In November 2011 the German Research Foundation of the Bavarian State Library approved funding for the first stage of a four-year digitization project. The Bavarian State Library owns about 1,800 music prints dating from the 16th and 17 centuries, including polyphonic vocal and instrumental music. The project will create one of the world’s richest collections of the most popular pieces from the beginnings of music printing. The materials to be scanned are listed in the bibliographies of collected prints RISM BI, 1 and individual prints RISM AI. Printed music of the 16th and 17 centuries was usually presented as “Stimmbücher” or several different works (up to 20 different prints) in the form of an anthology. They are often bound in fragile historic bindings, including many with parchment covers.

The first phase of the project (February 2012 to 2014) will digitize approximately 1,050 titles.

(Adapted from ViFaMusik-Blog)

Jennifer C. Post’s second edition of Ethnomusicology: A Research and Information Guide is designed, in the author’s own words, to help researchers “embrace the discipline in the twenty-first century,” and consequently provides a detailed guide to various sources profitable to ethnomusicological research. The book contains 1,933 items such as reference works, archival sources, audio and video recordings, online resources, research guides, and indexing and abstracting tools, all published predominantly between 1994 and 2010. Particularly useful to students is the introduction, which describes at length the field of ethnomusicology, its purposes, its methodologies, and a 52-item annotated bibliography of resources explaining the discipline. The bibliography itself has been divided into two sections: Reference and Information Sources and Sources for Research and Study. An annotation accompanies each citation as well as an ISBN, ISSN, or LC call number, when appropriate. The annotations for the “recent books” section are unusually descriptive, often including a list of contents. Up-to-date and crammed with information, Post’s work can benefit both fledgling student and advanced researcher.

Lindsay Weaver
Research Assistant 

The Dictionnaire Chronologique de l’opéra de 1597 à nos jours was translated from Italian into French by Sophie Gherardi.  Aimed at a general audience of opera enthusiasts, this dictionary  provides a guide to operas in the standard Western repertory dating from 1579 through 1994.  It begins with a short preface by the Swiss composer and music administrator, Rolf Liebermann.  Following that, users can find basic information on each of the included operas, such as the title, the date of the first performance, the author of the libretto, the genre, the number of acts, and the premier information.  Additionally, entries also describe the main characters and their vocal parts, and provide a brief plot of the performance, the composer’s life, musical aspects of the work.  The simplicity of the layout and information makes it a perfect resource on hand for anyone interested in operas.

Clara Compare
Research Assistant 

The Historical Dictionary of Choral Music by Melvin P. Unger embraces all things choral, including over 1,000 entries about composers, genres, conductors, institutions, styles, and other general choral music terminology. Coverage extends to choral music from Europe and the United States, focusing on composers with the most significant contributions to the world of choral music. A written explanation of the history of choral music and a chronology of key events that contributed to its development precede the dictionary proper. Intended for all who wish to learn more about choral music from the layperson to the professional.

Devan Weixler
Research Assistant 

As might be gathered from the title, Robert Letellier’s Opéra-Comique: A Sourcebook is a handbook of the opéra-comique genre as it developed in Paris from 1762 to 1915.  The book itself chiefly consists of a chronology listing all known works premiered specifically at the Opéra-Comique and a separate index which lists these works by composer.  Though author focuses primarily upon the single theatrical entity known as the Opéra-Comique (which occupied various buildings throughout the nineteenth century), the index’s works lists also include operas premiered by other rivaling theatrical companies such as the Théâtre-Lyrique, because these operas substantially contributed to the development of opéra-comique as a genre and provide a fuller understanding of a composer’s participation its evolution.

This handbook provides ready access to basic facts about a given work: the form, number of acts, librettists, the date and theatre of the premiere, and frequently a descriptive analysis. Users thumbing through the concluding, cross-referenced indexes can also access this information by the names of the librettists or singers who performed the roles, among other ways.  Additionally, individuals new to the occasionally complicated history of nineteenth-century Parisian opera will benefit from Letellier’s relevant introduction on the subject, making this book appropriate for both music students and advanced researchers alike.

Lindsay Weaver
Research Assistant

Jerry L. McBride’s Douglas Moore: A Bio-Bibliography is an easily-navigated guide to the composer Douglas Moore, his works, and the literature written about him. The bibliography contains over 3,000 items ranging from reviews to dissertations, compiled from indexes, databases, bibliographies, discographies, and catalogs. Beyond the bibliography, this book includes an extensive biography, a list and bibliography of musical works (which also addresses performances, published scores, and recordings), a chronological list of musical works, and a classified list of musical works. Wherever possible, entries have been verified by the author and those which haven’t are indicated.  In short, the scope of this book is plainly explained and understood, easy to navigate, and includes an extensive index.

Lindsay Weaver
Research Assistant

“Estonian Sound Recordings 1939″ was created as a representative anthology of recordings documenting important Estonian musicians in the 1930′s, specifically those created by the Estonian State Broadcasting Company in Tallinn during 1939 (drawn from archives in Århus and Hayes).  Beyond its presentation as a discography, this source also includes twelve CDs of music as well as essays on relevant topics such as the history of Estonian music during this period and the processes involved in restoring the recordings. Additionally, the text itself is entirely bilingual with all entries and essays printed in both Estonian and English.  Perhaps the most intriguing aspect of this reference source is the unique, physical design of the binding. It effectively and efficiently protects the 12 CDs that accompany it, so they cannot easily escape their sleeves and become damaged or lost.

Lindsay Weaver
Research Assistant

This bibliography consists of annotated citations of books, journal articles, doctoral dissertations, anthologies, discographies and other reference sources, both online and in print. All entries except one have been verified with the actual printed material, or, in the case of some dissertations, by viewing an online full text PDF file. An extensive list of Amy Beach’s works is located in The New Grove Dictionary of Music and Musicians, 2nd edition. It will be noted that there are a number of articles in pedagogy based journals, such as The Etude, Musical Quarterly and American Music Teacher. This perhaps because Amy Beach, being a woman, may have been stereotyped as a composer of piano teaching pieces. Also a number of citations are focused on gender issues. The encouraging thing is the quantity of scholarly research that has surfaced recently, which examines Amy Beach and her compositions in a more unbiased fashion. We are indebted to Adrienne Fried Block, Judith Tick and other musicologists for their fresh perspectives on the music of Amy Beach, especially her larger works. There is much work yet to be done. Compositions for which there is insufficient or non-existent research include the Mass in E flat, op. 5; Festival Jubilate, op. 17; Canticle of the Sun, op. 123: the opera Cabildo, and other works. Perhaps research on these compositions is being undertaken at this moment. My hope is that this bibliography will be an aid to continued scholarship on the life and works of Amy Beach. – Esther Megargel

Click here to view the bibliography

Catalogue de la collection musicale J. B. Laurens: donnée à la Bibliothèque d’Inguimbert, vol. 1.

Catalogus van de Bibliotheek der Vereeniging voor Nederlandsche Muziekgeschiedenis – Vereniging voor Nederlandse Muziekgeschiedenis.

Editions Gallet de l’enseignement musical et piano, chant et instruments divers.

Ernst Challier’s Grosser Lieder-Katalog: ein alphabetisch geordnetes Verzeichniss sämmtlicher Einstimmiger Lieder mit Begleitung des Pianoforte sowie mit Begleitung des Pianoforte und eines oder mehrerer anderer Instrumente.

Jean Louis Nicodé.

Aeolian Company. Catalog of music for the pianola, pianola piano and aeriola, vol. 1.

Albinati, Giuseppe. Piccolo dizionario di opere teatrali, oratori, cantate, ecc.

Altmann, Wilhelm. Orchester-literatur-katalog: Verzeichnis von seit 1850 erschienenen Orchester-werken (Symphonien, Suiten, symphonischen Dichtungen, Ouverturen, Konzerten für Soloinstrumente und Orchester).

Ambros, August Wilhelm. Geschichte der Musik, vol. 5.

André, Johann Anton. W.A. Mozart’s thematischer Catalog: so wie er solchen vom 9. Februar 1784 bis zum 15. November 1791: eigenhändig geschrieben hat, vol. 1.

Andries, Jean Jacques. Précis de l’histoire de la musique: depuis les temps les plus reculés, suivi de notices sur un grand nombre d’écrivains didactiques et théoriciens de l’art musical, vol. 1.

Bachmann, Alberto. Les grands violonistes du passé, vol. 1.

Batka, Richard. Allgemeine Geschichte der Musik, vols. 1-3.

Baudet-Maget, A. Guide du violoniste: oeuvres choisies pour violon ainsi que pour alto et musique de chambre, classées d’après leur degré de difficulté.

Bawr, Alexandrine Sophie, baronne de Goury de Champgrand. Histoire de la musique.

Bellaigue, Camille. Les epoques de la musique, vols. 1-2.

Bignami, Luigi. Cronologia di tutti gli spettacoli rappresentati nel gran Teatro Comunale di Bologna: dalla solenne sua apertura 14 maggio 1763 a tutto lautunno del 1880.

Bisson, Alexandre. Petite encyclopédie musicale, vols. 1-2.

Brendel, Franz. Geschichte der Musik in Italien, Deutschland und Frankreich, vol. 1.

Brown, James Duff. British musical biography: a dictionary of musical artists, authors and composers, born in Britain and its colonies.

Castil-Blaze. Dictionnaire de musique moderne, vols. 1-2.

Choron, Alexandre. Dictionnaire historique des musiciens: artistes et amateurs, morts ou vivans : qui se sont illustrés en une partie quelconque de la musique et des arts qui y sont relatifs : Précédé d’un Sommaire de l’histoire de la musique, vols. 1-2.

Clément, Félix. Dictionnaire lyrique: ou, Histoire des opéras; contenant l’analyse et la nomenclature de tous les opéras et opéras-comiques représentés en France et a l’étranger depuis l’origine de ce genre d’ouvrages jusqu’a nos jours.

Collin, Laure. Chronologie musicale ou abrégé: par ordre chronologique de l’histoire de la musique.

Collin, Laure. Histoire abrégée de la musique et des musiciens.

Combarieu, Jules. Histoire de la musique des origines à la mort de Beethoven. Avec de nombreux textes musicaux, vols. 1-3.

Dassori, Carlo. Opere e operisti (dizionario lirico 1541-1902): Elenco nominativo universale dei maestri compositori di opere teatrali, col prospetto cronologico dei loro principali lavori e catalogo alfabetico generale delle opere serie, semiserie, buffe, comiche e simili rappresentate … dall’origine dell’opera in musica fino ai dì nostri, coll’indicazione di data e di luogo della prima rappresentazione, avuto speciale riguardo al repertorio italiano.

Dommer, Arrev von. Handbuch der Musik-Geschichte: von den ersten Anfängen bis zum Tode Beethoven’s.

Dörffel, Alfred. Thematisches Verzeichniss der Instrumentalwerke von Johann Sebastian Bach.

Emmanuel, Maurice. Histoire de la langue musicale, vols. 1-2.

Escudier, Léon. Dictionnaire de musique: d’après les théoriciens, historiens et critiques les plus célèbres qui ont écrit sur la musique, vols. 1-2.

Escudier, Léon. Dictionnaire de musique théorique et historique, vols. 1-2.

Espinosa. Technical dictionary of dancing.

Forkel, Johann Nikolaus. Allgemeine litteratur der musik; oder, Anleitung zur kenntniss musikalischer bücher, welche von den ältesten bis auf die neusten zeiten bey den Griechen, Römern und den meisten neuern europäischen nationen sind geschrieben worden. Systematisch geordnet, und nach veranlassung mit anmerkungen und urtheilen begleitet, von Johann Nicolaus Forkel.

Gastoué, Amédée. Introduction à la paléographie musicale byzantine: catalogue des manuscrits de musique byzantine de la Bibliothèque nationale de Paris et des bibliothèques publiques de France.

Gerber, Ernst Ludwig. Historisch-biographisches lexicon der tonkünkstler, welches nachrichten von dem leben und werken musikalischer, schriftsteller, berühmter componisten, sänger, vols. 1-2.

Gerber, Ernst Ludwig. Neues historisch-biographisches Lexikon der Tonkünstler: welches Nachrichten von dem Leben und den Werken musikalischer Schriftsteller, berühmter Komponisten, Sänger, Meister auf Instrumenten, kunstvoller Dilettanten, Musikverleger, auch Orgel- und Instrumentenmacher, älterer und neuerer Zeit, aus allen Nationen enthält, vols. 1-4.

Grieg, Edvard. Edvard Grieg: Verzeichnis seiner Werke: mit Einleitung: Mein erster Erfolg.

Grove, George. A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign: with illustrations and woodcuts, vols. 1-4.

Grünberg, Max. Führer durch die Literatur der Streichinstrumente (Violine, Viola, Violoncello): kritisches, progressiv geordnetes Repertorium von instruktiven Solo- und Ensemble-Werken: mit besonderer Berücksichtigung ihrer Nützlichkeit für den Unterricht: nebst einem kurzen bibliographischen Anhang.

Hawkins, John. A general history of the science and practice of music, vols. 1-5.

Heim, Ernst. Neuer Führer durch die Violin-Litteratur: ein zur Erleichterung für Lehrende und Lernende in Schwierigkeitsgrade eingeteiltes, mit kurzen Besprechungen versehenes Verzeichnis der gesamten Violin-Litteratur, mit besonderer Berücksichtigung der für den Unterricht nützlichen Werke.

Hoyle, John. A complete dictionary of music: containing a full and clear explanation, divested of technical phrases, of all the words and terms, English, Italian, &c. made use of in that science.

Landormy, Paul. Histoire de la musique.

Langhans, Wilhelm. Die Musikgeschichte in zwölf Vorträgen.

Lavignac, Albert. La musique et les musiciens.

Mann, Ernst. Deutschlands, Österreich-Ungarns und der Schweiz Musiker in Wort und Bild; eine illustrierte Biographie der gesamten alldeutschen Musikwelt; herausgegeben und bearbeitet von Ernst Mann, Heinz Voss und Hans Gerloff.

Mearns, James. Early Latin hymnaries; an index of hymns in hymnaries before 1100.

Moreali, Gaetano. Dictionnaire de musique Italien-Français: ou l’interprete, des mots employés en musique avec des explications, des commentaires, propres à diriger et à faciliter l’exécution de toute oeuvre musicale, et des notices historiques sur les principaux genres de composition et sur les instruments usités.

Naumann, Emil. The history of music, vols. 1-5.

Norlind, Tobias. Allmänt musiklexikon, vols. 1-2.

Nottebohm, Gustav. Thematisches Verzeichniss der im Druck erschienenen Werke von Ludwig van Beethoven, vol. 1.

Parry, C. Hubert H. The art of music.

Pazdrek, Franz. Universal-Handbuch der Musikliteratur aller Zeiten und Völker. Als Nachschlagewerk und Studienquelle der Welt-Musikliteratur, vols. 1-31.

Porter, William Smith. The musical cyclopedia: or, the principles of music considered as a science and an art; embracing a complete musical dictionary, and the outlines of a musical grammar, and of the theory of sounds and laws of harmony.

Prosniz, Adolf. Handbuch der Klavier-Literatur 1450 bis 1839: historische-kritische Übersicht.

Prosniz, Adolf. Handbuch der Klavier-Literatur 1830 bis 1904: historisch-kritische Übersicht.

Randall, Mallinson. The choirmaster’s guide to the selection of hymns and anthems for the services of the Church.

Riemann, Hugo. Musik-Lexikon: Theorie und Geschichte der Musik, die Tonkünstler alter und neuer Zeit mit Angabe ihrer Werke, nebst einer vollständiger Instrumentenkunde.

Ritter, Hermann. Allgemeine illustrierte Encyklopädie der Musikgeschichte, vols. 1-6.

Roca y Bisbal, Juan Bautisa. Gramatica musical: dividida en catorce lecciones.

Seiffert, Max. Johann Krieger: Verzeichnis seiner von seinem Bruder Phillipp in Weissenfels 1684-1725 aufgeführten, sowie sonst in Bibliotheken erhaltenen kirchlichen und weltlichen Vokalwerke; als zweiter Nachtrag zu Rob. Eitners Quellenlexikon aus Band XXX der Denkmäler deutscher Tonkunst, 2. Folge.

Scheithauer, Bruno. Verzeichniss sämmtlicher gedruckten werke Dr. Carl Loewe’s.

Schilling, Gustav. Encyclopädie der gesammten musikalischen Wissenschaften: oder Universal-Lexicon der Tonkunst, vols. 1-7.

Schroeder, Carl. Führer durch den Violoncell-Unterricht: ein progressiv geordnetes Repertorium von ausgewählten instructiven, sowie Solo- und Ensemble-Werken für Violoncell als Wegweiser für Lehrer und Schüler, Künstler und Dilettanten.

Schuré, Edouard. Histoire du drame musical.

Soullier, Charles. Nouveau dictionnaire de musique illustre: élémentaire, théorique, historique, artistique professionnel et complet.

Sowinski, Albert. Les musiciens polonais et slaves, anciens et modernes: dictionnaire biographique des compositeurs, chanteurs, instrumentistes, luthiers, constructeurs d’orgues, poetes sacrés et lyriques, littérateurs et amateurs de l’art musical.

Specht, Richard. Vollständiges Verzeichnis der im Druck erschienenen Werke von Richard Strauss : mit Porträt und biographischen Daten.

Stainer, John. A dictionary of musical terms.

Stoilov, Anton. Pokazalets na pechatanitie priez XIX viek bulgarski narodni piesni, vols. 1-2.

Torgerson, Helena Stone. Harp music; a digest classified alphabetically and in grades according to degrees of difficulty.

Viardot, Paul. Histoire de la musique.

Viotta, Henri Anastase. Lexicon der toonkunst, vols. 1-3

Wolter, Maurus. Psallite sapienter = “Psalliret weise!” : Erklärung der Psalmen im Geiste des betrachtenden Gebets und der Liturgie, vols. 1-5.

Musicologists predating Ursula Günther used different terms to refer to the ars subtilior. Musicologist Willi Apel, for instance, talks about “mannered notation,” or “manneristic style.” Other authors just mention the extreme complexity of the “late ars nova,” with no specific reference to either “manneristic style” or ars subtilior. Once I had identified all sources directly related to the terms ars subtilior or “manneristic style,” I directed my research toward the main primary sources for the ars subtilior: the Chantilly and Modena manuscripts, as well as the Torino manuscript. I also searched sources on Philippus da Caserta, Johannes Ciconia, Matteo da Perugia, Solage, and other composers directly associated with the ars subtilior.

Most of the sources I found are grounded in historical research (they focus primarily on manuscripts and other primary sources). Other sources adopted a more analytical approach, with emphasis on the tonal language and formal organization of ars subtilior works.

- Clémence Destribois – (Click HERE to view the bibliography)