Essays in Musicology, Cultural History and Analysis in Honour of Harry White
E-Book, Englisch, 784 Seiten, Format (B × H): 170 mm x 240 mm
ISBN: 978-3-99012-403-1
Verlag: Hollitzer
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CONTENTS
NOTES ON CONTRIBUTORS
FOREWORD by Gerard Gillen (Maynooth University and Titular
Organist, St. Mary’s Pro-Cathedral)
INTRODUCTION by Lorraine Byrne Bodley (Maynooth University)
and Robin Elliott (University of Toronto)
PART ONE: THE MUSICAL BAROQUE
Julian Horton (Durham University): J. S. Bach’s Fugue in C sharp minor,
Well-Tempered Clavier, Book I and the Autonomy of the Musical Work
Lorenz Welker (Ludwig-Maximilians-Universität, Munich):
Johann Joseph Fux’s Sonata à 4 in G (K. 347): Further Considerations on its Source, Style, Context and Authorship
Tassilo Erhardt (Liverpool Hope University): Johann Joseph Fux’
Church Music in its Spiritual and Liturgical Contexts
Jen-yen Chen (National Taiwan University):
The Musical Baroque in China: Interactions and Conf licts
Denis Collins (The University of Queensland, Australia):
Canon in Baroque Italy: Paolo Agostini’s Collections of Masses, Motets and Counterpoints from 1627
PART TWO: MUSIC IN IRELAND
Kerry Houston (DIT Conservatory of Music and Drama):
John Mathews: A Specimen of Georgian Ignorance?
Ita Beausang (DIT Conservatory of Music and Drama): There is a calm
for those who weep: William Shore’s New Edition of a Chorale by John [sic] Sebastian Bach
Axel Klein (Frankfurt): “No, Sir, the Irish are not musical”:
Some Historic (?) Debates on Irish Musicality
Adrian Scahill (Maynooth University): “That vulgar strummer”:
The Piano and Traditional Music in the Gaelic Revival
Maria McHale (DIT Conservatory of Music and Drama):
“Hopes for regeneration”: Opera in Revivalist Dublin, 1900–1916
Karol Mullaney-Dignam (University of Limerick):
“What do we mean by Irish music?” The Politics of State-Sponsored Music Publication in Independent Ireland
Ruth Stanley (Cork Institute of Technology): “Jazzing the soul of the
Nation away”: The Hidden History of Jazz in Ireland and Northern Ireland During the Interwar Years
Gearóid Ó hAllmhuráin (Concordia University Montreal): Sonic Icon,
Music Pilgrimage: Creating an Irish World Music Capital
Méabh Ní Fhuartháin (NUI Galway): “In the mood for dancing”:
Emigrant, Pop and Female
Gareth Cox (Mary Immaculate College,University of Limerick):
Aloys Fleischmann’s Games (1990)
Denise Neary (Royal Irish Academy of Music): The Development of
Music Performance as Artistic Research in Ireland
Michael Murphy (Mary Immaculate College, University of Limerick):
“Irish” Musicology and Musicology in Ireland: Grattan Flood,
Bewerunge, Harrison, White
PART THREE: MUSIC AND LITERATURE
Declan Kiberd (University of Notre Dame): The New Policeman
Gerry Smyth (Liverpool John Moores University):
Moore, Wagner, Joyce: Evelyn Innes and the Irish Wagnerian Novel
John O’Flynn (Dublin City University): Alex North, James Joyce,
and John Huston’s The Dead (1987)
Patrick Zuk (Durham University): L’ami inconnu: Nataliya Esposito and
Ivan Bunin
PART FOUR: AUSTRO-GERMANIC TRADITIONS
Michael Hüttler (Don Juan Archiv, Vienna): Hof- and Domkapellmeister
Johann Joseph Friebert (1724–1799) and his Singspiele
Anne Hyland (University of Manchester): Tautology or Teleology?
Reconsidering Repetition and Difference in Two Schubertian Symphonic First Movements
Susan Youens (University of Notre Dame): Of Anthropophagy,
the Abolitionist Movement, and Brahms: An unlikely Conjunction
Shane McMahon (UCD Humanities Institute): The Moth-Eaten Musical
Brocade: Narrative and the Limits of the Musical Imagination
David Cooper (University of Leeds): Die zweite Heimat: Musical Personae in a Second Home
Glenn Stanley (University of Connecticut): Brechtian Fidelio
Performances in West Germany: 1968 to the New Millennium
Nicole Grimes (University of California, Irvine): Brahms as a Vanishing
Point in the music of Wolfgang Rihm: Reflections on Klavierstück Nr. 6
PART FIVE: MUSIC IN BRITAIN
Pauline Graham (Griffith College): Intimations of Eternity in the Creeds
from William Byrd’s Five-Voice Mass and Great Service
John Cunningham (Bangor University): “An Irishman in an opera!”:
Music and Nationalism on the London Stage in the Mid–1770s
Jeremy Dibble (Durham University): Canon Thomas Hudson, Clergyman
Musician, Cambridge Don and the Hovingham ‘Experiment’
William A. Everett (University of Missouri – Kansas City):
The Great War, Propaganda, and Orientalist Musical Theatre: The Twin Histories of Katinka and Chu Chin Chow
Richard Aldous (Bard College): “Flash Harry”: Sir Malcolm Sargent
and the Progress of Music in England
PART SIX: MUSIC HISTORIES WORLDWIDE
Philip V. Bohlman (University of Chicago): Worlds Apart:
Resounding Selves and Others on Islands of Music History
Ivano Cavallini (University of Palermo): A Counter-Reformation
Reaction to Slovenian and Croatian Protestantism:
The Symbol of St. Athanasius in a Creed of 1624
Stanislav Tuksar (University of Zagreb): Musical Prints from c.1750–1815
in the Dubrovnik Franciscan Music Collection (HR-Dsmb)
Vjera Katalinic (Croatian Academy of Sciences and Arts, Zagreb):
Routes of Travels and Points of Encounters Observed Through Musical
Borrowings: The Case of Giovanni Giornovichi/Ivan Jarnovic,
an 18th-Century Itinerant Violin Virtuoso
Jan Smaczny (Queen’s University Belfast): Antonín Dvorák in the Salon:
A Composer Emerges from the Shadows
Jaime Jones (University College Dublin): Singing the Way:
Music as Pilgrimage in Maharashtra
PART SEVEN: MUSIC AND POETRY
John Buckley (Dublin City University): A Setting of Harry White’s
Sonnet Bardolino from Polite Forms (2012) for Baritone and Piano
AFTERWORD by Iain Fenlon (King’s College Cambridge)
HARRY WHITE: LIST OF PUBLICATIONS
NOTES ON CONTRIBUTORS
Richard Aldous the Eugene Meyer Chair and Professor of History at Bard College, New York, is the author and editor of eleven books, including a life of the conductor Malcolm Sargent and, most recently, Schlesinger: The Imperial Historian. His writing appears regularly in the Wall Street Journal, the New York Times Book Review, and The American Interest, where he is a contributing editor. He previously taught at UCD for fifteen years. Ita Beausang is a music graduate of University College Cork and Emeritus lecturer at DIT Conservatory of Music and Drama. Her main research interests centre on music education and contextual studies of music in Ireland in the eighteenth and nineteenth centuries. Her book Anglo-Irish Music 1780–1830 is the standard work of the period. She acted as research assistant to Professor Aloys Fleischmann for his chapter in the New History of Ireland vol. 6 and has contributed articles to Irish Musical Studies vols. 5 and 9. In 2010 she was awarded honorary life membership of the Society for Musicology in Ireland. She was an Advisory Editor for the Encyclopaedia of Music in Ireland and her book Ina Boyle (1889–1967): A Composer’s Life will be published by Cork University Press in 2018. Philip V. Bohlman is Ludwig Rosenberger Distinguished Service Professor in Jewish History in the Department of Music at the University of Chicago, where he is also artistic director of the New Budapest Orpheum Society. His research ranges widely across religious, racial, and cultural encounter in Europe, North America, the Middle East, and South Asia. He is Honorarprofessor at the Hochschule für Musik, Theater und Medien Hannover, a Fellow of the American Academy of Arts and Sciences, and a Corresponding Fellow of the British Academy. Among his recent books are Jewish Music and Modernity (Oxford University Press), Hanns Eisler – In der Musik ist es anders (with Andrea F. Bohlman; Hentrich & Hentrich), and Song Loves the Masses: Herder on Music and Nationalism (with Johann Gottfried Herder; University of California Press), and the CDs, Jewish Cabaret in Exile and As Dreams Fall Apart (Cedille Records). John Buckley was born in Templeglantine, Co. Limerick in 1951. He studied flute with Doris Keogh and composition with James Wilson, Alun Hoddinott and John Cage. Buckley’s output now exceeds 100 works, which have been performed in over fifty countries worldwide and have been issued on over twenty CDs. He has been awarded both a PhD and a DMus by the National University of Ireland. A monograph on his life and work, Constellations: The Life and Music of John Buckley by Benjamin Dwyer, was published in May 2011 by Carysfort Press. He is a member of Aosdána, Ireland’s state sponsored academy of creative artists and was senior lecturer at St Patrick’s College, Dublin City University from 2001 to 2017. Lorraine Byrne Bodley is Senior Lecturer in Musicology at Maynooth University. She is the author and editor of 14 books including: Goethe and Zelter: Musical Dialogues (2009); The Unknown Schubert (2007) and Schubert’s Goethe Settings (2003). Recent publications include Music in Goethe’s Faust: Goethe’s Faust in Music (Boydell and Brewer, 2017); Schubert’s Late Music: History, Theory, Style (Cambridge University Press, 2016) and Rethinking Schubert (Oxford University Press, 2016), co-edited with Julian Horton, and a special Schubert edition of Nineteenth Century Music Review co-edited with James Sobaskie. She is currently writing a new biography of Schubert commissioned by Yale University Press. Recent awards include a DMUS in Musicology, a higher doctorate on published work (NUI, 2012); two DAAD Senior Academic Awards (2010 and 2014) and a Gerda-Henkel Foundation Scholarship (2014). In 2015 she was elected President of the Society for Musicology in Ireland and Member of The Royal Irish Academy. Ivano Cavallini is associate professor of musicology and past co-ordinator of the PhD in European Cultural Studies/Europäische Kulturstudien at the University of Palermo. After the graduation at the university of Padua and the postgraduate studies at the university of Bologna, he received his PhD at the university of Zagreb. He is a member of the advisory boards of the periodicals Recercare (Rome), Arti Musices (Zagreb), De Musica Disserenda (Ljubljana). His research is focused on the connection between Italian music and Slavic cultures of Central and Southern Europe. Other areas of study are music historiography and incidental music of sixteenth-century Italian theatre. He has written four books: Musica, cultura e spettacolo in Istria tra il Cinquecento e il Seicento, Florence: L. S. Olschki, 1990; I due volti di Nettuno: teatro e musica a Venezia e in Dalmazia dal Cinquecento al Settecento, Lucca: Libreria Musicale Italiana, 1994, selected for the award “Viareggio”; Il direttore d’orchestra: genesi e storia di un’arte”, Venice: Marsilio 1998, awarded the prize “Città di Iglesias”; Istarske glazbene teme i portreti od 16. do 19.stoljeca [Themes and Portraits of Music in Istria from the Sixteenth to Nineteenth Centuries] (Pula: Cakavski sabor, 2007). Between 2002 and 2007 he was a member of the Levi Foundation in Venice. In 2012 he was appointed honorary member of the Croatian Musicological Society. Jen-yen Chen received his PhD from Harvard University in historical musicology and is currently Associate Professor of the Graduate Institute of Musicology at National Taiwan University. His research interests include music in eighteenth-century Austria and the history of musical interactions between Europe and East Asia. He has published articles in Eighteenth-Century Music, The Journal of Musicological Research, Musiktheorie, and Ad Parnassum, chapters for The Cambridge History of Eighteenth-Century Music and About Bach (essays for Christoph Wolff), and volumes of music for the complete works edition of Johann Joseph Fux and A-R Editions. Denis Collins studied Music at University College Dublin where he had the privilege in his final year to take lectures with Harry White who had just started as a Junior Lecturer in the Department (as it was then) of Music. Harry’s warmth and brilliance as an educator and his unstinting support and mentorship were invaluable to an aspiring scholar, while Harry’s research trajectory inspired vigorous and inquisitive musicological enquiry amongst all who came into contact with him. Denis Collins completed a PhD in Musicology at Stanford University and is currently a Senior Lecturer at the University of Queensland, Australia. His research interests are in canon and related contrapuntal procedures in Western music before 1800. He has been an Associate Investigator with the Australian Research Council’s Centre of Excellence for the History of Emotions in Europe, 1100–1800, and he is a Chief Investigator in an Australian Research Council Discovery Grant that is examining canonic techniques and musical change, c.1330–c.1530. Recent and forthcoming articles are in Music Analysis, Musicology Australia, BACH, and Musica Disciplina. He is the author of the article on Counterpoint in Oxford Bibliographies Online, and he has contributed to the chapter on music and dance in the Bloomsbury Cultural History of Emotions, volume 3, 1300–1600. David Cooper is Professor of Music at the University of Leeds. His research is underpinned by an interest in music’s communicative power, whether considered in relation to film scores by composers such as Bernard Herrmann, Seán Ó Riada, Trevor Jones, Michael Nyman, and Nikos Mamangakis, to the music of Béla Bartók or to the repertoire of traditional Irish music. He is also interested in approaches to music that are influenced by science and technology, whether as analytical tools or critical models, in particular through mathematics and computing. Among the nine books he has authored or edited are volumes on scores by Herrmann and Bartok, and the musical traditions of Northern Ireland. His recent monograph on Béla Bartók for Yale University Press has received critical acclaim. He has recently completed a large-scale project funded by the UK Arts and Humanities Research Council on the music of film composer Trevor Jones. Gareth Cox is Senior Lecturer in Music and Head of the Department of Music at Mary Immaculate College, University of Limerick. He is co-editor of volumes 7 and 11 of the Irish Musical Studies series (with Axel Klein and Julian Horton respectively), The Life and Music of Brian Boydell (with Axel Klein and Michael Taylor), and author of Seóirse Bodley (Field Day Publications, 2010). He was a subject editor for The Encyclopaedia of Music in Ireland and is currently Executive Editor of the Journal of the Society for Musicology in Ireland. John Cunningham is a Senior Lecturer in Music at the School of Music, Bangor University. He completed his BMus and MA at UCD, and PhD at the University of Leeds. His research centres on secular music in Britain and Ireland, c.1600–1800. He is the author of The Consort Music of William...
