Musicology

Zur Entstehung und Überlieferung der „Missa graeca" von CHARLES M. ATKINSON Beschäftigt man sich mit Troparen und Gradualien aus dem 10. ... Bei näherer Untersuchung jedoch beginnt die Hypothese einer gallika-nischen Herkunft der Missa graeca Risse zu zeigen. ...

We report on the latests developments in the field of baryonic resonances generated from the meson-baryon interaction in coupled channels using a chiral unitary approach. The collection of resonances found in different strangeness and isospin sectors can be classified into SU(3) multiplets. The Λ(1405) emerges as containing the effect of two poles of the scattering amplitude and various reactions that might preferentially select one or the other pole are discussed.

Editor Científico: Tonny Kerley de Alencar Rodrigues Artigo recebido em 22/08/2016. Última versão recebida em 16/09/2016. Aprovado em 17/09/2016. Avaliado pelo sistema Triple Review: a) Desk Review pelo Editor-Chefe; e b) Double Blind Review (avaliação cega por dois avaliadores da área).

Thanks in part to a fine translation by Oliver Strunk, 1 the Ars cantus mensurabilis of Franco of Cologne is a treatise we all think we know. It is perhaps for this reason that Franco's treatise has been all but ignored in most of the recent discussions of the rhythm of Notre Dame organum. 2 The one noteworthy exception to this is Fritz Reckow's discussion of organum purum in his dissertation on Anonymous iv and in his various articles on organum and related topics in the Handworterbuch der musikalischen Terminologie, in the Schrade Gedenkschrift, and elsewhere. 3 But for Reckow, and presum-*This article is the revised version of a paper delivered at the Annual Meeting of the American Musicological Society, Baltimore, November 1988, and which was presented to Janet Knapp in an unpublished Feslgabe on the occasion of her retirement from Vassar College. 1 O. Strunk, Source Readings in Music History (New York, 1950), pp. 139-59. 2 The interest of scholars has been focused more upon the ideas of Johannes de Garlandia, Anonymous iv and the St Emmeram Anonymous, among the Notre Dame theorists of the mid-to late thirteenth century, or upon the de la Fage Anonymous or the Vatican Organum Treatise in the earlier part of the century. See, for example, E. Roesner's discussion of'Johannes de Garlandia on organum in speciali', Early Music History, 2 (1982), pp. 129-60, and his 'The Performance of Parisian Organum', Early Music, 7 (1979), pp. 174-89. (Roesner's discussion of Franco's term jbratura will be reviewed later in this study.) See also E. H. Sanders, 'Consonance and Rhythm in the Organum of the 12th and 13th Centuries',

When, in the summer of 1976, Bruno Stäblein invited me to prepare an edition of the melodies for the Sanctus and Agnus Dei of the Roman mass, together with their tropes, for the series Monumenta Monodica Medii Aevi, 1 I had to say that I would be happy to do so, but would not be able to work on the project right away because of other commitments. Little did I know that it would be over thirty years, and that the world would go through at least two great recessions, the United States would elect six different presidents and engage in two different wars before I could finish even one part of the project, and that the edition would appear in a completely different series and in a completely different format from that for which it was originally conceived. 2 Rather than being an edition of the Sanctus and Agnus Dei and their tropes, the edition will now comprise the Kyrie and Gloria of the Roman mass and their prosulas and tropes as well. 3 The fact that I am writing this article (and gave the lecture upon which it is based) is one positive sign that work on the edition is well under way. But much water has flowed under the bridge between the inception of the project and its present state. Granted, there are a number of things that kept me from completing this edition any sooner. One was a series of articles and then a book How to cite this book chapter:

From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. ImUNCI COLLEGE OF ARTS AND SCIENCES Germanic and Slavic Languages and Literatures The Ariadne auf Naxos of Hugo von Hofmannsthal and Richard Strauss donald g. daviau and george j. buelow UNC Studies in the Germanic Languages and Literatures Number 80

Peter Grimes and the "Tuneful Air" Arved Ashby (in Rethinking Britten, ed. Philip Rupprecht) Peter Grimes is an operatic anomaly, even beyond the fact that it was Britten's first full-scale work for the stage. Donald Mitchell touched on the opera's difference when he referred to "the first, sharp shock that was part of the early experience of Grimes... it was a work that appeared -at least in the prevailing operatic culture of its time in Britain -radically to overturn the expectations and conventions that the image of opera summoned up." This is the familiar trope of the young Britten returning his native country to its rightful place in opera history, with Grimes a different sort of piece insofar as it -as breakthrough and as masterwork -had to define its own manner of originality. But Mitchell went on to refer less tautologically to "the paradox of Grimes, of its capacity to surprise… while, at the same time, seeming to conform to convention, to sustain tradition." 1 He has not been alone in hearing anomalous or even problematic aspects in Grimes, though such divisions of opinion have largely disappeared in the face of an increasingly iconic work: the Sadler's Wells directors blocked further performance after the premiere, and an early projected Decca

To judge from their recordings, Artur Schnabel and Glenn Gould were extraordinarily different musicians. Their most obvious points of contrast concern keyboard address. The Canadian is commonly faulted for emphasizing pianism over service to the composer: "Gould had total command of his instrument," reads one review, "through which he projected his studiously considered and entirely personal view of Bach's musical firmament. One must, I think, be primarily interested in masterly pianism to want this… disc, one that shines more light on the performer than on the composer." 1 At the same time, the Austrian pianist is criticized for attending more to abstract notions of musicality than to realities of musical execution: "Schnabel sounds as though he had not prepared this demanding sonata sufficiently," says one critique, "this brusquely insensitive performance [of Beethoven's "Hammerklavier"]… is an unqualified failure." 2 Comparisons of Schnabel and Gould soon come to touch upon much deeper textual and historiographical differences: it becomes clear that the former oriented himself, if I may borrow a literary duality developed by Umberto Eco, to the intention of the author while the latter was concerned with the intention of the work. The second, EcoGouldian notion is not equivalent to the common textualperformative idea of Werktreue, which in the literal sense simply stipulates a faithfulness "to the work." According to Alfred Brendel, Werktreue is a vague notion that has served only to aggrandize, politicize, and confuse ideas of Textreue, or 157 inbetween. Gould's virtuosity, to quote Said, proved able "to draw the audience in by provocation, the dislocation of expectation, and the creation of new kinds of thinking based in large measure on his reading of Bach's music." 8 This starts to make Gould sound like an intellectual musician, but Schnabel was the one dubbed an intellectual by critics of his time. The description was inspired by his stylistic poise, rare for his time, and his fastidious approach to musical texts. Edward SackvilleWest and Desmond ShaweTaylor, writing in the 1955 Record Guide, discussed Schnabel's famous Beethoven performances in such terms:

In the Kantian aesthetics that have held sway with 20thcentury art music, musicians are beholden to the musical work as an allimportant standard, as a guide for conduct. Performing art music became a moral exercise, patterned on JudeoChristian religious practice, with the musical work and text functioning as transcendent and allimportant principles. While art music performance became a moral endeavor, it also became a hermeneutic exercise, a rational and interpretive undertaking. Arthur Schnabel was talking from this kind of perspective when he confessed his loyalty to, as he famously put it, a "musical work greater than it can be performed." Here Schnabel invoked the musical work the same way a fundamentalist Christian would invoke the Bible or an originalist legal scholar the U.S. Constitution: as something more important and more meaningful than any single interpretation of it or any specific set of interpretations, even can ever hope to be. This kind of Kantian perspective represents a composer's rather than a performer's perspective, in that it elevates as allimportant the abstract work the work as it stands before its performance. And such a workbased aesthetics of interpretation could arise only as the Romantic cult of the performer gave way to the modern cult of the composer as single and definitive musical presence, indeed as godhead. Stravinsky was keen to explain such a composerly perspective on the art of performance. And the terminology in his explanation was implicitly scriptural or Biblical, and indeed moralistic. He spoke of "the performer's moral responsibility" to the work. He went on to say that "It is the conflict between […] two principles -execution & interpretation -that is at the root of all the errors, all the sins [N.B], all the misunderstandings that interpose themselves between the musical work and the listener and prevent a faithful [N.B.] transmission of its message."

Absolute Music, Mechanical Reproduction
Arved Ashby
University of California Press, June 2010
336 pages
ISBN: 9780520264809

INTRODUCTION  1

1 THE RECORDED MUSICAL TEXT  27

2 RECORDING, REPETITION, AND MEMORY IN ABSOLUTE MUSIC  60

3 SCHNABEL'S RATIONALISM, GOULD'S PRAGMATISM  91

4 DIGITAL MYTHOLOGIES  123

5 BEETHOVEN AND THE IPOD NATION  162

6 PHOTO/PHONO/PORNO  194

7 MAHLER AS IMAGIST  221

ABSTRACT: Recordings are now the primary way we hear classical music, especially the more abstract styles of “absolute” instrumental music. In this original, provocative book, Arved Ashby argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, Ashby sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This erudite yet concise study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.