Report of the Eight Congress: New York 1961 I

GEN. 205 29.1

 

Round Tables

-HIGINO ANGLÈS, Rhythm in Medieval Lyric Monody, pp. 3-11

-BRUNO STÄBLEIN, Modes of Underlaying a Text to Melismas : Trope, Sequence, and Other Forms, pp. 12-29

-KURT GUDEWILL, Origins and National Aspects of the Quodlibet, pp. 30-43

-EDWARD E. LOWINSKY, Awareness of Tonality in the 16th Century, pp. 44-52

-MYROSLAW ANTONOWYTCH, The Present State of Josquin Research, pp. 53-65

-ANDRÉ VERCHALY, Verse Meter and Melodic Rhythm in the Age of Humanism, pp. 66-74

-JEAN JACQUOT, Lute Music, pp. 75-88

-ALLEN P. BRITTON, The Singing School Movement in the United States, pp. 89-99

-WILLIAM AUSTIN, Traditional Forms in New Musical Idioms, pp. 100-108

-EMANUEL WINTERNITZ, The Visual Arts as a Source for the Historian of Music, pp. 109-120

-ALBERT WELLEK, The Present State of Music Psychology and its Significance for Historical Musicology, pp. 121-132

-ERNST GLEN WEVER, The psychological Bases of Musical Hearing : Present state and Problems of Research, pp. 133-138

-KLAUS WACHSMANN, Criteria for Acculturation, pp. 139-149

-DENIS STEVENS, Problems of Editing and Publishing Old Music, pp. 150-158

 

Symposia

-MARIUS SCHNEIDER, Origins of Western Polyphony, pp. 161-178

-WILLIAM G. WAITE, The Era of Melismatic Polyphony, pp. 178-183

-KURT VON FISCHER, The Concept of the “New” in Music from the Ars nova to the Present Day, pp. 184-195

-HANS HEINRICH EGGEBRECHT, Der Begriff des „Neuen“ in der Musik von der Ars nova bis zur Gegenwart, pp. 195-202

-KARL GUSTAV FELLERER, Relations between Religious and Secular Music in the 16th Century, pp. 203-214

-WOLFGANG BOETTICHER, Zum Parodieproblem bei Orlando di Lasso, pp. 214-219

-MARC PINCHERLE, Performance Practice in the 17th and 18th Centuries, pp. 220-231

-THURSTON DART, Performance Practice in the 17th and 18th Centuries : Six Problems in Instrumental Music, pp. 231-235

-GEORG VON DADELSEN, Bach Problems, pp. 236-249

-WALTER EMERY, On Evidence of Derivation, pp. 249-252

-HELMUTH HUCKE, The Neapolitan Tradition in Opera, pp. 253-277

-EDWARD O. D. DOWNES, The Neapolitan Tradition in Opera, pp. 277-284

-HANS ENGEL, Sources of the Classical Idiom, pp. 285-304

-GEORG FEDER, Bemerkungen über die Ausbildung der klassischen Tonsprache in der Instrumentalmusik Haydns, pp. 305-313

-ANNA AMALIE ABERT, Liszt, Wagner and the Relations between Music and Literature in the 19th Century, pp. 314-323

-LÉON GUICHARD, Liszt, Wagner et les relations entre la musique et la littérature au XIX siècle, pp. 323-332

-FRANÇOIS LESURE, The Employement of Sociological Methods in Musical History, pp. 333-346

-FRANK LL. HARRISON, The Social Position of Church Musicians in England, 1450-1550, pp. 346-355

-LUIZ HEITOR CORREA DE AZEVEDO, The Cultivation of Various European Traditions in the Americas, pp. 356-364

-CHARLES SEEGER, The Cultivation of Various European Traditions in the Americas, pp. 364-375

-ANDRÉ SCHAEFFNER, The Contribution of Ethnomusicology to Historical Musicology, pp. 376-379

-NILS SCHIORRING, The Contribution of Ethnomusicology to Historical Musicology, pp. 380-385

-HEINRICH HÜSCHEN, Past and Present Concepts of the Nature and Limits of Music, pp. 386-398

-MILTON BABBITT, Past and Present Concepts of the Nature and Limits of Music, pp. 398-403

-HANS-PETER REINECKE, Musicology and the Phonograph Record, pp. 404-418

-PHILIP L. MILLER, Musicology and the Phonograph Record, pp. 418-424

-GENEVIÈVE THIBAULT, The Role of Improvised and Written Ornamentation in the Evolution of Musical Language, pp. 425-463

-ERNEST T. FERAND, A History of Music Seen in the Light of Ornamentation, pp. 463-469

Annunci