The Journal of Musicology最新文献

{"title":"Extreme Vocality and the Boundaries of Song in the Medieval Crusades","authors":"Joseph W. Mason","doi":"10.1525/jm.2024.41.1.73","DOIUrl":"https://doi.org/10.1525/jm.2024.41.1.73","url":null,"abstract":"Through an analysis of Old French crusade song this article reflects on the variety of sounds that medieval human voices produced, the way those sounds were understood and disciplined, and the difficulty that music historians face in trying to recover them. Although scant information survives about the performance of Old French song, a key account by Philip of Novare relates the performance of a crusade song in a manner described as “en haut.” This article argues that the phrase “en haut” refers to an extreme mode of vocalization that blurred the already fuzzy boundaries between speech and song. First, instances of the adjective haut in the popular Chanson d’Antioche, an account of the First Crusade, are examined for the light they shed on the vocal meanings of en haut. This textual analysis reveals that such vocalizations were intended to be highly audible, produced in states of heightened emotion, and connected to moments of extreme violence. Second, the article analyzes the corpus of extant Old French crusade songs, both political serventois and love-themed grands chants, comparing trends between the two types. A quantitative analysis demonstrates that political serventois were more syllabic and recitational than grands chants. Some serventois are extremely recitational, suggesting a mode of performance that privileged audibility and was both speech-like and musical: the performance style en haut.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"12 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140518418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Powerful Sounds for Troubled Times","authors":"Fanny Gribenski","doi":"10.1525/jm.2024.41.1.41","DOIUrl":"https://doi.org/10.1525/jm.2024.41.1.41","url":null,"abstract":"This article explores the role of the organ as a political tool in nineteenth-century France. Under the Napoleonic Concordat (1802–1905), which established Catholicism as the official religion of the nation while placing the Catholic church under the authority of the state, the organ epitomized the political situation of a country marked by the inextricable entanglement of politics and religion. Drawing on a wide range of materials, including national and local archives, instrument makers’ papers, and scientific and ecclesiastical reports on organ building, I analyze how governments and the clergy jointly orchestrated the construction of a metropolitan and colonial network of organs, before turning to the social motivations for such programs—the church and state’s eagerness to establish and maintain their authority over society in the wake of successive revolutions and political upheavals. I consider how these programs resulted in the imposition of new scientific, technological, and musical standards that generated controversies over the relationship between religion and modernity. In so doing, this article highlights the benefits of social history for a better understanding of the organ and its reciprocal heuristic value within broader histories of sound, culture, and politics.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"158 3-4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140516833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The “Economy of Incarnation” and the Cherubic Hymn in Nineteenth-Century Russia","authors":"David Salkowski","doi":"10.1525/jm.2024.41.1.115","DOIUrl":"https://doi.org/10.1525/jm.2024.41.1.115","url":null,"abstract":"The Russian Orthodox liturgy constantly hovers on the boundary of representation and supposed real presence of the divine. This tension is dramatically illustrated by the Cherubic Hymn, which purports to “mystically represent” angelic song and accompanies the transfer of the bread and wine that will be transformed into the body and blood of Christ in the Eucharist. The Cherubic Hymn was the most commonly set liturgical text in modern Russia, attracting many of Russia’s leading composers, including Dmitry Bortniansky, Mikhail Glinka, Pyotr Tchaikovsky, Milii Balakirev (who arranged the text to Mozart’s Ave verum corpus), and Alexander Kastalsky. In this article I analyze Cherubic Hymns from Bortniansky to Kastalsky to demonstrate a gradual shift from an emphasis on formal clarity and localized mimetic devices to a musical idiom based on medieval chant melodies and folk-inspired polyphony. I argue that this shift embodied a profound transformation in Russian religious thought across the long nineteenth century, wherein rational, enlightenment sensibilities ceded to a mystical emphasis on the interpenetrability of the material and spiritual worlds, or the “economy of incarnation.” Drawing upon intellectuals ranging from the novelist Nikolai Gogol to theologian Sergius Bulgakov and prominent critics of the so-called New Direction that emerged in Russian sacred music at the end of the nineteenth century, I show that the Cherubic Hymn, and liturgical music at large, became invested with the ability not simply to imitate angelic song but to join in it, a perceptible and embodied participation in the activity of the divine. In doing so, I aim to demonstrate the persistence of sacred epistemologies in the modern world and develop an analytic approach that attends at once to musical detail and liturgical meaning.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"28 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140520707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Musical Sociability, Atlantic Slavery, and the Portraiture of Carmontelle","authors":"Julia Doe","doi":"10.1525/jm.2024.41.1.1","DOIUrl":"https://doi.org/10.1525/jm.2024.41.1.1","url":null,"abstract":"This article addresses the transatlantic financing of pre-revolutionary French salons and the amateur music-making that featured within them. It does so by reconstructing the context of a paradigmatic image of enlightened leisure: a portrait by Louis Carrogis (known as Carmontelle) inscribed “Mlle Desgots, from Saint-Domingue, with her Black servant Laurent, 1766.” The likeness is representative of Carmontelle’s style in subject and setting. It features a fashionable noblewoman—the French-Caribbean heiress Charlotte Louise-Desgots—who plays a gilded harpsichord. What is unusual about the scene is the identity of Desgots’s interlocutor; the aristocrat poses with a teenaged valet de chambre, Laurent, whom her family had enslaved. The soundscape evoked in the drawing—the domestic repertoire of the midcentury galant—is often described as a sonorous analogue to conventions of salon politesse. And yet, Laurent’s forcible participation in the artistic exchange destabilizes this “sociable” analytic framework. Tracing Laurent’s experiences in the decades before and after the portrait was made underscores how the dynamics of Caribbean slavery were inflected in the most prestigious of Parisian cultural spaces, and through the most anodyne and “convivial” of eighteenth-century sound worlds. Like Desgots, the musical engagement Laurent demonstrated was the result of an education attained in the metropole. Unlike Desgots, this training was not gifted for the pursuit of leisure but imposed in the formation of labor, as adornment to the artistic habits of his repatriated colonial enslavers.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"20 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140519413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On the Foundations of Dahlhaus’s Foundations","authors":"Tobias Robert Klein, Stephen Hinton","doi":"10.1525/JM.2021.38.2.209","DOIUrl":"https://doi.org/10.1525/JM.2021.38.2.209","url":null,"abstract":"In the foreword to his Grundlagen der Musikgeschichte (1977), translated into English as Foundations of Music History (1983), Carl Dahlhaus names three reasons for writing the book: the lack of theoretical reflection in his own field; the problem of mediation between methodological maxims and their political implications; and the difficulties he encountered while preparing his history of nineteenth-century music. Each of the three reasons can now be understood more precisely and historically contextualized in light of recently uncovered letters and notes. Dahlhaus’s methodological critiques of political music as conceptually distinct from aesthetically autonomous works—contrary to a popular claim by Anne Shreffler (2003)—were directed mainly at the “Western left.” Moreover, in the 1980s this controversy became intertwined with historiographical questions regarding the concept of “event” that was reinforced in publications by the “Gruppe Poetik und Hermeneutik.” A postscript discusses the English translation of the book and the concept of “structural history” in late Dahlhaus.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125443212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ballet Fit for a National Theater? Carré, the Critics, and Le Cygne at the Opéra-Comique","authors":"Sarah Gutsche-Miller","doi":"10.1525/JM.2021.38.2.183","DOIUrl":"https://doi.org/10.1525/JM.2021.38.2.183","url":null,"abstract":"When Albert Carré became the director of the Paris Opéra-Comique in 1898, he did so with the goal of rejuvenating French lyric theater. He also took possession of a national institution in a state of flux. The Opéra-Comique had a new hall and a new mandate, and it had recently become the focus of debates in the press about what role the city’s second national lyric theater should play in French culture. Although debates initially revolved around opera, Carré’s plans for renewal included ballet, not seen at the Opéra-Comique for over a century.\u0000 This article discusses the role ballet played in promoting Carré’s artistic objectives. At first glance the theater’s repertoire appears to be at odds with Carré’s progressive ideals. The Opéra-Comique staged only one innovative ballet, Le Cygne (1899)—a pop-culture-inflected mythological parody by Catulle Mendès, Charles Lecocq, and Madame Mariquita. Carré then turned to staging old-fashioned pantomime-ballets, confining innovative dances to divertissements in operas.\u0000 The reasons for Carré’s repertoire decisions can, I argue, be found in the reception of Le Cygne. Carré’s initial ballet was highly contested, and critics’ arguments mirrored ongoing press debates about ballet’s value and place in French culture. I contend that Carré’s initial modernist ballet, and his shift to mixing conventional pantomime-ballets with modern opera divertissements in response to the contentious reception of Le Cygne, were part of a calculated attempt to establish the Opéra-Comique as an emblematic French national theater that was simultaneously a museum and a progressive space for modern innovation.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132423572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Imitating Africans, Listening for Angels","authors":"Andrew A. Cashner","doi":"10.1525/JM.2021.38.2.141","DOIUrl":"https://doi.org/10.1525/JM.2021.38.2.141","url":null,"abstract":"Church ensembles of Spaniards across the Spanish Empire regularly impersonated African and other non-Castilian characters in the villancicos they performed in the Christmas Matins liturgy. Although some scholars and performers still mistakenly assume that ethnic villancicos preserve authentic Black or Native voices, and others have critiqued them as Spaniards’ racist caricatures, there have been few studies of the actual music or of specific local contexts. This article analyzes Al establo más dichoso (At the happiest stable), an ensaladilla composed by Juan Gutiérrez de Padilla for Christmas 1652 at Puebla Cathedral. In this performance his ensemble impersonated an array of characters coming to Christ’s mangers, including Indian farm laborers and African slaves. The composer uses rhythm to differentiate the speech and movement of each group, and at the climax he even has the Angolans and the angels sing together—but in different meters. Based on the first edition of this music, the article interprets this villancico within the social and theological context of colonial Puebla and its new cathedral, consecrated in 1649. I argue that through this music, members of the Spanish elite performed their own vision of a hierarchical and harmonious society. Gutiérrez de Padilla was himself both a priest and a slaveholder, and his music elevates its characters in certain ways while paradoxically also mocking them and reinforcing their lowly status. Building on Paul Ricoeur’s concept of the “three worlds of the text,” the article compares the representations imagined within the musical performance with archival evidence for the social history of the people represented and the composer’s own relationships with them (the world behind the text). Looking to the world projected “in front of” the text, I argue that these caricatured representations both reflected and shaped Spaniards’ attitudes toward their subjects in ways that actively affected the people represented. At the same time, I argue that Spanish representations mirrored practices of impersonation among Native American and African communities, especially the Christmastide Black Kings festivals, pointing to a more complex and contradictory vision of colonial society than what we can see from the slaveholder’s musical fantasy alone.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121301892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Séances, “Sperrits,” and Self-Playing Accordions","authors":"C. Raz","doi":"10.1525/JM.2021.38.2.230","DOIUrl":"https://doi.org/10.1525/JM.2021.38.2.230","url":null,"abstract":"The accordion was the stalwart staple of spiritualist encounters in Victorian London. Introduced into séances by the Scottish American Daniel Dunglas Home (1833–86), the most celebrated medium of the era, the instrument was typically used to produce music without the visible aid of a performer (what I call the “spirit accordian”). This article seeks to explain why the accordion came to capture the imagination of the nineteenth-century spiritualist community. It does so by reconstructing the auditory culture in which the instrument was embedded, relying on scientific writings, the popular press, and the sonic experiences of both the spiritualists, who heard the spirit accordion as emitting the ethereal tones of other worlds, and the skeptics, who described the same sounds as grating squeaks. Linking the instrument and its role in the séance to eighteenth-century theories of neurophysiology, the article traces the spirit accordion’s various musical predecessors, arguing that Home’s canny selection of the instrument to represent the next world reflected the intersection of specific cultural signifiers.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116163709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Songs That Run in the Streets","authors":"John Romey","doi":"10.1525/jm.2020.37.4.415","DOIUrl":"https://doi.org/10.1525/jm.2020.37.4.415","url":null,"abstract":"In the second decade of the eighteenth century, the Parisian théâtres de la foire (fairground theaters) gave birth to French comic opera with the inception of the genre known as comédie en vaudevilles (sung vaudevilles interspersed between spoken dialogue). Vaudevilles were popular songs that “ran in the streets” and served as vessels for new texts that transmitted the latest news, scandals, and gossip around the city. Already in the seventeenth century, however, the Comédie-Italienne, the royally funded troupe charged with performing commedia dell’arte, began to create spectacles that incorporated street songs from the urban soundscape. In the late seventeenth century all three official theaters—the Comédie-Italienne, the Comédie-Française, and the Opéra—also infused the streets with new tunes that transformed into vaudevilles. This article explores the contribution of the nonoperatic theaters—the Comédie-Française and the Comédie-Italienne—to the vaudeville repertoire to show the ways in which theatrical spectacle shaped a thriving popular song tradition. I argue that because most theatrical finales were structured around many repetitions of a catchy strophic tune to which each actor or actress sang one or more verses, a newly composed tune used as a finale had an increased probability of transforming into a vaudeville. Some of the vaudevilles used in early eighteenth-century comic operas therefore originated in newly composed divertissements for the late seventeenth-century plays presented at the nonoperatic theaters. Other vaudevilles began as airs from operas that were also absorbed into the tradition of street song. By the early eighteenth century, fairground spectacles drew from a dynamic repertory of vaudevilles amalgamated from the most voguish tunes circulating in the city. The intertwined relationship of the popular song tradition and theatrical spectacle suggests that the theaters helped to mold the corpus of vaudevilles available to street singers, composers, and playwrights.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133074827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reconstructing Zarzuela Performance Practices ca. 1900","authors":"E. Rodríguez","doi":"10.1525/jm.2020.37.4.459","DOIUrl":"https://doi.org/10.1525/jm.2020.37.4.459","url":null,"abstract":"This article makes an initial contribution to the largely unexplored field of historical performance practice in zarzuela by examining the earliest surviving recordings of Manuel Fernández Caballero’s Gigantes y cabezudos (1898). One of the greatest successes of the género chico subgenre of zarzuela during the early years of commercial phonography in Spain, it is also the zarzuela of which the most recordings made before 1905 have survived: nineteen, made on wax cylinders by local gabinetes fonográficos and on disc by Gramophone. Both the thriving género chico culture and its singing practices, as well as the technological, commercial, and cultural aspects of the early recording industry in Spain, are discussed to consider how recordings related to live performance in this particular context, what the value is of these recordings as documents of performance practice, and what questions they open up for further study of performance practice in zarzuela.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114392572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}