Journal of the American Musicological Society最新文献_第5页

Life of a Colombian Musician: Music Autobiography, Cosmopolitan Musickings, and Agonistic Objectification 一个哥伦比亚音乐家的生活:音乐自传，世界性的音乐，和激烈的客观化

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.3.439

Daniel F. Castro Pantoja

{"title":"Life of a Colombian Musician: Music Autobiography, Cosmopolitan Musickings, and Agonistic Objectification","authors":"Daniel F. Castro Pantoja","doi":"10.1525/jams.2022.75.3.439","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.439","url":null,"abstract":"This article presents an analytical framework for the study of Latin American music autobiographies. I take Colombian composer Guillermo Uribe Holguín’s 1941 autobiography Vida de un músico colombiano as a paradigmatic case in order to argue that Latin American music autobiographies are not secondary sources that lack historical or literary value—a common historiographical assumption—but rather agonistic and intermedial objects that intervene in local and translocal networks. In addition to introducing recent literature on music autobiographies, the article expands on post-foundationalist political thought to make a case for a renewed examination of Latin American music autobiographies and their relevance to the study of music, sound, and the political. In my reading of the Vida, I consider Uribe Holguín’s literary inscription of cosmopolitan musickings, anxieties, and agentic claims and evaluate their potential to at once reify and/or disarticulate a nationalist-populist poetics, the conflation of partisan struggle with national identity, and narratives of European and Euro-American exceptionalism in global music histories. The article also discusses how other political actors continue to use the Vida to sound and perform a politics of belonging in contraposition to Uribe Holguín’s non-national, cosmopolitan autobiographical self. The last section exposes Michael Herzfeld’s notion of cultural intimacy to Ernesto Laclau and Chantal Mouffe’s category of antagonism to account for the Vida’s reception beyond national borders and analyze the performances of cosmopolitan subjectivity it enabled among actors at the margins of a global modernity who saw themselves as precarized by the geopolitics of Western art music.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226227","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

Global Chopin: The 1949 Centenary and Polish Internationalism during the Early Cold War 全球肖邦:1949年百年纪念与冷战初期的波兰国际主义

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.3.487

J. M. Pierce

{"title":"Global Chopin: The 1949 Centenary and Polish Internationalism during the Early Cold War","authors":"J. M. Pierce","doi":"10.1525/jams.2022.75.3.487","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.487","url":null,"abstract":"The 1949 Chopin Year was a large-scale cultural mobilization whose purpose was to bring Chopin’s music to hundreds of thousands of Poles and to promote it around the world, all funded and overseen by Poland’s newly established Communist state. Among the most striking aspects of the Chopin Year was its extensive international programming: not only did Polish diplomatic missions convince around thirty countries to organize Chopin celebrations that paralleled those in Poland, but they targeted countries outside the Soviet-dominated Eastern Bloc, despite the strictures of Stalinist-era anti-Westernism then growing across Eastern Europe. This article draws on unstudied archival sources from Polish ministries, musical institutions, and diplomatic missions to explore the historical and political forces at play in Poland’s Chopin-centered internationalism during the early Cold War. I demonstrate that cultural officials, composers, diplomats, and performers—all with varying stakes in state socialism—competed over the meaning of Chopin and his accomplishments when planning the Chopin Year. These various factions often agreed, however, on a decades-old view of the composer as both a national and an international figure, whose legacy was uniquely capable of promoting Polish causes on the global stage. By showing how the Chopin Year drew on and perpetuated a longue durée of Polish transnational contacts and discourse about the global Chopin, the article places Cold War internationalism within a longer lineage of border-crossing that had been a central aspect of European musical culture since at least Chopin’s lifetime.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226341","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

Singing Webern, Sounding Webern: Bethany Beardslee, Grace-Lynne Martin, and Marni Nixon, 1950–1957 唱韦伯恩，唱韦伯恩:贝瑟尼·比尔兹利，格蕾丝·琳恩·马丁，玛尼·尼克松，1950-1957

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.81

David H. Miller

{"title":"Singing Webern, Sounding Webern: Bethany Beardslee, Grace-Lynne Martin, and Marni Nixon, 1950–1957","authors":"David H. Miller","doi":"10.1525/jams.2022.75.1.81","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.81","url":null,"abstract":"Anton Webern’s vocal music has long been overshadowed by the aphoristic miniatures and rigorously organized twelve-tone works—both largely instrumental genres—for which the composer is best known. Yet over half of Webern’s output consists of vocal works. During the 1950s, as composers and intellectuals celebrated the “instrumental” Webern, an alternative view of the composer was emerging through the performances of three soprano soloists. Bethany Beardslee gave posthumous premieres of three of Webern’s works in New York and recorded his Four Songs op. 12 for Dial Records. On the other side of the country, Grace-Lynne Martin and Marni Nixon performed works by Webern at the Evenings on the Roof in Los Angeles, and collaborated with Robert Craft on Columbia Records’ Anton Webern: The Complete Music. Beardslee, Martin, and Nixon adopted a variety of approaches to learning Webern’s famously difficult works, and their work paid off: all three sopranos earned praise for weathering the extreme technical challenges of Webern’s soprano lines while also delivering musically satisfying performances. Yet these performances have been largely forgotten in the decades since, as a consequence of changing attitudes toward postwar performance practices as well as the sometimes sexist views of male music critics. Nevertheless, the performances of these sopranos constituted a crucial step toward perspectives on Webern that are now current among contemporary performers and scholars, and understanding their contributions is essential to understanding the vocal side of Webern.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226056","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: 2

De Nueva España a México: El universo musical mexicano entre centenarios (1517–1917), edited by Javier Marín-López 从新西班牙到墨西哥:百年纪念之间的墨西哥音乐宇宙(1517 - 1917)，哈维尔编辑marin - lopez

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.167

Alejandro García Sudo, Elisabeth Le Guin

引用次数: 1

Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms, by Kira Thurman 《像德国人一样歌唱:巴赫、贝多芬和勃拉姆斯之乡的黑人音乐家》，基拉·瑟曼著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.3.599

M. A. Pottinger

引用次数: 4

Instrumental Music in Late Eighteenth-Century Naples: Politics, Patronage and Artistic Culture, by Anthony R. DelDonna 18世纪晚期那不勒斯的器乐:政治、赞助和艺术文化，安东尼·德尔多纳著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.195

W. D. Sutcliffe

引用次数: 1

I Used to Love to Dream, by A. D. Carson a·d·卡森的《我曾经爱做梦》

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.409

J. Henry

引用次数: 1

Sacred Sounds, Secular Spaces: Transforming Catholicism through the Music of Third-Republic Paris, by Jennifer Walker 神圣的声音，世俗的空间:通过第三共和国巴黎的音乐改变天主教，詹妮弗·沃克著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.3.619

Megan Sarno

引用次数: 0

Colonial Galant: Three Analytical Perspectives from the Chiquitano Missions 殖民加兰特:来自奇基塔诺任务的三个分析视角

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.129

R. Grant

{"title":"Colonial Galant: Three Analytical Perspectives from the Chiquitano Missions","authors":"R. Grant","doi":"10.1525/jams.2022.75.1.129","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.129","url":null,"abstract":"During the eighteenth century, a vibrant tradition of choral and orchestral music flourished among the Chiquitano Indigenous people. Coerced into entering Jesuit missions in the Spanish Viceroyalty of Peru (now eastern Bolivia) the Chiquitano first heard and then began to make music in a European style. Archival sources preserve several operas and large-scale liturgical compositions written entirely in the Chiquitano language and attributed to Indigenous composers. Unlike the heavy counterpoint of other New World sacred music, this repertoire is characterized by simple harmonies, regular cadence patterns, and transparent textures. In three analytical vignettes, this article explains how the galant style of this mission music helped to achieve the colonial aims of European settlers. Previous scholars have generally celebrated the exceptional status of this unusual body of music and pointed to it as proof of an isolated set of instances in which traditional power hierarchies between colonizers and Indigenous colonized were unstable. Drawing on Brian Larkin, Homi Bhabha, and Franz Fanon, this article by contrast suggests that the specific aesthetic forms produced by the Chiquitano were vital in helping to shape them as colonial subjects. The galant style of their music was both easy to participate in and impressive to experience. Taking this seriously means rewriting our European narrative of the galant and retelling it, in part, as one of cultural imperialism and colonial hegemony.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225202","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

Flaming? The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance, by Alisha Lola Jones 燃烧的?《黑人男性福音表演中火与欲望的特殊神权政治》，作者:阿丽莎·洛拉·琼斯

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.163

Birgitta J. Johnson

引用次数: 1