Don Michael Randel - The Harvard Dictionary of Music

THE HARVARD DICTIONARY OF MUSIC

Editorial Board

LENORE CORAL

Music Librarian

Cornell University

RICHARD CRAWFORD

University of Michigan

DAVID HAMILTON

Music critic

CYNTHIA ADAMS HOOVER

Curator of Musical Instruments

Smithsonian Institution

LEWIS LOCKWOOD

Harvard University

BRUNO NETTL

University of Illinois

HAROLD S. POWERS

Princeton University

EUGENE K. WOLF

University of Pennsylvania

CHRISTOPH WOLFF

Harvard University

Edited by DON MICHAEL RANDEL

Fourth Edition

Copyright 1986, 2003 by the President and Fellows of Harvard College

All rights reserved

Printed in the United States of America

Instrument drawings by Carmela Ciampa and Laszlo Meszoly.

Musical examples by A-R Editions, Inc.

Library of Congress Cataloging-in-Publication Data

The Harvard dictionary of music / edited by Don Michael Randel.4th ed.

p. cm.

Fourth edition proceeds rather directly from New Harvard dictionary of musicPref.

Includes bibliographical references.

ISBN 0-674-01163-5 (alk. paper)

1. MusicDictionaries. I. Randel, Don Michael.

ML100.H37 2003 780.3dc22 2003058262

Whereas The New Harvard Dictionary of Music relied very little on the first two editions of The Harvard Dictionary of Music, this fourth edition does proceed rather directly from its predecessor. Numerous changes, including outright additions and deletions, have been incorporated, however. These reflect new developments in musical scholarship, especially the expanding range of subjects now being studied by scholars, as well as the fact that the world and its political boundaries have changed substantially since the last edition. Revised bibliographies point to recent literature but do not cite larger standard reference works.

I am very grateful to all of the contributors listed in the following pagesboth those who contributed first to the previous edition and those whose work appears for the first time in the present edition. Members of the Editorial Board have been very helpful in suggesting revisions and in recruiting new contributors.

In the course of the preparation of this edition, the locus of activity changed from Cornell University to the University of Chicago. Thus, I must now thank assistants at both institutions. At the University of Chicago and new to this project are Peter Martens, Ryan Minor, and Pelarin Bacos. Those at Cornell University are listed in the Preface to the previous edition. The libraries of both institutions have of course provided essential support.

As always, the staff at Harvard University Press has been extraordinarily professional and helpful. I am especially grateful to Margaretta Fulton for her work on dictionary projects going back now over twenty-five years. Her labors on this edition have been more essential than ever.

Don Michael Randel

Chicago, Illinois

The present dictionary carries on the tradition of the first and second editions of the Harvard Dictionary of Music, edited by Willi Apel. The greatly expanded scope of current musical scholarship and changes in the character of musical life in recent decades, however, have made it necessary to conceive the dictionary afresh. As a result, The New Harvard Dictionary of Music includes only a handful of articles based on the earlier dictionaries. The coverage of non-Western and popular music and of musical instruments of all cultures has been much enlarged. Within the tradition of Western art music, which remains its central concern, the dictionary reflects recent scholarship on all periods and the growing proportion of scholarship and criticism devoted to more recent music. On all of these topics, it aims, like its predecessors, to serve as a convenient reference work for laymen, students, performers, composers, scholars, and teachers.

The bibliographies that accompany many of the articles will serve as guides to further reading. These bibliographies do not in general cite other standard reference works, however. Both general and specialized reference works are listed in the article Dictionaries and encyclopedias.

In addition to the editorial board and the contributors who are listed on the following pages, numerous people helped to make this book possible. Principal among these were assistants in Ithaca, New York, who did research, verified bibliographies and other information, keyboarded material by contributors, and drafted or wrote many of the unsigned articles. These assistants (with the special areas, if any, in which they worked) included Matthew Brown (theory), Jennifer Brown (bibliography), William Cowdery, Charlotte Greenspan (opera, individual countries), Bettie Jean Harden, Christopher C. Hill (a broad range of medieval and other topics), Paul Horsley (individual countries), Barry Kernfeld (jazz and popular music), Mark S. Laporta (theory), Wayne Schneider (individual works), Robert Seletsky (performance practice), John Spitzer (instruments used in non-Western and popular music), Shirlene Ward, and Patrick T. Will (popular music). Shirlene Ward was the chief assistant during the first years of the project, and Bettie Jean Harden was the chief assistant thereafter, playing a major role in the final typing, editing, bibliographical verification and updating, and proofreading. Dennis Libby, of South Paris, Maine, provided expert editorial assistance at several stages. Among those who gave valuable help on the use of computers were Tom Hughes, Dean Jacobs, and Ray Tim Teitelbaum. The project was housed in the Department of Music at Cornell University and could not have been carried out without the facilities and collection of the Cornell Music Library and the generous assistance of its staff, headed by Lenore Coral.

With the exception of the organ diagrams, which were drawn by Marcia Tucker, and the diagram of the modern piano action, for which thanks are due Steinway, the instrument drawings are by Carmela Ciampa and Laszlo Meszoly. Other line art was supplied by Deborah Schneck. Notation for Concert for Piano and Orchestra by John Cage, 1960 by Henmar Press Inc., is reproduced by permission of the publisher. Notation from in memoriam CRAZY HORSE (symphony) by Robert Ashley is reproduced by permission of the composer.

Don Michael Randel

Ithaca, New York