La new musicology ne constitue pas un courant, une tendance homogène, car elle provient de sources diverses : les cultural studies britanniques, le déconstructionnisme derridien américanisé, les gender studies, les post-colonial studies, pour ne citer que quelques sources majeures. Il serait également délicat d'assigner un propos général à la new musicology, sinon l'idée que l'on doit se recentrer sur le sens, en opposition à certains courants de l'' ancienne ' musicologie, accusés à tort ou à raison d'être formalistes. Cette idée se matérialise parfois par un investissement subjectif du chercheur et/ou par une étude privilégiée du ' contexte ' (au détriment de l'oeuvre musicale même). / Livre

Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans music text faithful to the sources and reflecting the current status of Bach research developed for musical practice through the cooperation of scholars and performers contains all of Bach's keyboard works that require an independent pedal manual contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty features comprehensive introductions, extensive source descriptions and text-critical notes features supplementary material illustrated synoptically on CD-ROM (in printable quality) brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns 'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review) Subscription Conditions A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time. The subscription obliges the subscriber to purchase the entire collection. The New Edition of Bach's Complete Organ Works With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status, historically informed, edited with performers in mind: More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty. It offers incerta, early, and alternative versions on CD-ROM In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes. Edited by a competent team: With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes. Werner Breig (* 1932) studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition). Pieter Dirksen (* 1961) studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003. Reinmar Emans (* 1953) studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue

Kyrie eleison-Gloria in excelsis deo-The five volume editorial project Repertorium Troporum Bohemiae Medii Aevi presents the textual and musical edition of troped mass chants from Bohemian sources from the 11th to the 16th century.The second volume of the complete edition of mass tropes from Bohemian manuscripts of the 12th to 16th century includes 45 Kyrie tropes and 7 Gloria tropes. They represent thee distinct traditions as they developed in Bohemia in the High and Late Middle Ages: those of Cathedral the Prague Diocese and the late Utraquist liturgy. A considerable number of texts and melodies are presented for the first time in this publication.As in the first volume theedition is complemented by comprehensive commentaries an introduction and plates. The tropes are edited along with their native chants as such this publication will be of interest to both the academic community as well as those interested in performance.Hana Vlhová-Wörner studied musicology in Prague and Basel Switzerland. From 1993 to 2006 she worked at the Institute for Musicology Charles University Prague (Ph.D. 2000 Habilitation 2009). Since 2006 she has lived in the U.S.A. where she has taught at Duke University and UNC Chapel Hill. She is the author of numerous publications on church music and Latin liturgical poetry in Bohemia and Central Europe from the 11th to 16th centuries and one of the editors of the Jistebnice Kancionál..Also available:- Part 1: Tropi ordinarii missae. Tropi proprii missae H7878- Part 3: Tropi ordinarii missae. Sanctus H8017- Part 4: Tropi ordinarii missae. Agnus Dei H8030

The five volume editorial project Repertorium Troporum Bohemiae Medii Aevi presents the textual and musical edition of troped mass chants from Bohemian sources from the 11th to the 16th century.The fourth volume of the complete edition of the mass tropes includes 20 tropes to the Agnus Dei representing the Bohemian tradition from the 12th to early 16th century.Similar to previous volumes with the repertory of ordinary tropes the older repertory is represented by the unique collection of tropes included in the so-called St Vitus?s Troparium which is distinctly French. Included in the volume is an introductory study that summarises basic factsand explains the unusual development of the Sanctus and Agnus Dei tropes in late medieval Bohemia.As in the other volumes the edition is complemented by comprehensive commentaries an introduction and plates (Czech/English).This publication will be of interest to both the academic community as well as those interested in performance.Hana Vlhová-Wörner studied musicology in Prague and Basel Switzerland. From 1993 to 2006 she worked at the Institute for Musicology Charles University Prague (Ph.D. 2000 Habilitation 2009). Since 2006 she has lived in the U.S.A. where she has taught at Duke University and UNC Chapel Hill. She is the author of numerous publications on church music and Latin liturgical poetry in Bohemia and Central Europe from the 11th to 16th centuries and one of the editors of the Jistebnice Kancionál..Also available:- Part 1: Tropi ordinarii missae. Tropi proprii missae H7878- Part 2: Tropi ordinarii missae. Kyrie eleison / Gloria in excelsis deo H7959- Part 3: Tropi ordinarii missae. Sanctus H8017

This authoritative survey constitutes the first thorough English-language exploration of the concerto as a musical form. The musical form's long and colorful history is explored in critical terms accessible to lay readers as well as specialists forming a listener's guide an important musicological study and a fascinating reading experience.Examining the social economic and personal factors that influenced the concerto's growth author Abraham Veinus also summarizes the contributions of theorists composers and musicians and defines the genre's terms and the changing nature. He traces the early development of the concerto as well as that of the concerto grosso theearly solo concerto classic forms Beethoven's characteristic use of the form the Romantic concerto and the modern concerto. A pleasure to read and a valuable reference this volume is an ideal companion for musicians music students and lovers of classical music.Reprint of the 1963 revised edition published by Doubleday Doran and Company 1945 and Cassell and Company Limited 1948.'Sound history intelligent evaluation and a good literary style.' - Library Journal'Colorful and interesting ... a very valuable addition to our rising literature in musicology.' - Saturday Review'An excellent and eminently readable history.' - New York Herald Tribune

Das Obligate Accompagnement In Den Sinfonien. Contributions to Musicology, Tübingen/ Répertoire / Divers

Mass Tropes I.The five volume editorial project Repertorium Troporum Bohemiae Medii Aevi presents the textual and musical edition of troped mass chants from Bohemian sources from the 11th to the 16th century.Many of the texts and melodies in this publication are made accessible for the very first time. The first volume (Tropi Proprii Missae) includes the troped chants of the Proper of the Mass along with an intorduction commentaries and plates. The tropes are published unabridged with the original chants making this edition suitable not only for the professional public but also for practical performances.HanaVlhová-Wörner studied musicology in Prague and Basel Switzerland. Since 2006 she has lived in the U.S.A. She is the author of numerous publications on church music and Latin liturgical poetry in Bohemia and Central Europe from the 11th to the 16th centuries and is one of the editors of the Jistebnice Kancionál.Also available:- Part 2: Tropi ordinarii missae. Kyrie eleison / Gloria in excelsis deo H7959- Part 3: Tropi ordinarii missae. Sanctus H8017- Part 4: Tropi ordinarii missae. Agnus Dei H8030

Par STAINER JOHN. John Stainer [1840–1901] is known primarily as a pioneer of English musicology. As a composer he dedicated himself primarily to “Cathedral music. ” His Services and Anthems from this body of music were written largely for St. Paul’s Cathedral, where he worked temporarily as an organist./ Répertoire / Choeur SATB/SATB et Orgue

?I asked my friend the poet Einar Askestad if he could write a poem for me about love between father and son brothers and God. I felt that these forms of love are seldom sung about. The poem moved me greatly and I have tried to put music to these words which is simple yet full of beauty. In the four movements of this suite-like piece various aspects of these relationships are conveyed?. - Mårten JanssonBiography:My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings life consists of. This has led people todescribe my music as both ?so sad that it sounds like birds who have lost their wings? and ?the happiest classical music we ever heard?. I have also always preferred beautiful music to atonal music and that is surely the reason why the most part of my music is more on the sad side but what a dream it would be to be able to create beautiful music that?s bubbling over with joy! My compositions consist of almost only sacral music. This is to express my own faith but also my appreciation and respect for the timeless texts that have been used for centuries after centuries.In 1994 I was lucky enough to start conducting the female choir Carmen and I conducted them until we decided to disunite 2010. This is of course the biggest reason why most of my compositions are for female choirs the knowledge that what I write during the night will be tested the next evening is a driving force that not so many are lucky enough to have.I work as a voice music theory and conducting teacher and conductor in Uppsala were I was born -65 and still live. My education is in short: two years of musicology at Uppsala University and a MFA in Music Education and Dalcroize Rhythmics at the Royal Academy of Music in Stockholm.- Choral works a cappella.- Sample pages for download: www.baerenreiter.com.

Von JS Bach. Contributions to Musicology, Tübingen, Number 3/ Répertoire / Divers

The modern flute owes its invention to the author of this 1871 musicology classic. It details the instrument's acoustics explains techniques for establishing proportions keying fingering care and repair and bass flute in G. Includes insights on development of tone exercises and methods of practicing and interpretation. 50 illustrations.Reprint of the Dayton C. Miller 1922 edition.

Fauré?s piano works are of central importance within his compositional oeuvre. He dedicated his ?Ballade?, composed in 1879, to his teacher Camille Saint-Saëns. Structurally and in terms of its lyrical character the work breaks from the genre?s epic form and takes on the traits of the sonata form. In 1881 Fauré arranged his ?Ballade? for piano and orchestra and the work was premiered in this new scoring.'
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Drawing on the most recent discoveries and comprehensive source research, the work is presented in a scholarly-critical Urtext edition. The publication, which is based on the ??uvres complètes de Gabriel Fauré?, includes a detailed foreword and notes on performance practice.'
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- Published on the basis of ??uvres complètes de Gabriel Fauré?'
- Incorporates the latest research and findings regarding the sources'
- Scholarly-critical Urtext edition with advice on performance practice'
- Detailed foreword (Fr/Eng/Ger)'
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Christophe Grabowski'
is a pianist and doctor of musicology who studied in Warsaw and in Paris. He edited, among other works, one volume of the ??uvres complètes de Gabriel Fauré?, two volumes of the ?Édition Complète des ?uvres de Claude Debussy?, and was the series editor for the new Chopin Complete Edition. In 2010, together with John Rink, he published the ?Annotated Catalogue of Chopin?s First Editions?. / [Ballade Opus 19] / Classique / Partition / Agrafé /

Durchgeführt An Den Motetten Mit Dem Tenor In Seculum. Contributions to Musicology, Tübingen, Number 2/ Répertoire / Divers