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How Music and Our Faculty for Music Are Made for Each Other 音乐与我们的音乐教师是如何相辅相成的
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2024-09-18 DOI: 10.1017/rma.2024.1
JAMES PARAKILAS
{"title":"How Music and Our Faculty for Music Are Made for Each Other","authors":"JAMES PARAKILAS","doi":"10.1017/rma.2024.1","DOIUrl":"https://doi.org/10.1017/rma.2024.1","url":null,"abstract":"This study relies on the prevalence of certain structures that largely distinguish the creation and reception of music from that of language – namely, temporal grids, scalar grids, and segments with their repetitions – to construct a model of the human cognitive faculty for music that allows humans to make music the way they do. The study draws on research and thought in philosophy (including phenomenology), linguistics, psychology, and neurology, coupled with musicology, to produce a model of a human capacity to make complex comparisons between ongoing sound sequences and those simultaneously reconstructed from memory by registering the relativities within their flow. This model is then used in a consideration of how the faculty for music interacts with the faculty for language in the experience of song and a consideration of how a similar cognitive capacity for music might be identified in other species.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"19 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142262883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Dr Cooke’s Protest: Benjamin Cooke, Samuel Arnold, and the Directorship of the Academy of Ancient Music 库克博士的抗议本杰明-库克、塞缪尔-阿诺德和古代音乐学院院长职位
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2024-09-18 DOI: 10.1017/rma.2024.2
BRYAN WHITE
{"title":"Dr Cooke’s Protest: Benjamin Cooke, Samuel Arnold, and the Directorship of the Academy of Ancient Music","authors":"BRYAN WHITE","doi":"10.1017/rma.2024.2","DOIUrl":"https://doi.org/10.1017/rma.2024.2","url":null,"abstract":"In 1789, the Academy of Ancient Music replaced Benjamin Cooke with Samuel Arnold as its musical director. This article offers a detailed analysis of an autograph copy of the address Cooke delivered to the Academy responding to their action, and of a letter to Cooke from Arnold countering accusations made regarding his conduct in the affair. Both documents are annotated by Henry Cooke, who used them in writing a biography of his father. These documents enable a new understanding of the significant changes made within the Academy in the 1780s and of the reasons Academy subscribers replaced Cooke with Arnold.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"118 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142262882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Szymanowski’s Third Piano Sonata and First String Quartet and the Artistic Theory and Practice of Stanisław Ignacy Witkiewicz: ‘Pure Form’, Subjectivity, and the Burlesque 希曼诺夫斯基的第三钢琴奏鸣曲和第一弦乐四重奏与斯坦尼斯瓦夫-伊格纳西-维特凯维奇的艺术理论与实践："纯粹形式"、主观性与滑稽戏
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2024-09-11 DOI: 10.1017/rma.2024.4
STEPHEN DOWNES
{"title":"Szymanowski’s Third Piano Sonata and First String Quartet and the Artistic Theory and Practice of Stanisław Ignacy Witkiewicz: ‘Pure Form’, Subjectivity, and the Burlesque","authors":"STEPHEN DOWNES","doi":"10.1017/rma.2024.4","DOIUrl":"https://doi.org/10.1017/rma.2024.4","url":null,"abstract":"Karol Szymanowski and Stanisław Ignacy Witkiewicz were leading figures in Polish modernism. A thorough review of their relationship and an examination of Witkiewicz’s theory of ‘pure form’ and its applicability to music (via Witkiewicz’s literary portraits of Szymanowski, his attempts at composition, and the critical and theoretical extensions of his work by Konstanty Regamey) provides the basis for analysing the form and content of Szymanowski’s Third Piano Sonata and First String Quartet.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"46 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142208412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
A Matter of Hono[u]r: Editing and Performing Beethoven’s Late Quartets in 1840s London 荣誉的问题：19 世纪 40 年代伦敦贝多芬晚期四重奏的编辑与演奏
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2024-09-10 DOI: 10.1017/rma.2024.6
NICHOLAS MARSTON
{"title":"A Matter of Hono[u]r: Editing and Performing Beethoven’s Late Quartets in 1840s London","authors":"NICHOLAS MARSTON","doi":"10.1017/rma.2024.6","DOIUrl":"https://doi.org/10.1017/rma.2024.6","url":null,"abstract":"The importance to reception history of the first complete cycle of Beethoven’s string quartets, given in London in 1845 by the Beethoven Quartett Society, is securely established. Less well recognized is the significance of the complete edition of the quartets prepared by the cellist Scipion Rousselot and published in London in 1846. This article offers the first close examination of Rousselot’s edition and posits that while its claims for unparalleled correctness were unsustainable, its inclusion, uniquely in the case of the late quartets, of two uncommon features – rehearsal letters and instrumental cues – constitutes a trace of the rehearsal practices of the four players responsible for these historically outstanding performances.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"15 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142208413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Reflections on Women in Music 对音乐界女性的思考
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2024-09-09 DOI: 10.1017/rma.2024.16
SUSAN WOLLENBERG
{"title":"Reflections on Women in Music","authors":"SUSAN WOLLENBERG","doi":"10.1017/rma.2024.16","DOIUrl":"https://doi.org/10.1017/rma.2024.16","url":null,"abstract":"Four substantial volumes dedicated to women in music, all published within the past couple of years, give welcome indication of the continuing growth of this area of study.<jats:sup>1</jats:sup> Following some general background, I first survey the books, then consider each individually. That I select chapters to discuss in detail does not mean that others would not deserve comparable attention. I can give only a glimpse of the riches these books contain.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"62 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142208415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Letting Beethoven’s Hair Down: Dancing and Musicking in Vienna 放下贝多芬的头发：维也纳的舞蹈与音乐
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2024-09-09 DOI: 10.1017/rma.2024.7
NATASHA LOGES
{"title":"Letting Beethoven’s Hair Down: Dancing and Musicking in Vienna","authors":"NATASHA LOGES","doi":"10.1017/rma.2024.7","DOIUrl":"https://doi.org/10.1017/rma.2024.7","url":null,"abstract":"It feels fitting to have worked on this review in Baden bei Wien, in which Beethoven spent many summers. This pretty town southwest of Vienna boasts not only a Beethoven-Haus, but also a Beethoven-Panoramaweg, Beethoven-Rundwanderweg, Beethoven-Spazierweg, and even an imposing Beethoven-Tempel, offering a scenic view; notions of decentring, decolonizing, or even critically engaging with Beethoven’s canonic status feel not only remote, but also faintly inappropriate in this, as many other, Beethoven-designated spaces. Moreover, at the time of writing, the international press is reporting that Beethoven’s skull fragments are being returned to Vienna, as though they are holy relics.<jats:sup>1</jats:sup> Such material traces of Beethoven’s canonicity seem to mock attempts to rattle the ideological cage, yet two recent books by Erica Buurman and Nancy November make significant contributions.<jats:sup>2</jats:sup> The former indirectly poses questions about Beethoven’s relationship to Viennese dance culture, while the latter is a deeply impressive account of the chamber music arrangements of Beethoven’s symphonies. Both left me a touch nostalgic for the now marginal cultures of formal dancing and musical arrangement, which dominated the soundscape of early nineteenth-century Vienna.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"58 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142208414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Childhood’s Charms and Nature’s Enchantments: Listening to Enescu’s Impressions d’enfance 童年的魅力和大自然的魅力：聆听埃内斯库的《童年印象
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2024-04-08 DOI: 10.1017/rma.2023.7
JAMES SAVAGE-HANFORD
{"title":"Childhood’s Charms and Nature’s Enchantments: Listening to Enescu’s Impressions d’enfance","authors":"JAMES SAVAGE-HANFORD","doi":"10.1017/rma.2023.7","DOIUrl":"https://doi.org/10.1017/rma.2023.7","url":null,"abstract":"Enescu’s <jats:italic>Impressions d’enfance</jats:italic> is notable for the ways in which it evokes a childlike fascination with the world. This article considers not only how this experiential mode is constructed, but also how the topic of childhood overlaps with Enescu’s conception of an enchanted dwelling-place, particularly in the context of how humans interact with the natural world. I argue that exploring such ‘strategies of enchantment’ and their musical framing allows not only for a more nuanced understanding of Enescu’s aesthetics and his music, but also of the role that enchantment as an aesthetic category occupies within musical modernity more broadly.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"35 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140579999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Sibelian Formal Principles in the First Movement of Malcolm Arnold’s Fifth Symphony 马尔科姆-阿诺德第五交响曲第一乐章中的西伯利亚形式原则
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2024-04-04 DOI: 10.1017/rma.2023.6
RYAN ROSS
{"title":"Sibelian Formal Principles in the First Movement of Malcolm Arnold’s Fifth Symphony","authors":"RYAN ROSS","doi":"10.1017/rma.2023.6","DOIUrl":"https://doi.org/10.1017/rma.2023.6","url":null,"abstract":"Malcolm Arnold’s symphonies have persistently divided critical opinion because of their problematic relationship with traditional genre expectations. This is especially the case in works that eschew sonata-style tonal conflicts and formal markers in favour of theme- and timbre-driven processes. In these respects, Sibelius, rather than members of the Austro-German symphonic tradition, was an important model for Arnold’s individual approach to symphonic composition. This article applies four formal principles (content-based forms, teleological genesis, rotational form and <jats:italic>klang</jats:italic> meditation), which James Hepokoski has explicitly identified with Sibelius’s later symphonic style, to the first movement of Arnold’s Fifth – one of his most admired and yet most unconventional symphonic structures. The resulting analysis shows a complex and yet accessible movement that generates its own unique tension and dramatic interest. Far from being the feeble work of a symphonic lightweight, it is an impressively realized landmark of the genre in the late twentieth century.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"94 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140580289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Round Table: A ‘Musical League of Nations’? Music Institutions and the Politics of Internationalism between the Wars 圆桌会议：“音乐国际联盟”？音乐制度与战后的国际主义政治
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.24
S. Collins, Barbara L. Kelly, L. Tunbridge
{"title":"Round Table: A ‘Musical League of Nations’? Music Institutions and the Politics of Internationalism between the Wars","authors":"S. Collins, Barbara L. Kelly, L. Tunbridge","doi":"10.1017/rma.2022.24","DOIUrl":"https://doi.org/10.1017/rma.2022.24","url":null,"abstract":"This round table grew out of two gatherings in 2018–19 that endeavoured to bring musicologists into dialogue with recent revisions in the history of international relations.1 Our specific focus was the interwar period, more often discussed in terms of nationalism – or perhaps at best transnationalism – than within the context of internationalism, a principle that lay behind the foundation of elite governmental organizations such as the League of Nations, the United Nations, the World Health Organization, the International Labour Organization and others. As the historians Glenda Sluga and Patricia Clavin have shown, the construction of objects of global governance by these organizations ran alongside a broader sweep of non-governmental groupings that forwarded the interests of indigenous, working-class, anti-colonialist, anti-slavery and feminist causes.2 What role or roles did music play in these contexts? The case studies that follow illustrate the far-reaching implications of internationalist policies for musical institutions, groups and individuals.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"557 - 560"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44269084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
RMA volume 147 issue 2 Cover and Back matter RMA第147卷第2期封面和封底
IF 0.3 2区 艺术学
Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2023.2
{"title":"RMA volume 147 issue 2 Cover and Back matter","authors":"","doi":"10.1017/rma.2023.2","DOIUrl":"https://doi.org/10.1017/rma.2023.2","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"b1 - b1"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43847764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
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