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Table of Contents
Introduction: Scholarly Inquiry in Historical Musicology: Sources, Methods, Interpretation - Roberta Marvin
A Collaboration between Cipriano de Rore and Baldissera Donato? - Jessie Ann Owens
New Perspectives on Bach's Great Eighteen Chorales - Russell Stinson
Historical Theology and Hymnology as Tools for Interpreting Bach's Church Cantatas - Stephen Crist
Performance Practice Issues That Affect Meaning in Two Bach Instrumental Works - Michael Marissen
Mozart's Mitridate: Going beyond the Text - Ellen T. Harris
Carl Philipp Emanuel Bach and the Aesthetics of Patricide - Richard Kramer
Joseph Haydn's Influence on the Symphonies of Antonio Rosetti - Lawrence F. Bernstein
Reason and Imagination: Beethoven's Aesthetic Evolution - Maynard Solomon
Schubert as Formal Architect: The Quartettsatz, D. 703 - Lewis Lockwood
Sex, Sexuality, and Schubert's Piano Music - Jeffrey Kallberg
"La Belle Execution": Johann Nepomuk Hummel's Treatise and the Art of Playing the Pianoforte - Mark Kroll
"For You Have Been Rebellious against the Lord": The Jewish Image in Mendelssohn's Moses and Marx's Mose - Jeffrey Sposato
Andrea Maffei's "Ugly Sin": The Libretto for Verdi's I masnadieri - Roberta Marvin
Mozart's Piano Concertos and the Romantic Generation - Claudia Macdonald
"Wo die Zitronen bluhn": Re-Versions of Arie antiche - Margaret Murata
Material Culture and Postmodern Positivism: Rethinking the "Popular" in Late Nineteenth-Century French Music - Jann Pasler
Otto Gombosi's Correspondence at the University of Chicago - Laurence Libin
A Collaboration between Cipriano de Rore and Baldissera Donato? - Jessie Ann Owens
New Perspectives on Bach's Great Eighteen Chorales - Russell Stinson
Historical Theology and Hymnology as Tools for Interpreting Bach's Church Cantatas - Stephen Crist
Performance Practice Issues That Affect Meaning in Two Bach Instrumental Works - Michael Marissen
Mozart's Mitridate: Going beyond the Text - Ellen T. Harris
Carl Philipp Emanuel Bach and the Aesthetics of Patricide - Richard Kramer
Joseph Haydn's Influence on the Symphonies of Antonio Rosetti - Lawrence F. Bernstein
Reason and Imagination: Beethoven's Aesthetic Evolution - Maynard Solomon
Schubert as Formal Architect: The Quartettsatz, D. 703 - Lewis Lockwood
Sex, Sexuality, and Schubert's Piano Music - Jeffrey Kallberg
"La Belle Execution": Johann Nepomuk Hummel's Treatise and the Art of Playing the Pianoforte - Mark Kroll
"For You Have Been Rebellious against the Lord": The Jewish Image in Mendelssohn's Moses and Marx's Mose - Jeffrey Sposato
Andrea Maffei's "Ugly Sin": The Libretto for Verdi's I masnadieri - Roberta Marvin
Mozart's Piano Concertos and the Romantic Generation - Claudia Macdonald
"Wo die Zitronen bluhn": Re-Versions of Arie antiche - Margaret Murata
Material Culture and Postmodern Positivism: Rethinking the "Popular" in Late Nineteenth-Century French Music - Jann Pasler
Otto Gombosi's Correspondence at the University of Chicago - Laurence Libin
Reviews
In this book some of the best minds in current musicology explore untrodden territory. They show that the classic source study and the traditional methods of musical analysis are not only alive and kicking, but generating new rich ideas -- some of them controversial, all of them stimulating. --Nicholas Temperley, Professor Emeritus of Musicology, University of Illinois, and author of Bound for America: Three British Composers
Striding onto the stage of the "New Musicology", the seventeen contributors to Historical Musicology proceed to kick in the footlights. Out of the broken glass, they manage to create an approach to the scholarly study of music that recognises that musical scholarship [whatever its methodological imperatives] remains rooted in the study of primary sources, and go on to demonstrate brilliantly how the benefits of the "New" can be combined with the "Old". --Mark Everist, Professor of Music, University of Southampton
Striding onto the stage of the "New Musicology", the seventeen contributors to Historical Musicology proceed to kick in the footlights. Out of the broken glass, they manage to create an approach to the scholarly study of music that recognises that musical scholarship [whatever its methodological imperatives] remains rooted in the study of primary sources, and go on to demonstrate brilliantly how the benefits of the "New" can be combined with the "Old". --Mark Everist, Professor of Music, University of Southampton
