Journal of the American Musicological Society最新文献_第4页

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

Sound Relations: Native Ways of Doing Music History in Alaska, by Jessica Bissett Perea 杰西卡·比塞特·佩雷亚著《声音关系:阿拉斯加本土的音乐史研究方法》

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.518

Chad S. Hamill/Čnaq’ymi

引用次数: 1

Music, Subjectivity, and Schumann, by Benedict Taylor 《音乐、主体性与舒曼》，本尼迪克特·泰勒著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.506

Holly Watkins

引用次数: 0

Seachanges: Music in the Mediterranean and Atlantic Worlds, 1550–1800, edited by Kate van Orden 《沧海巨变:1550-1800年地中海和大西洋世界的音乐》，由凯特·范·奥登编辑

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2023-01-01 DOI: 10.1525/jams.2023.76.2.513

R. Wistreich

引用次数: 0

The implications of exosomes in pregnancy: emerging as new diagnostic markers and therapeutics targets. 外泌体对妊娠的影响：新的诊断标志物和治疗靶点。

IF 8.2 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-04-12 DOI: 10.1186/s12964-022-00853-z

Mehri Ghafourian, Roya Mahdavi, Zahra Akbari Jonoush, Mahvash Sadeghi, Nooshin Ghadiri, Maryam Farzaneh, Abdolah Mousavi Salehi

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引用次数: 0

Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, edited by Charles Hiroshi Garrett and Carol J. Oja 《一起发声:21世纪美国音乐的合作视角》，作者:Charles Hiroshi Garrett和Carol J. Oja

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.384

Douglas W. Shadle

引用次数: 1

Synthesized Socialism: Soviet Modernity and the Politics of Timbre in the Cold War 综合社会主义:冷战时期苏联的现代性与音色政治

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.3.547

G. Cornish

{"title":"Synthesized Socialism: Soviet Modernity and the Politics of Timbre in the Cold War","authors":"G. Cornish","doi":"10.1525/jams.2022.75.3.547","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.547","url":null,"abstract":"In this article, I show that contrary to enduring Cold War binaries between Western experimentalism and Soviet socialist realism, the Soviet government strategically deployed electronic music to bolster its image as a modern, forward-looking nation during the early Cold War. Drawing on previously unseen archival sources, oral history interviews, and organological methods, I argue that the Soviet government cultivated a specific politics of timbre through the creation of state-sponsored electronic musical instruments and ensembles. I begin by examining a 1955 order from the Ministry of Culture, by which engineers and inventors were tasked with building electronic instruments that sounded “modern.” I then follow the development of the Ekvodin, a multivoice synthesizer with a keyboard for easy performance, which the Ministry of Culture heralded as the future of Soviet music. Using the Ekvodin as a case study reveals both the sonic and the ideological values at play in the design of electronic musical instruments. I also explore two “misfires” in Soviet electronic music: the invention of the Il’ston synthesizer and Alfred Schnittke’s Poem about Space. Finally, I analyze the reception of the Ekvodin and the All-Union Radio and Television’s Ensemble of Electromusical Instruments to highlight the ideological debates over how best to “sound modern” in global networks of musical creation. In doing so, the article invites a broad reconsideration of musical aesthetics and politics in the Cold War.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226497","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

Alien Listening: Voyager’s Golden Record and Music from Earth, by Daniel K. L. Chua and Alexander Rehding 《外星人的聆听:旅行者的黄金唱片和来自地球的音乐》，作者:丹尼尔·k·l·蔡和亚历山大·雷丁

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.3.624

N. Lerner

引用次数: 2

Buckra: Whiteness and Porgy and Bess 巴克拉:白和波姬和贝丝

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.319

Kai West

{"title":"Buckra: Whiteness and Porgy and Bess","authors":"Kai West","doi":"10.1525/jams.2022.75.2.319","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.319","url":null,"abstract":"Questions of race have been central to an understanding of George Gershwin’s Porgy and Bess (1935), yet the opera’s portrayal of whiteness remains an aspect hidden in plain sight. While focusing on a Black community living under Jim Crow segregation, the work also features five white characters—a Detective and two police officers, a Coroner, and a lawyer—whose actions affect the lives of the people of Catfish Row in three often overlooked sections of the opera. Through close readings of the score, literary antecedents, and recorded as well as live performances, this article examines the relational role that whiteness plays in the compositional architecture and production history of Porgy and Bess. To show how the opera’s complex social dynamics are embedded in its musical structure, I employ an interdisciplinary approach combining musicological analysis with critical race theory, which pinpoints racial formation as a key component of Gershwin’s score. The article’s central analysis of the score reveals nuanced portrayals of Jim Crow race relations, highlighted by both multilayered expressions of white supremacy and powerful moments of Black resistance. These nuances, however, depend on reading the opera in its complete state, yet the three Black/white exchanges are often heavily altered in performance. To further understand how staging these scenes can affect their meanings, I investigate several key productions from across the opera’s history. Concluding with the Metropolitan Opera’s 2019–20 production, I reflect that the depictions of police brutality, white supremacy, and Black resistance in Porgy and Bess are more painfully relevant today than ever before.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225694","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 Beethoven Syndrome: Hearing Music as Autobiography, by Mark Evan Bonds 《贝多芬综合症:听音乐的自传》，作者马克·埃文·邦兹

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.3.614

Nicholas Mathew

引用次数: 0