparnasse,

PARIS 6e,

France: LIT 95-31. 17, 52, 1839. Laurens

Henri Laurens, 6, Rue de Tournon, PARIS 6e, France:

DAN 01-83. I105, 1337. Lawrence & Wishart

Lawrence & Wishart,

Ltd.,

81

Chancery

Lane,

LONDON w.c. 2, Great Britain-Angleterre: HOL 7565. 1384. Leduc

Alphonse

Leduc,

175, Rue Saint Honoré,

Paris

Ier,

France: OPE 12-80. 500, 637, 709. Lehmann

John Lehmann,

Ltd., 25 Gilbert Street, LONDON

Great Britain-Angleterre: MAY 1553. 1396, 1740.

w 1,

List of publishers

268

Leuckart

F. E. C. Leuckart

Musikverlag,

MUNCHEN

zenstraBe 7, Germany-Allemagne. Leuen

Leuen

Verlag,

WIEN

xv,

Ig, Prin-

218.

Dreihausgasse

9, Austria-

Liberal Arts

Autriche. 168. Cf. Munksgaard. 519 (520-524). Liberal Arts Press, Inc., 153 West 72nd Street, NEw YorK 23, New York, USA: TR 3-3475. 787, 1548, 1837, 1838.

Libra

Libra Press, Inc., 105 East 16th Street, NEW YORK 3,

Levin & Munksgaard

Librairie Encyclopédique Library of Congress

Litolff

New York, USA. 22. Librairie Encyclopédique, S.p.r.l., Rue du Luxembourg 7, BRUXELLES-BRUSSEL, Belgium-Belgique: II 35 51. 489, 1005. Library of Congress, WASHINGTON 25, D.C., USA. 80, 110, 145. H. Litolff’s.

hausstraBe

Verlag,

FRANKFURT

am

Main,

ror, Germany-Allemagne:

Forst-

68 70 51. 440,

446, 449, 465, 480, 481, 998. Little

& Brown

Little, Brown & Co., Inc., 34 Beacon Street, BosTON 6, Massachusetts, USA: CA 7-0730. Little,

Brown & Co.,

Inc.,

60

East

42nd

Street,

New York 17, New York, USA: MU 7-I135. 1497.

Liturgical Music

Liturgical Music Press,

Inc., 68 West

125th Street,

NEw YORK 27, New York, USA: LE 4-3683. 1408. Livres Essentiels Luzac

MacDonald Macmillan

Marks Masse

Les

Livres

essentiels,

26,

Rue

Bergére,

Parts,

France. I1gt. Luzac & Company, Ltd., 46 Great Russel Street, LONDON W.c. I, Great Britain-Angleterre: MUS 1462. 1086. MacDonald & Co., Ltd., 16 Maddox

Street, LONDON

w. I, Great Britain-Angleterre: MAY 5841. 317. The Macmillan Company, 60 Fifth Avenue, NEw YorK 11, New York, USA: OR 5-4000. The Macmillan Company, 10 South Audley Street, LONDON w. I, Great Britain-Angleterre. 44, 45, 46, 63, 211, 290, 324, 864, 1077, 1167, 1381, 1399, 1493, 1517, 1631, 1725, 1744, 1786, 1812, 1880. Edward B. Marks Music Corp., 136 West 52nd Street, NEw York 19, New York, USA: CI 7-7277. 1588, 1623. Richard Masse Editeurs, 7, Place Saint-Sulpice,

List of publishers:

269

PaRIs 6e, France: DAN 28-36. 71, 973, 1090, I09gI, 1130. McGraw-Hill Book Company, 330 West 42nd Street NEw YorK 36, New York, USA: LO 4-3000. 277,

McGraw & Hill

1667, 1710,

Mediaeval Academy

Mediaeval Academy of America, 1430 Massachusetts Avenue, CAMBRIDGE 38, Massachusetts, USA. 336, 337, 711, 1262, 1269, 1279, 1860, 1868. Mercury Music Corporation, 47 West 63rd Street, NEw YorK 23, New York, USA: EN 2-5338. 1434, 1589, 1590. Karl Merseburger Verlag, BERLIN-Nikolassee, AlemannenstraBe 20, Germany-Allemagne: 80 72 64. 298, 305. Methuen & Co., Ltd., 36 Essex Street, LONDON w.c. 2, Great Britain-Angleterre: CEN 1525. 294, 1098, 1557, 1746. Michigan State University Press, Box 752, East LANSING, Michigan, USA: ED 2-I511. 1498, 1849, 1889. Mills Music, Inc., 1619 Broadway, NEw YorRK 10, New York, USA: CO 5-6347. Modern Language Association, 6 Washington Square

of America

Mercury

Merseburger

Methuen

Michigan State University

Mills Modern Language Association

North,

NEw

York

11, New

York,

USA:

SP 7-2000.

9, 1331. Mont Blanc

Editions du Mont Blanc, S.A., 37, Rue de Lausanne,

Morehouse & Gorham

GENEVE, Switzerland-Suisse: 32 81 38. 282. Morehouse-Gorham Company, 14 East 41st Street, New York 17, New York, USA: LE 2-4350°: 293, 1556.

Karl Heinrich Moéseler Verlag, WOLFENBUTTEL, GroBer Zimmerhof 20, Germany-Allemagne: 2684.

Moseler

370 (371-388), 394, 437; 447) 455, 462, 486, 487, 769, Mozarteum, SALZBURG, Autriche-Austria. 735.

Mozarteum

Munksgaard

Ejnar Munksgaard, A/S, Norregade 6, KOBENHAVN

Denmark-Danemark.

John Murray, Ltd., 50 Albemarle

Murray Museum

of Modern

Art

Museum of NonObjective Painting

K,

519 (520-524), 1542. St., LONDON

w. I,

Great Britain-Angleterre: HYD 4361. 24, 25. Museum of Modern Art, 11 West 53rd Street, NEw York 19, New York, USA: CI 5-8900. 1749, 1750. The Solomon R. Guggenheim Museum, 1071 Fifth Avenue,

NEw

1712, 1747.

York

28, New

York, USA: EN 9-5I110.

List of publishers

270

Music Musical America Musical Americana

Music Press, forms part of the Mercury Music Corporation. 651, 1402, 1473, 1590, 1622, 1627, 1639. Musical America, 113 West 57th Street, NEw YORK 19, New York, USA: CI 7-0520. Musical Americana, Harry Dichter, 5458 Montgomery Avenue,

PHILADELPHIA,

Pennsylvania,

USA:

GR

3-

Musical Antiquarian Society

1464. 160, 1617. Cf. Chapell & Company, Ltd., 50 New Bond Street, Lonpon w. 1, Great Britain-Angleterre: MAY 7600.

Music Library

559The Music Library Association, 0/o Music Division,

Association

Library of Congress, WASHINGTON

25, D. C., USA. 79.

Musurgia

Musurgia, 4 East 41st Street, NEw YorK 17, New York, USA. 133, 221 (222-234), IIOI, 1303, 1485, 1552.

Nagel

Nagels Verlag, KasseLt-Wilhelmshohe, Heinrich Schiitz Allee 31, Germany-Allemagne: 2891. 439, 451, 452, 476, 609, 1607, 1611, 1613. The New England Society in the City of New York,

New England Society

330 East 30th Street, NEw

York

16, New

York,

USA: MU 3-5878. 1272.

New York Public Library Niemeyer

The New 42nd

York

Street,

Public

NEw

Library,

YorK

Fifth Avenue

36, New

York,

USA:

and OX

5-4200. 102, 153. Max Niemeyer Verlag, TUBINGEN, Pfrondorferstr. 4, Germany-Allemagne: 2323. 148, 952, I110, 1186, EIQ7, 1223, 4233. Note: The firm Max Niemeyer Verlag,

Volks Eigener Betrieb,

HALLE an der Saale, Germany-Allemagne*: 2 47 30, which began publication after 1945, is not the successor firm to Max Niemeyer Verlag, HALLE an der Saale.

Nijhoff

Martin Nijhoff’s Uitgevers Maatschappij, ’s~GRAVENHAGE, Lange Voorhout 9, Netherlands-Hollande.

190, 954, 988, 1365. Nordiska Musik-

forlaget Norton

Nordiska

Musikforlaget,

AB,

Pipersgatan

29,

STOCKHOLM, Sweden-Suéde. 1319. W. W. Norton & Company, 55 Fifth Avenue, NEw YORK 3, New York, USA: AL 5-g210. 239, 260 (261-

268), 278, 312, 313, 326, 329, 333, 340, 351, 352, 737; 843, 1070, 1078, 1097, IIII, III5, 1132, 1157, 1300,

1307, 1327, 1334, 1345, 1348, 1358, 1488, 1511, 1525, 1545, 1664, 1665, 1669, 1671.

271

List of publishers

Novello

Novello & Ewer

Novello

& Company,

LONDON

w. I, Great Britain-Angleterre:

Ltd.,

Novello

& Company,

Inc.,

160 159

Wardour

Street,

GER

East

1222.

48th

Street,

NEw York 17, New York, USA: PL 5-4323. 1034, 1168, 1286, 1310, 1313, 1376, 1378, 1425, 1459, 1460, 1502, 1527, 1558, 1585, 1591, 1638a. Cf. Novello. 242, 1414, 1415.

Oiseau Lyre

Editions de l’Oiseau Lyre, Les Remparts, Monaco. 134, 159, 534, 516 (617-620), 645, 679, 680, 712, 718, 719, 726, 745, 1214, 1250, 1260, 1267, 1282, 1446,

Olms

Georg Olms, HILDESHEIM, DammstraBe 50, Germany-

1447, 1679. Allemagne:

Olschki

5501. 297, 332, 798, 824, 1095.

Leo S. Olschki, S.P.A., Via delle Caldaie 14, FIRENZE,

Italy-Italie: 294 681. 103, 104, 105, 151, 1048, 1124. Ontwikkeling

Osterreichichischer Bundesverlag Oxford University

Ontwikkeling,

S.M.,

Somersstraat,

ANVERS-ANT-

WERPEN, Belgium-Belgique: 33 86 58. 186. Osterreichischer Bundesverlag fiir Unterricht, Wissenschaft und

Kunst,

WIEN

1, SchwarzenbergstraBe

5,

Austria-Autriche: 52 25 61. 409, 1003, 1601. The Oxford University Press, Amen House Warwick Square, LONDON E.c. 4, Great Britain-Angleterre: Cli 70% The

Oxford

Drive,

University

FAIRLAWN,

New

Press,

Inc.,

Jersey,

16-00

Pollitt

LO

4-8133.

USA:

10, 21, 37, 69, 107, 259, 270, 299, 328, 576 (577-608), 638, 845, 848, 1068, 1099, 1103, I109, 1112, 1118, I13I, 1150, 1373, 1377, 1386, 1443, 1486, 1487, 1489, 1492, 1506, 1510, 1519, 1522, 1544, 1592, 1629, 1668, 1681, 1686, 1689, 1730, 1809. Paravia

Go Br&

CG Paravia,o:PA:,

Corso

Racconigiy

16;

Torino, Italy-Italie: 779 166. 39. Parker

Parker’& Son,

Ltd,

27

Broad

Street,

OXxrorp,

Great Britain-Angleterre, 610. Payot

Payot,

Pelican

France: DAN 55-54. 38, 1096. Ci, Penguins 1733; 1734-

Penguin

Penguin

106,

Boulevard

Books,

Saint-Germain,

Ltd., HARMONDSWorRTH,

Great Britain-Angleterre: SKY 1984.

PaArRIs

6e,

Middlesex,

List of publishers

272

Penguin Books, Inc., 3300 Clipper Mill Road, BALTIMORE II, Maryland, USA: HO 7-8592. 274, 291, 1335: Peters

Edition Peters, GmbH,

Phaidon

hausstraBe ror, Germany-Allemagne. Peters, 373 Park Avenue South, NEw York 16, New York, USA: MU 06-4147. 442, 453, 457, 458, 483, 947, 948, 959, 967, 982, 1405, 1406, 1407, 1426, 1428, 1431, 1435, 1440, 1465, 1584, 1593, 1598, 1602, 1616, 1618, 1619, 1620, 1621, 1624, 1625, 1634, 1637, 1652, 1656. Phaidon Publishers, Inc., 575 Madison Avenue,

FRANKFURT

am Main, Forst-

NEw YorRK 22, New York, USA: MU 8-5300. 1074, 1292. Philadelphia Museum of Art, 23rd .Street and the

Philadelphia Museum of Art Philosophical Library

Boulevard,

Picard

Editions A. et J. Picard et Compagnie,

Pitman

Bonaparte, PARIS 6e, France: DAN 54-75. 342. Pitman Publishing Corporation, 2 West 45th Street, NEWYORK 36, New York, USA: MU 7-2334. 195.

PHILADELPHIA,

Pennsylvania,

Philosophical Library, Inc., 15 East New York 16, New York, USA: MU

USA.

1575.

4oth Street, 3-2945. 840,

1504, 1698, 1707, 1718, 1728.

Plainsong and Medieval Music Society

82, Rue

Publications

Ltd.,

are available through The Faith Press, 7 Tufton Street, LONDON s.w. 1, Great Britain-

Angleterre: ABB 3940. 135, 1178, 1274, 1284. Plon

Librairie Plon, 8, Rue Garanciére, PARIS 6e, France:

Pontifical Institute

The Pontifical Institute TORONTO, Canada. 1261.

DAN 04-50. 126. of Mediaeval

Studies

Praeger

of

Mediaeval

Studies,

Frederick, A» Praeger, Incs, 15. West 47th Street, NEw YorK 36, New York, USA: CI 5-1440. 1748.

Prentice & Hall

Prentice-Hall,

Presser

New York, USA: OR 5-2010. 188, 213, 1813. Theodore Presser Company, BrRyN Mawr,

Inc., 70 Fifth Avenue, NEw YorRK II,

Phila-

delphia, USA. 1583, 1862.

Princeton University

Propylaen Pustet

Princeton University Press, 41 Williams Street, PRINCETON, New Jersey, USA: WA 4-5500. 96, 1192, 1340. Propylaen Verlag, BERLIN-Tempelhof, Mariendorfer Damm 1, Germany-Allemagne. 1577. Friedrich Pustet, REGENSBURG, GutenbergstraBe 8, Germany-Allemagne: 3 00 44.

List of publishers

273

Frederick Pustet Company, Inc., 14 Barclay Street, NEw YorK 7, New York, USA: BA 7-1463. 542, 543, 1174. Putnam

G. P. Putnam’s

Sons,

210

Madison

Avenue,

NEW

YORK 16, New York, USA: MU 4-7300. 1666.

Quelle & Meyer

Quelle & Meyer, HEIDELBERG, SchloB Wolfsbrunnen Weg 29, Germany-Allemagne: 2 24 43. 214, 356, 1768, 1840.

Raber

Raber & Compagnie, FrankenstraBe Switzerland-Suisse: 2, 74 22. 240.

Reeves

W. Reeves,

1a, Norbury

Crescent,

9,

LUZERN,

LONDON

s.w.

6,

Great Britain-Angleterre: POL 2108. 272, 281, 1087, 1169, 1383, 1499. Dietrich

Reimer

Reimer,

BERLIN-Stieglitz,

WulfstraBe

7,

Germany-Allemagne: 73 47 83. 339. Revue

Musicale

Revue

musicale,

7, Place

Saint-Sulpice,

PARIS

6e,

France: DAN 28-26. 724. Rhein

Rhein

Verlag,

Ricordi

G. & C. Ricordi,

AG;,

BahnhofstraBe

5,

ZURICH

TI,

Switzerland-Suisse: 23 22 18. 327. S.P.A.,

Italy-Italie: 898 242. G. Ricordi & Company,

Via

Berchet

16 West

2,

61st

MILANO,

Street,

NEW

YORK 23, New York, USA: JU 2-5300.

Rinehart

Rockliff

G. Ricordi & Company, Ltd., 271 Regent Street, Lonpon w.1, Great Britain-Angleterre: MAY 6518. 68, 178a, 184, 360, 362, 496, 497, 762, 763, 780, 781, 1290, 1481, 1528, 1594, 1633, 1660, 1757. Rinehart & Company, inc., 232 Madison Avenue, NEw York 17, New York, USA: MU 9-5300. 94. Rockliff Publishing Corporation, Dorset Buildings, Salisbury Square, LONDON E.c. 4, Great BritainAngleterre: FLE 1555. 1685.

Rohrer

Rudolf

Rouart & Lerolle

Kohlmarkt 7, Austria-Autriche: 52 31 38. 978. Publications are available through Editions Salabert, 22,

Rue

M. Rohrer

Chauchat,

Verlagsbuchhandlung,

Paris

ge,

Paul,

Ltd.,

France:

WIEN

1,

TAL

55-60.

Carter

Lane,

1248, 1266.

Routledge & Kegan Paul

Routledge & Kegan

LONDON

68

E.c. 4, Great Britain-Angleterre: CIT 4821.

1108, 1332.

List of publishers

274

Roy

Roy Publishers, 30 East 74th Street, NEw

YORK 21,

New York, USA: TR 9-5935. 1322, 1395. Sacred Music

St. Martin’s Salabert Salvat

Sacred Music Press, 40 West 68th Street, NEW YORK, 23, New York, USA: TR 3-0666. 612. St. Martin’s Press, Inc., 175 Fifth Avenue, NEw

YorK 10, New York, USA: OR 4-5151. 46, 864, 1631. Editions Salabert, 22, Rue Chauchat, PARIs ge, France: TAL 55 60. 533, 1248, 1266. Salvat Argentina, S.A., Corrientes 2777, BUENOS ArrEs, Argentina-Argentine: 89 4762. Salvat

Editores,

S.A.,

Mallorca

41,

BARCELONA,

Spain-Espagne: 30 36 07. 271, 287. Sansoni

G. C. Sansoni,

Santis

Italy-Italie: 677 451. 54. di Santis, Via del Corso 133, Roma, Italy-Italie. 560 (561-564), 615, 1482.

E. C. Schirmer

E.

G. Schirmer

G. Schirmer,

C.

S.P.A.,

Schirmer,

221

Viale

Mazzini

Columbus

46, FIRENZE,

Avenue,

BosTon,

Massachusetts, USA. 1208, 1595, 1638b.

E. Schneider

Inc., 609 Fifth Avenue, NEw York 17,

New York, USA: MU 2-8100. 32, 83, 210, 957, 1181, 1209, 1364, 1371, 1394, 1403, 1416, 1421, 1422, 1423, 1424, 1444, 1567, 1596, 1638c, 1655, 1684, 1742. E. Schneider Verlag, Matnz, SchieBgartenstraBe 9, Germany-Allemagne: 2 44 39. 993.

H. Schneider

Hans

Schott

weg 1, Germany-Allemagne: 475. 217, 979 ,105I, II1Q, 1203, 1785. B. Schott’s Sdhne, Mainz, Weihergarten 5, Germany-

Schneider,

Tutzinc

iiber

Miinchen,

Mozart-

Allemagne: 2 43 41.

Schott & Company, Ltd., 48 Great Marlborough Street, LONDON w.1I, Great Britain-Angleterre: GER

1536. 65, 167, 438, 460, 461, 472, 479, 488, 571 L. Schwann

(572-574), 721, 1143, 1287, 1368, 1699, 176r. L. Schwann Verlag, DUssELporF, CharlottenstraBe 80, Germany-Allemagne: 2 05 II. 729, 1222.

W. Schwann

W. Schwann, 137 Newbury Massachusetts, USA. 1061.

Scribner’s

Charles Scribner’s Sons, 597 5th Avenue, NEw YORK 17, New York, USA: EL 5-0650. Charles

Scribner’s

Sons,

Ltd.,

Street,

Boston

23 Bedford

16,

Square,

List of publishers

Senart Sequana

275

LONDON w.c. I, Great Britain-Angleterre: MUS 0730. 40, 292, 322, 1518. Acquired by Salabert. 533. Sequana, 30, Rue de l'Université, PAris 6e, France:

BAB 17-90. 1713. Servire

Servire,

N.V.,

’s-GRAVENHAGE,

Kauwlaan

17,

Netherlands-Hollande: 390148. 1138, 1139. Sheed & Ward

Sheed & Ward, Inc., 64 University Place, NEw YorK

3, New York, USA: OR 4-8807. 1129.

Sidgwick & Jackson

Siegel Sikorski Simon & Schuster Simrock Smith College Société Belge de Musicologie Society of Saint Gregory of America Stainer & Bell

Sidgwick& Jackson,

Ltd.,

1 Tavistock

Chambers,

Bloomsbury Way, LONDON w.c. 1, Great BritainAngleterre: HOL 7927. 1062. Cf. Kistner & Siegel. 706, 710. Hans Sikorski, Musikverlag, HAMBURG 13, Johnsallee 23, Germany-Allemagne: 44 62 45. 58, 1799. Simon & Schuster,

Inc.,

630

Fifth

Avenue,

NEW

York 20, New York, USA: CI 5-6400. 1546, 1564, 1703. N. Simrock, HAMBURG 39, DorotheenstraBe 176, Germany-Allemagne. 1599, 1600. Smith College Music Archives, Sage Hall, NortTHAMPTON, Massachusetts, USA. 99, 635. Société Belge de Musicologie, Rue de la Concorde Eendrachtstraat 65, BRUXELLES-BRUSSEL, BelgiumBelgique. 955. Society of Saint Gregory of America, Harristown Road, GLEN Rock, New Jersey, USA. 841, 842. Stainer& Bell,

Ltd.,

29

Newman

w. 1. Great Britain-Angleterre:

Street,

LONDON

MUS 2558. 432, 433,

535 (536-541), 664, 682, 694, 777, 1293, 1758. Stanford University

Stanford

University

Press,

STANFORD,

California,

usa: Palo Alto DA 3-9471. 1494. Steingraber

Steingraber

Verlag,

OFFENBACH

am

Main,

Auf

der

Reiswiese 9, Germany-Allemagne: Frankfurt 8 37 54. 1436, 1608. Stichnote

Eberhard

Stichnote,

UELZEN,

VeerserstraBe

39,

Germany-Allemagne: 3005. 1540. Tauchnitz

Tauchnitz

Teubner

straBe 19, Germany-Allemagne: 6 61 19. 1551. B. G. Teubner Verlagsgesellschaft mbH, STUTTGART-

Verlag, GmbH,

STUTTGART-w,

Johannes-

List of publishers

276

s, BlumenstraBe 27, Germany-Allemagne: 26, 321, 348, 1079, 1094. Triltsch,

Trilitsch

Konrad

Triibner

many-Allemagne: 5 OI 55. 1050. Acquired by Walter de Gruyter & Co., J. Guttentag,

Tudor

W. 35, GenthinerstraBe 13, Germany-Allemagne: 13 13 41. 1182. Tudor Publishing Company, Inc., 221 Park Avenue

Georg Reimer,

South,

NEw

WURzBURG,

Haugerring

2 13 51.

Karl J. Triibner,

York

3, New

15,

Ger-

Veit & Co., BERLIN

York,

USA:

GR

7-8886.

1093, 1536.

Ugrino

Ugrino

Verlag,

HAmMBurG-Blankensee,

499a, Germany-Allemagne: 764, 1299. Ullstein

Elbchausee

86 o1 73. 667, 691, 723,

Ullstein, AG, BERLIN-Tempelhof,

Mariendorfer Damm

1, Germany-Allemagne: 75 II 46. 47. Union

Union

Verlag, Volks

Eigener Betrieb,

BERLIN

w. 8,

ZimmerstraBe 79, Germany-Allemagne® : 22 57 II. 974. Universal

Universal Edition, AG, WIEN 1, Karlsplatz 5, Austria-

Autriche: 65 86 95. 180, 409, 730, 953, 1002, 1245, 1453, 1676, 1696, 1759. Universitaires de France

University of California

University of Chicago

University of Liverpool University of Michigan

Presses

Universitaires

Saint-Germain, 1688, 1842. University

PARIS

de

France,

6e, France:

of California

Press,

108,

DAN

Oxford

1004,

Boulevard

48-64. and

187,

Center

Streets, BERKELEY 4, California, USA: TH 8-goro. 308, 708, 1731, 1743, 1751, 1874. University of Chicago Press, 5750 Ellis Avenue, CHICAGO 37, Illinois, USA: MI 3-0800. 13, 1272a, 1717, L727. Liverpool University Press, LIVERPOOL 7, Great Britain-Angleterre: Royal 3630. 86. University of Michigan Press, ANN ARBOR, Michigan,

USA. 1858. University of North Carolina

University of North Carolina Press, Box 510, CHAPELL HILi, North Carolina, USA: 5681. 309, 310,

University of Oklahoma

1638. University of Oklahoma Press, Faculty Exchange, NorMAN, Oklahoma, USA: JE 6-0g00, Ext. 2345. 302, 1102, 1554, 1855, 1867.

List of publishers

University of Pennsylvania University of Southern California University of Southern Illinois University of Washington University of Wisconsin

277

University Street,

of

Pennsylvania

PHILADELPHIA

4,

Press,

3436

Pennsylvania,

Walnut USA:

EV

6-o100, Ext. 8298. 112, 1225, 1226, 1852. University of Southern California Press, Los ANGELES 7, California, USA. I14, 1491. University of Southern Illinois Press, CARBONDALE, Illinois, USA. 1496. University of Washington Press, SEATTLE 5, Washington, USA: LA 4-6000, Ext. 2714. 7. University of Wisconsin Press, 430 Sterling Court, MADISON 6, Wisconsin, USA: AL 5-3311I, Ext. 4429.

VIS] 24: Valentine

Viking

John Valentine, GLENDALE, California, USA. 100. The Viking Press, Inc., 625 Madison Avenue, NEw

YorK 22, New York, USA: PL 5-4330. 1207.

Volk

Arno

Volk,

K6LN-Sulz

2,

Postfach,

Germany-

Allemagne. 328, 575 (577-608), 990, 1046. Volksbiicher

Deutsche

Volksbticher,

GmbH,

Verlag,

STUTTGART

13, LibanonstraBe 3, Germany-Allemagne: 4 20 64. 76. Washington University Weidmann

Wellesley College Wereldbibliotheek

Washington University Press, St. Louis 30, Missouri, USA. 97. Weidmannsche Verlagsbuchhandlung, BERLINCharlottenburg 9, Ulmenallee 23, Germany-Allemagne: 92 37 19. 139, 1083. Wellesley College Music Department, WELLESLEY, Massachusetts, USA. 641, 642. Wereldbibliotheek,

N.V.,

AMSTERDAM-w,

de Ruyterweg 545, Netherlands-Hollande: Wereldbibliotheek,

ANVERS-ANTWERPEN,

N.V.,

Lange

Admiraal

82555.

Koepoortstraat

Belgium-Belgique:

2,

32 62 59.

275. Williams Williams & Norgate Wilson

Joseph Williams, Ltd., 2g Enford Street, LONDON w.1,

Great Britain-Angleterre: AMB 5988. 610. Williams & Norgate, Ltd., 154 Fleet Street, LONDON E.C. 4, Great Britain-Angleterre: FLE 3212. 1515. The H. W. Wilson Company, 950 University Avenue, New

149.

York

52, New

York, USA: LU 8-8400. 75, III,

List of publishers

278

World Library of Sacred Music

Yale University

World Library of Sacred Music, 1846 Westwood Avenue, CINCINNATI 14, Ohio, USA. 544 (545-553). Yale University Press, 143 Elm Street, NEw HAVEN,

Connecticut, USA: ST 7-1179. Zsolnay

1165, 1246, 1311, 1894.

Paul Zsolnay Verlag, GmbH, HAmBuRG 36, Hohe Bleichen 11, Germany-Allemagne: 34 51 57.

Paul Zsolnay Verlag, GmbH, WIEN Iv, Prinz EugenstraBe 30, Austria-Autriche: 65 76 61. 1760.

INDEX

OF PROPER

NAMES

Numerals in a bold face refer to the bracketed numbers of the bibliographic entries; numerals in an italic face refer to the pages of those entries included in the research problems; numerals in a roman face refer to the pages of all other

entries.

Aarburg, U. 1222. Abbiati, F. 215, 1528, 25. Aber, A. 256. Abert, A. A. 582. Abert, H. 952, 26, 25. Abraham, G. 259, 272, 535, I112,

Aretino, P. 550. Aretinus,

1383,

164.

Adam de la Halle 643, r4. Adler, G. 216, 217, 409, 410, 953, 1762, 1764, 1776, 154, 156, 157, 164. Adlung, J. 804. Adrio, A. 596, 987. Affligemensis, Johannes 789, 160. Agricola, A. 405, 644, 160. Albrecht, H. 453, 457, 567, 632, 163. Albrecht, O. E. 79, 112. Alcuinus,

Aldrich,

F. A. 8, 10.

P. 1372, 1848, 175.

—x#)L]

(Al Farabi) 13.

Amati,

Arnold, D. 688.

Arnold, F. I. 1373.

Aronowsky,

S. 193.

Artusi, G. M. 1140. Arundell, D. 753.

Arzt, F. B. 1204. Asow, E. H. Miiller von 182, 1344, 1540. Acraxosa, A. M. (Astayowa, A. M.) 1966. Attaignant, P. 403. 1181,

1224,

1248,

1249.

Augen Gaze Augé, P. 17. Austin, W. 267, 1455, 1665.

N. 73.

Ambrose,

Nantes Ab UNS 26, 22, Bet,

Aubry, P. 1180, Auda, A. 1251.

Almeida, R. 273. Altwegg, W. 447, 452, 769. Amat, J. C. 1346. Ambros,

G. 792, 1123, 1124, 160.

Arezzo, G. d’ 792, 1123, 1124, 160. Aribo (von Freising) 790, 160. Ariosti, A. 562, 563, 564. "AptototeAns (Aristote) 1089. "AprototeAns (Aristotle) 1089. *AptotoCevng (Aristoxenus) 1893, 175. Arkwright, G. E. P. 610.

A. W. 218, 881, 154, 173.

Aveling, C. 1181.

Azhderian, H. W. 114, 1491.

St. 4.

Ameln, K. 717, 1280, 1297. Anderson, E. 1493, 1517. Anderson,

Andrews,

Bach, A. M. 1605, 29. Bach, C. P. E. 154, 454, 646, 1031, 1347,

W. R. 204. E. A. 20.

Andrews, H. 1294. Ainge eS Soe tO.

1602,

Angles, H. 30, 113, 363, 364, 669, 731, 732, 752, 1247. Annibale Padovano

1603, 1630, 27, 28, 29, 35, 24.

Bach, J. Christian 482, 1492, 27, 34.

645, 745.

Bache) Ga bea6: Bach, J. S. 155, 446, 448, 647-650, 937, I2QI, 1301, 1305-1317, 1325, 1372,

Annunzio, G. d’ 389.

1375,

Anonymous

1437, 1604, 1605, 4, 5, 20, 2I, 22, 23,

Iv III7, 4, 5.

Apel, N. 463.

Apel, W. 31, 289, 336, 337, 347, 358, 1166, 1172, 1262, Sp Omtz, 159; LOO,

Appel, C. 1223. Apthorpe, W. F. 40.

1287,

1815,

39,

1378,

1383,

1424-1426,

2omcONG 440, 2 tO Loe Bach, W. F. 651, 27. Bacharach, we 1733). Bachofen,

T. 381.

Backus, E. N. 115. BACON

T.

1436,

Index of proper names

280

Bain

Gallas

Baker, T. 31, 159.

Bangert, E. 1438. Bannister, H. M. 1219. Barbireau,

J. 652, 160.

Barbour, J. M. 1498, 1849, 175. Barclay-Squire, W. 120, 122, 166, 1289, 1442. Barlow, H. 33, 34. Baines 077). Bartok, B. 1678-1682, 1709, 1741, 1755,

1959, 39, 40. Bartolomeo (da Firenze) 653. BartoS, F. 683. Barzun, J. 1497, 176, 179.

Blom, E. 46, 274, 163, 164. Blow, J. 1427, 1447, 23, 161. Blum,

Batelli, G. 338. M.

Baxter) Beber,

1028,

mete2

M.

1273.

Blume, C. 1081 Blume, F. 35, 231, 265,

BasmiGask73% Bauer,

Besseler, H. 223, 366, 469, 588, 681, 725, 994, I100, 1263, 156. Beswick, D. M. 1850, 175. Beyschlag, A. 1374. Bianchi, L. 495, 747. Bie, O. 1561. Biggs, E. P. 651, 1402, 1434. Billings, W. 1498. Binchois, G. 572. Bischoff, H. 1436, 1437. Bizzelli, A. 494. Blattau, J. M. Miller- 306.

1821,

1666.

370,

750,

952,

156, 163.

Blumenfeld, H. 1153. Boccherini, L. 391.

tek 377.

A. 378.

iSecken Geli.

Bockholdt,

Beck, J. B. 1182, 1225, 1226. Beck, S. 1292.

Becker, H. 470, 597.

Bodky, E. 1306, 1375. lexeydautes, Whe I, Ss Ze Boetticher, W. 1127.

Beévatovsky,

Bohm, G. 657.

A. F. 1917.

Bedbrook, G.S. 1167, 1381. Bédier, J. 1183. Beethoven, L. van 156, 157,

Bohm, Bolton

R. 1119.

H. 974. ag z.

Bellini, V. 3r.

Boll, A. 77. Bon, Philippe le 1113. Bonaccorsi, A. 390. Bonnet, J. 1403. Borgese, . M, 1717, 1727. Bopogun, A. II. (Borodin, A. P.) 34. Borren, C. van den 275, 396, 729, 954,

Benda F. 1914. Benda, Jan 1914.

Borrowdale,

654, 655,

938, 939, 940, 1036-1045, 1493-1496, 1540, 1545, 1570, 1614, 5, 27, 28, 29, SONOS

250

4

De

LOO

Oe

Belle 1303: Bellermann, H. 339.

Benda, Jiti 1913, 1914, 1917, 1920, 1927, 1940, 1948. Benevoli, O. 417-421, 516.

Bengtsson, I. 527. Benvenuti, G. 393, 1633. Berg, A. 1683, 1684, 1759, 7, 40. Berger, A. 1686. Berlioz, H. 656, 1497, 1570, 27, 28, 33. Bermudo, J. 811. Bernart (de Ventadorn) 1223. Bernet-Kempers, K. P. 675. Bernouilli, E. 1236. Bertenson, S. 737, 1525.

1120,

1128, 1168, 1274.

G. 1851, 173, 174. Bopruaucknit, JJ. C. (Bortnjansky, Sess Bosquet, E. 78. Botsbiber, H. 252. Botsford, F. H. 1742. Bottrigari, H. 1027. Boulanger, N. 4r. Bourgeois, L. 806. Bourke, J. 1398. Bovicelli, G. B. 812.

Boyce, W. 538, 21. Boyd, M. C. 1852, 175. Boyden,

D. D. 136r.

D.

Index of proper names

281

Bragard, H. 514, 791, 1184. Brahms, J. 158, 659, 660, 733, 766, 1499-1501, 1615, 1632, 5, 27, 28, 29, 30, 33, 34, 16, 25. Braunstein, J. 158. Breithaupt, R. 1765. Brenet,

M.

1510.

Brennecke,

W. 381.

Briffault, R. 1184. Britten, B. 1463, 1685, 41, 10. Brixi, F. X. 1915, 1917, 1929. Brockhoff, M. E. 1825. Broeckx, J. L. 186. Bruckner, A. 661, 662, 1693, 1882, 29,

30, 33, 173. iBruhnss Ne £73 Brumel,

A. 380, 663, 160.

Buchner, H. 480, 481. Biicken, E. 220-232, 1506. Bukofzer,

1483-1485,

M. 264, 682, 1101,

1142,

1345, 1837, 19, 159, 160. Bull, J. 539, 664. Burgh, C. 413. Burghauser, J. 1503. Burmeister, J. 810. Burney, C. 235, 236, 818, 1318,

1352, 37, 153. Burns, J. A. 1853, 174. Burnstein, M. 407, 784. Busoni, F. 39. Buxtehude, D. 665-667, 1319, 1428-1430, 1438, 1465-1470, Pe

1788,

Stee

Byler, A. 1854, 175. Byrd, W. 668, 1118, 15.

Cabanilles, J. 669. Cabezén, A. de 308. Caccini, G. 1353, 1448, 23. Caffarelli, F. 748. Calvin, J. 1275. Calvocoressi, M. D. 276. Cameron, F. 664. Campion, T. 1859, 175. Cange, C. du F. du 22. Cannon, B. C. 196. Cappelli, A. 340.

Carapetyan, A. 395, 663, 793, 160.

1300,

Carissimi, G. 495, 670, 1471, 23. Carmen, J. 671. Carmirelli,

P. 391.

Carpenter, N. C. 1102, 1855, 175. Carse, A. 290, 323, 1568-1570, 1649, 1653. Carver, R. 399, 672, 160. Casimiri, R. 747, 5. Cauchie, M. 159, Caza, F. 1023.

Cernacek,

161.

G. 1954.

Cernohorsky, B. M. 1906, 1915. Certon,

P. 1009.

Cesari, G. 497. Cesaris, J. 673. Cesti Dania 5: Chaikovsky, see Tgajkowsky. Chailley, J. 187, 1191, 1266, 1842. Champlin, C. J. D. 40. Chapman, R. E. 1365. Chappel, W. 1414, 1515. Chase, G. 80, 277, 278. Chavez, C. 4r.

Chesne, A. du 1082. Chesne, F. du 1082. Chesnokov, see TSjesnokow. Chevalier,

1349-

1320, 20, 21,

U. 3, 127, 128.

Chilesotti, O. 365. Chominski, J. M. 1967. Chopin, F. 674, 1502, 1527, 1634, 1969, 1970, 25, 34. Chrysander, F. 678, 700, 1324, 16, 154. Chuyoz, A. 36. Cibulka, M. A. 1917. Ciconia, J. 160. Clair J Me Le 718; 719720, 22: Clarke, Hz E39; Clemens non Papa, J. 384, 675, 160. Clendenin, W. R. 1856, 174. Clercx-Lejeune,

S. 1817, 166.

Closson, E. 955. Clough-Leighter, H. 1208. Coates, H. 1134. Cobbett, W. W. 37. Coclico, A. P. 471, 809. Coerne,

L. A. 324, 159.

Coeuroy, A. 38. Cofhin

Hi Cx70-

Cohen, G. 1548. Cohn, A. W. 1777, 1780.

Index of proper names

282

Collaer,

F. 914.

Colles, H. C. 44, 45, 209, 1486. Collins, R. W. 1205. Combarieu, J. 237. Commer, F. 557, 154. Compere, L. 398, 676, 160.

Conforto, G. L. 1024. Cooper, M. 1507. Coopersmith, J. M. 164. Coover, J. B. 81, 82, 786.

Coperario, G. 1142. Copland,A.1667, 1686, 1687,1710, 1753, Io. Cordier, B. 677.

Corelli, A. Corte, A. Corteccia, Couperin,

678, 1321, 1445, 20, 22. della 39, 238. F. 548, 552. F. 159, 679, 1322, 1355, 1356,

522 Couperin,

LO

LO ds

L. 680, 161.

Coussemaker, E. de 643, 796-798, 799. Coyle-Davidson, A. G. 1175. Craft, R. 1704. Croll, G. 415. Crosten, W. L. 1565, 1857, 174. Cummings, W. H. 753. Cuyas, A. 29. Cuyler, L. 1853, 174. Cvetko, D. 1976. Dacier, E. 118.

Daffner, H. 1770. Dahl, I. 1672. Damrosch, F. 159. Ajaumaesuy, A. (Daniljewits, L.) 1965. Daninger, J. G. 1771. : Dannreuther, EF. 1376, 1487, 156. Jjapromprxckxui, A. C. (Dargomiizsky, A. Si) Aer Warne

lem

as 3

Dart, T. 433, 535, 753Daser, L. 475. Daugherty, D. H. A. 84. Davenport, M. 1518. Davey, H. 279. David, H. T. 734, 1307.

Davidson, A. 129-131. Davidson, W. A. Coyle- 1175. Davison, A. T. 347, 956, 1308, 1325. Day, Gy ly 85;

Daye, S. 1272. Dean, A. 1326. Dean-Smith, M. 86, 1368. Debussy,

C. 1688, 1689, 1756, 28, 34, 40.

Deletra, D. 1271. Delius, F. 39. Demuth, N. 325, 1504. Densmore,

F. 159.

Dent,

E. J. 291, 535, 1338, 1791, 1808. Descartes, R. 834. Des Prez, Josquin 376, 710, r4.

1793,

Deutsch, O. E. 173, 179, 1144, 1327. Dichter, H. 87, 1617. Dickinson, E. 292. Dietrich, S. 458. Dieupart, C. 161. Dittmer, L. A. 623-629, 827, 828, 836, 839, I104, III7, 1125, 1158, 1198, 1239-1241,

1252-1255,

160.

Ajarmaes, C. II. (Djagilew, S. P.) go. Dohnanyi, E. 39. Dolmetsch, A. 1377. Donizetti, G. D. M. 3r. Dorian, F. 326. Dowland,

J. 22.

Dowland, R. 1143. Downes, E. 1530. Dreimiiller, K. 599. Dréves, G. M. 1081. Druzecky, J. 1938. Du Cange, C. du F. 22. Duchesne, Duchesne,

A. 1082. F. 1082.

Ducis, B. 567. Dufay,

G. 681, 1119,

1120,

160.

Dufflocq, E. M. 1457. Duncan, W. E. 1416. Dunstable,

J. 682, 1291, 6, r4.

Dupré, M. 1433.

Durnford, G. M. 1176. Diirr, A. 464. Du&Sek, F. X. 1g1I, 1917, 191g, 1920.

Dus{k, J. L. 1914, 1920, 1923-1925, 1944, 1949. Dvorak, A. 683, 1503, 1901, 1902, 245. IDWAKS, IL, 1h, ML

Eaton,

Or

H. S. 188.

Index of proper names

283

Ecorcheville, J. 116.

Fellerer, K. G. 575, 601, 602, 1049, 1814,

Ehinger, H. 983, 1513. Eimert, Hi. 1787. Einstein, A. 197, 266, 348, 349, 727, 734, 1034, I192, 1209, 1488, 1508, 1519,

1834, Fellowes, 1118, Ferguson,

57,0250)

Ferrand, E. 327, 328, 589.

%

eh 32,9133,

Bitnen

022.0)

10815445103;

164. Eldridge, M. 1859. Bigar, E28) 30. Ellinwood, L. W. 293, 711, 1556,

1860,

159, 173.

Ferrars, M. 1174.

Festa, C. 529, 160. Fétis, FJ. 43, 154Ficker, R. von 1245. Fils, A. 1921, 1947. Finck, H. 483.

Finscher, L. 398, 463, 676, 689. Finzi, G. 538. Fischer, J. K. F. 686. Fischer, K. von 550, 588. Fischer, W. 958, 1784, 1785. Fiske, R. 541. Flade, E. 1154. Fleischer, O. 155.

Elliot, J. H. 1798. Elliot, K. 540. Ellis, W. A. 1531, 1537, 26. Emery, W. 1378. Engel, C. 957, 1782. Engel, H. 383, 580, 600, 1826. Engel, L. 1210, 1418. Engelbrecht, C. 379. Engelke,

165. E. H. 134, 294, 432, 433, 668, 1193, 1194, 1557, I6I. D. N. 198, 199, 1805.

B. 1608.

Fles, B. 1669.

Epstein, P. 1032. Erbrecht, L. Hoffmann505-513. Erlanger, R. 1085.

377,

386, 483,

Fletcher, A.C. 150. Floridia, P. 1419. Hoi Gade St. 179))0524,920; Foote, H. W. 295.

Erpf, H. 1174.

Forcellini,

Esposito, M. 1409. Estocart, P. de 1’ 807.

Forkel, J. N. 1309, 2, 153. Forster, G. 455, 486, 487.

Evans, E. 1499, 1692, 1714. Evans, W. McC. 1331. Ewen, D. 1661.

Bortseh,) |) 478. Bossy Eten) L708. Foster, M. B. 1558.

Expert, H. 118, 500, 533, 709.

Foster, S. C. 160, 161.

Franck, C. 1504-1506, 1635, 27, 34, 24. Franck, I. 1185. Franck, W. 1824, 153. Franco (von Koln) 73. Franklin, B. 1654. Franz, R. 29.

Falla, M. de 39. Fanna, A. 780, 781. Fano,

F. 1146, 1360.

Fantini, G. 1357.

st) WI

(Barat)

3-

Frederick the Great 1867, 174. Frere, W. H. 135, 1077. Frescobaldi, G. 574, 687, 1323, 1431, 1432,

Farmer, H. G. 280, 1086, 1087. 0s 7. Habrencys | tle

1853.

Fasch, J. F. 448.

Faugues, G. 630, 684, 1121. Fauré, G. 1690, 30, 34. Fayrfax,

Feldmann,

Freund, W. 23, 24. Friedlander, M. 296, 297, 959, 1025, 1553,

R. 400, 685, 2, 160.

Federhofer, H. 565, 831, 978. Feininger, L. K. 416-425, 426-430,

515, 516, 530, 531. F. 401, 776.

A. 23, 24.

1597.

431,

Friedrich der GroBe 1867, 174. Frotscher, G. 298, 446.

Frydén, L. 527. Frye, W. 402.

Index of proper names

284

Fuld, J. 160.

Fuller-Maitland, VI, 156. Fux, J. J. 1358.

J.A.

1289,

1301,

1313,

Gabrieli, A. 5, 74, 8.

Gabrieli, G. 379, 688, 1290, 5, 160. Gafurius, F. 689, 1900, 160.

Gagey, E. M. 1389, 1566. Galilei, V. 1145, 1146, 1359, 1360. Galston, J. A. 207. Ganassi, S. 1147.

Goethe, J. W. 484, 485, 1606, 27. Goldberg, J. G. 464. Goldschmidt, H, 1390. Goldthwaite, S. 1845. Gombert, N. 697, 160. Gombrich, E. H. 1074. Good, CV. 177. Goodchild, M. A. 1215. Goodrich, W. 1563. Gorg, J. Schmidt- 606, 697, 990, 1043. Goss, M. 1662.

Garrett, A. M. 1841.

Gottwald, C. 406, 693. Gottwold, H. 479.

Gastoué, A. 118. Gavalda, M. Querol- 699. Geering, A. 447, 452, 769. Geiringer, K. 299, 1511.

Grace, H. 1310.

Graf, M. 329. Gratis ii t70,. 579:

Gelrud, P. 1861, 173.

Geminiani, F. 1361. Gennrich, F. 579, 1013-1021, 1050, 10591061, 1186, 1195, 1227-1233, 1242, 1243, 1256-1259, 1268. Georgiades, T. G. 1051. Georgii, W. 300, 578, 1562. Gerber, E. L. 153: Gerber, R. 372, 456, 459-463, 696. Gerbert, M. 822a, 823, 824, 153. Gerboth, W. 951. Gerdes, G. 573. Gérold, T. 1105-1107. Gerson, R.A. 1862, 175. Gerstenberg, W. 371, 374, 450, 785, 969. Gesualdo, C. 494, 690, 691, 1122, 15.

Graham,

Gevaert, F. A. 1088, 1089.

Haas,

Gherardello (da Firenze) 692. Ghiselin-Verbonnet, J. 406, 693, 160. Gibbons, O. 694. Giegling, F. 592, 1523.

Haberl, F. 715, 746, 5. Hadow, W. H. 1489, 156.

Gindele, C. 543. Giorgi, P. 392. Glarean, H. 833, 1876, 1893, 173, 175. Glasenapp, C. F. 1531, 1532, 26. Gleason, H. 350. Gletle, J. M. 634. Taunxa, M. VW. (Glinka, M.I.) 695, 28, 248. Glinski, M. 743. C. W.

von

162,

163,

1507-1509, 5, 29, 3I, 32, 24. Glyn, M. H. 694.

696,

M. 4o, 41.

Graupner, J. C. 506. Gray, C. 200, 1122, 1668.

Gregory, J. 146. Gregory, W. III. Grétry, A. E. M. 369, 698. Grieg ES E35: Grout, D. J. 239, 301, 1863. Grove, G. 44-46, 1631, 2, 9, 154, 163. Gudewill, K. 370, 375, 455, 486, 487. Guerrero, F. 699. Guido (d’Arezzo) 792, 1123, 1124, 160. Guilmant, F. A. 361. Gurlitt, W. 65, 960, 1135, 1152, 1792, 163. R. 224, 229, 661, 966, 1302, 156.

1303,

Haggh, R. H. 332.

Gilbert, W. S. 37,

Gluck,

991,

942,

Haigh, A. 1864, 174. Hall, J. H. 302, 1554. Halle, Adam de la 643, r4.

Halliday, J. R. 1865, 173. Halm,'H. 157. Hamel, F. 1830. Hammerschmidt, A. 472, 476. Handel, G. F. 164-166, 700, 701, 1301,

1308,

1324-1330,

1383,

943, 1433,

1439, 1440, 1880, 1886, 20, 22, 23, 30, AVANT SWS), ANS), LS WIG} Handl, J. VII.

Index of proper names

285

Handlo, R. de 1125. Handschin, J. 240, 961, 1790, 1801, 1828, 166. Hanslick, E. 1546-1548. Hanu8§, J. 683.

505-513.

Harap, L. 1807. Haraszti, E. 1679. Harding, R. E. M. 1298. Harman, R. A. 1149. Harms, G. 723, 764, 1299. Harrison, F. L. 387, 536, 537, 1108. Haskell, A. 1734. Hasse,

Hoelty-Nickel, T. ror2. Hoffmann, A. 394. Hoffmann, E. T. A. 706, 1513, 31. Hoffmann, H. 998, 1273. Hoffmann-Erbrecht, L. 377, 386, 483, Hofhaimer, P. 707, 1126. Hofmeister, A. 92. Hofmeister,

F. 92.

Hohenemser, R. 1031. Holland, A. K. 1335. Holst, G. 39.

J. A. 460, 461, 6.

Hopkinson,

C. 48, 93, 162.

Hopkinson, Hoppin, R. Hornbostel, Hostinsky,

F. 1514, 1516, 1617. H. 404. E. von 1767, 157. O. 245.

24. Haydon, G. 188, 529, 548, 552, 1813.

=f

Bi (Houei-shu,

Haywood,

Howard, J. T. 1736. Howes, F. 535. Hucbald (de/van St. Armand) 4. Hucke, H. 979.

HaBlens

ie La 6s

Hawkins, J. 241, 242. Haydn, F. J. 167, 702-705,

1510-1512,

1542, 1616, 1644, 25, 29, 30, 33, 34, G. 88.

Heartz, D. J. 1866, 175. Hedar, J. 1319, 1430. Heinichen, J. D. 448. HemitZaWia 23278150) Heiske, W. 455. Held], Ga1917. Helfert, V. 245. Helin 18070074" Hemmerley, G. 381. Hennebains, J. P. 645, 745. Herbst, U. 1794. Herzfeld} i. 47. Herzog, G. 160. Hesbert, Dom J. R. 525.

Hughes,

H. 89, go, 1279,

A. van

Hofer, K. 413.

167.

259,

1109,

I112,

1238,

Idelssohn, A. Z. 490, 1092. 1868,

1865, 40, 10, 173. Hirsch, P. 136, 1035, 1610. H@geg, C. 519.

A.

839.

Hughes-Hughes, A. 121. Hull, A. E. 49, 1663, 1721, 1722. Humfrey, P. 23. Humperdinck, FE. 3r. Humphries, C. 50. Hunt, E. 1143. Husmann, H. 586, 603, 1244, 1840. Hutcheson, E. 94. Hyde bese elS7Ongl ja:

159,

174,

179. Heyer, A. H. 359, 5. Hibberd, L. 839, 1843, 1869, 165, 179. Hickman, H. 1090, 1091. Hill), =. B: 1735. Vehibl IR, (Sy, wove. Hindemith = 131i, 171i, 1720, 1754,

Hoboken,

Dom

Tsang)

164.

Heseltine, P. 1122, 1200. Hess, W. 156. Hewitt,

4

Indy, V. d’ 1454,

1505,

1635.

Irvine, D. 7. Isaac, H. 1858.

Isidor (de Sevilla), St. 4, rz, 10. Isnardi, P. 549. les, OS Ge

Jacobus (de/van Liége-Luik) 791, 160. Jacopo (da Bologna) 708, 1874, 173. Jacquot, J. 1004. Jaffé, P. 139. Jahn, O. 1520, 1527, 26, 25. Jakobsen, R. 520.

Index of proper names

286

Jammers, E. 1829. Jan, C. von 1094, 1095. Janacek, L. 245. Janequin, C. 385, 709. Jankovié, L. S. 1977. Jeanroy, A. 962, 1187, 1224, 1234. Jeep, J. 462. Jelich, V. 566. Jeppesen, K. 1420. Jeune, S. Clercx-Le-

1817, 166.

Jirovec, V. 1917. Joachim, J. 678. Jode, F. 1607, 1611, 1613. Otte ents 20560737. Johannes Affligemensis 789, 160. John xxu, Pope 17. Johncon, C. 21. Johner, Dom D. 963, 1174. Johnson, A. H. 196. JOnasmOMr 77 el727. Josquin des Pres 376, 710, r4. Julian, J. 51. Jurgenson, B. 183.

Kasaaescxun, JJ. B. (Kabaljewsky, D. B.) 248. Kahl, W. 95, 189, 585, 990, 1832. Kaiser, G. 1539. Kalbeck,

M. 1500, 25.

Kinkeldey, O. 964, 965, 1800, 1810, 1818 181g, 158, 159, 164. Kinsky, G. 140, 157, 201. Kirchhoff, G. 464. Kirchmeyer, H. 1701. Kirkpatrick, R. 1340, 1444, 17. Klein, J. 1404. Klima, J. 570, 1291. Knapp, J. M. 96. Knocker, E. 1544. Knodel, A. 1672. Koch,

E. E. 1075.

Kochel, L. 174, 175. Koczirz,

A. 966.

Kodaly, Z. 1709, 1741, 39. Komma, K. M. 448. Kopériva, K. 1915. Koprziwa, K. 1915. Kopcaxos,

H. A. Pumcxuit

(Korsakow,

Koutnik, T. N. 1926. KoZeluch, L. A. 1917, 1918, 1920. Kramai-Krommer, F. V. 1908,

Krehbiel,

EEGs

1427,

259;. 200:

Kremenliev, B. 1743. Krenek, E. 1669.

Kresanek, J. 1958. Kretzschmar, H. 243-257,

Kandinsky, W. 1712, 1747. Karbusicky, V. 1960.

1555, 1779Kreutzenhoff, J. 381. Krohn, E. C. 97, 98, 839, 6. Krohn, I. 968.

Kastner, G. 330. Kastner, S. 555, 556. Katzarova-Koukoudova, R. 1973. Kaumann, E. 1400. Keller, H. 1379, 1685. Kempers, K. P. Bernet- 675. Kenney, S. 402. Kent, C. 834. Kenyon, M. 1382. Ketchum,

R. M. 1206.

1916,

1930, 1945. Krebs, C. 646.

Kalisch, R. 1761. Kammel, A. 1938.

Kast, P. 382, 388.

N.

A. Rimsky-) 759, 1526, 28, 30, 32, 24, 248. Koukoudova, R. Katzarova- 1973.

Krommer,

F.

V.

Kramar-

1930, 1945. Kroyer, T. 621, 969. Kriiger, W. 1196. Kuchar, J. B. 1915. Kuhnau, J. 1441. Kimmerling, H. 478. Kunst, J. 190. Lachmann,

R. 233,

156.

Khachaturian, see yatSaturjan Kimball, F. 1575. Kimmel, W. B. 1871, 175.

Lafage, J. A. L. 825.

King, A. H. 1522.

Pandigs-e5s

Lajarte, T. E. D. de 368. Lambert,

C. 1670.

967,

1391,

1908,

1916,

Index of proper names

287

Lang, P. H. 258, 1816, 1820. Kandinigty 70197 12,91 S00. Landshoff, L. r612.

Locke, A. W. 9g. 75ONL 73.

Lanner, J. F. K. 168, 713. Larousse, P. 17. Larsen, J. P. 703, 704, 1542. La Rue, J. 641, 642, 1846. cages aiden ia: Wasso, OF di 715, 1127, 1128, 75. Lassus, R. de 715, 1127, 1128, r5. Latourette, K. S. 1076.

Laurencie, Lavignac, Lawes, H. awesmvVe Layer, A. Lazarevié,

L. de A. 53, 1331, k332 634. S. V.

la 970. 163. 23. 623

1975. Lebégue, N. 161. Lebermann, W. 477. Wechner. 183 717ice Clan avi. 718; 710; 20, 22. Lees-Milne, J. 1399.

Lockspeiser, E. 211. Loesser, A. 1564. Loewe, C. 722, 29, 30. Loewenberg, A. 194. ILyopiig, IN. TRY, IGG Logan, M.S. 1769. Lohrer, E. 769. Lomax, A. 1744. Lomax, J. A. 1744. Longo, A. 178a, 762, 763, 1443. Losy, J. A. 1941. Lott, W. roor. Liibeck, V. 723. Ludwig, F. 148, 725, 1021, 1197, 1263. ull, Gs55724,1302,225 Tully) |] 857241392, 22. Eucheme Mie ros3i7. Luther, W. M. 95, 189, 1832. Lyon, J. 1514, 1516.

1198,

Weese, Cy Ears 10:

MacClintock,

Lefkowitz, M. 1332.

MacDowell,

Leibowitz,

Mace, T. roro, 1362, 1363. Machabey, A. 71, 1129, 1264, 1839. Machaut, G. de 725, 726, 1129, 1130, 1263-1268, 1899, 4, 6, II, I4, 174.

R. 1698.

Leichtentritt, H. 202, 203, 245, 303, 844. Leighter, H. Clough- 1208. Kejeune) so. Clerex- 1817, 166) Lemacher, H. ggo. Lenaerts, B. 604. Lenz, W. von 1494. Leoninus I5, 3. Lerner, E. R. 405, 644. Leroquais, Lesure,

V. 118.

F. 138, 1831.

Levarie, S. 1129.

Lewis, A. 535, 753, 1447. Lewis)

Cat.

20;

Leyda, J. 737, 1525. Liliencron, R. 411, 971.

Lindenburg, C. W. H. 758. Lindlar, H. 1052. Linek, J. I. 1915, 1926. Lissa, Z. 1967. Listenius, N. 1030. Liszt, F. 720, 721, 1515, 1636, 27, 28, 29,

33, 34, 25. Livingston, H. 1872, 174. Lobos, H. Villa- 4r.

Mahler,

C, 407, 549, 784. E. A. 169, 28.

G. 1693,

1760,

1882,

27, 28, 29,

32, 39, 173. Mahrenholz, C. 764, 972. Maitland, J. A. Fuller- 1289, 1301, 1313, VI, 156. Majer, M. B. C. 808. Maldeghem, R. J. van 636. Malherbe, C. 656. Malipiero, G. F. 184, 730, 780, 781, 1333,

1449, 1452. Mandyczewski, E. 702, 766. Manferrari, U. 54. Manfredini, F. 561. Mann, A. 1358. Marcello, B. 1364. Marxchand,

12, 161.

Marchettus (de Padua) 794, 160. Marenzio, L. 727. Marix, J. 1113, 1282. Marrocco, W. T. 708, 1267, 1874, 159, 160,

173.

Index of proper names

288

Marschner,

H. A. 37, 32.

|

Martin, G. B. St. 178, 1652. Martin, M. M. 1207.

Martini, G. B. 509, 153.

Marx, A. B. 1509. MaSsek, V. 1938. Masson, P. M. 973, 1337. Matthaei, K. 744, 1305. Mattheson, J. 505, 805. Mauersberger, R. 974. McCarty, C. 100. McColvin, L. R. 8.

McComb, A. 1401. McCutchan, R. G. 55. McKinney, H. D. 204. McNamara, D. I. 54. MePeck Ga Sut 75> 5 74. Mei, G. 830, 1148. Meier, B. 384, 397, 652, 760. Mellers, W. H. 1322.

Mendel, A. 1307, 1711, 1720, 1838. Mendelssohn,

F. 171, 728, 25, 28, 29, 30,

34, 24. Menke, W. 1383. Menotti,

G. C. 4r.

Mercer, F. 235, 236. Merritt, A. Tillman - 161.

Mersenne, H. 1365, 1366, 1870, 173. Mersmann, H. 227, 975, 156. Merulo, C. ar. Merver, F. 1350. Metcalf, F. J. 1559. Meyer, B. van den Sigtenhorst- 1138, 1139. Meyer,

E. H. 1384.

=

K

(Minagawa, T.) 839.

Misch, L. 1045. Mitchell, D. 1685. Mitchell, W. J. 1348. Mitjana, R. 131. Mioanep, B. K. (Miuller, V. K.) 28. Mizex edhe E57. Moderne, Jacques 373. Moe, L. H. 1877, 174. Mohr, E. 983. Moldenhauer, H. 304. Monkemeyer, H. 476. Montague-Nathan, M. 281. Monte, P. de 729, 1883, 173. Monterosso, R. 492. Monteverdi, C. 730, 1132-1134, 1449-1454, Gi ES. Mooser,

R. A. 282.

Morales, C. 731, 732. Morgenroth, A. 982. Morgenstern, S. 33, 34Morlaye, G. 1009. Morley, T..387, 1149, 1150, 1292. Morris, R. O. 845. Moser, H. J. 58, 305, 471-473, 591, 707, 73355 070,0 Li 20g 827 boaTo caAae

1543, 1598, 1799, 1833, 1835. Moszkowski,

Mouton,

M. 1410.

J. 382, 388.

Mozart, L. 1543, 1544. Mozart, W. A. 173-175,

211,

733-735,

929, 945, 946, 1034, 1517-1524, 1626, 1627, 1648,

1872, 27, 28, 29, 30, 31,

Meyer, K. 136, 1027, 1035.

33, 34, 25, 174. Mueller, P. E. 1878, 175.

Miéa, F. A. 1909, 1922.

Muffat,

Michaelis, H. 27. Michali¢ka, J. 1926.

Muller hssi972. Mroaaep, B. K. (Miller, V. K.) 28. Miuller-Blattau, J. M. 306. Miller von Asow, E. H. 182, 1344, 1540. Muret, E. 18. Murphy, R. M. 1879, 174. Murraiyn Jn aw bie r6:

Michel.

Fe tos

Mies, P. 1044. Migne, J. P. 1084, ro. Wilane le Cian,

Milcinsky, D. A. F. 1926. Milhaud, D. 172, 1691, 1692, 1713, 1714. Milena Ge Ae 8335.18 70.

7a:

Murrie,

G. 831, 27.

E. B. 85.

Mycoprcxuiit, M.IT. (Musorgsky, M. P.) 736,

Miller, H. A. 205, 1723. Milne, J. Lees- 1399.

Miuthel, J. G. 510, 511.

Milton, J. 23.

Myers), Beomn7 48.

37,

1525,

26,

JO)

fly

32,

G4,

2A)

Index of proper names

289

Myers, R. M. 1880, 173. Mysliveéek, J. 1914, 1920, 1934.

Padovano, Annibale 645, 745. Paetow, L. J. 10. Pahlen, K. 207.

Naegele, P. 1881, 173.

Paine, J. K. 208.

Nathan, M. Montague- 281. Neemann, H. 449.

Palestrina, G. B. da 746, 747, 1133, 1134,

Nef, K. 206, 257, 307, 977, 1571. Nejedly, Z. 245.

Palisca, C. V. 830.

Nelson, R. U. 308, 160.

Hecres, U. (Njestjew, I.) 1694, 1964. Nettl, P. 840.

Newlin, D. 1693, 1698, 1882, 173. Newman, E. 1312, 1533, 26. Newman, W. 309, 1638. Newmarch, R. 1505. Newton,

R. 1443.

Nickel, T. C. Hoelty- rorz2. Niecks, F. 1502, 1527. Nielsen, R. 561. Niemann,

W.

1411, 1501.

Niemoller, U. 414. Nietzsche, F. 27. Noske, F. 593. Nottebohm, G. 1545. Novacek, Z. 839, 1954. Nowak,

L. 662.

Nuffel, J. van 729.

Oberg, P. 1883, 173. Obrecht, J. 738, 739, 14, 15. O’Brien,

G. 1689.

O’Brien, M. 1689, 1730. Ockeghem, J. 639, 740-742, I2II, 14. Odington, W. r4. Oesch, H. 961, 1123. Oesterle, L. 1412. Ohl, J. M. 352. Okeghem, J. 639, 740-742, 1211, 74. Orel, A. 978. Ortigue, J. d’ 59. Ortiz, D. 1151, 1851, 173, 174. Ortmann,

O. 1803.

Osthoff, H. 376, 587, 979, 987, 1001. Othmayr, C. 453. Pacelli, A. 743. Pachelbel, J. 744, 18. Packard, D. 1884, 173. Paderewski, I. J. 674.

1864, 5, 15, 174.

Panoff, P. 234, 156. Panum,

H. 1169, 1170.

Papa, J. Clemens non 384, 675, 160. Paradossi, G. 1367. Parisotti,

A. 1422.

Parker, De W. H. 1576. Parker, H. 28, 3o.

Parrish, C. 341, 351, 352. Parry, C. H. H. 209, 1304. Patichs 1 478551724; Pauli, G. 1577.

Pauly, A. F. von 163. Pauly, R. G. 1364. Paumann, C. 1297. Paumgartner, B. 980. Pedrell, F. 363, 364, 779, 981, 1745. Pepusch, J. C. 512, 513, 1455, 31. Pergolesi, G. 748, 1456, 5. Peri, J. 1457. Perotinus 1245, 14, 3. Perrout, N. 645, 745. Peters, C. F. 948. Petrucci,

O. 1283, 1868, 12.

Petrus de Cruce r4.

Pfatteicher, 1342. Pitzner

C. F. 206, 756, 1136, 1137,

11: fF:

Philip the Good 1113. Philippe le Bon 1113.

Philipps, I. 1413. Phillips, C. A. 1501. Pic, K. F. 1915: Pichi

V.. To1G,

Pidoux,

P. 687, 1432. Pierro (da Firenze) 749. Pietsch,

G. I110.

Pincherle, M. 1321. Pirro, A. 118, 1114, 1320, 1343. Pirrotta, N. 653, 692, 749. Piston, W. 1753, 7. Pitoni, G. O. 422-425, 427-430. Plamenac, D. 631, 740-742, 1285.

Index of proper names

290

Platti, G. Playford, Pleasants, Pleta, V. Plumb,

Ramis (de Pareja), B. 1849, 175. Ramsbotham, A. 1284. Rappl, E. 1538, 26. Ravel, M. 1695, 1756, 4o. Paxmanuuos, C. B. (Raymaninow,

B. 507, 508. J. 1368. H. 1546. 1960.

J. H. 1206.

Podolsky, S. 1885, 174. Pohanka, J. 1953. Pohl, K. F. 1512. Poisot, C. 368. Poladian, S. 1886, 160, 175. Pontio,

P. 816.

Pope, I. 1671. IPOS |Olain Sx, THI, Porta, C. 547, 553OELCI EeHeel 422% Prado, Dom G. 1199. Praetorius, M. 750, 814, 815, 819, 1135, DOU},

TLIO, Sy Ha, Bik, BO, ASh 9). BRIS.

Bravia GuGer8s8.

Prati We sZ210.01 763). 77 2a 17800054,

155, 157, 164.

Prieberg, F.K. 60. Proctor, F. 1077. IIpoxogses, C. C. (Prokofhjew, 751, £694, go, VI, 248. Proske, C. 542. Prou vine 42°

S. S.)

Prifer, A. 765.

Prunieéres, H. 118, 211, 724, 1392. PuceininiGragia

IPO,

MN. WER

Pulver,

754Raynaud, G. 1188-1190. Read, G. 195. Reaney, G. 774. Rebay, H. 1747. Redford, J. 756, 1136, 1137, 4, 14, 2. Reese, G. 262, 263, 787, 957, IIII, I115, 159. Reeser, E. 1058. Refardt, E. 983. Reger, M. 176, 308, 757, 28, 24. Regis, J. 758, 160. Rehm,

W. 572.

Reich, W. 1683. Reichardt, J. F. 484, 485, 1606, 1607, 29. Reichert,

Prez, Josquin des 376, 710, r4.

J. 61, 62, 1169.

Purcell Ei 753551325,01330, 384.0434, 1442, 1446, 1456-1463, 20, 23, 161. Ilym«un, A. C. (PuSkin, A. S.) 27.

S. W.)

G. 488, 1523.

Reimann, H. 1599, 1600. Reimann, M. 465, 605. Reinach, T. 1096. INGHMETA, |). AN. 17:

Reinohl, K. 180. INcisn Gaia O8= Rejcha, A. 1915, 1923, 1936. Respighi, O. 1451. Rewald, J. 1749, 1750. Rhau, G. 456, 459, 632, 801. Itheinberger, J. G. 35. Ricci, S. de 149. Riemann, H. 64, 65, 170, 212, 270a, 331,

332, 353, 984, 985, 1650, 1766, 1768, USO, 157, LOS.

Quantz, J. J. 802, 1370. Quartieri, P. P. 1896, 173, 174. Querol-Gavalda, M. 696. Raabe, P. 720, 982. Racek, J. 1903, 245. Rachmaninoff, see Raymaninow. Rader, M. M. 1578. Radino, G. M. 1298. Rajeczky, B: 501. Rameau, J. P. 755, 846, 1337, 1849, 22, ONG

i5

Rietze ley 2os Pumcxuit-Kopcaxos, H. A. (Rimsky-Korsakow,N.A.)759,1526, 28, 30, 32,24, 248.

Rinaldi, M. 185. eeianove, Ne (Es, Sutte Robert, W. 834. Rokseths

Yn 1171,

.1260,e0om

Rolland, R. 1393. ikXopaaeay, j], Ual, Eeay), Ronga, L. 1323. Rood,

L. 635.

Kore, C. de 397, 760, 160.

Index of proper names

Roseingrave,

T. 21.

Rossetti-R6Bler,

F. A. 1935.

Rosier, C. 414. IOSSHmIEmis a120/7. Rossini, G. 761, 31.

R6Bler-Rosetti, F. A. 1935. Rousseau, J. J. 27. Roussel, A. 177. Rowen,

R. H. 1385, 1887, 180.

Roy, B. 1896, 173, 174. Rubsamen,

W. H. 160.

Rue, J. La 641, 642, 1846. huey eadevwea 714. wera) al 72 5: Ruffo, V. 545. Rihlmann, F. 998. Ruhnke, M. 471. Runge, R. 1235. Runze, M. 722.

Ca6auees, A. A. (Sabaneev, L. L.) 1737. Sabatini, R. 562-564. Sachss Cs00 721 32228255 201,302,413) 333, 1063, 1064, 1078, 1097, 1775, 1838, 156, 159. Sagués, M. 551. Saint Ambrose

4.

Saint Foix, G. de 178, 1524, 26. Saint Isidor 4, rr, 10.

Saint Martin, G. B. 178, 1652, 7, 33. Salazar,

A. 268, 1671, 159.

Saldivar, G. 283. Saldoni, B. 67. Salinas, F. 813. Salmen, W. 484, 485. Saltonstall, C. D. 79. Salzer, 1716, 1726. Sammartini,

G. B. 178, 1652, 7, 33.

291

Scarlatti, D. 178a, 762, 763, 1340, 1443, 1444, 20, 21, 22, 17. Caves Dewi SChaelenp ie. lek 7/73. Schanzlin, H. P. 634. Schedel, H. 469. Scheidt, S. 764, 1435, I4, 20, 21, 22. Schein, J. H. 765. Schemelli, G. C. 29. Schenk, E. 584. Schenker, Hi 1717, 1727. Schering, A. 191, 244, 246, 284, 314, 315,

354, 355, 987, I116, 1572, 1795. Scheurleer,

D. F. 988, 158.

Schiedermair, L. 192, 989, 990, 1774. Schiller Ha 277

Schillinger, J. 1718, 1719, 1728, 1729. Schlesinger, K. 1098. Schlick, A. 1154, 1299, 14, 7. Schmidt, J. H. 480, 481. Schmidt-Gorg, J. 606, 697, 990, 991, 1043. Schmieder,

W.

106, 155, 6.

Schmitz, E2248. Schmitz, F. A. 989. Schmitz, H. P. 1380. Schnapper, E. B. 124, 150. Schneider, M. 334, 782, 992, 993, II5I. Schneiders, A. 475. Scholes, P. A. 69, 107, 1066, 1318, 1349, 1809. Scholze, J. S. (Sperontes) 1609, 29. Schonberg, A. 1693, 1696-1699, 1759, 1761, 1882, 39, 40, 173. Schonberg, B. 313. Schonherr,

M. 18o.

Schrade, L. 616-620, 712, III5, 1250, 1267, 1334. Schréder, O. 782.

726,

1132,

Sandberger, A. 408, 715.

Schubert,

Sanders,

Schuetze, G. C. 630, 684, 837, I121. Schultz, H. 451, 969. Schultze, C. 1032.

D. 18.

Sandvik, O. M. 986. San Martini, G. B. 178, 1652, 7, 33. Saran, PF. L. 1236. Sartori, C. 68, 103-105. Saciew gO. Scandello, A. 377. Scaramella, B. 1896, 173, 174. Scarlatti, A. 140, 1338, 1339, 1464, 1872, 250

F. 179, 208, 766, 28, 29, 30, 24.

Schulz, J. A. P. 479, 1608. Schumann, C. 1637. Schumann,

R.

1628,

1637,

28,

29,

30,

34, 25. Schiinemann, G. 253, 959, 1030. Schiitz, H. 767, 768, 1341-1344, 1472-1480, Geeg

Nd) 225%

Index of proper names

292

Schwann, W. 1061. Schwarz, R. 959. Schweitzer, A. 1312, 1424, 1425, 16. Searle, H. 1515, 1725. Seay, A. 380, 385, 403, 796, 832. Seeger, C. 965, 1783, 1797, 1811, 1827. Seger, J. 1915. Seiber, M. 1680. Seiffert, M. 611, 771, 772, 994, 995, 1026,

157. Seize.

Ty5re

Sendrey, A. 108.

Senfl, L. 374, 447, 459, 452, 769. Serauky, W. K. A. 987, 1329. Sermisy, C. de 546. Sessions, R. 1753. Shakespeare, W. I4, 32. Shapiro, E. 87. Sharp, C. 1746. Shaw, G. B. 1549-1551. Shepherd, W. R. 12. Shiraeff, A. Vodarsky- 75. Shire, H. M. 540.

(Shu, Tsang-houei)

39 839.

SIevers, Ge Th23. Sigtenhorst-Meyer, R. van den 1138, 1139. Simon, E. J. 482. Simpson, C. 1371. Siuts, H. 486, 487. Cxps6un, A. H. (Skrjabin, A. N.) 770.

Skroup, F. 1923. Slonimsky, N. 31, 70, 335, 1664, 1738. Smend, J. 996, 997. Smetena, B. 245. Smijers, A. 639, 710, 739, I211, 161. Smith, G. P. 635. Smith, J. 1687. Smith,

Smith, Smith, Smith, Smits

M. Dean-

W. W. W. van

86, 1368.

24, 25. C. 109, 123, 165. D. 50. Waesberghe, J. M. A. F. 789,

790, 792, 847, 1124, 1175.

Snow, R. J. 545-547, 553Soler, A. 555, 556.

Wocraxoswa,

J. J. (Sostakowit8, D. D.)

1965, 40, 248. Sourek, O. 683, 245. Spanke, H. 1188. Sparks, E. H. 1888. Spatario, G. 1029. Spataro, G. 1029. Specht, R. 1700. Sperontes, (Scholze, J. S.) 1609, 29. Spicker, M. 1421. Spiess, L. B. 839. Spitta, P. 665, 666, 733, 767, 1313, 1429, 154. Spivacke, H. 1802. Spohr, H. 574. Squire, W. Barclay- 120, 122, 166, 1289,

Shostakovich, see Sostakowit8.

B

Sorbelli, A. 151.

Spohr, L. 27, 33.

Shirlaw, M. 846. Short, G: 20. = Foe

Somma, B. 367, 560, 615. Sonneck, O. G. T. 110, 169, 1394, 1514, 1516, 1557, 1567, 1789, 157, 159, 160.

1442, Stablein, B. 517, 543, 607. Stainer, J. 1286. Stamic, J. V. 1931. Stamitz, J. V. 1931. Stanley, A. 159. Stanley, J. 1629.

Stédron, B. 1954, 245. Steele, J. 664. Stefan, P. 1530. Steffani, A. 415.

Steffens, J. 462. Steglich, R. 454. telgieder) | Ug 7, Stein, E. 1699. Stein, F. 176, 996. Steinhardt, M. 568, 1889, 173, 174.

Stépan, J. A. 1942. Stephenson, K. 583, 608. Stevens, D. 316, 399, 671-673, 677, 773, 1293.

Stevens, H. 1681. Stevenson,

R. 286.

Stoltzer, T. 386, 457. Stone, K, 1296. Storace, S. 541. Straube, K. 999, 1405-1407, StrauB, J. 180, 181.

16.

Index of proper names

293

StrauB, R. 182, 949, 1700, 29, 31, 32, 33.

Crpasuuckui, WU. @. (Strawinsky, I. F.) 140, 1672, 1673, 1701-1707, 1754, 40, 37: Strunk, O. 843, 1141, 1157, 1796, 1804, 159. Subira, J. 30, 113, 271, 287. Sullivan, A. 31.

Sumner, W. Lo 3r7. Sufiol, Dom G. M. 1162, 1163, 1176. Sunyol, Dom G. M. 1162, 1163, 1176. Swainson, D. 1679. Sweelinck, J. P. 573, 639, 771, 772, 1138, 1139, 1211, 22. Sychra, A. Igor. Szendrei,

A. 108.

Szopen, F. 674, 1502, 1527, 1970, 28, 34. Szweykowski, Z. M. 1968.

1634,

1969,

Tack, F. 595, 963.

Tagliapietra, G. 360. Malliswiee 77.3. Tapissier, J. 774. Tegnell, J. C. 1890, 175. Telemann, G. P. 448, 775, 1026. Terry, C. S. 1309, 1315-1317, 1492. Terry, R. R. 1275, 1386. Thayer, A. W. 1495, 1496, 25, 160. Thompson, O. 70, 164. Thurston, E. 1261, 1891, 160, 174. Tillman-Merritt,

A. 161.

Tillyard, H. J. W. 519, 523, 1164. Tinctoris,

J. 71, 401, 776, 832, 160.

Tintori, G. 492. Tischler, H. 1892, 174.

Todi, A. B. de 1140. Tolar, J. K. 1943. Tomasek, V. J. 1923, 1932. Tomkins, T. 777. Torchi, L. 362. Tovey, D. F. 848. Toye, F. 1529. Trend, J. B. 1131, 1739. Troili, G. 1367. Trumble, E. 838. Yatixoscxuit, IT. UW. (TSajkowsky, P.I.) 183, 978, 28, 32, 34, 24, 37-

ar

ci

cy (Tsang-houei Shu) 839.

Yecuoxos, IT. I. (TSjesnokow, P. G.) 3o. Tunder, F. 17. Turabian,

K. L. 13.

Turrell, F. B. 1893, 175. Tusler, R. L. 160.

Duttle;S7 D777. Ugolino (d’Orvieto) 795, 160. Ulrich, H. 318, 319, 1387, 1560, 1573. Upton, W. T. 159.

Ursprung, O. 230, 769, 156.

Ycneucxaa, C. A. (Uspjenskaja, S.A.) 1961. Vaet, J. 568, 1889, 173, 174. Valente, A. 1853. Valentin, F. 594. Vallas, L. 1506, 1688, 1689, 1730. Van, G. de 534, 681, 1265.

Vanhal, J. K., 1914, 1915, 1920. Vannes, R. 72, 187. Varese, E. 4o. Vasconcellos,

J. A. 73.

Vatielli, F. 1448. Vaughn, D. 1629. Vaughn-Williams, R. 1708, 39, 4o. Vecchi, G. 794. Veinus, A. 320, 1574. Vejvanovsky, P. J. 1939, 1950-1952. Velimirovié, M. M. 524. Ventadorn, Bernard de 1223. Verbonnet, J. Ghiselin 406, 693, 160. Verdeil, P. 249. Verdi, G. 1528-1530, 31, 32, 33, 24, 25.

Verso, A. il 1896, 173, 174. Vetter, W. 947, 993. Victoria, T. L. de 779. Vidakovié, A. 566. Vieira, E. 74. Villa-Lobos, H. 4r. Vincent, J. 1731, 160. Vincentino,

N. 817, 160.

Virdung, S. 1155. Virgelli, E. 1896, 173, 174.

Vitali, G. B. 635. Vitasek, J. A. 1917. Vivaldi, A. 184, 185, 392, 780, 781, 1481, 1482, 20, 22. Vodarsky-Shiraeff, A. 75. Vollaerts, J. W. A. 343.

Index of proper names

294

Westrup,

Voligraf, C. 1089.

Vorigek, J. H. 1904, 1907, 1923, 1933, 1937-

1914,

1920,

Vranicky, A. 1919. Vranicky, P. 1917, 1928. Wackernagel, P. 321, 1079. Waesberghe, J. M. A. F. Smits van 789,

790, 792, 847, 1142, 1175. Wagner, P. 254, 1000, 1177, 1178, 1201, 1202, 1781.

J. A. 259, 535, 1336, 164.

Wetzel,

H. 1606.

White, E. W. 1396, 1408, 1707, £740. White, J. R. 1898, 174. Whitehill, W. M. 1199. Whittelsey, W. R. 161. Widmann, E. 488. Widor, C. M. 1424, 1425, 16. Wilhelmer, A. 569. Willaert, A. 371, 785, 160. Williams, C. F. A. 322.

Wagner, W. R. 1531-1538, 26, 27, 28, 31,

Williams,

32, 33, 40, 24. Waite, W. G. 196, 1165, 1246, 1894, 174.

Williams, S. J. 1899, 174. Wiora, W. 581, 975, 1822, 1844, 1847. Wissowa, G. 163. Witt, T. de 746.

Walcha, H. 18. Walker, E. 288.

R. Vaughn-

Walker, F. 1339.

Wilt

Wallner, Wallon, Walter, Walther,

Wolf, J. 136, 214, 251, 344-346, 356, 357,

x

B. A. 466-468, 1288. S. 378. J. 782. J. G. 803, 153.

XK, rail (Wang, K. C.) 236.

Ward, J. 1895, 175. Warlock,

P. 1122, 1200.

Warren, E. B. 400, 685. Watanabe, R. 1896, 173, 174. Watelet, J. 518. Wattenbach, G. 139. Weber, C. M. von 783, 1539, 30, 3I, 32,

33, 25. Weckerlin, J. B. 152. Weigerl, J. C. 820. Weingartner, F. 656.

Hiet2 762

1708, 39, 40.

OMG ONG

EGR

738, IO00I, 1023, 1024, 1029, 1035, 1270, 1281, 12. Wolffheim, W. J. 1oor. Wood, T. E. 951. Wooldridge, H. E. 1103, 2, 155. Worsthorne, S. T. 1397. Wotquenne, A. 154, 163, 1603. Wustmann, R. 285. Wyzewa, T. de 1524, 26. Wyzewski, T. de 1524.

ts

ee

By (Yang, Y. L.) 236.

Yasserw | 173250: Young,

Weise, D. gg. Weismann, W. 691. Welch, R. D. 1806. Wellek, A. 1823. Wellesz, E. 259, 519, 522, 590, 1099, 1179, 1214, 1395, 1778, 1812. Wely, P. van 14, 15. Werfel, F. 1530.

Zach, J. 1912, 1915, 1946.

Wert, G. 407, 784, 160. Wessell, E. T. 1897, 175.

1033,

Xauatypan, A. V1. (yatSaturjan, A. 1.) 248.

Weinmann, A, 168, 181, 1523. Weinmann, K. 1000. Weinrich, C. 18.

Werner, E. 1220. Werra, E. von 686.

5

I. 1go00.

Young, P. M. 1330.

Zagiba, F. 1836.

Zahn, J. 502. Zaminer, F. 1203. Zarlino, G. 1156, 7. Zelter, K. F. 1028, 1610,

1611, 29.

Zenck, H. 458, 785, 969. Zingel, H. J. 992. Zingerle, H. 958. Zulauf, M. 634. Zumsteeg, J. KR. 1612, 1613, 29. Zuth, J. 966.

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