NOVEDADESMSICA ABRIL 2013

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01 A. BOMBI

ENTRE TRADICINY MODERNIDAD

El italianismo musicalen Valencia (1685-1738)

Volumen 1

2012 654 pp., 1 CD-ROM, not. 40,00NDICE: Presentacin Introduccin Primera parte: quantos msicos hava en Valencia:las capillas musicales en la ciudad de Valencia con mil modos y differencias de msicas: elReal convento de predicadores en el sistema productivo musical a uso de Italia: pocas vocesy muchos instrumentos: las capillas de msica y el italianismo Segunda parte: trobas queme pidieron los cantores: fuentes literarias para la historia musical Una diversin devotay racional: el villancico y otros gneros devocionales lo substancial del concepto: aspectosde las relaciones entre letra y msica en villancicos del siglo XVII una pera a lo divino, todacantada: villancicos representativos, recitados y oratorios completado de estribillo, recitadoy aria: el villancico-cantata Tercera parte: los que hazen villansicos tan bien hazenacademias: la prctica musical en la Academia de Valencia esta moda de comedias ha venidode Italia: pera e italianismo las peras son de msica: el repertorio Conclusiones Bibliografa ndice analtico.

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02 L. FRASSA / M. NICCOLAI, EDS.

VERDI RECEPTION2013 300 pp. 130,00

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03 G. HEALEY

MESSIAENSMUSICAL TECHNIQUES

The Composers View and Beyond2013 224 pp., 20 fig., 40 not., 35 tabl. 71,50

NDICE: Introduction The theoretical and analytical writings of Messiaen Theoreticaland written sources; Extra-musical influences The influence of Debussy and Stravinsky Rhythmic evolution Harmonic evolution; Harmony: an alternative perspective; Form Implementation of analytical methodology Conclusion.

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04 M. HUNTER / R. WILL, EDS.

ENGAGING HAYDNCulture, Context, and Criticism2012 362 pp., 93 not., 9 tabl. 76,75

NDICE: Introduction: M. Hunter / R. Will Part I. Cultures of Vocal Music: Fantasy island:Haydns metastasian Reform opera: E. Sisman Haydn invents Scotland: R. Will HaydnsEnglish canzonettas in their local context: K. Komls Revolution, rebirth and the sublimein Haydns Lanima del filosofo and The Creation: C. Clark Achieved is the gloriouswork: the creation and the choral work concept: N. Mathew Part II. Analytical Readingsand Rereadings: Imagination, continuity, and form in the first movements of Haydns Opus 77Quartets: L. Lockwood Does Haydn have a C-minor mood?: J. Waldoff Form, rhetoric,and the reception of Haydns Rondo Finales: M. Fillion Haydn and the Metamorphoses ofOvid: P. Polzonetti Credo ut intelligam: Haydns reading of the Credo text: T. Beghin Part III. Performance: Haydns string quartet fingerings: communications to performer andaudience: M. Hunter Haydns orchestras and his orchestration to 1779, with an excursus onthe times of day symphonies: N. Zaslaw.

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05 C. C. JUDD

MUSICAL THEORYIN THE RENAISSANCE

2013 634 pp. 230,00NDICE: Introduction Part I. Terms and Topics: Resfacta and Cantare Super Librum, M.Bent On compositional process in the 15th century, Bonnie J. Blackburn On diminutionand proportion in 15th-century music theory, R. I. DeFord Is mode real? Pietro Aron, theoctenary system, and polyphony, H. Powers Renaissance modal theory: theoretical,compositional, and editorial perspectives, C. C. Judd Part II. Influences and Authorities:

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Renaissance music theory as literature: on reading the Proportionale Musices of IohannesTinctoris, R. Woodley Aristoxenus redeemed in the Renaissance, C. V. Palisca Modesand planetary song: the musical alliance of ethics and cosmology, G. Tomlinson Defendingthe Dodecachordon: ideological currents in Glareans modal theory, S. Fuller HeinrichGlarean reading and editing Boethius, I. M. Groote Part III. Life and Works of IndividualTheorists: The tradition and science: the Istitutioni harmoniche of Gioseffo Zarlino, P. da Col Introduction, M. R. Maniates Part IV. National Traditions and Dissemination: Lutetablature instructions in Italy: a survey of the regole from 1507 to 1759, D. Fabris DeutscheMusiktheorie im 16. Jahrundert: Geistes- und institutionsgeschichtliche Grundlagen, K. W.Niemller You can tell a book by its cover: reflections on format in English music theory,J. A. Owens La diffusion de textes thoriques franais la renaissance, P. Vendrix Musicand music theory in the universities of Central Europe during the 15th century, T. R. Ward The dissemination and use of European music books in early modern Asia, D. R.M. Irving.

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06 S. LIANO

WHOSE SPAIN?Negotiating Spanish Music

in Paris, 1908-19292012 360 pp. 48,75

NDICE: Introduction Part I. Spanish music as propaganda: Spanish music as alliedpropaganda Spanish music as Catholic propaganda Part II. Negotiating French andSpanish music: Citizens or Savages?: The Spaniards in Raoul Laparras La jota (1911) Manuel de Fallas La vie brve (1914) and notions of Spanish music Part III. Buildingthe Postwar order: Domesticating Difference?: Carmen and the French canon in the 1920s Showcasing Spain at the Opra Comique: The homage to Falla (1928) Conclusions.

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07 J. LPEZ CALO

LA MSICAEN LAS CATEDRALES

ESPAOLAS2012 719 pp. 40,00

NDICE: C. Villanueva: Prlogo Introduccin: Cinco siglos de msica religiosa espaola 1. La edad media: Los orgenes Los comienzos Las catedrales y sus cabildos Culto ymsica La monoda La polifona. Los instrumentos Las fiestas El Renacimiento: ElRenacimiento Una nueva organizacin musical La polifona en latn La msica encastellano El rgano y su msica Los ministriles y su msica Las fiestas 3. El sigloXVII: El siglo XVII La polifona en latn La polifona en castellano El rgano y sumsica Los ministriles y su msica Culto diario y fiestas 4. El siglo XVIII: El siglo

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XVIII La msica vocal La msica instrumental 5. Siglos XIX y XX: El siglo XIX, 1. Lahistoria El siglo XIX, 2. La msica vocal El siglo XIX, 3. La msica instrumental Elsiglo XX Eplogo.

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08 A. POVES OLIVN

EN TABLAPIEDRA Y PERGAMINOLos instrumentos de rueda

en la Espaa medieval(siglos XII-XV)

2013 207 pp., 84 lm.col. 35,00

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09 J. RODN

JOSQUINS ROMEHearing and Composing

in the Sistine Chapel2013 400 pp., 112 fig. 45,50

NDICE: Introduction Part I. Toward Josquins Style: Methodological Minefields AnObsessive Compositional Personality Part II. Surveying the Soundscape. The CappellaSistina, ca. 1480-ca. 1500: The Repertory The Lingua Franca A Maximalist MusicalMind: Marbrianus de Orto Part III. Josquins Roman Music in Context: Super voces musicalesand the Lhomme arm Tradition Intersections and Borrowings Appendices: Music Copiedinto Cappella Sistina Manuscripts before ca. 1500 Contents of VatS 14 and 51 RelatedRepertories: VerBC 761, BarcOC 5, and VatSP B80 Three Anonymous Da pacem Motets Five Canonic Hymn Settings.

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10 E. TARASTI

SEMIOTICSOF CLASSICAL MUSIC

How Mozart, Brahmsand Wagner Talk to Us2012 xiii + 493 pp. 119,95

NDICE: Preface Prelude: Music A Philosophico-Semiotic Approach Introduction to

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a Philosophy of Music Part I. The Classical Style: Mozart, or, the Idea of a ContinuousAvant-garde Existential and Transcendental Analysis of Music Listening to Beethoven:Universal or National, Classic or Romantic? Part II. The Romantic Era: The irony ofromanticism ein leiser Ton gezogen : Robert Schumanns Fantasie in C major (op.17) in the light of existential semiotics Brahms and the Lyric I: A Hermeneutic SignAnalysis Brnnhildes Choice; or, a Journey into Wagnerian Semiosis: Intuitions andHypotheses Do Wagners leitmotifs have a system? Part III. Rhetorics and Synaesthesias:Proust and Wagner Rhetoric and Musical Discourse The semiosis of light in music: fromsynaesthesias to narratives The implicit musical semiotics of Marcel Proust M. K.iurlionis and the interrelationships of arts iurlionis, Sibelius and Nietzsche: Three profilesand interpretations Part IV. In the Slavonic World: An essay on Russian music Thestylistic development of a composer as a cognition of the musicologist: Bohuslav Martin Postlude I. Do Semantic Aspects of Music Have a Notation? Postlude II. Music SuperiorCommunication.

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11 J. S. WALDEN, ED.

REPRESENTATIONIN WESTERN MUSIC

2013 329 pp., 14 fig., 26 not., 6 tabl. 76,75NDICE: Preface Joshua S. Walden Part I. Representation and the Interpretation of MusicalMeaning: Layers of representation in nineteenth-century genres: the case of one Brahms BalladeM. Gelbart As a stranger give it welcome: musical meanings in 1830s London R. Parker Music is obscure: textless Soviet works and their phantom programmes M. Frolova-Walker Representing Arlen W. Frisch Video cultures: Bohemian Rhapsody, WaynesWorld, and beyond N. Cook Part II. Sound and Visual Representations: Music, Painting,and Dance: 6. On Wings of Song: representing music as agency in nineteenth-century cultureT. Grey Representation and musical portraiture in the twentieth century J. S. Walden Representational conundrums: music and early modern dance D. Caddy Part III. MusicalRepresentations in Opera and Cinema: Allusive representations: homoerotics in Wagners T.L. Dreyfus Der Dichter spricht: self-representation in Parsifal K. Berger Memory andthe leitmotif in cinema G. Biancorosso Self-representation in music: the case of Hindemithsmeta-opera C. H. Danuser, translated by J. B. Robinson Part IV. Music, Representation,and the Concepts of East and West: Doing more than representing Western music R. B. Willson The persistence of Orientalism in the postmodern operas of Adams and Sellars W. A. Sheppard Afterword: what else? R. Taruskin.

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