English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Joseph Kerman. Write All These Down: Essays on Music. Berkeley: University of California Press, 1994. xii, 359 pp. ISBN 0-520-08355-5 (hardcover). I. Criticism: "A Profile for American Musicology"; "How We Got into Analysis, and How to Get Out"; "A Few Canonic Variations"; "Critics and Classics"; II. Byrd, Tallis, Alfonso Ferrabosco: "William Byrd and Elizabethan Catholicism"; "Byrd, Tallis, and the Art of Imitation"; "'Write All These Down': Notes on a Song by Byrd"; 'The Missa Puer Natus Est by Thomas Tallis"; "An Italian Musician in Elizabethan England"; III. Beethoven: "Tovey's Beethoven"; "An die ferne Geliebte"; 'Taking the Fifth"; "Beethoven's Minority"; IV. Opera and Concerto: 'Translating The Magic Flute"; "Wagner: Thoughts in Season"; "Verdi's Use of Recurring Themes"; 'Two Early Verdi Operas: Two Famous Terzetti"; "Reading Don Giovam?; "Mozart's Piano Concertos and Their Audience"; "Tristan und Isolde: The Prelude and the Play." Joseph Kerman's Write All These Down is a collection of twenty essays on diverse musical topics. The group includes some older essays which were not widely circulated in their initial incarnations, half a dozen essays written since 1990, and a few heretofore unpublished items. As the author notes in the Preface, such a collection allows him to display the varied repertoires, approaches, and methodologies with which he has been involved, and as they have evolved. Kerman also exhibits in this literary retrospective a variety of voices, from music critic for the Hudson Review to respected musicologist addressing his peers. While the essays are arranged into four general topic headings, there is considerable diversity within each category. Reviewing such a collection in a few paragraphs is a challenging and even frustrating task. The temptation to address each essay individually is strong, in part because each is so individual, but particularly because there are so many gems in the collection. Nonetheless, a more general summary follows. The opening essay in this collection introduces a major and recurring issue in Kerman's writing and, in so doing, establishes the philosophical background for the remainder of the book. The essay, initially an address delivered at a plenary session of the 1964 annual meeting of the American Musicological Society, was a reaction to the recently released Musicology volume in the Princeton Studies of Humanistic Scholarship in America. The series investigates the nature and function of humanistic scholarship; the Musicology volume looks at the same questions in the context of its specific discipline. One of the authors, F.LI. Harrison, expresses the concern that historical scholarship without a social aim becomes an exclusive and uncommunicative exercise. He proposes that while musicology must, of course, "contribute to the understanding and recreation of music by a close analysis of the composer's musical thought and style in the light of the technical and aesthetic principles of the day," its ultimate goal becomes "the study of men in so far as they express themselves through the medium of music."23 Kerman proposes reversing the focus (with apologies in the preface for dated language) to "Men in society are studied as a means of furthering the comprehension of works of art" (p. 4). Thus history, sociology, and even style analysis are not ends but, rather, steps leading to "insight into individual works of art... in a context" provided by those steps (p. 5). This critical approach is not the addition of another layer of scholarship so much as a philosophical reorientation-a return to what brought most music researchers to their fields of study in the first place, a passion for music. The case for criticism is extended and expanded in "How We Got into Analysis."24 Here, Kerman begins with the premise that musical analysis typically sets out to demonstrate organic unity within a work, a task that is also the main focus of most criticism in the other arts. …