Cover Music Preferred

Lorraine Byrne Bodley (ed.): Music Preferred. Essays in Musicology, Cultural History and Analysis in Honour of Harry White, 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
ISBN 978-3-99012-402-4 (pdf) € 79,99

Download Cover
Lorraine Byrne Bodley

Music Preferred

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

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






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)





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





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





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





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





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





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





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)