{"title":"Copland’s Styles","authors":"Christopher Chowrimootoo","doi":"10.1525/jm.2020.37.4.518","DOIUrl":"https://doi.org/10.1525/jm.2020.37.4.518","url":null,"abstract":"This article examines the relationship between Aaron Copland’s activities as composer and as pedagogue in order to illuminate the fraught midcentury relationship between musical modernism and middlebrow culture. I situate his unpublished lecture notes and music appreciation books within the middlebrow context and trace their connections with the works he composed during this period. At the center of my investigation is the contentious midcentury category of “style,” which implicated both Copland’s music and his pedagogy in ways that illuminate middlebrow cultural appreciation at large. Challenging long-standing modernist depictions of the middlebrow as the straightforward commercialization of high culture, I excavate characteristic middlebrow commitments to compromise, novelty, and breadth that proved even more unsettling to midcentury hierarchies than mass culture’s supposedly shameless pandering.\u0000 By emphasizing Copland’s commitment to a canon of modern “styles,” in composition as in music appreciation, I draw out underlying tensions between his “middlebrow” approach to modern music and a “higher,” purer form imagined by Arnold Schoenberg and Theodor W. Adorno. At the same time, I show how these distinctions often threatened to collapse. On a broader methodological level, I chart a middle course between “social” conceptions of the middlebrow—as a means of marketing, distributing, and teaching high art to a mass audience—and “aesthetic” discussions of it as a compositional style. By examining the reciprocity between Copland’s pedagogy and music, I ultimately suggest that the problem which middlebrow culture posed to high modernism lay not just in its ability to mediate between high and low, modernism and mass culture, but also in the challenges it posed to fantasies of aesthetic immediacy and autonomy.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"80 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":"123360958","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":"Modernist Music for Children","authors":"David H. Miller","doi":"10.1525/jm.2020.37.4.488","DOIUrl":"https://doi.org/10.1525/jm.2020.37.4.488","url":null,"abstract":"On several occasions in the midcentury United States, the music of Anton Webern was reimagined as music for children. In 1936 conductor and musicologist Nicolas Slonimsky published the score of Webern’s op. 10/4 on the children’s page of the Christian Science Monitor. In 1958 Webern’s op. 6/3 was featured in a New York Philharmonic Young People’s Concert, the first conducted by Leonard Bernstein. Eight years later, Webern’s Kinderstück (Children’s Piece) received its posthumous premiere at Lincoln Center, performed by a nine-year-old pianist. In each case children served as a marker of accessibility, meant to render Webern’s music more palatable to adult audiences; thus was Webern’s music subsumed within the middlebrow circulation of classical music. Although recent scholarship has considered the intersections between modernist music and middlebrow culture, Webern’s music has remained absent from these discussions. Indeed, Webern’s terse, abstract, and severe compositions might at first appear ill suited to middlebrow contexts. Yet, as these three historical moments make clear, children served as a potent rhetorical force that could be used to market even this music to a broad audience of adults.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"1 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":"129929745","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":"Rehearsing the Social","authors":"F. Morabito","doi":"10.1525/jm.2020.37.3.349","DOIUrl":"https://doi.org/10.1525/jm.2020.37.3.349","url":null,"abstract":"The history of Beethoven’s late quartets has usually been told by separating (and redeeming) the composer’s aesthetic priorities from the difficulties encountered by the works’ early performers, publishers, and listeners. This article weaves together Beethoven’s interests with those of his publisher Maurice Schlesinger and the violinist Pierre Baillot, whose ensemble first performed the late quartets in Paris between 1827 and 1829. I navigate the traffic among these parties to reassess what was difficult about this music and, on this basis, test new routes to explore early nineteenth-century string quartet culture. One issue these different agents faced—whether in presenting the quartets to the Viennese public (Beethoven), selling them in Paris (Schlesinger), or performing them (Baillot)—was that the late quartets seemed to call for a new kind of ensemble rehearsal. The genre’s proverbial sociability, historically supporting an almost immediate and shared grasp of the performers’ interplay, was compromised in Beethoven’s late quartets by a loss in topicality. The erosion of topical references and familiar textures in these quartets made it harder for performers to predict how to coordinate their moves. Musical topics, I argue, functioned as a means of communication not only with listeners but also among performers within an ensemble. In contrast, the sociability of Beethoven’s late quartets had to be patiently engineered through dedicated rehearsals, a step that distanced this music from past quartet cultures and shaped a new notion of making music together.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122369962","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":"Feminist Revisions","authors":"Monica A. Hershberger","doi":"10.1525/jm.2020.37.3.383","DOIUrl":"https://doi.org/10.1525/jm.2020.37.3.383","url":null,"abstract":"In 1945 Virgil Thomson and Gertrude Stein began working on The Mother of Us All, their second and final opera. If the pair’s chosen subject matter—the life and work of Susan B. Anthony (1820–1906)—was radical in and of itself, so too was the librettist’s approach to it. As Stein scholar Jane Palatini Bowers has carefully documented, Stein quoted heavily from political speeches as she crafted her libretto, using numerous “male-generated texts” but ultimately telling an “antipatriarchal” story. Bowers and others have argued that Stein’s revisions of these texts tell not only Anthony’s but also Stein’s story. I argue that in its final form, The Mother of Us All tells yet another story, for it was Thomson who revised Stein’s libretto after her untimely death in 1946, approximately one year before the opera’s premiere at Columbia University. Drawing extensively on both versions of the libretto text, as well as the musical score, I assert that Thomson sought to buy into Stein’s feminist project, and I read his revisions to The Mother of Us All as his attempt to refashion himself as her political and artistic partner.\u0000 At the same time that The Mother of Us All represented a very personal project for Stein and Thomson, it was a more broadly political project as well, a critique of the status of women in the United States following World War II. As Stein and Thomson looked back on the significance of the women’s suffrage movement, they chose not to bring their story to an unequivocally rousing conclusion celebrating the passage of the Nineteenth Amendment. Instead, they suggested an unfinished struggle, one that so-called “second-wave” feminists would task themselves with furthering during the latter half of the twentieth century and one that would nourish productions of The Mother of Us All well into the twenty-first century.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131009482","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 Other Missa Prolationum","authors":"W. Watson","doi":"10.1525/jm.2020.37.3.267","DOIUrl":"https://doi.org/10.1525/jm.2020.37.3.267","url":null,"abstract":"Johannes Ockeghem’s Missa Prolationum is a well-known specimen of fifteenth-century notational complexity. As it is notated in the Chigi Codex, it consists entirely of mensuration canons. However, the other complete manuscript copy of the piece, in the manuscript Vienna 11883, eschews this complexity in favor of resolved notations (resolutiones) with uniform mensurations. Reexamining these resolutiones in light of generic mensural norms, statistical analysis of the work’s metrical structure, and subtle notational correspondences between the two manuscript copies suggests that the resolved notations in the Vienna manuscript are the result of a productive, formalist music-analytic encounter between their creator and the Missa Prolationum. Seen in this light, these resolutiones offer a new perspective on the early reception of this music.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124094761","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":"Zofia Lissa, Wartime Trauma, and the Evolution of the Polish “Mass Song”","authors":"J. M. Pierce","doi":"10.1525/jm.2020.37.2.231","DOIUrl":"https://doi.org/10.1525/jm.2020.37.2.231","url":null,"abstract":"Scholars have primarily seen the musicologist Zofia Lissa (1908–80) as a communist ideologue and key instigator of the Sovietization of Polish musical culture after World War II. An examination of materials 121 See, for example, the exchange of letters between Chybiński and his student Józef Chomiński. Adolf Chybiński and Józef M. Chomiński, Korespondencja 1945–1952, ed. Małgorzata Sieradz (Warsaw: PAN, 2016), 122–26. 122 BUAM, 803 III/3, 172, Lissa to Chybiński, July 21, 1949. “Mam bardzo trudną rolę: Muszę im wykazać, _ ze ja nie jestem ‘formalistą.’” 123 Zofia Lissa, “O metodzie marksistowskiej [1950],” Muzykologia na przełomie (Cracow: PWM, 1952), 25–94, at 78; and Lissa, “Raz jeszcze o polską pieśń masową [1950],” 214. 124 For an overview of common topics of mass songs during this period, see Tompkins, Composing the Party Line, 36–39. pierce","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115624672","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":"“Au Fond d’un Placard”","authors":"Campbell Shiflett","doi":"10.1525/jm.2020.37.2.197","DOIUrl":"https://doi.org/10.1525/jm.2020.37.2.197","url":null,"abstract":"An analysis of self-allusion in Francis Poulenc’s Ier Nocturne for piano (1929/30) not only reveals a complex network of interrelated programmatic and personal associations but also suggests how attention to allusion offers a means of experiencing the piece queerly. The nocturne’s allusions to earlier works by Poulenc point toward a set of shared topics, including childhood, the pastoral, the erotic, and the composer’s romantic relationship with painter Richard Chanlaire, while a chromatic sequence in the nocturne’s coda anticipates the associations of this progression with grace, anxiety, and the divided self in two later works. Alongside these allusive referents, the nocturne’s shifting levels of discourse, dramatic form, and ironic modality inspire a hearing of the piece as a coming-out narrative, whose constant deferral of meaning renders the nocturne different from itself. This interpretation aligns Poulenc’s nocturne with contemporary works by authors Jean Cocteau and Marcel Proust, whose writings similarly treat these (self-)referential deferrals as indicative of queer life and trope this difference to instantiate a queer hermeneutics. As a performance of difference and reference, Poulenc’s nocturne benefits from a mode of listening that reflects these deferrals, acknowledging allusion’s effects on listeners and queerly redefining the musical work in the process.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125005789","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 Unlike Pair","authors":"Clare Carrasco","doi":"10.1525/jm.2020.37.2.158","DOIUrl":"https://doi.org/10.1525/jm.2020.37.2.158","url":null,"abstract":"Between 1919 and 1923 Arnold Schoenberg’s Chamber Symphony, op. 9 (1906) and Franz Schreker’s Chamber Symphony (1916) were repeatedly programmed together on public concerts in Germany. Critics reviewing these and other postwar performances often framed the two works in a distinctive and, by today’s standards, surprising way: they aligned Schoenberg’s Chamber Symphony with an “expressionist” and Schreker’s Chamber Symphony with an “impressionist” musical aesthetic. With roots in prewar German critical and historical writing, impressionism and expressionism functioned as multifaceted, contextually contingent concepts in postwar music criticism. They bore not only music-stylistic but also psychological, national, and racial implications, thus serving as important mechanisms through which critics could engage music in broader cultural and political debates.\u0000 Even as critics writing after the Great War almost universally—if certainly reductively—aligned Schreker’s Chamber Symphony with impressionism and Schoenberg’s Chamber Symphony with expressionism, they fiercely disagreed about the relative cultural value of these contrasting orientations. Schoenberg and Schreker were thereby implicated in discussions that related their music to pressing contemporary questions of political radicalism, national identity, and Jewishness. Critical reception of postwar performances of this “unlike pair” of chamber symphonies thus documents a consequential yet neglected chapter in the conceptual history of musical “impressionism” and “expressionism”: a chapter in which German-language critics first connected the two terms in a complex, politically laden relationship.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130278108","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":"Listening to the Old City","authors":"Jacek Blaszkiewicz","doi":"10.1525/jm.2020.37.2.123","DOIUrl":"https://doi.org/10.1525/jm.2020.37.2.123","url":null,"abstract":"The ubiquitous din of Paris’s street hawkers, known as the cris de Paris or the “cries of Paris,” has captured the Parisian imagination since the Middle Ages. During the 1850s and 1860s, however, urban demolition severely disturbed the everyday rhythms of street commerce. The proliferation of books, poetry, and musical works featuring the cris de Paris circa 1860 reveals that many in the Parisian literary community feared the eventual disappearance of the city’s iconic sights and sounds. These nostalgia discourses transpired into broader criticism of Georges-Eugène Haussmann and the discriminatory mode of urbanism that he practiced. Haussmannization irrevocably altered the Parisian soundscape by displacing, policing, and thus silencing the working-class communities that made their living with their voices. As an ideological device, nostalgia offered a counternarrative to Second Empire ideas of progress by suggesting that urbanization would vanquish any remaining image of what came to be known as le vieux Paris. An analysis of Jean-Georges Kastner’s symphonic cantata Les cris de Paris (1857) shows how representations of the urban soundscape articulated a distinctly Parisian notion of modernity: a skirmish between a utopian “capital of the nineteenth century” and a romanticized Old City.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115817482","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":"Frey nach dem Französischen bearbeitet: Fidelio and the Viennese Vogue for Opéra-comique, 1802–1805","authors":"M. C. Tusa","doi":"10.1525/JM.2018.35.4.498","DOIUrl":"https://doi.org/10.1525/JM.2018.35.4.498","url":null,"abstract":"The importance of the Revolutionary-era operas-comiques for the origin and conception of Beethoven’s Fidelio is well established. The Viennese productions that earned the composer’s admiration did not, however, present the French versions transmitted in published scores and libretti. In addition to translating the texts from French into German, the Viennese versions typically entailed changes, sometimes quite radical, to accommodate such factors as Austrian censorship, singers’ strengths and limitations, and audience sensibilities. The present study seeks to illuminate the French repertoire that Beethoven and Viennese audiences had the opportunity to witness between 1802 and 1805, the peak of the vogue for French opera in Vienna as well as the formative years of Beethoven’s first opera. In so doing it casts new light on the 1805 version of Fidelio . At issue are the ways in which Beethoven’s opera participated in the Viennese practices of adaptation. The study adds to the extant scholarship on Joseph Sonnleithner’s libretto by pointing out similar phenomena in Viennese versions of other French works and interpreting such adaptations in light of the growing body of research on censorship in turn-of-the-century Vienna. Knowledge of the adaptations also clarifies the horizon of musical expectations for opera in Beethoven’s Vienna and brings to light a possible model for one of the most famous moments in the operatic repertory: the off-stage trumpet call in the dungeon scene in Fidelio .","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134624070","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}
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