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  3. Open Access Musicology, Volume One

Open Access Musicology, Volume One

Daniel Barolsky and Louis Epstein
Open Access Open Access
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  • Overview

  • Contents

In the fall of 2015, a collection of faculty at liberal arts colleges began a conversation about the challenges we faced as instructors: Why were there so few course materials accessible to undergraduates and lay readers that reflected current scholarly debate? How can we convey the relevance of studying music history to current and future generations of students? And how might we represent and reflect the myriad, often conflicting perspectives, positions, and identities that make up both music’s history and the writers of history?

Here we offer one response to those questions. Open Access Musicology is a collection of essays, written in an accessible style and with a focus on modes of inquiry rather than content coverage. Our authors draw from their experience as scholars but also as teachers. They have been asked to describe why they became musicologists in the first place and how their individual paths led to the topics they explore and the questions they pose. Like most scholarly literature, the essays have all been reviewed by experts in the field. Unlike all scholarly literature, the essays have also been reviewed by students at a variety of institutions for clarity and relevance.

These essays are intended for undergraduates, graduate students, and interested readers without any particular expertise. They can be incorporated into courses on a range of topics as standalone readings or used to supplement textbooks. The topics introduce and explore a variety of subjects, practices, and methods but, above all, seek to stimulate classroom discussion on music history’s relevance to performers, listeners, and citizens.

  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • Member Institution Acknowledgments
  • Preface
  • Acknowledgments
  • Cracking the Code: What Notation Can Tell Us About Our Musical Values by S. Andrew Granade
  • Ancient Mesopotamian Music, the Politics of Reconstruction, and Extreme Early Music by Samuel Dorf
  • An Intermedia Approach to Seventeenth-Century English Popular Song Culture by Sarah F. Williams
  • Instrumental Music in Early Seventeenth-Century Italy: Instruments as Vehicles of Discovery by Rebecca Cypess
  • MacDowell’s Vanishing Indians by Dan Blim
  • Jenny Lind and the Making of Mainstream American Popular Music by Julia Chybowski
  • Listening to Music History by Nathan C. Bakkum
The complete manuscript of this work was subjected to a fully closed (“double-blind”) review process. For more information, please see our Peer Review Commitments and Guidelines.
Citable Link
Published: 2020
Publisher: Lever Press
Copyright: 2020
Copyright Holder: Daniel Barolsky and Louis Epstein
License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license
ISBN(s)
  • 978-1-64315-021-5 (paper)
  • 978-1-64315-022-2 (open access)
Series
  • Open Access Musicology
Subject
  • MUSIC / Essays

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A score for Edward MacDowell's "From an Indian Lodge" for piano.

Blim, Example 1: From an Indian Lodge

Example 1. Edward MacDowell, “From an Indian Lodge”

Two single-stave transcriptions of Native American melodies. The first contains lyrics, but no bar lines or meters. The second does not contain lyrics, but does contain bar lines and a 3/4 meter.

Blim, Example 2: Transcriptions by Theodore Baker

Example 2. Melodies from Theodore Baker quoted in “From an Indian Lodge”.

A score for Edward MacDowell's "Indian Idyl" for piano.

Blim, Example 3: Indian Idyl

Example 3. Edward MacDowell, "Indian Idyl"

Blim, Example 4: New England Idyls Cover

Example 4. Cover of Edward MacDowell, New England Idyls.

Cypess, Figure 1: Hieronymous Francken the Younger and Jan Brueghel the Elder, The Archdukes Albert and Isabella Visiting a Collector’s Cabinet

Figure 1. Hieronymous Francken the Younger and Jan Brueghel the Elder, The Archdukes Albert and Isabella Visiting a Collector’s Cabinet, oil on panel, 0.94 m. x 1.233 m., 1621–1623, the Walters Art Museum.

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Blim, Audio 1: From an Indian Lodge

Woodland Sketches, Op. 51: No. 5: From an Indian Lodge

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Blim, Audio 3: Indian Idyl

New England Idyls, Op. 62: No. 6: Indian Idyl

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Cypess, Example 1: Giovanni Gabrieli, “Canzon septimi toni a 8,” ch. 172, from Sacrae symphoniae (1597) (PDF)

Example 1. Giovanni Gabrieli, “Canzon septimi toni a 8,” ch. 172, from Sacrae symphoniae (1597).

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Cypess, Audio 1: Audio Recording of “Canzon septimi toni a 8,” ch. 172, from Sacrae symphoniae (1597)

Audio 1. “Canzon septimi toni a 8,” ch. 172, from Sacrae symphoniae (1597), recorded live by the Green Mountain Project in 2012.

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Cypess, Example 2 and Audio 2: Audio Recording of B. Marini, "La Foscarina", mm. 71-80

Audio 2. Biagio Marini, “La Foscarina,” from Affetti musicali, from Echoes from Venice by the ensemble Corde (1999).

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Cypess, Example 3: Biagio Marini, “Sonata quarta per il violino per sonar con due corde”

Example 3. Biagio Marini, “Sonata quarta per il violino per sonar con due corde,” from Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli.

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Cypess, Audio 3: Audio recording of Biagio Marini, "Sonata quarta per il violino per sonar con due corde”

Audio 3. James Woodrow, baroque violin, and Mattia Corda, theorbo, recording of Biagio Marini, "Sonata quarta per il violino per sonar con due corde”.

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Cypess, Example 4: Score of Biagio Marini, “Capriccio per sonare il violino con tre corde a modo di lira,” from Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli (PDF)

Example 4. Biagio Marini, “Capriccio per sonare il violino con tre corde a modo di lira,” from Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli.

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Cypess, Audio 4: Audio Recording of Biagio Marini, “Capriccio per sonare il violino con tre corde a modo di lira,” from Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli

Audio 4. Monica Huggett, Galatea, Paul Beier, recording of Marini, “Capriccio per sonare il violino con tre corde a modo di lira”.

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Cypess, Example 5: Score of Biagio Marini, “Sonata in ecco con tre violini,” Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli (PDF)

Example 5. Biagio Marini, “Sonata in ecco con tre violini,” Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli.

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Cypess, Audio 5: Audio Recording of Biagio Marini, “Sonata in ecco con tre violini,” Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli

Audio 5. Monica Huggett, Galatea, Paul Beier, recording of Marini, “Sonata in eco".

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Cypess, Audio 6: Audio Recording of Ensemble Clematis, recording of Carlo Farina, “Capriccio stravagante”

Audio 6. Ensemble Clematis, recording of Carlo Farina, “Capriccio stravagante”.

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Cypess, Audio 7: Audio Recording of Les Sacqueboutiers de Toulouse, recording of Dario Castello, Sonata 17 from Sonate concertate in stil moderno, book 2

Audio 7. Les Sacqueboutiers de Toulouse, recording of Dario Castello, Sonata 17 from Sonate concertate in stil moderno, book 2.

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Cypess, Example 8: Score of Claudio Merulo, Toccata 4 from Toccate d’intavolatura d’organo…libro secondo (PDF)

Example 8. Claudio Merulo, Toccata 4 from Toccate d’intavolatura d’organo…libro secondo (1604).

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Cypess, Audio 8: Audio Recording of Claudio Merulo, Toccata 4 from Toccate d’intavolatura d’organo…libro secondo

Audio 8. M. Raschietti, recording of Claudio Merulo, "Toccata 4" (1604).

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