MÚSICA

Indice: Introduction - Singing Schubert's praises: the voice of Vogl in Schubert's early history - 'A word will often do it': harmonic adventure in Schubert's songs - Music theory and the musicological imagination: perceptions of Schubert's sonata form - Analyzing music theory: a Schubertian critique - Epilogue.

Indice: J. F. Fulcher: Introduction: Defining the new cultural history of music, its origins, methodologies, and lines of inquiry - 1. Cultural Identity and its Expression: Constructions, Representations, and Exchanges. Constructions or Representations of the Body, Gender, Sexuality, and Race: J. Borders: Gender, performativity, and allusion in medieval services for the consecration of virgins - R. Leppert: Music, violence, and the stakes of listening - A. Dorschel: Music and pain - Subjectivity and the Shaping of the Self in Society: J. E. Toews: «The road into the open»: from narrative closure to the endless performance of subjectivity in Mahler and Freud at the Turn of the Century - J. Brown: Understanding Schoenberg as Christ - M. Beckerman: The strange landscape of Middles - Nationalism, Cosmopolitanism, and Transnationalism: P. Ther: The genre of national opera in a european comparative perspective - W. Weber: Cosmopolitan, national, and regional identities in eighteenth-century european musical life - C. Applegate: Mendelssohn on the road: music, travel, and the anglo-german symbiosis - Elite and Popular Cultural Exchanges: C. H. Garrett: «Sooting the keys»: musical horseplay and high culture - J. Waeber: Yvette Guilbert and the revaluation of the Chanson populaire and Chanson ancienne during the Third republic, 1889-1914 - A. Fry: Remembrance of jazz past: Sidney Bechet in France - 2. Cultural Experience: practices, Appropriations, and Evaluations. Urban, Aural, and Print Culture: E. Muir: An evening at the opera in seventeenth-century Venice - K. van Orden: Josquin des Prez, Renaissance historiography, and the cultures of print - J. F. Fulcher: From «the voice of the Maréchal» to musique concrète: Pierre Schaeffer and the case for cultural history - Symbols, Icons, and Sites of Collective Memory or Ritual: J. S. C. Lam: A matter of style: state sacrificial music and cultural-political discourse in southern Song China (1127-1279) - C. Sorba: Ermani hats: italian opera as a repertoire of political symbols during the risorgimento - J. Hepokoski: Modalities of national identity: Sibelius builds a first symphony - Politics, Aesthetics, and Transmission: L. Plantinga: Beethoven, Napoleon, and political romanticism - P. V. Bohlman: Translating Herder translating: cultural translation and the making of modernity - L. Botstein: The eye of the needle: music as history after the age of recording - M. P. Steinberg: Afterword: Whose culture? Whose history? Whose music?

Indice: Introduction - How the investigation was carried out - General points about the accounts - Experiences during childhood - Experiences during teenage years - When music takes over - Merging with the music - Feeling light, floating, leaving one's body - Inner music - Inner images - Feelings / Emotion - Music and existence - Music and transcendence - Music and religious experiences - New insights, new possibilities - Confirmation through music - Music as therapy - When performing music oneself - Singing in a choir - Music in love - happy and unhappy - Music in connection with illness and death - Music at funerals - Music in Nature - Music from and in other cultures - Music at concerts. Classical music - Music at concerts. Jazz - Music at concerts. Pop and rock - Metaphors and similes - Survey of all reactions - Music in SEM - What in the music elicited the reactions? - Causes, consequences and importance - Overview, comparisons, questions, outlooks - Postscript to the Swedish edition - Appendices: A descriptive system for Strong Experiences with Music - An example of analysis of an account.

Indice: Introduction - Part I. Repertory, Sources, Style: The Beneventan Chant - Notes on a census of Beneventan manuscripts - Music of Benevento cathedral - Part II. Individual Sources: Palimpsest evidence of an Old-Beneventan gradual - Montecassino and the Old Beneventan chant - Beneventan fragments at Altamura - A musical fragment at Bisceglie containing an unknown Beneventan office - A Beneventan borrowing in the Saint Cecilia gradual - New Beneventan liturgical fragments in Lanciano, Lucera, and Penne containing further evidence of the Old Beneventan chant - New evidence of the Old Beneventan chant - Part III. Context: The oldest musical notation at Montecassino - Abbot Desiderius and the two liturgical chants of Montecassino - Beneventan liturgy and music in Tuscany: Lucca, Biblioteca Capitolare Feliniana ms. 606 - Non-Gregorian music in an antiphoner of Benevento - A Beneventan notated breviary in Naples (Archivio Storico Diocesano, Fondo Ebdomadari, Cod. Misc. 1, fasc. VII) - Musical relations between Venice and Benevento - Tradition and innovation in the antiphoner Benevento 848.

Indice: Un tiempo enloquecido - Grandeza de espíritu - Infringir las reglas - El sajón o el diablo - El genio y el niño - El hombrecillo de Salzburgo - Establecer las reglas - Un oso sin lamer - La segunda infancia de Mozart - Los excluidos - Otra vez Beethoven - El genio y el género - Reconstruir el genio.

Indice: Introduction: T. Knighton: A heart of pure gold - Prelude: I. Moody: Ayo visto lo Mappamundi: working with Bruno Turner - Sources and Repertories: M. Noone: A sixteenth-century manuscript choirbook of polyphony for vespers at Toledo cathedral by Andrés de Torrentes (c. 1510-80) - J. P. d'Alvarenga: Manuscripts Oporto, Biblioteca pública municipal, MM 40 and MM 76-79: their origin, date, repertories and context - J. Ruiz Jiménez: The Unica in MS 975 of the Manuel de Falla library: a music book for wind band - D. Kirk: A tale of two queens, their music books and the village of Lerma - J. C. Asensio: The vicissitudes of some printed fragments of polyphony - N. O'Regan: Music prints by Cristóbal de Morales and Tomás Luis de Victoria in surviving roman inventories and archival records - Music and Liturgy: G. Olson: Two post-tridentine lamentation chants in eastern Spain - M. B. O'Connor: Juan de Esquivel's 'Ave Maris Stella' (a 4): observations on the spanish polyphonic hymn repertory - B. Nelson: A polyphonic hymn cycle in Coimbra - E. Esteve: Performance contexts for the magnificat in the Iberian Peninsula in the sixteenth century - O. Rees: 'Jesu redemptor': polyphonic funerary litanies in Portugal - T. Knighton: Music for the dead: an early sixteenth-century anonymous requiem mass - Motets and Musical Tributes: K. Kreitner: Peñalosa, 'Precor te', and us - M. Ham: 'Rex autem': another iberian lament in Rhau's Symphoniae jucundae? - C. Diego Pacheco: Unedited motets by a little known composer: Alonso Ordóñez - E. Ros-Fábregas: A sixteenth-century ostinato motet for Barcelona's patroness saint Eulalia - R. Stevenson: Musical tributes to an attributed apparition of the Virgin in Spain and in Mexico - Postlude: L. Gago: Pure passion: a conversation with Bruno Turner.

Indice: Theory, method and conventions - Historical background of the tonus peregrinus in monophonic practice - Singled out as a model: the tonus peregrinus in polyphony before 1500 - The role of the tonus peregrinus in the extended modal systems of Glareanus and Zarlino - The rise of an idiom: the tonus peregrinus in French court liturgies of the 16th century - Ambitious obbligo or lack of invention: the tonus peregrinus in Italian-speaking areas during the 16th century - Liberty with rigour: the tonus peregrinus in 16th-century Iberian music - Total thematicism and multi-texted motets: the tonus peregrinus in 16th-century Roman Catholic liturgies of Northern and Central Europe - Mit Szonderlicher Ziemlicher Weisz: the tonus peregrinus in 16th-century Lutheranism - In Faburden and upon Faburden: the tonus peregrinus in 16th-century English liturgies - One applied and one discreet method: the tonus peregrinus in Roman Catholicism 1600-1750 - A hand-maiden of many different voices: the tonus peregrinus in Lutheranism 1600-1750 - The continuing tradition: the tonus peregrinus in music after 1750.

Indice: Introducción - La influencia de Feuerbach en Wagner - El drama musical wagneriano: la reforma de la ópera - El espejismo de Schopenhauer - La aventura entre Nietzsche y Wagner - El formalismo puro: calidoscopio de arabescos sonoros - Bibliografía.

Indice: Introduction: Devotion to the Virgin and Earthly Love - The Assumption Story in Two Thirteenth-Century Motet Families - Springtime and Renewal over the In seculum Tenor - Guillaume Dufay's Vergene bella, the Cantilena Motet, and the Italian Lyric Tradition - Walter Frye's Ave.