La revue musicale

Founded in 1920 by the musicologist Henry Prunières (1886–1942), La revue musicale aimed to support the profound changes taking place in music at that time while simultaneously inspiring a love for the music of the past.

Eschewing the intransigent nationalism that marked French music before World War I, the journal became a beacon for a segment of the European musical milieu that might well have disappeared in its wake; but after 20 years of methodically constructing a new music firmly grounded in its attachment to the classicism of the Enlightenment, the events of World War II permanently extinguished its flame.

This according to “La revue musicale (1920–40) and the founding of a modern music” by Michel Duchesneau, an essay included in our recently published Music’s intellectual history. Two other articles in the volume explore further aspects of this journal: “Towards a topology of aesthetic discussion contained in La revue musicale of the 1920s” by Danick Trottier and “Dance in Henry Prunières’s La revue musicale (1920–40): Between the early and the modern” by Marie-Noëlle Lavoie.

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Filed under 20th- and 21st-century music, Dance, Reception

Joan Sutherland, 1926–2010

Today it was our sad duty to add Joan Sutherland’s obituary to our database. Dubbed “La Stupenda” by the Italian press in 1960, Dame Joan was one of the greatest bel canto sopranos of all time. Above, we celebrate her artistry with a video clip from her farewell performance of her signature role, Donizetti’s Lucia di Lammermoor.

A note on obituaries in RILM: While we normally do not cover news items, we index obituaries because they often serve as important research sources—particularly those for less-known figures. Since we cannot possibly cover obituaries in all news sources, we focus on those published by the New York times. As always, anyone can add further items to the database through our Submissions webpage.

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Filed under Opera, Publication types

Harmonizing the past

In response to a heightened anxiety regarding the preservation of a pure, authentic French identity and spirit as contacts with exotic cultures increased, the collection and dissemination of French traditional songs blossomed during the 1890s and the 1900s.

With harmonizations employing modal inflections, ambiguous tonalities, and unconventional voice leading, these collections presented traditional songs as historical evidence of a clear progression from provincial folk tunes to the sophisticated musical language of the fin de siècle. These harmonizations offer unique insights into the ways in which the French consciously manipulated how they wanted to be heard and understood during this period.

This according to “Harmonizing the past” by Sindhumathi K. Revuluri, an essay included in our recently published Music’s intellectual history.

Above, a page from the original edition of d’Indy’s Chansons populaires du Vivarais, op. 52 (Paris: A. Durand & Fils, 1900) illustrates his approach to modal harmonization.

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Filed under Romantic era, Theory

Praxis der Musiktherapie

Hogrefe Verlag für Psychologie inaugurated its series Praxis der Musiktherapie in 2009 with Spiel—Musik—Therapie: Methoden der Musiktherapie mit Kindern und Jugendlichen by Sandra Lutz Hochreutener. The book explores numerous approaches to music therapy for children and adolescents, including silence, improvisation, song composing, instrumental music, body-centered music games, language, and role-playing.

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Filed under New series, Science

Bibliolore's birthday

happy birthday

Four years ago today RILM launched this blog as an experimental interaction with the community of scholars and librarians that we serve.

We initially intended to highlight things of practical interest to music librarians and researchers—publication types, new periodicals, new series, resources, and so on—and soon realized that our readers would also enjoy learning about particular writings that arouse our curiosity or just make us smile. Our success in this adventure has been gratifying, and we hope that you will continue to share your very useful feedback!

Below, a historic performance of the well-known song written by Mildred and Patty Hill (above).

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Filed under RILM, RILM news

Beethoven’s missing trunks

After Beethoven’s biographer and sometime secretary Anton Schindler (inset) was exposed as having forged certain entries in the composer’s conversation books, scholarly suspicions were raised regarding all of Schindler’s activities—not least, he was blamed for the 22-month gap in his collection of these books, from mid-September 1820 to June 1822. Since his forgeries had tended toward self-aggrandizement, many scholars assumed that Schindler had destroyed these priceless documents because they somehow undermined the image that he wanted to project.

An article in the Stuttgart Morgenblatt on 5 November 1823 absolves Schindler of this crime. In it, Johann Sporschil profiled the composer in glowing terms and added, by way of a human interest angle, that Beethoven had lost a great deal of his correspondence when he had recently moved from the country to the city. The gap in the missing correspondence exactly matches the gap in the conversation books, indicating that both sets of documents were lost in one or more of the trunks that the composer himself had, in a surviving letter, rued having had to transport.

This according to “Anton Schindler as destroyer and forger of Beethoven’s conversation books: A case for decriminalization” by Theodore Albrecht, an essay included in our recently published Music’s intellectual history. Above, a page from one of the surviving conversation books.

More posts about Beethoven are here.

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Filed under Classic era, Curiosities

Postmodernism and performance

According to “Changing the musical object: Approaches to performance analysis” by Nicholas Cook, broad cultural developments associated with poststructuralism and postmodernism have placed an emphasis on reception—on performance rather than on inherent meaning—but the reflection of these developments in musicology has been skewed by that discipline’s retention of the concept of music as written text.

Cook argues that just as writings about music influence performances, so performance style has an impact on musicology, creating the prospect of a historiography predicated not on compositional innovation but on music as it is experienced in everyday life.

Daniel Leech-Wilkinson further explores the process wherein developments in performance precede changes in verbal interpretation in “Musicology and performance”; his examples are drawn from Schubert’s lieder and Boulez’s Le marteau sans maître. Both essays are included in our recently-published Music’s intellectual history.

Below, a performance of the final section of the Boulez work by the Montreal-based group Codes d’Accès.

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Filed under 20th- and 21st-century music, Musicologists, Performance practice, Reception, Romantic era

William Yeates Hurlstone

During the 1890s the Royal College of Music’s first Professor of Composition, Charles Villiers Stanford (1852–1924), had a stellar roster of students that included Ralph Vaughan Williams, Gustav Holst, and Samuel Coleridge-Taylor; but Stanford considered William Yeates Hurlstone (1876–1906) to have been his best pupil. Hurlstone’s name is now largely forgotten; his promising career was cut short by bronchial asthma when he was 30.

The Royal College of Music Library, in conjunction with RCM’s Centre for Performance History, has sought to rectify this situation with a new online resource. Launched in May 2010, William Yeates Hurlstone includes a biography of the composer, a catalogue of his works, recordings made as part of RCM’s Hurlstone Centenary day in 2006 featuring performances by RCM staff and students, and reproductions of documents and concert programs from the collections of the two sponsoring institutions.

Below, Hurlstone’s Four characteristic pieces.

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Filed under Resources, Romantic era

The D-Day piper

Bill Millin was a 21-year-old private in Britain’s First Special Service Brigade when his unit landed at the front chosen by the Allies for the invasion on 6 June 1944. He was approached shortly before the landings by the brigade’s commanding officer, who asked him to play on the beachhead to raise morale.

While German troops raked the area with artillery and machine-gun fire, Millin marched and played as his fellow soldiers advanced on the German positions through smoke and flame, or fell on the beach. The scene provided an emotional high point in Darryl F. Zanuck’s film The longest day.

This according to “Bill Millin, Scottish D-Day piper, dies at 88” by John F. Burns (The New York times, 20 August 2010). Above, Millin entertains his colleagues a few days after the momentous battle; below, the sequence from The longest day.

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Filed under Curiosities

Journal of music history pedagogy

Launched in 2010 and edited by C. Matthew Balensuela, Journal of music history pedagogy (EISSN 2155-109X) is a biannual, peer-reviewed, open-access, online publication of the Pedagogy Study Group of the American Musicological Society. The journal presents original articles and reviews related to teaching music history at all levels (undergraduate, graduate, or general studies) and in all disciplines (Western, non-Western, concert, or popular musics). Its inaugural issue includes articles about debates and discourses in jazz history textbooks, classroom discussions among music majors, and making music history relevant to the lives of undergraduates.

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Filed under New periodicals, Pedagogy