In an age of hyper-specialization, Robert M. Stevenson reminds us of a time when an exceptional musician could easily work in various disciplines without being accused of dilettantism. Over his long career he has become an exceptional pianist, composer, teacher, and scholar. Few others can boast the sheer volume and groundbreaking nature of his scholarship, but virtually no one can also claim to have done this while producing compositions that were performed by major musical organizations such as the Philadelphia Orchestra. His place in American musical history is secure and considerable. The time is well past for volume of work to be published in his honor.
Considering the breadth of his contribution to musicological scholarship, a single volume of essays would tend towards the superficial and leave out far too many of the important voices that Stevenson has inspired. This collection of essays honors the subject that may be the most visible of his long career, the sacred music of Iberian and Latin American Renaissance. Stevenson’s Spanish Cathedral Music and Music in the Age of Columbus, published over forty years ago, remain the standard surveys of these subjects. The collection features contributions by a group of scholars who feel an immense debt of gratitude for his foundational work in this area, and it brings together studies of musical and archival sources, performance practices, institutional traditions, chant traditions, and compositional approaches related to music produced in Spain, Portugal, and Latin America during the years 1480-1650, a time of exceedingly rich artistic output.
Walter Clark, Editor:
Professor of musicology at the University of California, Riverside, where he is the founder/director of the Center for Iberian and Latin American Music. He received his Ph.D. in 1992 from UCLA, where he worked with Robert Stevenson; he then taught for ten years at the University of Kansas, before returning to California. His research has appeared in numerous journals and reference sources, and he is the author of two Oxford biographies, Isaac Albéniz: Portrait of a Romantic (1999/2002) and Enrique Granados: Poet of the Piano (2006/2011), which won the 2006 Robert M. Stevenson Award. He is currently preparing an edition of Granados’s Catalan opera Follet for publication by Tritó in Barcelona, and he is completing the manuscript of Federico Moreno Torroba: A Musical Life in Three Acts, which Oxford will publish next year. His collaboration with Oxford includes serving as editor of the series Currents in Latin American and Iberian Music. He edited the 2002 Routledge collection From Tejano to Tango: Latin American Popular Music, as well as a recent issue of The Musical Quarterly (fall 2009), devoted to Latin America. He co-edited Antes de Iberia: de Masarnau a Albéniz (Asociación Cultural LEAL, 2009), and he is the co-editor of a forthcoming volume from Pendragon, entitled Treasure of the Golden Age: Essays on Music of the Iberian and Latin American Renaissance in Honor of Robert M. Stevenson. Finally, he is the contributing editor of a new textbook entitled The Musics of Latin America: An Introduction, due out from Norton early next year. Prof. Clark is the coordinator for the Ibero-American Music Study Group of the American Musicological Society. Michael O'Connor, Editor:
Michael B. O’Connor currently serves on the faculty of Palm Beach Atlantic University in West Palm Beach, FL where he teaches music history, world music, music appreciation, and directs the PBA Early Music Ensemble and World Music Ensembles. He holds a PhD in Historical Musicology from the Florida State University and a BS in Music Education from Tennessee Tech University. His research explores the intersections of musical composition and historical theology in medieval and Renaissance Spain, and he has presented his work to conferences in the U.S., Belgium, Portugal, Spain, and England. Dr. O'Connor's publications have appeared in the New Grove Dictionary of Music and Musicians, Second Edition; The Yearbook of the Alamire Foundation, and in Festschrifts for Jeffery Kite-Powell and Bruno Turner. He has combined his love for research and brass performance in his history of the euphonium that appears in Guide to the Euphonium Repertoire: The Euphonium Source Book, (Indiana University Press), and his work on 19th-century American brass band music, which includes editing music and performing with The Coates Brass Band (Civil War) and Newberry's Victorian Cornet Band (late 19th century). Robert Stevenson:
Music educator;b. Melrose, N. Mex., July 3, 1916; s. Robert Emoryand Ada (Ross) S. AB, U. Tex., El Paso, 1936; grad., Juilliard Grad. Sch. Music, 1938; MusM, Yale, 1939; PhD, U. Rochester, 1942; STB cum laude, Harvard U., 1943; Blitt, Oxford U., Eng.; Th.M., Princeton Theol. Sem.; D