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List Of Musicologists

List of musicologists

A musicologist is someone who studies musicology. An ethnomusicologist is someone who studies ethnomusicology; a zoomusicologist is someone who studies zoomusicology. Musicologists include:
- Guido Adler
- Willi Apel
- Denis Arnold
- Margaret Bent
- Philip Brett
- Charles Faulkner Bryan
- Manfred Bukofzer
- T-Bone Burnett
- Peter Case
- Edward T. Cone
- Ry Cooder
- Carl Dahlhaus
- Thurston Dart
- Vincent Duckles
- Alfred Einstein
- Alexander J. Ellis
- François-Joseph Fétis (1784–1871)
- Donald Jay Grout
- Daniel Heartz
- Willy Hess
- Richard Hoppin
- George Pullen Jackson
- Joseph Kerman (born 1924)
- Robert Lissauer
- Joseph de Marliave (1873-1914)
- Susan McClary
- Bernhard Meier
- Jérôme-Joseph de Momigny (1762-1842)
- Claude Palisca
- Nino Pirrotta (1908-1998) Italian music, music of the trecento
- Harold Powers
- Gustave Reese
- Andrey Rimsky-Korsakov
- Charles Rosen
- Stanley Sadie
- Eleanor Selfridge-Field
- Hedi Stadlen
- Oliver Strunk (1901-1980)
- Carl Stumpf
- Edward Tarr
- Richard Taruskin Ethnomusicologists include:
- Mário de Andrade
- Jaime de Angulo
- Simha Arom
- Béla Bartók
- Constantin Braroiu
- John Blacking
- Francis James Child
- Frances Densmore
- Mantle Hood
- Leoš Janáček
- A. M. Jones
- Zoltán Kodály
- Franjo Kuhač
- Jaap Kunst
- Bruno Nettl
- Michael Tenzer
- Colin Turnbull
- Vinko Žganec Zoomusicologists include:
- Dario Martinelli
- François-Bernard Mâche

External links

- [http://www.ims-online.ch/ International Musicological Society]
- [http://www.ams-net.org/ American Musicological Society]
- [http://www.rma.ac.uk/ Royal Musical Association]
- [http://digital.library.wisc.edu/1711.dl/WiscFolkSong Wisconsin Folksong Collection, 1937-1946]. Presented by the [http://uwdc.library.wisc.edu/ University of Wisconsin Digital Collections Center] and [http://music.library.wisc.edu/ Mills Music Library Special Collections]. The Wisconsin Folksong Collection, 1937-1946 contains Wisconsin field recordings, notes, and photographs made by UW-Madison faculty member Helene Stratman-Thomas as part of the Wisconsin Folk Music Recording Project, co-sponsored by the University of Wisconsin and the Library of Congress during the summers of 1940, 1941, and 1946; and recordings collected by song catcher Sidney Robertson Cowell during the summer of 1937 for the Special Skills Division of the Resettlement Administration. Musicologists ja:音楽学者の一覧

Musicology

:For the album by Prince, see Musicology (album). Musicology is reasoned discourse concerning music (Greek: μουσικη = "music" and λογος = "word" or "reason"). In other words: :the whole body of systematized knowledge about music which results from the application of a scientific method of investigation or research, or of philosophical speculation and rational systematization to the facts, the processes and the development of musical art, and to the relation of man in general...to that art (Harvard Dictionary of Music). By this definition, the field includes every conceivable discussion of musical topics. The specializations of musicologists are quite diverse. Some, for instance, may specialize in English Tudor church music, others in the history of musical notation, some in contemporary music theory, and others in the development of the flute.

What is music?

:Main article: definitions of music. "What is music?" is the first (and historical) question of musicology. Through it we can find the three sub-disciplines of present musicology. 1. What is music? What structures of sound can we call music? How have the ideas and practices of music developed in different cultures and ages? Which pieces and systems of music can we form a body of knowledge from, because they have survived in notated, recorded or remembered form? These questions lead to the study of music history. 2. What is music? What is possible to know about the internal logic and functioning of this we call music? How shall we describe it? Notate it? Analyze it? What ideas and systems of meaning have been associated with music in different cultures and ages? These questions lead to the study of music theory (see also below). 3. What is music? What is it doing in the human world? How it is used? These questions about the place of music in society, leads to the study of ethnomusicology (see also below).

Ethnomusicology

Ethnomusicology is the study of music in its cultural context. It can be considered the anthropology of music. Jeff Todd Titon has called it the study of "people making music". It is often thought of as a study of non-Western musics, but may include the study of Western music from an anthropological perspective.

Other theories and disciplines

The new musicology

The New Musicology is a term applied to a wide body of work produced by many musicologists who consider themselves neither new nor New. Often based on the work of Theodor Adorno and feminist, gender studies, or postcolonial hypotheses, the New Musicology is the cultural study, analysis, and criticism of music. As Susan McClary says, "musicology fastidiously declares issues of musical signification off-limits to those engaged in legitimate scholarship."

Music Cognition

Music cognition is the study of the perception and performance of music from the viewpoint of cognitive science. The discipline shares the interdisciplinary nature of fields such as cognitive linguistics.

Biomusicology and zoomusicology

Biomusicology is the study of music from a biological point of view. Zoomusicology is a field of musicology and zoology or more specifically, zoosemiotics. Zoomusicology is the study of the music of animals, or rather the musical aspects of sound or communication produced and received by animals.

Criticism

Richard Middleton asserts that musicology, "with a few exceptions (mostly recent)" has not studied popular music. "As a general rule works of musicology, theoretical or historical, act as though popular music did not exist." Musicologists who are "both contemptuous and condescending are looking for types of production, musical form, and listening which they associate with a different kind of music...'classical music'...and they generally find popular music lacking" (Middleton 1990, p.103). He cites (p.104-6) "three main aspects of this problem": # "a terminology slanted by the needs and history of a particular music ('classical music')." ##"on one hand, there is a rich vocabulary for certain areas [harmony, tonality, certain part-writing and forms], important in musicology's typical corpus, and an impoverished vocabulary for others [rhythm, pitch nuance and gradation, and timbre], which are less well developed there" ##"on the other hand, terms are ideologically loaded...these connotations are ideological because they always involve selective, and often unconsciously formulated, conceptions of what music is." # "a methodology slanted by the characteristics of notation," 'notational centricity' (Tagg 1979, p.28-32) ##"musicological methods tend to foreground those musical parameters which can be easily notated...they tend to neglect or have difficulty with parameters which are not easily notated", such as Fred Lerdahl. "notation-centric training induces particular forms of listening, and these then tend to be applied to all sorts of music, appropriately or not." ##Notational centricity also encourages "reification: the score comes to be seen as 'the music', or perhaps the music in an ideal form." # "an ideology slanted by the origins and development of a particular body of music and its aesthetic...It arose at a specific moment, in a specific context - nineteenth-century Europe, especially Germany - and in close association with that movement in the musical practice of the period which was codifying the very repertory then taken by musicology as the centre of its attention." These terminological, methodological, and ideological problems affect even works symphathetic to popular music. However, it is not "that musicology cannot understand popular music, or that students of popular music should abandon musicology" (p.104). Middleton's views may be contrasted with a more nuanced perspective that takes into account the fact that musicology has long studied a wide variety of music over large time spans. Thus, e.g., one can find discussions of 15th-century Spanish popular song in 19th-century musicological work; and discussions of 16th-century popular song in the recent past (Brooks 2000, ISBN 0226075877). This is to say nothing about the concept popular, which subsumes Michael Jackson's Thriller (the best-selling album of all time) and Verdi operas.

Sources

- Kerman, Joseph (1985). Musicology. London: Fontana. ISBN 0001971700.
- Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0335152759.
- Pruett, James W., and Thomas P. Slavens (1985). Research guide to musicology. Chicago: American Library Association. ISBN 0838903312.
- Tagg, Philip (1979).

External links

- [http://quote.wikipedia.org/wiki/Musicology Wikiquote - quotes about musicology]
- [http://www.larkinam.com/ a commercial site, but a unique online catalog with pictures and descriptions of instruments, run by an ethnomusicologist]
- [http://www.soton.ac.uk/~ncook/what.html Nicholas Cook: What is musicology?]
- [http://www.ams-net.org The American Musicological Society]
- [http://www.music.indiana.edu/ddm/ Doctoral Dissertations in Musicology Online]
- [http://www.ams-net.org/musicology_www.html AMS: Web sites of interest to Musicologists]
- [http://www.musicology.nl Department of Musicology, University of Amsterdam]
- [http://www.hum.uva.nl/mmm/ Empirical and Cognitive Musicology, University of Amsterdam] Category:Music Category:Aesthetics ja:音楽学

Zoomusicology

Zoomusicology is a field of musicology and zoology or more specifically, zoosemiotics. Zoomusicology is the study of the music of animals, or rather the musical aspects of sound or communication produced and received by animals. Zoomusicologist Dario Martinelli describes the subject of zoomusicology as the "aesthetic use of sound communication among animals." George Herzog (1941) asked, "do animals have music?" François-Bernard Mâche's Musique, mythe, nature, ou les Dauphins d'Arion (1983), includes a study of "ornitho-musicology" using a technique of Nicolas Ruwet's Langage, musique, poésie (1972), paradigmatic segmentation analysis, shows that birdsongs are organized according to a repetition-transformation principle. One purpose of the book was to “begin to speak of animal musics other than with the quotation marks” (Mâche 1992: 114), and he is credited by Dario Martinelli with the creation of zoomusicology ([http://www.zoosemiotics.helsinki.fi/zm/]). In the opinion of Jean-Jacques Nattiez (1990), "in the last analysis, it is a human being who decides what is and is not musical, even when the sound is not of human origin. If we acknowledge that sound is not organized and conceptualized (that is, made to form music) merely by its producer, but by the mind that perceives it, then music is uniquely human." According to Mâche, "If it turns out that music is a wide spread phenomenon in several living species apart from man, this will very much call into question the definition of music, and more widely that of man and his culture, as well as the idea we have of the animal itself." (Mâche 1992: 95) Shinji Kanki composes music for dolphins according to conventions found in dolphin music or found to please dolphins in his Music for Dolphins (Ultrasonic Improvisational Composition) for underwater ultrasonic loudspeakers (2001). Zoomusicology may be distinguished from anthropomusicology, the study of human music. Zoomusicology is most often biomusicological, and biomusicology is often zoomusicological.

External link

- [http://www.zoosemiotics.helsinki.fi/zm/ Zoomusicology site by Dario Martinelli] under construction

Sources

- Nattiez, Jean-Jacques (1987). Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologue, 1987). Translated by Carolyn Abbate (1990). ISBN 0691027145.
- [http://www.zoosemiotics.helsinki.fi/zm/ Zoomusicology by Dario Martinelli]
-

Guido Adler

Guido Adler (November 1, 1855, Ivančice (Eibenschütz), Moravia – February 15 1941, Vienna) was a Bohemian-Austrian musicologist and writer on music. His father, Joachim Adler, a physician, died in 1857, whereupon his mother removed to Jihlava. He was educated in Vienna, where he studied music theory and composition at the conservatory under Anton Bruckner and Desoff. In 1878 he was graduated from the Vienna University as doctor of jurisprudence, and in 1880 as doctor of philosophy. His dissertation, "Die Grundklassen der Christlich-Abendländischen Musik bis 1600" (The Chief Divisions of Western Church Music up to 1600), was reprinted in "Allgemeide Musikzeitung", 1880. In 1883 Adler became lecturer on musical science at Vienna University, on which occasion he wrote "Eine Studie zur Geschichte der Harmonie" (An Essay on the History of Harmony), published in the "Sitzungsberichte der Philosophisch-Historischen Klasse der Wiener Academie der Wissenschaften", 1881. In 1884 he founded with Friedrich Chrysander and Philip Spitta the "Vierteljahresschrift für Musikwissenschaft". In 1885 he was called to the newly established German University of Prague, Bohemia, as ordinary professor of the history and theory of music, and in 1898, in the same capacity, to the University of Vienna, where he succeeded Eduard Hanslick. His students at the Musikwissenschaftliches Institut included Anton Webern. In 1886 he published "Die Wiederholung und Nachahmung in der Mehrstimmigkeit"; in 1888, "Ein Satz eines Unbekannten Beethovenischen Klavierkoncerts". In 1892-93 he edited a selection of musical compositions of the emperors Ferdinand III., Leopold I., and Joseph I. (two vols.). Between 1894 and 1938 he was the editor of "Denkmäler der Tonkunst für Österreich", an important publication for the history of music. Adler was one of the founders of modern musicology. He was one of the first musicologists to recognize the sociological aspect of music, and to move beyond the aesthetic criticism which was the focus of 19th century musicology. Empirical study was for him the most important aspect of the discipline. His own emphasis was on the music of Austria, specifically the music of the First Viennese School (Haydn, Mozart and their contemporaries).

Bibliography

- Hugo Riemann, "Musik-Lexikon", 1899

References

- http://www.jewishencyclopedia.com/view.jsp?artid=818&letter=A

Manfred Bukofzer

Manfred Bukofzer (March 27, 1910–December 7, 1955) was a German-American musicologist and humanist. He studied at Heidelberg University and the Stern Conservatory in Berlin, but left Germany in 1933, going to Basle, where he received his doctorate. In 1939 he moved to the United States where he remained, becoming a U.S. citizen. He taught at the University of California, Berkeley from 1941 until his death. Bukofzer is best known as a historian of early music, particularly of the Baroque era. His book Music in the Baroque Era is one of the standard reference works on the topic, though some modern historians assert that it has a Germanic bias, for instance in minimizing the importance of opera in the development of musical style in the 17th century. In addition to Baroque music, he was a specialist in English music and music theory of the 14th through 16th centuries. His other scholarly interests included jazz and ethnomusicology.

Reference

- Article "Manfred Bukofzer" in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1561591742 Bukofzer, Manfred Bukofzer, Manfred Bukofzer, Manfred

Peter Case

Peter Case is an American singer-songwriter, born in New York. Case has had a wide-ranging career ranging from new wave music to solo acoustic performance. In 1976, Case teamed up with Jack Lee and Paul Collins, to form early new wave band The Nerves in San Francisco. The Nerves' 1976 single, "Hanging on the Telephone", was eventually recorded by Blondie. After The Nerves disbanded, Case moved to Los Angeles and formed pop-rock band The Plimsouls in 1980. The group found success with the song "A Million Miles Away", but disbanded soon after and Case struck out on his own with a self-titled album released in 1986 on Geffen Records and produced by T-Bone Burnett. The album included a number of songs cowritten by Case's first wife, Victoria Williams, and also featured the talents of John Hiatt and Roger McGuinn of The Byrds. In 1989, Case released a second solo disc, The Man With the Blue Post-Modern Fragmented Neo-Traditionalist Guitar, this time with the help of artists like David Hidalgo of Los Lobos, Ry Cooder, and Benmont Tench. While not a hit, the album was a favorite of critics and other musicians: Bruce Springsteen told Rolling Stone that he was listening to Peter Case more than anyone else that year. Throughout the '90s and early 2000s, Case continued to release discs as a solo performer, moving in an increasingly acoustic-based direction, and playing clubs and small venues. In 1996, The Plimsouls reunited for a few shows and some recording sessions. Case is also an active musicologist: in the late 1990's, he curated the musical program for the Getty Museum in Los Angeles. In 2001, Case organized, produced, and performed on a tribute album to blues music pioneer Mississippi John Hurt. Case also had the chance to perform Beatles songs at the Hollywood Bowl with Sir George Martin.

Discography

- Peter Case, 1986 album
- The Man With the Blue Post-Modern Fragmented Neo-Traditionalist Guitar, 1989 album
- Six-Pack of Love, 1992 album
- Sings Like Hell, 1993 album
- Torn Again, 1995 album
- Full Service No Waiting, 1998 album
- Flying Saucer Blues, 2000 album
- Thank You St. Jude, 2001 album
- Beeline, 2002 album
- Who's Gonna Go Your Crooked Mile, 2004 album

External links

- [http://www.petercase.com/ Official Site] Case, Peter Case, Peter

Ry Cooder

Ry Cooder (born March 15, 1947) is a guitarist especially well known for his slide guitar work. He was born in Los Angeles, California. He first attracted attention in the 1960s, playing with Captain Beefheart and the Magic Band, after previously having worked with Taj Mahal in The Rising Sons, and having played with The Seeds. Cooder has worked as a studio musician and has also scored many film soundtracks, of which perhaps the best known is that for the 1984 Wim Wenders film Paris, Texas. In recent years, Cooder has played a role in the increased appreciation of traditional Cuban music, due to his collaboration as producer in the Buena Vista Social Club (1997) recording, which was a worldwide hit. Wim Wenders directed a documentary film of the musicians involved, Buena Vista Social Club (1999) which was nominated for an Academy Award in 2000. He worked with Tuvan throat singers for the score to the 1993 film Geronimo: An American Legend. Cooder's solo work has been an eclectic mix, taking in dustbowl folk, blues, Tex-Mex, soul, gospel, rock and almost everything else. He has collaborated with many important musicians, including the Rolling Stones, Little Feat, the Chieftains, John Lee Hooker, Gabby Pahinui, and Ali Farka Toure. He formed the Little Village supergroup with Nick Lowe, John Hiatt and Jim Keltner. Cooder's 1978 album Bop Till You Drop was the first popular music album to be recorded digitally. Cooder is mentioned in one of The Tragically Hip's songs entitled "At the 100th Meridian". In recent years, Rolling Stone magazine named Ry Cooder the 8th Greatest Guitarist of All Time in their "100 Greatest Guitarists" list. Immediately behind Cooder in the list were Led Zeppelin's Jimmy Page and The Rolling Stones' Keith Richards. Ry Cooder was a guest session guitarist on several Rolling Stones albums in the 60's; including Beggar's Banquet, Let It Bleed and (most significantly) contributing the haunting slide guitar solo to Sister Morphine on Sticky Fingers. He even turned down an offer to join the Rolling Stones at one point. Cooder notably taught Keith Richards how to play in the "Open-G" tuning; Richards having used the tuning ever since, including on many of the Stones' greatest songs Cooder also stepped in for the recording of the slide guitar parts in the 1986 movie "Crossroads", a take on the infamous tale of the blues legend, Robert Johnson.

Discography

- Ry Cooder (January 1971)
- Into the Purple Valley (February 1972)
- Boomer's Story (November 1972)
- Paradise and Lunch (May 1974)
- Chicken Skin Music (1976)
- Showtime (August 1977)
- Jazz (June 1978)
- Bop Till You Drop (August 1979)
- The Long Riders (June 1980)
- Borderline (October 1980)
- The Slide Area (April 1982)
- Paris, Texas (February 1985)
- Music from Alamo Bay (August 1985)
- Blue City (July 1986)
- Crossroads (July 1986)
- Get Rhythm (December 1987)
- Johnny Handsome (October 1989)
- Trespass (January 1993)
- Chávez Ravine (May 2005)

External links

- [http://www.soundtrackinfo.com/composer.asp?id=41&s=y Ry Cooder @ the SoundtrackINFO project]
- [http://jefitoblog.com/blog/?p=412 The Complete Idiot's Guide to Ry Cooder]

Carl Dahlhaus

Carl Dahlhaus (June_10 1928- May 1989), a musicologist from Berlin, has been one of the major contributors to the development of musicology as a scholarly discipline during the post-war era. He wrote numerous books and articles on a wide range of subjects within the field, though the majority of these on the history of western music and particularly that of the 19th century (i.e. Romantic music). His other favourite topics included music theory and the aesthetics of music.

Bibliography

- Nineteenth-Century Music
- Studies on the Origin of Harmonic Tonality, trans. Robert O. Gjerdingen
- Foundations of Music History, trans. J. B. Robinson
- Schoenberg and the New Music: Essays by Carl Dahlhaus
- The Idea of Absolute Music, trans. Roger Lustig Dahlhaus, Carl Dahlhaus, Carl Dahlhaus, Carl

Thurston Dart

Thurston Dart (September 3, 1921 - March 6, 1971), was an eminent British musicologist, conductor and keyboard player. From 1964 he was Professor of Music at King's College London. Robert Thurston Dart studied keyboard instruments at the Royal College of Music in London from 1938 to 1939, and also studied mathematics at University College, Exeter (B.Sc. 1942). In 1947 he was appointed assistant lecturer in music at the University of Cambridge, subsequently lecturer (1952), and professor (1962). In 1964 he was named King Edward Professor of Music at King's College, University of London. As a continuo player he made numerous appearances on the harpsichord, and made many harpsichord, clavichord and organ recordings, especially for the L'Oiseau-Lyre label; he was also a conductor. He served as editor of the Galpin Society Journal from 1947 to 1954 and secretary of Musica Britannica from 1950 to 1965. His book The Interpretation of Music (London, 1954) was highly influential, and he also wrote numerous seminal articles on aspects of musical sources, performance and interpretation.

Alfred Einstein

Alfred Einstein (December 30, 1880 – February 13, 1952), was a German-American musicologist and music editor. He was noted as one of the widest-ranging music historians in the first half of the 20th century. He was born in Munich. Though originally he studied law, he quickly realized his principal love was music, and acquired a doctorate at Munich University, focusing on instrumental music of the late Renaissance and early Baroque eras. In 1918 he became the first editor of the Zeitschrift für Musikwissenschaft; slightly later he became music critic for the Münchner Post; and in 1927 became music critic for the Berliner Tageblatt. In 1933, after Hitler's rise to power, he left Germany, moving first to London, then to Italy, and finally to the United States in 1939, where he held a succession of teaching jobs at universities including Smith College, Columbia University, Princeton University, the University of Michigan, and the Hartt School of Music in Hartford, Connecticut. Einstein not only researched and wrote detailed works on specific topics, but wrote popular histories of music, including the Short History of Music (1917), and Greatness in Music (1941). In addition, he published a revision of the Köchel catalog of Mozart's music (1937), and a comprehensive book The Italian Madrigal (1949) on the secular Italian form, the first detailed study of the subject.

Possible relationship to Albert

While one respected source lists Alfred as a cousin of the scientist Albert Einstein (1), another claims that no relationship has been verified (2). It is possible that they were distant cousins: for example, [http://www.angelfire.com/ab7/yamey/ALB.html] claims that they were both descended from a Moyses Einstein seven generations back, hence were sixth cousins.

Einstein in Popular Culture

In the film Bill and Ted's Excellent Adventure, Alfred Einstein is mentioned, presumably as a mispronounciation of Albert Einstein. It is unknown whether the filmmakers were conscious that there actually was a well-known Alfred Einstein.

References and further reading

- (1) Article "Alfred Einstein", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1561591742
- (2) The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th ed. Revised by Nicolas Slonimsky. New York, Schirmer Books, 1993. ISBN 002872416X Einstein, Alfred Einstein, Alfred Einstein, Alfred ja:アルフレート・アインシュタイン

François-Joseph Fétis

François-Joseph Fétis (March 25, 1784 — March 26, 1871), Belgian musicologist, composer, critic and teacher. He was one of the most influential music critics of the 19th century, and his enormous compilation of biographical data in the Biographie universelle des musiciens remains an important source of information today. He was born in Mons, Hainaut, and was trained as a musician by his father, who followed the same calling. His talent for composition manifested itself at the age of seven, and at nine years old he was an organist at Sainte-Waudru, Mons. In 1800 he went to Paris and completed his studies at the Conservatory under such masters as Boïeldieu, Jean-Baptiste Rey and Louis-Barthélémy Pradher. In 1806 he undertook the revision of the Roman liturgical chants in the hope of discovering and establishing their original form. In this year he also began his Biographie universelle des musiciens, the most important of his works, which did not appear until 1834. In 1821 he was appointed professor at the Paris Conservatory. In 1827 he founded the Revue musicale, the first serious paper in France devoted exclusively to musical matters. Fétis remained in the French capital till 1833, when at the request of Leopold I, he became director of the conservatory of Brussels and the king’s chapelmaster. He also was the founder, and, till his death, the conductor of the celebrated concerts attached to the conservatory of Brussels, and he inaugurated a free series of lectures on musical history and philosophy. He produced a large quantity of original compositions, from the opera and the oratorio to the simple chanson. More important perhaps than his compositions are his writings on music. They are partly historical, such as the Curiosités historiques de la musique (Paris, 1850), and the Histoire universelle de musique (Paris, 1869—1876); partly theoretical, such as the Méthode des méthodes de piano (Paris, 1837), written in conjunction with Moscheles. Some of his criticisms of contemporary composers have become quite famous. He said of Berlioz, "...what Monsieur Berlioz composes is not part of that art which we distinguish as music, and I am completely certain that he lacks the most basic capability in this art." In the Revue musicale issue of February 1, 1835 he wrote of the Symphonie Fantastique, "[Berlioz] had no taste for melody, and but the feeblest notion of rhythm; his harmonies, formed by heaping up piles of tones in the most monstrous way, still managed to be flat and utterly boring." While Fétis' critical opinions of contemporary music may seem reactionary, his musicological work was ground-breaking, and unusual for the 19th century in attempting to avoid an ethnocentric and present-centered viewpoint. Unlike many others at the time, he did not see music history as a continuum of increasing excellence, moving towards a goal, but rather as something which was continually changing, neither becoming better nor worse, but continually adapting to new conditions. He believed that all cultures and times created art and music which were appropriate to their times and conditions; and he began a close study of Renaissance music as well as European folk music and music of non-European cultures. Thus Fétis built the foundation for what would later be termed comparative ethnomusicology. Fétis died in Brussels. His valuable library was purchased by the Belgian government and presented to the Brussels conservatory. His historical works, despite many inaccuracies, remain of great value for historians. Fétis, François-Joseph Fétis, François-Joseph Fétis, François-Joseph

1871

1871 was a common year starting on Sunday (see link for calendar).

Events

January - April

- January 2 - Amadeus I becomes King of Spain.
- January 10 - France surrenders to end the Franco-Prussian War
- January 18 - The member-states of the North German Confederation unite into a single nation-state known as the German Empire. The King of Prussia is declared the first German Emperor as Wilhelm I of Germany.
- January 21 - Giuseppe Garibaldi's troops win in Dijon
- March 21 - Marriage of Princess Louise to John Campbell, Marquess of Lorne, whose father, the 8th Duke of Argyll, is the serving Secretary of State for India.
- March 22 - In North Carolina, William Holden becomes the first governor of a U.S. state to be removed from office by impeachment.
- March 26 - The Paris Commune is formally established in Paris.
- March 29 - The Royal Albert Hall is opened by Queen Victoria.
- April - Stockholms Handelsbank is founded.
- April 20 - President Ulysses Grant signs the Ku Klux Klan Act.

May - August

- May 11 - First trial of the case of Tichborne Claimant begins in the London Court of Common Pleas.
- May 21-30 - French Third Republic.government troops invade Paris Commune and crush the rebellion.
- July 20 - British Columbia joins the confederation of Canada.
- July 20 - C. W. Alcock proposes that 'a Challenge Cup should be established in connection with the Association', giving birth to the FA Cup.
- August 31 - Adolphe Thiers becomes President of the French Republic.

September - December

- October 8 - Three major fires break out on the shores of Lake Michigan in Chicago, Illinois, Peshtigo, Wisconsin, and Holland, Michigan
- The Great Chicago Fire is the most famous of these, burning 1,200,000 acres (4,900 km²) in one day, eventually destroying about 17,450 buildings, and killing about 250 people while leaving another 90,000 homeless.
- The Peshtigo Fire burns 1,200,000 acres (4,900 km²) across six counties in one day and kills 1,200 to 2,500 people, making it the deadliest in United States history.
- The Holland Fire destroys at least two towns.
- October 20 - The Royal Regiment of Artillery formed the first regular Canadian army units when they created two batteries of garrison artillery which eventually became The Royal Canadian Artillery.
- October 27 - The Comte de Chambord refuses to be crowned 'King Henry V of France' until France abandons its tricolour and returns to the old bourbon flag.
- October 27 - New York mayor Boss Tweed arrested
- October 27 - British occupy the Klipdrift in South Africa, ending the Klipdrift Republic
- November 10 - Henry Morton Stanley locates missing explorer and missionary, Dr. David Livingstone in Ujiji, near Lake Tanganyika, and greets him saying "Dr. Livingstone, I presume?"
- November 17 - The National Rifle Association is granted a charter by the state of New York.
- December 10 - The German chancellor Otto von Bismarck tries to ban Catholics from the political stage by introducing harsh laws concerning the separation of church and state.

Unknown date

- University Tests Act removes religious tests at Oxford and Cambridge.
- Trade Union Act - British trade unions legalized.
- Heinrich Schliemann begins the excavation of Troy.
- Japan forms its own police force based on French model.
- George Biddell Airy discovers astronomical aberration is independent of the local medium.
- Abolition of the han system in Japan.
- William Marcy Tweed serves his last year as the "Boss" of Tammany Hall.
- Neath RFC founded
- Cary, North Carolina named in honor of Samuel Fenton Cary

Births

- January 7 - Félix Édouard Justin Émile Borel, French mathematician and politician (d. 1956)
- January 30 - Wilfred Lucas, Canadian-born actor (d. 1940)
- February 4 - Friedrich Ebert, President of Germany (d. 1925)
- February 18 - Harry Brearley, English inventor (d. 1948)
- March 1 - Ben Harney, American composer and pianist (d. 1938)
- March 5 - Rosa Luxemburg, German politician (d. 1919)
- March 19 - Schofield Haigh, English cricketer (d. 1921)
- March 27 - Heinrich Mann, German writer (d. 1950)
- March 31 - Arthur Griffith, President of Ireland (d. 1922)
- May 3 - Walter Robinson Parr, English-born pastor (d. 1922)
- May 6 - Victor Grignard, French chemist, Nobel Prize in Chemistry laureate (d. 1935)
- May 6 - Christian Morgenstern, German author (d. 1914)
- May 27 - Georges Rouault, French painter and graphic artist (d. 1958)
- July 10 - Marcel Proust, French writer (d. 1922)
- July 17 - Lyonel Feininger, German painter (d. 1956)
- July 25 - Richard Ernest Turner, Canadian soldier (d. 1961)
- August 14 - Guangxu Emperor of China (d. 1908)
- August 19 - Orville Wright, American aviation pioneer (d. 1948)
- August 25 - Ross Winn, American anarchist writer and publisher (d. 1912)
- August 27 - Theodore Dreiser, American writer (d. 1945)
- August 29 - Albert Lebrun, French politician (d. 1950)
- August 30 - Ernest Rutherford, 1st Baron Rutherford of Nelson, New Zealand physicist, recipient of the Nobel Prize in Chemistry (d. 1937)
- September 24 - Lottie Dod, English athlete (d. 1960)
- September 26 - Winsor McCay, American cartoonist and animator (d. 1934)
- September 27 - Grazia Deledda, Italian writer, Nobel Prize laureate (d. 1936)
- October 2 - Cordell Hull, United States Secretary of State, recipient of the Nobel Peace Prize (d. 1955)
- October 30 - Paul Valéry, French poet (d. 1945)
- November 1 - Stephen Crane, American writer (d. 1900)
- December 9 - Joe Kelley, Baseball Hall of Famer (d. 1943)
- December 13 - Emily Carr, Canadian artist (d. 1945)

Deaths

- January 15 - Edward C. Delevan, American temperance movement leader (b. 1793)
- February 11 - Gaspard Théodore Ignace de la Fontaine, Luxembourg politician
- February 20 - Paul Kane, Irish-born painter (b. 1810)
- May 11 - John Herschel, English astronomer (b. 1792)
- September 20 - John Coleridge Patteson, Anglican bishop and missionary (martyred) (b. 1827)
- September 23 - Louis-Joseph Papineau, Canadian politician (b. 1786)
- October 18 - Charles Babbage, English mathematician and inventor (b. 1791)
- December 28 - John Henry Pratt, English clergyman and mathematician (b. 1809)
- March 18 - Augustus De Morgan, Professor of mathematics and mathematician (b. 1806) Category:1871 ko:1871년 simple:1871

Willy Hess (composer)

Willy Hess (1906 - 1997) was a Swiss musicologist, composer, and famous Beethoven scholar. He achieved fame after compiling and publishing a catalogue of works of Beethoven that where not listed in the "complete" edition. He was born in Winterthur, where he attended primary and high school, and later studied at the Zurich Conservatory and at the University. He also taught piano, counterpoint, composition, and wrote about music. He was a bassoonist with the Winterthur Stadtorchester from 1942 to 1971.

Robert Lissauer

Robert Lissauer (2 May, 1917 - 14 October, 2004) was an American composer, author, and musicologist. Born in New York City Lissauer attended the Juilliard School and then worked with Irving Berlin on his musical This Is the Army. From this production "Yanks A Poppin" was developed as a show that could be performed for troops in the field. As a soldier in World War II, Lissauer managed a production unit that traveled across the Pacific Theater. After the war Lissauer taught at New York University, owned a sheet music business, and managed various composers, singers, and their estates. A lifetime of experience led to his writing "Lissauer's Encyclopedia of Popular Music in America: 1888 to the Present," 1991 and 1996 editions. The second edition contains over 19,000 annotated entries. He died in New York City. Robert Lissauer was married five times and had three children. His son John is a composer and arranger of music, and has done the scores for several popular movies. Lissauer, Robert Lissauer, Robert Lissauer, Robert Lissauer, Robert Lissauer, Robert

Susan McClary

Susan McClary is a musicologist considered to be a significant figure in the "New Musicology". She is noted for her work combining musicology and feminism. __TOC__

Feminine Endings

Perhaps her best known work is Feminine Endings (1991; ISBN 0816641897). ("Feminine ending" is a musical term once commonly used to denote a weak phrase ending or cadence.) The work covers these topics: #Musical constructions of gender and sexuality. #Gendered aspects of traditional music theory. #Gendered sexuality in musical narrative. #Music as a gendered discourse. #Discursive strategies of women musicians. The publication of Feminine Endings (now in its second edition) is considered to have been a significant step in the acceptance and proliferation of feminist musicology within academia. Largely because of this influence, McClary was a 1995 winner of a MacArthur Fellowship. In Feminine Endings, McClary describes, among other things, how sonata form may be interpreted as sexist or misogynistic and imperialistic, and that, "tonality itself - with its process of instilling expectations and subsequently withholding promised fulfillment until climax - is the principal musical means during the period from 1600 to 1900 for arousing and channeling desire." She analyzes the sonata procedure for its constructions of gender and sexual identity. The primary, once "masculine", key (or first subject group) represents the, always in narrative, male, self, while the secondary, "feminine" key (or second subject group), represents the other, a terrority to be explored and conquered, assimilated into the self and stated in the tonic home key.

Other work

McClary set the feminist arguments of her early book in a broader socio-political context with Conventional Wisdom (2000, ISBN 0520232089), since this allows a less critical tone the book also seems more optimistic. In it, she argues that the traditional musicological assumption of the existence of 'purely musical' elements, divorced from culture and meaning, the social and the body, is a conceit used to veil the social and political imperatives of the world view which produces the classical canon most prized by supposedly objective musicologists. However, one should not receive the impression that McClary ignores the "purely musical" in favor of cultural issues, it is a crucial part of what creates cultural meaning. She examines the creation of meanings and identities, some oppresive and hegemonic, some affirmative and resistant, in music through the reference of musical conventions in the blues, Vivaldi, Prince, Philip Glass, and others. While seen by some as extremely radical, her work is influenced by musicologists such as Edward T. Cone, gender theorists and cultural critics such as Teresa de Lauretis, and people who, like McClary, fall in between such as philosopher Theodor Adorno. McClary herself admits that her analyses, though intended to deconstruct, flirt with essentialism.

The Beethoven and rape controversy

A sentence by McClary which has been very widely quoted is given below. Here, "the Ninth" refers to Ludwig van Beethoven's Ninth Symphony. :The point of recapitulation in the first movement of the Ninth is one of the most horrifying moments in music, as the carefully prepared cadence is frustrated, damming up energy which finally explodes in the throttling murderous rage of a rapist incapable of attaining release. The sentence appeared in the January 1987 issue of Minnesota Composers' Forum Newsletter, a journal with a relatively small circulation. Nonetheless, it continues to elicit a great range of responses. McClary subsequently rephrased this passage in Feminine Endings: :The point of recapitulation in the first movement of Beethoven's Ninth Symphony unleashes one of the most horrifyingly violent episodes in the history of music. The problem Beethoven has constructed for this movement is that it seems to begin before the subject of the symphony has managed to achieve its identity... (128) She goes on to conclude that "The Ninth Symphony is probably our most compelling articulation in music of the contradictory impulses that have organized patriachal culture since the Enlightenment." (129) It is significant that the critiques of McClary discussed below refer primarily to the original passage from the Minnesota Composer's Forum Newsletter. Readers sympathetic to the passage may be connecting it to the opinion that Beethoven's music is in some way "phallic" or "hegemonic," terms often used in modern feminist studies scholarship. These readers may feel that to be able to enjoy Beethoven's music one must submit to or agree with the values expressed, or that it requires or forces upon the listener a mode or way of listening that is oppresive, and that these are overtly expressed, as rape, in the Ninth. For related views, see discussion above, as well as sonata form. Hostile reactions were posted on the Web by commentators whose politics are evidently right-wing; here are four examples: [http://www.jewishworldreview.com/cols/leo051600.asp 1], [http://www.sniggle.net/elmyr.php 2], [http://www.ety.com/HRP/race/boasianmulcult.htm 3], [http://www.freeradical.co.nz/content/41/41fioar2.php 4]. The intent of such postings often is not so much to discuss Beethoven as to support an attack on the purported decadence of modern academia, particularly in the humanities. Such commentators assume that the reader will immediately agree that McClary's opinion is absurd, and then take this absurdity as evidence that modern academics have "gone astray" and are unworthy of the public's support. Leaving aside readers whose main interest is political, there are other reasons why readers might take offense at McClary's sentence. For instance, on one reading, the passage could be construed as unfair to Beethoven: this would be so if one assumes that the "throttling murderous rapist's rage" putatively expressed in the music is supposed to be a spillover from Beethoven's own habitual thoughts and feelings, which McClary does not suggest. Scholars and historians have found no evidence that Beethoven ever committed a rape or harbored an intense urge to do so. On the other hand, it is also clear that McClary did not literally accuse Beethoven of these things, so the objection might well be considered hypersensitive. Another possible source of controversy is the possibility that McClary's passage trivializes the horrific experience of actual rape victims, reducing it to a mere metaphor. Even readers sympathetic to criticism of Beethoven's music may find that pinpointing a vague unintended colonial program as "rape" is inaccurate. The noted pianist and critic Charles Rosen has also commented on the famous passage. He avoids taking offense on any of the grounds mentioned above, and indeed is willing to play with sexual metaphors just like McClary. Rosen's disagreement is simply with McClary's assessment of the music: :We have first her characterization of the moment of recapitulation in the first movement of Beethoven’s Ninth Symphony: :[passage appears here] :The phrase about the murderous rage of the rapist has since been withdrawn [see below], which indicates that McClary realized it posed a problem, but it has the great merit of recognizing that something extraordinary is taking place here, and McClary's metaphor of sexual violence is not a bad way to describe it. The difficulty is that all metaphors oversimplify, like those entertaining little stories that music critics in the nineteenth century used to invent about works of music for an audience whose musical literacy was not too well developed. I do not, myself, find the cadence frustrated or dammed up in any constricting sense, but only given a slightly deviant movement which briefly postpones total fulfillment. :To continue the sexual imagery, I cannot think that the rapist incapable of attaining release is an adequate analogue, but I hear the passage as if Beethoven had found a way of making an orgasm last for sixteen bars. What causes the passage to be so shocking, indeed, is the power of sustaining over such a long phrase what we expect as a brief explosion. To McClary's credit, it should be said that some kind of metaphorical description is called for, and even necessary, but I should like to suggest that none will be satisfactory or definitive. The term "withdrawn" in Rosen’s passage alludes to McClary's later work (1991) in Feminine Endings, quoted above. Though McClary no longer focuses strictly on gender and sexuality in music (she remains fascinated with how music generates pleasure, however), her original controversial remarks about Beethoven (and also Schubert), despite being nearly twenty years old, continue to exist for her critics as ever-contemporary examples of her scholarly transgressions. It is worth noting that McClary "can say something nice about Beethoven" (1991, p.119) and discusses his Op. 132 positively, saying "Few pieces offer so vivid an image of shattered subjectivity as the opening of Op. 132." One may also contrast with McClary's Lou Harrison's view of Beethoven's codas as "an exasperated absentee landlord pounding on the door for back rent." (Miller and Lieberman 1998, p.192).

Personal

Susan McClary is on the faculty in the Musicology Department at the University of California, Los Angeles, and is married to the musicologist Robert Walser.

Quotes

- "Most people have music in the center of their lives. I believe my work sheds light on how music affects us and why it is so influential." from http://www.ucla.edu/spotlight/archive/html_2001_2002/fac0502_mcclalry.html
- "Rather than protecting music as a sublimely meaningless activity that has managed to escape social signification, I insist on treating it as a medium that participates in social formation by influencing the ways we perceive our feelings, our bodies, our desires, our very subjectivities - even if it does so surreptitiously, without most of us knowning how. It is too important a cultural force to be shrouded by mystified notions of Romantic transcendence."
- "Constructions of Subjectivity in Schubert's Music", Queering the Pitch: The New Gay and Lesbian Musicology (1994), ISBN 0415907527

Selected bibliography

Works by Susan McClary
- "The Blasphemy of Talking Politics during Bach Year." In Music and Society: The Politics of Composition, Performance and Reception. Ed. Leppert and McClary. Cambridge: Cambridge University Press, 1987. 13-62.
- "Terminal Prestige: The Case of Avant-Garde Music Composition." Cultural Critique 12 (1989): 57-81.
- Georges Bizet: Carmen. Cambridge: Cambridge University Press, 1992.
- "Constructions of Subjectivity in Franz Schubert's music." In Queering the Pitch. Ed. Brett, Wood, and Thomas. New York: Routledge, 1994. 205-33.
- Feminine Endings: Music, Gender, & Sexuality. 2nd. ed. Minneapolis: University of Minnesota Press, 2002 (1991).
- Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley and Los Angeles: University of California Press, 2004. Other
- The quotation from Charles Rosen above is taken from Chapter 15 of his Critical Entertainments (2000) Cambridge, MA: Harvard University Press. ISBN 0674177304.
- A fairly negative assessment of McClary's work appears in Paula Higgins (1993) "Women in Music, Feminist Criticism, and Guerrilla Musicology: Reflections on Recent Polemics," 19th Century Music 1:174-192. Higgins is particularly critical of McClary's citation practice as it concerns others scholars in the area of feminist musical criticism.
- Miller, Leta E. and Lieberman, Frederic (1998). Lou Harrison: Composing a World. Oxford University Press. ISBN 0195110226.

External links

- [http://www.musicology.ucla.edu/faculty/faculty-bio.html#McClary Biography of Susan McClary (UCLA Department of Musicology)]
- [http://www.ucla.edu/spotlight/archive/html_2001_2002/fac0502_mcclalry.html Susan McClary, Musicologist]
- [http://www.geocities.com/jeff_l_schwartz/mcclary.html The Reception of Susan McClary's Feminine Endings]
- [http://www.societymusictheory.org/mto/issues/mto.96.2.2/mto.96.2.2.mccreless.html Contemporary Music Theory and the New Musicology: An Introduction]
- [http://www.humnet.ucla.edu/humnet/musicology/faculty/faculty-bio.html#mcclary Prof. McClary's Web page at UCLA]
- [http://www.nybooks.com/articles/2143 The New York Review of Books: MUSIC À LA MODE] by Lawrence Kramer, reply by Charles Rosen, Volume 41, Number 15 · September 22, 1994 McClary, Susan McClary, Susan McClary, Susan

1762

1762 was a common year starting on Friday (see link for calendar).

Events

- Jean-Jacques Rousseau first publishes The Social Contract (Du Contrat Social).
- Neolin begins to preach.
- January 4 - Britain declares war on Spain and Naples
- January 5 - Death of the Empress Elisabeth of Russia, who is succeeded by her nephew Peter III. Peter, an admirer of Frederick the Great, immediately opens peace negotiations with the Prussians
- May 15 - The Treaty of Saint Petersburg ends the war between Russia and Prussia.
- May 22 - The Treaty of Hamburg takes Sweden out of the war against Prussia.
- June 24 - Battle of Wilhelmstal. The Anglo-Hanoverian army of Ferdinand of Brunswick defeats the French forces in Westphalia. The British commander Lord Granby distinguishes himself.
- July 9 - Catherine II becomes empress of Russia upon the deposition of her husband Peter III. The incipient Russo-Prussian alliance falls apart, but Russia does not rejoin the war.
- July 21 - Battle of Burkersdorf. In his last major battle, Frederick defeats Marshal Daun in Silesia.
- August 10 - British forces seize Havana.
- Empress Go-Sakuramachi ascends to the throne of Japan, succeeding Emperor Momozono
- October 5 - The British take Manila.
- October 29. Battle of Freiberg - Prince Henry of Prussia, Frederick's brother, defeats the Austrian army of Marshal Serbelloni.
- British East India Company seizes the port city of Manila, Philippines from the Spaniards.

Ongoing events

- French and Indian War (1754-1763)
- Seven Years' War (1756-1763)

Births

- April 29 - Jean-Baptiste Jourdan, French marshal (d. 1833)
- May 19 - Johann Gottlieb Fichte, German philosopher (d. 1814)
- August 12 - King George IV of the United Kingdom (d. 1830)
- September 11 - Joanna Baillie, Scottish writer (d. 1851)
- October 23 - Samuel Morey, American inventor (d. 1843)
- October 30 - André Chénier, French writer (d. 1794)
- November 1 - Spencer Perceval, Prime Minister of the United Kingdom (d. 1812)

Deaths

- January 5 - Elizabeth of Russia (b. 1709)
- January 11 - Louis-François Roubiliac, French sculptor (b. 1695)
- January 13 - Leonhard Trautsch, German composer (b. 1694)
- February 11 - Johann Tobias Krebs, German composer (b. 1690)
- February 12 - Laurent Belissen, French composer (b. 1693)
- February 20 - Tobias Mayer, German astronomer (b. 1723)
- March 21 - Nicolas Louis de Lacaille, French astronomer (b. 1713)
- May 26 - Alexander Gottlieb Baumgarten, German philosopher (b. 1714)
- June 17 - Prosper Jolyot de Crébillon, French writer (b. 1674)
- June 19 - Johann Ernst Eberlin, German composer (b. 1702)
- July 13 - James Bradley, English Astronomer Royal (b. 1693)
- July 28 - George Dodington, 1st Baron Melcombe, English politician (b. 1691)
- August 21 - Lady Mary Wortley Montagu, English writer (b. 1689)
- September 17 - Francesco Geminiani, Italian composer (b. 1687)
- October 6 - Francesco Manfredini, Italian composer (b. 1684)
- Emperor Momozono of Japan (b. 1741) Category:1762 ko:1762년 ms:1762

1842

1842 was a common year starting on Saturday (see link for calendar).

Events

- February 7 - Ras Ali Alula, Regent of the Emperor of Ethiopia defeats warlord Wube Haile Maryam of Semien in the Battle of Debre Tabor
- February 21 - John J. Greenough patents the sewing machine.
- March 5 - Mexican troops led by Rafael Vasquez invade Texas briefly occupy San Antonio and then head back to the Rio Grande. This is the first such invasion since the Texas Revolution.
- March 30 - Anesthesia is used for the first time in an operation (Dr. Crawford Long performed the operation using ether).
- March 31 - Middleton Junction and Oldham Branch Railway line opened up to Werneth in North West England.
- May 8 - Two trains collide in Paris and catch fire - 59 dead
- May 19 - Dorr Rebellion - militiamen supporting Thomas Wilson Dorr attack arsenal in Providence, Rhode Island but are repulsed
- June 4 - In South Africa, hunter Dick King rides into British military base in Grahamstown to warn that Boers have besieged Durban. He had left 11 days earlier. British army dispatches a relief force
- August 9 - Webster-Ashburton Treaty is signed, establishing the United States-Canada border east of the Rocky Mountains.
- December 23 - In a meeting with Akhbar Khan, his men seize Sir William Macnaghten and tear him to pieces

Month/day unknown

- Sons of Temperance founded in New York City.
- Massacre of Elphinstone's British army on the road from Kabul to Jallalabad, Afghanistan, by Mohammed Akbar, son of Dost Mohammed Khan
- August 29 - Treaty of Nanking signing ends the First Opium War
- British Empire annexes Hong Kong
- Pentonville Prison built.
- New Zealand seat of government moves from Russell to Auckland
- Ohio's Wesleyan University is established.
- University of Notre Dame is founded by Father Edward Sorin of the Congregation of Holy Cross.
- Scroll and Key secret society of Yale University established.
- Commonwealth v. Hunt makes strikes and unions legal in the United States.
- First pils beer brewed in the Chech city of Pilsen. The Pilz is the original lager beer of which all modern lagers are copies.

Births

- February 3 - Sidney Lanier, American writer (d. 1881)
- February 4 - Arrigo Boito, Italian poet and composer (d. 1918)
- February 25 - Karl May, German writer (d. 1912)
- March 10 - Mykola Lysenko, Ukrainian composer (d. 1912)
- March 18 - Stéphane Mallarmé, French poet (d. 1898)
- May 8 - Emil Christian Hansen, Danish fermentation physiologist (d. 1909)
- May 13 - Arthur Sullivan, English composer (d. 1900)
- June 12 - Rikard Nordraak, Norwegian composer (d. 1866)
- August 23 - Osborne Reynolds, Irish engineer and physicist (d. 1912)
- September 13 - John H. Bankhead, U.S. Senator (d. 1920)
- September 21 - Abd-ul-Hamid II, Ottoman Sultan (d. 1918)
- October 14 - Joe Start, baseball player (d. 1927)
- November 12 - John Strutt, 3rd Baron Rayleigh, English physicist, Nobel Prize laureate (d. 1919)
- December 2 - C. W. Alcock, English footballer and football official (d. 1907)
- December 9 - Peter Kropotkin, Russian anarchist (d. 1921)
- Anna Elizabeth Dickenson, American orator (d. 1932)

Deaths

- March 13 - Henry Shrapnel, English soldier and inventor (b. 1761)
- March 15 - Luigi Cherubini, Italian composer (b. 1760)
- March 23 - Stendhal, French writer (b. 1783)
- April 4 - Jean Moufot, French philosopher and mathematician (b. 1784)
- May 8 - Jules Dumont d'Urville, French explorer (b. 1790)
- July 25 - Dominique Jean Larrey, French surgeon (b. 1766)
- July 28 - Clemens Brentano, German poet (b. 1778)
- September 15 - Francisco Morazán, President of Central America (b. 1792) Category:1842 ko:1842년 ms:1842 simple:1842

Gustave Reese

Gustave Reese (November 29, 1899 – September 7, 1977) was an American musicologist and teacher. He was born in New York, where he mainly lived and taught, and died in Berkeley, California. Reese is mainly famous for his groundbreaking work on medieval and Renaissance music, particularly with his two publications Music in the Middle Ages (1940) and Music in the Renaissance (1954); these two books remain the standard reference works for these two eras, with complete and precise bibliographical material, allowing for almost every piece of music mentioned to be traced back to a primary source. He was a founder-member of the American Musicological Society (AMS) from 1934, and president of the organization from 1950 to 1952. Reese Reese Reese Reese

Tiden

Tiden är en svensk tidskrift som grundades 1908 av Hjalmar Branting. Det är en socialdemokratisk idé- och debatttidskrift som utkommer med 6 nummer per år. Utgivare är Tankesmedjan, Förlaget Idé & Tendens, som bildades av Socialdemokraterna och ABF. Kända medarbetare genom tiderna är Ernst Wigforss och Ole Jödahl.

Externa länkar

- [http://www.tankesmedjan.sap.se/tiden_start.asp Officiell hemsida] kategori:Svenska tidskrifter

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List of musicologists

External links

Musicology

What is music?

Ethnomusicology

Other theories and disciplines

The new musicology

Music Cognition

Biomusicology and zoomusicology

See also

Criticism

Sources

External links

Zoomusicology

See also

External link

Sources

Guido Adler

Bibliography

References

See also & External links

Manfred Bukofzer

Further reading

Reference

Peter Case

Discography

External links

Ry Cooder

Discography

External links

See also

Carl Dahlhaus

Bibliography

Thurston Dart

Further reading

Alfred Einstein

Possible relationship to Albert

Einstein in Popular Culture

References and further reading

François-Joseph Fétis

1871

Events

January - April

May - August

September - December

Unknown date

Births

Deaths

Willy Hess (composer)

Robert Lissauer

Susan McClary

Feminine Endings

Other work

The Beethoven and rape controversy

Personal

Quotes

Selected bibliography

See also

External links

1762

Events

Ongoing events

Births

Deaths

1842

Events

Month/day unknown

Births

Deaths

Gustave Reese

Tiden

Externa länkar

Perfect squared squares