The Journal of Musicology最新文献_第5页

Ferruccio Busoni and the “Halfness” of Frédéric Chopin 费鲁乔·布索尼与肖邦的“半性”

The Journal of Musicology Pub Date : 2017-04-01 DOI: 10.1525/JM.2017.34.02.241

Erinn Knyt

{"title":"Ferruccio Busoni and the “Halfness” of Frédéric Chopin","authors":"Erinn Knyt","doi":"10.1525/JM.2017.34.02.241","DOIUrl":"https://doi.org/10.1525/JM.2017.34.02.241","url":null,"abstract":"Ferruccio Busoni (1866–1924) championed Frederic Chopin’s music. Yet his performances often elicited responses of shock or amusement because they rebelled against the prevalent sentimental style of interpretation associated with an “effeminate” Chopin. Even some of his staunchest admirers had trouble appreciating his unprompted repeats of measures or structural wholes in the preludes or etudes, his registral alterations, and his overly intellectualized approach. Also unusual was his choice to program the preludes as a complete cycle. Scholars have documented Busoni’s interpretive eccentricities, but the rationale behind them and their significance for the evolution of Chopin interpretation in the twentieth century remains largely unexplored. Through analyses of recordings, concert programs, recital reviews, and Busoni’s little-known and unpublished essay from 1908 titled “Chopin: Eine Ansicht uber ihn,” I connect Busoni’s unconventional Chopin interpretations to an idiosyncratic perception of Chopin’s character. In the nineteenth century Chopin and his music were commonly viewed as effeminate, androgynous, childish, sickly, and “ethnically other.” Busoni’s essay indicates that he, too, considered Chopin’s music “poetic,” “feminine,” and “emotive.” But this was problematic for Busoni, who was obsessed with “manliness” in an age in which gender roles were gradually changing. He discovered “half-manly” and “half-dramatic” elements in the music and in Chopin’s character—that is, a heroic, monumental side. In striving to portray the “whole” of Chopin and his music while distancing himself from the gendered “halfness” of earlier writings, Busoni became a pioneer of bolder Chopin interpretation and of monumentalist programming. His portrait of Chopin reveals how cultural ideas inform the evolution of performers’ interpretations.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133663886","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

Contextualizing Josquin’s Ave Maria…virgo serena 将Josquin的《圣母颂》置于背景中

The Journal of Musicology Pub Date : 2017-04-01 DOI: 10.1525/jm.2017.34.02.182

Clare Bokulich

{"title":"Contextualizing Josquin’s Ave Maria…virgo serena","authors":"Clare Bokulich","doi":"10.1525/jm.2017.34.02.182","DOIUrl":"https://doi.org/10.1525/jm.2017.34.02.182","url":null,"abstract":"Notwithstanding the reputation of Josquin’s Ave Maria…virgo serena as a touchstone of late–fifteenth-century musical style, little is known about the context in which the piece emerged. Just over a decade ago, Joshua Rifkin placed the motet in Milan ca. 1484; more recently, Theodor Dumitrescu has uncovered stylistic affinities with Johannes Regis’s Ave Maria that reopen the debate about the provenance of Josquin9s setting. Stipulating that the issues of provenance and dating are for the moment unsolvable, I argue that the most promising way forward is to contextualize this work to the fullest extent possible. Using the twin lenses of genre and musical style, I investigate the motet’s apparently innovative procedures (e.g., paired duos, periodic entries, and block chords) in order to refine our understanding of how Josquin’s setting relates to that of Regis and to the Milanese motet cycles ( motetti missales ). I also uncover connections between Josquin’s motet and the music of earlier generations, above all the cantilena and the forme fixe chanson, that offer new insights into the development of musical style in the fifteenth century. The essay concludes by positioning the types of analyses explored here within a growing body of research that enables a revitalized approach to longstanding questions about compositional development and musical style.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130132660","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: 1

The Filmmaker as DJ: Martin Scorsese’s Compiled Score for Casino (1995) 电影制作人担任DJ:马丁·斯科塞斯的《赌场》汇编配乐(1995)

The Journal of Musicology Pub Date : 2017-04-01 DOI: 10.1525/JM.2017.34.02.281

Todd Decker

{"title":"The Filmmaker as DJ: Martin Scorsese’s Compiled Score for Casino (1995)","authors":"Todd Decker","doi":"10.1525/JM.2017.34.02.281","DOIUrl":"https://doi.org/10.1525/JM.2017.34.02.281","url":null,"abstract":"Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours. This article offers a close analysis of Scorsese acting as composer—crafting Casino ’s compiled score in the manner of a DJ—and, in reciprocal fashion, editing film images and narrative to recorded music. Casino demonstrates highly varied, multivalent relationships between musical form and film form. Indeed, musical form proves a constituent element of Casino ’s construction at multiple levels of magnification. The large-scale form of the score as a whole articulates the larger arc of Casino ’s dual narrative. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. Casino ’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126706440","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

Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime 罗伯特·舒曼:《严肃的技艺与崇高的修辞》

The Journal of Musicology Pub Date : 2016-10-01 DOI: 10.1525/JM.2016.33.4.433

A. Stefaniak

{"title":"Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime","authors":"A. Stefaniak","doi":"10.1525/JM.2016.33.4.433","DOIUrl":"https://doi.org/10.1525/JM.2016.33.4.433","url":null,"abstract":"In several essays from the first half of the nineteenth century, Robert Schumann and other music critics used the rhetoric of the sublime when describing select, unconventionally intense virtuosic showpieces and performances, evoking this category’s associations with overpowering, even fearsome experiences and heroic human qualities. These writings formed one strand of a larger discourse in which musicians and critics attempted to describe and identify instances of virtuosity that supposedly rejected superficiality and aimed at serious aesthetic values: in the nineteenth-century imagination, the sublime abnegated mere sensuous pleasure; inspired a mixture of attraction, admiration, and trepidation; and implied both masculinity and intellectual cultivation. It offered a framework for self-consciously elevating virtuosity rooted in the sheer intensity and, in some cases, perceived inaccessibility of particular works and performances. Schumann extended the mantle of sublimity to Liszt during the virtuoso’s 1840 Leipzig and Dresden concerts. Critics described three of Schumann’s own 1830s piano showpieces using the rhetoric of the sublime, comparing the finale of the Concert sans orchestre , Op. 14, to violent forces of nature to illustrate the way its virtuosic passagework disrupts and engulfs lyrical themes within an anomalous formal structure. They also linked the Toccata, Op. 7, and Etudes symphoniques , Op. 13, to Beethoven, hinting at the ways in which Schumann alluded to or modeled these showpieces on Beethoven symphonies. These episodes in Schumann’s career broaden our understanding of the contexts in which nineteenth-century writers on music evoked the sublime, showing how they described this quality not only in symphonies and large choral works but also in solo performances and showpieces. They illuminate the politics of the sublime, revealing its significance for nineteenth-century thinking about the cultural prestige that particular musical works and performances could attain.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128892634","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: 1

“Quasi industre giardiniero”: Giovanni Stefani’s Amorosi Anthologies and Their Concordant Sources “准工业守护者”:乔瓦尼·斯特凡尼的《阿莫罗西文集》及其一致的来源

The Journal of Musicology Pub Date : 2016-10-01 DOI: 10.1525/JM.2016.33.4.522

C. Gavito

{"title":"“Quasi industre giardiniero”: Giovanni Stefani’s Amorosi Anthologies and Their Concordant Sources","authors":"C. Gavito","doi":"10.1525/JM.2016.33.4.522","DOIUrl":"https://doi.org/10.1525/JM.2016.33.4.522","url":null,"abstract":"Among the roughly 150 Italian songbooks published between 1610 and 1665 with the guitar tablature known as alfabeto , about thirteen are anthologies. These anthologies often advertise the role of a compiler who has gathered together music by diverse authors. The extent to which compilers also functioned as authors and editors is not well understood. This essay considers the case of Giovanni Stefani, a compiler who, in the preface to his Scherzi amorosi of 1622, describes the anthology as a collection of his choosing that contains “varie compositioni de Virtuosi della prima classe” (various compositions of first-class virtuosos). Intriguingly, none of the settings Stefani prints (in both this alfabeto anthology and two others) include attributions. Since the 1880s, scholars have been preoccupied with matters of transmission and attribution, unearthing a network of textual and musical concordances. This article expands the nexus of Stefani’s songs and their concordant sources, revealing an array of examples that range from identical copies to “partial” concordances that take over motives, phrases, refrains, or harmonic schemes. These examples indicate that in preparing his anthologies, Stefani mined a corpus of existing prints and manuscripts while also relying heavily on oral transmission. The complex nature of Stefani’s approach, taken together with his complete avoidance of composer attributions, points toward an editorial process shaped by a fluid exchange between oral and written musical practices.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130772880","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: 1

A New Source for the Performance of Cantus Planus and Cantus Fractus in Eighteenth-Century Venice 18世纪威尼斯平直唱法和断裂唱法表演的新来源

The Journal of Musicology Pub Date : 2016-10-01 DOI: 10.1525/jm.2016.33.4.569

J. Dyer

{"title":"A New Source for the Performance of Cantus Planus and Cantus Fractus in Eighteenth-Century Venice","authors":"J. Dyer","doi":"10.1525/jm.2016.33.4.569","DOIUrl":"https://doi.org/10.1525/jm.2016.33.4.569","url":null,"abstract":"Among the books, manuscripts, and printed music donated to Boston University by the renowned Haydn scholar H. C. Robbins Landon is a manuscript collection of music for the Ordinary of the Mass. The volume is a compendium, most likely from the Veneto, created in the mid-eighteenth century by extracting pages from three manuscripts copied earlier in the century or late in the previous century. The four cantus-fractus Ordinary cycles that introduce the volume (presumably contemporaneous with its creation) and most of the sixteen cantus-fractus Credos seem to be unica . The compendium assembles a practical repertory of monophonic Ordinary chants in plainsong and cantus fractus for the celebration of Mass in a parish church or a religious community. Rubrical notes added to the manuscript prescribe liturgical assignments, specify starting pitches that frequently signal transposition, and call for the participation of the organ, either in alternation with the choir or as accompaniment. The compendium not only augments the known repertoire of cantus-fractus melodies and chants for the Ordinary of the Mass, but it also provides insights into the performance style of chant in eighteenth-century Italy.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129022614","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

The Form of Paradox as the Paradox of Form: Beethoven’s “Tempest,” Schlegel’s Critique, and the Production of Absence 悖论的形式作为形式的悖论:贝多芬的《暴风雨》、施莱格尔的《批判》与缺席的产生

The Journal of Musicology Pub Date : 2016-10-01 DOI: 10.1525/JM.2016.33.4.483

Edgardo Salinas

{"title":"The Form of Paradox as the Paradox of Form: Beethoven’s “Tempest,” Schlegel’s Critique, and the Production of Absence","authors":"Edgardo Salinas","doi":"10.1525/JM.2016.33.4.483","DOIUrl":"https://doi.org/10.1525/JM.2016.33.4.483","url":null,"abstract":"Written in 1802, Beethoven’s “Tempest” piano sonata is the iconic work of the “wirklich ganz neue Manier” the composer announced right after his traumatic seclusion in Heiligenstadt. Suffused with asymmetries and contradictions, the sonata’s first movement has long attracted the attention of scholars concerned with the epistemic soundness of sonata form theories. Most conspicuously, the absence in the recapitulation of what seems to be on first hearing the main theme generates a formal paradox that challenges the theoretical models devised to analyze sonata forms. This article reinterprets that paradox through the prism of Friedrich Schlegel’s theory of form, formulated in his critique of modern art and literature. In doing so, it recasts Beethoven’s “Tempest” sonata and Schlegel’s theory in the light of what I call the paradox of mediated immediacy. It further suggests a genealogical homology between the novel and sonata form to advance a historicized model of musical form that contemplates the material conditions accompanying the consolidation of print culture around 1800. Situated in this context, the “Tempest” sonata serves as a case study for exploring how Beethoven’s reinvention of the piano sonata reconfigured the interface between form and medium, deploying self-referential strategies that both rendered apparent and resignified the mediations entailed by the compositional practices instituted with the classical style. As a result, Beethoven’s piano sonatas came to operate as technologies of the self that became integral to the fashioning of romantic subjectivities. My reading emphasizes the aural experience induced by the form’s asymmetries, and contends that the absence delivered at its structural crux complicates sonata form practices to afford an experience of immediacy that captures in the medium of piano music the paradoxical condition Schlegel reckoned immanent to the modern self.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"317 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132418190","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

Negotiating “Historical Truth”: Art, Authority, and Iurii Shaporin’s The Decembrists 协商“历史真相”:艺术、权威和尤里·沙波林的《十二月党人》

The Journal of Musicology Pub Date : 2016-07-01 DOI: 10.1525/JM.2016.33.3.277

Leah Goldman

{"title":"Negotiating “Historical Truth”: Art, Authority, and Iurii Shaporin’s The Decembrists","authors":"Leah Goldman","doi":"10.1525/JM.2016.33.3.277","DOIUrl":"https://doi.org/10.1525/JM.2016.33.3.277","url":null,"abstract":"In 1925, when Soviet composer Iurii Shaporin began writing his first opera, Polina Gebl’ , about the Decembrist Ivan Annenkov and the French emigree shopgirl who followed him into exile, he had no idea how tumultuous its journey would be. It took twenty-eight years and countless revisions for the opera to gain official approval. When it finally premiered at the Bolshoi Theater in 1953, with the title The Decembrists , the love story had been backgrounded and the historical plot line vastly expanded; scenes, characters, and arias had been added, dropped, or altered; and Polina herself had been written out entirely. The negotiated process by which Polina became The Decembrists reveals much about the evolving relationship between music and power in the Soviet Union, especially in the high-stakes realm of Socialist Realist opera, in which a suitable exemplar had yet to be produced. Amidst the pressures of the late-Stalinist state’s assault on the creative intelligentsia, and in the wake of major opera scandals in the 1930s and 1940s, the Bolshoi Theater saw in Shaporin’s work an ideal candidate to fill this void: a historical opera with an unimpeachable subject, the Decembrist Revolution, understood as the foundation point of the revolutionary legacy to which the Bolsheviks laid claim. This article analyzes the intense negotiations among Shaporin, the Bolshoi and its consultants, and official censors to ensure The Decembrists ’ historical accuracy, which they believed would guarantee its acceptance. Yet, as the article demonstrates, while Soviet musical authorities upheld “historical truth” as their standard, in the end the Socialist Realist ideal of “artistic truth” was far more important for The Decembrists’ success.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130177492","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

Introduction: Music and Power 简介:音乐与力量

The Journal of Musicology Pub Date : 2016-07-01 DOI: 10.1525/jm.2016.33.3.271

R. Mitchell

引用次数: 1

The Recomposition of Aram Khachaturian’s Spartacus at the Bolshoi Theater, 1958–1968 阿拉姆·哈恰图良的《斯巴达克斯》在莫斯科大剧院的改编，1958-1968

The Journal of Musicology Pub Date : 2016-07-01 DOI: 10.1525/JM.2016.33.3.362

Anne Searcy

引用次数: 4