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Richard Taruskin:
Selected Bibliography

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Books


Books

Weiss, Piero, and Richard Taruskin, eds.
Music in the Western World: A History in Documents.

567 p. 2nd ed. Belmont, Calif.: Thomson-Schirmer, 2007.
The Oxford History of Western Music.
6 v. (4272 p.). Oxford: Oxford University Press, 2005.
Music in the Western World: A History in Documents
The Oxford History of Western Music

Defining Russia Musically:
Historical and Hermeneutical Essays
.
561 p. Princeton, N.J.: Princeton University Press, 1997. (Reprinted, 2001.)

Stravinsky and the Russian Traditions:
A Biography of the Works through Mavra
.
2 v. (1757 p.). Berkeley: University of California Press, 1996.
Defining Russia Musically
Stravinsky and the Russian Tradition

Text and Act: Essays on Music and Performance.
382 p. New York: Oxford University, 1995.

Musorgsky: Eight Essays and an Epilogue.
415 p. Princeton: Princeton University Press, 1993.
Text & Act: Essays on Music and Performance
Musorgsky: Eight Essays and an Epilogue

Opera and Drama in Russia as Preached and Practiced in the 1860s. 560 p. Russian Music Studies, vol. 2. Ann Arbor, Mich.: UMI, 1981. (Reprinted with a new preface: Rochester, N.Y.: University of Rochester Press; Woodbridge: Boydell & Brewer, 1993.)

"Vladimir Vasilievich Stasov: Functionary in Art." M.A. thesis, Columbia University, 1968.
Columbia University Department of English and Comparative Literature Bennet Prize for best essay in the humanities other than a Ph.D. dissertation.


Articles

"Realism as Preached and Practiced: The Russian Opéra Dialogué." Musical Quarterly 56, no. 3 (July 1970): 431-54.

"Settling an Old Score: A Note on Contrafactum in Isaac's Lorenzo Lament." Current Musicology no. 21 (1976): 83-92.

"Molchanov's The Dawns are Quiet Here." Musical Quarterly 62, no. 1 (January 1976): 105-116.

"Glinka's Ambiguous Legacy and the Birth Pangs of Russian Opera." 19th Century Music 1, no. 2 (November 1977): 142-162.
Translated as "M.I. Glinka i drzava." Trans. Zivan Filipi. Kolo: Casopis Matice Hrvatske (Opera) 12, no. 1 (2002): 79-103.

"Opera and Drama in Russia: The Case of Serov's Judith." Journal of the American Musicological Society 32, no. 1 (Spring 1979): 74-117.
Alfred Einstein Award (American Musicological Society)

"'Little Star:' An Etude in the Folk Style." In Brown, Malcolm Hamrick, ed.  Musorgsky, In Memoriam, 1881-1981, 57-84.  Russian Music Studies, no. 3. Ann Arbor, Mich.: UMI Research Press, 1982. Reprinted in: Taruskin, Richard.  Musorgsky: Eight Essays and an Epilogue, 38-70. xxxiv, 415 p. Princeton, N.J.: Princeton University Press, 1993; and trans. as  "Csillagocska: Etud nepi stilusban." Trans. Júlia Vajda. Magyar Zene 38, no. 4 (2000): 345-70.

"The Musicologist and the Performer." In Musicology in the 1980s: Methods, Goals, Opportunities, eds. D. Kern Holoman, and Claude V. Palisca, p. 101-17. Da Capo Press Music Series. New York: Da Capo Press, 1982. A version of this paper appears as "On Letting the Music Speak for Itself: Some Reflections on Musicology and Performance."

"On Letting the Music Speak for Itself: Some Reflections on Musicology and Performance." Journal of Musicology 1, no. 3 (1982): 338-349.
An expanded version is reprinted in: Journal of the Viola Da Gamba Society of America 20 (December 1983): 6-23; and reprinted in: Text and Act: Essays on Music and Performance, 51-66.  New York: Oxford University Press, 1995.

"From The Firebird to The Rite: Folk Elements in Stravinsky's Scores." Ballet Review 10, no. 2 (Summer 1982): 72-89.

"Handel, Shakespeare, and Musorgsky: The Sources and Limits of Russian Musical Realism." In Music and Language, 247-68.  Studies in the History of Music, v. 1. New York: Broude Bros., 1983. Reprinted in Musorgsky: Eight Essays and an Epilogue, 71-95. Princeton, N.J.: Princeton University Press, 1993.

"How the Acorn Took Root: A Tale of Russia." 19th Century Music 6, no. 3 (Spring 1983): 189-212.
Reprinted in Defining Russia Musically: Historical and Hermeneutical Essays, [113]-151.  Princeton, N.J.: Princeton University Press, 1997.

"'The Present in the Past:' Russian Opera and Russian Historiography, ca. 1870." In Brown, Malcolm Hamrick, ed.  Russian and Soviet Music: Essays for Boris Schwarz, 77-146.  Russian Music Studies, no. 11. Ann Arbor, Mich.: UMI Research Press, 1984. Reprinted in Musorgsky: Eight Essays and an Epilogue, 123-200.  Princeton, N.J.: Princeton University Press, 1993.

"The Rite Revisited: The Idea and the Sources of Its Scenario." In Strainchamps, Edmond, Maria Rika Maniates, and  Christopher Hatch, eds. Music and Civilization: Essays in Honor of Paul Henry Lang, 183-202. New York: W.W. Norton, 1984.

"Stravinsky: Bibliography." In Lampert, Vera, and others.  The New Grove Modern Masters: Bartók, Stravinsky, Hindemith, 198-225. 1st American ed. in book form with additions.  The Composer Biography Series. New York: W.W. Norton, 1984.

"The Limits of Authenticity: A Discussion: 'The Authenticity Movement Can Become a Positivistic Purgatory, Literalistic and Dehumanizing.’" Early Music 12, no. 1 (February 1984): 3-12.
Reprinted in: Text and Act: Essays on Music and Performance, 67-82. New York: Oxford University Press, 1995; and translated as "El movimiento de la autenticidad puede convertirse en un purgatorio positivista, literalista y deshumanizador." Translator Luis Carlos Gago. Quodlibet: Revista de especializacion musical no. 5 (1996): 44-59.

"Musorgsky vs. Musorgsky: The Versions of Boris Godunov." 19th Century Music 8, no. 2 (Fall 1984): 91-118. (Available online to JSTOR subscribers.)
Reprinted in Musorgsky: Eight Essays and an Epilogue, 201-299.  Princeton: Princeton University Press, 1993.

"Some Thoughts on the History and Historiography of Russian Music." Journal of Musicology 3, no. 4 (Fall 1984): 321-339.

"Serov and Musorgsky." In Brown, Malcolm Hamrick, and Roland John Wiley, eds.  Slavonic and Western Music: Essays for Gerald Abraham, 139-61.  Russian Music Studies, no. 12. Ann Arbor, Mich.: UMI Research Press; Oxford, England: Oxford University Press, 1985.
Reprinted in Musorgsky: Eight Essays and an Epilogue, 96-122.  Princeton, N.J.: Princeton University Press, 1993.

"Chernomor to Kashchei: Harmonic Sorcery, or, Stravinsky's 'Angle.'" Journal of the American Musicological Society 38, no. 1 (Spring 1985): 72-142.

"Musorgsky vs. Musorgsky: The Versions of Boris Godunov." 19th Century Music 8, no. 3 (Spring 1985): 245-272.

"From Subject to Style: Stravinsky and the Painters." In Pasler, Jann, ed.  Confronting Stravinsky: Man, Musician, and Modernist, 16-38.  Berkeley: University of California, 1986.

"Antoine Busnoys and the L'homme armé Tradition." Journal of the American Musicological Society 39, no. 2 (Summer 1986): 255-293. (Available online to JSTOR subscribers.)

"Stravinsky's 'Rejoicing Discovery' and What It Meant: In Defense of His Notorious Text Setting." In Haimo, Ethan, and Paul Johnson, eds. Stravinsky Retrospectives, 162-200.  Lincoln: University of Nebraska Press, 1987.
Deems Taylor Award,1989 (American Society of Composers, Authors, and Publishers)

"Chez Petrouchka: Harmony and Tonality chez Stravinsky." 19th Century Music 10, no. 3 (Spring 1987): 265-286.
Reprinted in Kerman, Joseph, ed. Music at the Turn of the Century: A 19th Century Music Reader, 71-92. California Studies in 19th Century Music, 7. Berkeley: University of California, 1990.

"The Antiliterary Man: Diaghilev and Music." In Baer, Nancy Van Norman, comp.  The Art of Enchantment: Diaghilev's Ballets Russes, 1909-1929. With contributions by Joan Acocella, and others, 112-21. San Francisco: Fine Arts Museums of San Francisco; New York, N.Y.: Universe Books: distributed by St. Martin's Press, 1988.

"The Pastness of the Present and the Presence of the Past." In Kenyon, Nicholas, ed. Authenticity and Early Music: A Symposium, 137-210. Oxford; New York: Oxford University Press, 1988.
Reprinted in: Text and Act: Essays on Music and Performance, 90-154.  New York: Oxford University Press, 1995; and in translation as "L'ancienneté du présent et la présence du passé," translators Beate Renner and Jacqueline Henry. Harmoniques 8/9 (1991): 371-432, and as "Minionosc tera zniejszosci i obecnosc przeszlosci," translator Cezary Zych, in Canor: Kwartalnik poswiecony problemom interpretacji muzyki dawnej, 8, part 1: no. 3:23 (1998): 3-15; part 2: no. 4:24 (1998): 3-20.

"Tone, Style and Form in Prokofiev's Soviet Operas: Some Preliminary Observations." In Music and Drama, 215-39.  Studies in the History of Music, 2. New York: Broude Bros., 1988.

"Resisting the Ninth." 19th Century Music 12, no. 3 (Spring 1989): 241-256. (Available online to JSTOR subscribers.)
Reprinted in: Text and Act: Essays on Music and Performance, 235-261. New York: Oxford University Press, 1995; Newsletter of the Wilhelm Furtwängler Society of America no. 3 (Spring 1991): 10-12 Newsletter of the Wilhelm Furtwängler Society of America no. 4 (Summer 1991): 9-11; and in From Composition to Performance: Musicians at Work. Block 5 (Reception), 65-82. Milton Keyes: The Open University, 1998.

"The Opera and the Dictator." New Republic 200, no. 12 (20 March 1989): 34-40.

"The Power of the Black Earth: Notes on Khovanshchina." In the booklet to Mussorgsky, Modest.  Khovanshchina. Wiener Staatsoper conducted by Claudio Abbado, 19-39. 3 compact discs. Deutsche Grammophon 429 758-2. [Hamburg]: Deutsche Grammophon, 1990.
Reprinted in Musorgsky: Eight Essays and an Epilogue, 313-[327].  Princeton, N.J.: Princeton University Press, 1993; and in San Francisco Opera Program Book 68, no. 11 (November 1990): 26-32.

"Christian Themes in Russian Opera: A Millennial Essay." Cambridge Opera Journal 2, no. 1 (March 1990): 83-91. Abridged reprint in Brumfield, William C., and Milos M. Velimírovic, eds.  Christianity and the Arts in Russia, 97-104. Cambridge; New York: Cambridge University Press, 1991.

"The Spin Doctors of Early Music." New York Times, 29 July 1990, sec. 2, col. 2 ff., pp. 1, 21.
Reprinted in: Text and Act: Essays on Music and Performance, 164-172. New York: Oxford University Press, 1995; and San Francisco Chronicle, 12 August 1990, sec. Datebook, pp. 40-41.

"Why Mozart Has Become an Icon for Today: Thanks to Demystification, the Careless God-Child of Romantic Legend Has Become the Braying Ass of Ours." New York Times, 9 September 1990, sec. 2, col. 9, pp. 35, 40.
Reprinted in the International Herald Tribune (Paris) 14 September 1990; in Hebrew trans. in Ha'aretz (Tel Aviv) 26 September 1990; and as "An Icon for Our Time" in: Text and Act: Essays on Music and Performance, 263-272. New York: Oxford University Press, 1995.

"Slava!" Opera News 55, no. 9 (19 January 1991): 18-21.
Reprinted in: Musorgsky: Eight Essays and an Epilogue, 300-312. Princeton, N.J.: Princeton University Press, 1993.

"[160 articles]." In Sadie, Stanley, ed.  New Grove Dictionary of Opera. 4 vols. London: Macmillan Press; New York: Grove's Dictionaries of Music, 1992.

"Tradition and Authority." Early Music 20, no. 2 (May 1992): 311-325.
Reprinted in: Text and Act: Essays on Music and Performance, 173-197. New York: Oxford University Press, 1995.

"The Case for Rimsky-Korsakov." Part I: Opera News 56, no. 16 (May 1992): 12-14, 16, 60; Part II: Opera News 56, no. 17 (June 1992): 24-26, 28, 57.
Deems Taylor Award, 1992 (American Society of Composers, Authors, and Publishers)

"'Entoiling the Falconet:' Russian Musical Orientalism in Context." Cambridge Opera Journal 4, no. 3 (November 1992): 253-280.
Reprinted in Defining Russia Musically: Historical and Hermeneutical Essays, 152-185. Princeton, N.J.: Princeton University Press, 1997; and Bellman, Jonathan, ed.  The Exotic in Western Music, 194-217. Boston: Northeastern University, 1998.

"The Traditions Revisited: Stravinsky's Requiem Canticles as Russian Music." In Hatch, Christopher, and David W. Bernstein, eds.  Music Theory and the Exploration of the Past, 525-50. Chicago: University of Chicago, 1993.

"No Ear for Music." New Republic 208, no. 11 (15 March 1993): 26-35.

"Of Kings and Divas." New Republic 209, no. 24 (13 December 1993): 31-44.

"From Fairy Tale to Opera in Four Moves (Not So Simple)." In Bauman, Thomas, and Marita Petzoldt McClymonds, eds.  Opera and the Enlightenment, 299-307. Cambridge: Cambridge University Press, 1995.
Reprinted in Stagebill (San Francisco Opera Magazine) 73, no. 2 (Summer 1995): 10-11A, 38-40.

"Public Lies and Unspeakable Truth: Interpreting Shostakovich's Fifth Symphony." In Fanning, David, ed.  Shostakovich Studies, 17-56. Cambridge: Cambridge University Press, 1995.
Reprinted in Defining Russia Musically: Historical and Hermeneutical Essays, 511-544. Princeton, N.J.: Princeton University Press, 1997.

"A Myth of the Twentieth Century: The Rite of Spring, the Tradition of the New and 'Music Itself.'" Modernism/Modernity 2, no. 1 (January 1995): 1-26.
Reprinted in Defining Russia Musically: Historical and Hermeneutical Essays, 360-467. Princeton, N.J.: Princeton University Press, 1997; and translated as "Un mito del Secolo XX: Le sacre du printemps, la tradizione del nuovo e 'la musica in se.'" Translator Emanuele Senici. Il Saggiatore Musicale: Rivista semestrale di musicologia 4, no. 1 (1997): 159-87.

"Who Was Shostakovich?" Atlantic Monthly 275, no. 2 (February 1995): 63, 64, 66-72.

"Pathetic Symphonist: Chaikovsky, Russia, Sexuality and the Study of Music." New Republic 212, no. 6 (6 February 1995): 26-40.
Translated as "'Der Byron unserer Tage:' Wer war Peter I. Tschaikowsky?" In Peter Tschaikowsky: Eugen Onegin, 86-97. Munich: Bayerische Staatsoper, 2007.

"Busnoys and Chaikovsky." International Journal of Musicology (A Birthday Offering for George Perle Ed. by Gary S. Karpinski) 4 (1997): 111-137.

"Stravinsky's Petrushka."  In Wachtel, Andrew, ed.  Petrushka: Sources and Contexts, 67-113, 148-53. Evanston, Ill.: Northwestern University Press, 1998.

"Tchaikovsky: A New View--A Centennial Essay." In Mihailovic, Alexandar, ed.  Tchaikovsky and His Contemporaries: A Centennial Symposium, 17-60. Contributions to the Study of Music and Dance, no. 49. Westport, Conn.: Greenwood, 1999.

"Scriabin and the Superhuman: A Millennial Essay." Journal of the Scriabin Society of America 4 (2000): 33-78.
Reprinted from Defining Russia Musically: Historical and Hermeneutical Essays, 308-359. Princeton, N.J.: Princeton University Press, 1997.

"Shostakovich and Us." In Bartlett, Rosamund, ed.  Shostakovich in Context, 1-29. New York: Oxford University Press, 2000.
Reprinted from Defining Russia Musically: Historical and Hermeneutical Essays, 468-497. Princeton, N.J.: Princeton University Press, 1997; and Translated as "Sostakovich i my." In Kovnackaja, Ljudmila Grigor'evna, and others, ed.  Sostakovic: Mezdu mgnoveniem i vecnost'ju: dokumenti, materiali, stat’i . Translator Ol'ga Manulkina, 789-828. St. Petersburg: Izd-vo "Kompozitor", 2000.

"[167 articles]." In Sadie, Stanley, ed.  New Grove Dictionary of Music and Musicians. 2nd ed. New York: Grove, 2001.
Some articles reprinted from the New Grove Dictionary of Opera

"Double Trouble: When Serious Music Mattered." New Republic 225, no. 26 (24 December 2001): 26-34.
For an expanded version see, "When Serious Music Mattered: On Shostakovich and Three Recent Books." In Brown, Malcolm Hamrick.  A Shostakovich Casebook, 360-383. Bloomington, Ind.: Indiana University Press, 2004.

"Stravinsky and Us." In Cross, Jonathan, ed.  The Cambridge Companion to Stravinsky, 260-284. Cambridge Companions to Music. Cambridge: Cambridge University Press, 2003.

"A Suggestive Detail in Weber's Freischutz." Current Musicology (Festschift in Honor of Christopher Hatch Ed. by Glenn Stanley, Glenn and Ernest H. Sanders), no. 75 (Spring 2003): 165-168.
Reprinted in Vikárius, László, and Vera Lampert, eds.  Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, 269-72. Lanham, Md.: Scarecrow Press, 2005.

"Sacred Entertainments." Cambridge Opera Journal 15, no. 2 (July 2003): 109-126.

"Un cadeau trés macabre." University of Toronto Quarterly (Opera and Interdisciplinarity) 72, no. 4 (Fall 2003): 801-816.

"Yevriyi and Zhidy: A Memoir, a Survey, and a Plea." Stanford Slavic Studies (Word, Music, History: A Festschrift for Caryl Emerson) 29-30 (2005): 537-552.

"The Birth of Contemporary Russia Out of the Spirit of Russian Music." Muzikologija: Casopis Muzikoloskog Instituta Srpske Akademije Nauka i Umetnosti (Tradicija-modernizam-avangarda-postmodernism) no. 6 (2006): 63-76.

"Is There a Baby in the Bathwater?" Part I: Archiv Für Musikwissenschaft 63, no. 3 (2006): 163-185. Part II: Archiv Für Musikwissenschaft 63, no. 4 (2006): 309-327.

"Why You Cannot Leave Bartók Out." Studia Musicologica Academiae Scientiarum Hungaricae (Bartok's Orbit: The Context and Sphere of Influence of His Work. Ed. József  Ujfalussy) 47, no. 3-4 (2006): 265-277.


Musical Editions

Coment peult avoir joye (Wohlauf gut gesell von hinnen): Eight Settings in Three, Four and Five Parts (Modern Score), Four Partbooks (Plus One Additional Part) in Original Notation, ed. Richard Taruskin.  Ogni Sorte RS 1. Miami, Fla.: Ogni Sorte Editions, 1978.

Een vrolic wesen: Fourteen Settings in Two, Three, and Four Parts (Modern Notation): Four Partbooks in Original Notation , ed. Richard Taruskin.  Ogni Sorti RS 2. Miami, Fla.: Ogni Sorte Editions, 1979.

O Venus bant: Ten Settings in Three and Four Parts (Modern Score), Four Partbooks in Original Notation, ed. Richard Taruskin.  Ogni Sorte RS 3. Miami, Fla.: Ogni Sorte Editions, 1979.

L'homme armé: Twenty-One Settings in Two, Three and Four Parts (Modern Score), Four Partbooks (Plus Five Additional Parts) in Original Notation, ed. Richard Taruskin.  Ogni Sorte RS 4. Miami, Fla.: Ogni Sorte Editions, 1980.

T'andernaken: Ten Settings in Three, Four and Five Parts (Modern Score), Five Partbooks in Original Notation, ed. Richard Taruskin.  Ogni Sorte RS 7. Miami, Fla.: Ogni Sorte Editions, 1981.

J'ay pris amours: Twenty-Eight Settings in Two, Three, and Four Parts (Modern Score), Four Partbooks in Original Notations , ed. Richard Taruskin.  Ogni Sorte RS 5. Miami, Fla.: Ogni Sorte Editions, 1982.

Lawes, William. Suite No. 1 in C Minor, and Suite No. 2 in C Major: for Two Treble and Two Bass Viols, ed. Richard Taruskin.  Viola Da Gamba Series, no. 45. Canada: Dovehouse Editions, 1983.

D'ung aultre amer: Seventeen Settings in Two, Three, Four, and Five Parts (Modern Score), Five Partbooks in Original Notation, ed. Richard Taruskin.  Ogni Sorte RS 6. Miami, Fla.: Ogni Sorte Editions, 1983.

In mynen zin: Seventeen Settings in Two, Three, Four and Five Parts (Modern Score): Four Partbooks in Original Notation: Notation Guide (Insert), ed. Richard Taruskin.  Renaissance Standards, 8.  Ogni Sorte RS 8. Miami, Fla.: Ogni Sorte Editions, 1984.

Busnoyis, Antoine. Collected Works. Parts 2-3. The Latin-Texted Works, ed. by Richard Taruskin.  Masters and Monuments of the Renaissance, vol. 5. New York: Broude Trust, 1990.


Recordings

Isaac, Heinrich. Missa Quant j'ay au cuer with Propers for the Feast of the Holy Trinity from Choralis Constantinus, Vol. 1. Columbia University Collegium Musicum conducted by Richard Taruskin. JE 100. [New York]: Collegium Records, 1970. 1  LP.

French Ars Antiqua. Columbia University Collegium Musicum conducted by Richard Taruskin. [New York]: Collegium Records, 1975. 2  LPs.

The Italian Trecento. Columbia University Collegium Musicum conducted by Richard Taruskin. JE 105. [New York]: Collegium Records, 1975.

Missa L'homme armé. Columbia University Collegium Musicum conducted by Richard Taruskin. [New York]: Collegium Records, 1975. 2  LPs.

Motets of the 15th Century. Columbia University Collegium Musicum conducted by Richard Taruskin. [New York]: Collegium Records, 1975. 1  LP.

Music in Honor of the Blessed Virgin Mary. Columbia University Collegium Musicum conducted by Richard Taruskin. [New York]: Collegium Records, 1975. 2  LPs.

Music of Eastern Europe. Columbia University Collegium Musicum conducted by Richard Taruskin. [New York]: Collegium Records, 1975. 1  LP.

Music of Heinrich Isaac. Columbia University Collegium Musicum conducted by Richard Taruskin. [New York]: Collegium Records, 1975. 1  LP.

Music of the Ars Nova. Columbia University Collegium Musicum conducted by Richard Taruskin. JE 101. [New York]: Collegium Records, 1975. 1  LP.

Music of the Henrys of England. Columbia University Collegium Musicum conducted by Richard Taruskin. JE 118-119. [New York]: Collegium Records, 1975. 2  LPs.

Fayrfax, Robert. Missa: O Quam Glorifica. Columbia University Collegium Musicum conducted by Richard Taruskin. JE 120. [New York]: Collegium Records, [1975]. 1 LP.

Music of the Reformation and Counter-Reformation. Columbia University Collegium Musicum conducted by Richard Taruskin. JE 118. [New York]: Collegium Records, 1975. 2  LPs.

Ockeghem, Johannes. Johannes Ockeghem, Prince of Music. Cappella Nova directed by Richard Taruskin. MHS 4026. [Tinton Falls, N.J.]: Musical Heritage Society, 1979. 1  LP.
Reissued as "Missa prolationum; Hostias et preces." Gaudeaumus GAU 103. London: Gaudeaumus, 1986; and on CD, Musical Heritage Society 419026H. Oakhurst, N.J.: Musical Heritage Society, 1995.

———. The Motets. Cappella Nova directed by Richard Taruskin. MHS 4179. [Tinton Falls, N.J.]: Musical Heritage Society, 1980. 1  LP.
Reissued on CD, Musical Heritage Society 414179H. Oakhurst, N.J.: Musical Heritage Society, 1996.

Josquin dez Prez. Motets for the Blessed Virgin. Cappella Nova directed by Richard Taruskin. MHS 4674. Tinton Falls, N.J.: Musical Heritage Society, 1982. 1  LP.

Byrd, William. Veni Sancte Spiritus: A Pentecost Service. Capella Nova directed by Richard Taruskin. MHS 7360. Ocean, N.J.: Musical Heritage Society, 1986. 1 LP.

Hail, Divine Mother. Cappella Nova directed by Richard Taruskin. MHS 912059--912060. Ocean, N.J.: Musical Heritage Society, 1988. 2  LPs.


Reviews

Report from Lincoln Center: The International Josquin Festival-Conference, June 21-25, 1971. Current Musicology no. 14 (1972): 47-64.
Reprinted in Text and Act: Essays on Music and Performance, 322-343. New York: Oxford University Press, 1995.

Review of Published Music for the Viola da gamba and Other Violas, by Robin De Smet. Notes  28, no. 3 (March 1972): 444-445.

Review of Mikhail Glinka: A Biographical and Critical Study, by David Brown. Musical Quarterly 61, no. 1 (January 1975): 141-151.

Review of Leningradskiy Institut Teatra, Muzyki i Kinematografii: katalog sobraniya muzykal'nyh instrumentov, edited by G. Blagodatov and K. Vertkov. Early Music 5, no. 1 (January 1977): 103-105.

Review of The Harmonic Organization of The Rite of Spring, by Allen Forte. Current Musicology no. 28 (1979): 114-129.

"Russian Folk Melodies in The Rite of Spring." Journal of the American Musicological Society 33, no. 3 (Fall 1980): 501-543. (Available online to JSTOR subscribers.)

Review of Marin Marais: The Instrumental Works. I: Pièces à une et à deux violes. Journal of the Viola Da Gamba Society of America 18 (December 1980): 79-86.

Review of  The Corded Shell: Reflections on Musical Expression, by Peter Kivy. Musical Quarterly 68, no. 2 (April 1982): 287-293.

Review of The Masses and Motets of William Byrd, vol. 1 by Joseph Kerman. Notes 38, no. 4 (June 1982): 825-828.

Review of A Book About Stravinsky by Boris Asaviev. Opera Quarterly 2, no. 1 (Spring 1984): p. 141-144.

Review of The Music of Igor Stravinsky, by Peter C. van den Toorn. Notes 40, no. 4 (June 1984): 770-773.

Review of L'oiseau de feu: Fac-similé du manuscrit Saint-Pétersbourg, 1909-1910, by Igor Stravinsky. Current Musicology no. 40 (1985): 66-73.

Review of Josquin des Prez: A Guide to Research, by Sydney Robinson Charles. Notes 42, no. 1 (September 1985): 39-41.

Review of Sound and Semblance: Reflections on Musical Representation, by Peter Kivy. Journal of Music Theory 29, no. 2 (Fall 1985): 347-358.

Review of Essays on Russian and East European Music, by Gerald Abraham. Opera Quarterly 4, no. 1 (Spring 1986): 126-128.

Review of Editing Early Music, by John Caldwell. Notes 42, no. 4 (June 1986): 775-779.
Eva Judd O'Meara Award (Music Library Association)

Review of Reprise: The Extraordinary Revival of Early Music, by Herbert Snitzer and Joel Cohen. Notes 42, no. 4 (June 1986): 782-783.

Review of A New Orpheus: Essays on Kurt Weill, ed. by Kim H. Kowalke. Kurt Weill Newsletter 4, no. 2 (Fall 1986): 12-15.

"The New British Choral Sound. " Opus 2, no. 6 (October 1986): 21-25, 60.

Review of Madrigals, Book II by Claudio Monteverdi (CBS Masterworks IM 42131). Opus 2, no. 6 (October 1986): 44.
Reprinted as "The Price of Literacy, or, Why We Need Musicology" in: Text and Act: Essays on Music and Performance, 344-346. New York: Oxford University Press, 1995.

"The Crooked Straight, and the Rough Places Plain, Alas." Opus 3, no. 1 (December 1986): 42-43.
Reprinted in Text and Act: Essays on Music and Performance, 316-320. New York: Oxford University Press, 1995.

"Bach on Cello and Piano: Throwback or Harbinger?" Opus 3, no. 3 (April 1987): 22-25.
Reprinted as "Backslide or Harbinger?" in: Text and Act: Essays on Music and Performance, 298-306. New York: Oxford University Press, 1995.

"Sergei and the Bear." Review of Sergei Prokofiev: A Biography, by Harlow Robinson. New Republic 196, no. 14 (6 April 1987): 33-37.

Review of The Castle of Fair Welcome (Fifteenth-Century Courtly Songs), by Gothic Voices (Hyperion A 66194). Opus 3, no. 4 (June 1987): 36, 38-39.
Reprinted as "High, Sweet, and Loud" in Text and Act: Essays on Music and Performance, 347-352. New York: Oxford University Press, 1995.

"Beethoven Symphonies: The Old Modernity ... the New Antiquity." Opus 3, no. 6 (October 1987): 31-41, 43, 63.
Reprinted  as "The New Antiquity" in Text and Act: Essays on Music and Performance, 202-234. New York: Oxford University Press, 1995.

"'Old' Tempos, 'Early' Instruments." Opus 4, no. 1 (December 1987): 45-46.
Reprinted as "Old (New) Instruments, New (Old) Tempos" in Text and Act: Essays on Music and Performance, 292-296. New York: Oxford University Press, 1995.

"The First Modernist." Review of Debussy Letters, ed. by François Lesure and Roger Nichols. New Republic 197, no. 26 (28 December 1987): 36-40.

Review of Scriabin: Artist and Mystic by Boris de Schloezer, with introductory essays by Marina Scriabine, translated from the Russian by Nicolas Slonimsky. Music Theory Spectrum 10 (1988): 143-169.

Review of The Music of Alexander Scriabin by James M. Baker. Music Theory Spectrum 10 (1988): 143-169.

"The Dark Side of Modern Music: The Sins of Toscanini, Stravinsky, Schoenberg." Review of Music in Fascist Italy, by Harvey Sachs. New Republic 199, no. 10 (5 September 1988): 28-30, 32-34.

"How He Did It." Review of Art and Enterprise in Diaghilev's Ballets Russes, by Lynn Garafola. New Republic 201, no. 15 (9 October 1989): 26-32.

"Of Mice and Mendelssohn." Review of Stormy Applause: Making Music in a Worker's State, by Rostislav Dubinsky. New Republic 201, no. 19 (6 November 1989): 106-112.

Review of Renaissance Music in Facsimile, nos. 6, 12, 21-23, 26. Notes 46, no. 3 (March 1990): 792-797.
Reprinted in Text and Act: Essays on Music and Performance, 155-163. New York: Oxford University Press, 1995.

Review of A Collection of Russian Folk Songs compiled and arranged by Nikolai Lvov and Ivan Prach,  edited by Malcolm Hamrick Brown, with an introduction and appendixes by Margarita Mazo. Journal of the American Musicological Society 43, no. 1 (Spring 1990): 162-174.

"A Mozart Wholly Ours." Musical America 110, no. 3 (May 1990): 32-41. Reprinted in Text and Act: Essays on Music and Performance, 273-291. New York: Oxford University Press, 1995.

Review of Johannes Ockeghem and Jacob Obrecht: A Guide to Research by Martin Picker. Notes 47, no. 2 (December 1990): 358-360.

"Recordings View: Facing Up, Finally, to Bach's Dark Vision: Teldec's Epochal Cantata Project, Complete at Last, Offers Glimpses of the Essential Bach, from Which Others Shy Away." New York Times, 27 January 1991, sec. 2, col. 1 ff, pp. 25, 28. Reprinted in Text and Act: Essays on Music and Performance, 307-315. New York: Oxford University Press, 1995.

"Stravinsky Lite (Even The Rite): Robert Craft, Stravinsky's Onetime Assistant, Has Set Himself Up As a Rival to the Composer on the Disk." New York Times, 22 December 1991, sec. 2, col. 1 ff., pp. 29, 36. Reprinted in Text and Act: Essays on Music and Performance, 360-367. New York: Oxford University Press, 1995.

Review of Maddalena, op. 13: Opera in One Act, by Sergey Prokofiev. Notes 48, no. 3 (March 1992): 1105-1106.

"She Do the Ring in Different Voices." Review of  Unsung Voices: Opera and Musical Narrative in the Nineteenth Century by Carolyn Abbate. Cambridge Opera Journal 4, no. 2 (July 1992): 187-197.

"Back to Whom? Neoclassicism as Ideology." Review of Neoclassicism in Music: From the Genesis of the Concept through the Schoenberg/Stravinsky Polemic by Scott Messing; The Idea of Gebrauchsmusik: A Study of Musical Aesthetics in the Weimar Republic (1919-1933) with Particular Reference to the Works of Paul Hindemith by Stephen Hinton; and Colloquium Klassizität, Klassizismus, Klassik in der Musik 1920-1950 ed. by Wolfgang Osthoff and Reinhard Wiesend. 19th Century Music 16, no. 3 (Spring 1993): 286-302.

Review of Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition by Joseph N. Straus. Journal of the American Musicological Society 46, no. 1 (Spring 1993): 114-138.

Review of Towards a New Poetics of Musical Influence by Kevin Korsyn. Journal of the American Musicological Society 46, no. 1 (Spring 1993): 114-138.

Review of Symphonies d’instruments à vent; Faksimileausgabe des Particells und der Partitur der Erstfassung (1920), by Igor Stravinsky. Notes 49, no. 4 (June 1993): 1617-1621.

Review of Symphony No. 7 “Leningrad” op. 60 (1941) by Dmitri Shostakovich. Notes 50, no. 2 (December 1993): 756-761.

"The Golden Age of Kitsch: The Seductions and Betrayals of Weimar Opera." New Republic 110, no. 12 (21 March 1994): 28-38.

"Recordings View: The Trouble with Classics: They Are Ony Human." New York Times, 14 August 1994, sec. 2, col. 1 ff., pp. 25, 31.
Reprinted as "Text and Act" in Text and Act: Essays on Music and Performance, 353-358. New York: Oxford University Press, 1995.

Review of Modernism in Russian Piano Music: Skriabin, Prokofiev, and Their Russian Contemporaries by Peter Deane Roberts. Slavic Review 53, no. 3 (Fall 1994): 865-866.

Review of Modest Musorgsky and Boris Godunov: Myths, Realities, Reconsiderations by Caryl Emerson and Robert William Oldani, Jr. Slavic Review 53, no. 4 (Winter 1994): 1203-1205.

"The Poietic Fallacy." Review of Arnold Schoenberg's Journey, by Allen Shawn. Musical Times 145, no. 1886 (Spring 2004): 7-34.

"Speed Bumps." Review of The Cambridge History of Nineteenth-Century Music, ed. Jim Samson and The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople. 19th Century Music 29, no. 2 (Fall 2005): 185-207.

Review of Five Operas and a Symphony: Words and Music in Russian Culture, by Boris M. Gasparov. Kritika: Explorations in Russian and Eurasian History 7, no. 4 (Fall 2006): 893-898.

"'Classicism' à la russe." Review of The Powers of Heaven: Orthodox Music of the 17th  and 18th  Centuries. Estonian
Philharmonic Chamber Choir, Paul Hillier, conductor. Harmonia Mundi CD HMU 907318 (2003). Eighteenth-Century Studies 39, no. 2 (Winter 2006): 279-282.

Review of Roots of the Classical: The Popular Origins of Western Music by Peter Van Der Merwe. Music & Letters 88, no. 1 (February 2007): 134-139.

"The Musical Mystique: Defending Classical Music Against Its Devotees." Reviews of Who Needs Classical Music? by Julian Johnson, Classical Music, Why Bother? by Joshua Fineberg, and Why Classical Music Still Matters by Lawrence Kramer. New Republic 237, no. 8 (22 October 2007): 34-45

 

 


Selected and Compiled by Jerry McBride,
Head Librarian, Music Library and Archive of Recorded Sound.

Stanford University Libraries and Academic Information Resources ©2008.


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