Journal of the American Musicological Society最新文献_第3页

Publications Received 出版物收到

1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.576

引用次数: 0

Carl Philipp Emanuel Bach: The Complete Works 卡尔·菲利普·伊曼纽尔·巴赫全集

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.530

Tilman Skowroneck

引用次数: 0

American Religious Sounds Project 美国宗教之声项目

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.543

Bo Kyung Blenda Im

引用次数: 0

Summer of Soul (… Or, When the Revolution Could Not Be Televised), directed by Ahmir “Questlove” Thompson 《灵魂之夏》(或者《当革命无法被电视转播时》)，导演:艾哈迈德·汤普森

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.556

Mark Burford

引用次数: 0

Author Submission Guidelines 作者投稿指南

1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.583

引用次数: 0

Sonic Decency: Music in the Aftermath of Guatemala’s 1773 Santa Marta Earthquake 音质端正:1773年危地马拉圣玛尔塔地震后的音乐

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.1.169

D. Oliva

{"title":"Sonic Decency: Music in the Aftermath of Guatemala’s 1773 Santa Marta Earthquake","authors":"D. Oliva","doi":"10.1525/jams.2023.76.1.169","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.169","url":null,"abstract":"For several decades, the topic of natural disaster has featured significantly across the humanities; in musicology, however, the severity of such events has been marked primarily in the footnotes to our histories. Often leaving a substantial and insurmountable lacuna in the historical record, natural disasters are rarely considered for their generative potential. This article demonstrates the value of a disaster-studies approach to musicology, showing how natural events can have long-term impacts on the development and evolution of musical practices. It centers on the Santa Marta earthquake of 1773 and its effects on music and musicians in the colonial capital of Santiago de Guatemala. Colonial disasters, in particular, generated a flurry of written documentation, requiring correspondence at the local, regional, and imperial level to negotiate the process of restoring order to urban centers. I argue that it is precisely the disruptive nature of disaster that allows us to observe new details of both the extraordinary and ordinary musical practices of a colonial city. Embedded in an extensive archival record is evidence of the ways ecclesiastical notions of decencia (decency) in the post-disaster landscape were enacted through musical performance, which contributed to the political process of reinstating colonial power over a destroyed Guatemala. The article expands the relationship between music and nature, placing colonial musical practices in dialogue with the sociopolitical impacts of disaster, weaving together a history of music that intersects with environmental history.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227343","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

Queer Country, by Shana Goldin-Perschbacher 莎娜·戈尔丁-珀施巴赫的《酷儿国家》

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.1.238

Kristine M. McCusker

引用次数: 0

Sonic Bodies: Text, Music, and Silence in Late Medieval England, by Tekla Bude 《声音体:中世纪晚期英格兰的文本、音乐和寂静》，作者:Tekla Bude

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.1.226

Lisa Colton

引用次数: 1

Music and Power at the Court of Louis XIII: Sounding the Liturgy in Early Modern France, by Peter Bennett 《路易十三宫廷的音乐与权力:聆听近代早期法国的礼拜仪式》，彼得·班尼特著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.510

Natasha Roule

引用次数: 0

Remember Me: Vocal Cadenzas as Mementos in Nineteenth-Century Musical Autograph Albums 《记住我:19世纪音乐签名专辑中作为纪念品的声乐装饰曲》

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.279

S. Zohn

{"title":"Remember Me: Vocal Cadenzas as Mementos in Nineteenth-Century Musical Autograph Albums","authors":"S. Zohn","doi":"10.1525/jams.2023.76.2.279","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.279","url":null,"abstract":"Between the 1830s and the 1880s, leading female singers such as Henriette Rossi Sontag, Laure Cinti-Damoreau, Adelina Patti, and Pauline Viardot participated in a widespread custom of inscribing original vocal cadenzas in autograph albums (also known as friendship albums, keepsake albums, alba amicorum, or Stammbücher). The appeal of album cadenzas, along with other compact inscriptions, reflects a wider Romantic fascination with remembering through small keepsakes such as miniature almanacs and annual compilations of poetry, prose, or music. Whether improvised in the presence of collectors or offered as souvenirs of earlier performances, cadenzas functioned as mementos of musical and social encounters while visually representing singers’ musical personae through performative gestures. These florid pieces also allowed female singers to exercise agency as both creative artists and curators of their public images, much like the (mostly male) composers whose musical signatures fill surrounding album leaves. As performance-practical sources, vocal cadenzas preserve rare and revealing traces of singers’ artistry; many, in fact, can be linked to specific concerts or performances of operas by Bellini, Donizetti, Meyerbeer, Rossini, Verdi, and others. In the case of Cinti-Damoreau, such music illuminates the connection between improvisation, performance, and pedagogy. The gradual disappearance of album cadenzas during the last quarter of the nineteenth century is attributable not only to a waning interest in musical improvisation generally, but also to a shift in creative authority away from singers and toward composers, particularly in the operatic realm.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227920","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