Journal of the Royal Musical Association最新文献

{"title":"Re-examining Salon Space: Structuring Audiences and Music at Parisian Receptions","authors":"Nicole Vilkner","doi":"10.1017/rma.2021.22","DOIUrl":"https://doi.org/10.1017/rma.2021.22","url":null,"abstract":"Abstract Historians have viewed nineteenth-century music salons in Paris as concert-like environments where performers and audience gathered in a designated music room. Architectural studies and first-hand accounts, however, show that the music salon incorporated multiple reception rooms, and that guests frequently listened to musical performances from adjoining spaces. While conceptual space has been a subject central to salon studies, this project analyses material space, re-evaluating how the architecture of the salon influenced audience structure, listening modes and compositional practices. This architecture was ultimately central to the development of salon opera, which flourished between 1850 and the 1870s and was epitomized by Gustave Nadaud’s Le docteur Vieuxtemps (1854).","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"221 - 248"},"PeriodicalIF":0.3,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49021384","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}

{"title":"Histories of Hearing","authors":"K. Bijsterveld","doi":"10.1017/rma.2021.27","DOIUrl":"https://doi.org/10.1017/rma.2021.27","url":null,"abstract":"In January 2019, the Centre de Recherches sur les Arts et le Langage (CRAL) at L’École des Hautes Études en Sciences Sociales (EHESS) in Paris presented the conference Sound and Music in the Prism of Sound Studies.1 A spectacular video announces the event: a heavy-metal band screams about the conference’s themes and cries out each speaker’s name, which is in turn spelt out on screen in gothic-bloody font. The band’s song lyrics note that the focus of sound studies is on topics such as soundscape, noise, silence, recording techniques and listening. Most critically, the band shouts: ‘These are issues that musicology has been dealing with for a long time. What is then the place of musicology in the wake of sound studies?’","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"297 - 304"},"PeriodicalIF":0.3,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45581076","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}

{"title":"Music in Radio Drama: The Curious Case of the Acousmatic Detective","authors":"K. Smith","doi":"10.1017/rma.2021.30","DOIUrl":"https://doi.org/10.1017/rma.2021.30","url":null,"abstract":"Abstract This article explores music’s role in radio drama. While musical aspects of early experimental radio dramas have often been explored, the music that figures in the Anglo-American radio play tradition has remained under-theorized. Borrowing interpretative tools from audiovisual discourses can help to elucidate some of the subtleties of the medium, but methodological inadequacies soon become apparent. As exemplars of modern radio dramatic technique, the BBC’s complete adaptations of Sherlock Holmes stories (1989–98) are explored, their music interwoven into the drama with consistent levels of subtlety. I draw primarily from Michel Chion’s application of the ‘acousmatic’, showing how the ambiguity concerning the location of the enveloping solo violin music – Holmes’s instrument – offers twists and turns to the agency of the unfolding narrative. I examine further how a sustained technique of intertextual allusion creates what I call a paradiegetic space, in which pre-existing music, heard within the dramas, provides a parenthetical narrative that unravels in parallel with the primary narrative, reflecting back on its themes, changing its meanings and moreover challenging our preconceptions about radio’s particular acousmatic zone.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"105 - 134"},"PeriodicalIF":0.3,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41727820","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}

{"title":"Before Pan Awoke: A Quiet Beginning for Mahler’s Third Symphony","authors":"Milijana Pavlović","doi":"10.1017/rma.2022.2","DOIUrl":"https://doi.org/10.1017/rma.2022.2","url":null,"abstract":"Abstract In the genesis of Mahler’s Third Symphony, the composition of the first movement occupies a particularly interesting and important position. The first in the symphony but the last to be composed, this movement had a complex structural development from the mere introduction that it was originally supposed to be to the gigantic and extraordinary construction that we know today. As it is, every new piece of evidence that surfaces sheds more light on this fascinating process. This article examines one such item: an original manuscript source in a private collection which gives a fresh take on the creative mechanism behind the composition of this movement and is directly connected to a well-known manuscript housed in the Österreichische Nationalbibliothek in Vienna.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"193 - 220"},"PeriodicalIF":0.3,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48864606","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}

{"title":"‘A crazy clutter of the mediaeval, medical mind’: Ken Russell, Peter Maxwell Davies and Modernist Medievalism in The Devils","authors":"Alexander Kolassa","doi":"10.1017/rma.2021.29","DOIUrl":"https://doi.org/10.1017/rma.2021.29","url":null,"abstract":"Abstract Ken Russell’s 1971 film The Devils is a shocking historical drama which, eclipsed by its own battle against censorship, has only recently had a critical revival. A landmark musical collaboration central to that film remains unexplored: Peter Maxwell Davies wrote the score, which is heard in tandem with ‘period’ performances from David Munrow and the Early Music Consort of London. Though ostensibly historical, the film’s disruptive atemporal style is elevated through an art of stylized anachronism. This collaboration mirrors Davies’s opera Taverner (premièred in 1972), not only because that too featured Munrow and his consort but also because Russell was supposed to direct its première. This article posits Davies’s film score as a compelling work combining historicist compositional interests and a challenging aesthetic of excess within the popular context of mass cinematic spectacle. Informed by the close study of Davies’s own manuscripts, it argues for new ways of understanding the role of a persistent past in the music of a resolutely modernist present.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"135 - 170"},"PeriodicalIF":0.3,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46860118","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}

{"title":"Foundations, Market Failures and the Funding of New Music","authors":"ERIC DROTT","doi":"10.1017/rma.2021.26","DOIUrl":"https://doi.org/10.1017/rma.2021.26","url":null,"abstract":"<p>In 1965, a short article entitled ‘On the Performing Arts: An Anatomy of their Economic Problems’ appeared in the American Economic Review, the flagship journal of the American Economic Association.<span>1</span> Written by two Princeton-affiliated economists, William J. Baumol and William G. Bowen, the article laid out in eight short pages a powerful explanation for why the operating costs of so many performing arts organizations consistently overran their earnings, and why this tendency had become more pronounced over time. The problem was not that lavish budgets were being spent on productions, nor that musicians’ unions had wrung too many concessions from management. Rather, the problem was more prosaic, having to do with ‘differential rates of growth in the economy’.<span>2</span> To illustrate the argument, Baumol and Bowen asked readers to perform a thought experiment: ‘Think of an economy divided into two sectors: one in which productivity is rising and another where productivity is stable.’<span>3</span> For the sake of simplicity, they explicitly assumed a number of useful fictions: that labour can easily and frictionlessly move between the two sectors; that wage increases across the board will keep pace with productivity growth (a standard if problematic assumption in modern economic theory);<span>4</span> and that the monetary supply is sufficiently controlled to maintain overall price stability. What, given these assumptions, is the outcome of such a stark split in the economy? In the productive sector, the increase in wages that workers receive will be offset by increased productivity. In the stagnant sector, wages will rise but output will not. And if an organization is to avoid bankruptcy, the only way to do so is by raising prices to cover the rise in labour costs. (Remember, one of Baumol and Bowen’s working assumptions is that wage increases will keep pace with productivity growth, in both productive and stagnant sectors.) Yet this solution to the problem creates another one, since over time prices in the unproductive sector will increase at a much faster rate than those in the productive one, making the products of the former unaffordable to an increasing number of workers.</p>","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"3 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138529025","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}

{"title":"Transubstantiating Miserere: James MacMillan’s Compositional Theology","authors":"Ariana Phillips-Hutton","doi":"10.1017/rma.2021.21","DOIUrl":"https://doi.org/10.1017/rma.2021.21","url":null,"abstract":"Abstract The Scottish composer Sir James MacMillan (b. 1959) is a vocal proponent of contemporary sacred music, yet little scholarly analysis looks beyond the surface to explore how theological themes and language influence his work. This article offers a fresh perspective on the relationship between theology and music via an analysis of MacMillan’s characterization of his compositional process as ‘transubstantiation’. Far from being merely an evocative description, transubstantiation is a conceptual metaphor that signifies a distinctively eucharistic logic and practice in music. I trace these implications through MacMillan’s Miserere (2009), which reinscribes past music and rituals as part of refashioning the contemporary imagining of religion.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"51 - 76"},"PeriodicalIF":0.3,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48403555","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}

{"title":"RMA volume 146 issue 2 Cover and Front matter","authors":"","doi":"10.1017/rma.2021.23","DOIUrl":"https://doi.org/10.1017/rma.2021.23","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":" ","pages":"f1 - f4"},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43271488","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}

{"title":"RMA volume 146 issue 2 Cover and Back matter","authors":"","doi":"10.1017/rma.2021.24","DOIUrl":"https://doi.org/10.1017/rma.2021.24","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"b1 - b1"},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43469474","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}

{"title":"Between Hoffmann and Goethe: The Young Brahms as Reader","authors":"Reuben Phillips","doi":"10.1017/rma.2021.20","DOIUrl":"https://doi.org/10.1017/rma.2021.20","url":null,"abstract":"Abstract This article provides a critical account of Brahms’s early collection of quotations, aphorisms and poems commonly known as Des jungen Kreislers Schatzkästlein in the context of the composer’s youthful engagement with German literature. Drawing on archival materials housed in Vienna, it evaluates the 1909 publication of the Schatzkästlein by the Deutsche Brahms-Gesellschaft and traces Brahms’s path in assembling his quotations to reveal borrowings from sources he encountered in the Schumann house in Düsseldorf in 1854. The second section of the article considers the different modes of reading implied by Brahms’s collection, while the third reflects on the artistic worldview articulated by the assembled entries. While scholars have viewed the Schatzkästlein largely as evidence of Brahms’s adolescent infatuation with the writings of the German Romantics, this investigation emphasizes the competing conceptions of artistry present in these fascinatingly messy notebooks and argues that this youthful collection points to the important role played by literature in the development of Brahms’s distinctive musical sensibility.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"455 - 489"},"PeriodicalIF":0.3,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46560236","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}