Contents |
Part one: a vision of the field. New musicology: what, wherefore, whither? / William S. Newman -- Part two: medieval texts and provenances. The audio-visual past: musical imagery in Latin poetry, 50 B.C. to A.D. 1050 / Dorothy S. Packer -- On the provenance of Harley 5642 / Charles M. Atkinson -- A second Novalesa troper: the provenance of Rome, Biblioteca Casanatense 3830 / Mark A. Leach -- Part three: music in Renaissance Italy. Music in Ferrara and Mantua in the late fifteenth and early sixteenth centuries: interrelations and influences / William F. Prizer -- Arcadelt and the frottola: the Italianate chanson, ca. 1550 / James Haar -- Part four: the transalpine Renaissance. Fridolin Sicher's tablature and Hans Buchner's method of composition / Thomas Warburton -- New light on a musician's lot at the court of Rudolph II: the case of Philippe de Monte / Lilian Pruett -- Part five: stylistic inquiries in later music. Hidden structures and sonorous symmetries: Ignacio de Jerusalem's concerted masses in eighteenth-century Mexico / Craig H. Russell -- Une musique une, imitative, et particuliere a chaque solemnité: the mass-oratorios of Jean-François Le Sueur / Howard E. Smither -- Bartok's Sixth String Quartet: a new interpretation / Robert Lamar Weaver -- Leonard Bernstein and eclecticism: a preliminary consideration / Paul R. Laird -- Appendix. James Worrell Pruett, scholar, editor, and librarian: a chronological bibliography / Ida Reed. |