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https://archive.org/details/historicalmusico0O000spie
Historical Musicology
Wissenschaftliche Abhandlungen Nr. 4 Musicological Studies No. 4
Historical M usicology
A REFERENCE MANUAL FOR RESEARCH IN MUSIC
by
LINCOLN BUNCE SPIESS
with articles by
ERNST CG ROHN) — ELOY DeHEE BERD
TU der ER Av tt IM ERs a SPAIN Ge OWE eS EU)
TATSUO MINAGAWA - ZDENEK NOVACEK
GREENWOOD PRESS, PUBLISHERS
WESTPORT, CONNECTICUT
Library of Congress Cataloging in Publication Data
Spiess, Lincoln Bunce.
Historical musicology.
Reprint of the 1963 ed. published by the Institute
of Mediaeval Misic, Brooklyn, which was issued as no. }
in series: Musicological studies.
Includes bibliographies and indexes.
1. Musicology. 2. Music--Bibliography. I. Title.
II. Series: Institute of Mediaeval Misic, Brooklyn.
Wissenschaftliche Abhandlungen ; Bd. 4.
[ML3797-S7 1980] 780'.01 78-50147
ISBN 0-313-20548-5 (lib. bdg.)
This is a reprint of the second printing of the first edition.
Reprinted with the permission of Institute of Mediaeval Music Ltd.
Reprinted in 1980 by Greenwood Press
A division of Congressional Information Service, Inc.
88 Post Road West, Westport, Connecticut 06881
Printed in the United States of America
MO) Ghtes Wey Sy Gh By ak jl
PREFACE
Historical musicology, the study of the development of music in Western
culture, provides the major and common professional course of study for
musicologists in the United States of America and Western Europe. Since
proper research techniques are developed more through the practice of in-
vestigation than through the mastery of substantive information, a text
devoted to historical musicology must take more the form of a vademecum, a
guide to students and instructors, than a self-contained repository of complete
information. The present manual presents in its first part an introduction to
the problems of research in the various chronological epochs of Western
musical culture and includes a large assortment of topics as suggestions for
term papers or seminar reports. The class research problems are usually more
general, argumentative, and of wider interest and importance involving
speculative judgments; the individual research problems are more precise,
demonstrable, and of specific interest and importance involving objective
findings. The second part presents a selective bibliography of studies directly
related to the topics at hand; entries have been chosen with consideration of
comprehensiveness, availability, and language. Space is provided at the end
of each section of the bibliography for the addition of further titles as they
become available or pertinent. The various appendices provide:
I. an appraisal of the development of musicology in the modern historical
tradition,
2. an appreciation of the topic of the doctoral dissertation in musicology,
3. astudy of the four principal non-English languages of musicology, French,
German, Italian, and Latin,
4. a glossary of basic musicological terms in Chinese and Japanese which
are written in ideograms rather than in interstices with Latin letters, and
5. a survey of the important contributions and current literature of Slavic
countries.
In the numbered bibliographic entries, information about the publisher
has been reduced; more complete information regarding the publisher and place
of publication is given in the Index of Publishers. Where a publisher has moved,
only his present address is given; thus, Breitkopf & Hartel which prior to
1945 published in Leipzig is now listed in Wiesbaden. Since the Index of
Publishers gives the addresses of current publishers (and of successor firms
when known), cities are given in the language of the country or section of the
country where applicable, except 1. Belgian cities are given in French and
Flemish, 2. Finnish cities are given in Finnish and Swedish, and 3. StraBburg
in France and Freiburg in Switzerland, cities close to the linguistic borders,
are given in their German form rather than Strasbourg or Fribourg. No notice
has been taken of the attempted changes of names of Russian cities by the
UNI
VI Preface
present régime in Russia. Hyphens are not used to connect different individuals
or entries even where this is common practice elsewhere, e.g. instead of
Morehouse-Gorham, we have listed Morehouse & Gorham.
In the Index of Names, all proper names found in the course of this book
are listed and located either by bibliographic entry number or by page, except
1) publishers unless otherwise significant, and 2) names of characters in
musical works, e.g. Tristan or Pelléas. Compound names are listed under each
significant component; e.g. Fuller-Maitland is listed under Ff and M. Definite
and indefinite articles are generally not taken into consideration in determining
alphabetical arrangements except in the case of Arabic names.
The transliteration of cyrillic characters from Russian and Bulgarian into
Latin letters is meaningful only if it produces an unambiguous image of the
original. The presence of other Slavic languages which use Latin letters does
provide a basis for transliteration, but differences among these orthographies
also add some confusion, since the Slovene will use v and y, where the Pole
uses w and 7. Transliteration, if it is to be meaningful, must render each
character by an unique sign. Pronunciation must follow according to the rules
of the language in question; accordingly, the transliterated forms used in this
manual attempt to portray more the image of the original, e.g. Ilpoxo@ses
as Prokofhjew, rather than the rendition of the approximate pronunciation
in English as Prahkoffyef; such a rendition as Prokofief is neither flesh nor
fowl since it does not distinguish the pronunciation of the unaccented and
accented o’s while suggesting that the two f’s, indicate the same symbol in the
original. Accordingly, the following system is used consistently except in
direct quotations and bibliographic entries not originally in cyrillic:
Ewe @) B b Das
A ja B WwW Cars
Peemn|c rg, v (Genitive) Toa
3 © Ay Gl x -¥
um i, y (for wit) K* Z Pts
au j, y (for uit) Ch Vi, “ite
Oo oO Keak m* +s
Ké jo in II w* sts
Bu Mm b h
eeu igh al Ea
tO ju me 1D
* Following the consonants >, u, 4, m, and iw, the jotated vowels are
written as a, e, 0, and u, as occasionally otherwise.
