I

Introduction to Research
in Music

Richard J. Wingell
University of Southern California

Silvia Herzog
Wichita State University

•
Upper Saddle River, New Jersey 07458
 r

Library ofCongress Cata!oging-in-Publication Data

Introduction to research in music / Richard J. Wingell, Silvia Herzog.

p. cm.
Includes index.
ISBN 0-13-014332-4
1. Music-Instruction and study-Research. I. Wingell, Richard J. II. Herzog, Silvia.

MT1.I77 2001
780'.7'2-dc21
00-044110 Contents
Editorial Director: Charlyce Jones Owen
Acquisitions Editor: Christopher T. Johnson
Editorial/Production Supervision
and Interior Design: Mary Araneo
Editorial Assistant: Evette Dickerson
Prepress and Manufacturing Buyer: Benjamin Smith
Cover Art Director: Jayne Conte
Cover DeSigner: Bruce Kenselaar
This book was set in 10/12 Palatino by A & A Publishing Services, Inc./
and was printed and bound by Courier Companies, Inc.
The cover was printed by Phoenix Color Corp.
Credits appear on p. xi, which constitutes a continuation of the copyright page.
Preface ix
© 2001 by Prentice-Hall, Inc.
Prpntice A Division of Pearson Education
Credits xiii
Hall Upper Saddle River, New Jersey 07458

Part I Resources for Research

All rights reserved. No part of this book may be
reproduced, in any form or by any means,
without permission in writing from the publisher.

Printed in the United States of America

1 Research in Music 1
The Art and Science of Research 1
10 9 8 7 6 5 4 Search Strategies 3
Kinds of Research in Music 16
ISBN 0-13-014332-4
2 Print Resources for Research in Music 23
PRENTICE-HALL INTERNATIONAL (UK) LIMITED, London Libraries and Archives 23
PRENTICE-HALL OF AUSTRALIA PTY. LIMITED, Sydney Bibliographies of Books about Music 28
PRENTICE-HALL CANADA INC., Toronto
Music Dictionaries and Encyclopedias 32
PRENTICE-HALL HISPANOAMERICANA, S.A./ Mexico
PRENTICE-HALL OF INDIA PRIVATE LIMITED, New Delhi
Histories of Music 36
PRENTICE-HALL OF JAPAN, INC., Tokyo
Periodicals, Collections of Essays, Indexes 40
PEARSON EDUCATION ASIA PTE. LTD., Singapore Dissertations 48
EDITORA PRENTICE-HALL DO BRASIL, LTDA., Rio de Janeiro
v
 Contents vII
vi Contents

3 Print Resources for Locating Music 50 7 Writing the Paper 187

Contexts that Require Footnotes 188
Bibliographies of Music 51
Acceptable Use of Other Writers' Materials 192
Thematic Catalogues 62
Editing and Proofreading 195
Monuments and Editions 65
Presenting and Publishing Your Work 199
Music Manuscripts 68
Conclusion 205
Studies of Music Publishers 70
Discographies 71
Sample Pages from Print Resources 72
8 Format and Style 206
Guidelines for Written Assignments 207
4 Electronic Resources for Research 90 Using Musical Examples 210
Special Problems Related to Writing about Music 212
Equipment 91 Punctuation Guidelines 219
Types of Material 92
Bibliography and Footnote Form 226
World Wide Web Sites 97
Citing Electronic Resources 236
World Wide Web: Samples 99
Annotating a Bibliography 240
World Wide Web Sites: Illustrated Examples of Methodology 109

5 History of Notation, Publishing, and Printing 120 9 Sample Article and Discussion 242
Notation and the Theory of Signs 121
Limitations of Notation 122 Index of Resources Cited
The History of Notation 124 265
Examples of Manuscript Notation 128
Music Printing and Publishing 141 General Index
Examples of Printed Music 144 278
Comparison of Editions 161

Part II Writing a Research Paper

6 Planning a Paper 165

Topic and Thesis 166
Critical Thinking 168
Assembling Materials 170
Reading Your Sources 171
Proposals and Abstracts 174
Outlining 178
 Preface

The original concept for this book grew out of the co-authors' years ofexpe-
rience teaching the Introduction to Research course for new music majors.
Between us, we have taught this course at different types of institutions, rang-
ing from a large, performance-oriented, private school of music" where five
sections of the course are taught every academic year, to a medium-sized
department in a state university. Over our years together, we have discussed
ideas for this course constantly; out of these discussions grew a series of
course readers that we used in our separCite versions of the course, with dif-
ferentsyllabi. As we kept adding to the course reader, it became. clear that
we really needed to expand into new areas and that an,expanded, revised,
and updated version of the materials might have a future asa textbook avail-
able to other institutions where courses of this type are taught. The process of
turning a course reader into a fUll-fledged textbook turned out to be much
more than just another revision, leading to the addition of completely new
materials and a complete rethinking of the approach and contents. The final
result, we think, is a useful compilation of material about music research,
including discussions of bibliographical tools, electronic resources for}'esearch,
and discussions of the process of writing and editing a research paper on a
musical topic. The section on writing includes an extensive analysis of an
article from one of the musicological journals, encouraging students to read
critically and think about ways to improve the organization, clarity, and style
x Preface Preface xi

of their own writing. Our hope is that the book will serve not only as a text- resources always include areas like jazz, popular music, computer music, etc.
book for introductory courses, adaptable to varying syllabi that choose to The section on comparing editions of music is not designed to produce disci-
emphasize some areas over others, but also as a manual of information about ples for the authenticity movement, but to point out that performers need not
research and writing that will remain in students' personal libraries after the be restricted to questionable performing editions, but can do their own thought-
course is over and serve as a helpful guide and reference tool as students ful comparison of editions and find or produce their own performing editions.
approach future writing projects, both academic and professional. The emphasis constantly is what research can do for performers-discovering
We should be very clear at the outset about the intended audience for new repertory, opening up new areas of interest, investigating the music that
this book. We are, of course, aware that university music departments that engages them, perhaps even opening up opportunities for serious publication.
have thriving Ph.D. programs in musicology will have their own courses in We try to be inclusive in other ways as well. Some of the newer
bibliography and research methodology, probably lasting for two quarters approaches to musicological research are discussed briefly, and some basic
or semesters, and that those courses will go into more depth than we can in resources are listed. These sections will not be extensive enough to satisfy
this book. These courses for musicology majors will also vary enormously, those involved in those kinds of research. Remember, however, that the aim
because they are of course tailored to the specific thrust and direction of the of this book is to provide an overview of resources for research about music.
program and the kinds of research encouraged by particular departments. Interested readers at least have a place to start to investigate these new
The same can be said for theory majors. This book is not designed to avenues; our assumption is that students who decide to pursue those areas
equip graduate theory majors with the full range of analytic resources or spe- will transfer to the institutions that offer programs in those areas of research.
cialized skills they will need in pursuing their brand of research. It will, how- We are sure that all instructors who teach an introductory course in
ever, direct them to the basic bibliographic resources for theory study, both research will find lacunae in our lists-resources that they regard as essential
print and electronic resources. and that we did not even mention. We:also imagine that many will question
Weare also aware that the discipline of music education has its own our choices of works to cite as examples and perhaps disagree with the com-
kinds of rigorous research, involving very specific preparatory work in sta- ments in our annotations about some of these resources. The only reply we can
tistics and research design. A book like this one cannot be expected to include offer is to point out that we, too, have never seen a textbook we regard as
all the specialized material and discussion needed to prepare doctoral can- perfect; that's why we have instructors who know their own students and
didates in music education for the specialized research they do. This is not to have their own carefully thought out goals. Instructors will of course choose
say, however, that this book is of no use to graduate majors in music educa- the sections to emphasize or leave out, add or subtract from the lists, and
tion; since they are also performers and students of music history, they can encoura~e their students.t? ~mploy the same critical skills that we constantly
profit by knowledge of the research resources and methods and writing skills support ill the book to CrItiCIze what we have written. Of course the lists will
discussed here, and they will necessarily be involved in the kinds of research be out of date to some extent by the time the book is available in bookstores'
discussed here, both during their academic careers and afterwards.
.
as we note ill Chapter 4, Web sites appear and disappear with astonishing
'
This leads us to the basic philosophy underlying our courses and there- r~pidity. Therefore, we are more interested in the student understanding
fore this book. We have no interest in attempting to turn new graduate music kill~s of resources than in listing every possible example of any type. We
majors-singers, instrumentalists, conductors, composers, or music educa- r:ahze t~at all suc~ lists need constant revision and have already started a
tion majors-into musicologists, librarians, or archivists. Our approach, on the ?st of thin?s we ffilght change, either in a future revised edition or perhaps
contrary, is to try to show what research and writing skills can do for any ill a Web SIte that would provide updated information for those interested.
musician. Anyone with a serious interest in the art of music will quickly see Finally, there are people we should acknowledge as this project nears
the advantages of learning library skills, finding out about the kinds of print completion. We both thank first our co-author; not only did our relationship
and electronic resources that are available, and learning about the technical survive the stresses of co-authorship, but I suspect neither one of us would
skills involved in writing about music. The projects and activities we sug- have undertaken this task alone. Next we thank Norwell F. Therien of Pren-
gest in the course of the various chapters are designed to show musicians tice Hall, who first took an interest in this project, and Christopher Johnson,
how research and writing skills can help them, right at the moment in their who ~erited it.and saw it t~ough to completion. We thank the/follOWing
studies, and in their careers as performers as well. Prentice Hall reVIewers for theIr comments and suggestions: John C. Coggiola,
Our aim in this text, therefore, is to be inclusive--to show the student Syracuse University; Dwayne E. Dunn, University of Arizona; Mark A. Radice,
the huge range of resources that are available. All lists of print or electronic Ithaca College; and Floyd G. Sumner, Rutgers UniverSity. We also thank all the
xii Preface

colleagues we have worked with and learned from in our (combined) forty
years of teaching graduate music majors. Finally, and most important, we
thank the scores of students who have passed through this course, whose
questions, interests, and enthusiasm, as they discovered the joys of research,
are the real inspiration for this book.
Richard J. Wingell
Silvia Herzog
Credits

Figure 3-1. Wolfgang Schmieder, Thematisches-systematisches Verzeichnis der

musikalischen Werke von Johann Sebastian Bach (BWV) (Leipzig, 1950. Rev. Wies-
baden: Breitkopf & Hartel, 1990), pp. 129-130. © Breitkopf & Hartel. Reprinted
by permission.
Figure 3-2. George Kinsky and Hans Helm, Das Werk BEETHOVENS: The-
matisch-Bibliographisches Verzeichnis aller vollendeten Komposition Ludwig van
Beethovens (Munich, Henle 1955), pp. 298-287. © G. Henle Verlag. Reprinted
by permission.
Figure 3-3. Ludwig Ritter von Kochel, Revised Alfred Einstein, Chronologisch-
thematisches Verzeichnis samtlicher Tonwerke Wolfgang Amade Mozarts. 6th ed.
(Wiesbaden: Breitkopf und Hartel, 1964), p. 723. © Breitkopf & Hartel.
Reprinted by permission.
Figure 3-4. Eric Walter White, Stravinsky: The Composer and his Works, 2nd ed.
(Berkeley and Los Angeles, University of California Press, 1979), pp. 361-364.
© University of California Press. Reprinted by permission.
Figure 5-1. Andre Mocquereau, ed. Cantatorium: IXe siecle, n. 359 de la Biblio-
theque de Saint-Gall. Facsimile reprint in Paleographie musicale, Series II, vol-
ume 2 (Berne: Editions H. Lang, 1968), p. 87/107.
Figure 5-2. St. Yrieix Gradual. Paris, Biliotheque nationale, Latin 603. Fac-
simile reprint in Paleographie musicale, volume 13 (Tournai, BelgiUJ.fl: Desclee,
1925), pp. 152-153.
Figure 5-3. Wolfenbiittell (Cod. Helmst. 628). Facsimile reprint as An Old
St. Andrews Music Book (London: Oxford University Press, 1931; reprint, New

xIII
''I."

xlv Credits

York: AMS Press, 1973), p. 41. Reprinted by permission of Oxford University

Press.
Figure 5-4. Pierre Aubrey, ed. Cent motets du XIIIe siecle: publies d'apres Ie man-
uscrit Ed. Iv. 6 de Bamberg (New York: Broude Brothers, 1964), p. 11 roo Reprinted
by permission of Broude Brothers Limited.
Figure 5-5. Ms. Chigi C.Vill, Rome, Biblioteca Vaticana. Reprinted in Schrift-
bild der Mehrstimmigen Musik, in series Musikgeschichte in Bildern, Band ill, Introduction to Research
Musik des Mittelalters und der Renaissance, Lfg. 5 (Leipzig: Deutscher Ver-
lag fur Musik, 1973), p. 111. in Music
Figure 5-6. Nicolaus Burtius, Musices opusculum (Ugo de Rugeriis, 1487);
Matthaeus Pipelare, Liber quindecim missarum (Antico, 1516). Reprinted in D.
W. Krummel and Stanley Sadie, Music Printing and Publishing, in series Nor-
ton/Grove Handbooks in Music (New York, W. W. Norton & Co., 1990),
pp.8-9.
Figure 5-7. Marco Cara, Strambotti, Ode, Frottole, Sonetti. Et modo de cantar
versi Latini e capituli, Libro Quarto (Petrucci, 1517) Civico Museo Bibliografico
Musicale G. B. Martini, Bologna. Facsimile reprint (New York: Old Manu-
scripts and Incunabula, 1985), p. 2.
Figure 5-8. Pierre de Manchicourt, Liber decimus quartus XIX musicus can-
tiones, (Attaingnant, 1539) Munich, Bayerische Staatsbiliothek. Reprinted in
Daniel Heartz, "Attaingnant," New Grove Dictionary ofMusic and Musicians, vol.
1 (London: Macmillan, 1980), p. 675.
Figure 5-9. Francesco Spinacino "La Stanghetta," Intablature de Lauto, Libro
Secondo (Petrucci, 1507). Civico Museo Bibliografico Musicale G. B. Martini,
Bologna.
Figure 5-10. John Dowland, First Booke of Songs or Ayres . ... (London, 1597)
London, British Library, K.2.i.(4). Reprinted in Schriftbild der Mehrstimmigen
Musik, in series Musikgeschichte in Bildern, Band ill, Musik des Mittelalters
und der Renaissance, Lfg. 5 (Leipzig: Deutscher Verlag fur Musik, 1973), p. 147.
Figure 5-11ab. Brahms, Johannes. Johannes Brahms Autographs: Facsimiles of
Eight Manuscripts in the Library of Congress. Reprinted in Music in Facsimile,
Vol. 1. (New York and London: Garland Publishing, 1983), p. 8.
Figure 5-11c. Johannes Brahms, Quintet and Quartets for Piano and Strings.
Republication of Johannes Brahms, Siimtliche Werke, Vol. 8, originally pub-
lished by Breitkopf & Hartel (New York: Dover Publications, 1985), p. 8.
Robert P. Morgan, "Ives and Mahler: Mutual Responses at the End of an Era,"
19th Century Music (1978): 72-81. © Robert Morgan. Reprinted by permission
of University of California Press.
 PART I: RESOURCES FOR RESEARCH

1
Research in Music

THE ART AND SCIENCE OF RESEARCH

In her Introduction to Music Research, Ruth Watanabe defined research as "the

pursuit of facts and ideas, the organization of the data to point to some possible
conclusions, the evaluation of the results, and the presentation of the whole in
an intelligible fashion."l 'This definition, designed to be as inclusive as possi-
ble-that is, to apply to research in the physical and human sciences as well as
in the arts and humanities-seems to emphasize the scientific side of research-
the ability to test hypotheses, defend conclusions, and replicate experimen-
tal studies in a scientific way. This definition represents an approach very
common in American musicology in the first half of this century-a desire to
be taken seriously in the academic community by modeling the terminology
and methodology of musicological research to some extent on scientific
research. Watanabe goes on to put a somewhat different spin on music research.
"No matter which method is employed, the writer needs to exercise imagi-

tRuth Watanabe, Introduction to Music Research (Englewood Cliffs, NJ: Prentice Hall, 1967),
p. 5. This guide to research in music, now out of print and outdated in some respects, contains
useful insights derived from the author's long career as the librarian of one of the great music col-
lections in the United States.
2 Chapter 1 Research in Music 3

nation, judgment, and good taste to arrive at a logical conclusion and to account resources are available for searching special kinds of publications and how
for his findings."2 one uses those resources.
I would go still further and propose that research in any field, the phys- A book like this one, or a course in bibliography and research methodol-
ical sciences as well as the humanities, is both a science and an art. Research ogy, can provide lists of resources you may need for your future research, along
is a science because it involves familiarity with a large body of information with information about the advantages of each resource and the way to use it
about resources, as well as the skills necessary to use these resources effi- ~ost efficiently. What neither a course nor a book can do, however, is turn you
ciently and successfully. It is an art, because, at every stage of the process, the mto a researcher or somehow impart those qualities-euriosity, imagination,
successful researcher must be not only knowledgeable, but also imaginative and creativity, persistence-that make a good researcher. At the beginning of a
creative. It takes creativity to think about a topic and imagine potential ~eses ~arch course, there are always some students who have difficulty selecting top-
one can investigate. Later, in Part IT, we will discuss the ~roces~ of selectmg a lCS to research; generally, after some questioning and discussion, and once they
topic and creating a thesis as well as a research plan to mvestlgate .that the- learn what research can lead to, students discover that they can indeed think
sis. It takes creativity after one's research has been under way ~or a w~e to sur- of areas of interest to them, areas that they would like to research..Theoretically,
vey the mass of information one has assembled and see how It can fit to~ether one would assume that a musician ought to be able to create hundreds of fas-
to create a convincing paper. It also takes creativity to know when a tOplC you cinating research topics connected with the art of music; most students even-
have been pursuing with diligence and enthusiasm.has reach~d a.dead ~d ~d tually show impressive creativity in designing topics to investigate.
to see that it is time to step back and consider a different drrection. SClentists Rather than discussing the necessity of creativity for the researcher in
themselves insist that scientific progress, even in the sciences that we con- general, let us consider some specific ways in which the successful researcher
sider purely quantitative disciplines, depends as much on ~rea~vity as on rig- utilizes creativity. In Part II of this book, we will discuss the need for creativ-
orous gathering and quantification of evidence. The sClentl~ts w~o make ity in designing a topic and thesis for a: project; here our concern is the neces-
importanfnew discoveries in any field are in mcu:y ways c.reativ~ a~sts; cre- sity of using imagination and creativity in the process of searching for
ativity is necessary, first to imagine a h~othesls ~orth. mvestigat~g, and information.
then to design a research process appropnate to this particular question and
envision the conclusion towards which the data lead.
One form of creativity required in the research process is resourceful- SEARCH STRATEGIES
ness in thinking of ways to tease the information you want out of catalogues
and databases. Over the years, I have watched students who are new to the Using Catalogues
research process try to find something in a catalogue, either a card catalogue
or an on-line database; too often, if the first term they enter does not produce Bibliographic work generally begins with a search through some sort of cat-
the desired result, they have no notion of what to do next beyond se~k~g al~gu~~e car~ c~talogue or on-line catalogue of your music library or the
help from the instructor, a member of the library staff, ?r th~ p~rson slttmg umverslty s mam hbrary, a catalogue of articles in periodicals, catalogues of
next to them in the library. Students new to research sometimes IDSlSt that a par- scores or recordings, or some other kind of catalogue. The first situation, there-
ticular book or score that clearly is available in the music library is not there, fore, in which a researcher needs creativity is in using catalogues efficiently. Cat-
based on their first try at the on-line catalogue. An experienced researcher alo~es do no~ necessaril~produce the information you want. quickly or easily;
knows that the first try may produce nothing and knows other pat~ to try, particularly Wlth electroruc catalogues, the process sometimes feels like a com-
other strategies to get at the desired information.. Differe,nt types ~f informa- puter g~e, in which you must somehow trick the system into producing the
tion require different resources and strate~es to yIeld the~ secrets; It comes as mformation you want. Let me list a few of the common problems one runs
disappointing news to some stud~nts, for ~tance, t~at library ca~alogues a~e into and ways to deal with them.
of no use when it comes to searching for a Journal article on a particular tOplC, U~ually one can search a catalogue using either an author's name, a title,
or finding a specific score that is publish~d in a coll.ected set. Those.rese~rch or a subject or keyword. Each type of search has its own potential problems. A
tasks require special resources and speclal st~a~egles. As y~u can lmaglI~"e, search based on the name of a specific author or composer may seem like a
more esoteric searches, such as locating a survlYmg manuscnpt from the SlX- clear and obvious path to information, but this assumption is nofnecessarily
teenth century, a dissertation on a particular topic, or a published interview of true. One frequent problem is the spelling of names; the people who catalogue
a "jazz performer, require their own special strategies. One must know what books and scores have agreed on conventional ways of spelling foreign names,
names from different societies and ages, etc. Each catalogue also has its own
2Watanabe, p. 6. rules and limits as well. For instance, if you type in the umlaut on "sChiitz,"
 Research in Music 5
4 Chapter 1
words is the list of ~ubject headin?s published by the Library of Congress, the
the catalogue may produce the information you are seeking or may produce agen~ ~at. also p~ts catalogue information for every new book, listing both
nothing because it is not programmed to interpret diacritical marks or punc- pub~hing information and keywords under which the book should be listed.
tuation marks. The conventions of transliterating some foreign languages have The Llb~ary of.Congress Subject Headings are published as a large book, usu-
changed, so that, for instance, "Peking" is now regularly spelled "Beijing," ally ~val1able m t~e catalogue area of a library, so that researchers can con-
"Rachmaninoff" may be spelled "Rakhmaninov," and "Tchaikowsky" may be sult It. for approprIate keywords for their searches. Locate this book in your
spelled as "Chaikovski." The composers we refer to as "Machaut" or "Pales- o~ li~rary and browse through the section on music. The first thing you will
trina" may not appear that way in catalogues-they might be listed under not~ce IS that the music s~ction in this list covers an extremely broad range of
"Guillaume de Machaut" or "Giovanni Pierluigi da Palestrina"; "Machaut" tOpiCS, far beyo~d the history, analysis, and criticism of Western art music.
and "Palestrina" are, after all, names of towns, not family names. Remember also Beyond that, notice the general way the categories work. The LC Subject Head-
that a composer's name can be entered as a search term in two different kinds ings for historical topics generally put the century first, then divide into other
of searches: an author search, which will produce a list of musical works or subhe.ads. For Bach cantatas, the proper LC subject heading would start with
other kinds of literature written by the composer; or a subjectlkeyword search, "M~SIC-18thcentury," not "Bach" or "cantata." Histories of Baroque music
which will produce a list of writings about the composer. are listed under the headin~s "Music-18th century-History and criticism."
The same wide array of possibilities arises when one enters the title of a . .Some knowledge of Library of Congress subject headings is most useful
composition. Let us imagine that you are looking for the score of Mozart's m usmg ca~d catalogues, which generally use those headings asa way to list
Piano Concerto in C Minor, K. 491. How exactly do you enter the title? Piano subcategOrIes under a large general topic and in on-line Gatalogues in the Tel-
Concerto, K. 491? Piano Concerto in C Minor, K. 491? Concerto for Pianoforte net system. Catalogues on the Internet do not always require the same knowl-
and Orchestra, K. 491? Piano Concerto No. 23? What about nicknames for edge of the LC system, but it still is a useful system for the researcher to know
musical works? Do you enter Pastoral Symphony, or Symphony No.6 ("Pas- at least in its general outlines. '
toral")? Should you enter Twilight of the Gods or GOtterdammerung? What if . As an ~xample of the way catalogues based on the Library of Congress
this catalogue does not accept umlauts-should you type Goetterdaemmerung ~ubJect hea~gs ~ork, following is the list of entries under the subject "piano"
or Gotterdammerung? Messe in h-moll, Mass in B Minor, or B Minor Mass? Rite m one on-line umversity catalog in the Telnet system. Note that there are more
ofSpring or Le sacre du printemps? The Seasons, Gli Stagioni, or Concerti for Vio- .~an 1,800 entries; in another library I checked, more than 5,000 entries were
lin and Orchestra, with the proper opus numbers? H you have looked into the hsted. The important thing, however, is not the number of entries but the
literature on Vivaldi, you are aware that there are several different systems way the topic is organized and divided into subheads. '
for numbering Vivaldi's works; you have to know which set of numbers is
used in the particular catalogue you are using. LIBRARY OF CONGRESS SUBJECT HEADINGS: PIANO
When you are not seeking information ona particular work or com-
1 PIANO 290 -METHODS
poser, if searches by composer and title have not produced sufficient infor- 16 -BmuOGRAPHY 291-METHODS
mation, or if you are browsing for general information on larger topics, the 22 -CONSTRUCTION 309 -METHODS-EXAMINATIONS QUE5-
appropriate course is to search by subject or keyword. Searches by keyword can 41-CONSTRUCTION-CONGRESSES TIONSETC
sometimes get complicated. Different catalogues are programmed to respond 42 -CONSTRUCTION-JUVENILE 310 -METHODS-GROUP INSTRUC-
to different systems of keywords; it might happen that entering "Brahms" (as LITERATURE TION
43 -GROUP INSTRUCTION 328 -METHODS-JUVENILE
a subject, not an author), "opera," "concerto," or "sonata" will produce screen 44-HISTORY 344 -METHODS-JAZZ
after screen of information; it also might happen that it produces nothing at all, 73 -INSTRUCTION AND STUDY ·350 -PEDALING
if you are not aware of the general way the keyword system works in this 258 '-INSTRUCTION AND STUDY- 352 -PEDALING-HISTORY
particular catalogue. From the I\lataloguer's point of view, it is obviously use- CONGRESSES 353 -PERFORMANCE
ful to have some system for listings by keyword, some hierarchy of terms 265 -INSTRUCTION AND STUDY- 365 -PERFORMANCE-HISTORY
FICTION 366 -PERIODICALS
under which related items can be grouped. For example, what should the 267 -INSTRUCTION AND STUDY- 372-PICTORIALWORKS
appropriate keyword be for Bach cantatas? One would assume one could find JUVENILE 373 ~PRACTICING
information on these pieces under keywords like"cantata," "Baroque," or 285 -INSTRUCTION AND STUDY- 374 -PURCHASING
'!religious music"; one can easily construct a fairly long list of keywords that PEDALING 375 -REPAIRING
would be logical keys to the desired information. The important question is the 286 -INSTRUCTIONAND STUDY-TO 376 -STUDIES AND EXERCISES
1800 432 -STUDIES AND EXERCISE&-
hierarchy of keywords that the catalogue is set up to respond to-which term 289 -MAINTENANCE AND REPAIR JUVENILE
should be the first or main keyword? The standard system of catalogue key-
6 Chapter 1 Research in Music 7

436 -STUDIES AND EXERCISES- 1072 -DISCOGRAPHY 1244 PIANO MUSIC. MOZART WOLFGANG 1600 PIANO QUARTET
PEDALING 1076 -EDITING AMADEUS 1756-1791 1601 PIANO QUARTETS
437 -STUDIES AND EXERCISES-JAZZ 1077 -GRADED LISTS 1246 PIANO MUSIC. SCARLAm 1610 -HISTORY AND CRITICISM
438-TUNING 1078 -HISTORY AND CRITICISM DOMENICO 1685-1757 1611-SCORES
444 PIANO ACCORDION 1079 -HISTORY AND CRITICISM 1247 PIANO MUSIC. SCHUBERT FRANZ 1624 -SCORES AND PARTS
445 PIANO AND BARITONE MUSIC 1107 -HISTORY AND CRITICISM-BIBLI- 1797-1828 1638 PIANO QUARTETS ARRANGED
446 PIANO AND BASSOON MUSIC OGRAPHY 1249 PIANO MUSIC. SCHUMANN ROBERT 1640 -SCORES AND PARTS
447 PIANO AND CLARINET MUSIC 1108 -INDEXES 1810-1856 PIANO QUARTETS ARRANGED
448 PIANO AND CORNET MUSIC 1109 -INSTRUCTIVE EDITIONS 1250 PIANO MUSIC. VORISEK JAN HUGO 1641 -SCORES AND PARTS
449 PIANO AND DOUBLE BASS MUSIC 1110 -INSTRUCTIVE EDmONS 1791-1825 1642 PIANO QUINTETS
450 PIANO AND ENGLISH HORN MUSIC 1118 -INTERPRETATION PHRASING 1251 PIANO MUSIC ARR 1649 -HISTORY AND CRITICISM
451 PIANO AND EUPHONIUM MUSIC DYNAMICS ETC 1252 PIANO MUSIC ARRANGED 1650 -SCORES
452 PIANO AND FLUTE MUSIC 1163 -JUVENILE 1324 -BIBLIOGRAPHY 1659-SCORES AND PARTS
453 PIANO AND HARP MUSIC 1181-JUVENILE-BIBLIOGRAPHY- 1325 -EXCERPTS 1671 PIANO QUINTETS ARRANGED
454 PIANO AND HARPSICHORD MUSIC GRADED LISTS 1326 PIANO MUSIC BLUES 1672 -SCORES AND PARTS
455 PIANO AND HORN MUSIC 1182 -JUVENILE-TEACHING 1327 PIANO MUSIC BOOGIE WOOGIE 1673 PIANO R RENZO
456 PIANO AND OBOE MUSIC PIECES 1329 -HISTORY AND CRITICISM PIANORENZO
457 PIANO AND ONDES MARTENOT 1184 -MISCELLANEOUS 1330 PIANO MUSIC COLLECTIONS 1674 -BIBLIOGRAPHY
MUSIC 1185 -PERIODICALS 1331 PIANO MUSIC JAZZ 1675 -THEMES MOTIVES
458 PIANO AND PERCUSSION MUSIC 1186 -SCORES 1352 -HISTORY AND CRITICISM PIANO TECHNICIANS
459 PIANO AND RECORDER MUSIC 1193 -TEACHING PIECES 1353 PIANO MUSIC JAZZ ARRANGED 1676 -CONGRESSES
460 PIANO AND SAXHORN MUSIC 1204 -THEMATIC CATALOGUES 1354 PIANO MUSIC JUVENILE 1677 PIANO TRIO
461 PIANO AND SAXOPHONE MUSIC 1205 -THEMATIC CATALOGUES 1376 PIANO MUSIC PIANO 2 ARRANGED . 1678 PIANO TRIOS
462 PIANO AND TIMPANI MUSIC 1206 -TO 1800 1377 PIANO MUSIC PIANOS 2 1688-PARTS
463 PIANO AND TROMBONE MUSIC 1207 -UNITED STATES-19TH CENTURY 1428 -BIBLIOGRAPHY 1689 -SCORES
464 PIANO AND TRUMPET MUSIC -BIBLIOGRAPHY 1433-SCORES 1714 -SCORES AND PARTS
465 PIANO AND TUBA MUSIC 1208 -18TH CENTURY-DISCOGRAPHY 1440 PIANO MUSIC PIANOS 2 ARRANGED 1759 PIANO TUNERS
466 PIANO AND VIOLA MUSIC 1209 -18TH CENTURY-HISTORY AND 1482 -SCORES PIANO WITH CHAMBER ORCHESTRA
467 PIANO AND VIOLIN MUSIC CRITICISM 1495 PIANO MUSIC PIANOS 2 8 HANDS 1760 -SCORES
468 PIANO AND VIOLONCELLO MUSIC 1215 -19TH CENTURY 1496 PIANO MUSIC PIANOS 2 8 HANDS 1763 -2 PIANO SCORES
469 PIANO DUETS 1216 -19TH CENTURY-DISCOGRAPHY ARRANGED 1764 PIANO WITH INSTR ENSEMBLE
471 PIANO ENSEMBLES 1217-19THCENTURY-HISTORYAND 1498 PIANO MUSIC PIANOS 3 1765 PIANO WITH INSTRUMENTAL
472 -BIBLIOGRAPHY CRITICISM 1499 PIANO MUSIC PIANOS 4 ENSEMBLE
473 -HISTORY AND CRITICISM 1224 -2 PIANO SCORES 1500 PIANO MUSIC PIANOS 5 1766 -BIBLIOGRAPHY
474-SCORES 1225 -20TH CENTURY 1501 PIANO MUSIC RAGTIME 1769 -SCORES
475 PIANO MAKERS 1227 -20TH CENTURY-HISTORY AND 1509 PIANO MUSIC X HISTORY AND 1770 PIANO WITH JAZZ ENSEMBLE
479 -HISTORY CRITICISM CRITICISM 1771 PIANO WITH ORCHESTRA
480 -NEW YORK NY-HISTORY 1230 PIANO MUSIC. ALBENIZ ISAAC 1860- 1510 PIANO MUSIC 1 HAND 1784 -BIBLIOGRAPHY
481-NEW YORK STATE-NEW YORK- 1909 1518 -BIBLIOGRAPHY PIANO WITH ORCHESTRA
HISTORY 1231 PIANO MUSIC. BARTOK BELA 1881- 1519 -HISTORY AND CRITICISM 1785 -BIBLIOGRAPHY
1945 1520 PIANO MUSIC 2 HANDS 1787 -HISTORY AND CRITICISM
483 -STATISTICS
1232 PIANO MUSIC. BEETHOVEN LUDWIG 1521 PIANO MUSIC 2 PIANOS 1788 -SCORES
485 PIANO MOTION PICTURE
VAN 1770-1827 1523 PIANO MUSIC 2 PIANOS ARRANGED 1804 -2 PIANO SCORES
PIANO MUSIC
1233 PIANO MUSIC. BEETHOVEN LUDWIG 1525 PIANO MUSIC 2 PIANOS 8 HANDS 1811 PIANO WITH ORCHESTRA
486 -JUVENILE
VAN 1770-1827 1526 PIANO MUSIC 4 HANDS ARRANGED
487 PIANO MUSIC
1237 PIANO MUSIC. BUSONI FERRUCCIO 1572 -ANALYSIS APPRECIATION 1814 -2 PIANO SCORES
993 -ANALYSIS APPRECIATION
lOll-ANALYSIS INTERPRETATION 1866-1924 PIANO MUSIC 4 HANDS 1817 PIANO WITH STRING ORCfiESTRA
1238 PIANO MUSIC. CHOPIN FREDERIC 1573 -BIBLIOGRAPHY 1818-PARTS
1013 -ANALYTICAL GUIDES
1810-1849 1578 -HISTORY AND CRITICISM 1819 -SCORES
1014 -BIBLIOGRAPHY-GRADED LISTS
1240 PIANO MUSIC. GRIEG EDVARD 1843- 1580 PIANO MUSIC 4 HANDS ARRANGED PIANO WITH STRING ORCHESTRA
1015 -BIBL-GRADE LISTS
1907 1596 PIANO MUSIC 6 HANDS ARRANGED
1016 -BIBLIOGRAPHY
1043 -BIBLIOGRAPHY-CATALOGUES 1241 PIANO MUSIC. HAYDN JOSEPH 1732- 1597 PIANO ORCHESTRA MUSIC. BUSONI 1821 -2 PIANO SCORES
1045 -BIBLIOGRAPHY-GRADED LISTS 1809 FERRUCCIO 1866-1924 PIANO WITH WIND ENSEMBLE
1243 PIANO MUSIC. LISZT FRANZ 1811- 1598 PIANO PLAYER 1822 -BIBLIOGRAPHY /
1069 -BIBLIOGRAPHY-PERIODICALS
1886 1599 PIANO PLAYING 1823 PIANO 1 HAND WITH ORCHESTRA
1070 -COLLECTIONS
 Research In Music 9
8 Chapter 1
search commands; it is important to become familiar with the particular spe-
1833 PIANOS 2 WITH CHAMBER ORCHES-
1824 -SCORES cial commands used in your own library's catalogue. Many on-line systems,
1826 PIANOFORTE TRA
PIANOS 2 WITH ORCHESTRA fOf' example, have a shortcut that allows'the researcher to be as inclusive as
1827 PIANOGRAPH
1834-SCORES possible. about a keyword by not specifying a particular ending. A question
1828 PIANOLA
1829 PIANOS
PIANOS 2 WITH PERCUSSION mark at the end of a word is code for some catalogues to include all forms of
PIANOS 2 WITH BAND 1835-SCORES that word, rather than just a single one; "symphon?" in this system asks the cat-
1836-SCORES AND PARTS
1832 -SCORES alogue to include all forms of the word in its search-symphony, symphonies,
etc. Some on-line catalogues also have short codes for specifying kinds of
resources-books, scores, and recordings. It is worth the time necessary to
familiarize yourself completely with any catalogue you use frequently; the
Different catalogues may vary somewhat in the details of how ~ey list more you know about how the system works, the more efficiently you use
things but the system itself remains fairly consistent. Note the major sub- your research time and the less time and effort it will take to find the infor-
heads~instructionand study, methods, history and criticis~, and so forth. mation you are seeking. Chapter 4, on electronic resources, will discuss these
Those same categories are used to divide materials on other subjects as well and issues further.
are themselves subdivided in much the same way. Once you get a sense of When the search topic is so narrow that it produces no entries or a list of
the standard terms used in the LC system and the general way ~he system entries that is too short, it takes creativity to broaden the topic in such a way
works, you can then transfer those same terms to your own sU~Ject ?r key- as to uncover useful materials. It can be very frustratingJ9tn'_Cl.,number of
word searches. Once one has some experience using these headmgs m k~y­ broader keywords in an effort to find materials relevant to your topic, only
word searches, one develops an instinct for choosing the te~ and categones to find that none of them produces any information; some familiarity with
that are most likely to work. As a general rule, sear~es by subject or keyword the Library of Congress subject headings for music may be especially help-
generally require even more imagination and persIstence than other types of ful. In general, I think it is -safe to say that, following the LC system, starting
searches. d' dh with historical periods rather than terms for genres will prove to be the best
One final problem with catalogue searches should be Iscusse ere. strategy.
Sometimes the searcher's first try is too broad in scope and produces so many Let us consider a specific topic that is fairly narrow. Working with one
entries (catalogues generally refer to individual entries as "records") that the particular on-line library catalogue, I tried to find entries-books or scores-
catalogue will not show the entire list on the screen and prompts the searcher related to the operas of Telemann. I entered "Telemann and opera" as a subject
to limit the search in some way. On the other hand, the search may be S? spe- heading; the catalogue produced no entries. Whenl entered "Telemann" as a
cific that it produces nothing at all or a very small list of records. Agam ~e subject-not as "author" or composer"::""the catalogue produced a list of eight
researcher must be imaginative and resourceful; one must be ready to deVIse or ten books about Telemann, mostly biographies. Among the listings, how-
alternative strategies quickly. ever, was a two-volume thematic catalogue of the vocal works of Telemann. I
When the search has turned up an unwieldy number of records,. at l~ast was not aware that such a work existed; it would certainly provide helpful
the researcher knows the information sought after is available; the trIck IS to information and bibliographical listings for all of Telemann's operas. When I ran
limit the search in such a way as to keep the desired information and exclu~e ,a search using Telemann as "author" or composer, there were more than 200
the information he or she does not want. One way is to define the search m items; as you would expect, most were scores or recordings of instrumental
ways that exclude certain kinds of listings. Most on-line cata~ogues have a chamber music, concertos, or suites, but there were other listings as well. Four
feature called "Boolean logic," which allows the user to combme keywords of the entries were scores of operas by Telemann; another listing was for his
in such a way that only those entries that combine all the c~osen terms are autobiography, which would probably be a useful resource for any research
listed. This feature generally applies only to searches by subject or keyword, about this composer. The moral of the story is clear; when you are research-
by the way, not to searches by author or title. For example, one ca~ enter ing a narrow topic, you need to approach it as broadly as possible, inftS many
"Mozart and opera"("Mozart" as a keyword, not an author); only entrIes th~t . different ways as possible; then patiently scroll through whatever catalogue
share both keywords will be listed. Similarly, one can usually exclude certam listings or bibliographies you can find. Another way to broaden the topic would
categories of resources; for example, by entering "~ozart~and opera not sound be to search by more general areas that include your topic-for example, one
recordings," one can eliminate from the list all entries that are listed as record- could try terms like "18th century-opera" or "Baroque opera." What is likely
ings while still including other kinds of resources-books and scores-that to happen when you use these broad topics, as would probably occur til this
share the keywords "Mozart" and "opera." . . . case, is that these areas turn out to be too broad and produce unwieldy-lists of
Many on-line catalogues have their own shorthand verSIons of certam
10 Chapter 1 Research in Music 11

entries. The next step is to try to find some middle ground between keywords works, one should be able to locate the score in a collected set, provided of
that are too narrow and subject categories that are too broad. It can be diffi- course that the work in question has been published in a set.
cult to design the perfect search term or combination of terms that will pro- For research purposes, one should also know some of the classification
duce the amount of information you need for your proposed project; persistence numbers for certain types of Music Literature; one can then head straight for
and experience will help you develop strategies to deal efficiently with catalogue the appropriate section and browse through the actual books rather than a
searches. In difficult cases, it may also be necessary to browse through period list of books on a screen. Biographies of composers, for example, are classi-
histories or other more general kinds of resources in order to find other terms fied under the number ML410. All the biographical studies of Mahler, for
or composers to include in the search. example, will be shelved together under "M" in the ML4lO section; within
One last issue regarding catalogues must be mentioned in this general dis- this classification, books are alphabetized first by the name of the composer and
cussion. Most catalogues are programmed to work in the same general way- then by the author's name. It is fascinating to browse the actual books in this
the search categories of author, title, subject, and keyword appear in most section, not only to see the surprising number of biographies that have been
catalogues. Still, each catalogue has its own peculiarities; library catalogues published about composers like Mozart or Mahler, but also the huge number
are usually the most user-friendly, so that it is generally possible to walk into of books on lesser-known composers and on performers of all types. Pick
any library for the first time and use the on-line catalogue, simply by follow- another section that deals with a genre that interests you-for example, the
ing the instructions that appear on the screen. On the other hand, some of the sections on opera under ML and MT-to get a sense of the difference betw~n
on-line catalogues available on the Telnet and Internet systems are more com- the two classifications and, once again, to get a sense of the surprising varietr
plicated, and some require careful use of the Library of Congress subject head- of works that have been published.
ings for keyword searches. It is usually easier to search Internet databases Browsing is especially appropriate for books of another type, called
than those on the older Telnet system; as more and more databases move to the Festschriften, which are usually classified under ML55. These books are col-
Internet,~ome of the strategies needed for using Telnet systems will become lections of essays, generally dedicated to a senior scholar on the occasion of a
less useful. Still, imagination, persistence, and experience will help the birthday, retirement, or some other occasion; students and friends contribute
researcher to develop the skills necessary to use all these systems efficiently and essays to these collections as a tribute to their friend or mentor. Some very
locate the information he or she needs. important articles are published in these collections; as you can imagine, the
authors choose their finest work to be included in such a collection. There are
Browsing specialized bibliographic gUides in which researchers can find listings of the
contents of these collections, but nothing matches the experience of pulling
A skilled and creative researcher has another technique that is useful in the one of these amazing books off the shelf and actually seeing the list of titles and
early stages of research, besides heading straight for a library catalogue. If you authors included in these colleCtions.
know your way around a particular music library, assuming it has a good col- The idea of browsing brings up another important quality for a good
lection and an open stacks policy, it is possible to go directly to those sections researcher. One of the pleasures of browsing library shelves is that one notices
that are likely to contain the information you are looking for. Reprinted on the books and publications that may have nothing to do with the specific research
next few pages is a copy of selected classifications from the Library of Con- task at hand, but which nevertheless are interesting and worthy of one's
gress classifications for M, Music-that is, scores-and ML and MT, Music Lit- attention. Any experienced researcher will tell you of experiences like this,
erature and Music Theory-that is, books about music. No one needs to discoveries that one can describe as instances of serendipity. One heads for
memorize this entire list, but everyone involved in research should know some the library with one specific purpose in mind and gets pleasantly-and use-
of these classification numbers and how to find them in a particular library. fully-distracted by discovering a book one did not know existed, perhaps
For example, musicians should know the classification numbers for scores of on a completely different subject. Often another important research project
music for their particular instruments or favorite ensembles; it is possible to grows from these accidental beginnings. Serendipitous discoveries are always
go directly to that section of the library and see the extent of the library's col- possible, even when you are working with a card catalogue or on:1ine cata-
lection of scores for that particular instrument or group. It is important to know logue, but nothing quite matches the thrill of discovery when you are brows-
how to locate reference scores and collections; all students should know, for ing among the actual books and scores of a good music library and you
example, that M2 is the classification for collections of music organized by discover a treasure.
genre, period, or country, rather than composer, and that M3 is the classifica- We should add a sense of openness and adventure to the qualities
tion for the collected works of single composers. If there is no satisfactory score required of a good researcher; one must certainly use one's peripheral vision,
available in the section of the stacks that contains performing editions of single as it were, and be open to potential serendipity at every moment. As you look
12 Chapter 1 Research in Music 13

over the following list of LC classifications, consider learning the numbers 201~201~7 SERVlCES 460-1354 INSTRUMENTS AND INSTRU-
that will mean the most to the research you might do and begin browsing 2018-2019.5 DUETS, TRIOS, ETC. FOR SOLO MENTAL MUSIC
VOICES BY REGION OR COUNTRY
those sections to see the possibilities open to you for research. 2020-2036 CHORUSES, CANTATAS, ETC. 475-486 AMERICA
2~2101.5 CHORUSES, PART-SONGS, 489-522 EUROPE
ETC., WITH ACCOMPANI- 525-541 ASIA
LIBRARY OF CONGRESS M CLASSIFICATIONS MENT OF KEYBOARD OR 544 AFRICA
M MUSIC 1375-1420 INSTRUMENTAL MUSIC FOR OTHER SOLO INSTRUMENT, 549-1092 INSTRUMENTS
L.AL-.A15 MUSIC PRINTED OR COPIED CHILDREN OR UNACCOMPANIED 550-649 ORGAN
IN MANUSCRIPT IN THE 1450 DANCE MUSIC 2101-2114.8 SONGS FOR ONE VOICE 650-747 PIANO, CLAVlCHORD,
UNITED STATES OR THE 1470 CHANCE COMPOSmONS 2115-2146 HYMNALS HARPSICHORD, ETC.
COLONIES BEFORE 1860 1473 ELECTRONIC MUSIC 2147-2188 LITURGY AND RITUAL 750-927 STRING INSTRUMENTS
2-2.3 COLLECTIONS OF MUSICAL 1480 MUSIC WITH COLOR APPA- 2147-2155.6 ROMAN CATHOLIC 930-990 WIND INSTRUMENTS
SOURCES RATUS,ETC. 2156-2160.87 ORTHODOX CHURCHES 1000-1018 PLECTRAL INSTRUMENTS
3-3.1 COLLECTED WORKS OF INDI- 1490 MUSIC, PRINTED OR COPIED 2161-2183 PROTESTANT CHURCHES 1030-1040 PERCUSSION INSTRUMENTS
VIDUAL COMPOSERS IN MANUSCRIPT, BEFORE 2184 OTHERCHRISTIAN 1050-1055 MECHANICAL AND OTHER
3.3 FIRST EDmONS 1700 CHURCHES INSTRUMENTS
INSTRUMENTAL MUSIC VOCAL MUSIC 2186-2187 JEWISH 1100-1165 CHAMBER MUSIC
6-175 SOLO INSTRUMENTS 1497-1998 SECULAR VOCAL MUSIC 2188 OTHER NON-CHRISTIAN 1200-1270 ORCHESTRAL MUSIC
176 INSTRUMENTAL MUSIC FOR 1500-1527.8 DRAMATIC MUSIC RELIGIONS 1300-1354 BANDWSIC. __ ......
MOTION PICTURES 1528-1529.5 DUETS, TRIOS, ETC., FOR 2190-2196 SACRED VOCAL MUSIC FOR 1400-3275 VOCAL MUSIC
176.5 INSTRUMENTAL MUSIC FOR SOLO VOICES CHILDREN 1500·1554 CHORAL MUSIC
RADIO AND TELEVISION 1530-1546.5 CHORUSES WITH ORCHES- 2198-2199 GOSPEL, REVIVAL, TEMPER- . 1600-2881 SECULAR VOCAL MUSIC
177-990 MUSIC FOR TWO OR MORE TRA OR OTHER ENSEMBLE ANCE, ETC., SONGS 2900-3275 SACRED VOCAL MUSIC
SOLO INSTRUMENTS 1547-1600 CHORUSES, PART-SONGS, 5000 UNIDENTIFIED COMPOSI-·· 3300-3354 PROGRAM MUSIC
180-298.5 DUETS ETC., WITH ACCOMPANI- TlONS 3400-3465 DANCE~SIC
300-386 TRIOS MENT OF KEYBOARD OR 3545-3775 NATIONAL MUSIC
400-486 QUARTETS OTHER SOLO INSTRU- ML LITERATURE ON MUSIC 3800-3923 PHILOSOPHY AND PHYSICS
500-586 QUINTETS MENT, OR UNACCOMPA- 35-38 FESTIVALS, CONGRESSES OF MUSIC
600-686 SEXTETS NIED 40-44 PROGRAMS 3845-3877 AESTHETICS
700-786 SEPTETS 1608 CHORUSES, ETC., IN TONIC 48-54.8 LffiRETIOS 3880-3923 CRITICISM
800-886 OCTETS SOL-FA NOTATION 90 WRITINGS OF MUSICIANS 3930 LITERATURE ON MUSIC FOR
900-986 NONETS AND LARGER COM- 1609 UNISON CHORUSES WITH OR 93-97 MANUSCRIPTS, AUTO- CHILDREN
BINATIONS OF PURELY WITHOUT ACCOMPANI- GRAPHS, ETC.
CHAMBER MUSIC MENT OF EVERY KIND 100-109 DICTIONARIES, ENCYCLOPE- MT MUSICAL INSTRUCTION AND STUDY
990 CHAMBER MUSIC FOR 1610 CANTATAS, CHORAL SYM- DIAS 2-5 HISTORY AND CRITICISM
INSTRUMENTS OF THE PHONIES, ETC., FOR UNAC- 111-158 BffiLIOGRAPHY 6-7 MUSIC THEORY
18TH CENTURY AND EAR- COMPANIED CHORUS 113-118 INTERNATIONAL 20-32 SPECIAL METHODS
LIER (SECULAR AND SACRED) 120 NATIONAL 40-67 COMPOSmON
100~1075 ORCHESTRA WITH OR WITHOUT SOLO 132 GRADED LISTS, BY MEDIUM 58-67 FORMS
1100"1160 STRING ORCHESTRA VOICES 135 MANUSCRIPTS 68 IMPROVlSATlON, ACCOMPA-
1200-1269 BAND 1611-1624.8 SONGS FOR ONE VOICE 136-158 CATALOGUES NIMENT, TRANSPosmON
1270 FIFE (BUGLE) AND DRUM 1625-1626 RECITATIONS, GESPROCHENE 159-3797 HISTORY AND CRITICISM 70-71 ORCHESTRA AND ORCHES-
MUSIC, FIELD MUSIC, ETC. LIEDER, WITH ACCOMPA- SPECIAL PERIODS TRATiON
1350-1353 REDUCED ORCHESTRA NIMENT 162-169 ANCIENT 73 BAND AND INSTRUMENTA-
1356-1356.2 DANCE ORCHESTRA 1627-1853 NATIONAL MUSIC 170-190 MEDlliVAL TlON FOR BAND
AND INSTRUMENTAL 1900-1980 SONGS (PART AND SOLO) OF 193-197 1600- 90-145 ANALYTICAL GUIDES, ETC.
ENSEMBLES SPECIAL CHARACTER BY REGION OR COUNTRY (HERMENEUTICS)
1360 MANDOLIN AND SIMILAR 1985 MUSICAL GAMES 198-239 AMERICA 95-100 OPERA, BALLET, OPERA-
ORCHESTRAS OF PLEC- 1990-1998 SECULAR MUSIC FOR 240-325 EUROPE BALLET, ETC.
TRAL INSTRUMENTS CHILDREN 330-345 ASIA 110-115 ORATORIOS, CANTATAS, ETC.
1362 ACCORDION BAND ·1999-2199 SACRED VOCAL MUSIC 350-350.5 AFRICA 125-130 ORCHESTRAL MUSIC
1365 MINSTREL MUSIC 1999 COLLECTIONS 385-429 BIOGRAPHY 140-145 CHAMBER, ORGAN, PIANO,
1366 JAZZ ENSEMBLES 2000-2007 ORATORIOS 430-455 COMPOSmON VlOLIN,ETC., MUSIC
14 Chapter 1 Research In Music 15

150 GUIDES 220-255 PIANO question, as well as a specific type of research situation (in this case, the fact that
170-810 INSTRUMENTAL TECHNIQUES 259-338 STRING INSTRUMENTS so much research has been done on Mozart's works), the researcher can go
180-198 ORGAN 260-279 VIOLIN
VIOLA
directly to the resource that is designed specifically to provide the kind of
192-192.8 ELECTRONIC KEYBOARD 280-298
300-318 VIOLONCELLO information he is seeking.
INSTRUMENTS
200-208 HARMONIUM (REED ORGAN) 320-334 OOUBLEBASS In another research situation, entirely different resources might be appro-
priate. Earlier we used the operas of Telemann as an example of a fairly nar-
row topic; these works are, to say the least, less well known than Mozart's.
Choosing Resources In order to assemble a bibliography concerning Telemann's operas, or one
particular work, one might choose entirely different resources as places to
Another area in which researchers need imagination and creativity is in choos- start. In this case, we already know that there is a thematic catalogue that
ing the resource, or the type of resource, that will most efficiently provide the deals with Telemann's vocal works; beyond that one resource, however, one
information they are seeking. Part I of this book will list and discuss the main would probably start with articles in New Grove and MGG, or with histories of
types of resources available for musicological research; there are many types Baroque music, biographies of Telemann, and other such general resources.
of resources, each designed to facilitate a particular kind of research or provide There is a relatively new type of resource that is intended to be a starting
a particular type of information. point for research-the so-called "bio-bibliography." These works usually
provide two or more of the following aids to research: a biographical essay,
The creative researcher does not approach every research task in the same an annotated bibliography, and a thematic catalogue, unless·one already exists
way. Although it is normal to begin most research projects with a search of the for that particular composer. Because of their multiple purpose, these impor-
library catalogue or study of the appropriate articles in encyclopedias such as tant resources may be catalogued under different numbers and shelved in
The New Grove Dictionary ofMusic and Musicians or Die Musik in Geschichte und two different places-under ML134, the number for thematic catalogues (if
Gegenwart (MGG), a creative researcher knows that these standard resources, as they fulfill that function), or under ML4l0, with the biographies. Further, they
useful as they generally are, are not necessarily the appropriate places to search might be in the reference section, with other non-circulating books, or in the
for some kinds of specialized information. The choice of resources depends regular stacks. These guides are wonderful places to survey the research that
not only on the kind of information one is seeking, but also on how general or has been done on an individual composer and his works and might be the
specific the desired information is; it also depends on the researcher's sense perfect place to begin thinking about a research project, even before consult-
of how much has been written about individual composers or works. ing the library catalogue and standard lexicons. We will have more to say
To get a sense of what I mean here, let us consider two examples we about these resources later in Part I; here they are cited as an extremely useful
talked about earlier. Let us first imagine that you are looking for books and resource for the researcher who understands their advantages and knows
articles about Idomeneo, an opera seria by Mozart. The experienced researcher where to browse for them.
knows that Mozart has been a favorite research topic for a long time; if you As one moves into specialized areas of research, one has to know what
begin by consulting the articles on Mozart in The New Grove Dictionary ofMusic specialized resources are available to assist the researcher. If one plans to
and Musicians or Die Musik in Geschichte und Gegenwart, you will find book- research topics such as musical life in America in the early nineteenth cen-
length articles ending with bibliographies that occupy several columns of tury, the Broadway musical, or musique concrete, the most helpful place to start
small print. There might be some point to going first to Mozart biographies or may not be the standard encyclopedias or histories, but specialized bibli-
studies of his operas, although, since Idomeneo is such a small and specialized ographies and research guides. One should know what the standard resources
part of the repertory of Mozart operas, not nearly as well known as Don Gi~­ are in these specialized areas before trying to do any serious research; other-
vanni or Le Nozze di Figaro, general resources might not be very helpful. In this wise one will waste great amounts of time trying to locate basic information.
case, the quickest way to sift through the mountains of writings about Mozart In a sense, researchers who work in a very narrow area, or an area different
to find studies of this particular opera would probably be to go first to the from the mainstream of Western art music, have an advantage, sifice one
Kochel catalogue of Mozart's works; like most thematic catalogues, this famous quickly discovers the limited number of basic research tools available in those
reference work includes a detailed entry on each specific work, containing areas, and therefore knows exactly where to turn to begin a research project.
.not only information about historical background, first performance, and edi- On the other hand, if one continues to work in any research area for a while,
tions, but also a bibliography of books and articles on each individual work. no matter how much has been written in that particular area, one quickly
By knowing which type of resource is most useful for a specific type of research learns which resources are the most reliable and the most helpful.
 16 Chapter 1 Research in Music 17

To summarize, it is important that we acknowledge at the beginning of ine, a great amount of archival research has been done on the records of Renais-
a course about research of any kind that research is both a science and an art. sance and Baroque courts and cities. As an example of research into twentieth-
Successful research requires not only diligence and knowledge, but also per- century archives, let me cite Dorothy Crawford's study of the Concerts on the
sistence, creativity, and cleverness in deVising research strategies, particularly Roof (later Monday Evening Concerts), the important series of concerts of
when our initial efforts produce little fruit. Also important is a spirit of adven- contemporary music in Los Angeles that ran from 1939 to the present.
ture and openness to accidental discoveries. The best researcher is not neces-
sarily the one who haunts the music library night and day; the real researcher Craw~ord, Dorothy Lamb. Evenings On and Off the Roof: Pioneering Concerts
is the one who knows the, appropriate ways to approach different types of tn Los Angeles, 1939-1971. Berkeley: University of California Press, 1995.3
research questions and therefore is able to work efficiently and get the most out
of time spent in research. Research usually moves not in a straight line, but . . ~ditorial research ~ to produce scholarly editions of music and other
in a configuration more like concentric circles. Frequently, one starts with a ~Ignifican~documents; Without reliable collected sets of composers' works, it
general idea, perhaps a combination of a period, genre, and maybe even a IS. ~ot pOSSible to study their compositional practice or style or say anything sig-
specific composer, and moves gradually closer to more specific topics, indi- mflcant about where an individual composer might fit in the evolution of
vidual works, and a clear thesis. One may also move in the opposite direc- musical style. This ~d of primary research is still necessary; a surprising
tion-after reading some impressive research in a journal, for example, the a~ount o~ ~ork remams to be done in this area, particularly in producing
researcher may move outward from that specific topic to find related topics that reliable editions of works of the nineteenth and twentieth centuries. As exam'"
will work as research projects. A research project usually takes on a life of its pIes of editorial work, we cite the ongoing publication of the collected works
own; it often seems inclined to move in one particular direction, and of Hector Berlioz or Arnold Schoenberg.
approaches foreign to one's initial plan may keep coming up as possibilities.
Ifaresearcher has the sort of imagination and creativity we have been dis- Berlioz, Hector. t:lew Edition of the Complete Works, issued by the Berlioz Cente-
cussing, he or she will find that the painstaking work of research can turn into nary Commlttee, London, in association with the Calouste Gulbenkian Foun-
a fascinating journey of discovery. dation, Lisbon. Kassel: Barenreiter, 1967-.
Schoenberg, Arnold. Siimtliche Werke. Hrsg. von Josef Rufer, in Zusammen-
arbeit mit Richard Hoffman ret al.l, unter dem Patronat der Akademie
KINDS OF RESEARCH ·IN MUSIC der Kiinste, Berlin. Mainz: B. Schott's Sohne, 1966-.

There are several standard kinds of research in the field of musical scholar- Biographical research produces accounts of the lives or lives and works
ship, some of which have been characteristic of the' discipline since its incep- of composers or other musical figures so that we can understand the back-
tion late in the nineteenth century; some, however, have become more common ground of the composer's works and important connections with other com-
in recent years as the discipline has continued to evolve. The research that posers or performers, influential figures from the worlds of drama or literature
was characteristic of the discipline in its early days usually produced results ~tc. Ma~y biographies fit the "life and works" pattern, combining biograph~
and information on which later generations of scholars could base further leal detail with some serious analysis of the composer's works. Not all biogra-
research. The following paragraphs cite some traditional kinds of research p~es ar~ sour~es for serious research; a glance through the large body of
and list some examples of each kind; I cite these examples with some hesita- biographies ~~tten a~out Mozart, for. example, shows that they run the gamut
tion, knowing that there are hundreds of fine works that could be cited in from romantiCized vle~.v"S, more hagiography than biography, that treat the
each instance. I trust it is clear that I do not intend to imply that the cited composer only a~ a misunderstood or divinely inspired genius, to serious
works are necessarily the finest or most significant examples of research, but works that shed Important light on his short but incredibly productive life.
simply examples that come readily to mind and illustrate clearly for students As good examples of biographical research, we cite the multivolume study
what it is that researchers'do.
Archival research combs the records of courts~ cities, churches, spon-
soring organizations, concert series, or other groups in order to reconstruct
. the context for which music was composed and produced. From this kind of . 3The reader will notice in the following lists of various kinds of research that a dispro-
portionate number of the books listed were published by university presses particularly the Uni-
research, we can construct a clear picture of musical life and musical values at
versity of Calif~rnia~ress. I assure you that I chose works based on their u~fulness as examples
a particular time or in a particular church or court, or get a clearer sense of of what I was dlscussmg, not through any desire to favor one press over another. It would seem
what a musician's life was like in other times and places. As you can imag- that the University of California Press has an admirable record of publishing important research.
 Research in Music 19
18 Chapter 1

~irst, broader cultural research, already mentioned, naturally expanded into

of Haydn's life and works by H. C. Robbins Landon and Richard Taruskin's
Issues such as the meaning of music within a particular culture, issues of colo-
work on Stravinsky.
nialism and postcolonialism, and music's role as a supporter of national aims,
Landon, H. C. Robbins. Haydn: Chronicle and Works. 5 vols. Bloomington: cultural programs, and the goals of those who commission and support music.
Secondly, senior scholars in the discipline issued a call for scholars to broaden
Indiana University Press, 1976-80.
their view of music, to think in terms of criticism rather than analysis, encour-
Taruskin, Richard. Stravinsky and the Russian Traditions: A Biography of the
aging discussions of music that go beyond positivistic analysis of scores and
Works through Mavra. 2 vols. Berkeley: University of California Press,
musical works. Musicologists borrowed theories of criticism and interpretation
1996.
from ~he world of literary criticism and applied them to music, developing
new kinds of research with their own technical vocabularies and basic method-
Analytical research deals with stylistic issues, such as tracing the evo-
ological texts. One of the new watchwords was hermeneutics, a term bor-
lution of a composer's compositional style; arguing for the impact of a par-
rowed from Scriptural studies and used earlier by some writers of the
ticular composition on the evolution of a style, or vice versa; settling questions
nineteenth century to deal with the question of music's meaning as literature.
of borrowings, influences, or connections with other styles or composers,
In current scholarship, the term stands for an approach to music based on the
based on what happens in the music; or tracing the evolution of a genre. Of the
principl~ ~at any "text" or artistic work has a meaning, makes a statement, tells
hundreds of works that could be cited here, let me mention just two: Ellen
a story; It IS up to the interpreter to "read" the text for its deeper meaning. As
Rosand's study of the history of Venetian opera and Walter Frisch's work on
one would expect, there was great excitement and livel~sometimesheated,
the compositional style of Brahms.
debate about these new kinds of research. Schools and camps formed around
some of these approaches, just as new ~chools of literary criticism polarized
Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre.
English departments in earlier decades. Gradually, these new kinds of research
Berkeley: University of California Press, 1991.
found their place within the discipline; a glance at recent issues of musico-
Frisch, Walter. Brahms and the Principle of Developing Variation. Berkeley: Uni-
logical journals or recent programs of the American Musicological Society's
versity of California Press, 1984.
annual meetings will indicate how quickly these new approaches have become
part of the discipline's mainstream. For our purposes, students s:\lould be
Cultural research delves into the literature, art, sociology, or history of
aware of ~ese newer approaches and have a general idea of the way research
the culture surrounding a particular musical phenomenon in order to under-
pro.ceeds m these areas so that they can choose directions and approaches for
stand the music better or to explain its connections with the surrounding cul-
therr own research. The following paragraphs briefly describe some of these
ture. One well-known example of this approach is Jacques Barzun's famous
approaches and list published examples of these approaches.
study of Berlioz as an example of broader trends in Romanticism. A more
. ~i~st ~et me cite .some books that provide a general view of the chang-
recent example of this type of research is Martha Feldman's study of the six-
mg dIscIplme of mUSIcology. Joseph Kerman's book urged musicologists to
teenth-century madrigal in Venice, which discusses Venice's civic life in the
focus mor~ on c~iticism and less on analysis and, following the example of
sixteenth century, the patronage system in place at that time, intellectual cur-
ethnomusIcolo?Ical methodology, to p~t sharper focus on music as a living
rents of the period, particularly literary and linguistic theories, and the influ-
art performed, mterpreted, and valued m a particular cultural context rather
ence of all these cultural forces on the madrigals of the Venetian school.
than just as notes on a page or patterns open to various analytical systems.
The other works cited are recent collections of essays that attempt to explain
Barzun, Jacques. Berlioz and the Romantic Century. 3rd ed. New York: Colum-
bia University Press, 1969. changes and new directions within the discipline of mUSicology.
Feldman, Martha. City Culture and the Madrigal at Venice. Berkeley: Univer-
sity of California Press, 1995. Kerman, Joseph. Contemplating Music: Challenges to Musicology. Cambridge,
MA: Harvard University Press, 1985.
New Kinds of Musicological Research
Current Musicology 53 (1993). A special issue of this journal, subtitled
"Approaches to the Discipline," ed. Edmund J. Goehring.
While research of the kinds just listed has continued, some scholars have Schwarz, J?avi~, ~~~ Kassabian, and Lawrence Siegel, eds. Keeping Score:
.turned to new kinds of research as the discipline has expanded its horizons. The Muslc, Dlsclplmanty, Culture. Charlottesville: University of Virginia
1997. '
emergence of these new kinds of research can be traced to several factors.
20 Chapter 1 Research in Music 21

Hermeneutics, as we said, is a general term for the science of inter- Another new direction related to issues of politics and class, inciden-
preting a text, searching for the deeper meaning of a text or a musical work. tally related to ethnomusicology and its pursuits, is the move to broaden the
Note that this idea of a deeper meaning goes far beyond the question of pro- canon of musical works to include popular music traditions. Vernacular music
gram versus absolute music that so occupied nineteenth-century writers. In traditions are of course worthy of study in themselves and as the spontaneous
the present view, all music has a deeper meaning that a thoughtful scholar can artistic expressions of changing cultures. Another motivation for studying
read, using methodologies borrowed from literary criticism. The idea of read- popular music is the notion that the European art music tradition (and research
ing the deeper meaning of a musical work can take several different forms; tw~ that confines itself to that tradition) is elitist, sexist, exclusive, and strongly
of the most important ways of reading musical texts are semiology-the SCI- (if unconsciously) political. As examples of studies of politics and music, let me
ence of signs and signification-and narratology-the science of reading the cite Pamela Potter's prize-winning and chilling account of the way German
meaning of the "argument" or progression of ideas in ~ artistic work. The~e musicologists cooperated with the political aims of the Third Reich and a col-
schools of thought deal with complex ideas, and the baSIC books that explam lection of essays on issues of politics and reception.
these concepts are not easy reading. In the following list, the work by Jean
Jacques Nattiez is one of the fundamental texts on semiology; the book by Potter, Pamela M. Most German of the Arts: Musicology and Society from the
Lawrence Kramer, despite its title, is a study of musical hermeneutics, nar- Weimar Republic to the end ofHitler's Reich. New Haven, CT: Yale Uni-
ratology, and deconstruction as applied to music; finally, the book by Leo versity Press, 1998.
Trietler is a collection of essays in which he applies newer critical theories to Leppert, Richard and Susan McClary. Music and Society: The Politics ofCom--
musical works. position, Performance, and Reception. Cambridge, Mkeambridge Uni-
versity Press, 1987.
Nattiez, Jean Jacques. Music and Discourse: Toward a Semiology ofMusic. Trans.
Carolyn Abbate. Princeton, NJ: Princeton University Press, 1990.. The final new direction on our list is research based on concepts of gen-
Kramer, Lawrence. Music as Cultural Practice, 1800-1900. Berkeley: Umver- der and sexuality. The principle of this approach is not just to focus on women
sity of California Press, 1990. composers and performers and the long-overdue revision of music history to
Treitler, Leo. Music and the Historical Imagination. Berkeley: University of Cal- include the contributions of women. Gender studies go much further, read-
ifornia Press, 1989. ing musical texts for what they have to say about issues of gender and sexu-
ality. There have been attempts to identify a woman's voice in musical
Another approach to searching for the deeper meanings of music composition and to interpret what canonical works have to say about rela-
approaches music from the point of view of its political meaning-that is, ~e tions between men and women and between women and the society they live
statement music makes about societies or groups in power and the ways m in. Gender issues include, but go far beyond, questions like the way women
which a musical work furthers the aims of a particular culture or ruling class. are presented in opera and song literature; some interpreters find strong state-
This kind of research starts with the principle that all works of art support ments on gender issues in "absolute" music as well.
someone's social or political program, and any work of art can be read as a Related to gender issues are issues of sexuality; gay studies focus on the
political statement. One important issue included in thi~ approa~ is the qu~s­ sexual orientation of composers and the way gay issues can be read in the
tion of reception history-what Germans call RezeptlOnsgeschlchte-which music they produced. Examples include studies of Benjamin Britten's operas,
means the history of the way a society or culture views music, which changes to see how conflicts about the composer's sexuality and pacifism in the con-
over time and may have little to do with what the music meant when it was text of wartime Britain can be read in operas like "Peter Grimes," "Billy Budd,"
first produced and performed. Composers like Bach, Handel, and Beethoven, or "Death in Venice." As examples of musicological research from the per-
for example, have meant different things to late~ ages of Germ~ culture ~an spective of gender, we cite two collections of essays that together present a
they did in their own time; the orchestral mUSIC from Wagner s op~ras, m.a broad perspective of the variety of work that falls under the rubric of gender
famous example of changing cultural significance, became the favonte mUSIC studies in musicology.
for Nazi rallies, still associated in the minds of some with the political and
social aims of the Third Reich. There is also the complex question of the rela- Solie, Ruth A. Musicology and Difference. Berkeley: University of California
tionships between composers like Richard Strauss, Prokofiev, m:d Shostakovich Press, 1970.
.and the repressive regimes in which they lived and worked. Fmally, there are McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minneapolis:
also scholars who study the history of music from a Marxist perspective. University of Minnesota Press, 1991.
22 Chapter 1

2
This brief list does not, of course, exhaust all the kinds of musicological
research going on today. It is also possible to study music from the ethnolog-
ical or psychological point of view, and still more approaches to research will
no doubt surface in the next few years. Again I must emphasize that the
approaches listed and the works cited are only samples of different kinds of
research; each kind of musicological research demands its own preparatory
work, command of its own methodology, and knowledge of its own basic bib-
liography-the list of works one should read before one is qualified to take
part in these kinds of research. As we mentioned in the Preface, a book of this
Print Resources
size and intended audience cannot list the complete bibliographies appropri-
ate for all kinds of research; we will confine ourselves to general, mainstream
works. Interested students can easily find the basic works by reading through
for Research in Music
the listed works and paying close attention to bibliographic references.
The rest of Part I lists and discusses various types of resources available
for musicological research, both print resources and electronic or on-line
resources. Each of the resources listed has its own special coverage, advan-
tages, and limits; as we begin to survey this information, keep in mind that
the task of the beginning researcher is not only to amass information about
resources, but also to develop the skills and creativity necessary to choose
resources appropriate to the research task at hand and to learn to use those
resources efficiently and wisely.

This chapter consists of lists of the basic types of print resources for research
into music: the catalogues of libraries and archives, bibliographies of books
about music, music dictionaries and encyclopedias, histories, periodicals, col-
lections of essays, and dissertations. Each of these categories will be discussed
in a separate section; each section will include a brief introduction explain-
ing the coverage and usefulness of that typ,e of resource, followed by an anno-
tated bibliography of some of the most important resources. Please note that
these selected bibliographies are deliberately brief; more complete biblio-
graphical listings can be found within some of the following resources.

LIBRARIES AND ARCHIVES

The first section of our list of print resources concentrates on outstanding

music libraries in the United States and abroad, and on the publish,ed cata-
logues that researchers use to study their holdings. In Chapter 1 we explained
that research often moves in concentric circles, rather than in a straight line; a
researcher often finds that his or her home library does not contain the spe-
cialized resources needed for a particular project. At that point, one needs to
move outwards to larger libraries with richer holdings. You may find printed

23
 Print Resources for Research In Music 25
24 Chapter 2

BERKELEY (CA)
catalogues of other libraries in the reference room of your home library, so University of California, Berkeley. The largest music research library in the
that you can conduct a worldwide search from your own town. Many of these western United States.
libraries now also have Web sites, many with searchable on-line catalogues; it Catalogues: Library. University of California, Berkeley. Author-Title Catalogue.
is now possible to conduct a worldwide search for materials from your own 115 vols. Boston: Hall, 1963. Updated (with coverage expanded to all
computer. Consult Chapter 4 for further details about using the .Internet for UC libraries) in University of California. Union Catalogue ofMonographs
musicological research. This section begins with several general gwdes that are Catalogued by the Nine Campuses from 1963 through 1967.... Authors and
basic tools of research. Titles. 47 vols. Berkeley: University of California, 1972. There is also an
on-line catalogue of the holdings of the Berkeley Music Library; see
General Chapter 4 for more details.

Benton, Rita, et ai., compo Directory ofMusic Research Libraries,S vols. Kassel: CAMBRIDGE (MA)
Barenreiter, 1970-85, RISM Series C. This guide was first published as a Harvard University, Loeb Music Library. Harvard has the largest library sys-
separate work; now it is part of the RISM series (see following). Vol- tem of any university in the United States. Besides a fine music library,
ume 1 covers libraries in the United States and Canada; Vol. 2, Western there are special collections-the Isham Memorial Library, a microfilm
Europe; Vol. 3, Spain, France, Italy, Portugal; Vol. 4, Australia, Israel, archive of manuscripts and prints of early music, and the Hought9n
Japan, New Zealand; Vol. 5, Czechoslovakia, Hungary, P~land, Library of rare materials. U H . . u_U
•.

Yugoslavia. The listing for each library includes the names of hbrary Catalogues: Wood, David A. Music in Harvard Libraries: A Catalogue of Early
staff members, addresses and phone numbers, hours, and whether or not Printed Music and Books on Music. in the Houghton Library and . .. Music
the library has photocopying or microfilm service. . Library. Cambridge, MA: Harvard University, 1980.
Duckles, Vincent H., and Ida Reed. Music Reference and Research Materzals: An
Annotated Bibliography, 5th ed. New York: Schirmer Books, 1997. This CHICAGO (IL)
indispensable resource is the most complete published ~ibliographyof The Newberry Library. A private library with an outstanding music collection.
materials for musicological research, usually shelved m the reference Catalogue: Krummel, Donald, ed. Bibliographic Inventory to the Early Music in
section of your music library. We will refer to this resource frequently in the Newberry Library. Boston: Hall, 1977. Lists printed and manuscript
the course of this guide. works originating before about 1860.
Krummel, D. W., Jean Geil, Doris J. Dyen, and Deane 1. Root. Resources of
American Music History: A Directory ofSource Materials from Colonial Times
LONDON
to World War II. Urbana: University of Illinois Press, 1981. A Bicentennial
project, this work is a geographically organized list of source materials The British Library (formerly a division of the British Museum). The music col-
for the study of American music, including public and private collec- lection here is one of the world's greatest.
tions with detailed indexes by name, title, and subject. Catalogues: The British Library General Catalogue of Printed Books . .. to 1975.
Library ofCongress Subject Headings. 12th ed., 3 vols. Washington, DC: Library London: Clive Bingley, 1979- . Contains only books (no scores, record-
of Congress, 1986. See Chapter 1 of this guide; this publication lists the ings, or manuscripts), listed by author. Supplemented by a 50-volume
standard categories used in library catalogues, both card catalogues update for the period 1976-82.
and on-line catalogues. The Catalogue ofPrinted Music in the British Library to 1980. Munich, London:
Saur/Clive Bingley, 1980-.62 vols. Updated in the British Catalogue of
Music (London: British Library, 1957- ). The latter is a yearly list of musi-
Major Libraries in the United States and Abroad cal scores newly published that year in Great Britain or acquired by the
British Library. Searchable by musical medium. /,.
See Duckles and Reed, Chapter 7, pages 391-496, for a more complete list;
here we have picked out a few outstanding libraries and listed pr~ted cata-
LOS ANGELES
logues of their holdings. Most of ~hese institutio~als~ h~ve Web ~ltes where
. one can search their library holdmgs. The followmg list IS organIZed alpha- Benry E. Huntington Library. 1151 Oxford Road, San Marino. A small but
betically by the cities in which the libraries are located. outstanding collection of music items, especially seventeenth- and eight-
.,26 Chapter 2 Print Resources for Research in Music 27

eenth-century English books, opera scores and libretti, and a few man- Union Catalogues of Holdings
uscripts. Strict application standards for admission to collection. of Major North American Libraries
Catalogues: Backus, E. N., compo Catalogue ofMusic in the Huntington Library
Printed before 1801. San Marino: Huntington Library, 1949. Union catalogues are compilations of the holdings of all important libraries
within a single country or region. The British Union Catalogue is a catalogue
NEW YORK of the holdings of libraries in the British Isles; other countries also publish
New York Public Library: Music Division (located at Lincoln Center). The union catalogues. Here we list three union catalogues of library holdings in
research library (non-circulating) is one of the world's largest. the United States; like the catalogues of major libraries, union catalogues are
Catalogues: Dictionary Catalogue ofthe Music Collection, New York Public Library. usually located in the reference room of university libraries. Following the
33 vols. Boston: Hall, 1965. Updated by supplement showing items cat- union catalogues are two on-line databases that also function as union
alogued from 1964 to 1971. After 1975 updated by the Bibliographic Guide catalogues.
to Music, which is a yearly listing of publications catalogued at the New
York Public Library and the Library of Congress for that year. The National Union Catalogue: Pre-1956 Imprints. 754 vols., including supple-
ment. Chicago: Mansell, 1968-81. A comprehensive author list of books,
PARIS scores, and periodicals published prior to 1956 as reported by major
Bibliotheque Nationale, Music Division. The music library has its own build- North American libraries. There are no listings for manuscripts or sound
ing adjacent to the main library; the music library of the old Conserva- recordings. The supplement lists additional locatJons oHtemscin the
tory is also housed here. main catalogue.
Catalogues: Catalogue generaIe des livres imprimes. Auteurs. 231 vols. Paris, The National Union Catalogue (title varies; before 1973, Library ofCongress Cat-
1867-1981. An author list only of books in the main library of the Bib- alogues, The National Union Catalogue, etc.) Published nine times yearly,
liotheque Nationale in Paris. No items from the music division included. with quarterly, yearly, and five-year cumulations. Updates the Mansell
Nothing with imprint after 1959. Supplemented for 1960-69 by Cata- catalogue. Author list of books and periodicals catalogued by all major
logue generale des livres imprimes. Auteurs, collectivites-auteurs, anonymes, North American libraries during the period of the cumulation, exclud-
series 1. 23 vols. Paris, 1972-76. This catalogue includes works with ing those titles already cited in the Mansell catalogue. Musical scores,
multiple authors and anonymous works. recordings, and manuscripts are not listed, but scores and recordings
Ecorcheville, J., compo Catalogue du fonds de musique ancienne de la Bibliotheque are to be found in the catalogue described next. Sample locations
Nationale. 8 vols. Paris, 1910-14; reprint New York: Da Capo, 1972. provided.
Includes musical items (printed music, manuscripts, treatises, literary National Union Catalogue: Music, Books on Music, and Sound Recordings (title
works on music) from before C. 1750. varies). Published semiannually, with yearly and five-year cumulations.
Yearly cumulations since 1989 available only on microfiche. Companion
STANFORD (CA) volumes to the foregoing National Union Catalogue. Consists of an author
In addition to an excellent general collection on music, Stanford houses the list and a separate subject list of musical scores, phonorecords, and (after
George Keating collection of rare musical scores, manuscripts, and corre- 1973) books on music that were catalogued by major North American
spondence. It is catalogued in the volume below. libraries during the period of the cumulation, with the exception of
titles already cited in the Mansell catalogue. Sample locations given if not
Catalogues: Nathan Van Patten, compo Catalogue of the Memorial Library of found in the Library of Congress. The CD-ROM entitled "MUSE" cov-
Music, Stanford University. Stanford, CA: Stanford University Press, 1950. ers publications since 1960; see Chapter 4 for more details.
OCLC. A bibliographic database connecting. over 3,000 libraries in North
WASHINGTON, DC America and in Europe. Contains mainly items catalogued after 1971,
Library of Congress, Music Division. The largest music library in the United with selective retrospective entries. Includes books, scores, recordings.
States, located in the new James Madison Building. There is no com- Subject control to the entire data base is planned; See Chapter 4.
prehensive catalogue of its holdings, but many partial listings, includ- RUN (Research Libraries Information Network). A database reflecting the
ing a catalogue on a CD-ROM entitled "MUSE"; see the National Union o~1ine catalogues of over 40 major libraries. Similar to OCLC, although
Catalogues (following) and Chapter 4 for more details. differently organized.
28 Chapter2 Print Resources for Research in Music 29

BIBLIOGRAPHIES OF BOOKS Genres of Music

ABOUT MUSIC
Bibliographies devoted to specific musical genres can be found in several
For general bibliographies of music literature, see Duckles and Reed, Chapter places in the music library, such as in studies devoted to a discussion of spe-
4, pp. 163-72. Since the researcher beginning investigation of a particular topic cific genres or in articles on those genres in dictionaries and encyclopedias.
is more likely to start with published bibliographies organized by composer, There are published bibliographies devoted to individual genres; they are
genre, or style, rather than the large, more general lists, we will proceed directly generally catalogued under the number ML 128. Following are three exam-
to bibliographies on specific musical subjects. ples of bibliographies devoted to genres.

Baron, John H. Chamber Music: A Research and Information Guide. New York,
Individual Composers London: Garland, 1987.
Chaffey von Ende, Richard. Church Music: An International Bibliography.
Bibliographies of works on individual composers can be found in many Metuchen, NJ and London: Scarecrow Press, 1980.
places-in the catalogue of a good music library, if one searches under the Marco, Guy A. Opera: A Research and Information Guide. New York, London:
composer's name as a subject or keyword, for instance, as well as in diction- Garland, 1984.
aries and encyclopedias, biographies, and histories. Here our interest is in
bibliographies and research guides organized by individual composers. Many Styles of Music
such works have been published in recent years; see Duck1es and Reed, Chap-
ter 6, pp. 337-89, for a long list of such works. Here we list two recent series that In general, it is rare to find published bibliographies of individual styles such
represent a new kind of resource-the bio-bibliography. These works are as impressionism or expressionism; occasionally, specialized styles like jazz
intended as guides to research and usually include a biography, work list, (see following) are the subject of bibliographies. Beyond those examples, the
and perhaps a thematic catalogue, in addition to an extensive annotated bib- best place to find bibliographies under these terms is in dictionaries and
liography. Because of the different kinds of information they include, these encyclopedias.
works may be catalogued under the designation ML 134, the Library of Con-
gress classification for thematic catalogues, or under ML 410, the number for Jazz
biographies. Browse both sections in your library-both in the reference sec-
tion and in the stacks-to see the large number and sometimes surprising For bibliographies of jazz and popular music, see Duckles and Reed, pp.
coverage of these important works. 206-11, which includes bibliographies on jazz and a variety of popular music
styles. Following are listed a few important bibliographies of jazz.
Bio-Bibliographies in Music. Westport, CT, and London: Greenwood Press,
1984-. Each volume of this extensive series provides an exhaustive bib- Gray, John. Fire Music: A Bibliography of the New Jazz, 1959-1990. Westport,
liography of writings on a single composer. These are only a few of the CT and London: Greenwood Press, 1991.
figures addressed: Bridge, Busoni, Barber, Ballou, Bliss, Copland, Krenek, Hefele, Bernhard. Jazz Bibliography. Munich: K. G. Saur, 1981. English and
Luening, Foss, Poulenc, Ives, Virgil Thomson, Schuller, Reger, and German.
Tippett. Kennington, Donald, and Danny L. Read. The Literature ofJazz: A Critical
Garland Composer Resource Manuals. General editor, Guy A. Marco. New Guide. 2nd ed. Chicago: American Library Association, 1980.
York, London: Garland, 1981-. Very similar to the Greenwood Press Meadows, Eddie S. Jazz Reference and Performance Materials: A Select Anno~
series cited. This series also covers a wide variety of composers; exam- tated Bibliography. Garland Library of Music Ethnology, 4. New York:
ples include Schutz, Des Prez, Rachmaninoff, Falla, Adam, Delibes, Garland Publishing, 1995.
Nielsen, Byrd, Gluck, Frescobaldi, Foster, Bart6k, Vivaldi, Ockeghem,
Obrecht, Bloch, Wolf, Mozart, Rimsky-Korsakov, Purcell, Handel, National Styles of Music and Ethnomusicology
Rameau, Vaughan Williams, Berlioz, Monteverdi, Weber, Lasso, Per-
golesi, and Debussy. Each volume includes a work list, discography, Listed below are a few published bibliographies dealing with the discipline of
and detailed bibliography. ethnomusicology in general. In addition, many bibliographies surveying the
 Print Resources for Research in Music 31
30 Chapter2

- - - . Performance Practice: Music after 1600. New York: Norton, 1990.

literature about the music of a particular nation or continent have been pub- Vinquist, Mary and Neal Zaslaw. Performance Practice: A Bibliography. New
lished recently by Greenwood Press and Garland Publishing. York: W. W. Norton, 1971.
Nettl, Bruno. Reference Materials in Ethnomusicology. 2nd ed. Detroit, MI: Infor-
mation Coordinators, 1967. Early Writings on Music
Schuursma, Ann Briegleb. Ethnomusicology Research: A Select Annotated Bibli-
ography. New York: Garland Publishing, 1992. . The best bibliographic guides to early writings on music can be found in the
Gillis, Frank and Alan P. Merriam. Ethnomusicology and Folk MUSIC: An Inter- International Inventory of Music Sources, known by the initials of the French
national Bibliography of Dissertations and Theses. Middletown, CT: Wes- title as RISM (Munich, Duisburg: Henle, 1960-). This is a multivolume bibli-
leyan University Press, 1966. ography still in progress, intending eventually to cite all music and writings
on music (published or manuscript) before about 1800. It is shelved in the ref-
Periods of Music History erence section of music libraries, under the number ML 113. The following
volumes concern writings about music; the remaining sections will be dis-
There are few published bibliographies that deal with an entire period of cussed under Bibliographies on Music, following.
music history-the Renaissance, for example-since periods are generally too
broad to be encompassed in a single bibliographi~al g~i~e. ~e b~st place.to Series B, part 3. The Theory of Music from the Carolingian Era up to 1400. Ed.
find selected bibliographies that cover whole penods 1S m his~oncal studies Joseph Smits van Waesberghe, et al. 3 vols. 1961-86:~Airanged accord-
devoted to a single area (see Histories, following). Two exceptions are noted ing to location: Vol. 2 deals with Italian sources, Vol. 3 with Germany
here. BRD; includes sources as late as 'the sixteenth century.
Series B, part 6. Ecrits imprimes concernant la musique (Printed Writings about
Austin' William W. Music in the Twentieth Century. New York: Norton, 1966. Music). Compo Fran<.;ois Lesure. 1971. 3 vols.
Since this book covers mostly music until about 1950, it contains an Series B, part 9. Adler, Israel. Hebrew Writings Concerning Music in Manuscripts
excellent bibliography that covers music from 1900-1950, found on pp. and Printed Books from Geonic Times up to 1800. 2 vols. to date.
552-662. . Series B, part 10. Shiloah, Amnon. The Theory of Music in Arabic Writings (c.
Hughes Andrew. Medieval Music: The Sixth Liberal Art, 2nd ed. Toronto Medi-
900-1900). An inventory of manuscripts in libraries in the United States
ae~al Bibliographies, no. 4. Toronto: University of Toro~to Pres~, 1980. and Europe. 1979. Also in this part is Thomas Mathiesen, Ancient Greek
This book is an annotated bibliography of medieval mUS1C, orgaruzed by
Music Theory: A Catalogue Raisonne of Manuscripts. 1988. Organized by
topics (chant, theory, secular song, etc.) and equipped with several help- location of manuscript repository.
ful indexes.

Performance Practice Women in Music

Duckles and Reed has a section at the end of Chapter 3, pp. 156-62, on guides Scattered throughout the Duckles and Reed bibliography are various kinds
to performance practice, which includes a wide variety of works: reference of resources dealing with research into the subject of women composers and
books, practical guides for performers, and speculative st~d~es of co,ncepts performers and their place in history. Following are two important bibli-
like authenticity and historically informed performance. B1bhographies can ographies on this subject.
be found in these books, especially in the books intended for r.eferen,ce; fol-
lowing we have listed two studies in Norton's New Grove reprmt sene~ that
Block, Adrienne and Carol Neul-Bates. Women in American Music: A Bibliog-
contain extensive bibliographies on the subject and one of the few published
raphy of Music and Literature. Westport, CT and London: Greenwood
bibliographies on this topic. Press, 1979.
Hixon, Donald 1. and Don A. Hennessee. Women in Music: An Encyclopedic
Brown, Howard Mayer and Stanley Sadie, eds. Performance Practice: Music
Bibliography. 2nd ed., 2 vols. Metuchen, NJ: Scarecrow Press, 1994.
before 1600. New Grove Handbooks in Music. New York: Norton, 1990.
 rI
32 Chapter2 Print Resources for Research In Music 33

Computers and Music coverage is more thorough than that of a work labeled a "dictionary," but that
is not always the case; there are one-volume works called encyclopedias and
Obviously, the subject of computers and music is another very large area; multivolume works, like the New Grove Dictionary ofMusic and Musicians (see
computers have been used as tools for composition, instruments for perform- following), labeled dictionaries. The term "lexicon" applies to both kinds of ref-
ance, and, of course, research tools. Chapter 4 will deal with electronic resources erence works. Music dictionaries and encyclopedias are usually found in the
for musicological research; here we list a few published bibliographies on this reference section of the music library and are catalogued under the Library
topic-print resources about computers and music. of Congress classification ML 100-109.

Davis, Deta S. Computer Applications in Music: A Bibliography. Madison, WI: General Studies and Lists
A-R Editions, 1988.
Lister, Craig. The Musical Microcomputer: A Resource Guide. New York, Lon- A huge number of dictionaries and encyclopedias dealing with musical sub-
don: Garland, 1988. jects have been published. More than 600 such works are listed in Duckles
Waters, William J. Music and the Personal Computer: An Annotated Bibliogra- and Reed, Chapter 1, pp. 1-114. Two other published sources provide useful
phy. Music Reference Collection, 22. New York: Greenwood Press, 1989. lists of these works.

Theory and Analysis Coover, James. Music Lexicography. 3rd ed., revised. Carlisle, PA: Carlisle
Books, 1971. This bibliography lists 1,801 works, arranged alphabeti-
Under "Early Writings on Music," we already listed RISM, Series B, parts 3, 6, cally by author, editor, or title.
and 10, which are bibliographies of early writings on music theory. In Duck- - - - . "Dictionaries and Encyclopedias of Music," in New Grove Dictionary
les and Reed, bibliographies on music theory are included in the general sec- ofMusic and Musicians, Vol. 1, p. 48. This article is an essay on the history
tion, "Bibliographies of Music Literature," in Chapter 4, pp. 163-233. The of music lexicons, with a bibliography divided into several different
following are a few of the printed bibliographies on these subjects. types of reference works.

Coover, James. "Music Theory in Translation: A Bibliography." Journal of Our list of lexicons is grouped into important historical examples, fol-
Music Theory 3 (1959), 70-95; updated in the same journal, 13(1969): lowed by the main modern works; in each category, note that there are sepa-
230-49. A very thorough and useful survey of English translations of rate sections for dictionaries of terms, biographical dictionaries, and works
theory treatises. . that contain both kinds of listings. In order to use these reference works effi-
Damschroder, David and David Russell Williams. Music Theory from Zarlmo ciently, it is important to know how the various resources are organized and
to Schenker: A Bibliography and Guide. Stuyvesant, NY: Pendragon, 1990. exactly what they cover.
Organized alphabetically by theorists' names, including works by and
about each figure. Important Early Lexicons
Diamond, Harold J. Music Analyses: An Annotated Guide to the Literature. New
York: Schirmer Books, 1991. Listings are organized by composer. Note that most of these historical lexicons, with the exception of the fifteenth-
Kramer, Johathan D. "Studies in Time and Music: A Bibliography." Music century dictionary of terms by Tinctoris, date from the eighteenth century;
Theory Spectrum 7(1985): 72-106. A list of articles published after 1900, one characteristic of the Enlightenment was the desire to gather human knowl-
mostly in English, on time and music. edge systematically within lexicons of all types.
Wenk, Arthur. Analyses ofNineteenth- and Twentieth-Century Music, 1940-1985.
MLA Index and Bibliography Series. Music Library Association, 1987. TERMS AND NAMES
Walther, Johann. Musikalisches Lexicon. 1732; reprint Kassel: Barenr~iter, 1953.

MUSIC DICTIONARIES AND ENCYCLOPEDIAS TERMS ONLY

Tinctoris, Johannes. Dictionary of Musical Terms: An English Translation . ..
Dictionaries and encyclopedias are reference works in which the topics covered together with the Latin Text. Translated and annotated by Carl Parrish.
are listed alphabetically. The term "encyclopedia" generally implies that its New York: Free Press, 1963. Reprint, New York: Da Capo, 1978. A fac-
 r
r
34 Chapter 2

simile edition of the Tinctoris dictionary was published in 1983 by Baren-

I Print Resources for Research in Music 35

also that this same company also publishes useful dictionaries on spe-
reiter. This was one of the first books on music to be printed, and the cial topics; see below.
first music dictionary/published in 1495.
Brossard, Sebastian de. Dictionnaire de musique. 1703; reprint of second edi- NAMES ONLY
tion (1705) Hilversum: Knuf, 1965. (Also in English.) Baker's Biographical Dictionary of Musicians. Ed. Nicolas Slonimsky. 8th ed.
Grassineau, James. A Musieal Dictionary. 1740; reprint New York: Broude, New York: Schirmer Books, 1992. Especially useful for its short biogra-
1967. phies, sometimes abbreviated work lists, and selected bibliographies.
Koch, Heinrich, C. Musikalisches Lexikon. 2 vols., 1802; reprint Hildesheim: Baker's Biographical Dictionary of20th Century Music. Eds. Nicolas Slonimsky,
Olms,1964. Laura Kuhn, Diane Kuhn, and Dennis McIntire. New York: Schirmer
Books, 1997. Based on material from the eighth edition of Baker's, as
NAMES ONLY well as additional current material.
Gerber, Ernst 1. Historisch-biographisches Lexicon der Tonkiinstler. 2 vols., 1790-92; Harvard Biographical Dictionary of Music. Ed. Don Randel. Cambridge, MA:
reprint Graz: Akademische Druck- und Verlagsanstalt, 1966-69. Harvard University Press, 1996. Similar to the shorter edition of Baker's,
- - - . Neues historische-biographisches Lexicon der Tonkilnstler. 4 vols., 1812-13; making it a potential addition to a student's library, as a companion
reprint Graz: Akademische Druck- und Verlagsanstalt, 1966-69. volume to the New Harvard Dictionary ofMusic, which deals with terms.
Fetis, Fran.;ois-Joseph. Biographie universelle des musiciens. 1835-40; 2nd ed., Morton, Brian and Pamela Collins, eds. Contemporary Composers. Chicago: St.
8 vols., 1877-78, with two-vol. supplement (1880). Reprint Brussels: James Press, 1992.
Editions culture et civilization, 1972. Webster's Biographical Dictionary. Springfield, MA: Merriam, 1974. A handy
one-volume work, including many musicians and giving pronuncia-
Modern Dictionaries of Music tions of names.

TERMS AND NAMES TERMS ONLY

Dictionnaire de la musique. Ed. Marc Honegger. 4 vols. Bordas, 1970-76. Also Handworterbuch der musikalischen Terminologie. Ed. H. H. Eggebrecht. Wies-
a German version, Der grosse Lexikon der Musik. The most important baden: F. Steiner, 1972-. Published in fascicles and placed in ring binders.
general music dictionary in French. Randel, Don Michael. The New Harvard Dictionary ofMusic. Cambridge, MA:
The Garland Encyclopedia of World Music: Africa (Vol. 1), Ed. Bruno Nettl, Ruth Belknap Press of Harvard University Press, 1986. This work is a com-
M. Stone, andJames Porter. New York: Garland Publishing, 1997. The pletely revised edition of the Harvard Dictionary ofMusic by Willi Apel,
first volume of an ongoing series intended to present the first major 2nd ed. (Cambridge, MA: Belknap Press, 1969). This is the standard ref-
encyclopedia of world music. Each volume contains a compact disc of erence work in English for nonbiographical musical information. Good
musical examples. basic bibliographies are provided at the end of brief historical articles.
Die Musik in Geschichte und Gegenwart (MGG). Ed. Friedrich Blume. 16 vols. Sixty contributors were involved in the production of this basic reference
Kassel: Barenreiter, 1949-79 (including supplement). The most important guide.
general German lexicon on music. A second edition began to appear in Terminorum musicae index septem Unguis redactus. Kassel: Barenreiter, 1978. A
1994 and is organized into nine volumes of subject entries, followed by dictionary of musical terms that list equivalents in English, French, Ger-
twelve volumes of biographical entries. As of June, 2000, all nine volumes man, Italian, Spanish, Hungarian, and Russian.
of the subject encyclopedia, and volumes one and two of the biographical
encyclopedia, have appeared. Dictionaries Devoted to Special SUbjects
The New· Grove Dictionary of Music and Musicians, second edition. Ed. Stanley
Sadie and John Tyrell. 29 vols. London: Macmillan, 2000. The most There are many dictionaries devoted to subjects as diverse as popular music,
important lexicon on music in English. Since this second edition film music, country music, rock, rap, and New Age music; browse chapter 1,
appeared in November, 2000, this lexicon obviously has the most up- pp. 62-114, of Duckles and Reed to get a sense of the variety of available
to-date information, including bibliographies and worklists. This lexi- resources. We assume that scholars who work in specialized areas will quickly
con will also be available on line in a regularly updated version. Note learn what is available in those areas; here we list just a few lexicons of more
 r
r
[:
[~
Print Resources for Research In Music 37
36 Chapter2
! Printz, Wolfgang Caspar. Historische B~schreibung der edelen Sing- und Kling-
general interest. Note that several are published by the same group as the
New Grove Dictionary ofMusic and Musicians; the material in these additional .ku.nst: 1640; ~epr~t Graz: A!<aderrusche Druck- und Verlagsanstalt, 1964.
Martllli, GlOv~ BattIsta. Storza della musica. 3 vols., 1757-81; reprint Graz:
resources is usually more extensive than the material in the basic New Grove.
Akadenusche Druck- and Verlagsanstalt, 1967. Deals only with music of
ancient times.
AMERICAN MUSIC
Burney, Charles. A General History ofMusic. 4 vols., 1776-89; reprint in two
The New Grove Dictionary ofAmerican Music. Eds. Stanley Sadie and H. Wiley
volumes, New York: Dover, 1959.
Hitchcock. 4 vols. New York: Grove, 1986.
Hawkins, John.. A ~eneral History of the Science and Practice of Music. 5 vols.,
1776; reprmt m two volumes, New York: Dover, 1963.
INSTRUMENTS
Forkel, Johann J. All~emeine Geschichte der Musik. 2 vols., 1788-1801; reprint
The New Grove Dictionary of Musical Instruments. Ed. Stanley Sadie. 3 vols. Graz: Akadenusche Druck- und Verlagsanstalt, n.d.
London: Macmillan, 1984.
Histories of Music Based
JAZZ
on Primary Sources
The New Grove Dictionary ofJazz. Ed. Barry Kernfeld. 2 vols. New York: Grove,
1988.
The following works are not continuous historical narratives but collections of
readings s~lected from earlier writings on music, transl~t~ci."Jld_arrClI1ged in
OPERA
chronolOgIcal order. The advantage of primary sources, of course, is that the
Clement, Felix and Pierre Larousse. Dictionnaire des operas. 2 vols. 1905; reprint
reader gets not only the ideas, but als~ the wording and flavor of what writ-
New York: Da Capo, 1969.
Lowenberg, Alfred. Annals of Opera, 1597-1940. 3rd ed., 2 vols. Totowa, NJ:
0:
ers the various historical periods thought about music, musical ideas, and
mus~cal events. Of particular note is the excellent series of source readings
Rowan and Littlefield, 1978.
published by Norton; despite the title, this series is not a revision of the old
The New Grove Dictionary ofOpera. Ed. Stanley Sadie. 4 vols. New York: Grove
1992. '
Sourc~ Readings by Strunk, ~ut a completely new series of readings selected
by edItors who are experts m the various eras.

Dahlhaus, Carl and Ruth Katz. Contemplating Music: Source Readings in the
HISTORIES OF MUSIC Aesthetics ofMusic. Four volumes to date. New York: Pendragon Press
1986-94. '
General: Study of Music Histories
MacClintock, Carol, ed. Readingsin the History ofMusic in Performance. Bloom-
ington: Indiana University Press, 1979.
Allen, Warren. Philosophies ofMusic History. New York: American Book Com-
Treitler, Leo, general editor. Strunk's Source Readings in Music History. New
pany, 1939; reprint New York: Dover, 1962. This useful book discusses
York: Norton, 1998. A completely revised edition of Oliver Strunk's
the history and philosophy of music histories; it also includes a twenty-
Source Readings in Music History in seven volumes.
page bibliography of histories from 1600 to 1939, arranged chrono-
Vol. 1. Greek Views ofMusic, Thomas J. Mathiesen, editor.
logically. Vol. 2. The Early Christian Period and the Latin Middle Ages, James McKin-
non, editor.
Some Early Histories of Music
Vol. 3. The Renaissance, Gary Tomlinson, editor.
Vol. 4. The Baroque Era, Margaret Murata, editor.
Here we list just a few selected examples of early histories of music. Note that
Vol. 5. The Late Eighteenth Century, Wye Jamison Allenbrook, editor.
the concept of writing a history of music became popular in the eighteenth
Vol. 6. The Nineteenth Century, Ruth A. Solie, editor. /
century, at the same time as the compiling of lexicons. Of particular interest to
Vol. 7. The Twentieth Century, Robert P. Morgan, editor.
English-speaking scholars are the histories by Burney and Hawkins, both
Weiss, Piero and Richard Taruskin. Music in the Western World: A History in
available in Dover reprints; Burney's work is based on his travels on the con-
Documents. New York: Schirmer Books; London: Collier Macmillan
. tinent of Europe and contains his sometimes bemused observations about
1984. '
musical life and customs in the countries of Europe.
 r
!
38 Chapter2 Print Resources for Research in Music 39

Modern Multivolume Histories of Music volumes on folk music and non-Western music. Many of the volumes are
now in their third editions.
The Library of Congress classification for histories is ML 160; browse that sec- Yudkin, Jeremy. Music in Medieval Europe. 1989. Replaced Albert Seay, 'Music
tion, both in the reference section and in the stacks, to get a sense of the huge in the Medieval World, 1965; 2nd ed., 1975.
number of histories that have been published. Here we are chiefly interested Brown, Howard. Music in the Renaissance. 1976. 2nded., Howard Mayer
in multivolume series, many of which are intended as textbooks for upper- Brown and Louise K. Stein, 1999.
division or graduate music history courses; we will not list here the one- Palisca, Claude V. Baroque Music..3rd ed. 1991.
volume histories intended for undergraduate survey courses. Pauly, Reinhard G. Music in the Classic Period. 3rd ed. 1988.
Longyear,ReyM. Nineteenth-Century Romanticism in Music. 3rd ed. 1988.
Neues Handbuch der Musikwissenschaft. Ed. Carl Dahlhaus. 14 vols. Wiesbaden: Salzman, Eric. Twentieth-Century Music: An Introduction. 3rd ed. 1988.
Akademische Verlagsgesellschaft Athenaion; Laaber: Laaber-Verlag, Nettl, Bruno. Folk and Traditional Music of the Western Continents. 3rd ed.,
1980-92. Each volume deals with a specific historical period or realm revised and edited by Valerie Woodring Goertzen, 1990.
of musicology and consists of individual articles written by experts. MaIm, William P. Music Cultures of the Pacific, the Near East, and Asia. 2nd
The New Oxford History ofMusic. London, New York: Oxford, 1954-90. Each ed.,1997.
of ten volumes covers a different period and is a collection of essays by Hitchcock, H. Wiley. Music in the United States: A Historical Introduction.
different writers, rather than a continuous narrative. The first two vol- 3rd ed., 1988.
umes have been published in extensively revised second editions. Behague, Gerard. Music in Latin America: An Introduetion;-1979.
The Norton History of Music Series. New York: Norton, 1940-66. Extensive Wade, Bonnie C. Music in India: The Classical Traditions. 1979.
period histories, some of which are now somewhat out of date. Others, Music and Society Series. A series of ten books, edited by Stariley Sadie and
like Reese's Music in the Renaissance, still serve as basic reference works. published by Prentice Hall, deSigned to present music "in a broad con-
The series always lacked a classical volume; that lacuna can now be text of socio-political, economic, intellectual, and religious life." These
filled by the publication of the first of two planned volumes on the Clas- volumes deal with the social, political, and intellectual background of
sic period by Daniel Heartz. musical developments in the various historical eras. Each volume is a col-
Sachs, Curt. The Rise ofMusic in the Ancient World. 1940. lection of articles by various authors on a particular historical era. The
Reese, Gustave. Music in the Middle Ages. 1940. first two volumes published, the collections on the Renaissance and the
. I
Reese, Gustave. Music in the Renaissance. 1954; revised edition, 1959. Classical era, were published under the series title "Man and Music"; the
Bukofzer, Manfred. Music in the Baroque Era. 1947. other eight were all published as the "Music and Society" Series. Unfor-
Einstein, Alfred. Music in the Romantic Era. 1947. tunately, at present many of these useful volumes are out of print; they
Austin, William. Music in the 20th Century. 1966. still may be found in music libraries.
Norton Introduction to Music History Series. New York: Norton, 1978-. James McKinnon, ed. Antiquity and the Middle Ages: From Ancient Greece to
Intended to supplement the older History of Music Series. Each vol- the 15th Century. 1991.
ume has a companion anthology of scores. Fenlon, lain, ed. The Renaissance: From the 1470s to the End of the 16th Cen-
Hoppin, Richard. Medieval Music. 1978. tury.1989.
Atlas, Alan. Renaissance Music. 1998. Price, Curtis, ed. The Early Baroque Era: From the Late 16th Century to the
Downs, Philip G. Classical Music. 1992. 1660s. 1994.
Plantinga, Leon. Romantic Music. 1984. Buelow, George, ed. The Late Baroque Era: From the 1680s toJ740. 1994.
Morgan, Robert P. Twentieth-'-Century Music. 1990. Zaslaw, Neal, ed. The Classical Era: From the 1740s to the End of the 18th Cen-
The Pelican History of Music. Ed. Alec Robertson and Denis Stevens. Har- tury.1989.
mondsworth: Penguin Books, 1960-69. Three volumes, each a collec- Ringer, Alexander, ed. The Early Romantic Era: Between Revolutions, 1789
tion of essays by different writers. Covers antiquity through the romantic and 1848. 1991.
period. Samson, Jim, ed. The Late Romantic Era: From the Mid-19th Century to World
The Prentice Hall History of Music Series. Upper Saddle River, NJ: Prentice War 1. 1991.
Hall, 1965-. Widely used·textbooks focusing on different periods, plus Morgan, Robert, ed. Modern Times: From World War I to the Present. 1994.
.•..
J
40 Chapter2
l
, Print Resources for Research In Music 41

Studies of Individual Composers States alone. A complete alphabetical index of titles at the end of the
article directs the reader to the correct country for the entry on the peri-
The Library of Congress number for biographies of composers and musicians odical in question.
is ML 410; within that classification, books are listed alphabetically by sub- International Index to Music Periodicals (lIMP). This on-line index to periodical lit-
ject. Browse the ML 410 section in your music library to get a sense of the erature lists 379 periodicals in its current index; it lists 142 periodicals,
large number of biographical studies that have been published, as well as the about 100 of which do not appear in the current index, in its retrospec-
surprisingly extensive coverage of lesser-known composers, in addition to tive section. Browse the list to get a sense of the wide variety of periodi-
the more famous ones. Note also the bio-bibliographies mentioned earlier, cals published on musical topics. This important resource is listed in the
which are classified either under ML 410, with biographies, or under ML 134, section on indexes to periodical literature, as well as in Chapter 4,on elec-
with thematic catalogues. Also note the following series of lives and works tronic resources.
of individual composers.
Aids in Locating Periodicals
Composers of the Twentieth Century. Ed. Allen Forte. New Haven, CT: Yale
Once you know that a particular periodical exists, the next question to address
University Press. Books of detailed analyses of the works of major twen-
is where it may be found. The first place to look to see if a library contains a
tieth-century figures.
particular periodical is the catalogue of that library. As we have mentioned ear-
The Great Musicians series (1968-), and The Master Musicians series (1904-),
lier, many library catalogues can now be searched on tf:1~Jnte~net. !fyou are
various authors, editors, and publishers. The biographies in these series
visiting a specific library, you can usually find a printed list of the periodicals it
exhibit a wide range of quality and timeliness. Some of the titles found
contains in the catalogue area. There arE; also published union lists of periodicals;
in the Great Musicians series are reprints of titles from the Master Musi-
the most important are listed here. Like similar lists of general interest-that is,
cians series.
including all disciplines, rather than just music-these reference resources are
Oxford Studies of Composers, various authors and editors. London: Oxford usually found in the library's main reference room or reference center.
University Press, 1965-. Brief studies focusing on the music of major
composers. Oxford also publishes some biographies under its own series National Union Catalogue: Pre-1956 imprints. See "Libraries and Archives."
title, The Great Musicians. New Serial Titles: A Union List ofSerials Commencing Publication After December
31, 1949. Washington, DC: Library of Congress. Published monthly, with
various larger cumulations. Periodicals are listed alphabetically both
PERIODICALS, COLLECTIONS OF ESSAYS, INDEXES
by title and by subject, in separate volumes. The list by title also includes
library locations. This work updates the following resource, which cov-
General ers periodicals that began publication before 1950.
Union List of Serials in Libraries of the United States and Canada. 3rd ed. New
The best place to find the latest research on most musical topics is in the peri-
York: Wilson, 1965. 4 vols. The list is alphabetical by title, giving detailed
odicalliterature-journals of various sorts. In the world of scholarly pub-
locations and holdings for each title. Updated for periodicals beginning
lishing, just as in commercial publishing, journals and magazines serve almost publication in 1950 and thereafter by New Serial Titles.
any imaginable interest or specialty; whatever might happen in the world of
book publishing in the future, one suspects that periodicals will continue to Important Early Periodicals
cater to niche markets and special interests. In order to get a sense of the wide
variety of music periodicals, consult one of the following lists, or other lists FRANCE
catalogued in Duckles and Reed, Chapter 4, pp. 173-79. Le Revue musicale, 1827-35. Largely written by the musicologist F. J. Fetis, this
journal is an important record of musical culture in France in>the early
Fellinger, Imogen. "Periodicals." New Grove Dictionary ofMusic and Musicians. nineteenth century. Continued in 1835 by the Revue et gazette musicale.
This article contains a brief history of music periodicals and a compre- Revue et gazette musicale, 1835-1850. Issued by the music publisher Maurice
hensive list, organized by country of publication and date of origin. Schlesinger. Contributions by Berlioz, Liszt, Fetis, and other important
This is by far the most extensive list of music periodicals in print; musicians.
Fellinger lists almost 900 music periodicals originating in the United Le Menestrel, 1833-1940. Published by Heugel.
 Print Resources for Research in Music 43
42 Chapter2
FRANCE
GERMANY
Revue musicale, 1920-41; 1945-. Ten issues a year, plus special volumes devoted
Allgemeine musikalische Zeitungi 1798-1849. Published by Breitkopf und to individual composers.
Hartel. Revue de musicologie, 1922-39; 1945-. General musicology.
Neue Zeitschrift fUr Musik, 1834-. This journal, important in the nineteenth-
century controversy over the future direction of German music, was GERMANY
founded by Robert Schumann. It is still in existence and contains both
Ar~h~~ fUr Musik~is~enschaft, 1918-. General musicology.
musicological articles and discussion of current musical events.
Beltrage zu~ Muslkwlssenschaft, 1959-. Formerly published in East Germany,
focusmg on composers in Communist countries.
GREAT BRITAIN
Die Musikforschung, 1948-. General musicology.
Musical World, 1836-91. Published by Novello. Musica, 1932-. Current events.
UNITED STATES
ITALY
Dwight's Journal of Music, 1852-81. America's first important music journal,
founded by John Sullivan Dwight, a Boston music critic, who remained Nuova rivista musicale italiana, 1894-1932; 1936-44; 1947-. General musicology.
editor until 1881. This journal is a rich source of material on concert life
SWEDEN
and musical events in Eastern cities in the nineteenth century. The reprint
edition is equipped with a detailed index. Svensk tidskrift fOr musikforskning, 1919-. General musicology. -

SWITZERLAND
Current Scholarly Periodicals on Music Schweizerische Musikzeitung, 1961-. General musicology.
(Catalogued ML5 or ML1)
UNITED STATES
INTERNATIONAL 19th Century Music, 1977-. Articles generally focus on music of the nineteenth
Acta musicologica, 1931-. The journal of the International Musicological Soci- and early twentieth centuries.
ety; articles in different languages, especially English, German, French, Ars Lyrica: Journal of LYRICA Society forWord-Music Relations, 1981-.
and Italian. Current Musicology, 1965-.
Musica disciplina, 1946-. Yearbook published by the American Institute of Journal of the American Musicological Society, 1948-. This is the major American
Musicology. Mainly medieval and Renaissance studies. journal of musicology.
Jour~alof Musicology, 1982-. General musicology.
AUSTRIA Muslcal Q~a~terly, 1951-. General musicology; this journal was more impor-
Osterrreichische Musikzeitschrift, 1946-. tant m Its early years, during the editorship of Paul Henry Lang.

BELGIUM
Revue beIge de musicologie, 1946-. Periodicals Devoted to Special Subjects

GREAT BRITAIN AESTHETICS

Musical Times, 1844-. Published by Novello; this journal combines short musi- Journal ofAesthetics and Art Criticism, 1941-.
cological studies and reports on current musical events. International Review of the Aesthetics and Sociology ofMusic, 1970-.
Music and Letters, 1920-. General musicology.
Music Review, 1940-. Quarterly. General musicology, with emphasis on theory AMERICAN MUSIC
and analysis. American Music, 1983-.
. Proceedings of the Royal Musical Association. Now titled Journal of the Royal Sonneck Society Bulletin,1987-.
Musical Association, 1944-. General musicology.
44 Chapter2 Print Resources for Research In Music 45

CHORAL MUSIC INSTRUMENTS

American Choral Review, 1961-. American Organist, 1918-70.
Choral Journal, 1960-. Bass VVorld: The Journal of the International Society of Bassists, 1974-.
Brass Bulletin: International Magazine for Brass Players, 1971-.
CHURCH MUSIC The Clarinet, 1950-57; continued by VVoodwind VVorld, 1957-.
Journal ofChurch Music, 1959-. Classical Guitar, 1982-.
Kirchenmusikalisches Jahrbuch, 1930-35, 1936-38, 1950-. Clavier, 1962-.
Musik und Kirche, 1929-44, 1947-. The Diapason, 1936-.
The Double Reed, 1978-.
COMPUTERS AND MUSIC Flute Talk, 1981-.
Computer Music Journal, 1977-. Flutist Quarterly: The Official Magazine ofthe National Flute Association, 1984-.
Computers in Music Research, 1989-. Galpin Society Journal, 1946-.
Computing in Musicology, 1989-. The Horn Call: Journal of the International Horn Society, 1970-.
The Instrumentalist, 1946-.
EARLY MUSIC Journal of Band Research, 1964-.
Early Music, 1973-. Journal of the International Double Reed Society, 1973-.
Early Music America: The Magazine ofHistorical Performance, 1995-. Keyboard, 1939-42.
Journal of the Plainsong and Mediaeval Music Society, 1978-. Das Orchester, 1953-.
The Percussionist, 1963-.
ETHNOMUSICOLOGY Piano and Keyboard, 1993-.
Ethnomusicology, 1957-. The Piano Quarterly, 1958-92.
The Strad, 1890-.
GENERAL PERIODICALS WITH ARTICLES ON MUSIC i i VVoodwind VVorld, 1957-.
Critical Inquiry, 1974-.
Journal ofPopular Culture, 1967-. JAZZ
Renaissance Quarterly, 1948-. Annual Review ofJazz Studies, 1982-.
Speculum: A Journal ofMedieval Studies, 1926-. Crescendo and Jazz Music, 1962-.
Down Beat: Jazz, Blues, and Beyond, 1934-.
INDIVIDUAL COMPOSERS (usually catalogued under ML410) Jazz Educators Journal, 1980-.
Bach: Bach-Jahrbuch, 1904-; Bach, 1970-.
Beethoven: Beethoven-Jahrbuch, 1954-. MODERN MUSIC
Berg: International Alban Berg Society Newsletter, 1968-. Anbruch (originally Musikblatter des Anbruch), 1919-37.
Brahms: Brahms-Studien, 1974-. Modern Music, 1924-46. Journal of the League of Composers.
Bruckner: Chord and Discord, 1932-, irregular. Perspectives ofNew Music, 1962-.
Chopin: Chopin-Jahrbuch, 1956-, irregular; Annales Chopin, 1956-. Quaderni della Rassegna musicale, 1964-.
Handel: Handel-Jahrbuch, 1928-. Tempo: A Quarterly Review ofModern Music, 1939-.
Haydn: Haydn Yearbook, 1923-.
Mendelssohn: Mendelssohn-Studien, 1972-, irregular. MUSIC EDUCATION
Mozart: Mozart-Jahrbuch, 1923-. Bulletin of the Council for Research in Music Education, 1963-. ..
Schoenberg: Journal of the Arnold Schoenberg Institute, 1976-. College Music Symposium, 1961-. The journal of the College Music Society, an
R. Strauss: Richard-Strauss-Jahrbuch, 1954-, irregular; Richard Strauss Blatter, organization chiefly concerned with issues that affect higher educa-
1971-. tion-eurriculum issues, teaching strategies, etc. This journal also pub-
.Verdi: Bolletino dell' Istituto di Studi Verdiana, 1960-. lishes articles on musicological and theoretical issues.
VVagner: VVagner-Jahrbuch, 1906-. International Journal ofMusic Education, 1983-.
46 Chapter 2 Print Resources for Research in Music 47

Popular Music and Society, 1971-.

Journal of Research in Music Education, 1953-.
Music Educators Journal, 1934-. PSYCHOLOGY OF MUSIC
Philosophy ofMusic Education Review, 1993-. Music Perception, 1983-.
The Quarterly Journal ofMusic Teaching and Learning, 1991-. Psychology ofMusic, 1973-.
Psychomusicology, 1981-.
MUSIC L1BRARIANSHIP
Fontes artis musicae: Journal of the International Association of Music Libraries, WOMEN AND MUSIC
Archives and Documentation Centres, 1954-. Women and Music, 1997-.
Notes: Quarte:ly Journal of the Music Library Association, 19~4-42; 19.43-:-. Th~s
publication is of interest t.o scholars in gen~ral, not Just muslc.lib~an­
Indexes by Subject and Author of Periodicals
ans, since each issue consIsts mostly of reVIews of recent pubhcatlons
and Collections of Essays
about music.
Arts and Humanities Citation Index. Philadelphia: Institute for Scientific Infor-
MUSIC THEORY
mation, 1977-. This comprehensive index, which is published quarterly
In Theory Only, 1976-.
with yearly,cumulations, indexes periodicals and books in all of the
Indiana Theory Review, 1977-.
disciplines included in the arts and humanities. The.indexcovers more
Journal ofMusic Theory, 1957-.
than 1,150 of the world's leading arts and humanities journals in a broad
Music Theory Spectrum, 1979-.
range of disciplines and individually selected items from over 7,000 of
Music Analysis, 1982-.
the world's leading science and social sciences journals. Besides the
print version, this index is also available currently both in CD-ROM
MUSIC THERAPY
fonnat, which facilitates cumulative searching, and on the Internet, in the
Music Therapy Perspectives, 1982-.
OCLC First Search group of databases. See Chapter 4, on electronic
resources, for more details.
NEWSPAPERS .
Bibliographie des Musikschriftums. Leipzig, Frankfurt: Hofmeister, 1936-39;
The country's major newspapers are sometimes important s~urces ~f infor-
Mainz: Schott, 1950- (currently up to 1982). Published yearly. Compa-
mation on musical events, obituaries of musical figures, etc. MUSICal articles ~d
rable to RILM in its indexing of all types of literature on music.
items in these two newspapers are catalogued in IIJ\.1P, as well as in some pnnt
Guide to International Congress Reports in Musicology, 1900-1975. John Tyrrell
indexes.
and Rosemary Wise, comps. New York, London: Garland, 1979. Con-
gress reports are collections of papers read at scholarly meetings. Reports
The New York Times of congresses that took place after 1979 are indexed in RILM.
The Washington Post Index to Musical Festschriften and Similar Publications. Walter Gerboth, compo
New York: Norton, 1969. Festschriften appearing after 1969 are indexed
OPERA inRILM.
Cambridge Opera Journal, 1989-. International Index to Music Periodicals (IIMP). This on-line index, published by
Opera Journal, 1968-. . . Chadwyck-Healy and available as a subscription service, lists more
Opera News, 1936-. This journal is published by the Metropolitan Opera; It
than 375 music periodicals that are covered in its current listings, which
includes analytical and historical studies, as well as news of the opera
since 1996 include abstracts of all the articles listed. Unlike RILM, it
world.
covers only periodicals, not other kinds of music literature, but its cov-
Opera Quarterly, 1983-.
erage of periodicals is very broad, including publications that deal with
Opernwelt, 1960-.
popUlar music, the music business, etc. See Chapter 4, on electronic
resources, for more details.
POPULAR MUSIC
Billboard: The International Newsweekly ofMusic, Video and Home, 1963-. Music Index. Detroit: Information Service, 1949-; after 1986, Warren, MI: Har-
monie Park Press. Published monthly, with yearly cumulations. Music
Popular Music, 1984-.
• I

Print Resources for Research In Music 49

48 Chapter2

Comprehensive. Dissertat~on Index (CDI). Ann Arbor, MI: UniverSity Microfilms

Index covers 640 music periodicals but does not cover other types of
InternatIOnal. ~his set consis~s of the "Main Set" of 37 volumes (CDI
music literature. Like lIMP, it covers a broad range of music periodi-
1861-1972), WIth 417,000 dIssertations; the Ten-Year Cumulation
cals, including reviews of publications and performances. Besides the 1973-198~, 38 volumes, with 351,000 dissertations; and the Five-Year
print version, Music Index is currently available on line and in CD-ROM Cumula~lOn 1983-1987,22 volumes, 162,093 dissertations. Updating
format. See Chapter 4, on electronic resources, for more details. appea:s m the form o! annual five-volume supplements with all North
Repertoire International de Litterature Musicale (International Inventory ofMusic Am~ncan doctoral dIssertations accepted for degrees during the pre-
Literature). New York: International RILM Center, 1967-. This database ced~g year..This ~dex provides a useful way of searching the print
is commonly referred to as RILM Abstracts of Music Literature or RILM . ver~lOn of Dzssertatwn Abstracts International by subject.
and is sponsored by the International Musicological Society, Interna- Dzsser~atwn Abstrac.ts International (DAI). Ann Arbor, MI: University Micro-
tional Association of Music Libraries, and the International Council on films In~ernatio~al. Published monthly, listing recently completed doc-
Traditional Music. RILM documents the music scholarship of some sixty toral dI.ssertatlOns in all disciplines from all major universities
countries and is published quarterly. The fourth issue each year is the worldWIde. Divided ~y disciplin~; arts and humanities represented by
subject/author index for the previous three issues of that year; the index
sep~rate volumes .desI~ated ~enes A. Science and engineering are in
issues are consolidated into five-year cumulations. All scholarly works Senes B, and foreIgn dIssertatIons in all fields are in Series C which
are included (articles, books, bibliographies, catalogues, dissertations,
Festschriften, films and videos, iconographies, critical commentaries to
~a~ begun in 1976. Within Series A, listings are further dividedby dis-
CIpline. For each entry a detailed abstract is found. Most dissertations can
complete works, ethnographic recordings, conference proceedings, be ordere~ in xerographic form by calling 800-521~66(}O, ext.37Bl, or
reviews, etc.). Concert reviews, recording notes, pedagogical manuals, by contacting UMI at their Web si~e <www.umi.com>. DAI is indexed
etc. are included if they are of scholarly interest. Areas of coverage . by ~e CDI as well as by Dissertation Abstracts On Disc (below).
encompass historical musicology, ethnomusicology, instruments and Dzssertatwn A~stracts On Disc (DAD). Ann Arbor, MI: University Microfilms
voice, librarianship, performance practice and notation, theory and Int~rnatI~nai. ~e CD-ROM edition of the Dissertation Abstracts Inter-
analysis, pedagogy, liturgy, dance, criticism, music therapy, and inter- natt~nal, mcluding both dissertations and theses. See Chapter 4, on elec-
disciplinary studies on music and various other fields, including liter- tromc resources, for more details.
ature, dramatic arts, visual arts, acoustics, aesthetics, anthropology, Gribenski, Jean, compo French Language Dissertations in Music: An Annotated Bib-
sociology, linguistics and semiotics, mathematics, philosophy, physiol- liography. Hillsdale, NY: Pendragon, 1979. Since DDM and DAI did not
ogy, psychology, and physics. The number of records per volume has cover foreign dissertations until 1972 and 1976, respectively, this sur-
increased over the years from 2,532 records in Volume I (1967) to over vey of French dissertations is still useful.
17,000 records in Volume XXIX (1995). Currently RILM is available in
RILM. See the ~ entry, under "Periodicals, Collections of Essays, Indexes"
two formats other than the print version-in CD-ROM format, along for ~ descnption. RILM indexes dissertations and includes abstracts.
with the Library of Congress catalogue, on a CD entitled MUSE (for Schaal, .Richa~d, compo Verzeichnis deutschsprachiger musikwissenschaftlicher
"MUsic SEarch"), or on the Internet, in the OCLC First Search group of Dzsse~tatwne~, 1861-1960 (Catalogue of German-language Musicologi-
electronic databases. See Chapter 4, on electronic resources, for more ~al DIsserta~lOns, 1861-1960). Kassel: Barenreiter, 1963. Contains sub-
details. Ject/author mdex. Updated for period 1961-1970 and later in separate
issues of Die Musikforschung.
British dissertations are indexed in various issues of the Research Chronicle of
DISSERTATIONS the Royal Music Association.
Adkins, Cecil and Alis Dickinson, comps. Doctoral Dissertations in Musicol-
ogy (DDM). 7th North American ed., 2nd international ed. Philadelphia:
American Musicological Society, 1984. A worldwide listing of doctoral
dissertations, mostly Ph.D. dissertations in musicology, both complete
and in progress. Updated by pamphlets issued periodically by the Amer-
ican Musicological Society. Includes all major European dissertations
written since 1972.