Musicology and Music History

[Angi István]

(b Ojdula, 16 Oct 1933) Romanian music aesthetician and musicologist. He is considered the founder of musical aesthetics in Romania. Ştefan Angi studied at Cluj-Napoca Conservatory (1953–8) where his teachers included Márkos Albert (music theory), Jodál Gabor (harmony), Max Eisikovits (counterpoint), Jagamas János (forms), Földes László (aesthetics), Lakatos István and Benkő András (music history), Zsurka Péter (violin), Ana Voileanu-Nicoară (chamber music), Antonin Ciolan (orchestral ensemble), and Szenik Ilona (folklore). He then studied at Lomonosov Moscow State University (1963–5), with the philosopher Valentin Ferdinandovich Asmus, where he graduated with a dissertation on Music and Affectivity and took the PhD in Romania in 1966. In 1958 he joined the academic staff of Cluj-Napoca Conservatory and between 1976 and 1986 was the dean of the Theoretic Faculty. He was awarded the ‘Cultural Merit’ medal (1970) and the ‘Romanian Academy Award’ (1977). Angi is a permanent correspondent on serial radio broadcasts, has published more than 100 articles, and has attended 70 conferences – on musicology, philosophy, and aesthetics....

(b Sibiu, 4 Nov 1956) Romanian musicologist and music aesthetician. He studied at Cluj-Napoca Conservatory (1976–81) where he joined the academic staff (in 1996), earned a doctorate on music aesthetics (1999), was pro-rector (2008–12), and became president of the Senate in 2012.

Owing to his multiple interests Banciu has been recognized as a member of several professional music associations (starting in 2002), an evaluator on many national committees and music competitions (starting in 2006), a member of the board of directors at the Union of Romanian Composers and Musicologists (starting in 2014), the vice-president of the ‘Performing Arts Commission’ within the National Council for the Certification of University Titles, Diplomas, and Certificates (C.N.A.T.D.C.U., starting in 2016), a peer reviewer on journals (Musicology Papers, Musicology Today, Studia Musica), and an organizer of international conferences (The International Congress on Musical Signification in ...

(b Šternberk, 22 April 1964). Czech musicologist. He studied musicology with Jiří Vysloužil, Jiří Fukač, and Miloš Štědroň at Brno University. Then he worked at the Faculty of Arts, Charles University in Prague where he taught and researched until 1999. Between 1991 and 2002 he also taught at the Palacký University, Olomouc. In 1998 he started working at the Masaryk University, Brno (head of the Institute of Musicology, 1999–2004; vice-rector 2004–11; rector starting in 2011).

Bek’s scholarly specializations include music sociology, history of music after 1750, and music analysis. He is a co-director of the online Český hudební slovník osob a institucí (‘Czech Music Dictionary of Persons and Institutions’), and co-ordinator of RIPM for the Czech Republic (2001–3). He also participates actively in the international musicological colloquia that form part of the international music festival, Moravian Autumn, each year in Brno.

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(b Mostar, 1946). Bosnian and Herzegovinian musicologist. She gained the Masters in Pedagogical Sciences in the Faculty of Philosophy (1977), and the Doctorate in Pedagogical Sciences at the Academy of Music in Sarajevo (1984). She worked at the Academy of Music in Sarajevo from 1971 until her retirement in 2011. She was employed at various levels from teaching assistant to full professor at the Academy, teaching subjects including methods in music education, and pedagogy with the basics of psychology, and was appointed Dean of the Academy from 2003 until 2007. She was also engaged as a professor of Music Culture and Methods at the Pedagogical Academy in Sarajevo (1992–2009).

Ferović was actively involved in establishing and leading the most important music institutions in Sarajevo: the Musicological Society of the Federation of Bosnia and Herzegovina, the Institute of Musicology (2007–9) at the Academy of Music in Sarajevo, the Sarajevo vocal octet Preporod, and the academic female vocal ensemble, also called Preporod. She was an editor and reviewer of the collection of papers of the International Symposium, ...

(b New Orleans, Jan 23, 1928; d 2015). American musicologist. He received the BME from Southeastern Louisiana College (1950), the MME from Louisiana State University (1955), and the PhD from North Texas State University (1958), with a dissertation on the musical patronage of Frederick the Great. From 1953 to 1955 he was an instructor at Louisiana College; he later taught at Wayne State College, Nebraska, in 1958 and 1959 and at the University of Iowa from 1960 to 1968. In 1968 he joined the faculty of the University of Maryland, becoming professor of music in 1969. He was chair of the musicology division from 1971 to 1987. He retired in 1994.

Helm's principal interest was the music of 18th-century Germany, particularly that of C.P.E. Bach, of whose works he prepared a thematic catalogue. He was also coordinating editor of the C.P.E. Bach Edition (Oxford, ...

Ludomusicology is the study of music and sound in, or related to, games. Broadly speaking, the term may apply to any type of game or sport, or to the relationship between music and play more generally (see Moseley, 2016; Fritsch, 2018). In practice, however, ‘ludomusicology’ has most commonly referred to the study of music and video games, or interactive media.

The study of video game audio presents unique challenges. Games themselves, which are typically the objects of study, are often unstable. This instability may emerge because of the interactive nature of the medium, in which each user’s experience may differ; because games exist in multiple formats or versions; or because they are constantly evolving, as in updates to online games (see Summers, 2016; Reale, 2019). Furthermore, copyright restrictions, regionally restricted releases, and/or technological obsolescence sometimes render archival materials – even entire games – inaccessible to scholars. As a result, overviews of game music history and style have by necessity focused on readily available ‘canonic’ titles that were released widely in North America, Western Europe, and (to a lesser extent) Japan....

Member of Rimsky-Korsakov family

(b St Petersburg, Oct 17, 1878; d Leningrad, May 23, 1940). Russian musicologist, son of N.A. Rimsky-Korsakov, and husband of the composer Yuliya Veysberg (1880–1942). His interest in music was encouraged from childhood and he played the cello in the family string quartet. He had to abandon his studies at St Petersburg University after participating in student protests, and in 1900 went abroad to study philosophy in Strasbourg and Heidelberg. On his return to St Petersburg he taught logic and the history of philosophy for a number of years in Gymnasiums. He adopted music as a career in 1912 when he became music correspondent of the newspaper Russkaya molva, and contributed to Severnïye zapiski and other publications. In 1915 he became editor of the new magazine Muzïkal′nïy sovremennik (1915–17), the first publication of its kind in Russia, covering not only concert life but also aspects of the history and theory of music. He contributed numerous articles, including studies on Musorgsky, Skryabin and Taneyev to the journal as well as polemical essays to its supplement ...

(b Ottobeuren, Aug 10, 1947; d Augsburg, Oct 5, 2021). German musicologist, son of the musicologist Ernst Fritz Schmid. Born to a musical family (he is also related to the composers Emil Kauffman and Ernst Friedrich Kauffman) he studied the violin with Koeckert at Augsburg Conservatory, musicology with Croll and Georgiades at Salzburg and Munich universities respectively, and music theory with Peter Förtig at the Freiburg Musikhochschule. He took the doctorate in Munich in 1975 with a dissertation on Mozart and the Salzburg musical tradition. After a period as assistant lecturer at Munich University, he became curator of the instrument collection of the Munich Stadtmuseum in 1979. He completed the Habilitation in 1980 at Munich University with an investigation of works by Weber, Schumann, and Wagner. He was appointed professor of musicology at Tübingen University in 1986. He was chairman of the Musikhistorische Kommission of Das Erbe deutscher Musik and the Deutsches musikgeschichtliches Archiv, Kassel, and was a member of the advisory committee for the Gesellschaft für Musikgeschichte in Baden-Württemberg; he was also founder and editor of the journal ...

Member of Štědroň family

(b Brno, Feb 9, 1942). Czech composer and musicologist, nephew of Vladimír Štědroň and Bohumir Štědroň. He read musicology and Czech at Brno University (1959–64, taking the doctorate in 1967), where his teachers included Racek and his uncle Bohumir. From 1965 to 1970 he studied composition and music theory under Piňos, Ištvan, Kohoutek, and Kapr at the Brno Academy, after which he completed a postgraduate course in electronic music. He began his teaching career, in the 1970s, in the arts and pedagogical faculties at Brno University (he took the CSc in 1985 with a dissertation on 20th-century music and the works of Janáček), and at the Brno Academy; he was appointed lecturer in 1991 and university professor in 1994.

As a university professor, concentrating mainly on music theory, he educated a large number of young musicologists, both at masters and at doctoral level. His musicological work has focussed on early music history, in particular the Renaissance and Baroque, music of the 20th century, and a special study of the works of Janáček; he is co-editor of a critical edition of the complete works and the author of numerous monographs and studies on Janáček. Together with the composer and music theorist Leoš Faltus, he has reconstructed and prepared for performance several of Janáček’s works, among them the Violin Concerto and the symphonic poem ...

(b Bologna, Oct 7, 1929; d Bologna, July 11, 2017). Italian organist, harpsichordist, and musicologist. He studied at the conservatories of Bologna and Paris (1947–52) under Ireneo Fuser and Marcel Dupré (organ), Napoleone Fanti (piano), and Riccardo Nielsen (composition). He took the doctorate at the University of Padua in 1951 with a dissertation on the texts of Bach cantatas. He taught the organ at the Bologna Conservatory from 1952 to 1954 and had charge of the conservatory library from 1953 to 1960. In 1954 he became organ professor at the Bolzano Conservatory and taught there until 1964, when he was appointed organ professor at the Parma Conservatory. From 1959 to 1984 he taught regularly at the summer organ courses at the Haarlem Organ Academy. In 1991 he was awarded the Italian music critics’ ‘Massimo Mila’ prize. He became a member of the Accademia Nazionale di S Cecilia in ...

Music has always been a part of war. While much of music’s role throughout history has been to signal commands and maneuver troops, it also appears as a powerful way to inspire troops for combat, to boost morale, or even to intimidate an adversary. Plato believed that the Phrygian mode could incite aggressive behavior. In American history, George Washington felt that music was so important to the morale of his troops that he ordered drum and fife majors to improve the quality of music or suffer a deduction in wages....