In this Issue

Director's Column

Andresen Collection

Ethnic Collection

Collegiate Image

JSTOR Music Journals

Rosenberg EMMY Nominations

Faculty & Student Publications & Recordings

Library Adds Bach and Beethoven Manuscripts

Volunteers

Library Express

RISM Online

Fall Library Hours

Jongleur Index

Compiled by Paul Friedman, Charles Schneider and Steve Sundell

From 1994–1998, the Jongleur regularly listed current publications by School of Music faculty and grad students. We felt it was time to revive the column in order to show the broad range of scholarship and performance undertaken in the School of Music. This "Imprint" begins with a look at books, articles and scores published by faculty and grad students from 1998–2003, as well as a few earlier publications not previously included in the column. This issue covers authors through the letter "N". The next issue will complete the listing of print publications and provide a faculty discography.

• Babbitt, Milton. The Collected Essays of Milton Babbitt. Ed. by Stephen Peles, Stephen Dembski, Andrew Mead, and Joseph N. Straus. Princeton: Princeton University Press, 2003.
• Bartley, Linda. "Mozart Revisited." NACWPI Journal 48, no. 2 (1999-2000): 24-31.
• ______. Recording review of Martin Froest Plays Concertos Dedicated to Benny Goodman. The Clarinet 26, no. 2 (1999): 95.
• ______. Review of Prairie Dawn, Concerto for Clarinet and String Orchestra With Harp, by Stephen Chatman. The Clarinet 28, no. 1 (2000): 86-87.
• ______. Review of Roberto Sierra: Piezas Caracteristicas. The Clarinet 25, no. 3 (1998): 81-82.
• Blasius, Leslie David. The Music Theory of Godfrey Winham. Princeton, N.J: Department of Music, Princeton University, 1997.
• ______. "Mapping the Terrain." In The Cambridge History of Western Music Theory, ed. by Thomas Christensen. Cambridge: Cambridge University Press, 2002.
• ______. "Nietzsche, Riemann, Wagner: When Music Lies." In Music Theory and Natural Order From the Renaissance to the Early Twentieth Century, ed. by Suzannah Clark and Alexander Rehding. Cambridge: Cambridge University Press, 2001.
• Bowles, Chelcy. "Challenges of Reading Music for the Harpist: Suggestions for the Piano Teacher." Keyboard Companion 11, no.1 (2000): 12.
• ______. "Extend Your Expertise ... But Maintain Physical and Mental Health." Wisconsin School Musician 70, no.1 (1999): 38-39.
• ______. "Happy Career Music Educator -- An Oxymoron?" Wisconsin School Musician 71, no. 2 (2000): 48-49.
• ______. "Integrate the Arts -- For Yourself!" Wisconsin School Musician 72, no.3 (2002): 46-47.
• ______. "It's Time for Those Politicians We Elected to PERFORM!" Wisconsin School Musician 69, no. 2 (1998): 40-41.
• ______. "Music Activity Preferences of Elementary Students." Journal of Research in Music Education 46 (1998): 193-207.
• ______. "Music for Every Student." Wisconsin School Musician 69, no. 3 (1999): 22.
• ______. "A New Network for a New Century: The Adult and Community Music Education SRIG." Wisconsin School Musician 71, no. 1 (2000): 32-33.
• ______. "Not Just for Breakfast Anymore." Wisconsin School Musician 69, no. 1 (1998): 28-29.
• ______. "PI-34 and Professional Development: Implications for Music Teachers, Administrators and Providers." Wisconsin School Musician 72, no.4 (2002): 42-43.
• ______. "Teaching for Adulthood: Transcending the Child." General Music Today 12, no. 2 (1999): 15-16.
• ______. "To Whom Will We Teach Music in Y2K?" Wisconsin School Musician 70, no. 3 (2000): 36.
• ______. "University of Wisconsin Continuing Education: An Extension of Success." Wisconsin School Musician 72, no. 1 (2001): 22-23.
• ______. "Workshops for Ensemble Directors: Suggestions for the Harpist." American String Teacher, 48, no. 2 (1998): 55-58.
• Bowles, Chelcy L., and Brian D. Runnels. "The Need for Collaboration in the Student Teaching Experience." Journal of Music Teacher Education 8, no. 1 (1998): 15-24.
• Cook, Susan C. "Don't Fence Me In: The Pleasures of Teaching American Music." In Teaching Music History, ed. Mary Natvig. Aldershot, Hants: Ashgate, 2002.
• ______. Review of Cultivating Music in America: Women Patrons and Activists Since 1860, ed. by Ralph P. Locke and Cyrilla Barr. College Music Symposium 39 (1999): 146-51.
• ______. Review of Cultivating Music in America: Women Patrons and Activists Since 1860, ed. by Ralph P. Lock and Cyrilla Barr, and Extraordinary Women in Support of Music by Mona Mender. Notes: Quarterly Journal of the Music Library Association, 56 (1999): 109-11.
• ______. Review of Women Composers and Songwriters -- A Concise Biographical Dictionary, by Gene Claghorn. Sonneck Society Bulletin 24, no. 3 (1998): 85, 91.
• ______. "Talking Machines and Moving Bodies: Marketing Dance Music Before World War I." In Dancing in the Millenniun: Proceedings of the conference sponsored by the Dance Critics Association, the Congress on Research in Dance, the Society of Dance History Scholars, and the National Dance Association, Washington, D.C., July 19-23, 2000, 75-78.
• ______. "Tango Lizards and Girlish Men: Performing Masculinity on the Social Dance Floor." In Proceedings of the Society of Dance History Scholars, Conference at Barnard College, 1997, 41-55.
• ______. "Watching Our Step: Embodying Research, Telling Stories." In Audible Traces: Gender, Identity, and Music, ed. by Elaine Barkin, Lydia Hamessley, and Benjamin Boretz. Zürich: Carciofoli, 1999.
• Crook, David. Review of Cross, Sword, and Lyre: Sacred Music at the Imperial Court of Ferdinand II of Habsburg (1619-1637) by Steven Saunders. Journal of the American Musicological Society 50 (1997): 495-502.
• ______. "Tonal Compass in the Motets of Orlando Di Lasso." In Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. by Dolores Pesce. New York: Oxford University Press, 1997.
• Dembski, Stephen. "Brody, Martin," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• Dill, Charles. "Air (The French Air, 1650-1800)," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• ______. Monstrous Opera: Rameau and the Tragic Tradition. Princeton Studies in Opera. Princeton, N.J.: Princeton University Press, 1998.
• ______. "Pellegrin, Opera and Tragedy." Cambridge Opera Journal 10 (1998): 247-57.
• ______. "Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte Et Aricie." Journal of the American Musicological Society 55 (2002): 433-76.
• ______. Review of When Literature Becomes Opera: Study of a Transformational Process, by Léonard Rosmarin. Notes: Quarterly Journal of the Music Library Association, 57 (2000): 105-6.
• Dill, Charles, and Downing Thomas. "Disciplines, Interdisciplinarity, and Cultural Studies: A Dialogue on Music's Place." In Rethinking Cultural Studies 1: A State of the Question, ed. by David Lee Rubin and Julia V. Douthwaite, 32-40. Charlottesville: Rockwood Press, 2000.
• Doing, James, and Donald G. Miller. "Male 'Passaggio' and the Upper Extension in the Light of Visual Feedback." Journal of Singing 54, no. 4 (1998): 3-14.
• Doing, James, Donald G. Miller, and H. K. Schutte. "Soft Phonation in the Male Singing Voice: A Preliminary Study." Journal of Voice 15 (2001): 483-91.
• Earp, Lawrence. "Machaut's Music in the Early Nineteenth Century: the Work of Perne, Bottée de Toulmon, and Fétis." In Guillaume de Machaut 1300-2000, ed. by Jacqueline Cerquiglini-Toulet and Nigel Wilkins. Paris: Presses de l'Université de Paris-Sorbonne, 2002.
• ______. Review of Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale De France, MS Français 146, ed. by Margaret Bent and Andrew Wathey. Plainsong and Medieval Music 9 (2000): 185-202.
• ______. Review of Patterns in Play: A Model for Text Setting in the Early French Songs of Guillaume Dufay, by Graeme M. Boone. Journal of the American Musicological Society, 54 (2001): 127-40.
• ______. "Roman," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• Earp, Lawrence and William Calin. "The Lai in Remede De Fortune." Ars Lyrica 11 (2000): 39-75.
• Fink, Marc. "My Dinner With Ivan -- A Visit With Distinguished Russian Oboist Ivan Poushechnikov." The Double Reed 22, no. 4 (1999): 31-32.
• ______. "Renaming of the Gillet Young Artist Competition." The Double Reed 22, no. 3 (1999): 26.
• ______. "The Strauss 'Concerto' on the North Slope." The Double Reed, 20, no. 1 (1997): 83-84.
• Fink, Marc, Khaniafi Chinakaev, and Andrei Petropavlov. "Oboists From Around the World in St. Petersburg." The Double Reed 24, no. 1 (2001): 51-52.
• Greive, Tyrone. "Grazyna Bacewicz's String Teaching Repertoire. American String Teacher 47, no. 4 (1997): 67-73.
• ______. "Kochanski's Collaborative Work As Reflected in His Manuscript Collection." Polish Music Journal 1, no. 1 (1998) <http://www.usc.edu/dept/polish_music/PMJ/issues.html> (17 September 2003).
• ______. "Mr. Music . . . a Legend." The Morningsider (Fall 1998): 10-12.
• ______. "New Horizons." The Strad 110 (1999): 1310-1312, 1315.
• Greive, Tyrone, and Chengye Zhang. "An Oriental Flower in the Garden of Violin Concertos: Introducing the Butterfly Lovers Concerto." American String Teacher 51, no. 2 (2001): 62-67.
• Hill, Douglas. Collected Thoughts on Teaching and Learning, Creativity, and Horn Performance. Miami: Warner Bros. Publications, 2001.
• ______. "Obits: Ruth Hokanson." The Horn Call 30, no. 1 (1999): 21.
• ______. "Occupational Hazard: Is Your Job Damaging Your Hearing?" Teaching Music 10, no. 4 (2003): 36-40.
• ______. "Preparing for College (and a Career in Music!)." The Horn Call 30, no. 3 (2000): 43-46.
• Hyer, Brian. "Block Harmony," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• ______. "Homophony," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• ______. "Key (i)," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• ______. Reviews of Deconstructive Variations: Music and Reason in Western Society, by Rose Rosengard Subotnik, and Classical Music and Postmodern Knowledge, by Lawrence Kramer. Journal of the American Musicological Society 51 (1998): 409-424.
• ______. "Tonality." In The Cambridge History of Western Music Theory, ed. by Thomas Christensen. Cambridge: Cambridge University Press, 2002.
• ______. "Tonality," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• Hyer, Brian, and Alexander Rehding. "Riemann, Hugo," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• Hyer, Brian, and Richard Cohn. "Harmony (Bibliography)," in The New Grove Dictionary of Music and Musicians. 2nd ed.
• Jensen, Janet L., Julia Scherer Fraily, Jason Sifford, and Susan Buckner. "Chamber Music." American Music Teacher 48, no. 2 (1998): 38-40.
• Kautsky, Catherine. "Storytelling at the Piano." American Music Teacher 49, no. 3 (1999-2000): 20-23.
• Koza, Julia Eklund. "Corporate Profit at Equity's Expense: Codified Standards and High-Stakes Assessment in Music Teacher Preparation." Bulletin of the Council for Research in Music Education, no. 152 (2002): 1-16.
• ______. Stepping Across: Four Interdisciplinary Studies of Education and Cultural Politics. Intersections in Communications and Culture, vol. 6. New York: Peter Lang, 2003.
• ______. "Rap Music: The Cultural Politics of Official Representation." In Sound Identities: Popular Music and the Cultural Politics of Education. ed. Cameron McCarthy, et. al. Counterpoints, Studies in the Postmodern Theory of Education, vol. 96. New York: Peter Lang, 1999.
• ______. "A Realm Without Angels: MENC's Partnerships With Disney and Other Major Corporations." Philosophy of Music Education Review 10, no. 2 (2002): 72-79.
• Miller, Richard. Review of Blue Nippon: Authenticating Jazz in Japan, by E. Taylor Atkins. Asian Music 34, no.2 (2003): 126-129.
• Nekola, Anna. Film review of The Internationale, produced and directed by Peter Miller. International Labor and Working-Class History, no. 63 (Spring 2003): 149-151.
• Scores
• Bach, Johan Sebastian. J.S. Bach Transcriptions for Guitar. Ed. by Javier Calderon. Pacific, MO: Mel Bay, 1999. Includes accompanying CD.
• Brahms, Johannes. Johannes Brahms Arranged for Guitar. Ed. by Javier Calderon. Pacific, MO: Mel Bay, 1999. Includes accompanying CD.
• Busoni, Ferruccio. Variations on a Minnesängerlied of the 13th Century for Violin and Piano, Op. 22. Ed. by Tyrone Greive. Master String Series. Boca Raton, FL: Masters Music Publications, 2000.
• Dranishnikova, Marina. Poem for Oboe and Piano (1953). Ed. by Marc Fink. Florida: TreCo Music, forthcoming.
• Gendel, Scott. Effusion for tuba and piano. Annandale, VA: Tuba-Euphonium Press, 2001.
• González-Paraíso, Raquel, and Francisco López. A Collection of Latin American Folk Songs. Hal Leonard, 2000.
• Hill, Douglas. Americana Variations for Horn Quartet. Eau Claire: Reallygoodmusic.com, 1998.
• ______. Elegy for Solo Horn. Eau Claire: Reallygoodmusic.com, 1998.
• ______. Elegy for Violin and Horn. Eau Claire: Reallygoodmusic.com, 1998.
• ______. The Glorious Privilege of Being, for Acapella Choir, Choir with Piano, Voice and Piano, and Horn Quartet/Choir. Eau Claire: Reallygoodmusic.com, 2000.
• ______. Scenes from Sand County for Mixed Nonet and Narrator. Eau Claire: Reallygoodmusic.com, 1999.
• ______. Warm-Ups and Maintenance Sessions for the Horn Player. Eau Claire: Reallygoodmusic.com, 2002.
• Karlowicz, Mieczyslaw. Impromptu Na Skrzypce i Fortepian. Ed. by Tyrone Greive. Kraków: PWM, 2002.
• Kochanski, Pawel. Serenada Violin and Piano. Ed. by Tyrone Greive. Violin Miniatures 130, Kraków: PWM, 1999.
• Lasso, Orlando di. Cantica Sacra Sex et Octo Vocibus (Munich, 1585). Ed. by David Crook. Orlando di Lasso: The Complete Motets, vol. 15. Recent Researches in the Music of the Renaissance, vol. 117. Madison: A-R Editions, 1999.
• ______. Cantiones Sacrae Sex Vocum (Graz, 1594). Ed. by David Crook. Orlando di Lasso: The Complete Motets, vol. 16. Recent Researches in the Music of the Renaissance, vol. 131. Madison: A-R Editions, 2002.
• ______. Sacrae Cantiones, for Four Voices (Munich, 1585). Ed. by David Crook. Orlando di Lasso: The Complete Motets, vol. 14. Recent Researches in the Music of the Renaissance, vol. 111. Madison: A-R Editions, 1997.
• Noskowski, Zygmunt. Melodia Op. 21 Nr 1 Na Skrzypce i Fortepian. Ed. by Tyrone Greive. Kraków: PWM, 2002.
• Poldowski, Irena Regina Wieniawska. Chamber Music for Violin and Piano. Ed. by Tyrone Greive. Bryn Mawr: Hildegard, 2001.
• Prokofiev, Serge. Visions Fugitives, Op. 22. for Flute and Harp. Ed. by Chelcy L. Bowles. Chicago: Salvi Publishing, n.d.
• Schubert, Franz. Franz Schubert Arranged for Guitar. Ed. by Javier Calderon. Pacific. MO: Mel Bay, n.d. Includes accompanying CD.
• Stevens, John. Benediction for Tuba/Euphonium Quartet. Annandale, VA: Tuba-Euphonium Press, 2003.
• ______. Journey: Concerto for Solo Tuba and Orchestra. Switzerland: Editions BIM, n.d.
• ______. Jubilare! for Symphony Orchestra. Switzerland: Editions BIM, n.d.
• ______. Salve Venere, Salve Marte for Solo Tuba. Switzerland: Editions BIM, 1995.
• ______. Soliloquies for Solo Euphonium. Annandale, VA: Tuba-Euphonium Press, 2001.
• ______. Talisman for 8-part Tuba/Euphonium Ensemble. Switzerland: Editions BIM, forthcoming.
• ______. Urban Images for Brass Quintet. Switzerland: Editions BIM, 2000.
• ______. Viva Voce! For Tuba/Euphonium Quartet. Annandale, VA: Tuba-Euphonium Press, 2003.