The Journal of Musicology最新文献_第4页

Balanchine’s “Bach Ballet” and the Dances of Rodgers and Hart’s On Your Toes 巴兰钦的《巴赫芭蕾》罗杰斯的《踮起脚尖》哈特的《踮起脚尖

The Journal of Musicology Pub Date : 2018-04-01 DOI: 10.1525/JM.2018.35.2.267

James Steichen

{"title":"Balanchine’s “Bach Ballet” and the Dances of Rodgers and Hart’s On Your Toes","authors":"James Steichen","doi":"10.1525/JM.2018.35.2.267","DOIUrl":"https://doi.org/10.1525/JM.2018.35.2.267","url":null,"abstract":"This article uncovers an unrealized “Bach Ballet” by choreographer George Balanchine previously unexamined by scholars of music or dance. Inspired by tap dancer Paul Draper and conceived of by Balanchine’s patron Lincoln Kirstein, this work is probably an early inspiration for the choreographer’s now iconic ballet Concerto Barocco (1941, set to J. S. Bach’s D-minor concerto for two violins, BWV 1043). This “Bach Ballet” provides an occasion to reevaluate the aesthetic and institutional stakes of Balanchine’s better-known endeavor from the same period: his well-regarded dances for Richard Rodgers and Lorenz Hart9s musical comedy On Your Toes , in which the worlds of classical music and ballet collide with popular music and dance. New insights into the dramaturgical function and reception of the dances in On Your Toes offer a way to revisit the show’s status as an early exemplar of “integrated” musical comedy and to understand the musical’s engagement with the phenomenon of Russian ballet in New Deal America. This essay analyzes the musical’s three dances—the Princess Zenobia ballet, the “On Your Toes” number, and the concluding Slaughter on Tenth Avenue —as an allegory of Balanchine’s Americanization as a choreographer. This complex of projects provides a fresh perspective on how Balanchine’s personal contact with a range of dancers (white and African-American, tap and ballet performers) affected his development as a choreographer and in the process helped realize, if inadvertently, the erstwhile goal of Balanchine and Kirstein’s ballet enterprise: to reinvent the art form in a native idiom.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"34 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":"124048748","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}

引用次数: 3

About a Key: Tonal Reference in Beethoven’s Sonata-Form Works 关于一个键:贝多芬奏鸣曲式作品的调性参考

The Journal of Musicology Pub Date : 2017-10-01 DOI: 10.1525/JM.2017.34.4.515

Jeffrey Swinkin

{"title":"About a Key: Tonal Reference in Beethoven’s Sonata-Form Works","authors":"Jeffrey Swinkin","doi":"10.1525/JM.2017.34.4.515","DOIUrl":"https://doi.org/10.1525/JM.2017.34.4.515","url":null,"abstract":"In the sonata practice of the mid-eighteenth century, composers frequently asserted the minor dominant prior to the major dominant in the second part of the exposition. Beethoven dramatized this technique in two senses: first, he used it after it had largely fallen out of fashion, thus affording it considerable dramatic impact (e.g., Piano Sonatas Ops. 2, no. 2, and no. 3); second, he graduated from using the “wrong” mode to the more radical technique of using the “wrong” key. For instance, for the secondary key of the Piano Sonatas Ops. 31, no. 1, and 53 (“Waldstein”), he substitutes the major mediant for the dominant. These and similar cases result in the deferred arrival of the tonic in the secondary theme of the recapitulation. Consequently, when the tonic belatedly arrives, the listener is more cognizant of it. In this way Beethoven brings the resolution of large-scale tonal dissonance to the fore. I suggest that such a tactic is metamusical—that Beethoven was in a sense writing music about music, about the relationship between a particular piece and the tonal and formal conventions it relies on and also problematizes. After presenting a number of such metamusical instances, this article traces the stages by which Beethoven “progressed” from the mid-eighteenth-century approach to sonata expositions to his more radical one; it then offers a typology of key-problematizing techniques. It concludes by briefly considering the extent to which these procedures can be squared with Schenkerian theory and its ideal of structural hearing.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125850247","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}

引用次数: 0

Drowning Winter, Burning Bones, Singing Songs: Representations of Popular Devotion in a Central European Motet Cycle 溺死的冬天，燃烧的骨头，歌唱的歌曲:中欧吟唱周期中大众虔诚的表现

The Journal of Musicology Pub Date : 2017-10-01 DOI: 10.1525/JM.2017.34.4.559

E. Honisch

{"title":"Drowning Winter, Burning Bones, Singing Songs: Representations of Popular Devotion in a Central European Motet Cycle","authors":"E. Honisch","doi":"10.1525/JM.2017.34.4.559","DOIUrl":"https://doi.org/10.1525/JM.2017.34.4.559","url":null,"abstract":"In 1587 the Flemish composer Carolus Luython, employed by Holy Roman Emperor Rudolf II, published an unusual motet collection in Prague. Titled Popularis anni jubilus, the collection describes the sounds and rituals beloved by Central European peasants, recasting them as the ecstatic songs of rustic laborers (jubilus) famously celebrated by Saint Augustine in his Psalm commentaries. Highlighting the composer’s collaboration with the Czech cleric who wrote the motet texts, this study serves as a corrective to the interpretative frameworks that have broadly shaped discourses on Central European musical and religious practices in the early modern period. To make sense of the print’s raucous parade of drunken revelers, mythological figures, honking geese, and the Christ child, this analysis sets aside the hermetic lens typically used to account for the cultural products of the Rudolfine court and turns instead to contemporary theological tracts and writings by Augustine and Ovid that were foundational to the literary worlds of Renaissance humanists. Doing so brings into focus an ordered sequence of motets that offers some of the earliest and most vivid documentation in Central Europe of lay practices associated with the major feasts of the church year, from the bonfires on the Nativity of St. John the Baptist to the drowning of winter on Laetare Sunday. At the same time, this study shows the extent to which such “folk” traditions, parsed along national lines since the nineteenth century, had in fact long occupied common ground in the diverse territories of Habsburg Central Europe.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130056702","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}

引用次数: 0

Toward a Revolutionary Model of Music Pedagogy: The Paris Conservatoire, Hugot and Wunderlich’s Méthode de flûte, and the Disciplining of the Musician 走向音乐教育的革命模式:巴黎音乐学院，于格和温德利希的《自由的生活》和《音乐家的训练》

The Journal of Musicology Pub Date : 2017-10-01 DOI: 10.1525/JM.2017.34.4.473

Kailan R. Rubinoff

{"title":"Toward a Revolutionary Model of Music Pedagogy: The Paris Conservatoire, Hugot and Wunderlich’s Méthode de flûte, and the Disciplining of the Musician","authors":"Kailan R. Rubinoff","doi":"10.1525/JM.2017.34.4.473","DOIUrl":"https://doi.org/10.1525/JM.2017.34.4.473","url":null,"abstract":"Established in 1795 in the aftermath of the French Revolution, the Paris Conservatoire emerged from a training school for National Guard musicians. Aligned with the French Republic’s broader educational reforms, the Conservatoire was marked by its secularization, standardized curriculum, military-style discipline, and hierarchical organization. Among its most ambitious achievements was the publication of new instruction treatises from 1799 to 1814. Covering elementary theory, solfege, harmony, and all the major instruments, these methods articulated the Conservatoire’s pedagogy and circulated widely in nineteenth-century Europe. Hugot and Wunderlich’s Methode de flute (1804) exemplifies the Conservatoire’s approach, making a distinct break from methods published only a few years earlier: abstract technical drills predominate, evenness of tone quality in all key areas is emphasized, and the instruction of improvisation is curtailed. Airs, brunettes, and other pieces typical of ancien regime tutors are replaced with exercises demanding repetitive practicing. Meticulous instructions for the mastery of the flute’s four-key mechanism bear a striking resemblance to rifle-handling directions in contemporary military training and combat manuals by Jacques-Antoine-Hippolyte, Comte de Guibert, and others. The Conservatoire instruction manuals serve not only as guidebooks to historical fingerings and period performance style; they also can be read as social and political texts. Meant to advance a more rational music pedagogy, these treatises show the extent to which the military model permeated everyday life in post-revolutionary France. Further, they demonstrate a new conception of musical training beyond personal development toward the creation of professional musicians serving a patriotic, republican function. The treatise thus becomes what Michel Foucault calls a “simple instrument,” disciplining musicians’ bodies for the political goals of the state.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133529173","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}

引用次数: 6

The Faenza Codex: The Case for Solo Organ Revisited 法恩扎法典:重新审视独奏风琴的案例

The Journal of Musicology Pub Date : 2017-10-01 DOI: 10.1525/JM.2017.34.4.610

R. Robinson

引用次数: 1

Bells and the Problem of Realism in Ravel’s Early Piano Music 拉威尔早期钢琴音乐中的钟声与现实主义问题

The Journal of Musicology Pub Date : 2017-07-01 DOI: 10.1525/JM.2017.34.3.432

Alexandra Kieffer

{"title":"Bells and the Problem of Realism in Ravel’s Early Piano Music","authors":"Alexandra Kieffer","doi":"10.1525/JM.2017.34.3.432","DOIUrl":"https://doi.org/10.1525/JM.2017.34.3.432","url":null,"abstract":"Early in his career Maurice Ravel composed two pieces that take bells as their subject: “Entre Cloches” from Sites auriculaires , composed in 1897, and “La vallee des cloches,” the final movement of the 1905 work Miroirs . Although these pieces can be contextualized within a nineteenth-century lineage of French piano pieces that depict bell peals, they also set themselves apart by virtue of their heightened attention to the particularities of bell sonorities. Relying heavily on repetitive ostinato patterns, quartal harmonies, and intense dissonances, these pieces play in the nebulous space between transcription and composition. Ravel’s experimentation with bell sonorities in his piano music can be understood in relation to a broader discourse surrounding the sound of bells in nineteenth-century France. A complex sonic object, bell resonance lent itself to different modes of listening: the harmoniousness of bell peals was a common refrain among romantic poets, Catholic clergy, and campanarian historians, but toward the end of the century it became increasingly common for physicists and popular-science publications to complain that bells were inherently discordant. In this context Ravel’s depictions of bells in “Entre cloches” and “La vallee des cloches” suggest a shift in the place of musical listening in nineteenth- and early twentieth-century cultures of aurality. Ravel’s musical listening entailed heightened attentiveness to the empirical qualities of non -musical sound; his pieces negotiate in new ways the boundary between musical composition and the protean sonic world outside of music. This reorientation of musical listening participates in a broader questioning by early twentieth-century modernists of the nature of music and its sonic material.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"146-147 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132231742","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}

引用次数: 8

Musicological Omnivory in the Neoliberal University 新自由主义大学的音乐杂食

The Journal of Musicology Pub Date : 2017-07-01 DOI: 10.1525/JM.2017.34.3.319

David K. Blake

{"title":"Musicological Omnivory in the Neoliberal University","authors":"David K. Blake","doi":"10.1525/JM.2017.34.3.319","DOIUrl":"https://doi.org/10.1525/JM.2017.34.3.319","url":null,"abstract":"This essay attributes the rise of inclusive values in recent musicological work to multicultural and neoliberal reforms in American universities. Musicological inclusivity is characterized through omnivore theory, a sociological theory of taste correlating educational attainment with a disposition for multicultural appreciation and a rejection of highbrow modes of exclusion. Analyzing discursive values using a corpus of 120 books published between 2010 and 2013, this essay elucidates three foundational values to musicology’s inclusiveness: an interest in studying diverse music; a predilection for inter- or transdisciplinary methodologies; and the rejection of musicology itself as outdated and hegemonic. The first two of these, derived from the multicultural turn in the humanities, offer fruitful ways for musicologists to interact with the diverse cultural and technological environs of contemporary academia. The third, however, reaffirms the neoliberal devaluation of organizations and specializations, casting musicology as a straw man that bears scant resemblance to the intellectual work currently undertaken within the discipline. In order to contest the neoliberal values that threaten the discipline’s institutional foundations, this essay contends that scholars should reframe musicology as an inclusive, democratic, and specialized intellectual community, a characterization that reflects recent scholarship more accurately than highbrow stereotypes.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121863748","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}

引用次数: 6

Industrial Balladry, Mass Culture, and the Politics of Realism in Cold War Britain 工业民谣、大众文化与冷战时期英国的现实主义政治

The Journal of Musicology Pub Date : 2017-07-01 DOI: 10.1525/JM.2017.34.3.354

R. Cole

引用次数: 2

Heinrich Schenker, Walter Dahms, and the Music of the South 海因里希·申克、沃尔特·达姆斯和南方音乐

The Journal of Musicology Pub Date : 2017-07-01 DOI: 10.1525/JM.2017.34.3.391

John Koslovsky

{"title":"Heinrich Schenker, Walter Dahms, and the Music of the South","authors":"John Koslovsky","doi":"10.1525/JM.2017.34.3.391","DOIUrl":"https://doi.org/10.1525/JM.2017.34.3.391","url":null,"abstract":"In recent years scholars have made great strides in contextualizing the theories of Heinrich Schenker (1868−1935) within the politics and culture of the interwar period. Many of Schenker’s closest pupils and disciples have now also come under investigation. Few present as bewildering a story as Walter Dahms (1887−1973), a music critic and one of Schenker’s fiercest advocates in the German press. Though they met on just one occasion, Dahms and Schenker corresponded extensively over a period of eighteen years (1913−31), revealing a mutual concern for the social and political climate of interwar Germany. In some cases their correspondence served as a springboard for many of the extra-musical ideas Schenker published in his analytical pamphlets of the 1920s, Der Tonwille and Das Meisterwerk in der Musik . In other cases it demonstrated Dahms’s and Schenker’s bitter disagreements about the Great War and its main perpetrators. Along with an array of articles he wrote on Schenker, Dahms published two books that brought Friedrich Nietzsche’s notion of the “Music of the South” into contact with Schenker’s developing theories of musical structure. Dahms further proposed a concept of “vocality” that he saw as the key to restoring the notion of musical genius in Western music. Schenker’s analysis of Mendelssohn’s Venetianisches Gondellied in F-sharp minor, op. 30, no. 6, published in issue 10 of Der Tonwille , unearths Schenker’s own take on the South and on Dahms’s vocal principle. In the end, this case study exemplifies the intermingling of aesthetic, performative, and analytical concerns within Schenker’s work at this time, and it exposes the many ideological tensions between Schenker’s and Dahms’s outlooks on music, culture, and politics.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127543277","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}

引用次数: 0

Johannes Brassart’s Summus secretarius: Extolling the Evangelist 约翰内斯·布拉萨特的《Summus秘书处:颂扬福音传教士》

The Journal of Musicology Pub Date : 2017-04-01 DOI: 10.1525/JM.2017.34.02.149

Catherine Saucier

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引用次数: 1