FONTES ARTIS MUSICAE最新文献

{"title":"Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France by Yossi Maurey (review)","authors":"Jennifer Thomas","doi":"10.1353/fam.2023.a915322","DOIUrl":"https://doi.org/10.1353/fam.2023.a915322","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France</em> by Yossi Maurey <!-- /html_title --></li> <li> Jennifer Thomas </li> </ul> <em>Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France</em>. By Yossi Maurey (Cultural Encounters in Late Antiquity and the Middle Ages, no. 35.) Turnhout: Brepols, 2021. [247 p. ISBN 978-2-503-59105-6; ISBN 978-2-503-59106-3 €95 (e-book)] <p>Much of medieval culture relates to the objects and impetus of personal devotion. The ritual act of pilgrimage moved believers from home to distant destinations, expanding their experience and faith, and marking their devotion. Crusaders in the twelfth and thirteenth centuries performed a type of pilgrimage as they journeyed to the Holy Land, awakening a consciousness across Europe of the material and spiritual power contained in the places and artifacts of the primitive Christian movement. The practice of affective devotion drew believers close to the emotions and actions of the central figures of Christian belief, and as saints became recognised as possessing the attributes of sacrificial faith, objects of veneration multiplied. Personal salvation loomed in the minds of believers, and the Church offered saintly models and essential pathways to that fervently hoped-for state. At this time, Europe oriented itself geographically and politically around leaders who understood and claimed their power as ordained by God. Sites of religious authority shifted from Jerusalem (which Crusaders swore to protect) to Constantinople (where treasures removed from Jerusalem anchored the eastern Christian capitol), to European cities and cathedrals, which sought sacred relics that would elevate their spiritual and earthly status. Relics engaged the devotion of the faithful, many of whom undertook pilgrimages to visit these powerful objects, the focus of their meditations, which awakened or affirmed their understanding and awareness of the reality of the gospel story and its miracles. These pilgrimage sites—such as Jerusalem, Constantinople, Rome, Tours, and Santiago de Compostela—attracted worldly and religious prestige, power, and capital.</p> <p>The bourgeoning and diverse practices and beliefs emanating from both heavenly and earthly sources created a potent cultural moment vividly and thoughtfully explored in Yossi Maurey’s <em>Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France</em>. In 1238, King Louis IX of France (canonised Saint Louis, 1297) purchased from his cousin Baldwin, Latin Emperor of Constantinople, some of the most potent relics of Christendom, which the deeply indebted Baldwin had pawned to a Venetian merchant. Acquiring these treasures for France, with ","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138687835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Briefs / Feuilletons","authors":"Ruth Hellen, Liz Hart","doi":"10.1353/fam.2023.a915320","DOIUrl":"https://doi.org/10.1353/fam.2023.a915320","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Briefs / Feuilletons <!-- /html_title --></li> <li> Ruth Hellen and Liz Hart </li> </ul> <p><strong>Among the various early music imprints and manuscripts held among the Library of Congress</strong> Music Division’s rare general collections are 306 music anthologies dating from the late fifteenth through seventeenth centuries. These materials represent about ten percent of the total number of musical anthologies produced at that time and are sources for some of the greatest musical works of the period.</p> <p>A new bibliography, <em>Anthologies of Musical Works in Print and Manuscript from the 15th–17th Centuries in the Library of Congress Music Division</em>, presents an inventory of the Music Division’s holdings with tables of contents and annotations for most entries: https://www.loc.gov/static/research-centers/performing-arts/documents/Anthologies-Final-Bibliography.pdf .</p> <p>An accompanying research guide provides discussions about and highlights from this unique body of materials, emphasizing matters of provenance, cataloguing, music publishers, online resources, and bibliography, and how the Music Division’s collection historically parallels the total output of anthology sources: https://guides.loc.gov/music-anthologies/introduction .</p> <p>Please contact https://ask.loc.gov/performing-arts with any questions.</p> <p><strong>The newest volume of the Bohuslav Martinů Complete Edition</strong> has been published. <em>The Frescoes of Piero della Francesca</em>, H 352 and <em>The Parables</em>, H 367, edited by Arne Stollberg and Janina Müller (BMCE II/2/7; BA 10590-01) represent the culmination of the late Neo-Impressionist orchestral output of Bohuslav Martinů, marked by a fantastic, kaleidoscopic style. Martinů transforms his extramusical inspirations (visual, literary) into the principles of musical forms, which are open to associations from mood setting to philosophical inquiries into the essence of human existence.</p> <p>The composer wrote <em>The Frescoes</em> in spring 1955 and conceived them after the cycle of Renaissance frescoes of Piero della Francesca in the Basilica of St Francis of Assisi in Arezzo, Italy. The premiere at the Salzburg Festival on 26 August 1956 was given by the Vienna Philharmonic under Rafael Kubelík, to whom the composition is dedicated. Martinů wrote the first two movements of <em>The Parables</em> in July 1957; he returned to the work after a break in early 1958 (completing the final, third movement on 8 February). <em>The Parables</em> premiered in Boston on 13 February 1959 by Charles Munch and the Boston Symphony Orchestra. The mottos of the first two movements of <em>The Parables</em> reference ‘The Wisdom of the Sands’ by Antoine de Saint-Exupéry. For the third movement, Martinů created a motto from loosely associated excerpts from Georges Neveux’s play ‘The Voyage of Theseus’,","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138687629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Accenting the Classics: Editing European Music in France, 1915–1925 by Deborah Mawer, et al. (review)","authors":"Peter Asimov","doi":"10.1353/fam.2023.a915321","DOIUrl":"https://doi.org/10.1353/fam.2023.a915321","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Accenting the Classics: Editing European Music in France, 1915–1925</em> by Deborah Mawer, et al. <!-- /html_title --></li> <li> Peter Asimov </li> </ul> <em>Accenting the Classics: Editing European Music in France, 1915–1925</em>. By Deborah Mawer, Barbara L. Kelly, Rachel Moore, and Graham Sadler. Woodbridge: The Boydell Press, 2023. [xviii, 364 p. ISBN 978-1-83765-032-3. £85.00/$125.00 (hardback)] <p>Right around the time of the first installment of the Durand publishing house’s Édition classique, the French music critic, Jean Marnold suggested that famous composers lacked the requisite skillset to produce worthy musical ‘editions’: if appending their names helped to boost sales, the commercial gains were, he argued, but a short-sighted reward for a compromise in quality and integrity. Marnold was right to distinguish musicological from musical authority—and Saint-Saëns’s reply to Marnold (‘Tout ce qui, dans l’édition en question, ressort de la “musicology”, comme les dates, n’est pas de mon fait’ [Everything that, in the edition in question, emerges from ‘musicology’, such as the dates, is not my doing]) illustrates the limited awareness of leading musicians about what constituted musicological expertise. Marnold was prescient, too, in foreseeing the waning appeal of scores that traded on the imprint of a contemporary composer in favor of ‘Urtext’ editions premised on philological methods and authentistic ideals. But a century on (and a few French Theories later), the illusion of textual fixity has yielded its preeminence to the allusions of intertextual interplay: ‘Saint-Saëns’s Mozart’ has become as valid (or more valid) a site of inquiry, and even performance, as Mozart’s Mozart, and Durand’s instincts proved, once again, keener than most.</p> <p>The core subject of <em>Accenting the Classics</em>— the Édition Classique A. Durand &amp; Fils (hereafter ÉCD), misleadingly named after Auguste Durand, who despite hatching the idea died before his son Jacques brought it to fruition— is a terrain both fascinating and innovative for research. Instigated by a wartime ban on German imports and a gap in the market for affordable French editions of the European ‘classical’ canon, the ÉCD, initially encompassing core repertory by Bach, Beethoven, Chopin, Mozart, Schumann, and a disconcerting amount of Czerny, was progressively stretched to accommodate works by composers as unclassical as Wagner and as alive as Maurice Emmanuel (himself also an editor), not to mention editions of Couperin and Rameau published before the inception of the series but retroactively incorporated into it. (Apparently Durand was less precious about the boundaries of ‘classic’ than he was attuned to the commercial potential of that moniker.) He recruited at the highest level a network of composers (including Fauré, Debussy, Ra","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138687729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Archiving Indigenous Igbo Musical Heritage in Human Memories: Sustainability Challenges and Digital Transfer as Strategy for Future Recovery of Extinct Musical Forms","authors":"Elizabeth Onyeji, Christian Onyeji","doi":"10.1353/fam.2023.a915319","DOIUrl":"https://doi.org/10.1353/fam.2023.a915319","url":null,"abstract":"<p><p>Abstract:</p><p>Archiving processes reveal multiple perspectives in physical, digital, and human memories. Africa has cultural archiving that relies on ‘virtual’ repositories in individual memories of people through practice. This is widespread among the Igbo of Nigeria. Threats to such ‘virtual’ archives, arising from deaths, memory loss from aging, as well as urbanisation, call for attention to the fast-eroding data content. This article discusses the nature, significance, and challenges of human memory as archival repositories in the sustaining of musical and cultural heritage practices in Igbo land. We argue for the retrieval, recording, and transfer to digital media of vital indigenous musical data as a support system to individual memory to stem extinction. This discourse draws from postcolonial notions and positions, fieldwork, and personal experiences of the authors to advance a dual system in which performance process as an archival method that depends on individual memories of practitioners is combined with digital transfer as a mechanism for safeguarding the musical heritage of the Igbo due to the perceived increasing abandonments of indigenous musical performances by the younger generation. The idea is to have a recovery and repatriation mechanism for musical material that may go extinct.</p><p>Abstract:</p><p>Les processus d’archivage révèlent de multiples perspectives dans les mémoires physiques, numériques et humaines. En Afrique, l’archivage culturel repose sur les dépôts “virtuels” que constituent les mémoires individuelles des individus par le biais de leur pratique. Ce phénomène est très répandu chez les Igbo du Nigeria. Les menaces qui pèsent sur ces archives “virtuelles”, dues aux décès, à la perte de mémoire liée au vieillissement, ainsi qu’à l’urbanisation, exigent que l’on s’intéresse à la rapide érosion des contenus de ces données. Cet article traite de la nature, de l’importance et des défis posés par la mémoire humaine en tant que dépôt d’archives pour la préservation des pratiques musicales et du patrimoine culturel dans le pays Igbo. Nous défendons la récupération, l’enregistrement et le transfert sur support numérique des données musicales indigènes vitales en tant que système de soutien à la mémoire individuelle pour éviter son extinction. Ce discours prend appui sur les concepts et les positions postcoloniales, le travail de terrain et les expériences personnelles des auteurs pour promouvoir un double système dans lequel le processus de performance comme méthode d’archivage dépendant des souvenirs individuels des exécutants est combiné avec le transfert numérique en tant que mécanisme de sauvegarde du patrimoine musical des Igbo face à la constatation de l’abandon croissant des pratiques musicales indigènes par la jeune génération. L’idée est de disposer d’un dispositif de récupération et de restitution du matériel musical susceptible de disparaître.</p><p>Abstract:</p><p>Archivierungsprozesse eröffnen vielfä","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138687832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Mozart Library in National Socialist Germany","authors":"Armin Brinzing","doi":"10.1353/fam.2023.a915317","DOIUrl":"https://doi.org/10.1353/fam.2023.a915317","url":null,"abstract":"Abstract:This article examines the development of the library of the International Mozarteum Foundation after Austria’s annexation by Nazi Germany, 1938 to 1945. Although the Mozarteum Foundation was under direct government control, it nominally remained a non-governmental institution even during the Nazi era. Therefore, although it was not directly involved in the National Socialist system of cultural property theft, it made intensive efforts to expand its holdings from collections expropriated by the National Socialists. The driving force behind this was the musicologist Erich Valentin, who was also responsible for the library; he worked closely with the Viennese professor of musicology, Erich Schenk. Various, entirely unsuccessful attempts to profit from the expropriation of Jewish collectors (like Stefan zweig) are described. In contrast, the intensive efforts of the Mozarteum Foundation to take over expropriated libraries of ecclesiastical institutions, such as St Peter’s Abbey in Salzburg with its valuable historical holdings, were successful.The article also deals with the restitutions after World War II, which only began a decade after the end of the war and were not carried out systematically. Therefore, looted property could still be identified in recent years, the restitution of which is also addressed. An important concern of the article is also to point out the importance of a thorough documentation of the results of provenance research (not only in regard to the Nazi period). All the information ascertained about the provenance of the individual sources should be permanently documented in the catalogues, if possible, in standardised form.Abstract:Cet article examine le développement de la bibliothèque de la Fondation internationale Mozarteum après l’annexion de l’Autriche par l’Allemagne nazie, de 1938 à 1945. La Fondation Mozarteum était certes sous le contrôle direct de l’État, mais elle restait nominalement une institution non gouvernementale même pendant la période nazie. Elle n’a donc pas été directement impliquée dans le processus national-socialiste de spoliations de biens culturels, mais elle a déployé des efforts considérables pour accroître ses fonds à partir de collections spoliées par les nationaux-socialistes. Le musicologue Erich Valentin, également responsable de la bibliothèque, en étroite collaboration avec le professeur de musicologie viennois Erich Schenk, a joué un rôle moteur dans cette entreprise. Diverses tentatives, totalement infructueuses, de profiter de l’expropriation de collectionneurs juifs (tels que Stefan zweig) sont décrites. En revanche, les efforts intensifs de la Fondation Mozarteum pour récupérer les bibliothèques confisquées d’institutions ecclésiastiques, telles que l’abbaye Saint-Pierre de Salzbourg et ses précieux fonds historiques, ont été couronnés de succès.L’article aborde également les restitutions effectuées après la Seconde Guerre mondiale, qui n’ont commencé qu’une décennie après la f","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139326617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Impact of the Covid-19 Pandemic on Music Education in Ukraine","authors":"Andrii Bondarenko, Tetiana Humeniuk, Anastasiia Romanenko, Lidiia Makarenko, Liubov Lysenko","doi":"10.1353/fam.2023.a909191","DOIUrl":"https://doi.org/10.1353/fam.2023.a909191","url":null,"abstract":"English Abstract: This article investigates the impact of the COVID-19 pandemic on music education in Ukraine. In March 2020, Ukrainian authorities proclaimed a national lockdown like the ones in most other European countries. Restrictions included prohibition for students to attend lessons at schools or universities that would make any classroom musical activities illegal. Relevant legal acts have been collected in this article. To avoid closure, most of music education institutions provided a distance form of education. However, remote methods did not appear to be a worthy substitute for in-person lessons, especially in such disciplines as ensemble playing or singing. This article reveals the main disadvantages of distance music education, the most important of which is a signal delay during remote communication via the Internet. A survey of teachers in Ukrainian music schools about their experience under lockdown restrictions was conducted. The survey shows that many teachers regard distance education as much harder and less effective. Moreover, most teachers feel that students lose motivation to learn and practice music. This result does not significantly differ in rural areas from that of large cities and does not depend on teachers’ attitudes to COVID-19 prevention methods, and as such, indicates an objective nature of fact. Undesirable consequences of the measures taken during the pandemic arise as a key discussion of whether the restrictions are of benefit or harm. French Abstract: Cet article étudie l’impact de la pandémie de COVID-19 sur l’éducation musicale en Ukraine. En mars 2020, les autorités ukrainiennes ont proclamé un confinement national comme dans la plupart des autres pays européens. Les restrictions comprenaient l’interdiction pour les étudiants de suivre des cours dans les écoles ou les universités, ce qui rendait illégales toutes les activités musicales en classe. Les actes juridiques correspondant ont été rassemblés dans cet article. Pour éviter la fermeture, la plupart des établissements d’enseignement musical ont proposé une forme d’enseignement à distance. Toutefois, les méthodes à distance n’ont pas semblé être un substitut valable aux cours en personne, en particulier dans des disciplines telles que le jeu d’ensemble ou le chant. Cet article révèle les principaux inconvénients de l’enseignement musical à distance, dont le plus important est le délai de réponse lors de la communication à distance via Internet. Une enquête a été menée auprès d’enseignants d’écoles de musique ukrainiennes sur leur expérience des restrictions d’accès. L’enquête montre que de nombreux enseignants considèrent que l’enseignement à distance est beaucoup plus difficile et moins efficace. En outre, la plupart des enseignants estiment que les élèves perdent la motivation d’apprendre et de pratiquer la musique. Ce résultat ne diffère pas de manière significative entre les zones rurales et les grandes villes et ne dépend pas de l’attitude des ens","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135851602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Briefs / Feuilletons","authors":"","doi":"10.1353/fam.2023.a909192","DOIUrl":"https://doi.org/10.1353/fam.2023.a909192","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135851586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc by Joanna Bullivant (review)","authors":"Cameron Pyke","doi":"10.1353/fam.2023.a909194","DOIUrl":"https://doi.org/10.1353/fam.2023.a909194","url":null,"abstract":"Reviewed by: Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc by Joanna Bullivant Cameron Pyke Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc. By Joanna Bullivant. Cambridge: Cambridge University Press, 2022. [288 p. ISBN 978-1-107-03336-8 (hardback). £88.99; ISBN 978-1-009-15879-4 (paperback). £22.99)] This is an elegantly written and thought-provoking assessment of the work and political and cultural contexts of the composer Alan Bush (1900–1995). While acknowledging that the book is not a comprehensive survey of Bush’s works and career, omitting, for example, a full consideration of his symphonic output, Joanna Bullivant considers the ‘contradictory impulses’ and ‘complex subjectivity’ that define it with a refreshing nuance and sharp understanding of historical detail. Bullivant’s survey is particularly impressive in Bush’s post-war relationship with the Deutsche Demokratische Republik (DDR), through opera commissions and his ‘intimate role’ in the development of its music. Bullivant rightly views this engagement as the culmination of his longstanding creative relationship with German political and cultural émigrés, and also relates these works to the régime’s cultural preoccupations. Her assessments of Wat Tyler, The Sugar Reapers, and Joe Hill are particularly astute in their cultural reference. Pertinent comparisons could perhaps have been made with the reception of Benjamin Britten’s operas behind the Iron Curtain, and more reference could have been made to Bush’s correspondence with Grigori Shneerson of the Soviet Union’s Society for Cultural Relations with Foreign Countries (VOKS), but this is impressive and important analysis and research, nonetheless, shedding significant light on Cold War cultural politics. Bush’s relationships with modernism and with ‘late-style’ aesthetics are also discussed with sensitivity. The book employs a significant number of musical examples to illustrate the text. These are clearly presented and discussed in a refreshingly jargon-free way. Bullivant makes a case for a positive reassessment of Bush as ‘a prolific and thoughtful commentator who placed modern music and politics at the heart of his aesthetic concerns’ (p. 19); he is ‘a focal point’ for a fuller understanding of British music. In seeking to substantiate this, she does not downplay what she sees as Bush’s more questionable political judgements, but convincingly highlights continuities in compositional principles and his ‘developing Communist selfhood’ (p. 143). She also astutely highlights some affinities between his personal vision of English music and composers such as Michael Tippett, Britten, and Ralph Vaughan Williams: allusions, for example, to Christian ritual in The Pilgrim’s Progress and Wat Tyler. These are well-judged, though points of similarity and difference could perhaps have been explored further: why, for example, was it Britten rather ","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135851597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aaron Copland in Latin America: Music and Cultural Politics by Carol A. Hess (review)","authors":"Howard Pollack","doi":"10.1353/fam.2023.a909195","DOIUrl":"https://doi.org/10.1353/fam.2023.a909195","url":null,"abstract":"Reviewed by: Aaron Copland in Latin America: Music and Cultural Politics by Carol A. Hess Howard Pollack Aaron Copland in Latin America: Music and Cultural Politics. By Carol A. Hess. (Music in American Life.) Urbana: University of Illinois Press, 2023. [344 p. ISBN 978-0-252-04485-4 (hardback). $125; ISBN 978-0-252-05400-6 (e-book). $14.95] In addition to all his other notable accomplishments as composer, pianist, conductor, writer, and concert organiser, Aaron Copland’s work as a cultural ambassador—both officially and unofficially—rates among his most significant and impressive achievements. Over the years, he travelled far and wide, championing American music abroad, and conversely introducing foreign contemporary music to Americans back home. As head of the faculty at the Berkshire Music Center for twenty-five years, he made Tanglewood a hub for such activities by inviting distinguished foreign composers to teach there, and by arranging for students from around the world to study there as well. Even before such activities began to take shape in the 1930s, Copland (1900–1990) had done likewise on the domestic front, promoting his colleagues at home to the point that even as a young man he became known as ‘the dean of American music’. He recognised that the cause of new music—his own and others—could be greatly enriched, both artistically and pragmatically, by communal solidarity and interaction; and in addition to the quality of his music and musicianship, he had the energy, idealism, intelligence, congeniality, eloquence, tact, and connections to make him a natural and effective leader in this respect. Being a bachelor without steady employment facilitated a certain freedom of time and movement as well. Whereas his efforts on behalf of his com-patriots—as reflected in his association with the League of Composers, Copland-Sessions Concerts, Yaddo Festival, Cos Cob Press, New School for Social Research, Tanglewood, and so forth—are relatively well known, his extensive engagement with Latin-American music has gone less studied and appreciated. This latter involvement, which dated back to the 1920s, and his close friendship with the Mexican composer Carlos Chávez, drew in large part on the conviction that American and Latin American composers were bound by history, culture, and destiny, including what Copland saw as the need to strike new paths from those laid down by European hegemony (as much as he held the great European tradition in high esteem). Having written books on Manuel de Falla (2004), Pan Americanism (2013), and Latin American music (2018), Carol A. Hess, Distinguished Professor of Music at the University of California, Davis, is in an excellent position to give this topic some much-needed attention. In this new book, she focusses on Cop-land’s four U.S. government-sponsored tours in 1941, 1947, 1962, and 1963. Sponsored by the Office of Inter-American Affairs, the five-month 1941 trip took him to nine countries: Mexico, Colombia, E","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135852672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"When Mr Paradies Provided the Songs: The London Opera Arias of Fitzwilliam Museum, Mu.Ms.108","authors":"Michael Burden","doi":"10.1353/fam.2023.a909189","DOIUrl":"https://doi.org/10.1353/fam.2023.a909189","url":null,"abstract":"English Abstract: This article examines the form, contents, and context of Fitzwilliam Museum MU.MS.108. This is a gathering together of a group of arias in autograph written by the Italian composer, Domenico Paradies (1707–1791), for London’s King’s Theatre, the elite venue for imported opera and dance. The manuscript, either as loose leaves or as a bound collection, was sold by Paradies to the founder of the museum, Richard, 7th Viscount Fitzwilliam (1745–1816) in 1770. While known, the source has not been examined closely, nor has it been explored in relation to the opera seasons for which its contents were composed. There are twenty-one numbers all told, spanning the years 1746 to 1751, a period in which there is a paucity of information on the running of the King’s Theatre and one in which the audience had only a limited critical engagement with the works that were performed. Paradies’ role not only included the provision of new arias, but also the alteration of old ones, new overtures, and other music required for new adaptations. MU.MS.108 is, therefore, a microcosm that illustrates the type of work required of an eighteenth-century composer working in an opera house and throws light onto the dim world of the pasticcio, compilations that are the result of unrecorded discussions between all the parties involved in the production of opera: managers, singers, composers, librettists, and musical directors. French Abstract: Cet article examine la forme, le contenu et le contexte du Fitzwilliam Museum MU.MS.108. Il s’agit d’un ensemble d’arias autographes écrites par le compositeur italien Domenico Paradies (1707–1791) pour le King’s Theatre de Londres, la scène privilégiée de l’opéra et de la danse en provenance de l’étranger. Le manuscrit, sous forme de feuillets détachés ou de recueil relié, a été vendu par Paradies au fondateur du musée, Richard, 7e vicomte Fitzwilliam (1745–1816), en 1770. Bien que connue, la source n’a pas été examinée de près, ni étudiée en relation avec les saisons d’opéra pour lesquelles son contenu a été composé. On compte en tout vingt-et-un numéros, couvrant les années 1746 à 1751, une période pour laquelle on dispose de très peu d’informations sur le fonctionnement du King’s Theatre et au cours de laquelle le public n’a eu qu’un engagement critique limité vis-à-vis des œuvres représentées. Le rôle de Paradies ne consistait pas seulement à proposer de nouveaux airs, mais aussi à transformer les anciens, à créer de nouvelles ouvertures et autres musiques nécessaires à la réalisation de nouvelles adaptations. MU.MS.108 est donc un microcosme qui illustre le type de travail exigé d’un compositeur du XVIIIe siècle travaillant dans une maison d’opéra et qui éclaire le monde obscur du pasticcio, des compilations qui sont le résultat de discussions non documentées entre toutes les parties impliquées dans la production d’un opéra : imprésarios, chanteurs, compositeurs, librettistes et directeurs musicaux. German Abstract: Di","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135852669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}