Journal of the American Musicological Society最新文献_第7页

Women and Music in Sixteenth-Century Ferrara, by Laurie Stras 《16世纪费拉拉的女性与音乐》，劳里·斯特拉斯著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.398

B. Gordon

引用次数: 1

Vera Lynn Sings: Domesticity, Glamour, and National Belonging on 1950s British Television 薇拉·林恩演唱:1950年代英国电视中的家庭生活、魅力和国家归属

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.2.221

Christina Baade

{"title":"Vera Lynn Sings: Domesticity, Glamour, and National Belonging on 1950s British Television","authors":"Christina Baade","doi":"10.1525/jams.2022.75.2.221","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.221","url":null,"abstract":"In the late 1950s, musical variety shows on television played a critical role in the careers of numerous singers, particularly women working in mainstream pop. Some even hosted their own shows, becoming “television personalities,” a new type of performer skilled at conveying televisual authenticity and intimacy. We can better understand the significance of these often overlooked singers by recentering the role of television in their careers. This article takes as its case study the British singer Vera Lynn and Vera Lynn Sings, the lavishly produced, prime-time musical variety show that she hosted from 1956 to 1959 and that was the centerpiece of her exclusive, multi-year contract with the British Broadcasting Corporation. By examining her star persona on the show, the article offers a corrective to accounts of Lynn’s long life as a public figure, which tend to emphasize her fame as a singer in World War II while skimming over her accomplished career in the decades that followed. Drawing upon production documents and scripts at the BBC Written Archives Centre, together with press sources, this article argues that Vera Lynn Sings helped shape popular notions of British national identity in the late 1950s. Through its musical, performative, and visual strategies, the show offered a vision of national belonging that placed aspirational, white, feminine domesticity at the center. Anchored by Lynn’s sincere persona and sentimental songs, the show’s intimate address and musical repertoire welcomed a “family” audience across lines of gender, class, and age, while simultaneously reinforcing racist and colonial definitions of national belonging.","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":"67226109","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 Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries, by Anna Maria Busse Berger 寻找中世纪音乐在非洲和德国，1891年至1961年:学者，歌手，传教士，由安娜·玛丽亚·布斯伯格

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.3.608

Arne Spohr

引用次数: 0

Music, Liturgy, and Confraternity Devotions in Paris and Tournai, 1300–1550, by Sarah Ann Long 1300-1550年，巴黎和图尔奈的音乐、礼拜仪式和友爱祈祷，萨拉·安·朗著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2022-01-01 DOI: 10.1525/jams.2022.75.1.191

David J. Rothenberg

引用次数: 1

Reverie, Schmaltz, and the Modernist Imagination 幻梦、施马尔茨与现代主义想象

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-08-01 DOI: 10.1525/jams.2021.74.2.289

Alexandra Kieffer

{"title":"Reverie, Schmaltz, and the Modernist Imagination","authors":"Alexandra Kieffer","doi":"10.1525/jams.2021.74.2.289","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.289","url":null,"abstract":"\u0000 In a review of 1895, Henry Gauthier-Villars described Claude Debussy’s Prélude à l’après-midi d’un faune as “musique de rêve,” a descriptor that has been attached to Debussy’s style ever since. Partly because of the importance of the Prélude within his compositional development, the distinctive sound of Debussy’s “dream music” has often been understood as a response to the hermetic and difficult literary style of French Symbolists, especially that of Stéphane Mallarmé. Yet Gauthier-Villars’s appellation of “musique de rêve” also invoked a specifically sonic (and largely forgotten) set of cultural reference points, an aural backdrop crucial for understanding Debussy’s early style in the 1880s and early 1890s—the widespread cultivation of the topos of reverie in French music in the final two decades of the nineteenth century. Settings of Baudelaire, Verlaine, and Mallarmé by Debussy and his young contemporaries around 1890 were infused with signifiers of dream and reverie that trace back to salon genres of the 1870s and that cross-pollinated with the harmonic language of the newly fashionable valse lente in the early 1880s. Hearing Debussy’s early works in the context of this reverie topos and its aural kinship to the popular valse lente sheds light on the extent to which the radical idiosyncrasy so vaunted by modernists was constantly evolving in tandem with—and could never truly free itself from—an aural culture defined by mass production, repetition, and cliché.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49106894","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

Composing Community in Late Medieval Music: Self-Reference, Pedagogy, and Practice, by Jane D. Hatter 作曲社区在中世纪晚期音乐:自我参考，教学和实践，由简·d·哈特

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-08-01 DOI: 10.1525/jams.2021.74.2.440

S. Long

引用次数: 1

Beethoven 1806, by Mark Ferraguto 马克·费拉古托的《贝多芬1806》

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-08-01 DOI: 10.1525/jams.2021.74.2.435

M. C. Tusa

引用次数: 1

Cursed Questions: On Music and Its Social Practices, by Richard Taruskin 《被诅咒的问题：论音乐及其社会实践》，Richard Taruskin著

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-08-01 DOI: 10.1525/jams.2021.74.2.431

P. V. Bohlman

引用次数: 1

A Trial on Ishwarimula (Aristolochia indica Linn.) in Dushta Vrana in Patients 马兜铃（Aristolochia indica Linn.）在Dushta Vrana患者中的试验

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-06-13 DOI: 10.5530/JAMS.2019.4.10

M. Faisal, Shrikanth Padigar, S. Narayana

引用次数: 0

Ayurveda- An Invocation to Boost Immunity and the Fight against COVID-19 阿育吠陀——提高免疫力和抗击COVID-19的祈愿

IF 0.8 1区艺术学

Journal of the American Musicological Society Pub Date : 2021-06-13 DOI: 10.5530/JAMS.2019.4.8

Bhavana Mawar, R. Yadava, R. Mahto

引用次数: 0