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57-536: Cardillac , Op. 39, is an opera by Paul Hindemith in three acts and four scenes. Ferdinand Lion wrote the libretto based on characters from the short story Das Fräulein von Scuderi by E. T. A. Hoffmann . The first performance was at the Staatsoper , Dresden, on 9 November 1926. It was promptly performed throughout Germany. The opera's Italian premiere took place in 1948 at the Venice Biennale as part of

114-426: A BMus or a BA in music (or a related field such as history) and in many cases an MA in musicology. Some individuals apply directly from a bachelor's degree to a PhD, and in these cases, they may not receive an MA. In the 2010s, given the increasingly interdisciplinary nature of university graduate programs, some applicants for musicology PhD programs may have academic training both in music and outside of music (e.g.,

171-506: A graduate school , supervising MA and PhD students, giving them guidance on the preparation of their theses and dissertations. Some musicology professors may take on senior administrative positions in their institution, such as Dean or Chair of the School of Music. The vast majority of major musicologists and music historians from past generations have been men, as in the 19th century and early 20th century; women's involvement in teaching music

228-501: A music catalogue , the opus number is paired with a cardinal number ; for example, Beethoven 's Piano Sonata No. 14 in C-sharp minor (1801, nicknamed Moonlight Sonata ) is "Opus 27, No. 2", whose work-number identifies it as a companion piece to "Opus 27, No. 1" ( Piano Sonata No. 13 in E-flat major , 1800–01), paired in same opus number, with both being subtitled Sonata quasi una Fantasia ,

285-435: A PhD from Harvard University . One of her best known works is Feminine Endings (1991), which covers musical constructions of gender and sexuality, gendered aspects of traditional music theory, gendered sexuality in musical narrative, music as a gendered discourse and issues affecting women musicians. Other notable women scholars include: A list of open-access European journals in the domains of music theory and/or analysis

342-413: A close focus, as in the case of scholars who examine the relationship between words and music for a given composer's art songs . On the other hand, some scholars take a broader view and assess the place of a given type of music, such as the symphony in society using techniques drawn from other fields, such as economics, sociology or philosophy. New musicology is a term applied since the late 1980s to

399-571: A composer's works, as in the sets of string quartets by Joseph Haydn (1732–1809) and Ludwig van Beethoven (1770–1827); Haydn's Op. 76, the Erdödy quartets (1796–97), comprises six discrete quartets consecutively numbered Op. 76 No. 1 – Op. 76 No. 6; whilst Beethoven's Op. 59, the Rasumovsky quartets (1805–06), comprises String Quartet No. 7, String Quartet No. 8, and String Quartet No. 9. From about 1800, composers usually assigned an opus number to

456-453: A composition, Prokofiev occasionally assigned a new opus number to the revision; thus Symphony No. 4 is two thematically related but discrete works: Symphony No. 4, Op. 47, written in 1929; and Symphony No. 4, Op. 112, a large-scale revision written in 1947. Likewise, depending upon the edition, the original version of Piano Sonata No. 5 in C major, is cataloged both as Op. 38 and as Op. 135. Despite being used in more or less normal fashion by

513-532: A historical instrument is usually part of conservatory or other performance training. However, many top researchers in performance practice are also excellent musicians. Music performance research (or music performance science) is strongly associated with music psychology. It aims to document and explain the psychological, physiological, sociological and cultural details of how music is actually performed (rather than how it should be performed). The approach to research tends to be systematic and empirical and to involve

570-553: A number of important early-twentieth-century composers, including Arnold Schoenberg (1874–1951) and Anton Webern (1883–1945), opus numbers became less common in the later part of the twentieth century. To manage inconsistent opus-number usages – especially by composers of the Baroque (1600–1750) and of the Classical (1720–1830) music eras – musicologists have developed comprehensive and unambiguous catalogue number-systems for

627-467: A specific musical composition, and by German composers for collections of music. In compositional practice, numbering musical works in chronological order dates from 17th-century Italy, especially Venice . In common usage, the word opus is used to describe the best work of an artist with the term magnum opus . In Latin, the words opus (singular) and opera (plural) are related to the words opera (singular) and operae (plural), which gave rise to

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684-731: A strong record of publishing in peer-reviewed journals. Some PhD-holding musicologists are only able to find insecure positions as sessional lecturers . The job tasks of a musicologist are the same as those of a professor in any other humanities discipline: teaching undergraduate and/or graduate classes in their area of specialization and, in many cases some general courses (such as Music Appreciation or Introduction to Music History); conducting research in their area of expertise, publishing articles about their research in peer-reviewed journals, authors book chapters, books or textbooks; traveling to conferences to give talks on their research and learn about research in their field; and, if their program includes

741-442: A student may apply with a BMus and an MA in psychology). In music education, individuals may hold an M.Ed and an Ed.D . Most musicologists work as instructors, lecturers or professors in colleges, [universities or conservatories. The job market for tenure track professor positions is very competitive. Entry-level applicants must hold a completed PhD or the equivalent degree and applicants to more senior professor positions must have

798-681: A substantial, intensive fieldwork component, often involving long-term residence within the community studied. Closely related to ethnomusicology is the emerging branch of sociomusicology . For instance, Ko (2011) proposed the hypothesis of "Biliterate and Trimusical" in Hong Kong sociomusicology. Popular music studies, known, "misleadingly", as popular musicology , emerged in the 1980s as an increasing number of musicologists, ethnomusicologists and other varieties of historians of American and European culture began to write about popular music past and present. The first journal focusing on popular music studies

855-525: A wide body of work emphasizing cultural study, analysis and criticism of music. Such work may be based on feminist , gender studies , queer theory or postcolonial theory, or the work of Theodor W. Adorno . Although New Musicology emerged from within historical musicology, the emphasis on cultural study within the Western art music tradition places New Musicology at the junction between historical, ethnological and sociological research in music. New musicology

912-546: A work of musical composition , a practice and usage established in the seventeenth century when composers identified their works with an opus number. In the eighteenth century, publishers usually assigned opus numbers when publishing groups of like compositions, usually in sets of three, six or twelve compositions. Consequently, opus numbers are not usually in chronological order, unpublished compositions usually had no opus number, and numeration gaps and sequential duplications occurred when publishers issued contemporaneous editions of

969-636: A work or set of works upon publication. After approximately 1900, they tended to assign an opus number to a composition whether published or not. However, practices were not always perfectly consistent or logical. For example, early in his career, Beethoven selectively numbered his compositions (some published without opus numbers), yet in later years, he published early works with high opus numbers. Likewise, some posthumously published works were given high opus numbers by publishers, even though some of them were written early in Beethoven's career. Since his death in 1827,

1026-425: Is a field of study that describes the elements of music and includes the development and application of methods for composing and for analyzing music through both notation and, on occasion, musical sound itself. Broadly, theory may include any statement, belief or conception of or about music ( Boretz , 1995) . A person who studies or practices music theory is a music theorist. Some music theorists attempt to explain

1083-494: Is concerned with the composition, performance, reception and criticism of music over time. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres (such as baroque concertos), the social function of music for a particular group of people, (such as court music), or modes of performance at a particular place and time (such as Johann Sebastian Bach's choir in Leipzig). Like

1140-470: Is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. Music historians create a number of written products, ranging from journal articles describing their current research, new editions of musical works, biographies of composers and other musicians, book-length studies or university textbook chapters or entire textbooks. Music historians may examine issues in

1197-486: Is sometimes considered more closely affiliated with health fields, and other times regarded as part of musicology proper. The 19th-century philosophical trends that led to the re-establishment of formal musicology education in German and Austrian universities had combined methods of systematization with evolution. These models were established not only in the field of physical anthropology , but also cultural anthropology . This

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1254-495: Is typically assumed to imply Western Art music of the European tradition. The methods of historical musicology include source studies (especially manuscript studies), palaeography , philology (especially textual criticism ), style criticism, historiography (the choice of historical method ), musical analysis (analysis of music to find "inner coherence") and iconography . The application of musical analysis to further these goals

1311-598: The Bach-Werke-Verzeichnis (BWV-number) and the Köchel-Verzeichnis (K- and KV-numbers), which enumerate the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart , respectively. In the classical period , the Latin word opus ("work", "labour"), plural opera , was used to identify, list, and catalogue a work of art. By the 15th and 16th centuries, the word opus was used by Italian composers to denote

1368-518: The Santa Fe Opera in 1967 using a staging by director Bodo Igesz . The New Opera Company presented the first staged UK performances in March 1970 at Sadler's Wells . The setting is Paris in the 17th century. Scene 1 The crowd is agitated about a series of recent mysterious murders. The police calm the crowd. The goldsmith Cardillac enters the scene and the atmosphere becomes hushed. The Lady asks

1425-589: The Venice Festival of Contemporary Music XI. Although Britain had to wait until 1970 for a staged performance, a concert performance was presented at the Queen's Hall , London, on 18 December 1936, with the BBC Symphony Orchestra conducted by Clarence Raybould , and starring Miriam Licette as Cardillac's daughter. Hindemith revised both the score and the text, for the reason that, according to Ian Kemp ,

1482-468: The Cavalier about the goldsmith Cardillac, and the Cavalier tells of the goldsmith and his priceless jewelry. The Lady promises the Cavalier a tryst that evening if he can bring her Cardillac's most beautiful work. Scene 2 The Lady and the Cavalier enjoy their tryst and the Cavalier delivers one of Cardillac's belts. A masked figure steals into the bedroom and fatally stabs the Cavalier. The Lady faints and

1539-533: The Gold Merchant of being the murderer's accomplice. In the ensuing ensemble, Cardillac's daughter realizes her father is the murderer. The crowd sings Cardillac's praises, but as they continue, his words make them wonder about the identity of the murderer. Finally, Cardillac reveals to the crowd that he is the murderer. They demand he repent his crimes, but he makes no such gesture. The crowd then lynches Cardillac. With his final gesture before dying, he reaches out for

1596-568: The Italian words opera (singular) and opere (plural), likewise meaning "work". In contemporary English, the word opera has specifically come to denote the dramatic musical genres of opera or ballet, which were developed in Italy. As a result, the plural opera of opus tends to be avoided in English. In other languages such as German, however, it remains common. In the arts, an opus number usually denotes

1653-511: The King and offers to create his greatest work of art for him. The Officer enters to ask Cardillac for his daughter's hand in marriage, and Cardillac consents. Though the Officer realizes how much Cardillac values his creations over his own daughter, he offers money for one of the goldsmith's chains. After the Officer leaves, Cardillac indicates that he himself is the murderer. In a tavern, the Officer wears

1710-964: The Mendelssohn heirs published (and cataloged) them as the Italian Symphony No. 4 in A major, Op. 90 , and as the Reformation Symphony No. 5 in D major and D minor, Op. 107 . While many of the works of Antonín Dvořák (1841–1904) were given opus numbers, these did not always bear a logical relationship to the order in which the works were written or published. To achieve better sales, some publishers, such as N. Simrock , preferred to present less experienced composers as being well established, by giving some relatively early works much higher opus numbers than their chronological order would merit. In other cases, Dvořák gave lower opus numbers to new works to be able to sell them to other publishers outside his contract obligations. This way it could happen that

1767-536: The case of Felix Mendelssohn (1809–47); after his death, the heirs published many compositions with opus numbers that Mendelssohn did not assign. In life, he published two symphonies ( Symphony No. 1 in C minor, Op. 11 ; and Symphony No. 3 in A minor, Op. 56 ), furthermore he published his symphony-cantata Lobgesang , Op. 52, which was posthumously counted as his Symphony No. 2; yet, he chronologically wrote symphonies between symphonies Nos. 1 and 2, which he withdrew for personal and compositional reasons; nevertheless,

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1824-466: The cases of César Franck (1822–1890), Béla Bartók (1881–1945), and Alban Berg (1885–1935), who initially numbered, but then stopped numbering their compositions. Carl Nielsen (1865–1931) and Paul Hindemith (1895–1963) were also inconsistent in their approaches. Sergei Prokofiev (1891–1953) was consistent and assigned an opus number to a composition before composing it; at his death, he left fragmentary and planned, but numbered, works. In revising

1881-426: The chain around the Officer's neck, not his daughter. The Officer and Cardillac's daughter swear mutual devotion. Opus number In music , the opus number is the "work number" that is assigned to a musical composition , or to a set of compositions, to indicate the chronological order of the composer 's publication of that work. Opus numbers are used to distinguish among compositions with similar titles;

1938-407: The chain, presenting himself as a target for the murderer. Cardillac enters and wounds the Officer, but the Officer beats back the attack and holds on to the chain. He advises Cardillac to flee. The Gold Merchant then brings on a crowd and accuses Cardillac of the murders. Cardillac is brought in, followed by his daughter. The Officer defends Cardillac, rebuts the Gold Merchant's accusation, and accuses

1995-567: The collection and analysis of both quantitative and qualitative data. The findings of music performance research can often be applied in music education. Musicologists in tenure track professor positions typically hold a PhD in musicology. In the 1960s and 1970s, some musicologists obtained professor positions with an MA as their highest degree, but in the 2010s, the PhD is the standard minimum credential for tenure track professor positions. As part of their initial training, musicologists typically complete

2052-505: The comparable field of art history , different branches and schools of historical musicology emphasize different types of musical works and approaches to music. There are also national differences in various definitions of historical musicology. In theory, "music history" could refer to the study of the history of any type or genre of music, such as the music of India or rock music . In practice, these research topics are more often considered within ethnomusicology and "historical musicology"

2109-419: The creation of melody . Music psychology applies the content and methods of psychology to understand how music is created, perceived, responded to, and incorporated into individuals' and societies' daily lives. Its primary branches include cognitive musicology , which emphasizes the use of computational models for human musical abilities and cognition, and the cognitive neuroscience of music , which studies

2166-415: The first four symphonies to be composed were published after the last five; and (c) the last five symphonies were not published in order of composition. The New World Symphony originally was published as No. 5, later was known as No. 8, and definitively was renumbered as No. 9 in the critical editions published in the 1950s. Other examples of composers' historically inconsistent opus-number usages include

2223-505: The musical idiom "seemed crude and undisciplined". This second version was first performed at the Zürich Stadttheater on 20 June 1952. Hans-Ludwig Schilling has published a comparison of the two versions. After 1953, Hindemith sanctioned only the 1952 revised version for theatrical performances. However, after the composer's death in 1963, the original version became available again for production. The American premiere took place at

2280-461: The mysterious figure leaves with the belt. The Gold Merchant mentions to Cardillac the latest murder that involved the theft of a recent work of Cardillac. The Gold Merchant has his suspicions about the identity of the murderer. Cardillac orders his daughter to watch over his work. She does so and awaits her lover, the Officer. Cardillac returns, and it becomes clear that he values the articles he has crafted more than he does his daughter. He then meets

2337-523: The only two of the kind in all of Beethoven's 32 piano sonatas. Furthermore, the Piano Sonata, Op. 27 No. 2, in C-sharp minor is also catalogued as "Sonata No. 14", because it is the fourteenth sonata composed by Ludwig van Beethoven. Given composers' inconsistent or non-existent assignment of opus numbers, especially during the Baroque (1600–1750) and the Classical (1750–1827) eras, musicologists have developed other catalogue-number systems; among them

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2394-475: The same opus number was given to more than one of his works. Opus number 12, for example, was assigned, successively, to five different works (an opera, a concert overture, a string quartet, and two unrelated piano works). In other cases, the same work was given as many as three different opus numbers by different publishers. The sequential numbering of his symphonies has also been confused: (a) they were initially numbered by order of publication, not composition; (b)

2451-417: The scholarly concerns once associated with new musicology already were mainstream in musicology, so that the term "new" no longer applies. Ethnomusicology , formerly comparative musicology, is the study of music in its cultural context. It is often considered the anthropology or ethnography of music. Jeff Todd Titon has called it the study of "people making music". Although it is most often concerned with

2508-434: The science and technology of musical instruments , and the musical implications of physiology, psychology, sociology, philosophy and computing. Cognitive musicology is the set of phenomena surrounding the cognitive modeling of music. When musicologists carry out research using computers, their research often falls under the field of computational musicology . Music therapy is a specialized form of applied musicology which

2565-413: The structural relationships in the (nearly always notated) music. Composers study music theory to understand how to produce effects and structure their own works. Composers may study music theory to guide their precompositional and compositional decisions. Broadly speaking, music theory in the Western tradition focuses on harmony and counterpoint , and then uses these to explain large scale structure and

2622-519: The study of non-Western music, it also includes the study of Western music from an anthropological or sociological perspective, cultural studies and sociology as well as other disciplines in the social sciences and humanities. Some ethnomusicologists primarily conduct historical studies, but the majority are involved in long-term participant observation or combine ethnographic, musicological, and historical approaches in their fieldwork. Therefore, ethnomusicological scholarship can be characterized as featuring

2679-648: The techniques composers use by establishing rules and patterns. Others model the experience of listening to or performing music. Though extremely diverse in their interests and commitments, many Western music theorists are united in their belief that the acts of composing, performing and listening to music may be explicated to a high degree of detail (this, as opposed to a conception of musical expression as fundamentally ineffable except in musical sounds). Generally, works of music theory are both descriptive and prescriptive, attempting both to define practice and to influence later practice. Musicians study music theory to understand

2736-501: The theory, analysis and composition of music. The disciplinary neighbors of musicology address other forms of art, performance, ritual, and communication, including the history and theory of the visual and plastic arts and architecture; linguistics , literature and theater ; religion and theology ; and sport. Musical knowledge is applied within medicine, education and music therapy—which, effectively, are parent disciplines of applied musicology. Music history or historical musicology

2793-399: The un-numbered compositions have been cataloged and labeled with the German acronym WoO ( Werk ohne Opuszahl ), meaning "work without opus number"; the same has been done with other composers who used opus numbers. (There are also other catalogs of Beethoven's works – see Catalogues of Beethoven compositions .) The practice of enumerating a posthumous opus ("Op. posth.") is noteworthy in

2850-433: The way that music perception and production manifests in the brain using the methodologies of cognitive neuroscience . While aspects of the field can be highly theoretical, much of modern music psychology seeks to optimize the practices and professions of music performance, composition, education and therapy. Performance practice draws on many of the tools of historical musicology to answer the specific question of how music

2907-405: The word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work. Opus numbers do not necessarily indicate chronological order of composition. For example, posthumous publications of a composer's juvenilia are often numbered after other works, even though they may be some of the composer's first completed works. To indicate the specific place of a given work within

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2964-510: The works of composers such as: Musicology Musicology is traditionally divided into three branches: music history , systematic musicology , and ethnomusicology . Historical musicologists study the history of musical traditions, the origins of works, and the biographies of composers. Ethnomusicologists draw from anthropology (particularly field research ) to understand how and why people make music. Systematic musicology includes music theory , aesthetics , pedagogy , musical acoustics ,

3021-559: Was Popular Music which began publication in 1981. The same year an academic society solely devoted to the topic was formed, the International Association for the Study of Popular Music . The association's founding was partly motivated by the interdisciplinary agenda of popular musicology though the group has been characterized by a polarized 'musicological' and 'sociological' approach also typical of popular musicology. Music theory

3078-539: Was a reaction against traditional historical musicology, which according to Susan McClary , "fastidiously declares issues of musical signification off-limits to those engaged in legitimate scholarship." Charles Rosen , however, retorts that McClary, "sets up, like so many of the 'new musicologists', a straw man to knock down, the dogma that music has no meaning, and no political or social significance." Today, many musicologists no longer distinguish between musicology and new musicology since it has been recognized that many of

3135-594: Was influenced by Hegel 's ideas on ordering "phenomena" which can be understood & distinguished from simple to complex stages of evolution. They are further classified into primitive & developed sections; whereas the particular stages of history are understood & distinguished as ancient to modern . Comparative methods became more widespread in musicology beginning around 1880. The parent disciplines of musicology include: Musicology also has two central, practically oriented sub-disciplines with no parent discipline: performance practice and research, and

3192-571: Was mainly in elementary and secondary music teaching . Nevertheless, some women musicologists have reached the top ranks of the profession. Carolyn Abbate (born 1956) is an American musicologist who did her PhD at Princeton University . She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". Susan McClary (born 1946) is a musicologist associated with new musicology who incorporates feminist music criticism in her work. McClary holds

3249-566: Was performed in various places at various times in the past. Although previously confined to early music, recent research in performance practice has embraced questions such as how the early history of recording affected the use of vibrato in classical music or instruments in Klezmer . Within the rubric of musicology, performance practice tends to emphasize the collection and synthesis of evidence about how music should be performed. The important other side, learning how to sing authentically or perform

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