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Abstract Samuel Barber's “lyric rhapsody” for soprano and orchestra, Knoxville: Summer of 1915 (1947), is one of his most celebrated and complicated pieces. The most ostensibly backward-looking, nostalgic work of this “conservative,” neoromantic composer, Knoxville is yet atypical of...
Abstract The persistence of the modes in the seventeenth century, their significance in Baroque-era musical thought, and the impact of modal theory on composition are all exemplified in the work of Giovanni Maria Bononcini (1642–78), violinist, maestro di cappella, and energetic proponent of...
Abstract Recently discovered documents shed new light on Heinrich Isaac's biography in the sixteenth century: hitherto unknown payments by Isaac (ca. 1450–1517) to the Florentine confraternity of Santa Barbara. As it turns out, Isaac was a regular member of the association from 1502 and...
Abstract In undertaking his 1919–21 revision of Otto Jahn's monumental W. A. Mozart , Hermann Abert argued the case for a complete overhaul of that book's allegedly outmoded methodology and content; and in keeping with the purportedly sweeping extent of his revision, Abert represented himself,...
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