Roland Jackson
Biographic Data
| ID | 5755888 |
|---|---|
| NAME | Roland Jackson |
| GIVEN NAMES | Roland |
| FAMILY NAME | Jackson |
| SIGNATURE | JACKSON R |
| AFFILIATIONS | Claremont Colleges |
| ORCID | 0000-0003-0425-5863 |
| VERIFIED | Yes |
| TOTAL WORKS | 26 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 26 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1957 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Understanding Eunice Foote's 1856 experiments
The contribution of Eunice Foote (1819–1888) to early understanding of the relationship between atmospheric gases and climate change has become a focus of interest in the scholarly community and more widely on social media. In this article we offer a detailed interpretation of both of her known published papers, focusing particularly on her first and most significant paper of 1856, in which she related changes in the types and amounts of atmosphe…
Eunice Foote, John Tyndall and a question of priority
In 1856, an American woman, Eunice Foote, discovered the absorption of thermal radiation by carbon dioxide and water vapour. That was three years before John Tyndall, who is generally credited with this important discovery—a cornerstone of our current understanding of the greenhouse effect, climate change, weather and meteorology. Tyndall did not reference Foote's work. From a contemporary perspective, one might expect that Tyndall would have kno…
John Tyndall and the Royal Medal that was never struck
Just once in its long history has a Royal Medal been awarded but not presented. John Tyndall FRS (1820–93) was the chosen recipient in 1853 for his early work on diamagnetism but declined to accept it. The story of why Tyndall felt compelled to turn down this considerable honour sheds light on the scientific politics and personal relationships of the time, on the importance given to the study of magnetism, and on Tyndall's own character and caree…
The Sounds and Sights of Performance in Early Music
Roland Jackson discusses and critiques the 2009 work of Maureen Epp and Brian E. Power. Epp, Maureen, Brian E. Power, eds. The Sounds and Sights of Performance in Early Music: Essays in Honour of Timothy J. McGee. Surrey (UK) and Burlington (VT): Ashgate Publishing Company, 2009. ISBN 978-0-7546-5483-4
The Fortepiano Writings of Streicher, Dieudonné, and the Schiedmayers
Roland Jackson reviews and critiques De Silva's 2008 work. De Silva, Preethi. The Fortepiano Writings of Streicher, Dieudonné, and the Schiedmayers: Two Manuals and a Notebook, Translated from the Original German, with Commentary. Lewiston, Queenston, and Lampeter: Edwin Mellen Press, 2008. ISBN: 978-0-773-44874-2
Realizing the Continuo in Monteverdi's Lamento della ninfa and Its Implications for Early-Seventeenth-Century Italian Continuo Practice
Monteverdi's "Amor, dicea" (Lamento della ninfa), 2 appearing in his Eighth Book of Madrigals published in 1638, is regarded as among his most emotionally moving works, Denis Arnold (for one) calling it "unforgettable" and "almost unbearably intense." 3 Nonetheless, our full sense of it and of its expressive potential, remains uncertain in that its accompaniment has come down to us in incomplete form, consisting of but a single bass line on a des…
Performance Practice
Jackson discusses and critiques Watkin's book
The End of Early Music
This book looks at performance practice from a performer's point of view. As such it runs counter to a main criterion in the field, the importance of returning to a composer's original conception. Performers have, however, contrary to this, often taken a more present-oriented view, holding that music takes on life and can be transformed especially through its manner of performance
It Can “spoil all the beauty”
17th-century accompaniments avoid duplicating the dissonances present in solo parts. This is borne out in available written-out versions (composer's copies, orchestral scorings), e.g. by R. Dowland, Cesti, A. Scarlatti, and Purcell. The same is evident in unrealized accompaniments (bass lines with or without figures) if interpreted according to contemporary strictures (e.g. Rule of Octave). Following these guidelines, harmonizations are suggested…
Strengths of Public Dialogue on Science‐related Issues
This essay describes the value and validity of public dialogue on science‐related issues. We define what is meant by ‘dialogue’, the context within which dialogue takes place in relation to science, and the purposes of dialogue. We introduce a model to describe and analyse the practice of dialogue, at different stages in the development of science, its applications and their consequences. Finally, we place the practice of dialogue on science‐rela…
Mayone, Ascanio
Fabricius, Werner
Trabaci, Giovanni Maria
Marenzio [Marentio], Luca
Authenticity or Authenticities?--Performance Practice and the Mainstream
RILM abstract:"A critique of Peter Kivy's book Authenticities: Philosophical reflections on musical performance (RILM 1995-1431). Kivy proposes that performance involves four authenticities: composer (the composer's original conception), sonic (the restoring of original sound materials), personal (the performer's interpretation), and sensible (the meaning attached by an audience). The first two are furthered by performance practice, the last two …
A Look Backward
Jackson is appraising the contribution of PPR. An index of contributing authors across the history of Performance Practice Review. A subject index for the histroy of Performance Practice Review
José Bowen's Essay
RILM abstarct: "Performance practice might benefit from CHARM (The Centre for the History and Analysis of Recorded Music) particularly because of the access it affords to a wide range of recordings. Scholars can thereby more extensively compare, for example, composer's recordings of their own works. For practices of the early 20th c. the recordings of various composers (e.g., Grieg, Skrjabin, Elgar) may be taken as instructive models."
Invoking a Past or Imposing a Present? Two Views of Performance Practice
RILM abstract: "Richard Taruskin has characterized performance practice or historical performance as not truly historical, but rather as a reflection of a mid-20th-c. Zeitgeist dominated by Stravinsky. In contrast with this presentist view, wherein spontaneous performance, the act, is deemed the highest value, the historicist view affirms that music (along with art works generally) is endowed with a quality of permanent value independent of how i…
Frederick Neumann
Jackson discusses Neumann's contributions to the fields of Musicology and Preformance Practce studies
Pathfinder in Performance Practice
Jackson discusses Brown's contributions to the field of Performance Practice in Musicology
Performance Practice and Its Critics - The Debate Goes On
Jackson discusses the various views of the field of historical performance practice
Performance Practice
Contrasts the antihistorical, conceptualist attitude (treating the past as our conception of it) of certain performance critics with the historical, realist position (holding that a discoverable reality can be found in the past) of certain performance-practice exponents
Performance Practice
Journal Article PERFORMANCE PRACTICE: A BIBLIOGRAPHIC GUIDE Get access ROLAND JACKSON ROLAND JACKSON Faculty in Music, The Claremont Graduate School,Claremont, California 91711-6160, USA. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 71, Issue 1, February 1990, Pages 159–160, https://doi.org/10.1093/ml/71.1.159 Published: 01 February 1990
Karl Geiringer, 1899-1989
An obituary for the organist Karl Geiringer
Performance Practice
Promising new directions for performance research include: (1) firsthand experience with historical instruments; (2) reexamining musical sources; (3) exploring archival and literary material; and (4) establishing links with ethnic research
Strengths of Public Dialogue on Science‐related Issues
This essay describes the value and validity of public dialogue on science‐related issues. We define what is meant by ‘dialogue’, the context within which dialogue takes place in relation to science, and the purposes of dialogue. We introduce a model to describe and analyse the practice of dialogue, at different stages in the development of science, its applications and their consequences. Finally, we place the practice of dialogue on science‐rela…
Musical Interrelations between Fourteenth Century Mass Movements (A Preliminary Study)
Performance Practice
Promising new directions for performance research include: (1) firsthand experience with historical instruments; (2) reexamining musical sources; (3) exploring archival and literary material; and (4) establishing links with ethnic research
Karl Geiringer, 1899-1989
An obituary for the organist Karl Geiringer
Performance Practice
Contrasts the antihistorical, conceptualist attitude (treating the past as our conception of it) of certain performance critics with the historical, realist position (holding that a discoverable reality can be found in the past) of certain performance-practice exponents
Performance Practice
Journal Article PERFORMANCE PRACTICE: A BIBLIOGRAPHIC GUIDE Get access ROLAND JACKSON ROLAND JACKSON Faculty in Music, The Claremont Graduate School,Claremont, California 91711-6160, USA. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 71, Issue 1, February 1990, Pages 159–160, https://doi.org/10.1093/ml/71.1.159 Published: 01 February 1990
Performance Practice and Its Critics - The Debate Goes On
Jackson discusses the various views of the field of historical performance practice
Pathfinder in Performance Practice
Jackson discusses Brown's contributions to the field of Performance Practice in Musicology
Frederick Neumann
Jackson discusses Neumann's contributions to the fields of Musicology and Preformance Practce studies
José Bowen's Essay
RILM abstarct: "Performance practice might benefit from CHARM (The Centre for the History and Analysis of Recorded Music) particularly because of the access it affords to a wide range of recordings. Scholars can thereby more extensively compare, for example, composer's recordings of their own works. For practices of the early 20th c. the recordings of various composers (e.g., Grieg, Skrjabin, Elgar) may be taken as instructive models."
Invoking a Past or Imposing a Present? Two Views of Performance Practice
RILM abstract: "Richard Taruskin has characterized performance practice or historical performance as not truly historical, but rather as a reflection of a mid-20th-c. Zeitgeist dominated by Stravinsky. In contrast with this presentist view, wherein spontaneous performance, the act, is deemed the highest value, the historicist view affirms that music (along with art works generally) is endowed with a quality of permanent value independent of how i…
Authenticity or Authenticities?--Performance Practice and the Mainstream
RILM abstract:"A critique of Peter Kivy's book Authenticities: Philosophical reflections on musical performance (RILM 1995-1431). Kivy proposes that performance involves four authenticities: composer (the composer's original conception), sonic (the restoring of original sound materials), personal (the performer's interpretation), and sensible (the meaning attached by an audience). The first two are furthered by performance practice, the last two …
A Look Backward
Jackson is appraising the contribution of PPR. An index of contributing authors across the history of Performance Practice Review. A subject index for the histroy of Performance Practice Review
Mayone, Ascanio
Fabricius, Werner
Trabaci, Giovanni Maria
Marenzio [Marentio], Luca
Strengths of Public Dialogue on Science‐related Issues
This essay describes the value and validity of public dialogue on science‐related issues. We define what is meant by ‘dialogue’, the context within which dialogue takes place in relation to science, and the purposes of dialogue. We introduce a model to describe and analyse the practice of dialogue, at different stages in the development of science, its applications and their consequences. Finally, we place the practice of dialogue on science‐rela…
It Can “spoil all the beauty”
17th-century accompaniments avoid duplicating the dissonances present in solo parts. This is borne out in available written-out versions (composer's copies, orchestral scorings), e.g. by R. Dowland, Cesti, A. Scarlatti, and Purcell. The same is evident in unrealized accompaniments (bass lines with or without figures) if interpreted according to contemporary strictures (e.g. Rule of Octave). Following these guidelines, harmonizations are suggested…
The End of Early Music
This book looks at performance practice from a performer's point of view. As such it runs counter to a main criterion in the field, the importance of returning to a composer's original conception. Performers have, however, contrary to this, often taken a more present-oriented view, holding that music takes on life and can be transformed especially through its manner of performance
Realizing the Continuo in Monteverdi's Lamento della ninfa and Its Implications for Early-Seventeenth-Century Italian Continuo Practice
Monteverdi's "Amor, dicea" (Lamento della ninfa), 2 appearing in his Eighth Book of Madrigals published in 1638, is regarded as among his most emotionally moving works, Denis Arnold (for one) calling it "unforgettable" and "almost unbearably intense." 3 Nonetheless, our full sense of it and of its expressive potential, remains uncertain in that its accompaniment has come down to us in incomplete form, consisting of but a single bass line on a des…
Performance Practice
Jackson discusses and critiques Watkin's book
The Sounds and Sights of Performance in Early Music
Roland Jackson discusses and critiques the 2009 work of Maureen Epp and Brian E. Power. Epp, Maureen, Brian E. Power, eds. The Sounds and Sights of Performance in Early Music: Essays in Honour of Timothy J. McGee. Surrey (UK) and Burlington (VT): Ashgate Publishing Company, 2009. ISBN 978-0-7546-5483-4
The Fortepiano Writings of Streicher, Dieudonné, and the Schiedmayers
Roland Jackson reviews and critiques De Silva's 2008 work. De Silva, Preethi. The Fortepiano Writings of Streicher, Dieudonné, and the Schiedmayers: Two Manuals and a Notebook, Translated from the Original German, with Commentary. Lewiston, Queenston, and Lampeter: Edwin Mellen Press, 2008. ISBN: 978-0-773-44874-2
John Tyndall and the Royal Medal that was never struck
Just once in its long history has a Royal Medal been awarded but not presented. John Tyndall FRS (1820–93) was the chosen recipient in 1853 for his early work on diamagnetism but declined to accept it. The story of why Tyndall felt compelled to turn down this considerable honour sheds light on the scientific politics and personal relationships of the time, on the importance given to the study of magnetism, and on Tyndall's own character and caree…
Eunice Foote, John Tyndall and a question of priority
In 1856, an American woman, Eunice Foote, discovered the absorption of thermal radiation by carbon dioxide and water vapour. That was three years before John Tyndall, who is generally credited with this important discovery—a cornerstone of our current understanding of the greenhouse effect, climate change, weather and meteorology. Tyndall did not reference Foote's work. From a contemporary perspective, one might expect that Tyndall would have kno…
Art (20 works) · Art history (12 works) · Computer Science (8 works) · Musicology and Musical Analysis (8 works) · Aesthetics (7 works) · Performance Practice (7 works) · Visual arts (7 works) · Diverse Musicological Studies (6 works) · Literature (6 works) · Musical (5 works)