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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":null,"pages":null},"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

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":null,"pages":null},"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

Race, Gender, and the Colonial Orchestral Body at the New Zealand International Exhibition, 1906 1906年新西兰国际展览会上的种族、性别和殖民地管弦乐团体

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.353

Inge van Rij

{"title":"Race, Gender, and the Colonial Orchestral Body at the New Zealand International Exhibition, 1906","authors":"Inge van Rij","doi":"10.1525/jams.2023.76.2.353","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.353","url":null,"abstract":"The orchestra that participated in the opening ceremony of the New Zealand International Exhibition held in Christchurch in 1906 played a central role in signaling what officials described as “nationhood achieved,” as the country marked its move from British colony to dominion. This contribution to nationhood was negotiated through acts of exclusion as well as empowerment, particularly in relation to gender and race. Exhibition officials sought to ban women from participation in the orchestra, demonstrating the tenacious rhetoric of masculinity prevalent in orchestras of the period. Although women eventually overcame this ban, New Zealand’s Indigenous Māori population remained barred from self-representation on the exhibition stage, instead performing their culture as ethnological entertainment beyond the concert hall. At the exhibition’s opening ceremony, it was the orchestra that represented Māori; in the third movement of the Exhibition Ode composed for the event by the orchestra’s conductor, New Zealand composer Alfred Hill, the orchestra performed “in the time of a haka” (Māori war dance). Drawing on an examination of archival material pertaining to the exhibition and analysis of the haka movement, this article argues that the performance of Hill’s haka movement by both women and men in the exhibition orchestra was an act of “brownface” in which the empowerment of the white women of the orchestra was complicated by questions of appropriation and assimilation. Examining the haka movement as event and score illuminates both the role of women in colonial cultures and the colonizing practices of orchestras themselves.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67228035","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