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TAGBAU

Music Preferred. Essays in Musicology, Cultural History and Analysis in Honour of Harry White

Lorraine Byrne Bodley (Ed.), Wien: Hollitzer Verlag, 2018, 784 p., 17 x 24 cm, English, Hardcover with dust jacket

ISBN 978-3-99012-401-7 (hbk) € 89,00
ISBN 978-3-99012-403-1 (epub) € 79,99 - demnächst erhältlich u.a. bei Amazon, iTunes
ISBN 978-3-99012-402-4 (pdf) € 79,99 - demnächst erhältlich u.a. bei Amazon, iTunes


 

 

The contributions to this Festschrift, honouring the distinguished Irish musicologist Harry White on his sixtieth birthday, have wide repercussions and span a broad timeframe. But for all its variety, this volume is built around two axes: on the one hand, attention is focussed on the history of music and literature in Ireland and the British Isles, and on the other, topics of the German and Austrian musical past. In both cases it reflects the particular interest of a scholar, whose playful, sometimes unconventional way of approaching his subject is so refreshing and time and again leads to innovative, surprising insights. It also reflects a scholar, who – for all the broadening of his perspectives that has taken place over the years – has always adhered to the strands of his scholarly preoccupations that have become dear to him: the music of the ‘Austro-Italian Baroque’, and Irish musical culture first and foremost. An international cast of authors announces the sustaining influence of Harry White’s wide-ranging research.

 

Professor Dr Thomas Hochradner

Chair of the Department of Musicology

University of Music and Dramatic Arts Mozarteum Salzburg

 

 

 

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 Jarnović,
an 18th-Century Itinerant Violin Virtuoso

 

Jan Smaczny (Queen’s University Belfast): Antonín Dvořák 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


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