ARSC Journal最新文献

{"title":"News of Publications","authors":"Tim Brooks","doi":"10.2307/2310791","DOIUrl":"https://doi.org/10.2307/2310791","url":null,"abstract":"","PeriodicalId":158557,"journal":{"name":"ARSC Journal","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115674941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dmitri Shostakovich Catalogue: The First Hundred Years and Beyond","authors":"Dennis D. Rooney","doi":"10.5860/choice.48-0018","DOIUrl":"https://doi.org/10.5860/choice.48-0018","url":null,"abstract":"","PeriodicalId":158557,"journal":{"name":"ARSC Journal","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130926051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Oxford Handbook of the American Musical","authors":"Elizabeth A. Wells","doi":"10.5860/choice.49-6185","DOIUrl":"https://doi.org/10.5860/choice.49-6185","url":null,"abstract":"The Oxford Handbook of the American Musical. Edited by Raymond Knapp, Mitchell Morris and Stacy Wolf. NY: Oxford University Press, 2011. 480 pp (hardcover). Bibliography, Index, Companion website. ISBN 978-0195385946. Jim Lovensheimer's excellent essay in The Oxford Handbook of the American Musical ends with the statement \"as the musical undergoes more and more serious critical interrogation, solutions to the problems posed in this essay might be forthcoming. But even if they are not, the problems make for challenging consideration.\" Although in this case Lovensheimer refers to the many issues raised by Barthian and Foucauldian readings on the questions of authors and texts of musicals, this statement could well sum up the central thrust of this publication, which explores the musical \"prismatically\" (to use co-editor Stacy Wolf's term) and raises the most interesting and pressing questions about the American musical. In a field that is full of encyclopedias, chronicles, and other reference works, the advent of yet another handbook would seem to glut an already full market of data-rich but critical-poor sources on musical theatre. However, editors Raymond Knapp, Mitchell Morris, and Wolf (all leading experts in the field) have organized the twenty-nine essays in this volume around central keywords and concepts in much the same way as one of the primary texts on critical theory, Lentricchia and McLaughlin's Critical Terms for Literary Study (University of Chicago Press, 1995). Although this allegiance would suggest that the Handbook is heavily influenced by critical theory (and some of the essays in the first section certainly reflect that focus) the volume embraces a wide variety of approaches and methodologies, with essays from film and theatre scholars, musicologists, and practitioners. Organized into six large sections (Historiography, Transformations, Media, identities, Performance and Audiences), the Handbook presents short, useful essays on practical and critical concerns and presents something of a snapshot as to where the research field stands at present. Scholars of the musical will find the first section the most stimulating, particularly Morris's essay on historiography, which lays out issues in dealing with musicals as historical artifacts as well as ideas of the impartiality of historical chronicles, questions of value, narrative, authorship and organicism. Indeed, one would wish this section were longer, so tantalizing and searching are the questions it raises. Similarly Lovensheimer's previously mentioned essay on \"Texts and Authors\" addresses some of the most interesting intellectual concerns of the musical. For the student or neophyte, Paul R. Laird's survey of musical style in the musical and Liza Gennaro's overview of choreography and dance allow for a broad introduction to the major periods and styles of musical theatre, and the addition of a companion website with audio and video excerpts makes this volume an excellent musica","PeriodicalId":158557,"journal":{"name":"ARSC Journal","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126358207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tin Pan Opera: Operatic Novelty Songs in the Ragtime Era","authors":"J. G. Pool","doi":"10.5860/choice.48-6187","DOIUrl":"https://doi.org/10.5860/choice.48-6187","url":null,"abstract":"Tin Pan Opera: Operatic Novelty Songs in the Ragtime Era. By Larry Hamberlin. NY: Oxford University Press, 2011. ISBN 978-0-19-533892-8 This is a well--researched, eloquent, thoroughly-documented, and fascinating book, and reminds us of the unlimited possibilities for research on more obscure music topics because of the rich availability of internet sources, especially in the wealth of popular sheet music collections, with indexes, cataloging, and cross references. In order to do books like this a generation ago, a researcher would have also had to be a compulsive collector of such musical obscurities. Before the World Wide Web, such a pursuit might have taken a lifetime just to gather the musical examples, not to mention the analysis and writing. The fresh scent of this book reveals the spirit of what scholarship is all about: that sense of adventure, of exploration when we let the material take us where it will. Hamberlin explains that this book was an outgrowth of his research into the uses if European classical music in early jazz, as in the music of Jelly Roll Morton and Louis Armstrong. These forgotten operatic novelty--grand-opera popular songs--tell us much about the enormous changes taking place in American society at the beginning of the twentieth century as reflected in the popular music of the time. Hamberlin, an Assistant Professor of Music at Middlebury College where he teaches courses in European and American popular and classical music, begins with the observation that little bits of opera turn up \"in unexpected corners of American popular culture, including movies (for example The Marx Brothers), jazz and lowbrow stage comedies\" and asked the question, what can be learned about the people who sang and listened to these songs and \"in particular how they saw themselves in relation to others, including the Europeans whose music they borrowed?' The book focuses on the period between 1900 and 1920, during which the differences between highbrow and lowbrow culture in the United States were differentiated. Many today forget that in nineteenth century America, opera was popular music with deep roots in American popular culture, and that knowing opera was a part of cultural literacy of American society for people of all racial and ethnic backgrounds, coast to coast, men and women. Because European-derived opera was considered elite culture by the popular masses, operatic novelty songs became a vehicle of social criticism. Hundreds of Tin Pan Alley songs were written about operatic subject matter. Some of them spoofed opera, some quoted from operas, and some alluded to operatic characters or opera stars. Hamberlin gives us a guided tour through a wide variety of subtopics that arise in an examination of this unique repertoire, at the very moment when American popular music was moving away from its European roots. This insightful work is divided into three parts: Caruso and His Cousins; Salome and Her Sisters; and Ephraham and His Equals. I","PeriodicalId":158557,"journal":{"name":"ARSC Journal","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130277190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Music and Cyberliberties","authors":"A. McGehee","doi":"10.5860/choice.47-6766","DOIUrl":"https://doi.org/10.5860/choice.47-6766","url":null,"abstract":"Music and Cyberliberties. By Patrick Burkart. Middletown, CT. Wesleyan University Press, 2010. 200pp (paperback). Notes, Bibliography, Index. ISBN 978-0-8195-6918-9. $24.95 Not far from the borders of the electronic frontier where the next disruptive technology threatens to turn the communications world inside out again, the Wild, Wild West of the World Wide Web finds the sheriff of Digital City and his deputies struggling mightily to keep law and order in the territories of Intellectual Property (IP). Armed with battalions of attorneys, thousands of cease-and-desist notices, and a deep-seated desire to put the fear of god into anyone who even contemplates an illegal download, these upholders of the rights of 'them-that-own' are making fitful progress of a sort. Just this past summer, the Record Industry Association of America (RIAA) and the Motion Picture Association of America (MPAA) prevailed upon Google to change its search algorithms to lower the rankings of sites for which Google has received large numbers of copyright removal notices. Google's YouTube had already significantly stepped up its policing of copyright infringement. But earlier in the year, two bills aimed at slowing online piracy Stop Online Piracy Act (SOPA) and Protect IP Act (PIPA), bit the dust after Congress faced an unprecedented online firestorm of constituent protest fueled by Internet giants Google, Facebook, Twitter, and others. The battle over control of online IP is evolving so rapidly as to date Patrick Burkart's Music and Cyberliberties. It does not in any way date the central argument or importance of his book. Burkart seeks to illuminate the \"social conflict between property interests of concentrated media and telecom firms, on one hand, and musicians, fans and a broad swath of social groups organized around music, on the other.\" (p.19) The Texas A&M University associate professor provides a concise history of cyberliberty movements and trends leading up to the so-called Napster Watershed, a July 2001 legal defeat for unencumbered file-sharing (then at its zenith) which Burkart calls, \"a pivotal moment in the history of the Internet, affecting everyday life for millions of people globally ... P2P [peer-to-peer] users who continued to share music became, juridically, copyright criminals.\" (p.85) Burkart neglects to note that among the earliest litigants taking on Napster was Metallica. The heavy metal band's work was appearing on the free file-sharing system even before its commercial release. But surely the author is right to point out the seismic split on cyberliberties within the creative community between a very small number of musicians now signed to major labels and the majority of artists who are not. The author cites the Pew Internet and American Life Project's \"Artists, Musicians and the Internet\" report from 2004 in which two-thirds of the artists surveyed saw the threat of peer-to-peer file-sharing as negligible or even no threat at all. (p.72) An over","PeriodicalId":158557,"journal":{"name":"ARSC Journal","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125429516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Revolution in the Air: The Songs of Bob Dylan, 1957-1973","authors":"Keith Negus","doi":"10.5860/choice.47-0017","DOIUrl":"https://doi.org/10.5860/choice.47-0017","url":null,"abstract":"","PeriodicalId":158557,"journal":{"name":"ARSC Journal","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123883266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cambridge Companion to The Beatles","authors":"Robert Iannapollo","doi":"10.5860/choice.48-0170","DOIUrl":"https://doi.org/10.5860/choice.48-0170","url":null,"abstract":"","PeriodicalId":158557,"journal":{"name":"ARSC Journal","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127929432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Roland Hayes: The Legacy of an American Tenor","authors":"C. Brooks, Robert C. Sims","doi":"10.5860/choice.190864","DOIUrl":"https://doi.org/10.5860/choice.190864","url":null,"abstract":"Roland Hayes: The Legacy of an American Tenor. By Christopher A. Brooks and Robert Sims. Bloomington: Indiana University Press, 2015. 401pp. $40 The life story of lyric tenor Roland Hayes (1887-1977) is one of the most dramatic, and inspiring, in American cultural history. At the height of his fame, in the 1920s and 1930s, this African-American was acclaimed by critics and audiences alike. He was extremely successful on the concert circuit, commanding high fees and often selling out large venues in both the U.S. and Europe. Moreover, he achieved those heights in an era of rampant segregation, when African-Americans were beginning to be accepted in popular entertainment, but the concert hall was resolutely closed to them. He was a real barrier-buster. Why is it, then, that Hayes is much less well known and celebrated today than contemporaries and near-contemporaries such as Paul Robeson and Marian Anderson? Why is this his first book-length biography aside from his own self-serving autobiography Angel Mo'and Her Son, Roland Hayes (Little, Brown, 1943), published in the 1940s? For one thing, he was not as aggressive a racial activist as Robeson. He conducted himself with a quiet dignity, and while he did what he could to lessen Jim Crow practices, for example, fighting for integrated or at least semi-integrated audiences at his concerts, when push came to shove he usually backed off. Audiences today like heroes who raised their fists in defiance, whatever the cost to themselves (easy for us to say!). The authors of the rather modestly-titled Roland Hayes: The Legacy of an American Tenor suggest another reason when they observe, toward the end, that Hayes himself, in his later years, began to regret the fact that he had largely disdained recording. In fact, he had avoided most media, including films and even radio broadcasting, except on rare occasions when those media would meet his terms. He seemed to have little desire to preserve his art for future generations. Today you will search in vain for video of Hayes on YouTube, while there is plenty for Robeson and Anderson. Hayes was born in poverty on a small farm in Georgia, to former slaves. His father died when he was young, and he was raised by, and very close to, his mother Fannie (\"Angel Mo'\"). Inspired at an early age by recordings of Enrico Caruso owned by a white acquaintance, he determined to become a concert singer, a seemingly impossible goal for a poor black youth in the early 1900s. He made his way to Nashville and, despite having only a sixth-grade education, managed to get admitted to the Fisk University music program on the strength of his talent. He was dismissed from the university just before graduation for somewhat mysterious reasons, but was invited to perform with the famous Fisk Jubilee Singers (a semi-autonomous organization) and then moved on to Boston to study and advance his career. During the 1910s he worked his way up, though his own relentless efforts, culminating with ","PeriodicalId":158557,"journal":{"name":"ARSC Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116063450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}