Mexican american and southwest

L.M. Spell: Music in Texas (Austin, 1936)

V.T. Mendoza, ed.: El corrido mexicano (Mexico City, 1954)

J.D. Robb, ed.: Hispanic Folk Songs of New Mexico (Albuquerque, 1954)

M. Simmons: The Mexican Corrido as a Source of an Interpretive Study of Modern Mexico (1870–1950) (Bloomington, IN, 1957)

A. Paredes: With his Pistol in his Hand: a Border Ballad and its Hero (Austin, 1958)

J.B. Rael: The New Mexican Alabado (Stanford, 1951/R)

R.B. Stark: Music of the Spanish Folk Plays in New Mexico (Santa Fe, 1969)

A. Paredes: A Texas-American Cancionero: Folksongs of the Lower Border (Urbana, IL, 1976/R) [score]

D.W. Dickey: The Kennedy Corridos: a Study of the Ballads of a Mexican-American Hero (Austin, 1978)

R.B. Stark, ed.: Music of the ‘Bailes’ in New Mexico (Santa Fe, 1978) [score]

J.D. Robb: Hispanic Folk Music of New Mexico and the Southwest: Self-Portrait of a People (Norman, OK, 1980) [score]

M. Peña: The Texas-Mexican Conjunto: History of a Working-Class Music (Austin, 1985)

M. Peña: ‘Ritual Structure in a Chicano Dance’, LAMR, i (1980), 47–73

P. Poveda: ‘Danza de concheros en Austin, Texas: entrevista con Andrés Segura’, LAMR, ii (1981), 280–99

M. Peña: ‘From ranchero to jaitón: Class and Ethnicity in Texas-Mexican Music’, EthM, xxix (1985), 29–55

B. Romero: The Matachines Music and Dance in San Juan Pueblo and Alcalde, New Mexico: Contexts and Meanings (diss., UCLA, 1993)

S. Loza: Barrio Rhythm: Mexican American Music in Los Angeles (Urbana, IL, 1993)

A. Paredes: Folklore and Culture in the Texas Mexican Border (Austin, TX, 1993)

J. Limón: Dancing with the Devil: Society and Cultural Poetics in Mexican American South Texas (Madison, WI, 1994)

R.R. Flores: Los Pastores: History and Performance in the Mexican Shepherds’ Play of South Texas (Washington DC, 1995)

M. Herrera-Sobek: Northward Bound: the Mexican Immigrant Experience in Ballad and Song (Bloomington, IN, 1993)

P.J. García: ‘The New Mexican Early Ballad Tradition: Reconsidering the New Mexican Folklorists' Contribution to Songs of Intercultural Conflict’, LAMR, xvii (1996), 150–71

J. Koegel: ‘Village Music Life Along the Río Grande: Tomé, New Mexico Since 1739’, LAMR, xviii (1997), 173–251

M. Peña: Música Tejana: the Cultural Economy of Artistic Transformation (College Station, TX, 1999)

M. Peña: The Mexican American Orquestra (Austin, 1999)

USA, §II: Traditional music: Bibliography

Caribbean and portuguese, american and urban popular music

M.C. Hare: ‘Portuguese Folk-Songs from Princetown, Cape Cod, Mass.’, MQ, xxiv (1928), 35–53

R.L. Singer: ‘Tradition and Innovation in Contemporary Latin Popular Music in New York City’, LAMR, iv (1983), 183–202

J. Duany: ‘Popular Music in Puerto Rico: Toward an Anthropology of salsa’, LAMR, v (1984), 186–216

P. Manuel, ed.: Essays on Cuban Music: North American and Cuban Perspectives (Lanham, MD, 1991)

G. Béhague, ed.: Music and Black Ethnicity: the Caribbean and South America (New Brunswick, NJ and London, 1994)

R. Glasser: My Music is my Flag: Puerto Rican Musicians and their New York Communities, 1917–1940 (Berkeley, 1997)

S. Loza: Tito Puente and the Making of Latin Music (Urbana, IL, 1999)

J.S. Roberts: Latin Jazz: the First of the Fusions, 1880s to Today (New York, 1999)

USA, §II: Traditional music: Bibliography

Amerindian

F.G. Speck, L. Broom and W.W. Long: Cherokee Dance and Drama (Berkeley, 1951/R)

R.D. Theisz and Ben Black Bear: Songs and Dances of the Lakota (Rosebud, SD, 1976)

T. Vennum: The Ojibwa Dance Drum: its History and Construction (Washington, DC, 1982)

C. Heth, ed.: Sharing a Heritage: American Indian Arts (Los Angeles, 1984)

J.D. Sweet: Dances of the Tewa Pueblo Indians (Santa Fe, 1985)

G.P. Kurath: Half a Century of Dance Research (Flagstaff, AZ, 1986)

L.F. Huenemann: ‘Dakota/Lakota Music and Dance’, in The Arts of South Dakota, ed. R. McIntyre and R.L. Bell (Sioux Falls, SD, 1988)

G.P. Horse Capture: Powwow (Cody, WY, 1989)

W. Smyth, ed.: Songs of Indian Territory: Native American Music Traditions of Oklahoma (Oklahoma City, OK, 1989) [incl. cassette]

W.K. Powers: War Dance: Plains Indian Musical Performance (Tucson, AZ, 1990)

C. Heth, ed.: Native American Dance: Ceremonies and Social Traditions (Washington, DC, 1992)

A. Herle: ‘Dancing Community: Powwow and Pan-Indianism in North America’, Cambridge Anthropology, xvii/2 (1994) [special issue Living Traditions: Continuity and Change, Past and Present]

Recordings

Apache Music of the American Indian, Library of Congress AFS L42

Love Songs of the Lakota, Indian House IH 4315

Songs of the Arizona Apache, Canyon 705

Songs of the Sioux, Library of Congress AAFS L23 (1951)

Songs and Dances of the Flathead Indians, Folkways P445 (1953)

The Eskimos of Hudson Bay amd Alaska, Folkways FE 4444 (1954)

Indian Music of the Pacific Northwest Coast, coll. I. Halpern, Folkways FE 4523 (1967)

Sioux Favorites, Canyon 6059 (1968)

Iroquois Social Dance Songs, Iroqrafts QC 727, 728, 729 (1969)

Pueblo Indian Songs from San Juan, Canyon 6065 (1969)

Cloud Dance Songs of San Juan Pueblo, Indian House IH 1102 (1972)

Crow Celebration: Ten Great Drums at Crow Fair, Canyon 6089 (1973)

Music of the Alaskan Kutchin Indians, Folkways 4253 (1974)

Songs from the Blood Reserve, perf. Kai-Spai Singers, Canyon 6133 (1975)

Songs of Earth, Water, Fire and Sky, New World NW 80246 (1976)

Songs of the White Mountain Apache, Canyon 6165 (1977)

Stomp Dance, 1–4, Indian House IH 3003, 3004, 3005, 3006 (1978)

Oku Shareh: Turtle Dance Songs of the San Juan Pueblo, New World NW 80301 (1979)

Seneca Social Dance Music, coll. M.F. Riemer, Folkways FE 4072 (1980)

Songs of the Sioux, perf. Ironwood Singers, Indian House IH 4321 (1980)

Songs and Dances of the Eastern Indians from Medicine Spring and Allegany, New World NW 80337 (1985)

Powwow Songs: Music of the Plains Indians, New World NW 80343 (1986)

Honor the Earth Powwow: Songs of the Great Lake Indians, Rykodisc RCD 10199 (1991)

Creation's Journey: Native American Music, Smithsonian/Folkways 40410 (1994)

American Warriors: Songs for Indian Veterans, Rykodisc RCD 10370 (1997)

Inuit

J. Murdoch: ‘The Ethnological Results of the Point Barrow Expedition’, Annual Report of the Bureau of American Ethnology, ix (1892), 3–441

E.W. Nelson: The Eskimo about Bering Strait (Washington DC, 1899/R)

E.W. Hawkes: The Dance Festivals of the Alaskan Eskimo (Philadelphia, 1914)

D. Jenness: ‘Eskimo Music in Northern Alaska’, MQ, viii (1922), 377–83

M. Lantis: ‘Social Culture of the Nunivak Eskimo’, Transactions of the American Philosophical Society, xxxvi (1946), part 3

E. Groven: Eskimo melodier fra Alaska: Helqe Ingstads samling av opptak fra Nunamiut studier over Tonesystemer og rythmer [Eskimo melodies from Alaska: Helqe Ingstad’s Nunamiut collection studied with regard to tonal and rhythmic system] (Oslo, 1956)

The Eskimos of Hudson Bay and Alaska, coll. L. Boulton, Folkways P 444 (1956) [sound disc]

R. Spencer: The North Alaskan Eskimo: a Study in Ecology and Society (Washington, DC, 1959/R)

C.C. Hughes: An Eskimo Village in the Modern World (Ithaca, NY, 1960)

J.L. Giddings: Kobuk River People (Fairbanks, AK, 1961)

J.W. VanStone: Point Hope: an Eskimo Village in Transition (Seattle, 1962)

W. Oswalt: Napaskiak: an Alaskan Eskimo Community (Tucson, AZ, 1963)

N.J. Gubser: The Nunamiut Eskimos: Hunters of Caribou (New Haven, CT, 1965)

Alaskan Eskimo Songs and Stories, coll. L.D. Koranda, U. of Washington Press UWP 902 (1972) [sound disc]

L.A. Waller: ‘Eskimo Dance and Cultural Values in an Alaskan Village’, Dance Research Journal, viii/1 (1975–6), 7–12

T. Johnston: Eskimo Music by Region: a Comparative Circumpolar Study (Ottawa, 1976)

T. Johnston: ‘The Eskimo Songs of Northwestern Alaska’, Arctic, xxix (1976), 7–19

T.L. Pulu and others, eds.: Inupiat Dance Songs (Anchorage, AK, 1979)

L.D. Koranda: ‘Music of the Alaskan Eskimos’, in Musics of Many Cultures, ed. E. May (Berkeley, 1980), 332–62

M. Maguire: American Indian and Eskimo Music: a Selected Bibliography through 1981 (Washington, DC, 1983)

USA, §II: Traditional music: Bibliography

Asian american

General

Asian Music in North America: Los Angeles 1984 [Selected Reports in Ethnomusicology, vi (1985)]

Chinese

R. Riddle: ‘Music Clubs and Ensembles in San Francisco's Chinese Community’, in Eight Urban Musical Cultures: Tradition and Change, ed. B. Nettl (Urbana, IL, 1978), 223–59

R. Riddle: Flying Dragons, Flowing Streams: Music in the Life of San Francisco's Chinese (Westport, CT, 1983)

S. Lydon: Chinese Gold: the Chinese in the Monterey Bay Region (Capitola, CA, 1985)

I.K.F. Wong: ‘The Many Roles of Peking Opera in San Francisco in the 1980s’, Selected Reports in Ethnomusicology, vi (1985), 173–88

J. Chen: ‘American Opera, Chinese American Reality’, East Wind, v/1 (1986), 14–17

M. Hom: Songs of Gold Mountain (Berkeley, 1987)

S. Asai: ‘The Afro-Asian Jazz Connection’, Views on Black American Music, iii (1985–8), 7–11

L.L. Mark: ‘The Role of Avocational Performers in the Preservation of Kunqu’, Chinoperl Papers, xv (1990), 95–114

L. Dong: ‘The Forbidden City Legacy and its Chinese American Women’, in Chinese America: History and Perspectives (San Francisco, 1992), 125–48

Zheng Su: Immigrant Music, Transnational Discourse: Chinese American Music Culture in New York City (diss., Wesleyan U., 1993)

Zhang Weihua: ‘Fred Ho and Jon Jang: Profiles of Two Chinese American Jazz Musicians’, Chinese America: History and Perspectives (San Francisco, 1994), 175–200

Zhang Weihua: The Musical Activities of the Chinese American Communities in the San Francisco Bay Area: a Social and Cultural Study (diss., U. of California, Berkeley, 1994)

Japanese

K. Onishi: ‘“Bon” and “Bon odori” in Hawaii’, Social Process in Hawaii, iv (1938), 49

M. Kodani: Hōraku (Los Angeles, 1979)

S. Asai: ‘Hōraku: a Buddhist Tradition of Performing Arts and the Development of Taiko Drumming in the United States’, Asian Music in North America: Los Angeles 1984 [Selected Reports in Ethnomusicology, vi (1985)], 163–72

D. Takehara: ‘Jazz Pianist Combines Music with Politics’, Rafu Shimpo [Los Angeles] (21 May 1990)

M. Schulze: ‘New Group Devoted to Ancient Japanese Music’, Hokubei Mainichi [San Francisco] (10 Jan 1992)

S.M. Asai: ‘Transformations of Tradition: Three Generations of Japanese American Music Making’, MQ, lxxix (1995), 429–53

S. Asai: ‘Sansei Voices in the Community: Japanese American Musicians in California’, Musics of Multicultural America: a Study of Twelve Musical Communities, ed. K. Lornell and A.K. Rasmussen (New York, c1997), 257–85

Korean

Song Bang Song: ‘The Korean-Canadians: a Consideration of their Musical Behavior in Canadian Society’, Korea Journal, xviii (1978), 32–41

R. Riddle: ‘Korean Musical Culture in Los Angeles’, Asian Music in North America: Los Angeles 1984 [Selected Reports in Ethnomusicology, vi (1985)], 189–96

R.A. Sutton: ‘Korean Music in Hawaii’, AsM, xix (1987), 99–120

M. Dilling: ‘Kumdori Born Again in Boston: the Life Cycle of Music by a Korean American’, Korean Culture, xv (1994), 14–25

D. Wong: ‘I Want a Microphone: Mass Mediation and Agency in Asian American Popular Music’, Drama Review, xxxviii (1994), 152–67

Ben Kim: ‘The Solid Gold Mountain: Korean Americans Plug into the “Indie Rock” Lifestyle and Crank it up’, KoreAm Journal (March, 1995), 3–5

P. Myo-Young Choy: ‘Korean Music and Dance’, The Asian American Encyclopedia, ed. F. Ng (New York, 1995), 914–20

O. Wang: ‘DeclarAsians of Independence’, AsianWeek, xvii/38 (17–23 May, 1996)

South Asian

R.E. Brown: ‘Intercultural Exchange and the Future of Traditional Music in India’, Contributions to Asian Studies, xii (1978), 20

D.M. Neuman: ‘Journey to the West’, ibid., 40

D. Reck: ‘The Neon Electric Saraswati’, ibid., 3

B.C. Wade: ‘Indian Classical Music in North America: Cultural Give and Take’, ibid., 29

M.P. Fisher: The Indians of New York City: a Study of Immigrants from India (New Delhi, 1980)

V. Kaiwar and S. Mazumdar, eds.: ‘Immigration to North America’, South Asia Bulletin, ii/1 (1982) [complete issue]

P. Manuel: Popular Musics of the Non-Western World: an Introductory Survey (New York, 1988)

G. Ruckert: Introduction to the Classical Music of North India (Staunton, VA, 1991)

G. Farrell: Indian Music and the West (Oxford, 1997)

South-East Asian

J.R. Brandon: Theatre in Southeast Asia (Cambridge, MA, 1967)

P. Duy: Musics of Vietnam (Carbondale, IL, 1975)

E. Mareschal: La musique des Hmong (Paris, 1976)

A. Catlin: Music of the Hmong: Singing Voices and Talking Reeds (Providence, RI, 1981)

A. Catlin: ‘Speech Surrogate Systems of the Hmong: From Singing Voices to Talking Reeds’, in The Hmong in the West: Observations and Reports, ed. B.T. Downing and D.P. Olney (Minneapolis, MN, 1982), 170–97

T. Miller: ‘The Survival of Lao Traditional Music in America’, Selected Reports in Ethnomusicology, vi (1985), 99–109

R. Trimillos: ‘Music and Ethnic Identity: Strategies among Overseas Filipino Youth’, YIFMC, xviii (1986), 9–20

G. Giuriati: Khmer Traditional Music in Washington, DC (diss., U. of Maryland, 1988)

Sam Sam-Ang: The Pin Peat Ensemble: its History, Music and Context (diss., Wesleyan U., 1988)

A. Reyes Scramm: ‘Vietnamese Traditional Music: Variations on a Theme’, Nhac Viêt, iv (1995), 7–24

Hmong Musicians in America, videotape, dir. A. Catlin APSARA Media for Intercultural Education (Van Nuys, CA, 1997)

Unit orchestra.

The name originally given by Robert Hope-Jones to the type of organ he designed to substitute for instrumental players in theatres. It later became better known as the Cinema organ (in the USA, the theater organ).

Unit organ.

A type of Extension organ. See also Organ, §VI, 4.

Universal Edition.

Austrian firm of publishers.

History.

Universal Edition (UE) was founded in Vienna on 1 June 1901 by three Viennese publishers: Josef Weinberger, Adolf Robitschek and Bernhard Herzmansky sr (of Doblinger). The original idea probably came from Weinberger and the banker Josef Simon (Johann Strauss’s brother-in-law). UE’s initial aims were described in the Neue Wiener Tagblatt on 9 August 1901: ‘The new music publisher is a joint venture founded by leading publishers of Austria-Hungary. … As well as publishing the classics and significant instructive works, it will also publish compositions by important modern masters’. The main purpose of UE at the outset was to provide an Austrian edition of the standard repertory which could compete successfully with those of Peters and Breitkopf & Härtel. The firm’s financial position was strengthened by the instruction from the Austrian Ministry of Education on 5 July 1901 that all Austrian music schools should buy UE publications in preference to German editions. Further stability was offered by Weinberger who undertook to purchase a substantial quantity of UE’s output. Weinberger also provided the firm with its first premises, in his own building at 11 Maximilianstrasse (later Mahlerstrasse). In 1914 it moved to the Musikvereinsgebäude where it remains. In 1904 UE purchased the firm of Aibl, which had published a number of major works by Richard Strauss and Reger. The rapid expansion of the catalogue was made possible not only by such outright purchases, but also by issuing under licence, in UE wrappers, a large number of works from other publishers.

In 1907 Emil Hertzka (b Budapest, 3 Aug 1869; d Vienna, 9 May 1932) was appointed managing director of UE, with far-reaching consequences. Along with the senior editor Josef V. von Wöss Hertzka changed the firm’s publishing policy, concentrating almost exclusively on new music. He presided over the most exciting years in UE’s history and after his death Paul Stefan wrote: ‘When the history of the music of our time is written, Hertzka’s name will stand above all others as the great originator’. Alfred Kalmus joined the firm in 1909; he remained until his death in 1972, apart from the years 1923–5 when he established the Wiener Philharmonischer Verlag. Hans Heinsheimer joined in 1923 as head of the opera department, a post he held until 1938. Alfred Schlee (b Dresden, 19 Nov 1901; d Vienna, 16 Feb 1999) began working for the company in 1927.

Hertzka’s successors were Hugo Winter and Kalmus, but the changing political climate drove Kalmus to leave Vienna in 1936, the year he established UE London, and in 1938 Winter was dismissed by the Nazis; Heinsheimer left Vienna on 11 March 1938, the day before the Anschluss. In 1940 all the shares in UE were acquired by Johannes Petschull (b Diez, 8 May 1901), who also worked as managing director of C.F. Peters during the war years. Alfred Schlee remained in Vienna throughout the war, maintaining such contact as was possible with UE composers and, in particular, helping Webern by employing him as arranger and reader. Schlee also made frequent trips to Switzerland during the war, usually to promote Webern’s music and to acquire Rolf Liebermann and Frank Martin for UE. The rapid reconstruction of UE after the war owed much to the energetic initiatives of Schlee in Vienna and Kalmus in London. In 1949 the London branch became independent from Boosey & Hawkes under whose aegis it had operated during the war; on 5 June 1951 UE Vienna was re-established, with restoration of all the original shareholders’ rights and three directors: Schlee, Kalmus and Ernst Hartmann. From that time UE, both in Vienna and London, once again established itself as the pre-eminent European publisher of modern music, a position which it maintains with authority to the present day. The remarkable achievement of UE was well described by Franz Schreker in 1926: ‘It has not only encouraged and sponsored the modern music movement, it has founded it’. Wiener Urtext Edition was established by UE in succession to the Wiener Urtext Ausgabe, and European American Music was founded in New Jersey in 1977; both enterprises were jointly funded with Schott. In 1999 EAM changed operation to EAMDC joining forces with Warner in Miami.

Publications.

UE’s publisher's numbers are, in general, reliably chronological. The firm issued 400 titles in its first year of business (1901), passing the stated original target of 1000 titles in 1904 and reaching 3200 in the Spring 1911 supplement to the 1910 complete catalogue. The 1937 Gesamt-Katalog lists over 10,000 titles. The catalogue has continued to grow at a considerable rate since the war; by the time UE celebrated its 75th anniversary in 1976 the main numerical series had exceeded 15,000. In 1992 the firm began a new sequence of numbers beginning at 30,000.

In UE’s early years, from 1901 to 1907, most of its publications were of the classics. Their editing and arranging was entrusted to some of Vienna's leading musicians, including Hellmesberger, Heuberger, Kienzl, Rosé, Schenker, Schoenberg and Zemlinsky. With the appointment of Hertzka as director in 1907 the policy of publishing new music became apparent almost at once: among the ‘recent publications’ listed in the 1910 catalogue are new works by Korngold, Mahler, Schoenberg, Schreker and Zemlinsky. Hertzka made contracts with many of the most important composers of the time, excepting Hindemith, Stravinsky, Prokofiev and the French school. The list of composers contracted to UE before 1938 is imposing: Bartók, Berg, Casella, Delius, Gál, Hába, Hauer, Janáček, Kodály, Krása, Krenek, Mahler, Malipiero, Novák, Schmidt, Schoenberg, Schreker, Schulhoff, Szymanowski, Webern, Weill, Weinberger, Wellesz and Zemlinsky, among many others.

With such composers as these it is hardly surprising that UE published many of the most significant works of the time. The firm’s pre-war opera catalogue is particularly notable, including Bartók’s Bluebeard’s Castle (1922), Berg’s Wozzeck (1926) and Lulu (1936), Max Brand’s Maschinist Hopkins (1929), Gál’s Die heilige Ente (1922), Janáček’s Jenůfa (1917), Mr Brouček’s Excursions (1919), Kát’a Kabanová (1922), The Cunning Little Vixen (1924), The Makropulos Affair (1926) and From the House of the Dead (1930), Kodály’s Háry János (1929), Krenek’s Jonny spielt auf (1926), Schoenberg’s Erwartung and Die glückliche Hand (both 1916), Schreker’s Der ferne Klang (1911, vocal score by Berg), Weill’s Dreigroschenoper (1928) and Aufstieg und Fall der Stadt Mahagonny (1930), Weinberger’s Schwanda the Bagpiper (1927) and Zemlinsky’s Der Zwerg (1921). In other genres UE’s list before 1938 is scarcely less impressive, with Bartók’s The Miraculous Mandarin (1927) and Music for Strings, Percussion and Celesta (1937), Berg’s Violin Concerto (1936), Janáček’s Sinfonietta (1927) and Glagolitic Mass (1928), Kodály’s Psalmus hungaricus (1924), Mahler’s Das Lied von der Erde (1911) and Ninth Symphony (1912), Schoenberg’s Gurre-lieder (1912, vocal score by Berg), First Chamber Symphony (1912) and Pierrot lunaire (1914), Webern’s Passacaglia op.1 (1922) and Zemlinsky’s Lyric Symphony (1923).

From the time of the Anschluss on 12 March 1938 until the end of the war, UE’s activities were much curtailed; nevertheless, several interesting works were issued by the firm. Only two serve as a grim reminder of the period – Franz Schmidt’s posthumous work Deutsche Auferstehung (1940) and Josef Reiter’s Festgesang an den Führer des deutschen Volkes (1938), a cantata in praise of Hitler. Important publications include Webern’s Das Augenlicht (April 1938), Schmidt’s Das Buch mit sieben Siegeln (1938), Wagner-Régeny’s Johanna Balk (1941, vocal score by Webern), Schoeck’s Schloss Dürande (1942, vocal score by Webern) and Frank Martin’s Le vin herbé (1943), the first of his many works brought out by the firm. After the war UE published works by Berio, Boulez, Bussotti, Cerha, Dallapiccola, Einem, Cristóbal, Halffter, Haubenstock-Ramati, Kagel, Kurtág, Ligeti, Pärt, Pousseur, Rihm, Schnittke, Skalkottas, Stockhausen and Takemitsu. Among the most notable publications are Boulez’s Le marteau sans maître (1955), Stockhausen’s Studie II (1956, the first electronic music to be published), Ligeti's Atmosphères (1961), Kagel’s Staatstheater (1967), Berio’s Sinfonia (1972) and Pärt's Fratres. The younger generation of composers are represented by Georg Friedrich Haas, Furrer and Sotelo.

The firm has an established tradition of issuing periodicals. Much the most important of these was Musikblätter des Anbruch (1919–38; Anbruch from 1929), the leading journal of new music, with an inevitable bias towards UE composers. Other journals include Pult und Taktstock (1924–30; ed. E. Stein, 1924–7), Musica divina (1913–38), Schrifttanz (1928–31), the Haydn Yearbook (1962–75) and Die Reihe (1955–62). Since 1968, UE has been publishing the Studien zur Wertungs-forschung (ed. O. Kolleritsch).

UE’s book catalogue is also substantial, including Schoenberg’s Harmonielehre (1911), Schenker’s series of Beethoven analyses, Hauer’s theoretical writings and Hába’s Harmonielehre (1927). UE has also been active as a publisher of educational music: the Rote Reihe, started in the 1960s, is a comprehensive attempt to apply new educational methods to the teaching of avant-garde music.

From the start, most of UE’s engraving and printing was done by R.v. Waldheim, Josef Eberle & Co. (later called Waldheim-Eberle). In 1960 however, UE purchased the Wiener Notenstecherei which serves as the firm’s production department.

UE London was founded by Alfred Kalmus on 1 July 1936 and publishes new music by such British and American composers as David Bedford, Bennett, Birtwistle, Earle Brown, Feldman, Finnissy, Simon Holt, Hoyland, Muldowney, Osborne, Patterson, Rands and Schafer.

UE London’s 50th anniversary in 1986 saw the highly successful première of one of its most important publications, Birtwistle’s The Mask of Orpheus. The three young composers in the UE London catalogue are David Sawer, Julian Yu and Jan Wilson. In 1999, Robert Thompson founded UE Inc. New York establishing relationships with composers such as Osvaldo Golijov and Gabriela Ortíz.

BIBLIOGRAPHY

H. Heinsheimer and P. Stefan, eds.: 25 Jahre neue Musik: Jb 1926 der Universal-Edition (Vienna, 1926)

Universal-Edition Gesamt-Katalog 1937 (Vienna, 1937)

H.W. Heinsheimer: Menagerie in F Sharp (New York, 1947)

1901 bis 1951 Universal Edition Wien (Vienna, 1951)

H.-M. Plesske: ‘Bibliographie des Schrifttums zur Geschichte deutscher und österreichischer Musikverlage’, Beiträge zur Geschichte des Buchwesens, iii (1968), 135–222

E. Hilmar: 75 Jahre Universal Edition (1901–1976) (Vienna, 1976) [exhibition catalogue]

R. Klein: ‘Kodály és az Universal Edition’, Magyar zenetörténeti tanulmámyok Zoltan Kodály (Budapest, 1977), 136–50

H. Schneider: Katalog Nr. 205: 75 Jahre Universal Edition (1901–1976) (Tutzing, 1977)

A.H. Bartosch: ‘Prozessbeendigung in Sachen Lulu: Einigung über Beachtung und Interessensphären’, ÖMz, xxxv (1980), 300–01

T. Chylinska: Karol Szymanowski: Briefwechsel mit der Universal Edition (Vienna, 1981)

R. Stephan: ‘Ein Blick auf die Universal Edition: aus Anlass von Alfred Schlees 80. Geburtstag’, ÖMz, xxxvi (1981), 639–45

M.G. Hall: Österreichische Verlagsgeschichte 1918–1938 (Vienna, 1985)

Burnett & Simeone Ltd: Catalogue 22: Universal Edition (Tunbridge Wells, 1988)

E. Hilmar: Leoš Janáček: Briefe an die Universal Edition (Tutzing, 1988)

N. Simeone: The First Edition of Leoš Janáček (Tutzing, 1991)

N. Simeone: ‘A Tale of Two Vixens: Janáček's Relationship with Emil Hertzka at Universal Edition and the 1924 and 1925 Editions of The Cunning Little Vixen’, Sundry Sorts of Music Books: Essays on the British Library Collections Presented to O.W. Neighbour on his 70th Birthday, ed. C. Banks, A. Searle and M. Turner (London, 1993), 319–29

NIGEL SIMEONE

Universal Music Group.

Multi-national recording and music publishing organization. Formed in 1996 and owned by the Canadian firm Seagram Company Ltd, Universal Music Group is one of the world’s leading music companies, with record operations in 59 countries around the world. Among the company’s record labels are A&M, Decca, Deutsche Grammophon, Geffen, GRP, MCA, Mercury, Motown, Philips, Polydor, Universal and Verve. Universal Music Publishing Group, part of the Universal Music Group, is one of the industry’s largest global music publishing operations. Its antecedents may be traced back to 1924 with the formation of the talent agency Music Corporation of America (MCA). In 1964 MCA Music Publishing began to take shape with the purchase of Leeds Music and Duchess Music. Over the next three decades, the division grew to include over 150,000 copyrights; and it represents, wholly or in part, nearly 200 publishers’ imprints. Classical, popular and educational music titles are included in its catalogue. MCA was acquired by Matsushita Electric Industrial Company Ltd in 1991 and by Seagram Company Ltd in 1995.

MARK JACOBS/R

Universities.

This article examines the history of the study of music at university level.

I. Middle Ages and Renaissance, to 1600

II. 1600–1945

III. After 1945

CHRISTOPHER PAGE (I), WILLIAM WEBER (II), JEAN GRIBENSKI (III, 1), DAVID HILEY (III, 2), CAROLYN GIANTURCO (III, 3), HOWARD E. SMITHER (III, 4), PETER DICKINSON (III, 5)

Universities

⇐ Предыдущая45678910111213Следующая ⇒

Поделиться: