JOURNAL OF MUSICOLOGICAL RESEARCH最新文献

{"title":"Don Giovanni Captured: Performance, Media, Myth; Opera Lab: Explorations in History, Technology, and Performance","authors":"Kristi Brown-Montesano","doi":"10.1080/01411896.2023.2287421","DOIUrl":"https://doi.org/10.1080/01411896.2023.2287421","url":null,"abstract":"Published in Journal of Musicological Research (Ahead of Print, 2024)","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"2015 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139978743","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}

{"title":"“The Wanderer: Public musicology and the logic of content creation”","authors":"Phil Ford","doi":"10.1080/01411896.2023.2287422","DOIUrl":"https://doi.org/10.1080/01411896.2023.2287422","url":null,"abstract":"Published in Journal of Musicological Research (Ahead of Print, 2024)","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139754957","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}

{"title":"Quartet: How Four Women Changed the Musical World","authors":"Douglas W. Shadle","doi":"10.1080/01411896.2024.2301869","DOIUrl":"https://doi.org/10.1080/01411896.2024.2301869","url":null,"abstract":"Published in Journal of Musicological Research (Ahead of Print, 2024)","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"12 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139755179","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}

{"title":"Bach against Modernity","authors":"Samuel Breene","doi":"10.1080/01411896.2023.2271354","DOIUrl":"https://doi.org/10.1080/01411896.2023.2271354","url":null,"abstract":"Published in Journal of Musicological Research (Vol. 42, No. 3, 2023)","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"119 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692044","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}

{"title":"Pop Masculinities: The Politics of Gender in Twenty-First Century Popular Music","authors":"Mark Duffett","doi":"10.1080/01411896.2023.2271353","DOIUrl":"https://doi.org/10.1080/01411896.2023.2271353","url":null,"abstract":"Published in Journal of Musicological Research (Vol. 42, No. 3, 2023)","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"152 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692360","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}

{"title":"About the Authors","authors":"","doi":"10.1080/01411896.2023.2292007","DOIUrl":"https://doi.org/10.1080/01411896.2023.2292007","url":null,"abstract":"Published in Journal of Musicological Research (Vol. 42, No. 3, 2023)","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"106 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692706","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}

{"title":"Auenbruggers, Sensibility, and the Instrumental Bodies","authors":"Keri Hui","doi":"10.1080/01411896.2023.2279890","DOIUrl":"https://doi.org/10.1080/01411896.2023.2279890","url":null,"abstract":"In conceiving the ideal of the man or woman of sensibility, many eighteenth-century philosophers and writers described the human body as a living instrument. The Austrian physician Josef Leopold Au...","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"105 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138562562","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}

{"title":"A Review of Podcasting: Time for a Musicology Podcasting Revolution?","authors":"Emily Ruth Allen","doi":"10.1080/01411896.2023.2190298","DOIUrl":"https://doi.org/10.1080/01411896.2023.2190298","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 “About the New Books Network,” https://newbooksnetwork.com/about-the-nbn (accessed September 28, 2022). I primarily host episodes for the music and Celebration channels. You can access my episodes here: https://newbooksnetwork.com/hosts/profile/d0e36e2b-c234-46cb-a7a5-f2ed5110141e.2 To learn more about the New Books in Music channel and the overall New Books Network, see Katherine K. Preston, Alexandra Hui, and Jennifer Ronyak, “New Books in Music,” Journal of the American Musicological Society 73, no. 2 (2020): 427–41.3 These series by musicologists were first released on Apple Podcasts in 2020: Sound Expertise, Bent Notes, Crafting Musical Lives, and Notes on Notes.4 “About Classically Black Podcast,” https://www.classicallyblackpodcast.com/about.5 “About Journal of Audiovisual Ethnomusicology,” https://javem.org/about/.6 “LGBTQ+ Music Study Group,” https://www.lgbtqmusicstudygroup.com/podcast.7 Learn more about the podcast in the introduction to Nate Sloan and Charlie Harding, Switched on Pop: How Popular Music Works, and Why It Matters (New York: Oxford University Press, 2019).8 Amy Skjerseth, “Ride-Along Listening: Inclusive Modes of Musical Analysis in Switched on Pop,” Radio Journal: International Studies in Broadcast & Audio Media 20, no. 2 (2022): 33–48.9 “Humanities Podcast Network,” http://humanitiespodnetwork.org/.10 Stacey Copeland and Hannah McGregor, A Guide to Academic Podcasting (Scholars Commons @ Laurier, 2021), https://scholars.wlu.ca/books/2/.11 Zencastr, https://zencastr.com/.12 “SMT Pod: Open, Collaborative Peer-Review Process,” https://smt-pod.org/submit/OCPR/.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135271311","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}

{"title":"Wild Sound: Maryanne Amacher and the Tenses of Audible Life <b> <i>Wild Sound: Maryanne Amacher and the Tenses of Audible Life</i> </b> , by Amy Cimini; Critical Conjunctures in Music and Sound, Jairo Moreno, and Gavin Steingo, senior editors; New York, NY, Oxford University, 2022, xvii, 336 pp., $71.00 (hardback), ISBN 9780190060893","authors":"Charissa Noble","doi":"10.1080/01411896.2023.2250703","DOIUrl":"https://doi.org/10.1080/01411896.2023.2250703","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135093405","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}

{"title":"Hercules, Vampires, and the Opera of Attractions","authors":"Brooke McCorkle Okazaki","doi":"10.1080/01411896.2023.2250524","DOIUrl":"https://doi.org/10.1080/01411896.2023.2250524","url":null,"abstract":"ABSTRACTOpera’s specter has long haunted film and more recently, film haunts opera productions seeking to entice new audiences. Patrick Morganelli’s opera Hercules vs. Vampires (2010) harnesses the tension between live and recorded media. In this production, singers deliver their lines in loose synchronization with the film’s characters, dubbing over the original’s visuals with operatic voices. By encouraging an attentive rather than absorptive mode of consumption, Hercules vs. Vampires restores to both opera and film a joy and effervescence made possible through the pungent postmodern incongruencies of the high art of opera and the popular Italian sword and sandal film. AcknowledgmentsMany thanks to Jessica Getman, Michael Lee, Eden Bradshaw Kaiser, and the anonymous reader of this article for their insights. I would also like to thank Robynn Stilwell, Jim Buhler, and David Neumeyer for their input. I am grateful to the attendees of the American Opera and Musical Theater Conference held in 2018 at Middle Tennessee State and of the 2021 Society for American Music Conference for their questions. My colleagues at Carleton College, especially Ron Rodman, Andy Flory, Justin London, and Carol Donelan have been supportive of this project for which I am very grateful. I am indebted to Adam Smart for his expert help in setting this article’s music examples. Finally, I am so grateful to Patrick Morganelli for his generosity and support in the writing of this article.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 I am grateful to this article’s anonymous reader for referring me to Slavoj Žižek’s more elaborate explanation of the conceptual connections between seeing and hearing. See Slavoj Žižek, “‘I Hear You with My Eyes’; or, The Invisible Master,” in Gaze and Voice as Love Objects, ed. Renata Salecl and Slavoj Žižek (Durham: Duke University Press, 1996), 90–94.2 For more on this, see Carolyn Abbate, “Offenbach, Kracauer, and Ethical Frivolity,” The Opera Quarterly 33, no. 1 (2017): 62–86, at 79–83.3 Robynn Stilwell spoke with me about an earlier production that echoes the type of media blending that Mondelli engages in for his work. The production was the Metropolitan Opera’s 1936 Christoph Willibald in front of Gluck: Gluck’s Orfeo ed Euridice. For it, George Balanchine and Pavel Tchelitchew created a staging in which the singers performed from the orchestra pit while dancers portrayed the characters on stage. Robynn Stilwell, video call with author, June 29, 2023. For more on this production, see Peter Clark, “Gluck’s Orfeo ed Euridice at the Met,” The Metropolitan Opera, accessed June 29, 2023, https://www.metopera.org/discover/archives/notes-from-the-archives/from-the-archives-orfeo-ed-euridice-at-the-met/.4 “Our Mission,” Opera Theater Oregon, accessed March 2, 2018, https://www.operatheateroregon.com/our-mission/.5 Sword and sandal films, also referred to as peplum films, are a genre of Italian B-movies ","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135828211","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}