Journal of the American Musicological Society最新文献_第6页

Nadia Boulanger and Her World, edited by Jeanice Brooks 《娜迪亚·布朗热和她的世界》，珍妮丝·布鲁克斯主编

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.181

Louis K. Epstein

引用次数: 1

Grand Illusion: Phantasmagoria in Nineteenth-Century Opera, by Gabriela Cruz 《大幻觉:19世纪歌剧中的幻影》，加布里埃拉·克鲁兹著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.186

Diana R. Hallman

引用次数: 1

Synchronization as Musical Labor in Italian Silent Cinemas 同步是意大利无声电影中的音乐劳动

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.273

Marco Ladd

{"title":"Synchronization as Musical Labor in Italian Silent Cinemas","authors":"Marco Ladd","doi":"10.1525/jams.2022.75.2.273","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.273","url":null,"abstract":"This article examines a series of lawsuits that consumed Italy’s legal establishment between approximately 1924 and 1933. Resulting from a protracted labor dispute between instrumental musicians who worked in cinemas and the exhibitors who employed them, the lawsuits turned on a question of employment law: whether musicians ought to be considered full-time employees—entitled to various benefits and protections against unfair termination—or more precariously situated freelancers whom exhibitors could hire and fire at will. As a consequence of the vagaries of existing Italian labor law and new Fascist legislation governing labor relations, musicians were already at a disadvantage in this dispute. Unexpectedly, their situation was further undermined by the judiciary, as Italy’s highest court made their employee status conditional on the perceived aesthetic value of cinema and its associated music making. That is, musicians had to prove that their musical abilities were integral to the artistic outcome of any given film screening—a tall order in the context of silent cinematic exhibition, where musical accompaniment was materially distinct from the projected film. Precisely because the courts valorized the fusion of music and image, however, the Italian musicians’ lawsuits illuminate a fundamental parameter of cinematic aesthetics—synchronization—and reveal something significant about the nature of film music. Public recognition for effecting music-image synchronization in film conferred symbolic, but also literal, capital; thus I contend that synchronization ought to be understood as a form of musical labor, both in the silent era and beyond.","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":"67225661","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

In Stravinsky’s Orbit: Responses to Modernism in Russian Paris, by Klára Móricz 在斯特拉文斯基的轨道上:对俄罗斯巴黎现代主义的回应，Klára Móricz

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.379

M. Frolova-Walker

引用次数: 1

Hector Berlioz’s Neurophysiological Imagination 赫克托耳·柏辽兹的神经生理学想象

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.1

C. Raz

{"title":"Hector Berlioz’s Neurophysiological Imagination","authors":"C. Raz","doi":"10.1525/jams.2022.75.1.1","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.1","url":null,"abstract":"There is, Berlioz writes in his essay “De la musique en général” (1837), “a strange agitation in my blood circulation: my arteries beat violently … a trembling overtakes my limbs and a numbness my hands and feet, while the nerves of sight and hearing are partially paralyzed.” The composer here is not, as one might think, describing the symptoms of an opium overdose, but rather the powerful effect of “good music” on his own body. Challenging our tendency to dismiss Berlioz’s musical writings as merely overheated Romantic effusions, I argue that the remarkable medical detail presented in his arguments reveals a hitherto neglected dimension of nineteenth-century engagement with the embodied effects of music. Contextualizing Berlioz’s claims within the neurophysiology of his age, and in particular the physiological psychology of Cabanis, the anatomy of Bichat, and the acoustic theories of Lamarck, I recover the medical and scientific epistemes that motivated the composer’s assertions about the power of music to effect embodied and emotional transformation—a constellation of ideas that I term his “neurophysiological imagination.” An analysis in these terms of some of Berlioz’s major compositional innovations reveals how both his writings and his music explore an explicitly neurophysiological dimension of early Romantic listening. Specifically, I propose that Berlioz repeatedly attempted both to represent and to induce an experience that was of great interest to the artists and audiences of his day: an overpowering mental and physical response to music experienced as an embodied, neurophysiological form of the sublime.","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":"67225641","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

Fantasie nègre: The Piano Music of Florence Price, by Samantha Ege 《幻想日记:弗洛伦斯·普莱斯的钢琴曲》，萨曼莎·埃格著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.405

Horace J. Maxile Jr.

引用次数: 1

Moravian Soundscapes: A Sonic History of the Moravian Missions in Early Pennsylvania, by Sarah Justina Eyerly 摩拉维亚音景:早期宾夕法尼亚州摩拉维亚任务的声音历史，莎拉·贾斯蒂娜·埃利利著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.200

Stephen A. Marini

引用次数: 1

#AlmaToo: The Art of Being Believed #AlmaToo:被相信的艺术

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.39

N. Newman

{"title":"#AlmaToo: The Art of Being Believed","authors":"N. Newman","doi":"10.1525/jams.2022.75.1.39","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.39","url":null,"abstract":"Despite the key role played by Alma Schindler Mahler-Werfel (1879–1964) in the preservation of her husband Gustav’s compositions and biography, she has often been viewed as having deliberately distorted his legacy. As sometimes happens to the widows of accomplished men, Alma’s capacity for sound judgment and right to control her image have been challenged by her husband’s devotees. This article considers Alma’s situation in terms of the #MeToo movement’s demand for the reevaluation of sexual politics between powerful men and younger women. Fundamental to this reconsideration is the imperative to listen to what individuals say about their experiences. Alma was nearly twenty years Gustav’s junior and pregnant when their marriage was hastily arranged. I explore key elements in their relationship, such as the devastating letter in which Gustav forbade her to compose, in terms of new conceptualizations of gaslighting, grooming, consent, character assessment, and believability articulated by the #MeToo movement. This theoretical foundation grounds extensive critique of both the conventions of fin-de-siècle Vienna and the chauvinism of late twentieth-century scholars. I conclude by briefly proposing an alternative perspective on Alma’s musical contributions based on her writings, compositions, and editorial, organizational, and curatorial activities. The revision of assumptions about one of Europe’s most famous musical couples has gained urgency since #MeToo began to articulate a new perspective on gender relations and artistic aspirations founded on social justice.","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":"67226010","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

Song in the Sumatran Highlands 苏门答腊高地的歌声

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.419

Maria Mendonça

引用次数: 1

Industry: Bang on a Can and New Music in the Marketplace, by William Robin 工业:敲罐头和市场上的新音乐，威廉·罗宾著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.393

Megan Steigerwald Ille

引用次数: 1