Journal of the Royal Musical Association最新文献_第3页

Domination over the Risorgimento: Anton Bruckner’s Seventh Symphony in Luchino Visconti’s Senso (1954) 统治复兴:安东·布鲁克纳在卢奇诺·维斯康蒂的《森索》中创作的第七交响曲(1954)

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.19

Michael Baumgartner

{"title":"Domination over the Risorgimento: Anton Bruckner’s Seventh Symphony in Luchino Visconti’s Senso (1954)","authors":"Michael Baumgartner","doi":"10.1017/rma.2022.19","DOIUrl":"https://doi.org/10.1017/rma.2022.19","url":null,"abstract":"Abstract In this article I argue that Anton Bruckner’s Seventh Symphony assumes a pivotal role in advancing the romantically tinged narrative in Luchino Visconti’s film Senso (1954) through a politically recoded message. Visconti offers in this film a reflection upon the political climate in Venetia during the Risorgimento through the pre-eminent role of music. In particular, Bruckner’s music emphasizes the condition of the Venetians under Austrian rulers by dominating as an oppressive and overpowering force, not unlike the Austrian supremacy over the north Italians. Bruckner’s music, which relies on a decisively Wagnerian idiom, conveys throughout the film ideas of betrayal, on both the microlevel and the macrolevel. Such betrayals refer to the Christian Democracy, which excluded the Marxist partisans from governing post-war Italy. These events mirror, for Visconti, the failed revolution of the bourgeois-driven Risorgimento in the 19th century due to the idleness of the aristocracy. Interpreted through Visconti’s Marxist ideology, Bruckner is thus an indicator that the hegemony of the elite remained in place, unchanged and unaltered. As the sonic representative of the Austrian monarchy, it opposes the Risorgimento ideal of the bourgeois class and reassures the supremacy of the ruling class.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"379 - 416"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48014985","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

From the History of Jazz in Europe towards a European History of Jazz: The International Federation of Hot Clubs (1935–6) and ‘Jazz Internationalism’ 从欧洲爵士乐史走向欧洲爵士乐史：国际热俱乐部联合会（1935-6）与“爵士乐国际主义”

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.27

Martin Guerpin

引用次数: 0

Possibilities of the Interval: Heidegger and the Reimagining of the Interval in Luigi Nono’s A Carlo Scarpa 间隔的可能性:海德格尔与路易吉·诺诺的《卡洛·斯卡帕》中间隔的再想象

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.17

J. Barton

引用次数: 0

By Myself but Not Alone. Agency, Creativity and Extended Musical Historicity 独自一人，但并非独自一人。代理、创造力与音乐历史延展

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.22

A. Schiavio, Kevin Ryan, Nikki Moran, Dylan van der Schyff, S. Gallagher

{"title":"By Myself but Not Alone. Agency, Creativity and Extended Musical Historicity","authors":"A. Schiavio, Kevin Ryan, Nikki Moran, Dylan van der Schyff, S. Gallagher","doi":"10.1017/rma.2022.22","DOIUrl":"https://doi.org/10.1017/rma.2022.22","url":null,"abstract":"Abstract In this paper we offer a preliminary framework that highlights the relational nature of solo music-making, and its associated capacity to influence the constellation of habits and experiences one develops through acts of musicking. To do so, we introduce the notion of extended musical historicity and suggest that when novice and expert performers engage in individual musical practices, they often rely on an extended sense of agency which permeates their musical experience and shapes their creative outcomes. To support this view, we report on an exploratory, qualitative study conducted with novice and expert music performers. This was designed to elicit a range of responses, beliefs, experiences and meanings concerning the main categories of agency and creativity. Our data provide rich descriptions of solitary musical practices by both novice and expert performers, and reveal ways in which these experiences involve social contingencies that appear to generate or transform creative musical activity. We argue that recognition of the interactive components of individual musicking may shed new light on the cognition of solo and joint music performance, and should inspire the development of novel conceptual and empirical tools for future research and theory.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"41 1","pages":"533 - 556"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41304945","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: 5

Difference in Contact: Early Music, Colonialism and the Archive 接触的差异:早期音乐、殖民主义和档案

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.18

William Fourie, G. Haggett

引用次数: 0

‘On which they (merely) held drones’: Fugitive Tapes from the Theatre of Eternal Music Archive, 1963–6 “他们(仅仅)拿着无人机”:永恒音乐剧院档案的逃亡磁带，1963-6年

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.30

Patrick Nickleson

引用次数: 0

Variations on the Musical Sublime 音乐升华变奏曲

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.23

Katherine Fry

{"title":"Variations on the Musical Sublime","authors":"Katherine Fry","doi":"10.1017/rma.2022.23","DOIUrl":"https://doi.org/10.1017/rma.2022.23","url":null,"abstract":"It can sometimes seem as if musicology is perpetually running late. At least, that is the impression that emerges from two new histories of music and the discourse of the sublime in European culture and aesthetics. Both books stress an imbalance between music and other scholarly fields as a premise for revisiting the long history of the sublime, charting its rise to prominence in the late-seventeenth century with the reception of Peri Hupsous (On Sublimity, attributed to the Greek critic Longinus), to its dominant place in British, German, and French aesthetics and criticism in the late-eighteenth and the nineteenth centuries. During this period, the sublime was debated by critics, literary writers, theologians, philosophers and musicians, and used to evoke multiple meanings and applications. Put simply: the sublime was more than a set of intrinsic qualities – such as elevation, grandeur, excess, power, persuasion, innovation and so on – to be located in an external object, style, or mode of expression. It was also an experience and state of mind identified with the (usually male) perceiving subject, an emotional and cognitive confrontation with that which is overwhelming, unknowable, or indescribable.1","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"645 - 653"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49263039","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

Worker Internationalism, Local Song and the Politics of Urban Space 工人国际主义、地方歌曲与城市空间政治

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.26

Harriet Boyd-Bennett

{"title":"Worker Internationalism, Local Song and the Politics of Urban Space","authors":"Harriet Boyd-Bennett","doi":"10.1017/rma.2022.26","DOIUrl":"https://doi.org/10.1017/rma.2022.26","url":null,"abstract":"At the height of the strikes and factory occupations that marked Turin’s biennio rosso (‘two red years’, 1919–20) a series of songs circulated among the workers. I will focus on two of these songs – La guardia rossa and Miśeria, miśeria – to listen to the particular stories they tell about the experiences of the city’s labouring classes: the ways in which the songs functioned as vehicles of political expression and solidarity, and as loci of memories of past labour and strife. Both songs survived in the memories of workers and their families long after the biennio rosso, as oral and written testaments to a moment when it seemed that revolution might be possible. The crucial point, however, is that while both were expressions of a local political milieu and neighbourhood-specific, working-class sentiment, they also gestured to a broader network of internationalist solidarity. It is the tensions and convergences between localism and internationalism that I want to explore further – a ‘local internationalism’, perhaps, that prompts us to pay attention to the broader political potential of small-scale communities, as well as to the situatedness of political ideologies during a period often framed in terms of national retrenchment and transnational exchange.60","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"571 - 582"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45758113","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

Music and Austrofascism: Radio, Pan-Germanism and the Reinvention of the Wiener Symphoniker 音乐与奥地利法西斯主义：广播、泛日耳曼主义与维纳交响乐团的复兴

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI: 10.1017/rma.2022.21

Nicholas Attfield

{"title":"Music and Austrofascism: Radio, Pan-Germanism and the Reinvention of the Wiener Symphoniker","authors":"Nicholas Attfield","doi":"10.1017/rma.2022.21","DOIUrl":"https://doi.org/10.1017/rma.2022.21","url":null,"abstract":"Abstract ‘Austrofascist’ has again become an accepted term to describe the Austrian regime from 1933 to 1938. This article contributes to this re-emergence using the example of the Wiener Symphoniker, and by seeking long-term ‘fascistization’ processes surrounding the orchestra rather than blunt comparisons against developments in neighbouring regimes. The account hinges on the Austrian radio service (RAVAG), through which, during the economic crises of the 1920s, the state exerted alignment pressure on many cultural institutions. As Chancellor Dollfuss declared the ‘depoliticization’ of Austria (the banning of political parties) in 1933, RAVAG used its leverage to break the orchestra’s union alliances and dictate personnel selection according to politics. On this foundation, new radio series like Stunde österreichischer Komponisten der Gegenwart (‘Austrian Composers of the Present’) extolled ‘pan-Germanism’: a nationalist ideology that proclaimed the European supremacy of German Austrians and attempted to forge an Austrofascist community – even as it simultaneously created exploitable overlap with National Socialism.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"417 - 448"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48921989","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

Notes for Contributors 贡献者须知

IF 0.3 2区艺术学

Journal of the Royal Musical Association Pub Date : 2022-09-01 DOI: 10.1353/mar.2022.0084

引用次数: 0