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Créolité, (Im)Mobility, and Music in Dominica 多米尼加的人口流动和音乐
The Journal of Musicology Pub Date : 2015-10-01 DOI: 10.1525/JM.2015.32.4.558
Timothy Rommen
{"title":"Créolité, (Im)Mobility, and Music in Dominica","authors":"Timothy Rommen","doi":"10.1525/JM.2015.32.4.558","DOIUrl":"https://doi.org/10.1525/JM.2015.32.4.558","url":null,"abstract":"This article examines how Dominican musicians, festival organizers, and their audiences negotiate two rather slippery concepts: the complex of creole/creolization/creolite  ; and the question of borders and (im)mobilities, in other words who moves where and how. Music provides sites and sounds in which creole possibilities and mobilities of various kinds are explored, challenged, and rethought. I illustrate these ideas with reference to two types of expressly creole, Dominican popular music (cadence-lypso and bouyon) and their central role in Dominica’s World Creole Music Festival. Both genres find artists reflecting on what it means to perform creole music and how such performances might facilitate new mobilities. The World Creole Music Festival stages these genres as part of an attempt to generate global creole solidarities. The significant challenges confronting this endeavor suggest that a reevaluation of what creole can mean in Dominica and a better understanding of how these meanings are embedded in contemporary mobilities can yield new insights not only into the production and staging of Caribbean genres, but also into the nature of the creole itself.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130311477","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: 7
Motive, Structure and Meaning in Willaert’s Motet Videns Dominus 威拉尔特《上帝的信条》的动机、结构与意义
The Journal of Musicology Pub Date : 2015-07-01 DOI: 10.1525/jm.2015.32.3.328
Christopher Reynolds
{"title":"Motive, Structure and Meaning in Willaert’s Motet Videns Dominus","authors":"Christopher Reynolds","doi":"10.1525/jm.2015.32.3.328","DOIUrl":"https://doi.org/10.1525/jm.2015.32.3.328","url":null,"abstract":"This study of Adrian Willaert’s motet, Videns Dominus flentes sorores Lazari , demonstrates how the construction and distribution of motives indicate a particular reading of the text, the story of Jesus raising Lazarus from the dead. While this reading has important elements in common with artistic renderings of the story of Jesus resurrecting Lazarus, it also demonstrates the ability of music to express a kind of meaning unavailable to artists. Willaert created a symmetrical structure with the command of Jesus to Lazarus placed in the exact middle of the motet, with events on either side ordered concentrically to represent Lazarus’s return to life. Key events in Willaert’s motet recur in Jacobus Vaet’s Videns Dominus (1562), and Hieronymus Praetorius’s double-choir motet, Videns Dominus flentes sorores Lazari (1599).","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122134363","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
Talking about the Lost Generation 谈论迷惘的一代
The Journal of Musicology Pub Date : 2015-07-01 DOI: 10.1525/JM.2015.32.3.323
J. Cumming, Peter Schubert
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引用次数: 0
Gombert, Domine, si tu es: An Appreciation: To Joseph Kerman (1924–2014) in memoriam 多明·冈伯特:《欣赏:纪念约瑟夫·克尔曼(1924-2014)》
The Journal of Musicology Pub Date : 2015-07-01 DOI: 10.1525/jm.2015.32.3.346
Anthony Newcomb
{"title":"Gombert, Domine, si tu es: An Appreciation: To Joseph Kerman (1924–2014) in memoriam","authors":"Anthony Newcomb","doi":"10.1525/jm.2015.32.3.346","DOIUrl":"https://doi.org/10.1525/jm.2015.32.3.346","url":null,"abstract":"Starting from the narrative and affective shape of the text from the Gospel, this essay explores what analytical approaches best bring out the power and effectiveness of Nicolas Gombert’s setting of Domine, si tu es . It stresses that Gombert’s goal is not to deliver or declaim the text in a recitational manner, but rather to embody its affective climaxes and the tension and relaxation of its overall narrative structure in parallel musical structures. Gombert is shown to be a master musical rhetorician.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116982043","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
Reading Michele Pesenti’s Tulerunt Dominum meum
The Journal of Musicology Pub Date : 2015-07-01 DOI: 10.1525/jm.2015.32.3.367
Jennifer Thomas
{"title":"Reading Michele Pesenti’s Tulerunt Dominum meum","authors":"Jennifer Thomas","doi":"10.1525/jm.2015.32.3.367","DOIUrl":"https://doi.org/10.1525/jm.2015.32.3.367","url":null,"abstract":"For his example of Phrygian mode in his 1547 Dodecachordon, Heinrich Glarean chose a motet first published in Petrucci’s 1503 Motetti B, Michele Pesenti’s Tulerunt Dominum. Glarean’s effusive response to Pesenti’s motet indicates that he had not only studied but had also heard the work; he marvels at the “great emotion and innate sweetness” that conveys so well its subject, which begins with Mary Magdalene’s lament at the empty tomb of Jesus and culminates in an expression of hope. Pesenti’s artistry lies in his ability to acknowledge, structurally and aesthetically, three distinct textual moods while creating an elegant musical structure based on motivic development, manipulation of mode and texture, rhythmic pacing, and the precise nature and placement of significant musical events. Pesenti’s large-scale planning is manifest in his versatile and carefully plotted use of a melodic paradigm that he transforms at strategic moments throughout the motet. It paints text, it carries a hidden message, and it creates musical highpoints. Finally, in a conceptual variation using all the main motives of the motet, its musical climax identifies the central message of the text. A close reading of Tulerunt Dominum reveals the artistry that caught Glarean’s ear: its composer was a thoughtful interpreter of text and a masterful handler of musical form, mode, and rhetoric—someone who could create a motet that would receive attention on its own merits.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125717660","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
Issues of Counterpoint in Gombert’s Missa Tempore paschali
The Journal of Musicology Pub Date : 2015-07-01 DOI: 10.1525/JM.2015.32.3.410
P. Urquhart
{"title":"Issues of Counterpoint in Gombert’s Missa Tempore paschali","authors":"P. Urquhart","doi":"10.1525/JM.2015.32.3.410","DOIUrl":"https://doi.org/10.1525/JM.2015.32.3.410","url":null,"abstract":"Creating a new edition of the Missa Tempore paschali forces one to confront the extensive parallelisms found in the collected works edition and to consider a set of questions that are comparable to those raised by musica ficta in Gombert’s music: is an aggressive editorial stance justifiable when stylistic norms are exceeded, or might the composer have intended these unusual patterns? Answers emerge from the dense eight-voice Credo and twelve-voice Agnus dei II that both maintain our preconceptions about the style, and challenge them deeply. A new source for the Agnus dei II enriches our understanding of the editorial issues, the connection with Brumel9s “Earthquake” mass, and our appreciation of the mass as a whole.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130035045","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
Voicing the Doge’s Sacred Image 为总督的神圣形象配音
The Journal of Musicology Pub Date : 2015-04-01 DOI: 10.1525/JM.2015.32.2.198
Jamie Reuland
{"title":"Voicing the Doge’s Sacred Image","authors":"Jamie Reuland","doi":"10.1525/JM.2015.32.2.198","DOIUrl":"https://doi.org/10.1525/JM.2015.32.2.198","url":null,"abstract":"During the fourteenth century, Venetian chronicles, art, and ceremony fostered provocative analogies between angelic annunciation and the political voice of the Venetian populace. Such analogies imagined a city whose civic and heavenly members were united through the sound of unanimity. At the intersection of the state’s civic and celestial bodies stood the doge, considered to be the image of the Republic and of its patron, Saint Mark. A complex of sung ceremonies and musical compositions addressed to the doge dramatized the notion that the voice, as a ritual instrument, could engender real political or spiritual change in the state and its leaders. Performances of acclamations to the doge positioned him within Venice’s sacred and civic hierarchies, while state art and ceremony forged symbolic resemblances between ducal acclamation and angelic annunciation. A repertory of occasional motets evidences polyphonic play with the notion that vocal rituals centered on the doge could activate the spiritual ideals of the state: the anonymous Marce, Marcum imitaris (c. 1365) draws a sonic analogy between spiritual likeness and musical imitation in order to dramatize the concept of the doge as Mark’s image, whereas Johannes Ciconia’s Venecie mundi splendor/Michael qui Stena domus elides a text dedicated to the Annunciate Virgin with one addressed to the doge, creating musical echoes and simultaneities in its praises of Venice’s temporal and celestial leaders.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"105 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114348042","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
“For the serious listeners who swear neither at nor by Schoenberg”: Music Criticism, the Great War, and the Dawning of a New Attitude Toward Schoenberg and Ultra-Modern Music in New York City “给那些既不咒骂勋伯格也不咒骂勋伯格的严肃听众”:音乐批评，大战，以及纽约市对勋伯格和超现代音乐的新态度的曙光
The Journal of Musicology Pub Date : 2015-04-01 DOI: 10.1525/jm.2015.32.2.279
W. B. Bailey
{"title":"“For the serious listeners who swear neither at nor by Schoenberg”: Music Criticism, the Great War, and the Dawning of a New Attitude Toward Schoenberg and Ultra-Modern Music in New York City","authors":"W. B. Bailey","doi":"10.1525/jm.2015.32.2.279","DOIUrl":"https://doi.org/10.1525/jm.2015.32.2.279","url":null,"abstract":"The rich array of publications covering music in New York City during the second two decades of the twentieth century provides a compelling account of the reception of ultra-modern music. Newspapers, arts periodicals, and, especially, monthly and weekly music magazines offer tantalizing insight into how music lovers perceived new and challenging music. Before the Great War connections to German musical traditions were strong, and ultra-modern music was mostly imported. During the war ties to Germany were largely severed and ultra-modern music was silenced. After 1918 a more egalitarian and international attitude emerged. The reception of Schoenberg’s music in New York City between 1910 and 1923 illustrates the evolution of this new attitude.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114810734","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
Traveling with “Ancient Music” 与“古乐”同行
The Journal of Musicology Pub Date : 2015-04-01 DOI: 10.1525/JM.2015.32.2.246
William Robin
{"title":"Traveling with “Ancient Music”","authors":"William Robin","doi":"10.1525/JM.2015.32.2.246","DOIUrl":"https://doi.org/10.1525/JM.2015.32.2.246","url":null,"abstract":"In reforming psalmody in early nineteenth-century New England, participants in the so-called “Ancient Music” movement imported the solemnly refined hymn tunes and scientific rhetoric of Europe. This transatlantic exchange was in part the result of European travels by a generation of young members of the American socioeconomic and intellectual elite, such as Joseph Stevens Buckminster and John Pickering, whom scholars have not previously associated with hymnody reform. This study asserts that non-composers, particularly clergy and academics, played a crucial role in the “Ancient Music” movement, and offers a fuller picture of a little-examined but critical period in the history of American psalmody. Tracing the transatlantic voyages of figures like Buckminster and Pickering reveals that the actions and perspectives of active participants in the Atlantic world shaped “Ancient Music” reform and that hymnody reform was part of a broader project of cultural and intellectual uplift in New England.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115500692","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: 2
Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family 13世纪拉丁圣歌家族的重新创作和时间动态
The Journal of Musicology Pub Date : 2015-04-01 DOI: 10.1525/JM.2015.32.2.153
C. A. Bradley
{"title":"Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family","authors":"C. A. Bradley","doi":"10.1525/JM.2015.32.2.153","DOIUrl":"https://doi.org/10.1525/JM.2015.32.2.153","url":null,"abstract":"This article examines a family of thirteenth-century discant and motets on the tenor LATUS, tracing complex relationships between the various incarnations of its shared musical material: passages of melismatic discant in two- and three-voices, a three-voice Latin conductus motet, a two-voice Latin and French motet, and a three-voice Latin double motet. I query conventional fundamentally linear models of discant-motet interaction, emphasizing the possibility of simultaneously filial and collateral interrelationships between versions: different motet texts can influence each other, while retaining independent connections with an earlier melismatic discant model. This leads to a reevaluation of traditional evolutionary and stylistic perceptions of sub-genres defined within the category of motet. The article addresses questions of compositional process, reflecting on the types of creative and scribal activities involved in the formulation of motets.","PeriodicalId":413730,"journal":{"name":"The Journal of Musicology","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128411057","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: 7
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