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Friedrich Chrysander
Friedrich Chrysander zählt zu den prägenden Musikwissenschaftlern des 19. Jahrhunderts. Er realisierte im Alleingang die erste Händel-Gesamtausgabe, hinterließ eine Händel-Monumentalbiographie, begründete die Denkmäler der Tonkunst, die Jahrbücher für die musikalische Wissenschaft und gemeinsam mit Philipp Spitta und Guido Adler die Vierteljahrsschrift für Musikwissenschaft. Mit instruktiven Notenausgaben und gezielter Einflussnahme auf das Musizieren Händel'scher Werke darf er darüber hinaus als einer der Ahnherren der historisch informierten Aufführungspraxis gelten. Der Band versammelt Beiträge zu Chrysanders Wirken als Musikwissenschaftler, zu Biographik, Edition, Philologie und Aufführungspraxis. Einem neuerdings bekannt gewordenen Teilnachlass verdanken sich weitreichende Einblicke in Chrysanders wissenschaftliche und künstlerische Netzwerke. Unter den über 600 unbekannten Briefen befinden sich 47 von Johannes Brahms, die nun erstmals in einer ausführlich kommentierten Edition vorliegen.
The Cambridge Companion to Handel
A Companion to one of the principal creative figures in Baroque music.
Recomposing German Music
This book is a social history of musical life in Berlin; it investigates the tangled relationship between music and politics in 20th-century Germany, emphasizing the division of Berlin’s musical community between east and west in the early Cold War era.
Lateness and Brahms
Lateness and Brahms takes up the fascinating, yet understudied problem of how Brahms fits into the culture of turn-of-the-century Vienna. Brahms's conspicuous and puzzling absence in previous scholarly accounts of the time and place raises important questions, and as Margaret Notley demonstrates, the tendency to view him in neutralized, ahistorical terms has made his music seem far less interesting than it truly is.In pursuit of an historical Brahms, Notley focuses on the later chamber music, drawing on various documents and perspectives, but with particular emphasis on the relevance of Western Marxist critical traditions.
Musical Lives and Times Examined
"A gathering chiefly of talks given either by invitation or at conferences throughout the world over the last quarter century. The topics range widely, but recurrent themes include the place of classical music in contemporary society and culture, the fraught relationship between aesthetics and ethics, and the responsibilities of scholarship in an age of spin"--
Queering the Pitch
When the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.
A History of the Oratorio: The oratorio in the nineteenth and twentieth centuries
With this volume, Howard Smither completes his monumental History of the Oratorio. Volumes 1 and 2, published by the University of North Carolina Press in 1977, treated the oratorio in the Baroque era, while Volume 3, published in 1987, explored th
The Canon and the Curricula
After a century of trial-and-error in the task of defining itself, the discipline of musicology had gradually gained a hard-won place on American university campuses. Now the musicological curriculum is being challenged by such phenomena as political correctness, questioning the canon, and ethnomusicological expansions or contractions of the traditional boundaries of historical musicology. These challenges are caused, says the author of this book, by the most powerful social force of our time-namely, the ambition to foster or restore individual cultural, ethnic, and political identities. Step by step, Professor Helm has shown the importance of upgrading undergraduate music programs. Graduate training in musicology would make a quantum leap ahead if `undergraduate' curricula in music were properly overhauled to make room for that rare undergraduate who is gifted as both musician and scholar.... If the current E-mail of American musicologists is any indication, the topic of the musical canon is hotter than ever.
