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Musical History as Seen through Contemporary Eyes
"Musical History as Seen through Contemporary Eyes", edited by Benjamin Knysak and Zdravko Blažeković, is a Festschrift published in honor of the musicologist H. Robert Cohen. Born in Baltimore, educated in New York, and with a career spanning France, Canada, and the United States, Cohen is the founder of the Répertoire international de la presse musicale (RIPM), the international project focused on the historic musical press. With research interests spanning print culture, music iconography, Hector Berlioz, musical France, and Giuseppe Verdi, this volume presents a collection of essays written by many friends and collaborators exploring these themes and many others. "Musical History as Seen through Contemporary Eyes" is a tribute to Cohen's contributions to musicology, librarianship, and information science spanning more than fifty years.
Dickens, Journalism, Music
Explores the coverage of music in the journals edited by Dickens and how they reflect Dickens' own attitude to music and its social role.
Legitimacy of Unbelief
"Dutch journalist Piet Hein Hoebens (1948-1984) held a unique position in the controversies between proponents and skeptics of parapsychology and related fields. While he described himself as a card-carrying skeptic with strong 'ecumenical' leanings, even many of his nominal opponents appreciated his work and his penetrating, open-minded criticism. Hoebens' constructive influence on the culture of responsible scientific exchange is felt to this day. The editors have collected (and mostly translated) more than 40 of Hoebens' most significant writings, about half of which were never published in English before. The editors also added editorial introductions to all chapters to elucidate their original contexts and their lasting relevance. Therefore, the book is more than a commemoration of an important author - it provides valuable insights into the history of parapsychology and its skeptical reflections"--Back cover.
Building musical culture in Nineteenth-century Amsterdam
When people attend classical music concerts today, they sit and listen in silence, offering no audible reactions to what they're hearing. We think of that as normal-but, as Darryl Cressman shows in this book, it's the product of a long history of interrelationships between music, social norms, and technology. Using the example of Amsterdam's Concertgebouw in the nineteenth century, Cressman shows how its design was in part intended to help discipline and educate concert audiences to listen attentively - and analysis of its creation and use offers rich insights into sound studies, media history, science and technology studies, classical music, and much more.
Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis
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