JOURNAL OF MUSICOLOGICAL RESEARCH最新文献

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Beyond the Interpretation of Music 超越音乐的诠释
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-02 DOI: 10.1080/01411896.2020.1775087
Laurence Dreyfus
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引用次数: 12
Should the End of a Phrase be Emphasized? An Essay in Musical Prosody 短语的结尾应该强调吗?《音乐韵律随笔
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-02 DOI: 10.1080/01411896.2020.1773265
Martin Küster
{"title":"Should the End of a Phrase be Emphasized? An Essay in Musical Prosody","authors":"Martin Küster","doi":"10.1080/01411896.2020.1773265","DOIUrl":"https://doi.org/10.1080/01411896.2020.1773265","url":null,"abstract":"ABSTRACT For understanding eighteenth-century notions of “singing” on an instrument, modern standards of “classical” performance can be a source of confusion rather than clarification. Rather than simply calling for legato or vibrato, such notions tapped into a pool of ideas concerned with essential commonalities between music and language. Song, as understood in the eighteenth century, is the anthropological origin of music and language, a primitive vocal expression of emotion carried into verbal speech through its musical properties (prosody) and understood as working similarly in musical melody. At the same time, a trove of terms used in music theory—such as “rhythm,” “meter,” “accent,” or “phrase”—is concerned not with language (as is often claimed), but with the same intersection of music and speech, a gray area between these realms. It is in this field that the eighteenth-century theory of text setting operates. It can be said that, from an eighteenth-century perspective, every piece of instrumental music is a “Song without Words,” having all the music-prosodic features—accents, lines, phrases, even rhymes—with which the vocal composer would respond to a specific text. Such a perspective can illuminate and perhaps answer some questions that performers (especially historically informed performers) often struggle with and are forced to answer with theories indebted to more recent traditions, such as those associated with Schenker and Riemann.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89314254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
What Can Performance and Theory Teach Each Other? 表演和理论能相互教给对方什么?
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-02 DOI: 10.1080/01411896.2020.1802263
Andrew Friedman
{"title":"What Can Performance and Theory Teach Each Other?","authors":"Andrew Friedman","doi":"10.1080/01411896.2020.1802263","DOIUrl":"https://doi.org/10.1080/01411896.2020.1802263","url":null,"abstract":"ABSTRACT Until rather recently, music theory has had little to no truck with performance, whether disregarding it entirely, derogating its corporeal-temporal non-ideality, or issuing it unsolicited prescriptions from atop the ivory tower. Consequently, the dialogue between these two domains, especially in the twentieth century, has been closer to a paternalistic monologue with (understandably) no audience. Happily, a rapprochement is afoot and the prospect of a sustained, salutary, and symbiotic relationship seems increasingly possible, its early fruits provocative and promising. I begin by tracing the relationship of theoria and praxis from Hellenic times to our own, highlighting the philosophical and cultural ideas and ideals that have shaped our terrain. I then survey recent work in performance analysis, in particular that of the last three decades, in which theorists have-- perhaps for the first time--truly listened to performance and performers with open ears and minds. I conclude by offering my approach to the issues at hand, exemplifying it with analyses of Haydn and Chopin that open up what I hope will be intriguing possibilities for performance interpretations.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87722022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Listening to Builders 倾听建设者的意见
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-02 DOI: 10.1080/01411896.2020.1773264
David Hyun-su Kim
{"title":"Listening to Builders","authors":"David Hyun-su Kim","doi":"10.1080/01411896.2020.1773264","DOIUrl":"https://doi.org/10.1080/01411896.2020.1773264","url":null,"abstract":"ABSTRACT The most superficially apparent feature of the Historically–Informed Performance movement is the use of “historically-appropriate” instruments. Interest in such instruments has grown alongside the dedication and expertise of instrumental builders and restorers who have performed extensive research on antique instruments. Thanks to their efforts, modern musicians have access to high-quality copies and restored antiques that offer inspiring musical insight. Despite these opportunities, the relationship between players and instrument-builders has not fundamentally changed: the vast majority of musicians lack basic organological knowledge and—in a perhaps telling irony—the close relationship that musicians of the common practice period had with instrument-makers remains anomalous, even amongst HIP-sters. Interviews with six of the world’s foremost fortepiano builders demonstrate the musical and interpretive relevance of organological knowledge by transmitting piano-technical information for the performer, while arguing that builders are an integral part of music-making, as they wrestle with musical and historical topics just as musicians do. With the impressive wealth of knowledge that builders have acquired in the past decades, the time may be ripe for the serious consideration of instruments to become a meaningful and indispensable part of the contemporary interpretive process.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90498822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Gould and Liberace, or the Fate of Nineteenth-Century Performance Culture 古尔德与自由,或19世纪表演文化的命运
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-06-30 DOI: 10.1080/01411896.2020.1780923
Nicholas Mathew
{"title":"Gould and Liberace, or the Fate of Nineteenth-Century Performance Culture","authors":"Nicholas Mathew","doi":"10.1080/01411896.2020.1780923","DOIUrl":"https://doi.org/10.1080/01411896.2020.1780923","url":null,"abstract":"ABSTRACT Two of the most famous pianists of the 1950s, Glenn Gould and Liberace occupied opposing esthetic and cultural positions. Liberace’s style of performance and self-presentation was by and large consistent with his late nineteenth-century pianistic models; however, emerging television esthetics, among other factors, made this style increasingly incomprehensible, except as an extreme brand of musical kitsch or camp (the mode for which he became notorious). Meanwhile, Gould’s studied neutrality, which energetically deployed the period’s new media forms to cultivate a radical denial of the performing mechanism and the performing body, interpellated a generation of listeners who were not addressed by a musical rhetorician as much as they were invited to eavesdrop on, and to make their own, a self-possessed sound object. The story of Gould and Liberace thus not only sheds light on the new austerity of 1950s performance practice, but has something important to teach us about the ideological fate of nineteenth-century performance cultures since the late twentieth century.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01411896.2020.1780923","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72493051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Case of Beethoven: A Tie by Any Other Name... 贝多芬的案例:领带的另一个名字……
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-06-29 DOI: 10.1080/01411896.2020.1771185
Malcom Bilson
{"title":"The Case of Beethoven: A Tie by Any Other Name...","authors":"Malcom Bilson","doi":"10.1080/01411896.2020.1771185","DOIUrl":"https://doi.org/10.1080/01411896.2020.1771185","url":null,"abstract":"ABSTRACT In several late works of Beethoven, we find a curious tie over the barline, in string and especially in piano works, where we find the numbers 4,3 over the tie, seemingly indicating fingering. Since the late nineteenth century scholars and performers have been discussing whether or not the second note should be struck or bowed again. Interpreting this curious tie goes not only to the problem of execution, but to the deeper musical question of Affekt.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74995765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Do They Still Hate Horowitz? The “Last Romantic” Revisited 他们还恨霍洛维茨吗?重温“最后的浪漫”
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-06-26 DOI: 10.1080/01411896.2020.1774755
K. Hamilton
{"title":"Do They Still Hate Horowitz? The “Last Romantic” Revisited","authors":"K. Hamilton","doi":"10.1080/01411896.2020.1774755","DOIUrl":"https://doi.org/10.1080/01411896.2020.1774755","url":null,"abstract":"ABSTRACT Few pianists have been as acclaimed or as abominated as Vladimir Horowitz. Long ago the subject of a notorious hatchet-job by Michael Steinberg in the New Grove Dictionary of Music, and of an equally trenchant, if undeniably wittier, defense by Richard Taruskin in the New York Times, Horowitz’s playing polarized critical opinion in a manner clearly unattainable by polished mediocrity. But now, nearly thirty years after his death, the time is finally ripe for a reassessment of his artistry and public persona, not least because of the recent release of dozens of live recordings from the later decades of his career. These recordings not only allow a hitherto unattainable overview of Horowitz’s pianism, but prompt a reevaluation of his earlier discography. Moreover, they provide evidence for an analysis of the myths surrounding the art of interpretation in general. Horowitz was routinely castigated by critics for alleged crimes against acceptable practice, while idolized by audiences for many of the same reasons. A reappraisal of Horowitz’s legacy serves to evaluate its place in the history of pianism and seeks to illuminate competing esthetic perspectives on the art of interpretation itself, arguing that for nearly two centuries many pianists and critics have been missing the point: some supposedly purely musical issues in performance practice have as much to do with concepts of ethics and ownership, authority and morality, as with art.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81349014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Arrangement Practices in the Bach Tradition, Then and Now: Historical Precedent for Modern Practice 巴赫传统的编曲实践,过去和现在:现代实践的历史先例
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-06-24 DOI: 10.1080/01411896.2020.1770091
Rebecca Cypess
{"title":"Arrangement Practices in the Bach Tradition, Then and Now: Historical Precedent for Modern Practice","authors":"Rebecca Cypess","doi":"10.1080/01411896.2020.1770091","DOIUrl":"https://doi.org/10.1080/01411896.2020.1770091","url":null,"abstract":"ABSTRACT Despite the increased use of period instruments in modern-day conservatories and concert life, many classical musicians continue to make their careers by playing early music on “modern” instruments. In such performances, aspects of the esthetic impulse of the music can always be conveyed. In adapting early music for modern instruments, it is helpful to think about the adaptation as an “arrangement,” and to seek out ways of capturing the esthetic impulse of the music despite the use of instruments from later time periods. It is possible to contextualize an understanding of the term “arrangement” within performance practices of the eighteenth century by highlighting sources that attest to the flexibility of instrumentation as an important feature of eighteenth-century music. A series of examples of performance practices from the collection of the Berlin salonnière Sara Levy reveal a spectrum of choices available to interpreters of music from the Bach family tradition and help provide a set of historically grounded principles for arrangements that may be applied in the present day by instrumentalists of all sorts.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74243900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Introduction: Topics in Musical Interpretation 导论:音乐诠释的主题
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-06-22 DOI: 10.1080/01411896.2020.1778428
Sezi Seskir, David Hyun-su Kim
{"title":"Introduction: Topics in Musical Interpretation","authors":"Sezi Seskir, David Hyun-su Kim","doi":"10.1080/01411896.2020.1778428","DOIUrl":"https://doi.org/10.1080/01411896.2020.1778428","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85701919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The “Rashômon Effect” Effect: Post-Orientalism in the Era of #MeToo “Rashômon效应”效应:#MeToo时代的后东方主义
IF 0.3 2区 艺术学
JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-06-18 DOI: 10.1080/01411896.2020.1754128
Robynn J. Stilwell
{"title":"The “Rashômon Effect” Effect: Post-Orientalism in the Era of #MeToo","authors":"Robynn J. Stilwell","doi":"10.1080/01411896.2020.1754128","DOIUrl":"https://doi.org/10.1080/01411896.2020.1754128","url":null,"abstract":"ABSTRACT In Akira Kurasawa’s classic 1950 film Rashômon, three participants testify to a tribunal about a rape/murder. The rape itself has been elided into the crime of murder in most of the literature—a symptom of patriarchal frames, both Eastern and Western, and both within the film and in the scholarship. Two characters represent female archetypes: the woman Masako is—even in the same tellings—a lady and a seductress; the Medium who channels the testimony of the samurai—a crone figure, androgynous, powerful, and terrifying. Music is at its most manipulative in relationship to these two characters, functioning like narrative magic: a glamor that conceals beneath an appealing surface, or an incantation that summons a ghost. Fumio Hayasaka’s score borrows heavily from an exoticist Franco-Russian depiction of Spanishness from the dance repertoire of the 1910–20s, emphasizing the startling physicality of the two women that may challenge the tale’s misogyny. The unmarked male gaze is perhaps irreparably shattered to modern viewers, particularly in an era sensitized by scandals of powerful men abusing their power over women.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82690935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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