Der vorliegende Sammelband zur Kolmarer Liederhandschrift (Munchen, BSB, Cgm 4997) widmet sich der uberlieferungs- und kulturgeschichtlichen Stellung dieser herausragendsten und umfangreichsten Meisterliederhandschrift sowie ihrem Verhaltnis zu den ubrigen Codices der rheinisch-schwabischen Gruppe der Liederhandschriften. Der Band vereint verschiedene Aspekte aus den Bereichen der UEberlieferungs- und Wirkungsgeschichte sowie der Kulturgeschichte des Meistergesangs. Im Fokus stehen die textuellen und melodischen Kunstformen der Kolmarer Liederhandschrift, die Textualitat der uberlieferten Lieder sowie das facettenreiche geistliche Liedgut der Handschrift.

In diesem Buch wird erstmals die gesamte, ausserst heterogene UEberlieferung der unter dem Namen des Spruchdichters Regenbogen uberlieferten Verslegende Veronica II analysiert. Auf Basis der Analyseergebnisse wird die Verslegende uberlieferungskritisch, unter Einbezug aller mittelhochdeutschen Quellen, in funf Fassungen ediert. Die dazugehoerige, im Internet zugangliche Online-Publikation ist als ein Versuch zu betrachten, dem Problem der komplexen UEberlieferungslage der Veronica II mit Hilfe digitaler Medien zu begegnen. Auf diese Weise wird im Sinne der New Philology gewahrleistet, die Textuberlieferung und deren mouvance standig im Blick zu behalten.

Yehudit Berger has bought and sold cars for most of her adult life, and had never written a short story before, never mind a book, before she stared working on this one. "So why am I paining you, the reader, as well as myself, with my crummy penmanship?" she asks. The truth is, the urge to get her thoughts down on paper has persisted for many years, and she finally felt compelled to share her belief that the Messiah is here. We all possess gifts of foresight, premonition, and that sixth sense that is hard to explain, and maybe, under the right circumstances, our brains were designed to calculate such events as this. As Berger grew up under a communist regime that discounted God and religion and preached pragmatism, the visions she received foretold the future. While writing her book, she connected the dots to make sense of those premonitions, and also attempted to interpret those that caused her to wake up drenched and shaken as an adult. Will her insights come true? Who knows, but she hopes The Staff of Moses, which she compared with the 12th Imam, will keep readers absorbed and entertained as the dramatic tale begins in war-stricken Europe in the forties, proceeds to the United States, and culminates in the Israeli Negev. A group of Holocaust survivors find a piece of the staff of Moses in an antique car at an auction to discover it originated from Mount Sinai, and there, the future is revealed. A large portion of this story is plucked from history, the characters are real, and actual experiences are mixed with a blend of the author's imagination and hard facts. She exposes the ironies of the communist system, considers the intentions of the creator, and the message she strongly coveys is the Universal Law has always existed. However, it will be the masses, their convictions, ideals, and their governments that will have to meet the test this time around.

Emphasizing group dynamics, The Musical Woman series charts the accomplishments of women in the field of music in almost every capacity. Moving beyond the exception, articles highlight the group presence of musical women. The series equally commits itself to highlighting creative individuals, surveying particular music specialties, and to providing an up-to-date profile of women's ever changing progress in this field. Covering the period from 1986 to 1990, Volume III includes an expanded Gazette and 19 new, thought-provoking essays. Sizable attention is given to women's international contributions in music: several essays are centered in Finland, the USSR, Canada, and Australia. Volume III also covers issues linking music with sociology, history, feminist theory, and world music. The expanded Gazette is encompassed in Part I of this volume. Part II includes the 19 original essays. Several summarize women's contributions as composers on the podium, within the recording and film industries, and in other capacities. One essay provides a current checklist of women in music organizations. Two genre surveys and an essay on women music scholars in Russian and Soviet history present readers with significant research. Critical appraisals are given of three women of achievement. For the first time in this series, two essays discuss the science of music--women musicologists and music librarians. Another essay presents the novel concept of a middle school curriculum concentrating on music by women composers. An essential article to this series is an analytic survey of how women have fared in music competitions over a 22-year period. This volume concludes with an essay documenting women musicians, across several generations, within notable musical families.

This volume of The Musical Woman continues the long-neglected task of documenting the full scope of participation by women in every facet of the music world. The time period covered is the 1982-1983 season through 1984-1985; forecasts have been included for 1985-1986. The work was compiled from volumnious primary source materials, including newsletters of composer organizations, data from foreign music information centers, publishers' announcements, concert programs, newspapers, and other music periodicals, and the composers themselves. The Musical Woman provides a comprehensive sampling of the varied activities of women composers and conductors worldwide in order to bring to light additional activities of women in the music field.

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