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This catalogue of the music of Charles Ives contains 728 entries covering all of the prolific composer's works. James Sinclair's book presents information produced by recent Ives scholarship and generous commentary on each of Ives's compositions. It completes the work begun by musicologist John Kirkpatrick in 1955, when Ives's music manuscripts were deposited in the Yale Music Library. Ives's works are arranged alphabetically by title within genres. Whenever possible, each entry includes the main title and any other titles the composer may have used; the forces required; the duration; headings of movements; publication history; citation of the first known performance and first recording; the derivation of the work, listing music on which it may be modeled or from which it may borrow material; the principal literature treating the piece; and commentary on these and other matters. The catalogue also provides musical incipits for all Ives's extant works, seven appendixes (covering his work lists, 'Quality Photo' lists, his songbooks, a chronology of his life, recordings made by Ives, and his private publications and commercial publishers), three concordances, and four extensive indexes (addresses, names, titles, and musical borrowings).
The National Library of Greece (Ethnike Bibliothike tes Ellados) is one of the richest depositories of Byzantine musical manuscripts and is surpassed by its holdings in Greece only by the multitude of manuscripts found in the monasteries of Mount Athos. In spite of being such a rich archive, the National Library has never published a catalogue of its musical manuscripts - not all of which are Byzantine or Greek. It is the purpose of this catalogue to recover or, in some instances, to present for the first time the repertory of the musical sources of the library. This project has been twelve years in the making for Professor Diane Touliatos, involving the discovery and detailed cataloguing of all 241 Western, Ancient Greek, and Byzantine music manuscripts. Not all of these are from Athens or modern Greece, but also encompass Turkey, the Balkans, Italy, Cyprus, and parts of Western Europe. This variety underlines the importance of the catalogue for identifying composers, music and performance practice of different locales. The catalogue includes a detailed listing of the contents as written in the original language as well as the titles of compositions (and/or incipits) with composers, modal signatures, other attributions and information on performance practice. Each manuscript entry includes a commentary in English indicating important highlights and its significance. There is a substantive English checklist that summarizes the contents of each manuscript for non-Greek readers. A bibliography follows containing pertinent citations where the manuscript has been used in references. There is also a glossary that defines terms for the non-specialist. Examples of some of the manuscripts will be photographically displayed. The catalogue will enlighten musicologists and Byzantinists of the rich and varied holdings of some of the most important musical manuscripts in existence, and stimulate more interest and investigation of these sources. As such, it will fill a major ga
Reprint of the original, first published in 1843.
Originally published in five parts between 1930 and 1932, this detailed scholarly catalogue is still sought after by researchers.
The Sibylla Tiburtina is a Latin prophecy attributed to a prophetess from classical antiquity. It concludes with an account of the End of History, involving the coming of the Antichrist and his battle with a Last World Emperor. Approximately 100 manuscripts, written between the mid-11th and the 16th centuries, survive which testify to the Tiburtina's immense popularity in the medieval West; as such the Tiburtina is a key text for understanding medieval apocalypticism and occupies an important place in the intellectual history of the Middle Ages. However, studies of the manuscripts and the history of the text have been largely neglected, in comparison with other similar works, so little is currently known about who copied and read the prophecy. Dr Holdenried's research fills this gap. This study is based on an examination of all surviving manuscripts and includes an analysis of the textual material which accompanies the Tiburtina, a survey of titles and annotations, as well as research on variant texts (including several hitherto unknown). Modern historiography regards the Tiburtina solely as a vehicle for expressing contemporary political concerns triggered by crises thought to herald the End of the World. This book provides a much more varied picture and offers a new approach to the Tiburtina by placing it, for the first time, in the context of medieval traditions which saw Sibylline prophecy as independent, non-Christian evidence of Christ's life and as confirmation of His divinity. As is shown, these traditions had a major impact on the reception of the Tiburtina. The book concludes with a repertory of the manuscripts, together with brief outlines of individual textual traditions as represented in groups of manuscripts, which will constitute a valuable reference source for other scholars.