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Works Created with the Help of the Music Division, 2013-2014

I'm happy to present examples of how the Music Division contributed to knowledge for 2013-2014. Although my information is based on the fiscal year (July 1, 2013 through June 30, 2014), December is an appropriate time to post this information.

As the use of metrics to measure the effectiveness of cultural institutions increases, questions arise concerning what kind of measures should be used and what does the information tell us. Where does information such as attendance and items circulated fit in to the large picture? These questions are part of a larger discussion happening in the library field as we try to gain and promote a better understanding of the value of libraries. Works produced based on materials in the library should occupy a significant role in any studies, as they are an indicator of a library's value to writers and performers, as well as society in general.

Have you published a book or article, written a dissertation, given a talk, or participated in a performance where you have benefited from research in the Music Division? WE WANT TO KNOW ABOUT IT! Please send me an e-mail so that I may include your work in next year's list.

Score

Sarasate, Pablo de. Zigeunerweisen, opus 20. For violin and piano. Edited by Ernst-Günter Heinemann, fingering by Ingolf Turban. Munich: G. Henle Verlag, 2013.

It is an honor for the Music Division to know that our manuscript (JOG 73-126) was the basis for this new edition of the composer's most famous works in his own arrangement.

Books

Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp.
Philadelphia: Philadelphia Museum of Art, 2013.

Several items from the John Cage Music Manuscript Collection (JPB 95-3) were used in this wonderful exhibit of which this is the catalog.

± 1961: Founding the Expanded Arts
Madrid: Museo Nacional Centro de Arte Reina Sofía, 2013.

Another exhibition catalog that included a number of work from our John Cage Music Manuscript Collection.

Fauster, Annegret. Sounds of War: Music in the United States During World War II. New York: Oxford University Press, 2013.

Fauster used various archival collections in the Music Division, including the Rose Lee Finney papers (JPB 04-15) and the Henry Cowell Papers (JPB 00-03).

Lambert, Philip. Alec Wilder. Urbana: University of Illinois Press, 2013

Lambert benefited from the William Engvick collection of Alec Wilder scores, JPB 13-22.

Marston, Nicholas. Heinrich Schenker and Beethoven’s ‘Hammerklavier’ Sonata. Royal Music Association Monographs 23. Surrey: Ashgate, 2013.

Marston made extensive use of the Oster Collection: Papers of Heinrich Schenker (JOB 89-25).

Mendelssohn Bartholdy, Felix. Sämtliche Briefe, Band 7: Oktober 1839 bis Ferburary 1841. Kassel: Bärenreiter, 2013.
Mendelssohn Bartholdy, Felix. Sämtliche Briefe, Band 8: März 1841 bis August 1842. Kassel: Bärenreiter, 2013.

These two publications are the University of Leipzig's most recent publications in their project devoted to publishing a large selection of Felix Mendelssohn Bartholdy's voluminous correspondence. They benefitted from our collection of over 700 letters.

Música y Acción: Exposición/Concierto de 40 Piezas para Instrumentos Varios. Centro José Guerrero del 19 de octubre de 2012 al 13 de enero de 2013, Granada. Granada: José Guerrero, 2012.

Yet another exhibition catalog featuring music manuscripts of John Cage.

Pisani, Michael V. Music for the Melodramatic Theatre in Nineteenth-Century London and New York. Iowa City: University of Iowa Press, 2014.

The author had been working on this book for several years. He used the collection of music amassed by producer/playright David Belasco (JPB 93-4). (I'll have a future blog post about this book and the material the author used.)

Articles

Essays from The Fourth International Schenker Symposium, volume 2. Edited by L. Poundie Burstein, Lynne Rogers and Karen M. Bottge. Studien und Materialien zur Musikwissenschaft Band 73. Hildesheim: Georg Olms Verlag, 2013.

This is the second volume of essays coming from this symposium held at Mannes College the New School for Music here in New York City in 2006. Part of Heinrich Schenker's massive archive resides in the Music Division (JOB 89-25). Our collection was well-represented in these essays which originated as talks:

  • Alpern, Wayne. "The triad of the true, the good, and the beautiful: Schenker's moralization of music and his legal studies with Robert Zimmermann and George Jellinek."
  • Bent, Ian. “‘Niemals also ist der Verleger ein Mäzen des Künstlers’: Schenker and the Music-Publishing World.”
  • Cascelli, Antonio. “Chopin’s Music in the Development of Schenker’s Analytical Thought.”
  • Drabkin, William. “An Autobiographical Letter of Schenker’s from 1928.”
  • Marston, Nicholas. “Schenker’s Concept of a Beethoven Sonata Edition.”
  • McClelland, Ryan. “Brahms’s Op. 111 and the 8-line Urlinie.”
  • Siegel, Hedi. “Schenker’s Letters to Felix Salzer: A Nod to the Future.”

Ball, Robert. “Joseph Machlis and the Enjoyment of Music: A Biographical Appreciation of a Great Teacher.” Musical Quarterly, 2013.

  • The author consulted the Hugo Weisgall Papers JPB 00-43.

Boziwick, George. “‘My Business is to Sing:’ Emily Dickinson’s Musical Borrowings” was the lead article in the May (2014) issue of the Journal of the Society of American Music. Vol. 8, no. 2 (May 2014), pages 130-66.

  • The chief of the Music Division offers a new perspective on Dickinson as an accomplished musician who actively used her musical experiences as a means of cultivating her unique poetic voice.

Deconnick-Brossard, Françoise. “Sharp, Haendel, Nares et les autres.” Haendel après Haendel: Construction, renommée, influence de Haendel et de la figure haendélienne. Tours: Université François-Rabelais, p. 133-144.

Denlinger, Elizabeth. ¨The Yiddish Heart Still Beating.” Jewish Week, Nov. 15, 2013.

Review of an event sponsored by the Dorot Jewish Division for which the Music Division supplied much of the music.

Hiam, Jonathan. “Reconstructing a “Shaken Culture”: The Re-emergence of Schoenberg’s Verein für musikalische Privataufführungen at the Black Mountain College Summer Music Institute of 1944.″ Crosscurrents: American and European Music in Interaction, 1900-2000. Ed. by Felix Meyer, et al. Suffolk : The Boydell Press, 2014, p. 233-243.

  • Used several Music Division archival collections in his research on composers Roger Sessions and Mark Brunswick

Kozinn, Allan. “Public Library Receives Recordings in Archives.” New York Times (April 3, 2014), page C3.

  • Concerning the acquisition of the archives of George Avakian and Anahid Ajemian.

Talks

  • Boziwick, George. “The Musical Parlor of Emily Dickinson,” International Association of Music Libraries, August 2, 2013.
  • Boziwick, George. “‘I Wish I Were Somebody Else’: Emily Dickinson’s Musical Longings,” Society for American Music, March 6, 2014.
  • Cohen, Brigid. “The Black and White of George Antheil’s ‘Super Jazz’: Seeing and Hearing Race at the Carnegie Hall Premiere of A Jazz Symphony.” Society for American Music, March 6, 2014.
  • Doktor, Stephanie. “The Black and White of George Antheil’s ‘Super Jazz’: Seeing and Hearing Race at the Carnegie Hall Premiere of A Jazz Symphony.” Society for American Music, March 6, 2014.
  • Dubinets, Elena. “‘Other’ Russians: Émigré Composers in a Globalizing World,” American Musicological Society, Nov. 8, 2013
  • Knecht, Anna Stoll. “Beckmesser in a New Light: Die Meistersinger in Mahler’s Seventh Symphony,” American Musicological Society, Nov. 8, 2013

Have you published a book or article, written a dissertation, given a talk, or participated in a performance where you have benefited from research in the Music Division? WE WANT TO KNOW ABOUT IT! Please send me an e-mail so that I may include your work in next year's list.

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