Back Matter Source: Journal of the American Musicological Society, Vol. 16, No. 1 (Spring, 1963), pp. 121- 124 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/829937 . Accessed: 09/06/2014 18:56 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. http://www.jstor.org This content downloaded from 62.122.77.15 on Mon, 9 Jun 2014 18:56:48 PM All use subject to JSTOR Terms and Conditions
Transcript
Back MatterSource: Journal of the American Musicological Society, Vol. 16, No. 1 (Spring, 1963), pp. 121-124Published by: University of California Press on behalf of the American Musicological SocietyStable URL: http://www.jstor.org/stable/829937 .
Accessed: 09/06/2014 18:56
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp
.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].
.
University of California Press and American Musicological Society are collaborating with JSTOR to digitize,preserve and extend access to Journal of the American Musicological Society.
http://www.jstor.org
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EXECUTIVE BOARD Otto Kinkeldey, Honorary President
Nathan Broder, President
Arthur Mendel, Vice-President Louise E. Cuyler, Secretary
Jan LaRue, Vice-President Otto E. Albrecht, Treasurer
MEMBERS AT LARGE
William W. Austin Sydney L. Beck Vincent Duckles
Donald J. Grout Alfred Mann Leonard B. Meyer
Emanuel Winternitz
COUNCIL
z963-65 Sol Babitz Paul M. Brainard Barry S. Brook Paul R. Evans Elliot Forbes Henry Kaufmann Frank E. Kirby Edward R. Lerner Edward A. Lippmann Lewis H. Lockwood
Lawrence H. Moe Joel Newman Luther Noss Harold S. Powers Paul J. Revitt Willard Rhodes Felix Salzer H. Colin Slim Robert S. Tangeman Robert M. Trotter
z962-64 Pauline Alderman Putnam Aldrich David D. Boyden Howard M. Brown Henry L. Clarke Hans T. pavid Luther A. Dittmer
H. Wiley Hitchcock David G. Hughes Egon Kenton Siegmund Levarie Herbert Livingston Edward Lowinsky Carol MacClintock
A. Tillman Merritt Leonard B. Meyer Hans Nathan Klaus Speer Milol Velimirovi6 Victor Yellin
i961-63
J. Murray Barbour Beekman C. Cannon Louise E. Cuyler Scott Goldthwaite Donald J. Grout Mantle Hood Imogene Horsley
Alvin E. Johnson Irving Lowens Albert T. Luper Claude Palisca George Perle Dragan Plamenac Albert Seay
Charles Seeger Harold Spivacke Abraham Veinus Father Rembert Weakland Emanuel Winternitz Frank B. Zimmerman
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Northern California Daniel Heartz, Chairman, 1104 Keith Ave., Berkeley 5, Calif. Donald G. Loach, Secretary, 2724 Derby Street, Berkeley, Calif.
Southern California Robert Haag, Chairman, El Camino College, Calif. Paul J. Revitt, Secretary-Treasurer, Dept. of Music, Univ. of California, Los
Angeles 24, Calif.
Midwestern Robert Warner, Chairman, Univ. of Michigan, Ann Arbor, Mich. Eugene J. Leahy, Secretary, Dept. of Music, Notre Dame Univ., Notre Dame, Ind.
New England John Ward, Chairman, Music Bldg., Harvard Univ., Cambridge 38, Mass. John Hasson, Secretary, SFAA, Boston Univ., 805 Commonwealth Ave., Boston
15, Mass.
Greater New York Emanuel Winternitz, Chairman, Metropolitan Museum of Art, New York, N. Y. Susan Thiemann, Secretary, 521 W. I12th St., New York 25, N. Y.
Northwestern Miriam Terry, Chairman, School of Music, Univ. of Washington, Seattle, Wash. Warren Babb, Membership Secretary, Univ. of Washington, Seattle 5, Wash.
Philadelphia Sylvia W. Kenney, Chairman, 204 David Dr., Bryn Mawr, Pa. Andres Briner, Secretary, Dept. of Music, Univ. of Pennsylvania, Philadelphia 4,
Pa.
Rocky Mountain William L. Wilkes, Chairman, Brigham Young Univ., Provo, Utah William E. Clendenin, Secretary, College of Music, Univ. of Colorado, Boulder,
Colo.
Southeastern S. Philip Kniseley, Chairman, 196 Daniels Rd., Chapel Hill, N. C. Brian Klitz, Secretary, Dept. of Music, Univ. of North Carolina, Chapel Hill, N. C.
Texas
Elwyn Wienandt, Chairman, Baylor Univ., Waco, Tex. Laurene Heimann, Secretary-Treasurer, Dept. of Music, Univ. of Texas, Austin
I2, Tex.
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Greater Washington Samuel E. Brown, Jr., Chairman, St. John's College, Annapolis, Md. Melvin Bernstein, Secretary, Dept. of Music, Univ. of Maryland, College Park,
Md.
Gulf States
Rey M. Longyear, Chairman, Dept. of Music, Newcomb College, Tulane Uni- versity, New Orleans 18, La.
George B. Brown, Secretary, Box 16, Univ. of Southwestern Louisiana, Lafayette, La.
Allegheny Fr. Rembert Weakland, President, St. Vincent College, Latrobe, Pa. Frank E. Kirby, Vice-Pres., School of Music, West Virginia Univ., Morgantown,
W. Va. Virginia Raad, Secretary-Treasurer, Salem College, Salem, W. Va.
CANTUS FIRMUS IN MASS AND MOTET 1420-1520
by Edgar H. Sparks From the beginning of Western polyphonic music, it was cus- tomary to choose a preexistent melody as a starting point for composition and then to complete the work by the elaboration of contrapuntal voices. This book is a study of this use of pre- existent melody, cantus firmus, in the voluminous serious and sacred music of the fifteenth century. The addition of counter- point to the cantus firmus remained a standard method of com- posing large works until the sixteenth century. The fifteenth century, the last in which the practice was of major importance, is of special interest because the methods of handling the bor- rowed melody became more complex and varied than ever before. $12.50
UNIVERSITY OF CALIFORNIA PRESS Berkeley 4
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COMPOSITION An introduction to the art of composing vocal counterpoint in the sixteenth-century style
By OWEN SWINDALE. Every rule in this clear, practical text- book is illustrated by quotations from the actual music of the period, principally from Palestrina and Lassus. An excellent intro- duction to the nature and principles of counterpoint. 148 pp. $5.00
MUSIC THEORY A syllabus for teacher and student
By ELLIS B. KOHS, Chairman of the Theory Department School of Music, University of Southern California. Designed to cover two years' work in harmony at the college level, this com- bined text and workbook seeks to make clear the mutual relation- ship between the various components of music-harmony and form, structure and function. Concise, thorough, and accurate, the book develops a consistent, rational system for the analysis and figuring of diatonic and chromatic harmony. Each volume contains a wealth of musical examples, including several complete short compositions and numerous extended excerpts. The exercise material is intended to develop basic skills in vocal sight reading, keyboard improvisation, and the translation of sound into musical notation. Volume I 1961 136 pp. 208 musical examples paperbound $2.95 Volume II 1961 128 pp. 137 musical examples paperbound $2.95
Oxford University Press Music Department, 417 Fifth Avenue, New York 16, N. Y.
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A valuable and useful index which will be of great help to the
scholar, the student, and the researcher in the field of Bachiana
(or, the music of J. S. Bach). This revised and enlarged edition is invaluable as a companion volume to Wolfgang Schmieder's Verzeichnis and supplies additional information not furnished in the Schmieder volume. A lucid preface explains the compiler's mode of procedure and a cross-index makes it possible to locate themes used by J. S. Bach by means of its BWV number. The index contains 3872 themes. Works of doubtful authenticity are included and the extent of their questioned character is indicated. All references relate themselves to the Bach-Gesellschaft edition.
C. F. PETERS CORPORATION 373 Park Avenue South, New York 16, N. Y.
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String Orchestra: 15 minutes or less more than 15 minutes
Symphony Orchestra: 15 minutes or less more than 15 minutes
Wind Symphony Orchestra
Solo Instruments with Orchestra
Accordion Solo Bass Clarinet Solo Bassoon Solo Clarinet Solo Contrabass Solo Flute(s) Solo Guitar Solo
Harmonica Solo Harp(s) Solo Harpsichord Solo Horn(s) Solo Marimba Solo Mixturtrautonium Solo Oboe(s) Solo
Oboe d'Amore Solo Organ Solo Percussion Solo Piano(s) Solo Piccolo Solo Saxophone Solo Timpani Solo
Trombone Solo Trumpet(s) Solo Viola(s) Solo Viola d'Amore Solo Viola da Gamba Solo Violin(s) Solo Violoncello Solo
Two or more different Solo Instruments with Orchestra
In addition to Peters Edition and Henmar Press classical and contemporary orchestra music, works of those European music publishers who have ap- pointed C. F. Peters Corporation as American Sole Agents are included in this Orchestra Catalogue (96 pages): Alkor, Cell, Choudens, Donemus, Engstroem, Eulenburg, Forberg, Grahl, Heinrichshofen, Hinrichsen Edition, Kneusslin, Lienau, Litolff, Lyche, Merseburger, Willy Mueller, Noetzel, Reinhardt, Ries & Erler, Schott Freres, Taunus, Vieweg, Zimmermann, et al.
Area Code 212-MU 6-4147 Cable: Petersedit Newyork
C. F. PETERS CORPORATION 373 Park Ave. South, New York 16, N. Y.
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Corpus of Early Keyboard Music A corpus, for the first time, of systematically collected and authoritatively edited keyboard
music from the earliest 14th-century fragments to great collected works up to the end of the 17th century, under the general editorship of Prof. Willi Apel. The editions are designed for both musical scholar and keyboard musician.
In print: CEKM 1: Keyboard Music of the Fourteenth and Fifteenth Centuries, ed. by Dr. W. Apel.
$5.50 CEKM 2: Marco Facoli, Intavolatura di balli (1538), ed. by Dr. W. Apel. $3.75
Forthcoming: CEKM 3: Giovanni Salvatore, Ricercari ..., ed. by Dr. B. Hudson CEKM 4: Hieronimus Praetorius, Magnificats, ed. by Dr. C. G. Raynor CEKM 5: Bernardo Pasquini, Collected Keyboard Music, in about 6 vols., ed. by Dr. B.
Haynes CEKM 6: The Tablature of Johannes of Lublin (c. 1540), in about 6 vols., ed by Dr.
J. R. White
In preparation Keyboard Mss. of Castell' Arquato; Attaingnant's Quatorze Gaillards (1531); Intabolatura
nova di varie sorte di balli (1551); the Leopolita Tablature; the works of Ulrich Steigleder, Heinrich Scheidemann, Christian Erbach, Aguilera de Heredia, Bernardo Storace, Gregorio Strozzi, Gioanpietro del Buono, Ercole Pasquini, Michelangelo Rossi, Gottlieb Muffat, others.
Musicological Studies and Documents A series of a wide range of works on the musical culture of the Middle Ages, the
Renaissance, and the Baroque period, done in both scholarly and physical qualities in keeping with the other series published by the Institute. All volumes are handsomely bound.
MSD 1: Cytnbala (Bells in the Middle Ages). Coll. texts, ed. by J. S. van Waesberghe, with Introd. and 8 plates. $4.00
MSD 2: The Worcester Fragments. A catalogue raisonn6 and transcription of the entire material by L. Dittmer. $16.50
MSD 3: Girolamo Mei, Letters on Ancient and Modern Music to V. Galilei and Giov. Bardi. Orig. text, ed. with an extensive Introd. by C. V. Palisca. $8.50
MSD 4: Georg Muffat, Essay on Thorough Bass. Orig. text, ed. with an extensive Introd. by H. Federhofer. Numerous figured bass realizations. $6.00
MSD 5: Johannes Tinctoris, Art of Counterpoint. Transl. and ed. by A. Seay. $5.50 MSD 6: H. Glareanus, Dodecachordon. Transl., transcribed and ed. by C. A. Miller. In
preparation. MSD 7: H. Stiiblein-Harder, Fourteenth-Century Mass Music in France. Critical text
($11.50) and music (CMM 29, $16.50) MSD 8: Rend Descares, Compendium of Music. Transl. by W. Robert; annotated by
Ch. Kent. $4.00 MSD 9: Ercole Bottrigari, I1 Desiderio, and Vicenzo Guistiniani, Discorso sopra la musica.
Transl. and ed. by C. MacClintock. $4.75 MSD 10: The Codez Faenza, Bibl. Com., 117. A facsimile edition of the complete key-
board music (early 15th c.). $7.50
AMERICAN INSTITUTE OF MUSICOLOGY P. O. Box 30665, Dallas 30, Texas
35 Denzenbergstr. Tuibingen, Germany Hinrichsen Editions, Ltd., (for Great Britain and
the Commonwealth, except Canada) 10-12 Baches Street, London N.1.
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As Elizabethan music is part of Shakespearean drama so the
chansons, dances, fanfares, and street cries were inseparable from the early French stage. Here, after reconstructing what we know of the plays and their performance, Mr. Brown shows what music would have been chosen for different contexts and how it would have sounded. He finds in the dramatic chansons a sequence which differs significantly from the mainstream of music history. With musical illustrations. $10.00
The companion volume,
Theatrical Chansons of the Fifteenth and Early Sixteenth Centuries
Contains scores of 60 chansons in polyphonic arrangements, most unavailable elsewhere. $5.00
Chanson and Madrigal, 1480-1530 Studies in Comparison and Contrast
Edited by JAMES HAAR
The first thorough study of this subject-an edited presenta- tion of the second Isham Conference-includes papers by Howard Brown, Walter Rubsamen, and Daniel Heartz, with
subsequent discussions. The appendix of musical examples-- most of them unavailable in modern editions-comprises a small anthology of French and Italian Renaissance music. Isham Library Papers II. $4.25
ask your bookseller
'ARVARD
UNIVIA'."RSITY PRES
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This version for large orchestra of Arnold Schoenberg's Kammer- symphonie, Op. 9, composed in 1905, was made by the composer after he came to the United States in 1935. He himself conducted the first performance in Los Angeles in December, 1935. It was origi- nally published in a facsimile print of the composer's particell. The publication of this score has been prepared on the basis of all avail- able source material for both versions of the Kammersymphonie under the supervision of Dr. Erwin Ratz and Karl Heinz Fuessl in Vienna, in 1962.
Study Score N o. 95 ................................................................................6
.00
Other Scores by Arnold Schoenberg IN PREPARATION:
CHAMBER SYMPHONY, OP. 38-Study Score No. 97
PREVIOUSLY PUBLISHED: ODE TO NAPOLEON BUONAPARTE (Lord Byron), OP. 41 for String Quartet, Piano and Reciter. Score ......................... 2.00
CONCERTO FOR PIANO AND ORCHESTRA, OP. 42- Study Score No. 82
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