eBook

CONTENTS
NOTES ON CONTRIBUTORS
FOREWORD by Gerard Gillen
INTRODUCTION by Lorraine Byrne Bodley and Robin Elliott
PART ONE: THE MUSICAL BAROQUE
Julian Horton: J. S. Bach's Fugue in C sharp minor, Well-Tempered Clavier, Book I and the Autonomy of the Musical Work
Lorenz Welker: Johann Joseph Fux's Sonata à 4 in G (K. 347): Further Considerations on its Source, Style, Context and Authorship
Tassilo Erhardt: Johann Joseph Fux' Church Music in its Spiritual and Liturgical Contexts
Jen-yen Chen: The Musical Baroque in China: Interactions and Conf licts
Denis Collins: Canon in Baroque Italy: Paolo Agostini's Collections of Masses, Motets and Counterpoints from 1627
PART TWO: MUSIC IN IRELAND
Kerry Houston: John Mathews: A Specimen of Georgian Ignorance?
Ita Beausang: There is a calm for those who weep: William Shore's New Edition of a Chorale by John [sic] Sebastian Bach
Axel Klein: "No, Sir, the Irish are not musical": Some Historic (?) Debates on Irish Musicality
Adrian Scahill: "That vulgar strummer": The Piano and Traditional Music in the Gaelic Revival
Maria McHale: "Hopes for regeneration": Opera in Revivalist Dublin, 1900–1916
Karol Mullaney-Dignam: "What do we mean by Irish music?" The Politics of State-Sponsored Music Publication in Independent Ireland
Ruth Stanley: "Jazzing the soul of the Nation away": The Hidden History of Jazz in Ireland and Northern Ireland During the Interwar Years
Gearóid Ó hAllmhuráin: Sonic Icon, Music Pilgrimage: Creating an Irish World Music Capital
Méabh Ní Fhuartháin: "In the mood for dancing": Emigrant, Pop and Female
Gareth Cox: Aloys Fleischmann's Games (1990)
Denise Neary: The Development of Music Performance as Artistic Research in Ireland
Michael Murphy: "Irish" Musicology and Musicology in Ireland
PART THREE: MUSIC AND LITERATURE
Declan Kiberd: The New Policeman
Gerry Smyth: Moore, Wagner, Joyce: Evelyn Innes and the Irish Wagnerian Novel
John O'Flynn: Alex North, James Joyce, and John Huston's The Dead (1987)
Patrick Zuk: L'ami inconnu: Nataliya Esposito and Ivan Bunin
PART FOUR: AUSTRO-GERMANIC TRADITIONS
Michael Hüttler: Hof- and Domkapellmeister Johann Joseph Friebert (1724–1799) and his Singspiele
Anne Hyland: Tautology or Teleology? Reconsidering Repetition and Difference in Two Schubertian Symphonic First Movements
Susan Youens: Of Anthropophagy, the Abolitionist Movement, and Brahms
Shane McMahon: The Moth-Eaten Musical Brocade
David Cooper: "Die zweite Heimat": Musical Personae in a Second Home
Glenn Stanley: Brechtian "Fidelio". Performances in West Germany
Nicole Grimes: Brahms as a Vanishing Point in the music of Wolfgang Rihm
PART FIVE: MUSIC IN BRITAIN
Pauline Graham: Intimations of Eternity in the Creeds from William Byrd's Five-Voice Mass and Great Service
John Cunningham (Bangor University): "An Irishman in an opera!":
Music and Nationalism on the London Stage in the Mid–1770s
Jeremy Dibble: Canon Thomas Hudson, Clergyman Musician, Cambridge Don and the Hovingham 'Experiment'
William A. Everett: The Great War, Propaganda, and Orientalist Musical Theatre
Richard Aldous: "Flash Harry": Sir Malcolm Sargent and the Progress of Music in England
PART SIX: MUSIC HISTORIES WORLDWIDE
Philip V. Bohlman: Worlds Apart: Resounding Selves and Others on Islands of Music History
Ivano Cavallini: A Counter-Reformation. Reaction to Slovenian and Croatian Protestantism
Stanislav Tuksar: Musical Prints from c.1750–1815 in the Dubrovnik Franciscan Music Collection
Vjera Katalinic: Routes of Travels and Points of Encounters Observed Through Musical Borrowings
Jan Smaczny: Antonín DvoÅ™ák in the Salon
Jaime Jones: Singing the Way
PART SEVEN: MUSIC AND POETRY
John Buckley: A Setting of Harry White's Sonnet Bardolino from Polite Forms (2012) for Baritone and Piano
AFTERWORD by Iain Fenlon
HARRY WHITE: PUBLICATIONS