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NOVEDADES
MSICA

01

ABRIL 2013

A. BOMBI

ENTRE TRADICIN
Y MODERNIDAD
El italianismo musical
en Valencia (1685-1738)
Volumen 1
2012 654 pp., 1 CD-ROM, not. 40,00
NDICE: Presentacin Introduccin Primera parte: quantos msicos hava en Valencia:
las capillas musicales en la ciudad de Valencia con mil modos y differencias de msicas: el
Real convento de predicadores en el sistema productivo musical a uso de Italia: pocas voces
y muchos instrumentos: las capillas de msica y el italianismo Segunda parte: trobas que
me pidieron los cantores: fuentes literarias para la historia musical Una diversin devota
y racional: el villancico y otros gneros devocionales lo substancial del concepto: aspectos
de las relaciones entre letra y msica en villancicos del siglo XVII una pera a lo divino, toda
cantada: villancicos representativos, recitados y oratorios completado de estribillo, recitado
y aria: el villancico-cantata Tercera parte: los que hazen villansicos tan bien hazen
academias: la prctica musical en la Academia de Valencia esta moda de comedias ha venido
de Italia: pera e italianismo las peras son de msica: el repertorio Conclusiones
Bibliografa ndice analtico.
***

02

L. FRASSA / M. NICCOLAI, EDS.

VERDI RECEPTION
2013 300 pp. 130,00
***

PRTICO LIBRERAS

03

NOVEDADES * MSICA Abril 2013

G. HEALEY

MESSIAENS
MUSICAL TECHNIQUES
The Composers View and Beyond
2013 224 pp., 20 fig., 40 not., 35 tabl. 71,50
NDICE: Introduction The theoretical and analytical writings of Messiaen Theoretical
and written sources; Extra-musical influences The influence of Debussy and Stravinsky
Rhythmic evolution Harmonic evolution; Harmony: an alternative perspective; Form
Implementation of analytical methodology Conclusion.
***

04

M. HUNTER / R. WILL, EDS.

ENGAGING HAYDN
Culture, Context, and Criticism
2012 362 pp., 93 not., 9 tabl. 76,75
NDICE: Introduction: M. Hunter / R. Will Part I. Cultures of Vocal Music: Fantasy island:
Haydns metastasian Reform opera: E. Sisman Haydn invents Scotland: R. Will Haydns
English canzonettas in their local context: K. Komls Revolution, rebirth and the sublime
in Haydns Lanima del filosofo and The Creation: C. Clark Achieved is the glorious
work: the creation and the choral work concept: N. Mathew Part II. Analytical Readings
and Rereadings: Imagination, continuity, and form in the first movements of Haydns Opus 77
Quartets: L. Lockwood Does Haydn have a C-minor mood?: J. Waldoff Form, rhetoric,
and the reception of Haydns Rondo Finales: M. Fillion Haydn and the Metamorphoses of
Ovid: P. Polzonetti Credo ut intelligam: Haydns reading of the Credo text: T. Beghin
Part III. Performance: Haydns string quartet fingerings: communications to performer and
audience: M. Hunter Haydns orchestras and his orchestration to 1779, with an excursus on
the times of day symphonies: N. Zaslaw.
***

05

C. C. JUDD

MUSICAL THEORY
IN THE RENAISSANCE
2013 634 pp. 230,00
NDICE: Introduction Part I. Terms and Topics: Resfacta and Cantare Super Librum, M.
Bent On compositional process in the 15th century, Bonnie J. Blackburn On diminution
and proportion in 15th-century music theory, R. I. DeFord Is mode real? Pietro Aron, the
octenary system, and polyphony, H. Powers Renaissance modal theory: theoretical,
compositional, and editorial perspectives, C. C. Judd Part II. Influences and Authorities:

PRTICO LIBRERAS

NOVEDADES * MSICA Abril 2013

Renaissance music theory as literature: on reading the Proportionale Musices of Iohannes

Tinctoris, R. Woodley Aristoxenus redeemed in the Renaissance, C. V. Palisca Modes
and planetary song: the musical alliance of ethics and cosmology, G. Tomlinson Defending
the Dodecachordon: ideological currents in Glareans modal theory, S. Fuller Heinrich
Glarean reading and editing Boethius, I. M. Groote Part III. Life and Works of Individual
Theorists: The tradition and science: the Istitutioni harmoniche of Gioseffo Zarlino, P. da Col
Introduction, M. R. Maniates Part IV. National Traditions and Dissemination: Lute
tablature instructions in Italy: a survey of the regole from 1507 to 1759, D. Fabris Deutsche
Musiktheorie im 16. Jahrundert: Geistes- und institutionsgeschichtliche Grundlagen, K. W.
Niemller You can tell a book by its cover: reflections on format in English music theory,
J. A. Owens La diffusion de textes thoriques franais la renaissance, P. Vendrix Music
and music theory in the universities of Central Europe during the 15th century, T. R. Ward
The dissemination and use of European music books in early modern Asia, D. R.M. Irving.
***

06

S. LIANO

WHOSE SPAIN?
Negotiating Spanish Music
in Paris, 1908-1929
2012 360 pp. 48,75
NDICE: Introduction Part I. Spanish music as propaganda: Spanish music as allied
propaganda Spanish music as Catholic propaganda Part II. Negotiating French and
Spanish music: Citizens or Savages?: The Spaniards in Raoul Laparras La jota (1911)
Manuel de Fallas La vie brve (1914) and notions of Spanish music Part III. Building
the Postwar order: Domesticating Difference?: Carmen and the French canon in the 1920s
Showcasing Spain at the Opra Comique: The homage to Falla (1928) Conclusions.
***

07

J. LPEZ CALO

LA MSICA
EN LAS CATEDRALES
ESPAOLAS
2012 719 pp. 40,00
NDICE: C. Villanueva: Prlogo Introduccin: Cinco siglos de msica religiosa espaola
1. La edad media: Los orgenes Los comienzos Las catedrales y sus cabildos Culto y
msica La monoda La polifona. Los instrumentos Las fiestas El Renacimiento: El
Renacimiento Una nueva organizacin musical La polifona en latn La msica en
castellano El rgano y su msica Los ministriles y su msica Las fiestas 3. El siglo
XVII: El siglo XVII La polifona en latn La polifona en castellano El rgano y su
msica Los ministriles y su msica Culto diario y fiestas 4. El siglo XVIII: El siglo

PRTICO LIBRERAS

NOVEDADES * MSICA Abril 2013

XVIII La msica vocal La msica instrumental 5. Siglos XIX y XX: El siglo XIX, 1. La
historia El siglo XIX, 2. La msica vocal El siglo XIX, 3. La msica instrumental El
siglo XX Eplogo.
***

08

A. POVES OLIVN

EN TABLA
PIEDRA Y PERGAMINO
Los instrumentos de rueda
en la Espaa medieval
(siglos XII-XV)
2013 207 pp., 84 lm.col. 35,00
***

09

J. RODN

JOSQUINS ROME
Hearing and Composing
in the Sistine Chapel
2013 400 pp., 112 fig. 45,50
NDICE: Introduction Part I. Toward Josquins Style: Methodological Minefields An
Obsessive Compositional Personality Part II. Surveying the Soundscape. The Cappella
Sistina, ca. 1480-ca. 1500: The Repertory The Lingua Franca A Maximalist Musical
Mind: Marbrianus de Orto Part III. Josquins Roman Music in Context: Super voces musicales
and the Lhomme arm Tradition Intersections and Borrowings Appendices: Music Copied
into Cappella Sistina Manuscripts before ca. 1500 Contents of VatS 14 and 51 Related
Repertories: VerBC 761, BarcOC 5, and VatSP B80 Three Anonymous Da pacem Motets
Five Canonic Hymn Settings.
***

10

E. TARASTI

SEMIOTICS
OF CLASSICAL MUSIC
How Mozart, Brahms
and Wagner Talk to Us
2012 xiii + 493 pp. 119,95
NDICE: Preface Prelude: Music A Philosophico-Semiotic Approach Introduction to

PRTICO LIBRERAS

NOVEDADES * MSICA Abril 2013

a Philosophy of Music Part I. The Classical Style: Mozart, or, the Idea of a Continuous
Avant-garde Existential and Transcendental Analysis of Music Listening to Beethoven:
Universal or National, Classic or Romantic? Part II. The Romantic Era: The irony of
romanticism ein leiser Ton gezogen : Robert Schumanns Fantasie in C major (op.
17) in the light of existential semiotics Brahms and the Lyric I: A Hermeneutic Sign
Analysis Brnnhildes Choice; or, a Journey into Wagnerian Semiosis: Intuitions and
Hypotheses Do Wagners leitmotifs have a system? Part III. Rhetorics and Synaesthesias:
Proust and Wagner Rhetoric and Musical Discourse The semiosis of light in music: from
synaesthesias to narratives The implicit musical semiotics of Marcel Proust M. K.
iurlionis and the interrelationships of arts iurlionis, Sibelius and Nietzsche: Three profiles
and interpretations Part IV. In the Slavonic World: An essay on Russian music The
stylistic development of a composer as a cognition of the musicologist: Bohuslav Martin
Postlude I. Do Semantic Aspects of Music Have a Notation? Postlude II. Music Superior
Communication.
***

11

J. S. WALDEN, ED.

REPRESENTATION
IN WESTERN MUSIC
2013 329 pp., 14 fig., 26 not., 6 tabl. 76,75
NDICE: Preface Joshua S. Walden Part I. Representation and the Interpretation of Musical
Meaning: Layers of representation in nineteenth-century genres: the case of one Brahms Ballade
M. Gelbart As a stranger give it welcome: musical meanings in 1830s London R. Parker
Music is obscure: textless Soviet works and their phantom programmes M. FrolovaWalker Representing Arlen W. Frisch Video cultures: Bohemian Rhapsody, Waynes
World, and beyond N. Cook Part II. Sound and Visual Representations: Music, Painting,
and Dance: 6. On Wings of Song: representing music as agency in nineteenth-century culture
T. Grey Representation and musical portraiture in the twentieth century J. S. Walden
Representational conundrums: music and early modern dance D. Caddy Part III. Musical
Representations in Opera and Cinema: Allusive representations: homoerotics in Wagners T.
L. Dreyfus Der Dichter spricht: self-representation in Parsifal K. Berger Memory and
the leitmotif in cinema G. Biancorosso Self-representation in music: the case of Hindemiths
meta-opera C. H. Danuser, translated by J. B. Robinson Part IV. Music, Representation,
and the Concepts of East and West: Doing more than representing Western music R. B. Willson
The persistence of Orientalism in the postmodern operas of Adams and Sellars W. A. Sheppard
Afterword: what else? R. Taruskin.
***

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