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…mehr
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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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CONTENTSNOTES ON CONTRIBUTORSFOREWORD by Gerard Gillen (Maynooth University and TitularOrganist, St. Mary's Pro-Cathedral)INTRODUCTION by Lorraine Byrne Bodley (Maynooth University)and Robin Elliott (University of Toronto)PART ONE: THE MUSICAL BAROQUEJulian Horton (Durham University): J. S. Bach's Fugue in C sharp minor,Well-Tempered Clavier, Book I and the Autonomy of the Musical WorkLorenz Welker (Ludwig-Maximilians-Universität, Munich):Johann Joseph Fux's Sonata à 4 in G (K. 347): Further Considerations on its Source, Style, Context and AuthorshipTassilo Erhardt (Liverpool Hope University): Johann Joseph Fux'Church Music in its Spiritual and Liturgical ContextsJen-yen Chen (National Taiwan University):The Musical Baroque in China: Interactions and Conf lictsDenis Collins (The University of Queensland, Australia):Canon in Baroque Italy: Paolo Agostini's Collections of Masses, Motets and Counterpoints from 1627PART TWO: MUSIC IN IRELANDKerry 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 calmfor those who weep: William Shore's New Edition of a Chorale by John [sic] Sebastian BachAxel Klein (Frankfurt): "No, Sir, the Irish are not musical":Some Historic (?) Debates on Irish MusicalityAdrian Scahill (Maynooth University): "That vulgar strummer":The Piano and Traditional Music in the Gaelic RevivalMaria McHale (DIT Conservatory of Music and Drama):"Hopes for regeneration": Opera in Revivalist Dublin, 1900-1916Karol Mullaney-Dignam (University of Limerick):"What do we mean by Irish music?" The Politics of State-Sponsored Music Publication in Independent IrelandRuth Stanley (Cork Institute of Technology): "Jazzing the soul of theNation away": The Hidden History of Jazz in Ireland and Northern Ireland During the Interwar YearsGearóid Ó hAllmhuráin (Concordia University Montreal): Sonic Icon,Music Pilgrimage: Creating an Irish World Music CapitalMéabh Ní Fhuartháin (NUI Galway): "In the mood for dancing":Emigrant, Pop and FemaleGareth Cox (Mary Immaculate College,University of Limerick):Aloys Fleischmann's Games (1990)Denise Neary (Royal Irish Academy of Music): The Development ofMusic Performance as Artistic Research in IrelandMichael Murphy (Mary Immaculate College, University of Limerick):"Irish" Musicology and Musicology in Ireland: Grattan Flood,Bewerunge, Harrison, WhitePART THREE: MUSIC AND LITERATUREDeclan Kiberd (University of Notre Dame): The New PolicemanGerry Smyth (Liverpool John Moores University):Moore, Wagner, Joyce: Evelyn Innes and the Irish Wagnerian NovelJohn 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 andIvan BuninPART FOUR: AUSTRO-GERMANIC TRADITIONSMichael Hüttler (Don Juan Archiv, Vienna): Hof- and DomkapellmeisterJohann Joseph Friebert (1724-1799) and his SingspieleAnne Hyland (University of Manchester): Tautology or Teleology?Reconsidering Repetition and Difference in Two Schubertian Symphonic First MovementsSusan Youens (University of Notre Dame): Of Anthropophagy,the Abolitionist Movement, and Brahms: An unlikely ConjunctionShane McMahon (UCD Humanities Institute): The Moth-Eaten MusicalBrocade: Narrative and the Limits of the Musical ImaginationDavid Cooper (University of Leeds): Die zweite Heimat: Musical Personae in a Second HomeGlenn Stanley (University of Connecticut): Brechtian FidelioPerformances in West Germany: 1968 to the New MillenniumNicole Grimes (University of California, Irvine): Brahms as a VanishingPoint in the music of Wolfgang Rihm: Reflections on Klavierstück Nr. 6PART FIVE: MUSIC IN BRITAINPauline Graham (Griffith College): Intimations of Eternity in the Creedsfrom William Byrd's Five-Voice Mass and Great ServiceJohn Cunningham (Bangor University): "An Irishman iPart One: The Musical Baroque Part Two: Music in Ireland Part Three: Music and Literature Part Four: Austro-Germanic Traditions Part Five: Music in Britain Part Six: Music Histories Worldwide Part Seven: Music and Poetry
CONTENTSNOTES ON CONTRIBUTORSFOREWORD by Gerard Gillen (Maynooth University and TitularOrganist, St. Mary's Pro-Cathedral)INTRODUCTION by Lorraine Byrne Bodley (Maynooth University)and Robin Elliott (University of Toronto)PART ONE: THE MUSICAL BAROQUEJulian Horton (Durham University): J. S. Bach's Fugue in C sharp minor,Well-Tempered Clavier, Book I and the Autonomy of the Musical WorkLorenz Welker (Ludwig-Maximilians-Universität, Munich):Johann Joseph Fux's Sonata à 4 in G (K. 347): Further Considerations on its Source, Style, Context and AuthorshipTassilo Erhardt (Liverpool Hope University): Johann Joseph Fux'Church Music in its Spiritual and Liturgical ContextsJen-yen Chen (National Taiwan University):The Musical Baroque in China: Interactions and Conf lictsDenis Collins (The University of Queensland, Australia):Canon in Baroque Italy: Paolo Agostini's Collections of Masses, Motets and Counterpoints from 1627PART TWO: MUSIC IN IRELANDKerry 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 calmfor those who weep: William Shore's New Edition of a Chorale by John [sic] Sebastian BachAxel Klein (Frankfurt): "No, Sir, the Irish are not musical":Some Historic (?) Debates on Irish MusicalityAdrian Scahill (Maynooth University): "That vulgar strummer":The Piano and Traditional Music in the Gaelic RevivalMaria McHale (DIT Conservatory of Music and Drama):"Hopes for regeneration": Opera in Revivalist Dublin, 1900-1916Karol Mullaney-Dignam (University of Limerick):"What do we mean by Irish music?" The Politics of State-Sponsored Music Publication in Independent IrelandRuth Stanley (Cork Institute of Technology): "Jazzing the soul of theNation away": The Hidden History of Jazz in Ireland and Northern Ireland During the Interwar YearsGearóid Ó hAllmhuráin (Concordia University Montreal): Sonic Icon,Music Pilgrimage: Creating an Irish World Music CapitalMéabh Ní Fhuartháin (NUI Galway): "In the mood for dancing":Emigrant, Pop and FemaleGareth Cox (Mary Immaculate College,University of Limerick):Aloys Fleischmann's Games (1990)Denise Neary (Royal Irish Academy of Music): The Development ofMusic Performance as Artistic Research in IrelandMichael Murphy (Mary Immaculate College, University of Limerick):"Irish" Musicology and Musicology in Ireland: Grattan Flood,Bewerunge, Harrison, WhitePART THREE: MUSIC AND LITERATUREDeclan Kiberd (University of Notre Dame): The New PolicemanGerry Smyth (Liverpool John Moores University):Moore, Wagner, Joyce: Evelyn Innes and the Irish Wagnerian NovelJohn 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 andIvan BuninPART FOUR: AUSTRO-GERMANIC TRADITIONSMichael Hüttler (Don Juan Archiv, Vienna): Hof- and DomkapellmeisterJohann Joseph Friebert (1724-1799) and his SingspieleAnne Hyland (University of Manchester): Tautology or Teleology?Reconsidering Repetition and Difference in Two Schubertian Symphonic First MovementsSusan Youens (University of Notre Dame): Of Anthropophagy,the Abolitionist Movement, and Brahms: An unlikely ConjunctionShane McMahon (UCD Humanities Institute): The Moth-Eaten MusicalBrocade: Narrative and the Limits of the Musical ImaginationDavid Cooper (University of Leeds): Die zweite Heimat: Musical Personae in a Second HomeGlenn Stanley (University of Connecticut): Brechtian FidelioPerformances in West Germany: 1968 to the New MillenniumNicole Grimes (University of California, Irvine): Brahms as a VanishingPoint in the music of Wolfgang Rihm: Reflections on Klavierstück Nr. 6PART FIVE: MUSIC IN BRITAINPauline Graham (Griffith College): Intimations of Eternity in the Creedsfrom William Byrd's Five-Voice Mass and Great ServiceJohn Cunningham (Bangor University): "An Irishman iPart One: The Musical Baroque Part Two: Music in Ireland Part Three: Music and Literature Part Four: Austro-Germanic Traditions Part Five: Music in Britain Part Six: Music Histories Worldwide Part Seven: Music and Poetry
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