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Volume 3, no. 1: Fall, 1996 / Editor: William Summers / Webmaster: Michael O'Connor Editor's Note: The Special Study Session of the International Hispanic Music Study Group that will take place on Friday, 8 November, 1996, at the Omni Hotel, Baltimore, will be in honor of Robert Snow. We will gather to celebrate the recent publication of his volume, A New-World Collection of Polyphony for Holy Week and the Salve Service, the announcement of a Festschrift in his honor, his seventieth birthday and his retirement from the Faculty of Music, University of Texas at Austin. This edition of the Newsletter will be devoted to a preview of this Special Study Session, its conveners and participants. It is also the Editor's fond responsibility to take this opportunity to offer profound thanks to David Crawford, Grayson Wagstaff, José López-Calo, Bonnie Blackburn, Jane Hardie and Catherine Pickar for participating in this Special Session. The profession of musicology has rare enough moments to honor its members who have made lasting contributions, especially those who study Hispanic music. During this particular Special Session, we will be presented with a rare moment not only to assess the state of research on Hispanic music and its worldwide dissemination from three very different vantage points, but we will also be able to ponder and savor the profound positive effects of cooperative collaboration across disciplines and across geographical boundaries . The Baltimore Special Study Session marks a high water mark in the growing communication fostered through the auspices of the Study Group. It also demonstrates the far-reaching abilities of this community of scholars, which convened for the first time only in 1993 in Montreal, Canada. At that time it would have been virtually impossible for most of us to imagine a Study Session that would involve participants from three continents, a true diversity of scholarly generations, a celebration in honor of a remarkable scholarly career and a performance reconstruction of one of the most important and widely disseminated devotional services, performed by a leading university choral ensemble. In the end, though, it is individuals and their dedication to scholarship and performance which make our profession exciting, rewarding and challenging. It is never enough to say thanks, but in the face of such unselfish dedication to the study of Hispanic music, one can only offer this simple gesture. My profound thanks to all who have contributed to the success of this Study Session, David Crawford, Grayson Wagstaff, José López-Calo, Bonnie Blackburn, Jane Hardie, Catherine Pickar, Susan Weiss and most importantly, Robert J. Snow. [The reviews scheduled
for publication in this issue will appear in a double review issue,
Volume 3, no. 2.] A New-World Collection
of Polyphony for Holy Week and the Salve Service: Guatemala City, Cathedral
Archive, Music MS 4. Special Study Session Program
The Co-Chairs for this Special Study Session of the IHMSG are Professor David Crawford, University of Michigan, and Professor Grayson Wagstaff, Virginia Commonwealth University. In addition to being the Editor and Assistant Editor of the forthcoming Robert J. Snow Festschrift (see story below), both David and Grayson agreed to organize this Special Session, which they have done with consummate skill. Their labors have brought about a remarkable fusion of international scholarly contributions and an unprecedented musical performance. Through David's kind offices we will have the opportunity to hear for the first time a performance of a Salve Service as it was celebrated in Guatemala Cathedral in the seventeenth century. Not only was this service a regular devotional undertaking in Spanish churches, but it also was a ubiquitous service found throughout the Spanish Colonial Empire. Performing the Salve Service in Baltimore will be Professor Catherine Pickar and the George Washington University Lassus Singers. More can be found below about Professor Pikar and the Lassus Singers. Their appearance during the Study Session brings an important new dimension not only to the work of the Study Group and this Study Session, but also to the National Meeting of the American Musicological Society. Working closely with Professor Snow, Professor Pickar will be able to present both polyphonic and monophonic music for this devotional service. This is the first time that a Salve Service has been undertaken at an AMS National Meeting during the seventy years of its existence. The performance represents a landmark of cooperation between scholars and performers, and may also turn out to be one of the shortest intervals separating a performance from the release of a scholarly edition. In addition to the performance of the Salve Service, Professor Dr. José López-Calo, S. J., Dr. Bonnie Blackburn and Dr. Jane Hardie, will be making presentations during the meeting. Fr. López-Calo will speak on the current state of musicological research in Spain, Dr. Blackburn will discuss the role of editions and editing in musicology and Dr. Hardie will discuss regional chant dialects in Spanish settings of the Lamentations . The Special Session will conclude with a no-host cocktail reception. Dr. López-Calo's recent
publications include: Dr. Bonnie Blackburn is the Editor of the University of Chicago's Monuments of Renaissance Music Series. Her publications include: ·A Correspondence of
Renaissance musicians.. Dr. Jane Hardie is a member of the Faculty of Music, Sydney Conservatorium of Music. Her publications include: ·The motets of Francisco
De Peñalosa and their manuscript sources. Professor Catherine Pickar, a native of Harlan County, Kentucky, is an Associate Professor of Music and Director of Choral Activities at The George Washington University in Washington, DC. She joined the GWU faculty in 1982. Her post-graduate studies include the Carnegie Professional Training Program at Carnegie Hall in New York City under the baton of Robert Shaw, as well as private score study with Margaret Hillis, and further conducting studies with Sara Holroyd, Joseph Flummerfelt and Lorna Cooke da Varon. Professor Pickar has toured throughout the United States and Europe with her choral ensembles, one of which was selected to perform a concert in the 1994 Florence Summer Music Festival in Palazzo Vecchio's Hall of 500 in Florence, Italy. Another was selected to perform for the Eastern Regional American Choral Directors Convention in 1984. In addition to her choral conducting, Catherine Pickar is Editor of WOMEN AND MUSIC: A JOURNAL OF GENDER AND CULTURE, the refereed journal of the International Alliance for Women and Music. She has received grants from The American Association of University Women and The Center for Washington Area Studies. In addition, she received a Junior Scholar Incentive Grant for a cycle of five choral arrangements, APPALACHIAN WINDOW. Professor Pickar is a member of The American Musicological
Society, The American Choral Directors Association, International Alliance
for Women in Music, the Sonneck Society, and the College Music Society.
She lives in Chevy Chase, Maryland with her husband, David, and their
two daughters, Bess and Cryssie. The George Washington University
Lassus Singers, Catherine Pickar, Director
Encomium musicae: Essays in Honor of Robert J. Snow David Crawford, Editor
Introduction: I. HISPANIC MUSIC IN THE DIASPORA The Expanding Latin American Musicological
Horizon Renaissance, Post-Renaissance,
and Progressive: Some Issues of Style in the Sacred Polyphony of Seventeenth-Century
Mexico Cross-Cultural Repertoires and
the Politics of Music in Renaissance Goa Rediscovered Works of Philippe
Rogier in Spanish and Mexican Instrumental Manuscripts Cristóbal de Morales' Circumdederunt
me, an Alternate Invitatory for Matins for the Dead, and
Music for Manuel de Sumaya: Reexamining the
a Cappella Choral Music of a Mexican Master The Misa Viscaína:
An Eighteenth-century Musical Odyssey to Alta California A propósito de los cincueta
años de la Revista Musical Chilena: algunas reflexiones
sobrelos horizontes musicológico de Chile y América Latina
II MUSIC IN SPAIN AND PORTUGAL Early Cistercian Polyphony: A Newly-Discovered
Source Two Twelfth-Century Fragments in
Zamora: Representatives of a Period of Transition Organería Medieval en Aragón
The Church Music of Fifteenth-Century
Spain: A Handlist Juan de Anchieta (ca. 1462-1523)
y los Salmos de 'CMV' Francesco de Peñalosa: New
Works Lost and Found Phantom Attributions or new Works
by Antoine Brumel in an Iberian Manuscript Mudarra's Instrumental Glosas:
Imitation and Homage in a Spanish Style The Transmission of Secular Polyphony
in Renaissance Spain, Estaban Daza, and Rodrigo de Ceballos "Wanted, one Maestro de Capilla:"
A Sixteenth-Century Job Description Music in the Holy Week Liturgy
in the Sixteenth Century: A Study of the Single-Composer Prints
Music in the House of the Third
Duke of Béjar: ca. 1520-1544 ·A Northern Choirbook in
Portugal: The Provenance of Coimbra, Biblioteca Geral de Universidade,
MM2 Patronazago Musical en la Capilla
Real de Granada durante el siglo XVI. Multiple Settings of the Salve
Regina Antiphon: Tomás Luis de Victoria's Contribution to
the Renaissance Veneration of the Virgin Mary Un impreso perdido: el Libro
de Misas, magnificats, y motetes de Diego de Bruceña (Salamanca:
Susana Muñoz, (1620) Los Motetes de Miguel de Irízar
Dulcisimo Dueño by
Sebastián Durón: A "Poster Child" for the Baroque Villancico
Writing Opera in Nineteenth-Century
Portugal: Francisco de Sá Noronha and L'Arco de sant'Anna
Spanish Folk Modes and Their Transformations
in the Music of Early Twentieth-Century Spanish Composers III. MUSIC IN OTHER REGIONS Sobre el Discanto y el "repertorio
Polifonico de Notre Dame de Paris", Siglos XII y XIII Exotismo y alteridad en la música
europea: "arabismos musicales", arte y ciencia Intervallic and Cantus Firmus Treatment
in Late Fauxbourdon and Faburdon The Virgin in the Sun: Music and
Image for a Prayer Attributed to Sixtus IV Thomas Crecquillon and the Chanson
Cycle Palestrina's Magnificats: A
Brief Survey Handel as Victim: Composer-Publisher
Relations and the Discourse of Musicology Bringing Sidney's Sundogs to Light
The Romanov Family's Patronage
of Music, 1820-1880 Is Female to Male as Postmodern
is to Modern? Implications for a New Ethno/Musicology 1997 Study Session, Pheonix, Arizona. Professor Carol A. Hess,
Department of Music, Bowling Green State University, Bowling Green,
OH, 43402, will be organizing and chairing the Study Session to take
place during the National Meeting of the American Musicological Society,
Hyatt Regency Hotel, Pheonix, 30 October- 1 November, 1997. Those interested
in participating in the Study Session should contact Professor Hess
before January 1, 1997, at Bowling Green State University, (419-372-2181)
or via e-mail: Supplement CHANGE OF VENUE FOR THE BALTIMORE SPECIAL SESSION. Please note that the change of location for the Special Study Session on the enclosed preliminary program. Because of this change of location we will not hold the no-host cocktail hour scheduled to follow the Special Study Session. ************* Jonathan Glixon, University of Kentucky, School of Music, writes: I am passing on a request from a colleague of mine here at the University of Kentucky, Joseph Jones of the Spanish Department. The Kentucky Foreign Language Conference (an international conference that has been held here in Lexington each spring for many years) is looking for 20-25 minute papers of a non-technical nature on music inspired by Spanish texts. They will consider papers on any period or style of music. The conference will be held April 17-19, 1997. Anybody interested should contact Joe Jones at jjones@ukcc.uky.edu Please put Text/music KFLC in the subject. ************** Miguel Ficher, Latin American Classical Composers: A Biographical Dictionary, Boston, 1996, Scarecrow Press, Inc. Mr. Ficher writes: My book covers about 1200 composers from all the Latin American countries, South, Central, Mexico, and the Caribbean countries, where Spanish, Portuguese or French are spoken. The book presents at the beginning biographies of the composers (dates of birth and death, education, professional career, bibliography, and list of compositions) in alphabetical order and at the end they are listed by country. The bibliography is extensive.
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