David Greer (ed.)

Musicology and Sister Disciplines

Past, Present, Future: Proceedings of the 16th International Congress of the International Musicological Society, London, 1997
Herausgeber: Greer, David

• Gebundenes Buch

Produktbeschreibung

The volume contains the full texts of the Keynote Papers and Round Table sessions, reports on the Study sessions, and abstracts of the Free Papers and Poster Sessions.

---

Drawing on the work of leading experts from around the globe, Musicology and Sister Disciplines provides the definitive, authoritative statement on the scope of musicology today and its relationship to other fields of academic endeavour, including philosophy and aesthetics, literary studies, art history, mathematics, computer science, historiography, and sociology. These groundbreaking papers represent the outcome of a major musicological conference in 1997, and include contributions from the philosopher Bernard Williams and world-famous mathematician Roger Penrose.

Produktdetails

• Verlag: Oxford University Press, USA
• Seitenzahl: 712
• Erscheinungstermin: 15. Februar 2001
• Englisch
• Abmessung: 234mm x 156mm x 38mm
• Gewicht: 1166g
• ISBN-13: 9780198167341
• ISBN-10: 0198167342
• Artikelnr.: 21523105

Inhaltsangabe

1. Editor's Foreword
2. Introduction
3. PART 1: KEYNOTE PAPERS
4. Scholarship, Authenticity, Honesty
5. The Heritage of Pythagoras: Nineteen to the Dozen
6. PART 2: ROUND TABLES
7. Round Table 1: Perception and Cognition
8. Brain and Music: An Electrophysiological Approach
9. Perception of Tonal Pitch Space and Tonal Tension
10. The Timing Implications of Musical Structures
11. Listening to a Piece of Music: A Schematization Process Based on Abstracted
Surface Cues
12. Music and Affect: Empirical and Theoretical Contributions from Experimental
Psychology
13. Strong Experiences of and with Music
14. Response
15. First Response to the Respondent
16. Second Response to the Respondent
17. Round Table 2: Literary Studies
18. Music and Narrative in Recent Theory
19. All Russian Music is So Sad: Two Constructions of the Russian Soul, through
Literature and Music
20. Drowning in Music: Ophelia's Death and Feminist Hermeneutics
21. The Study of Medieval Music: Some Thoughts on Past, Present, and Future
22. The Music of Rhetoric
23. Round Table 3: Directions in Musicology
24. Statement
25. Statement
26. Response
27. Response
28. Response
29. Response
30. Response
31. Response
32. Closing Remarks
33. Closing Remarks
34. Round Table 4: Historiography
35. Music Historiography, Critical Theory, and Other Tales
36. The Problem of the French Revolution in Music Historiography and History
37. Difficoltà della storiographia dell'opera italiana
38. Collapsing the Dialectic: The Enlightenment Tradition in Music and its
Critics
39. Round Table 5: Sociology
40. Music and Sociology: Perspectives, Horizons
41. Ethnomusicology and Music Sociology
42. Musical Practices and Hidden Musicians: A Perspective from Sociology and
Anthropology
43. Music from an Anthropological Perspective
44. From Music-Makers to Virtual Singers: New Musics and Puzzled Scholars
45. Music and Cultural Practices
46. The Sociology of Music as Self-Critical Musicology
47. Bibliography
48. Round Table 6: Philosophy
49. New Music and Philosophy
50. Absolute Music and the New Musicology
51. Signs and Trancendence
52. Authenticity, Interpretation, and Practice: Probing Their Limits
53. Response: Four Philosophies of Musical Interpretation
54. Round Table 7: Cultural Politics
55. Musicology and Sexuality: The Example of Edward J. Dent
56. Beethoven's Ironies
57. Ethnography, Ethnomusicology, and Post-White Theory
58. PART 3: REPORTS ON STUDY SESSIONS
59. Music in Tuscany: Past Research and Future Projects
60. The Circulation of Music in Europe 1700-1850
61. Music and/as Ethics
62. The Dating and Chronology of the Works of Josquin des Prez
63. Musicology, Popuar Music Studies, and Political Economy; Musicology,
Popular Music Studies, and Cultural Geography; Musicology, Popular Music
Studies, and the Interpretative Sciences
64. Berlioz et autour de Berlioz: Un artiste en son temps
65. Portuguese Musical Outreach: Five Centuries
66. Research in Music Performance: New Methods and Tools
67. Feminist Epistemologies in Ethnomusicology
68. Musicology and Biography
69. Opera Orchestras in Eighteenth- and Nineteenth-Century Europe
70. The Early Violin
71. Auditory Scene Analysis: Future Directions for Musicological Research
72. Chant and Liturgy: Compositional Planning in Liturgical Chant
73. Music Iconography: Transmission and Transformation of Symbolic Images
74. Repertory and Canon: The Dynamics of Canon Formation, 1700-1870
75. Perspectives on Instrumental Music of the Late Fifteenth and Early
Sixteenth Centuries
76. Theatrical Dance and Music, 1650-1850
77. British Music Since Britten
78. Semiotics, Structural Semantics, Rhetoric: Musical Language Sciences in
Contemporary Musicology
79. Interpreting Performance: Chopin-Playing in Perspective
80. Theorizing the Transnational
81. Sense and Sonority in Aquitanian Polyphony and the Conductus
82. The Evolution of Musical Instruments
83. Der Mensuralcodex St Emmeram (Clm 14274): Eine zentrale Quelle für die
Musik Mitteleuropas im 15. Jahrhundert und musikalischen, liturgischen, und
theologischen Voraussetzungen
84. Opéra et mélodrame en France, 1800-30: Une enquête sur les genres
85. Music, Politics, and Patronage in Spanish and Portuguese Dominions in the
Early Modern Period
86. Chant and Analysis: Where Are We, and Where Do We Go?
87. Musicology, Popular Music Studies, and the Interpretative Sciences
88. Musical Data and Computer Applications
89. Keyboard Organology: Past, Present, and Future
90. Kulturelle Traditionen in Mitteleuropa: Musikleben zwischen Zentralismus
und regionaler Spezifik am Beispiel der Rolle von Vereinen
91. Implications for Mainstream Musicology of Recent Research in Music
Cognition
92. La vie musicale sous Vichy, 1940-1944
93. Chant and Palaeography
94. Music between East and West: The Work of Lutoslawski, Penderecki, and
Górecki in the context of Culture and History
95. Musicology and Art History
96. Theorizing Mixed Media
97. To the Ends of the Earth: Refugee Musicians in East Asia and Latin America,
1933-1945
98. The History of the Papal Chapel
99. Rapporti tra testo, musica e scena nello spettacolo a Napoli nel Settecento
100. The Early Sixteenth-Century Organ in England: Its Form, Music, and Place in
the Liturgy
101. Contexts for Brass: History, Performance, Culture
102. Race and Culture in the Aesthetics of William Grant Still (1895-1978)
103. Redefining the Low Countries
104. Recent Mozart Research and Der neue Köchel
105. Music, Healing, and Culture: Towards a Comparative Perspective
106. Facism and Music
107. New Methods, New Visions: Computational Initiatives for a New Millennium
108. PART 4: ABSTRACTS OF FREE PAPERS
109. Session 1: Liturgy and Homiletics
110. The Emerging Chant Repertory in Early Roman Sermons and Commentaries
(Fifth-Seventh Centuries)
111. The Influence of Homiletic and Exegetical Literature on the Fleury Lament
of Rachel
112. Le vocabulaire de la psalmodie dans Règle de St Benoît, à la lumière des
données musicales traditionnelles
113. How to Build an Alleluia
114. History and Liturgy: The Historia of Thomas Becket
115. Session 2: The Historiography of Early Music
116. Towards a Theory of Musical Patronage in the Rennaisance and Baroque Eras:
A Proposal between Anthropology and Semiotics
117. Inaudible Efforts, Labeur des doigts, and the Monumentalizing Impulse:
Towards a Sociology of Musical Auctoritas in Francophone Europe, 1200-1600
118. Music in Seventeenth-Century Emblem Books: Mass Manipulation of Cultural
Values
119. Artusi's Rage: Fear and Loathing in the Prima prattica
120. Enemies of Love: Staging Female Excess in Monteverdi's Il ballo delle
ingrate
121. A Jungian Perspective on Monteverdi's Late Madrigals
122. Study Session 3: Eighteenth-Century Opera
123. The Rhetoric of the Enlightened Hero: Gender and Operatic Reforms in Early
Eighteenth-Century Italy
124. Les éditions parisiennes de livrets d'opéras et leur contrefaçon
bruxelloise dans le seconde moitié du XVIIIe siècle
125. Trembley's Polyp and the Natural History of Opera buffa
126. Alfieri and the Transformation of Opera Seria
127. The London Opera of Joseph Haydn: Loss, Lament, and Lieto fine
128. Session 4: Broadcasting and the Media
129. Opera Studies, Film Studies: Gounod's Faust and the History of Early French
Cinema
130. A Spectre-World Cuts Through Our Space: Early German Radio Criticism and
the Listening Subject
131. Unión Radio: Música, communicación e ideología
132. La zarzuela como material ideológico en el cine y la televisión 1940-70
133. New Music on the New Third: Exploring BBC Music Policies and Practices in
the Post-War Decade
134. When Teaching Ten Thousand was Not Enough: E. Azali Hackley and
African-American Music Journalism
135. Session 5: Early Polyphony
136. Is it Polyphony?
137. The Medieval Motet in Occitania and the Occitanian Motet
138. The Study of Pigments in Medieval Manuscripts
139. Secular-Song Tenors and the Fourteenth-Century Motet
140. Added Contratenors in the Ballades of Gullaume de Machaut
141. Session 6: The Sixteenth-Century Tradition
142. Sacred Music at the Court of Fernando de Aragón, Duke of Calabria: The
Context of Barcelona M. 1166/1967 and a Parody Mass on Josquin's Inviolata
143. Laura, Laura, Laurels: Strategies of Multiplication in Petrarch and
Marenzio
144. Carnival and Carne vale: Orlando di Lasso and Roman Courtesans
145. Music in the Tragedia spirituale
146. The Masses Salve regina and O magnum misterium: New Light on Victoria's
Parody Technique
147. Session 7: Analysis of Nineteenth-Century Music
148. Registral Direction and Melodic Implication
149. An Exegisis of the Kyrie from Beethoven's Mass in C, Op. 86
150. Nineteenth-Century Hallmark, Theoretical Problem: Third Relations in
Schubert's Unfinished and Beethoven's Waldstein
151. Rossini as Master of Instrumental Composition: Bonifazio Asioli's Analysis
of the Sinfonia from Le cenerentola
152. Brahms the Autumnal: Cyclical and Progressive Structures and Meanings in
Im Herbst, Op. 104, No. 5
153. Session 8: Methodologies
154. Ethnomusicologies of the West: Questions of Perspective and Scope
155. American Musicology and the Archives of Eden
156. Problems in the Application of Linguistic/Semiotic Priciples to Music
157. Music in Action: The View from Sociology
158. Queen Elisabeth of Belgium, The A-Bomb, and Einstein's Violin: About
Pacificism, Patheism, and the Passion for Music
159. Session 9: The Fifteenth-Century Tradition
160. The Wedding of Pious and Profane: A Cultural Context for the Chanson Mass
161. Musical Life at the Collegiate Church of Saint-Omer, Northern France, c.
1460-1504
162. The Meaning of Okeghem's Intemerata dei mater
163. Obrecht's Anchises: Virgilian Allusion in Mille quingentis
164. The Controversial Indentity of an Iberian Poet-Musician of the Renaissance:
Badajoz el musico
165. Session 10: Baroque Sacred Music
166. Music in the Cathedral of Manila: Evidence for the First Two Centuries from
the Archdiocesan Archive
167. Modelos de financiación de música en las catedrales españolas: Formas e
implicaciones
168. Music, Ritual, and the Writings of Teodosio Herrera y Bonilla (1652-1734)
169. The Sounding City: Urban History and Music in Baroque Jaén
170. Icongrafia musical en la tarasca barroca madrileña: Algunos ejemplos
representativos
171. The Interior-Exterior Duality in the Performances of the Musical Ensembles
of Granada: Non-Salaried Posts and Extravagantes Performances
172. Session 11: Music and Society in the Nineteenth Century
173. Salon, Gender, and Musical Culture in Sweden around 1800
174. Chladni as Musician Manqué
175. Byron and the Poetics of Berlioz's Harold Symphony
176. Música sabia: The Reception of Classical Music in Madrid (c.1830-1870)
177. Four-Hand Transcription: Changing Performing Spaces and Genres
178. Early Nineteenth-Century Virtuosity and its Public: Power, Gender, and
Class in the Concert Hall
179. Session 12: New Music
180. The Visual Language of American Experimental Music
181. Roland Barthes's Text and Aleatory Music: Is The Birth of the Reader the
Birth of the Listener?
182. Imploding the System: Kagel and the Deconstruction of Modernism
183. Can Literary Criticism Contribute to the Study of Musical Borrowing? The
Case of Twentieth-Century Italian Music
184. An Object-Orientated Analysis of Twentieth-Century Piano Music
185. Musical-Historical Conceptions in the Light of the Systematic Approach
186. Session 13: Early Theory and Music
187. Law as a Sister Discipline of Music in the Middle Ages and Renaissance
188. Time out of Time: Eternity as a Thirteenth-Century Philisophical Issue
Exemplified in Music
189. Ordo naturalis in Eleventh-Century Theoretical Systems
190. Glosses on Music and Grammar and the Advent of Music-Writing in the West
191. Session 14: Music and Society Around 1700
192. Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the
Sun King, 1697-1710
193. Musicians, Amateurs, and Collectors: Early French Auction Catalogues as
Musical Sources
194. Queen Marie Leczinska as Patron of Music: Opera and Chamber Music at the
Court of Louis XV
195. The Personal Network: A Sociological Approach to Imported Villancico Texts
and Music Supply at Segovia Cathedral (1650-1700)
196. Collecting and Enlightenment: Musical Instruments in the Natural History
Cabinet of Charles III of Spain (1759-88)
197. Session 15: Nineteenth-Century Topics
198. Virtue, Reform, and Pure Music in Second Empire Paris
199. Felix Mendelssohn Bartholdys geistliche Vokalmusik: Eine Versuch ihrer
chronologischen und stilistischen Einordnung
200. The Stornello and its Popularity in Ottocento Italy
201. Apocalypse (Now?): Politics in the Sacred Music of Johann Brahms
202. Orientalism in Borodin's Prince Igor
203. Canonizing the Dutchman: Wagnerism and Der fliegende Holländer
204. Session 16: Technology and Systematic Musicology
205. Music and Technology
206. Did Greco-Roman Hydraules have Keyboards?
207. The Applicability of Psychological Methods in the Study of Musical Rhythm
208. Acoustique musicale et musicologie: L'apport de l'outil acoustique dans
l'analyse perceptive
209. Stochastic Analysis and Music Predictability
210. Cognitive-Perceptual Effects in Music: Shepard Tones and the Canon Per
tonos from J.S. Bach's Musical Offering
211. Session 17: Gluck and Eighteenth-Century Aesthetics
212. Retorica e tragedia per musica: L'Iphigénie en Aulide di Gluck (1774)
213. Gluck's L'Iphigénie en Aulide (1774-5): Reception and Revision
214. Les rêveries renouvelées des Grecs: Facture, Function, and Performance
Practice in a Vaudeville Parody of Gluck's Iphigénie en Tauride (1779)
215. Gluck in the Age of Living Reproduction: Fin-de-siècle Critics Speak on
Antiquarian Opera
216. Romantic Music Aesthetics and its Literary Origins in the Writings of Karl
Philipp Moritz
217. Gothic Architecture and Baroque Polyphony: A Romantic Blend
218. Session 18: The Eighteenth-Century Tradition
219. Rediscovered East-European Sources of Hasse's Sacred Music
220. Reading the Metre: Verse Forms in Oratorio Librettos written for Handel by
Charles Jennens and Thomas Morell
221. Musicology, Politics, and Heraldy: The Te deum: A State Motet at the Time
of Louis XIV and Louis XV
222. Riepel, Leibniz, and the Ars combinatoria in Seventeenth- and
Eighteenth-Century Musical Thought
223. Session 19: Early Twentieth Century
224. Musical Symbolism in the Operas of Debussy and Bartók
225. Loneliness and Love: The Literary Context of Béla Bartók's Bluebeard's
Castle
226. David: Stravinsky's Music-Hall Ballet
227. Schönberg ist Theosoph: Anmerkungen zu einer wenig beachteten Beziehung
228. Schönbergs Vortagsideal rekonstruiert anhand einer Quelle zu op. 10
229. Objectifs et méthodes d'une herméneutique de la création et de la réception
musicales
230. Session 20: Ethnology
231. Interrogating Musicological Otherness in India: Madan-ul-Mausiqi as a Mine
of Music History
232. White Facts about Blacks: Interculturalism, Music Education, and Identity
in South Africa
233. Der Tonartbegriff in der traditionellen türkischen Musik
234. Oral Traditions and Performance Practices in the Encyclopedia Jiu gong da
chen nan bei ci gong pu, Collections of Southern and Northern Chinese Songs
235. Objectification of Music and the Domination of Nature (Naturbeherrschung):
T. W. Adorno's Theory in the Light of Comparative Music Aesthetics
236. The Body in Music
237. Session 21: Renaissance Source Studies
238. Identifying Composer Autographs in Pre-1600 Manuscripts
239. In the Workshop of a Late-Medieval Editor: Johannes Martini and the
Manuscript I-MOe ?.M.1.13
240. The Structure of the Chigi Codex: An Enigma Resolved
241. Who is Katherine? The Women of the Berg and Neuber-Gerlach-Kauffmann
Printing Dynasty
242. The Printing of the Novum et insigne opus musicum (RISM 1537/1 and RISM
1538/3)
243. Parthenia: A Paradigmatic Epithalamion
244. Session 22: Opera Around 1700
245. Comisión nobiliaria en la circulación de la ópera italiana en Iberoamérica
en los primeros años des siglo XVIII
246. A New Source of Seventeenth-Century Spanish Theatre Music from Mexico City
247. Between the Market and the Public Institution: The First Spanish Opera
Company in the Commercial Theatres in Madrid during the Eighteenth Century
248. Italian Opera and/in Spanish Theatres: Francesco Corradini in Valencia
(1727-31)
249. Sacrilege, Power Politics, and Lèse-majesté: The Political Uses of Opera in
Eighteenth-Century Gustavian Sweden
250. Session 23: Twentieth-Century Topics
251. (Musical) Jugendstil Revisited: Interspecific Conceptual Modelling and the
Turn-of-the-Century Peripheral Artsong
252. The Piano in Gustav Mahler's Um Mitternacht: Invention or Error?
253. To the Jew a Foreign Tongue: Mahler's Orchestrations as a Sign of
Difference
254. Machine Music
255. Rose R. and Emilia Marty: The Representation of the Human Experience of
Time in Janácêk's The Makropoulos Affair
256. Magic, Ritual, and Mystery in the Poetic Conception of Manuel de Falla's
Music
257. Session 24: Jazz and Pop
258. What is Jazz, and How Might Scholars Write About It?
259. As Fats Waller Tells It: It's a Sin to Tell a Lie
260. We are Not Hurdy-Gurdies: Musicians in a Changing Music World
261. Operatic Intersections with Rock Music: Popularizing Opera
262. Punk, Funk, Dub, and Disco: British Post-Funk and the Avant-Garde Groove
263. Session 25: Seventeenth-Century Topics
264. Music and Military Virtue in Early Modern France: The Equestrian Ballet
265. Guido Casoni (d. 1642) on Love as Music, a Theme for All Seasons
266. Music of Devotion in Counter-Reformation Rome: Borboni's Musicali concenti
267. Behind the Dragon's Mask: Hidden Political Music of the Restoration
268. Baroque, musique, littérature: La nouvelle espagnole du XVII siècle, genre
littéraire et source musicologique
269. Session 26: Eighteenth-Century Instrumental Music
270. The String Quartets of Franz Asplmayr and their Relationship to the
Development of Haydn's String-Quartet Style
271. Trumpets, Feldmusik, Continuity, and Hierarchy: Music and the Imperial
Procession during the Reign of Maria Theresia
272. Empress Maria Therese of Austria as Musician and Musical Patron
273. The Hofkapelle under Joseph II and Mozart's Appointment
274. Title, Function, and the Concept of Genre: The Earliest True Symphonies
275. Session 27: Nineteenth-Century Opera
276. Bellini and his Music as Political Symbol
277. Mimesis and Hysteria in La muette de Portici
278. Issues in the Reception of Meyerbeer's Les Huguenots
279. Music-Literature-Theatre-History: A New Approach to Nineteenth-Century
Czech Opera
280. Che bella cosa scrivere a tre voci: Verdi's Use of the Trio Form (Musical,
Dramatic, and Aesthetic Conception)
281. Beyond Exoticism: Cio-Cio-Sans Screen and the Uses of Convention
282. Session 28: Transnationalism
283. Musicology and Missiology
284. Chinese Politics and Western Musicians in China: A Reflection on
Contemporary Exchanges versus Experiences of the Eighteenth-Century
Musician-Priests
285. The Iwakura Missions Encounters with Western Music and their Consequence
286. Russian Roots, American Branches: Music in Cognate Cultures
287. The History of German-Russian Musical Contact: German Musical Families in
St Petersburg from the Second Half of the Nineteenth-Century to the
Beginning of the Twentieth
288. Session 29: Hildegard of Bingen
289. Interdisciplinary Objects: the Case of Hildegard Bingen
290. Rhetorical Chant? The Relationship between Music and Text in the Repertory
of Hildegard of Bingen
291. Hildegard's Ordo virtutum: Musical Rhetoric and Monastic Education
292. Session 30: Early Dance
293. Would You Like to Dance this Frottola? Choreographic Concordances in Two
Early Sixteenth-Century (Tuscan?) Sources
294. The Travelling Dance-Band: Patterns of Transmission of Dance and Music in
Fifeteenth-Century Europe
295. The Myth of Stylized Dance
296. Session 31: Early Twentieth-Century USA
297. Revising Ives
298. DuBose Heyward's Drafts for the Porgy Story as Cultural Politics
299. Ruth Crawford Seeger and John Cage: New Connections between Two American
Originals
300. Session 32: Early Twentieth-Century France
301. The Symphony as Political Tool in Early Twentieth-Century France
302. French Political Ideology as Performative Context: The Concert by World War
I
303. Poulenc and the Painters: The Influence of Art and Artists on his Life and
Music
304. Session 33: Renaissance Theory
305. On the One and the Many: Conflicting Ontologies of Sound in Late
Fifteenth-Century Music Theory
306. Musica theorica and Musica practica im Lichte der Studia humanitatis:
Astronomie und Medizin als Grundlage und Rechtfertigung für Franchino
Gaffurios Porportionendenken
307. Compositio levis et utilis: Simple Formulas as Substitutes for Counterpoint
Studies in the Teaching of Composition around 1500
308. Zwischen der Musiktheorie und Poetik der Renaissance: Decorum
309. Glareanus and Vasari: Two Competing Views of Historical Progress from Late
Renaissance Europe
310. Theories, Proof, and Dissent in Spanish Music Theory, 1508-77
311. Session 34: Schubert and Song
312. Schubert Iconography: New and Problematic Issues
313. Franz Schubert and the Liederspiel: From the Kosegarten Cycle to Die schöne
Müllerin
314. Schubert's Activities in the Unsinnsgesellschaft (1817-18): New Literary
and Iconographical Documents
315. Schubert's Free Verse Setting
316. Die Gedichte der schwäbischen Dichterin Friederike Robert in den
Vertonungen von Fanny Hensel
317. Performing Purcell's Mad Bess in Late Eighteenth- and Early
Ninettenth-Century England
318. Session 35: Music and Literature: Twentieth Century
319. Indagando la musicalità della poesia di Gabriele dAnnunzio: Il Poema
paradisiac
320. Faustus, Mephistopheles and Gretchen? The Significance of Thomas Mann in
the Music of Luigi Dallapiccola 1947-55
321. Ghost Trio: Die Musik in Samuel Becketts dramatischem Spätwerk
322. Es lebe Kulturkampf!: Polish Parody Songs from Nazi Concentration Camps
323. At Home and Abroad: The Critical Reception of Ethel Smyth's Operas in
England and Germany
324. Alexander Mikhailov as Musicologist
325. Session 36: Nationalism
326. General Histories of Music and the Place of the European Periphery
327. Baltic Music-History Writing: Problems and Perspectives
328. Le révision de Boris Godounov par le compositeur Letton Melngailis (1924):
Premiers éléments sur une version inconnue de l'opéra de Moussorgski
329. Some Premisses for the Study of Peripheral Musical Nationalism in the
Twentieth Century: Fernando Lopes-Graÿa and the Problem of Tradition in
Contemporay Portuguese Music
330. How Musicological and Ethnomusicological is Spanish Flamenco?
331. PART 5: ABSTRACTS OF POSTER SESSIONS
332. Session 1: Analytical Applications
333. The Antiphons for the Consecration of Virgins and the Changing Role of
Plainchant in the Middle Ages
334. Computer Applications to Sketch Studies: A Database with Image Access for
Berg's Sketches for Wozzeck
335. Multimedia Environments for the Study of Musical Structure
336. Knowledge-Based Stimulations: Technological Tools for Music Research
337. Toward a Model for Background Motivic Structure
338. Computer Applications and Visual Aids for a Historically Orientated
Structural Analysis of Pitches
339. Session 2: New Computer Applications in Musicology
340. POCO: Tools for Analysing, Modifying, and Generating Performance Expression
in Music
341. An Adaptive Optical Music Recognition System
342. Music, Memory, and Time
343. A Parallel Processing Key-Finding Model: Strucure and Applications
344. Session 3: Databases
345. Lessico italiano della didattica vocale
346. Villanelle alla napolitana e canzone