Atti del 14. Congresso della Società Internazionale di Musicologia : Trasmissione e recezione delle forme di cultura musicale : Bologna, 27 agosto – 1 settembre 1987; Ferrara-Parma, 30 agosto 1987 I

GEN. 205 48.1


-ECO, (U.), Il codice del mondo, pp. 3-11

-JAUSS, (H. B.), Ruckschau auf die Rezeptionstheorie, pp.13-25

-HUGLO, (H.), L’enseignement de la musique dans les universités médiévales, pp. 37

-MUZIKOVA, (R.), Zur Pflege der Ars Musica an der Prager Universität im 14. und 15. Jahrhundert, pp. 38-48

-WARD, (T.R.), Music and Music Theory in the Universities of Central Europe during the Fifteenth Century, pp. 49-57

-SUESS, (J.G.), The University of Modena, the “Accademia dei Dissonanti”, and the Academy Cantatas of Giovanni Battista Vitali: An Example of Cartesian Rationalism and Music, pp. 58-66

-BASELT, (B.), Zur Stellung der Musik im Schulsystem August Hermann Franckes, pp. 67-82

-SALMEN, (W.), Der akademische Tanzmeister, pp. 83-88

-ARLT, (W.), Repertoirefragen “peripherer” Mehrstimmigkeit: das Beispeil des Codex Engelberg, pp. 97-125

-NADAS, (J.), Song Collections in Late-Medieval Florence, pp. 126-137

-BENT, (M.), Manuscripts as Repertoires, Scribal Performance and the Performing Scribe, pp. 138-152

-STAEHELIN, (M.), Mehrstimmige Repertoires im 14. und 15. Jahrhundert: das Problem der verlorenen Quellen, pp. 153-159

-FISCHER, von (K.), Remarks on Some Trecento and Early Quattrocento Fragments

-CERNY, (J.), Zur Frage der Entstehungs und Verwandlungsprozesse der mehrstimmigen Repertoires in Bohmen, pp. 168-174

-PERZ, (M.), Polish Contributions to the Problem of Polyphonic Repertories in the 14th and 15th Centuries, pp. 175-187

-AROM, (S.), Réflexions préliminaires, pp. 187-190

-TRIMILLOS, (R.D.), Formal Instruction as Interface between Theory and Practice in Traditions of Japan, Hawai’i and the Philippines, pp. 191-199

-SEEBASS, (T.), Theory (English) and Lehre (German) versus Teori (Indonesian), pp. 200-211

-POWERS, (H.S.), Reinterpretation of Tradition in Hindustani Music: Omkarnath Thakur contra Vishnu Narayan Bhatkhande, pp. 212-213

-BLACKING, (J.), Performance as a Way of Knowing: Practical Theory and the Theory of Practice in Venda Traditional Music.Making, pp. 214-220

-GIANNATTASIO, (F.), Theory or Concepts? Some Question Raised by a Research on Somali Music, pp. 221-227

-FENLON, (I.), Introduction, pp. 235-238

-FORNEY, (K.K.), Antwerp’s Role in the Reception and Dissemination of the Madrigal in the North, pp. 239-253

-POMILIO, (A.), Strategie editoriali delle stamperie veneziane tra il 1570 e il 1630, pp. 254-271

-MURATA, (M.), Roman cantatas scores as traces of musical culture and sign of its place in society, pp. 272-284

-FABBRI, (P.), Musica strumentale e politica editoriale: alcune linee di tendenza, pp. 285-287

-CARTER, (T.), The music trade in late sixteenth-century Florence

-BERNSTEIN, (J.), Girolamo Scotto and the venetian music trade, pp. 295-305

-RASCH, (R.), The Livre septième, pp. 306-318

-LEWIS, (M.), Response: manuscripts and printed music in the world of patrons and collecton, p. 342

-NATTIEZ, (J.J.), Est-il légitime d’utiliser le concept de “musique” à propos des cultures de tradition orale?, pp. 342-349

-OESCH, (H.), Die Senoi auf Malakka: Stabilitat oraler Tradition in einer animistischen Gesellschaft

-TSUGE, (G.), Problems in notating music in Asia, pp. 364-368

-KARTOMI, (M.J.), Concepts and classifications of instrument and ensembles in orally-transmitting cultures, with particular reference to the Mandailing People, pp. 369-426

-MORELLI, (G.), Premessa alla periodizzazione, pp. 427-444

-SCHNEIDER, (H.), Die Popularisierung musikdramatischer Gattungen in der Tanzmusik. Zu den Tanzzyklen Philippe Musards, pp. 445-496

– BRYANT, (D.), Un sistema di consumo dell’opera italiana nel primo Ottocento: il caso della farsa, pp. 497-503

– SALA, (E.), Que ses gestes parlants ont de grace et de charmes: motivi mélo nella Muette de Portici, pp. 504-520

– ROCHE, (E.), The repertory of the english choral society and the dissemination of new music, pp. 521-529

– BLOOM, (P.A.), Fétis’s “La Musique mise à la portée de tout le monde”: Impetus and Impact, pp. 530-537

– PONIATOWSKA, (I.), Quelques remarques sur le fonctionnalisme de la musique et sur l’idée de correspondance des arts dans la popularisation de la musique au XIXe siècle, pp. 538-550

– STOELZEL, (M.), Ferdinand Hillers “Operette ohne Text”, pp. 551-567

– FILLER, (S.M.), Popular arrangements of the music of Gustav Mahler, pp. 568-592

– LE MOIGNE-MUSSAT, (M.C.), Le syncrétisme aujourd’hui: mode, démagogie, ou désesperance, pp. 605-610

– BARONI, (M.), Musical education as a Cross-cultural problem, pp. 611-615

– HAMM, (C.), The transformation of folk into popular music through mass dissemination, pp. 616-621

– LING, (J.), Art music, folk music and popular music: ideological equivalences to Musica Mundana, Humana and Instrumentalis?

– STESZEWSKI, (J.), The domestication of exoticism, pp. 627-632

– MAEGAARD, (J.), Some remarks on Aesthetic quality and its communication, pp. 649-653

– WHITTAL, (A.), Analysis as Performance, pp. 654-660

– TARNAWSKA-KACZOROWSKA, (K.), Hermeneutics of Musical Composition. Theoretical and Practical Issues, pp. 661-667

– BRINKMANN, (R.), Zur neuren Rezeptionsasthetik, pp. 668-676

– KERMAN, (J.), Remarks from the chair, pp. 677-684

– PETROBELLI, (P.), Un caso di trasmissione e recezione delle forme di cultura musicale, pp. 693-700

– DAHLHAUS, (C.), Musikalische Dramaturgie, pp. 701-705

– RINGER, (A.L.), Meyerbeer, Wagner and the Romeo and Juliet syndrome, pp. 706-713

– WIESMANN, (S.), Disposizioni sceniche oder Gesamtkunstwerk: Wagner, Verdi, und die Grosse Oper, pp. 714-720

– PESTELLI, (G.), Verdi come compositore nazionale ed europeo, pp. 721-726

– DOHRING, (S.), Grand opéra als historischen Drama und als private Tragodie: Meyerbeers “Le prophète” und Verdis “Don Carlos”, pp. 727-733