Journal of the American Musicological Society最新文献_第10页

Electronic Inspirations : Technologies of the Cold War Musical Avant-Garde, by Jennifer Iverson 《电子灵感:冷战音乐先锋派的技术》，詹妮弗·艾弗森著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.2.445

Laura Zattra

引用次数: 1

Class, Control, and Classical Music, by Anna Bull 阶级、控制和古典音乐，安娜·布尔著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.2.449

Juliet Hess

引用次数: 1

Shellac as Musical Plastic 作为音乐塑料的紫胶

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.3.463

Gavin Williams

{"title":"Shellac as Musical Plastic","authors":"Gavin Williams","doi":"10.1525/jams.2021.74.3.463","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.463","url":null,"abstract":"Shellac was essential to the gramophone industry throughout the first half of the twentieth century, yet the material has long kept a low profile. At once inaudible and urgently required, shellac was a plastic and colonial commodity with wide-ranging applications. Building on recent scholarship that explores its ecological imbrication, this article additionally presents a case for understanding it as a musical thing. First, it shows how lac—the resinous encrustation of the lac insect, and a South Asian technique for preserving things over time—became a global commodity, shellac, aiding the development of sound reproduction. Second, it investigates a scientific bureaucracy promoting the study of the lac insect, which emerged in Indian forests during the 1920s. Third, it tracks how musical demand intensified a system of migrant, indentured, and technical labor involved in processing lac into shellac. In reconstructing shellac’s economic and scientific networks, the article argues that the material was a multiplicity, which entailed both the entangled knowledge systems of its production and a decisive switch: from bodily techniques of production into those of mediated musical listening. Through a focus on shellac, it decenters North American narratives about the development of sound reproduction technology, showing how South Asian knowledge, labor, and environments were profoundly involved, even if they were only rarely acknowledged in mediated musical experiences. Indeed, in an age before synthetic hydrocarbon polymers, shellac fulfilled the role of musical plastic through its inconspicuousness: its capacity to hold and harmonize multiple disc ingredients, while disappearing into the background it supplied.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67224941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Chinese Ears, Delicate or Dull? Toward a Decolonial Comparativism 中国人的耳朵，细腻还是迟钝?走向非殖民比较主义

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.3.501

Zhuqing Hu

{"title":"Chinese Ears, Delicate or Dull? Toward a Decolonial Comparativism","authors":"Zhuqing Hu","doi":"10.1525/jams.2021.74.3.501","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.501","url":null,"abstract":"This article compares extractivist ideologies of voice and listening in late eighteenth-century Europe and China to envision a decolonial comparativism. Inspired by Dylan Robinson’s “apposite methodology,” the article “writes with” the French Jesuit Jean-Joseph-Marie Amiot, who compared European and Chinese ears several times during his career in Beijing to ascertain why the Chinese abhorred European harmony. Through his correspondence with the Republic of Letters, Amiot’s comparisons resonated with the “sharp-eared Chinese” trope in European discourse. The dialectics of this trope, laid bare in Johann Gottfried Herder’s surprisingly similar denigrations of China and of deafness, reflected an extractivist phonocentrism by which recognition of one’s subjectivity required opening oneself up to society’s extractive listening. Hegel and post-Thermidorian French elites even posited such extraction as the foundation for pluralism and progress. Though specifically othered by European phonocentrism, the Qing Empire then ruling China articulated similar ideologies. While Amiot compared the qupai stock melodies of Kunqu theater to the vaudeville songs of opéra-comique, eighteenth-century Qing court adaptations of Kunqu departed from the pervasive use of qupai to achieve a transcendent positionality of listening. Qing-imperial ethnographies of languages and songs further revealed such transcendent listening as undergirding the multiethnic empire, where subjecthood depended on proffering a voice to the imperial ear via an extractive phonography (“voice-writing”). The article concludes by situating this phonocentrism shared between Europe and China within current academic discourses on decolonization and deimperialization. It argues that comparativism can create spaces that facilitate “turning away” from the extraction of voices, which continues to sustain imperial hegemonies as uniquely transcendent ears.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Extreme Exoticism: Japan in the American Musical Imagination, by W. Anthony Sheppard 《极端的异国情调:美国音乐想象中的日本》，作者:w·安东尼·谢泼德

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.3.677

Richard E. Mueller

引用次数: 1

Beethoven’s Theologian: Johann Michael Sailer and the Missa solemnis 贝多芬的神学家:约翰·迈克尔·塞勒和庄严弥撒

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.2.365

N. Chong

引用次数: 1

Mapping Medieval Identities in Occitanian Crusade Song, by Rachel May Golden 绘制欧西坦十字军之歌中的中世纪身份，作者:蕾切尔·梅·戈尔登

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.3.673

Jennifer Saltzstein

引用次数: 0

The Female Sublime: Domesticating Luigia Todi’s Voice 女性的崇高:驯化路易吉亚·托迪的声音

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.2.235

Jessica Gabriel Peritz

{"title":"The Female Sublime: Domesticating Luigia Todi’s Voice","authors":"Jessica Gabriel Peritz","doi":"10.1525/jams.2021.74.2.235","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.235","url":null,"abstract":"This article delves into the puzzling reception of opera singer Luigia Todi (1753–1833) in order to explore how the traces left by pre-phonographic voices contain long-forgotten cultural histories. Operagoers in 1790s Venice claimed that Todi’s moral qualities allowed her to overcome her “vocal defects,” and, in turn, taught her listeners to become good citizens. Hearing vocal difficulties as a manifestation of interiority, rather than as poor training, marked a significant departure from what were then the predominant aesthetics of operatic voice. In attempting to smooth over this gap, listeners pieced together narratives about Todi’s subjectivity based on the unstable, fragmented sounds of her voice. This article argues that such remediations of Todi’s singing were subtended by two seemingly irreconcilable ontologies of female voice, one of them rooted in ancient myths of sublime song and the other born of Enlightenment ideologies of domesticity. I thus read inscriptions of Todi’s voice through a network of late eighteenth-century Italian cultural anxieties, drawing on literary reimaginings of Sappho, debates over the nature of musical skill, discourses on women’s education, and more. By interrogating the narratives about one woman’s unusual voice, I offer a new origin story for still resonant assumptions about the relationships between gender and disability, politics and domestic labor, and, fundamentally, bodies and voices.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Heart of a Woman: The Life and Music of Florence B. Price, by Rae Linda Brown 《一个女人的心:弗洛伦斯·b·普莱斯的生活与音乐》，作者:雷·琳达·布朗

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.2.427

S. Ege

引用次数: 1

Metropolitan Opera Archives; Traveling Culture: Circuit Chautauqua in the Twentieth Century; Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture 大都会歌剧院档案馆;旅游文化:20世纪的肖陶夸群岛重新构想日本:日本作为20世纪视觉和物质文化的目的地

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-01-01 DOI: 10.1525/jams.2021.74.3.689

C. A. Norling and Marian Wilson Kimber

引用次数: 0