JOURNAL OF MUSICOLOGICAL RESEARCH最新文献

{"title":"Of Majesty, Mockery, and Misprints: The Coda of Shostakovich’s Fifth on Record","authors":"P. Kupfer","doi":"10.1080/01411896.2022.2074845","DOIUrl":"https://doi.org/10.1080/01411896.2022.2074845","url":null,"abstract":"ABSTRACT Drawing on work by José Bowen, Nicholas Cook, and Daniel Leech-Wilkinson, in this article I examine the performance history of the coda of Dmitry Shostakovich’s Fifth Symphony (1937) through statistical analysis of tempo in 152 recordings made between 1938 and 2019. I contextualize the trends that emerge from this data within the unique mix of errors, myths, and ideologies that have informed the performance and reception history of the symphony. Ultimately, I demonstrate how changing historical circumstances can affect the meanings of performances (as preserved in recordings) and how empirical methods can help reveal patterns among them.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"17 1","pages":"62 - 104"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81887505","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 Logic of Filtering: How Noise Shapes the Sound of Recorded Music","authors":"Cody Black","doi":"10.1080/01411896.2022.2073155","DOIUrl":"https://doi.org/10.1080/01411896.2022.2073155","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"45 1","pages":"136 - 138"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78628503","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":"Intersections, Divergences, and Cross Sections: Eduard Steuermann, the Busoni-Schoenberg Nexus, and a Broadening of Compositional Procedures in the Twentieth Century","authors":"Erinn Knyt","doi":"10.1080/01411896.2022.2039557","DOIUrl":"https://doi.org/10.1080/01411896.2022.2039557","url":null,"abstract":"ABSTRACT Eduard Steuermann is remembered primarily as a protégé of Arnold Schoenberg, with whom he studied theory and composition from 1912 to 1914. However, he also studied with Ferruccio Busoni beginning in 1910, maintaining contact with him until at least 1922. Although Schoenberg’s influence on Steuermann is well documented, little has been written about Busoni’s impact, including the lasting effect their relationship had on Steuermann’s activities as pianist, author, composer, and teacher. After documenting the Busoni connection, my article shows that Steuermann helped pioneer a vision of contemporary music that blended ideals from both of his mentors to forge unorthodox treatments of serialism.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"284 1","pages":"105 - 132"},"PeriodicalIF":0.3,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79464407","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":"10.1080/01411896.2021.2022408","DOIUrl":"https://doi.org/10.1080/01411896.2021.2022408","url":null,"abstract":"(2022). About the Authors. Journal of Musicological Research: Vol. 41, No. 1, pp. 60-60.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"5 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538455","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":"Kauffman Prize, Journal of Musicological Research","authors":"Hilary Poriss","doi":"10.1080/01411896.2022.2033538","DOIUrl":"https://doi.org/10.1080/01411896.2022.2033538","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"22 1","pages":"61 - 61"},"PeriodicalIF":0.3,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85691034","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 Songs of Fanny Hensel","authors":"Angela Mace Christian","doi":"10.1080/01411896.2021.2021698","DOIUrl":"https://doi.org/10.1080/01411896.2021.2021698","url":null,"abstract":"(2022). The Songs of Fanny Hensel. Journal of Musicological Research: Vol. 41, No. 1, pp. 50-53.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"43 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538532","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":"Industry: Bang on a Can and New Music in the Marketplace","authors":"Caitlin Schmid","doi":"10.1080/01411896.2021.2021699","DOIUrl":"https://doi.org/10.1080/01411896.2021.2021699","url":null,"abstract":"that lend them the articulative capabilities that Bradley elucidates throughout the book. For example, how might artists’ varying degrees of national fame affect how they give voice to a distinctively Southern identity? Accessible to a wide range of readers, and beloved by the undergraduates I recently assigned it to, Bradley’s book provides an excellent model for authors hoping to articulate the nuances of the cultural work that music does, and an elegant example of how gracefully written this sort of work can be. I am eagerly awaiting the next chapter in this narrative as subsequent generations of rappers like Future, Young Thug, Lil Baby, and 21 Savage (to name a few) have made the South—and Atlanta in particular—the most dominant region in hip-hop today. What might this margins-to-mainstream story—the shift from “the South got something to say” to the South dominating the conversation in hip-hop today—tell us about lived experience in the contemporary South, and how might the long-term interest in southern hip-hop alter how the region fits into U.S. culture more broadly? Chronicling Stankonia ends with an encouragement to continue writing the cultural history and legacy of this style, and I hope that other scholars take up Bradley on this invitation.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"35 1","pages":"54 - 56"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77279968","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 Cambridge Companion to Schubert’s Winterreise","authors":"J. Parsons","doi":"10.1080/01411896.2021.2021703","DOIUrl":"https://doi.org/10.1080/01411896.2021.2021703","url":null,"abstract":"Indefatigable Lied scholar Susan Youens concludes the first paragraph of her 1991 book, Retracing a Winter’s Journey: Schubert’s Winterreise, with this: “more than 150 years after its birth, Schubert’s eighty-ninth published opus still compels the fascination due a masterpiece.” That enthrallment continues thirty years later, a fact made clear by The Cambridge Companion to Schubert’s Winterreise, a provocative new study edited by Marjorie W. Hirsch and Lisa Feurzeig. The book’s fourteen chapters, dedicated to Youens, are organized into five parts: the musical heritage of Schubert’s Winterreise, Wilhelm Müller’s poetic cycle Die Winterreise (Schubert’s title omits Müller’s definite article), cultural and historical contexts, Schubert’s musical response to Müller’s cycle, and reception and influence. Part I contains three chapters that provide the groundwork for the remaining eleven. Andrea Lindmayr-Brandl offers a comprehensive yet succinct summary of Schubert’s Vienna that begins with political and economic concerns before moving on to the city’s rich cultural milieu. Hirsch explores how Schubert’s song approach relies on and departs from that of his predecessors, using as an analytical lens Schubert’s two settings of Goethe’s nine-stanza poem “An den Mond” (“To the Moon,” 1815 and 1820?), D259 and D296, together with renderings of the same poem by six previous composers, the earliest from 1778, the last likely from 1815. Whereas previously, some scholars have insisted that after Schubert’s “first tentative experiments” his songs “annihilate all that precedes” (Charles Rosen, The Classical Style [New York: W. W. Norton, 1972], 454), Hirsch prudently avoids this type of unfounded assertion. Instead, she informs readers how Schubert built on existing Lied traditions while also moving beyond them. In the process she makes the important point that changes in German poetry beginning in the 1770s played a part as well. In stressing the how, her discussion is valuable not only for the light it sheds on Winterreise, but on Schubert’s songs more generally. Feurzeig’s survey of Lieder before Winterreise devoted to winter and solitary wanderers dovetails nicely with Hirsch’s chapter. In it Feurzeig ponders why Romantics were drawn to the wanderer topos, both in verse and song. Although Feurzeig adduces a number of persuasive answers, one goes unmentioned: the Enlightenment Bildungsweg—the path of self-cultivation—as formulated by, among others, Lessing, Kant, Goethe, Schiller, Hölderlin, Fichte, Schelling, and Hegel, a path M. H. Abrams in his still-essential Natural Supernaturalism (New York: W. W. Norton, 1971) calls the “circuitous journey.” As Hegel reflected in his 1807 Phänomenologie des Geistes, the individual seeking self-understanding “must travel a long way” to attain “genuine knowledge,” a journey not accomplished “like the shot from a pistol,” but “as stages on a path that has been made level with toil.” Have not Müller and Schubert inverted an ","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"73 1","pages":"57 - 59"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80563091","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":"Singing and Speaking in Early Twentieth-Century Zarzuela: The Evidence from Early Recordings","authors":"Eva Moreda Rodríguez","doi":"10.1080/01411896.2021.2021514","DOIUrl":"https://doi.org/10.1080/01411896.2021.2021514","url":null,"abstract":"ABSTRACT The present article draws upon thirty years of recorded evidence (from the first wax cylinders made in the late nineteenth century, to the first electrical recordings of the 1920s and early 1930s) to study two modes of voice production used in Spanish zarzuela: one indebted to operatic singing, characterized by timbral modification and widespread vibrato; and another one more connected to popular forms of entertainment, based on a low-larynx position and clear enunciation. Far from constituting a rigid dichotomy, this article discusses how both modes of voice production coexisted and were combined within the general governing principle of communicating text expressively, confirming—as has been suggested by recent historiographical research—zarzuela’s status as a hybrid genre able to absorb a number of influences. The article also discusses how the former of these two modes of production became more widespread at the end of the period under study, and considers the influence of recording technologies in this process.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"172 1","pages":"23 - 49"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76042312","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":"Beyond Fingal’s Cave: Ossian in the Musical Imagination","authors":"S. Waltz","doi":"10.1080/01411896.2021.1984790","DOIUrl":"https://doi.org/10.1080/01411896.2021.1984790","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"44 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90332731","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}