In 2016 Peter Lang launched the series Medieval interventions: New light on traditional thinking with The power and value of music: Its effect and ethos in classical authors and contemporary music theory by Andreas Kramarz.
The series publishes innovative studies on medieval culture broadly conceived—works espousing, for example, new research protocols, especially those involving digitized resources; revisionist approaches to codicology and paleography; reflections on medieval ideologies; fresh pedagogical practices; digital humanities; advances in gender studies; and fresh thinking on animal, environmental, geospatial, and nature studies. In short, the series will seek to set rather than follow agendas in the study of medieval culture.
Since medieval intellectual and artistic practices were naturally interdisciplinary, the series welcomes studies from across the humanities and social sciences. Recognizing also the vigor that marks the field worldwide, the series endeavors to publish work in translation from non-Anglophone medievalists.
Below, Dr. Kramarz engagingly introduces himself and his subject matter.
BONUS: In an example of Apollonian aesthetics cited in the book, Tamino controls the elements with his magic flute in Mozart’s Die Zauberflöte.
In 2016 Studio-Verlag launched the series Cherubini studies (ISSN 2509-6117) with Luigi Cherubini: Vielzitiert, bewundert, unbekannt, edited by Helen Geyer and Michael Pauser.
The book presents papers from the Internationale Cherubini-Kongress Weimar 2010. Topics include aesthetic questions such as Cherubini’s relationship to the Italian musica-antica tradition, the possibilities and limitations of a musical aestheticization of natural catastrophes, and the reception of Cherubini in the contemporary press.
Below, the finale of Cherubini’s Requiem in C minor, one of the works discussed in the collection.
Issued in 2017 by Greenway Music Press, 19th-century variations for piano features nine theme-and-variation sets composed in the early through mid-nineteenth century by Jan Ladislav Dussek, Otto Dresel, and American composers of the early nineteenth century. The variations are based on a variety of popular songs and dances of the period, as well as on original themes. This is both a new edition and a new series!
Below, Dussek’s variations on “Vive Henri-quatre”, one of the sets included in the collection.
In 2015 Hal Leonard launched the series Disney music legacy libraries with Walt Disney’s “Snow White and the seven dwarfs”, a bound, glossy facsimile of the master score for the 1937 animated film Snow White and the seven dwarfs.
This 200-page MS guided the construction of the film’s final mix of music, dialogue, and sound effects—in effect, it represents the entire soundtrack of the world’s first full-length animated feature film.
Unlike many film studios, Disney has always saved its written and recorded music assets. Over almost 90 years, dating back to the earliest Mickey Mouse shorts and Silly symphonies, millions of pages of music have been preserved, most recently in climate-controlled conditions. Over a million of these documents have now been digitized, streamlining the time needed to find one from two weeks to three minutes.
Above, a two-page spread from the book (click to enlarge); below, the related sequence from the final film. More about the book series is here.
In 2015 the Society for Ethnomusicology launched Ethnomusicology translations, a peer-reviewed, open-access online series for the publication of ethnomusicological literature translated into English (ISSN 2473-6422).
Articles and other literature in any language other than English are considered for editorial review, translation, and publication. Preference is given to individual articles published in scholarly journals or books during the past 20 years.
As a central online resource, Ethnomusicology translations aims to increase access to the global scope of recent music scholarship and advance ethnomusicology as an international field of research and communication.
Below, Greek animal bells (worn by goats in this case), a subject that figures in the series’s inaugural publication.
In 2015 Reichenberger launched the series Iberian early music studies with New perspectives on early music in Spain, edited by Tess Knighton and Emilio Ros-Fábregas.
The volume brings together research by scholars—both well established and of younger generations, both Spanish and from all over the world—that offers new perspectives on many aspects of early musical culture on the Peninsula, whether regarding the Ars Nova or the Counter-Reformation, music historiography or analysis, early improvisation techniques or imitatio in Renaissance polyphony, or questions of performance practice or ambassadorial musical networks, making an important contribution to establishing and sustaining a valuable discourse with the broader European context.
Below, a selection from the Cantigas de Santa Maria, the subject of one of the articles in the inaugural issue.
In 2015 Technische Universität Dortmund launched the series Dortmunder Schriften zur Musikpädagogik und Musikwissenschaft with Ludwig Uhland und seine Komponisten: Zum Verhältnis von Musik und Politik in Werken von Conradin Kreutzer, Friedrich Silcher, Carl Loewe und Robert Schumann by Burkhard Sauerwald.
The large number of settings of his poems is one indication of the significance of the poet, politician, and scholar Ludwig Uhland (1787–1862) in 19th-century intellectual history.
The composers employed a variety of compositional strategies to convey the linguistic characteristics of Uhland’s poetry, such as their folk-like vocabulary and design. A detailed excursus of the Uhland–Silcher song Der gute Kamerad provides a representative example of the history of the political reception of Uhland settings.
Below, Richard Tauber sings Der gute Kamerad.
A-R Editions launched the series John Eccles: Incidental music in 2015 with Plays A–F (the volumes are sorted by the plays’ titles).
Eccles’s active theatrical career spanned a period of about 16 years, though he continued to compose occasionally for the theater after his semi-retirement in 1707. During his career he wrote incidental music for more than 70 plays, writing songs that fit perfectly within their dramatic contexts and that offered carefully tailored vehicles for his singers’ talents while remaining highly accessible in tone.
These plays were fundamentally collaborative ventures, and multiple composers often supplied the music; thus, this edition includes all the known songs and instrumental items for each play. Plot summaries of the plays are given along with relevant dialogue cues, and the songs are given in the order in which they appear in the drama (when known).
Below, an instrumental work that Eccles composed for a 1661 revival of John Fletcher’s The mad lover.
The Heinrich-Schütz-Archiv at the Hochschule für Musik Carl Maria von Weber inaugurated the series Schütz-Dokumente in 2010 with Schriftstücke von Heinrich Schütz. This edition of Schütz’s personal writings gathers the written ephemera of the great composer’s long life.
The volume opens with a school essay on St. Mauritius from around 1600, and continues with libretti, occasional poems in German or Latin, dedications, correspondence, receipts, personnel lists, and entries in albums and Stammbücher, ending with the title page and dedication for his Schwanengesang (SWV 482–494) from 1671.
Boydell & Brewer launched The Boydell composer compendium series in 2014 with The Rameau compendium by Graham Sadler.
The series aims to present up-to-date reference works on major composers that can provide instant information and connect users with further reading. As leading authorities on the composers in question, the authors are encouraged both to present available information and, where appropriate, to introduce new facts and arguments and to illuminate the various discourses on the subject.
Each volume includes an exhaustive cross-referenced dictionary of relevant people, places, institutions, compositions, terminology, genres, and events. A comprehensive bibliography is also included, as are numerous musical examples and illustrations.
Below, John Eliot Gardiner conducts a concert of Rameau’s works.