The RILM Project: Charting the Seas of Modern Musicological Literature

01 October 2000 time and effort; thankfully waning are the days of manually consulting each annual volume and transcribing citations. Barry S. Brook's visionary article, "Music Literature and Modern Communication: Revolutionary Potentials of the ACLS/CUNY/RILM...

Approaching Musical Classicism—Understanding Styles and Style Change in Eighteenth-Century Instrumental Music

01 October 1980 See also his brief article "New Directions for Style Analysis" in Musicology and the Computer, pp. 194-97. Edited by Barry S. Brook. New York: City University of New York Press, 1970. 32. Laudon, Robert. "No One Can Possibly Mistake the Genre of this...

The RCMI, RIdIM, and the Exhibition of Eighteenth-Century Musical Ensembles

01 October 1978 N.Y. 10036 1Emanuel Winternitz, "The Iconology of Music—Potentials and Pitfalls," in Perspectives in Musicology, ed. Barry S. Brook, Edward Downes, and Sherman Van Solkema (New York: W.W. Norton & Co., Inc., 1972), 80-90. 2Ronald Paulson, Hogarth's...

RCMI/CUNY: The Research Center for Musical Iconography of the City University of New York

01 October 1973 Council of Museums; three co-presidents were designated, Mme. G. Thibaut de Chambure (ICOM), Harald Heckmann (IAML) and Barry S. Brook (IMS), chairman; (2) an Advisory Board made up of museum curators, library directors, art historians, art collectors,...

Rembrandt's Portrait of a Musician

01 October 1978 Kai Sass, transl. Jean Nixon and David Hohnen (Copenhagen: Munksgaard, 1971), 39-61. 13Greindl, pp. 10-11. authors: Barry S. Brook and Carol Oja author_ids: 1347 authors: Barry S. Brook and Carol Oja author_ids: 1347

Oral History and Music History in Our Time

01 October 1979 foreword to The Music Makers, by Deena Rosenberg and Bernard Rosenberg, Columbia University Press (1979). authors: Barry S. Brook author_ids: 1333 authors: Barry S. Brook author_ids: 1333

Oral History in Music: A Practical Guide

01 October 1980 In a recent article for this journal Barry S. Brook discussed the function of oral history in musical research, its special advantages to historians, and the distinctions between oral and written documents.1 Oral history, he noted, provides "the...

Campus Focus: Queens College of the City of New York—Jousting for Queens or Return to the (Music) Lists

01 October 1964 Jousting for Queens or Return to the (Music) Lists As the morning festivities drew to a close on the final day of the CMS jousting match in Columbus last December, the author of these words entered the lists unexpectedly, fired a round of off-the-cuff...

Music Literature and Modern Communication: Revolutionary Potentials of the ACLS/CUNY/RILM Project

01 October 1969 I am as weary as the next man of fanciful descriptions of computational miracles. They are too often written by innocents who have been seduced by the idea of the computer without ever having had intimate contact with the monstrous machine itself nor...

Music Iconography and Medieval Performance Practice

01 October 1991 "The Iconology of Music: Potentials and Pitfalls." In Perspectives in Musicology, 80-90, Plates la-13b. Edited by Barry S. Brook, Edward D. Downes, and Sherman van Solkema. New York: Norton, 1972. ______. Musical Instruments and Their Symbolism in...

The Profession of Musicology: Today and Tomorrow

01 October 1974 I am sure that all of us, for whom the dedication to musicology represents the fulfillment of our lives, would like to see musicology grow without limits as we keep proselytizing for this most wonderful of all fields of studies until everybody on this...

Music Historiography in the Classroom

01 October 1979 for American Musicology," p. 62. 15"Music Historiography in Eastern Europe," in Perspectives in Musicology, edited by Barry S. Brook, Edward O.D. Downes, and Sherman Van Solkema (N.Y.: Norton, 1972), p. 236. 16Donald Jay Grout, "Current Historiography...

Marie-Emmanuelle Bayon, Later Madame Louis, and Music in Late Eighteenth-Century France

01 October 1990 it is more likely that the sonatas were published by 1769 or even earlier. See The Breitkopf Thematic Catalogues, ed. Barry S. Brook (New York, 1966), p. 363 (three solo "cembalo" sonatas) and p. 364 (three "trios" for violin and cembalo). A facsimile...

The Teacher's Guide to Recent Recordings of Music by Black Composers

01 October 1973 This discography is restricted to "concert" music by composers of African ancestry, regardless of the country of their birth. I acknowledge immediately that several of the figures listed are represented on recordings by works in other genres (e.g.,...

Musicomp 76 and the State of DARMS

01 October 1977 and musical problems—not computational ones—will rightly regain their place as the primary object of interest. 1See Barry S. Brook, ed., Musicology and the Computer (New York: City University of New York Press, 1970) for a summary of several of the...

Celebrating 60 Years of the [i]Symposium[/i] (1961-2021): Learning from our Past

01 May 2021 like: J. Peter Burkholder, Susan McClary, Robert M. Trotter, Anthony Seeger, Douglass Seaton, Kay Kaufman Shelemay, Barry S. Brook, H. Wiley Hitchcock, Ruth Stone, Stephen Blum, David Schulenberg, Vincent Duckles, Susan C. Cook, Clifford Madsen, Claude...

World Music and Ethnomusicology - Understanding the Differences

30 April 1992 once used -- cultural musicology ("American Musicology and Perspectives in the Social Sciences," in Musicology, ed. by Barry S. Brook [New York: Norton, 1972], 202-206 and to try to convince musicologists to use the term historical musicology when that...

Iconography of the Viol: The Soloist in Baroque Portraits

01 October 1980 this magnificent instrument during the Renaissance and Baroque periods. 1For a more complete explanation of RIdIM, see Barry S. Brook and Carol J. Oja, "The RCMI, RIdIM, and the Exhibition of Eighteenth-Century Musical Ensembles," SYMPOSIUM 18, No. 2...