In 2017 Založba Univerze na Primorskem inaugurated the series Studia musicologica Labacensia (ISSN 2536-2445) with Glasbene migracije: Stičišče evropske glasbene raznolikosti/Musical migrations: Crossroads of European music diversity.
The collection focuses on a wide range of questions about the causes of musical migrations and their role and importance for musical cultures. Particular emphasis is placed on migrations in central Europe that have also left a decisive mark on musical culture in Slovenia.
Below, a work by Roberto Gerhard, the subject of one of the articles in the book.
In 2017 the University of California Press launched Studies in the Grateful Dead to explore the achievement, impact, and significance of one of the most iconic American rock bands, the Grateful Dead. The series presents original monographs and edited anthologies by experts representing a range of disciplinary perspectives and fields that highlight the complexity, power, and enduring appeal of this protean, compelling musical and cultural phenomenon.
The inaugural volume, Listening for the secret: The Grateful Dead and the politics of improvisation by Ulf Olsson, is a critical assessment of the Grateful Dead and the distinct culture that grew out of the group’s music, politics, and performance. With roots in popular music traditions, improvisation, and the avant-garde, the group provides a unique lens through which we can better understand the meaning and creation of the counterculture community.
Below, a performance from 1974 that has been cited for its outstanding group improvisations (beginning just before the five-minute mark).
In 2017 Brill launched Brill’s companions to the musical culture of medieval and early modern Europe, a peer-reviewed series of volumes providing high-level and up-to-date surveys of research into all aspects of medieval and early modern musical culture in Europe—composers, schools, genres, instruments, education, dance, musical manuscripts and printing, and the musical cultures of given cities, chapels, religious orders, and courts.
Written by the foremost specialists, the books offer balanced accounts along with overviews of the state of scholarship and debates, pointing the way for future research. The books are normally multi-author volumes, thoroughly planned out at an editorial level to ensure comprehensiveness and cohesion and maximizing their value to the student and scholar.
The inaugural volume, Companion to music in the age of the Catholic monarchs, offers a major new study that deepens and enriches understanding of the forms and functions of music that flourished in late medieval Spanish society. The fifteen essays present a synthesis based on recently discovered material that throws new light on different aspects of musical life during the reign of Ferdinand and Isabel (1474–1516): sacred and secular music-making in royal and aristocratic circles; the cathedral music environment; liturgy and power; musical connections with Rome, Portugal, and the New World; theoretical and unwritten musical practices; women as patrons and performers; and the legacy of Jewish musical traditions.
Below, a work by Francisco de Peñalosa, one of the composers discussed in the book.
In 2017 the University of Oklahoma Press launched the series American popular music to explore the evolution of folk, blues, gospel, country, rock, jazz, and soul by looking at the ways music relates to the land and people. The primary focus is on music identified with Oklahoma, Texas, and surrounding regions, following regional influences to the farthest extent of their reach.
Of particular interest are individual artists and how they express their ties to land and people uniquely and collectively. This series therefore considers the role that music plays in the lives of artists and the communities that identify with them, and demonstrates how the business of music has shaped their careers and legacies.
The inaugural volume, Sing me back home: Southern roots and country music by Bill C. Malone, presents the story of the author’s working-class upbringing in rural East Texas, recounting how in 1939 his family’s first radio, a battery-powered Philco, introduced him to hillbilly music and how, years later, he went on to become a scholar on the subject before the field formally existed. The book draws on a hundred years of southern roots music history, exploring the intricate relationships between black and white music styles, gospel and secular traditions, and pop, folk, and country music.
Below, Joe Thompson, one of the musicians discussed in the book.
The Hren choirbooks comprise six large, well-preserved codices from the early seventeenth century; they are now held at the Narodna in Univerzitetna Knjižnica in Ljubljana (SI-Lnr MSS 339–44).
In 2017 the Slovenska Akademija Znanosti in Umetnosti inaugurated the series Izabrana dela iz Hrenovih kornih knjig/Selected works from the Hren choirbooks with an edition of Annibale Perini’s Missa “Benedicite omnia opera Domini” and Pietro Antonio Bianco’s Missa “Percussit Saul mille”, two works whose sole source is the Hren Choirbooks.
Both works are parody Masses: the model for Perini’s Mass is Ruggiero Giovannelli’s motet Benedicite omnia opera Domini, while that for Bianco’s Mass is the motet Percussit Saul mille by Giovanni Croce.
Above, the statue of Tomaž Hren at the Stolnica Svetega Nikolaja, where the books originated; below, Croce’s Percussit Saul mille, the basis of the Bianco work.
In August 2017 Bloomsbury launched 33 1/3 global, a series of short music-based books related to but independent from their series 33 1/3. The new series brings the focus to music throughout the world, starting with Supercell’s “Supercell” featuring Hatsune Miku by Keisuke Yamada, in the subseries 33 1/3 Japan.
The lead singer on Supercell’s eponymous first album is Hatsune Miku (初音ミク), a Vocaloid character created by Crypton Future Media with voice synthesizers. A virtual superstar, over 100,000 songs, uploaded mostly by fans, are attributed to her. By the time Supercell was released in March 2009, the group’s Vocaloid works were already well-known to fans.
This book explores the Vocaloid and DTM (desktop music) phenomena through the lenses of media and fan studies, looking closely at online social media platforms, the new technology for composing, avid fans of the Vocaloid character, and these fans’ performative practices. It provides a sense of how interactive new media and an empowered fan base combine to engage in the creation processes and enhance the circulation of DTM works.
Below, Hatsune Miku in action.
In 2016 Prešovská Univerzita launched the series Opera theoriae artis with Súčasné hudobnoestetické myslenie na Slovensku v kontexte metodologických problémov estetiky a muzikológie, edited by Slávka Kopčáková.
Slovak music is a living river of new problems for theoretical thinking and the search for methodological innovations whose divergent solutions enrich the quality of the reception of musical art in the time of globalization and changing listening habits. This volume is an essential contribution to the field of musical aesthetics, applying historical and contemporary theoretical music-aesthetic concepts to the study of Slovak music in the 20th and 21st centuries.
The second volume of the series, 25 rokov študijného odboru estetika v Prešove, edited by Slávka Kopčáková and Lukáš Makky, presents the history and current activities of the aesthetics program at the Prešovská Univerzita in both Slovak and broader European contexts.
Below, a work by Ladislav Kupkovič, one of the composers discussed in the book.
In 2016 Società Editrice di Musicologia launched the series Metodi e trattati with a new critical edition of Francesco Pollini’s Metodo per pianoforte.
Pollini was the preeminent figure among Italian pianists of the early nineteenth century. A student of Mozart, he enjoyed considerable fame not only as a pianist and composer but also—and above all—as a teacher.
In 1811 the Conservatorio di Milano commissioned Pollini to write a piano method, the first of its kind to be published in Italy. Printed as Metodo pel clavicembalo in 1812 and reprinted in 1834, the treatise covers several aspects of pianistic technique and performance practice.
This new critical edition, provided with a parallel English translation, presents the text and its 400 examples and exercises based on the most complete edition of 1834. The introduction retraces the work’s complex publishing history, discusses in detail the typology of the instrument, and examines several technical and performance practice issues addressed in Pollini’s text, including articulation, touch, rhythmic flexibility, improvisation, ornamentation, and pedaling.
Below, Costantino Mastroprimiano performs one of Pollini’s works on the fortepiano.
In 2016 Wagner Verlag launched the series Geistliche Musik im Stift Wilhering/Sacred music in Wilhering Abbey in collaboration with Stift Wilhering and its organist and music archivist Stefan Ikarus Kaiser.
The series presents editions of works closely related to Wilhering. As a rule, these will be unpublished works from the rich historical archive of the monastery itself, as well as works that were either written specifically for the monastery or whose composers have a close relationship with Wilhering.
The inaugural volume is an edition of a large orchestral work from the Biedermeier era. Its composer, Mathias Pernsteiner (inset), served as an organist at Wilhering in 1822 and 1823. This Mass, the so-called Missa posta in musica, was dedicated to Bruno Detterle, who was Wilhering’s Abbot at the time; it has not been previously published or performed. The work is an outstanding testimony to the Austrian church music of the period.
Below, a look at the monastery’s church, which has been called “the most outstanding Rococo ecclesiastical space in Austria”.