Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century

Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century

Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century

Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century

Synopsis

In Music in the Mirror, thirteen distinguished scholars explore the concept of music, music theory, and music literature as mirror images of one another- whether real or distorted. Encompassing the history of music and music theory and literature from the Middle Ages to the present, these essays, in their reconsideration of the relationships among music, theory, and literature, offer new approaches and articulate compelling visions for future research.

Excerpt

The year 1998 saw the establishment of the Center for the History of Music Theory and Literature (CHMTL), which was intended, first of all, to provide a central location and facility for maintaining and expanding a series of publications (both electronic and conventional) and projects that had been established at Indiana University. These include such online projects as the Thesaurus Musicarum Latinarum and saggi musicali italiani, full-text databases of music literature written in Latin and Italian; DDM–Online, a database of bibliographic records for dissertations (completed and in progress) in the field of musicology; and Musical Borrowing, a database of bibliographic records and abstracts for publications of all sorts dealing with this subject. In addition, the CHMTL became the editorial home of Greek and Latin Music Theory, a series of facing-page critical texts and translations of ancient, medieval, and Renaissance treatises.

The CHMTL had additional goals: to expand its sphere of activity by developing additional full-text databases for music literature written in English, French, German, and Spanish; launching a new series of publications; providing fellowships for visiting scholars; and hosting occasional conferences that might provide an opportunity to consider, either broadly or more narrowly, the vast history of music theory and literature. With these goals in mind and with the beginning of a new century—and millennium—in sight, we began to mink about the possibility of a conference that could not only explore the ways in which music theory and music had provided mutual reflections in the past but could also speculate about the intersections of music and music theory in the twenty-first century.

In 1999, we accordingly invited a group of mirteen distinguished scholars in the fields of musicology and music theory to prepare a series of papers exploring me concept of music, music theory, and music literature as mirror images of one another—whether real or distorted—, reflecting on various subjects, offering new approaches, and articulating new visions for future research. These papers, spanning historical periods from the Middle . . .

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