发布求助
文献互助 智能选刊 最新文献

Musicology Australia最新文献

筛选
英文 中文
Colloquy: A Case for a Critical Edition of the Complete Works of Jan Dismas Zelenka (1679–1745) 座谈会：简·迪斯马斯·泽伦卡全集（1679-1745）评论版的一个案例
Musicology Australia Pub Date : 2022-07-03 DOI: 10.1080/08145857.2022.2187988
J. Stockigt, M. Talbot, Andrew Frampton, F. Kiernan, D. Collins
{"title":"Colloquy: A Case for a Critical Edition of the Complete Works of Jan Dismas Zelenka (1679–1745)","authors":"J. Stockigt, M. Talbot, Andrew Frampton, F. Kiernan, D. Collins","doi":"10.1080/08145857.2022.2187988","DOIUrl":"https://doi.org/10.1080/08145857.2022.2187988","url":null,"abstract":"Abstract The wealth of new source discoveries alongside an enormous growth in performing and recording of the music of Jan Dismas Zelenka (1679–1745) over the last twenty years signals a pressing need for a critical edition of his complete works, including a thorough revision of the Zelenka-Werke-Verzeichnis (ZWV). The contributions to this colloquy consider principles around the composition of an editorial team, questions of methodology, cross-border collaborations, strategies for publication of volumes, integration of online and print elements, and lessons that can be learned from other editorial projects. The authors further reflect on how a new critical edition can effectively meet specific needs of performance contexts, and how music analysis—generally absent from Zelenka studies—informs the editorial enterprise in essential ways.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43723187","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
Editorial 编辑
Musicology Australia Pub Date : 2022-07-03 DOI: 10.1080/08145857.2022.2187974
S. Kirby
{"title":"Editorial","authors":"S. Kirby","doi":"10.1080/08145857.2022.2187974","DOIUrl":"https://doi.org/10.1080/08145857.2022.2187974","url":null,"abstract":"","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47957638","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
A History in Blue Pencil: Cyril Monk’s Performance Annotations and a Bygone Musical Style 蓝铅笔的历史:西里尔·蒙克的表演注解和过去的音乐风格
Musicology Australia Pub Date : 2022-01-02 DOI: 10.1080/08145857.2022.2113211
J. Russoniello
{"title":"A History in Blue Pencil: Cyril Monk’s Performance Annotations and a Bygone Musical Style","authors":"J. Russoniello","doi":"10.1080/08145857.2022.2113211","DOIUrl":"https://doi.org/10.1080/08145857.2022.2113211","url":null,"abstract":"Abstract Australian violinist Cyril Monk (1882–1970) was described in the 25 July 1920 edition of Sydney’s Sun newspaper as ‘one of the best-known violinists in the Commonwealth’. Although he is an unfamiliar name today, Cyril Monk was a prolific recitalist, chamber musician, orchestral leader, and lecturer, as well as a pioneer in the presentation of Australian music. As Monk’s early musical training and most of his long professional career took place in Sydney, his individual playing style offers a perspective on the performing traditions of this time and place. Due to the scarcity of recordings of Australian artists before 1940, how Cyril Monk and violinists of his generation sounded is a mystery today. This article surveys Cyril Monk’s published editions as well as recently discovered annotated scores to document aspects of a string performance style which has been all but forgotten. Extant materials and a surviving recording from Cyril Monk’s musical life provide a snapshot of his individual playing style and of the performance culture in which he operated.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48709365","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 Creation of the ABC Studio Orchestras, 1935–1945 美国广播公司录音室管弦乐队的创建，1935-1945
Musicology Australia Pub Date : 2022-01-02 DOI: 10.1080/08145857.2022.2077592
Kenneth W. Morgan
{"title":"The Creation of the ABC Studio Orchestras, 1935–1945","authors":"Kenneth W. Morgan","doi":"10.1080/08145857.2022.2077592","DOIUrl":"https://doi.org/10.1080/08145857.2022.2077592","url":null,"abstract":"Abstract This article analyses the creation of studio orchestras by the Australian Broadcasting Commission (ABC) as part of a policy of musical federalization. The orchestras were created in the decade after 1935 in all six Australian states, and later expanded to form state symphony orchestras for radio broadcasting and for public performances in concerts. The article argues that the combined effort of a group of men appointed to managerial and controller positions in the ABC was responsible for the oversight of the founding of the studio orchestras; that they spread the available musical talent across the six states; and that they succeeded in their attempt to stimulate public demand for listening to orchestras on radio by paying close attention to the musical capabilities of conductors and thorough auditioning of players joining the orchestras. Within a decade after their foundation, the studio orchestras became permanent ambassadors for the programming of live classical music on the ABC's radio stations.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41915255","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
Messiaen’s Australian Birds: The Impact of H. Sydney Curtis 梅西安的澳大利亚鸟类:H.悉尼柯蒂斯的影响
Musicology Australia Pub Date : 2022-01-02 DOI: 10.1080/08145857.2022.2111594
H. Taylor
{"title":"Messiaen’s Australian Birds: The Impact of H. Sydney Curtis","authors":"H. Taylor","doi":"10.1080/08145857.2022.2111594","DOIUrl":"https://doi.org/10.1080/08145857.2022.2111594","url":null,"abstract":"Abstract Australian birds feature prominently in Olivier Messiaen’s birdsong transcriptions and compositions, especially in the final works, including his masterpiece Éclairs sur l’Au-delà …. This article catalogues the composer’s Australian birdsong phrases and, when possible, identifies their sources. In particular, it reviews the correspondence between Messiaen and ornithologist H. Sydney Curtis, which spans from 1981 to 1989. Of the dozen letters held in a private collection, ten were exchanged between Messiaen and Curtis, whilst two were exchanged between Curtis and Messiaen’s second wife, Yvonne Loriod. Traces of the ornithologist’s impact on the composer can be found in Messiaen’s compositions, cahiers, and Traité de Rythme, de Couleur, et d’Ornithologie, demonstrating Curtis’s influence to be more significant than previously recognized.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47105899","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
Rave Music as Top Forty Pop 流行音乐四十强
Musicology Australia Pub Date : 2022-01-02 DOI: 10.1080/08145857.2022.2090700
Adrian Renzo
{"title":"Rave Music as Top Forty Pop","authors":"Adrian Renzo","doi":"10.1080/08145857.2022.2090700","DOIUrl":"https://doi.org/10.1080/08145857.2022.2090700","url":null,"abstract":"Abstract The late 1980s and early 1990s saw a marked increase in the number of rave tracks appearing on the UK Top Forty chart. This music appeared to have little to do with conventional song forms. Rave tracks often lacked vocals, foregrounded left-field synthesizer sounds, and eschewed the verse–chorus structures that had dominated the charts since the 1970s. This article asks: is it possible that rave music overlapped in some ways with Top Forty pop songs? I will argue that the answer to this question is a qualified ‘yes’, and that certain types of rave music functioned as a type of pop music. Rave tracks may have initially seemed quite alien to the pop charts, but they actually replicated several conventions of mainstream Western pop songs. In particular, they frequently adopted a structure resembling the verse–chorus form: verses were replaced by ‘rave’ sections, while choruses were replaced by vocal hooks, samples of existing songs, and other signifiers of pop familiarity. The article constitutes a preliminary attempt to analyse how electronic dance music functions when it is heard away from the dance floor.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44746043","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
Professional Pathways for Musicians with Disability in Victoria, Australia 澳大利亚维多利亚州残疾音乐家的专业道路
Musicology Australia Pub Date : 2022-01-02 DOI: 10.1080/08145857.2022.2088930
Anthea Skinner, G. Thompson, Katrina Skewes McFerran
{"title":"Professional Pathways for Musicians with Disability in Victoria, Australia","authors":"Anthea Skinner, G. Thompson, Katrina Skewes McFerran","doi":"10.1080/08145857.2022.2088930","DOIUrl":"https://doi.org/10.1080/08145857.2022.2088930","url":null,"abstract":"Abstract The work of disabled musicians has become the focus on of an increasingly large body of academic work; however, existing literature rarely provides details about the educational experiences of these musicians, or how disability impacted these experiences. This study interviewed eleven performing musicians living with disability in Australia to elucidate the barriers and enablers that they faced in their music educations and careers. We developed a ‘nested model’ based on a qualitative narrative analysis which identified barriers and enablers coming from ‘the musician’, ‘the self’, ‘other people’, and ‘the system’. We used this model to draw out further themes and counter-themes across the interviews to begin to illuminate the barriers. Each of our participants was able to identify numerous barriers to access, which they had experienced during their musical careers. Despite this, ten of our eleven participants continued to find ways to participate and express their creativity in musical activities, and they provided many practical suggestions for improving access. Future studies that seek perspectives from disabled music students, or those who are in the early stages of their careers, may provide further insights to better understand barriers and enablers.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48728636","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
Morceau de Concours (2007): Recycling, Transcription and the Concert-Paraphrase in the Music of Roger Smalley (1943–2015) Morceau de Concours（2007）：罗杰·斯莫利音乐中的回收、转录和音乐会口号（1943–2015）
Musicology Australia Pub Date : 2021-07-03 DOI: 10.1080/08145857.2021.2010895
Adam Pinto
{"title":"Morceau de Concours (2007): Recycling, Transcription and the Concert-Paraphrase in the Music of Roger Smalley (1943–2015)","authors":"Adam Pinto","doi":"10.1080/08145857.2021.2010895","DOIUrl":"https://doi.org/10.1080/08145857.2021.2010895","url":null,"abstract":"Abstract The recycling of pre-existing material in pianist-composer Roger Smalley’s compositional process is an important characteristic of his output. Such a broad assertion, however, encompassing a range of examples exhibiting varying degrees of re-contextualization, perhaps risks diminishing the sophistication of his compositional process. Smalley’s final work for solo piano, Morceau de Concours (2007), is a transcription of material from his Piano Concerto No. 2 (2004). This article explores both the process of this transcription and the compositional process of the piano concerto. Although Smalley’s sketches contain no explicit indication of how Morceau de Concours was constructed, through the examination of primary sources, this article illustrates that the work should be considered a concert-paraphrase, despite the directness of its transcription. Smalley’s continuing preoccupation with process rather than style will be evaluated in relation to his compositional influences and will be placed in context with other late twentieth-century piano music.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44927131","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
‘Exiled from the Musical Activities of His Homeland’: Dean Dixon in the Australian and African American Press During the Era of Immigration Reform “从祖国的音乐活动中流亡”:移民改革时期澳大利亚和非裔美国人媒体中的迪安·迪克森
Musicology Australia Pub Date : 2021-07-03 DOI: 10.1080/08145857.2022.2042056
C. Coady
{"title":"‘Exiled from the Musical Activities of His Homeland’: Dean Dixon in the Australian and African American Press During the Era of Immigration Reform","authors":"C. Coady","doi":"10.1080/08145857.2022.2042056","DOIUrl":"https://doi.org/10.1080/08145857.2022.2042056","url":null,"abstract":"Abstract During the 1960s, international and domestic pressure on the Australian government led to a softening of restrictive immigration practices that had played a key role scaffolding what is commonly referred to as the White Australia policy. The appointment of Dean Dixon—an African American expatriate—to lead the Sydney Symphony Orchestra in 1963 was celebrated by both the government and a cohort of journalists in the Australian press as an important milestone in the immigration reform effort. In this article, I discuss the paradox of how Dixon’s appointment allowed notions of a racially progressive society to circulate in the Australian press in ways that simultaneously entrenched what Gwenda Tavan refers to as the ‘indices’ of ‘whiteness’ and ‘Britishness’ anchoring assimilationist thought. I then outline how the African American press, in contrast, framed Dixon’s work abroad as a challenge to ideologies of white supremacy. Threading these two stories of Dixon’s migration together reveals different views on the possibilities bound up in his appointment and a fundamental tension between the Australian and African American press’s understanding of the kind of cultural work Dixon undertook while leading the Sydney Symphony Orchestra.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42622438","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
Women in World War II RAAF Bands: An Untold Story 第二次世界大战皇家空军乐队中的女性:一个不为人知的故事
Musicology Australia Pub Date : 2021-07-03 DOI: 10.1080/08145857.2021.2000849
Anthea Skinner
{"title":"Women in World War II RAAF Bands: An Untold Story","authors":"Anthea Skinner","doi":"10.1080/08145857.2021.2000849","DOIUrl":"https://doi.org/10.1080/08145857.2021.2000849","url":null,"abstract":"Abstract Existing research into Australian defence force bands, including that published by the Australian Defence Force itself, assumes that women were not eligible to join mainstream military bands until the 1980s. Prior to this, it was thought women’s involvement in music in the Australia defence forces was limited to concert parties and membership of women’s auxiliary ensembles. This article will show that, on the contrary, a small group of women played in Royal Australian Air Force (RAAF) bands during World War II. These women, members of the Women’s Auxiliary Australian Air Force (WAAAF), were invited to join their local RAAF bands when overseas deployments limited the availability of male musicians. This study uses archival research, contemporary media reports and interviews with WAAAF veterans to explore the lives and duties of this previously unacknowledged group of defence force musicians. Despite being paid less than their male counterparts, this small group of women proudly played and marched on equal terms with the men when their country needed them, only to be excluded for another forty years once peace reigned.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43117585","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
首页 上一页 下一页 尾页
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整，为了账户安全，请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
请完成安全验证×
相关产品
×
本文献相关产品
联系我们：info@booksci.cn Book学术提供免费学术资源搜索服务，方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号：481959085
Book学术官方微信