The materials listed below were submitted for review and are likely to be of interest to readers of JSCM, but because they do not relate primarily to seventeenth-century music or are re-issues of previously available works they will not receive full reviews.
1.1 Meter in Music, 1600–1800: Performance, Perception, and Notation. By George Houle. Bloomington: Indiana University Press, 1987, reprinted 2000. [ix, 174 pp. ISBN 0-253-21391-6 $16.95.]
This is an unrevised paperback reprint of Professor Houle’s 1987 work, consisting of six chapters: “The Origins of the Measure in the Seventeenth Century,” “Time Signatures in the Eighteenth Century, “Rhythmopoeia: Quantitative Meters in Poetry and Music,” “Quantitas Intrinseca: The perception of Meter,” “Articulation of Quantitative Meter,” and “Accent as Measure Articulation and as Measure Definition.” An Appendix presents facsimiles of “Rhythmopoeia” tables by Johann Mattheson and Wolfgang Caspar Printz.
1.2 Jan Dismas Zelenka (1679–1745): A Bohemian Musician at the Court of Dresden. By Janice B. Stockigt. Oxford: Oxford University Press, 2000. [xxiii, 352 pp. ISBN 0-19-816622-2 $95.]
The author, a Research Fellow at the Faculty of Music, University of Melbourne (Australia), presents a chronological stylistic (and biographical) study of the early eighteenth-century composer. A detailed (but non-thematic) worklist is appended, as is a list of dedications and petitions.
1.3 Women & Music: A History. Edited by Karin Pendle. Second Edition. Bloomington: Indiana University Press, 2001. [xi, 516 pp. ISBN 0-253-21422-X (paper bound) $24.95.]
The first edition of this book of essays appeared in 1991. This edition adds chapters on women in popular music and jazz, and some non-Western cultures. The seventeenth century is included in Karin Pendle’s “Musical Women in Early Modern Europe,” and Barbara Garvey Jackson’s “Musical Women of the Seventeenth and Eighteenth Centuries.” There are thirteen other essays.
2.1 Johann David Heinichen. La Gara degli Dei. Edited by Michael Walter. Recent Researches in the Music of the Baroque Era, 102. Madison: A-R Editions, 2000. [xxvi, 130 pp. ISBN 0-89579-452-7. $55.]
2.2 Johann David Heinichen. Diana su l’Elba. Edited by Michael Walter. Recent Researches in the Music of the Baroque Era, 103. Madison: A-R Editions, 2000. [xxi, 94 pp. ISBN 0-89579-453-5. $45.]
These two serenatas were composed for the celebrations held in conjunction with the Dresden wedding of the German prince Friedrich August III and the Austrian archduchess Maria Josepha in September of 1719. The works are in the Venetian style, scored for solo voices (SSSSATB for the first, and SSSAA for the second), SATB chorus, and orchestra.
2.3 Johann Ludwig Bach. Motets. Edited by Daniel R. Melamed. Recent Researches in the Music of the Baroque Era, 108. Madison: A-R Editions, 2000. [xviii, 210 pp. ISBN 0-89579-470-5. $85.]
Johann Ludwig Bach (1677–1731) was a cousin of Johann Sebastian, and worked primarily in the small court of Meiningen, where he was Kantor (from 1703) and then Kapellmister (until his death). These eleven motets are undated but are likely to be from the Meiningen period. They are mostly for eight-part double chorus (one is laid out for twelve voices, although no more than eight sing at any one time), and on the basis of evidence in the sources for two of the motets, the editor has supplied a mostly unfigured continuo line for all.
3.1 O Livro de guitarra do Conde de Redondo. Paulo Galvão, baroque guitar. Musicalia, 2000. [M.01.03.003.]
This is a recording of 27 anonymous pieces, largely dances, from the Guitar Book of the Count of Redondo, which dates from the middle third of the eighteenth century.
3.2 O Cancioneiro de Elvas (1526). Vitor Lima, counter-tenor; Joaquim Galvão, recorder; and Paulo Galvão, vihuela and lute. Musicalia, 2000. [M.01.03.004.]
This is a recording of 26 anonymous secular songs from the sixteenth-century Elvas Songbook.
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