The Journal of Musicology最新文献

{"title":"The Materiality of Musical Diplomacy in Early Modern Europe: Representation and Negotiation in Andreas Rauch’s Currus triumphalis musicus (1648)","authors":"Andrew H. Weaver","doi":"10.1525/jm.2018.35.4.460","DOIUrl":"https://doi.org/10.1525/jm.2018.35.4.460","url":null,"abstract":"In 1648 Andreas Rauch, an Austrian composer living in the Hungarian town of Sopron, published the Currus triumphalis musicus , a collection of thirteen Latin motets, each dedicated to a different Habsburg Holy Roman Emperor. With its sumptuous paratexts and impressive musical scope, this “triumphal musical chariot” was not a typical commercial commodity. Instead the volume functioned as an assertion of Habsburg power at the end of the Thirty Years’ War (1618–48). A straightforward reading of the book is complicated, however, by the exile of Rauch, a Lutheran, from Austria in the 1620s. This musical panegyric, produced by a composer with a troubled relationship to the honoree, opens the door to a reading of the print as an act of diplomacy, in which the composer not only seeks reconciliation by acknowledging the Emperor’s power but also subtly admonishes the Habsburgs in the wake of a peace settlement that was decidedly more favorable to his side. Through close readings of the paratexts and the texts of the musical works against a political and theological backdrop, it is possible to uncover the diplomatic functions of the print for Ferdinand III, the town of Sopron, and Rauch himself. In shedding light on a fascinating cultural artifact, this article offers a fresh perspective on the diplomatic potential of printed music in early modern Europe.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"49 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":"117219678","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":"An Old Story in a New World: Paul Fromm, the Fromm Music Foundation, and Elliott Carter","authors":"Rachel S. Vandagriff","doi":"10.1525/JM.2018.35.4.535","DOIUrl":"https://doi.org/10.1525/JM.2018.35.4.535","url":null,"abstract":"During the Cold War, American private foundations subsidized American modernist composers, supporting their work through commissions, underwriting recordings and concerts, and promoting their ideas in radio programs and periodicals circulated at home and abroad. From its establishment in 1952, the Fromm Music Foundation (FMF) acted as an important player in this field. Using archival material and interviews with people who worked with the founder Paul Fromm, I show how Fromm’s involvement in his foundation, and his reliance on professional advice, constituted a unique patronage model that enabled select composers to participate actively in the promotion of their music. Fromm’s relationship with Elliott Carter provides an especially complex example of a mutually beneficial and successful partnership. Fromm’s goal was to integrate contemporary music into American musical life by supporting the production and dissemination of new compositions. Fromm sought to play the role of patron, fostering close relationships with composers who received funds and acted as his artistic advisers. Fromm’s partnership, and consequent friendship with, Carter illustrates the many ways the FMF served composers. In 1955 Fromm commissioned what became Carter’s Double Concerto for piano, harpsichord, and two chamber orchestras (1961). Fromm’s subsequent help, administered through his Foundation and personal connections, enabled Carter to secure high-quality premieres of this piece and other difficult-to-perform repertoire, helped facilitate repeat performances and recordings of these compositions, and allowed Carter, together with his wife Helen, to establish a system to fund musicians who performed his music—and also reap tax benefits. Among the recipients who benefited from Fromm’s largesse were Charles Rosen, Paul Jacobs, and Jacob Lateiner. Fromm’s actions spawned a familiar fable. Carter’s career and the way he talked about it reinforced many persistent falsehoods about an artist’s relationship, or lack thereof, to potential listeners and audiences—a source of financial support for artists since the advent of public concert life. Fromm’s financial support and Carter’s ability to supplement it helped buttress the late-Romantic myth of creative autonomy. The details of this partnership—the words exchanged, the other figures involved, and its variegated benefits—harbor broad implications for the study of Cold War-era patronage networks and for our view of Carter’s career.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"AES-2 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":"126489845","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 English Voyage of Pietrobono Burzelli","authors":"Evan A. MacCarthy","doi":"10.1525/JM.2018.35.4.431","DOIUrl":"https://doi.org/10.1525/JM.2018.35.4.431","url":null,"abstract":"Praised by poets, scholars, and fellow musicians of his day, the singer, lutenist, and teacher Pietrobono Burzelli (ca. 1417–97) achieved international renown for his skill at improvisational performances on plucked instruments. Until recently, archival documents recorded his presence at many courts on the Italian peninsula and as far away as the Hungarian court. Documents until now unknown to musicologists reveal that Pietrobono also traveled to England. In August 1466 he signed a will and testament in advance of a risky trip “ad partes Anglie” that he was planning to begin the next day. The testament offers new information about Pietrobono’s family, home, and professional relationships. Among the witnesses to this notarial document was his tenorista, Francesco Malacise, as well as important nobles at the Este court, including the master of the stables. Additional archival evidence reveals that Pietrobono and his colleagues had been charged with bringing lavish gifts to King Edward IV on behalf of the Este court and purchasing racehorses for Borso d’Este. The journey to England thus demonstrates the long reach of Pietrobono’s reputation and offers an early example of the diplomatic responsibilities with which he would be regularly charged later in life. The testament also provides new and intriguing evidence of music and musicians traveling between Italy and England during the second half of the fifteenth century.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"12 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":"128155651","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":"Opera by the Book: Defining Music Theater in the Third Reich","authors":"E. Pollock","doi":"10.1525/jm.2018.35.3.295","DOIUrl":"https://doi.org/10.1525/jm.2018.35.3.295","url":null,"abstract":"In 1944 with Nazi Germany just months from defeat, a curious and now little-known book was published in Regensburg: a collection of essays and biographies that strove to define the contemporary state of opera. Titled Die deutsche Oper der Gegenwart ( German Opera of the Present Day ), this substantial and lavishly produced volume documents the aesthetics of opera during the Third Reich through its profiles of sixty-two composers, more than 250 design drawings and photographs, prose essays on drama and staging, and an extensive works list. The National Socialist alignment of the book’s primary author (the theater historian Carl Niessen) and publishing company (Gustav Bosse Verlag) contextualizes the volume’s problematic scholarly priorities. Niessen interleaved explanations and endorsements of viable manifestations of contemporary German opera with anti-Semitic rhetoric and venomous critiques of rival aesthetic views. The book’s time-capsule version of the “state of the art” also includes evidence that contradicts postwar claims by composers, such as Winfried Zillig, who later recast themselves as persecuted modernists but whose statements within the volume demonstrate their complicity. Pamela Potter has recommended that musicologists address the longstanding historiographical problem of defining “Nazi Music” by paying detailed attention to particularities. Analyzing the form, contents, and rhetoric of a single printed object permits insights into the definition, valuation, and canonization of contemporary opera near the end of the Third Reich.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134065345","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":"Was Soviet Music Middlebrow? Shostakovich’s Fifth Symphony, Socialist Realism, and the Mass Listener in the 1930s","authors":"P. Fairclough","doi":"10.1525/JM.2018.35.3.336","DOIUrl":"https://doi.org/10.1525/JM.2018.35.3.336","url":null,"abstract":"Symphonic music composed under Stalin presents both ethical and aesthetic problems. Often assumed to have been composed in a compromised style by composers who were either coerced into abandoning their “real” modernist inclinations or who were in any case second-rate, these works have been labelled variously socialist realist, conformist, conservative, or even dissident, depending on the taste and opinion of those passing judgement. This article argues that picking and choosing which symphony is socialist realist and which is not cannot be justified either logically or historically, and that we should no longer attempt to define any non-texted or non-programmatic music in this way. The Anglophone term “middlebrow” holds out the possibility of describing this repertoire without implying ethical or artistic compromise on the composers’ part, acknowledging that, in the absence of any elite or “highbrow” musical culture, composers shared the aim of reaching a mass audience.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126475604","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":"Searching for a Fresh Point of View: Aaron Copland, Identity, and The Heiress (1949)","authors":"Gina Bombola","doi":"10.1525/JM.2018.35.3.368","DOIUrl":"https://doi.org/10.1525/JM.2018.35.3.368","url":null,"abstract":"In the early 1940s Aaron Copland cultivated an identity as an authority on film composition through public lectures, interviews, and his own film scores. Championing film music’s potential as a serious art form, Copland sought to show Hollywood that film composers could branch out from the romantic and post-romantic aesthetics that infused contemporary soundtracks and write in a more modern, even American, style. During the 1940s the film industry was already embracing an abundance of new production styles, techniques, and genres that fostered innovation in the development of cinematic musical codes. When Copland returned to Hollywood in 1948 to score William Wyler’s psychological melodrama The Heiress (1949), he chose to take on a set of new challenges. Copland attempted to discover a new idiom for love music, on the one hand, and began to use leitmotifs as a structural device, on the other. Copland’s experience with The Heiress opens a space in which to reassess his opinions about appropriate film-scoring techniques as well as his public endorsement of film composition. His perspectives on film composition—as demonstrated in his writings, correspondence, and film scores as well as in interviews and reviews of his film music—reveal a tension between the composer’s artistic sensibilities and his attitude toward the commercialism of film music. Indeed he maintained a more ambivalent attitude toward cinematic composition than he publically professed. Understood in this context, Copland’s scoring decisions in The Heiress reflect a turn away from the Americana of Rodeo (1942) and Appalachian Spring (1944) and the Russian-themed score of The North Star (1943), as he sought to refashion his identity as a composer in the post-war years.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115211205","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 Fools Don’t Think I Play Jazz”: Cecil Taylor Meets Mary Lou Williams","authors":"B. Givan","doi":"10.1525/JM.2018.35.3.397","DOIUrl":"https://doi.org/10.1525/JM.2018.35.3.397","url":null,"abstract":"Cecil Taylor (1929–2018), who was associated with the postwar black musical avant-garde, and Mary Lou Williams (1910–81), who had roots in jazz’s swing era, met in a notorious 1977 Carnegie Hall recital. These two African American pianists possessed decidedly different temperaments and aesthetic sensibilities; their encounter offers a striking illustration of how conflicts between coexisting performance strategies can reveal a great deal about musicians’ thought processes and worldviews. Evidence from unpublished manuscripts and letters, published interviews and written commentary by the performers, the accounts of music critics, and musical transcriptions from a commercial recording (the album Embraced ) reveals that, in addition to demonstrating the performers’ distinct musical idiolects, the concert engaged longstanding debates over jazz’s history and definition as well as broader issues of black American identity. In particular, it dispelled still potent notions of jazz as a genre with a unilinear historical trajectory, and it encapsulated the inherent ambivalence toward the past often exhibited by the jazz avant-garde.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124377611","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":"Of Dancing Girls and Sarabandes: Music, Dance, and Desire in Court Ballet, 1651–1669","authors":"Rose A. Pruiksma","doi":"10.1525/jm.2018.35.2.145","DOIUrl":"https://doi.org/10.1525/jm.2018.35.2.145","url":null,"abstract":"The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande ’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed meanings at a time when danced and non-danced sarabandes coexisted side by side. The same individuals moved easily between dancing, watching danced sarabandes in ballets, and playing sarabandes on the keyboard or lute. Spectators and listeners likewise encountered and interpreted sarabandes in multiple settings; knowledge gained through dancing or accompanying dancing did not simply disappear from one performance context to the next. While such embodied knowledge is no longer common cultural currency, examining the historically embodied presence of the sarabande and its ties to female dancers permits a better understanding of its cultural resonances and its appeal in the seventeenth century and opens up a wider range of interpretations of this multi-faceted, multivalent dance type.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132047040","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":"Recalibrating Reform: Homer, Fénelon, and Their Imprint on Gluck’s Telemaco","authors":"M. Cabrini","doi":"10.1525/JM.2018.35.2.183","DOIUrl":"https://doi.org/10.1525/JM.2018.35.2.183","url":null,"abstract":"The opera Telemaco , with a libretto by Marco Coltellini and music by Christoph Gluck, occupies a unique position as an opera seria that negotiates both tradition and reform. Scholars have long criticized the opera because of its ill-shaped libretto and uneven musical setting. This article contributes to the ongoing debate about operatic reform by reevaluating Telemaco based on its literary sources—Homer’s Odyssey and Fenelon’s novel Telemaque (1699). The absorption of Homer and Fenelon into the fabric of Telemaco goes well beyond adaptation, touching both its general dramaturgy and the specific creation of its characters. Set on the island of Circe, Coltellini9s libretto echoes the timeless, liminal status of the corresponding islands (Circe’s and Calypso’s) found in Homer and Fenelon. The characters reflect and blend features of their literary counterparts. They fall into two groups: those who fight their captive condition through impetuous behavior (Circe and Telemachus) and those who attempt to circumvent their predicament by clinging to a golden past (Asteria) or yearning for a hopeful future (Ulysses’s desire to return home). Gluck’s expression of the characters’ longing and identity, achieved through a manipulation of form and textual re-composition, thus implies multiple temporal directions, suggesting a series of synchronic, revolving points of view that challenge the diachronic unfolding of events typically associated with opera reform in the eighteenth century. This method of analysis therefore offers insight into the creative process and helps refine our understanding of reformist opera, both in Gluck’s output and broader eighteenth-century operatic practice.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121899265","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 Borrowing or Curious Coincidence?: Testing the Evidence","authors":"J. Burkholder","doi":"10.1525/JM.2018.35.2.223","DOIUrl":"https://doi.org/10.1525/JM.2018.35.2.223","url":null,"abstract":"Studies of allusion, modeling, paraphrase, quotation, and other forms of musical borrowing hinge on the claim that the composer of one piece of music has used material or ideas from another. What evidence can be presented to support or refute this claim? How can we know that the material is borrowed from this particular piece and not from another source? How can we be sure that a similarity results from borrowing and is not a coincidence or the result of drawing on a shared fund of musical ideas? These questions can be addressed using a typology of evidence organized into three principal categories: analytical evidence gleaned from examining the pieces themselves, including extent of similarity, exactness of match, number of shared elements, and distinctiveness; biographical and historical evidence, including the composer’s knowledge of the alleged source, acknowledgment of the borrowing, sketches, compositional process, and typical practice; and evidence regarding the purpose of the borrowing, including structural or thematic functions, use as a model, extramusical associations, and humor. Ideally, an argument for borrowing should address all three categories. Exploring instances of borrowing or alleged borrowing by composers from Johannes Martini and Gombert through Mozart, Brahms, Debussy, Ives, Stravinsky, and Berg illustrates these types of evidence. The typology makes it possible to evaluate claims and test evidence for borrowing by considering alternative explanations, including the relative probability of coincidence. A particularly illuminating case is the famous resemblance between the opening themes of Mozart’s Bastien und Bastienne and Beethoven’s Eroica Symphony, discussed by hundreds of writers for more than 150 years. Bringing together all the types of evidence writers have offered for and against borrowing shows why the debate has proven so enduring and how it can be resolved.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130038573","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}