{"title":"About the Authors","authors":"Matthew D. Morrison","doi":"10.1080/01411896.2021.1993684","DOIUrl":"https://doi.org/10.1080/01411896.2021.1993684","url":null,"abstract":"Robin James is Associate Professor of Philosophy at University of North Carolina, Charlotte. She is the author of four books: The Future of Rock and Roll: 97X WOXY and The Fight for True Independence (University of North Carolina Press, forthcoming), The Sonic Episteme (Duke University Press, 2019), and Resilience and Melancholy (Zer0, 2015). Isidora Miranda received her PhD in Musicology at the University of WisconsinMadison and is currently a Postdoctoral Scholar at Vanderbilt University. Her work focuses on music and theater performance within the context of the Philippines’ long colonial history. She is currently working on a book project on the Tagalog sarsuwela, cultural nationalism, and constructions of racial and gendered identities in the musical stages of Manila. Her work has been supported by various grants, including the American Musicological Society’s resident fellowship at the Newberry Library and the Mellon Fellowship for Dissertation Research in Original Sources through the Council for Library and Information Resources. Celeste Day Moore is a historian of African American culture, media, and black internationalism and the author of Soundscapes of Liberation: African American Music in Postwar France (Duke University Press, 2021). She is an Assistant Professor of History at Hamilton College in Clinton, NY. Matthew D. Morrison, a native of Charlotte, North Carolina, is an Assistant Professor in the Clive Davis Institute of Recorded Music at the Tisch School of the Arts of New York University. He is the Susan McClary and Robert Walser American Council of Learned Societies Fellow from 2021–2022, where he is in residence at the University of Edinburgh. Matthew is completing his book manuscript, Blacksound: Making Race and Popular Music in the United States (University of California Press, forthcoming). His work has appeared in various publications, including the Journal of the American Musicological Society and the Oxford Handbook of Music and Philosophy, and he contributes creatively as a dramaturg and artistic consultant within the arts. Imani Danielle Mosley is a musicologist, cultural historian, and digital humanist focusing on the work of Benjamin Britten, music, opera, and modernism in Britain post-1945. Her current research addresses digital sonic mapping, acoustics, and rituals in the English churches and cathedrals central to Britten’s sacred music. In addition to her work on Britten, Mosley also specializes in contemporary opera, reception history, queer theory, masculinities studies, and race in 21st-century popular musics. Alon Schab is a musicologist, composer, and recorder player. He wrote his doctoral dissertation on Henry Purcell at Trinity College Dublin. Since 2012 he has been a faculty member in the Department of Music at the University of Haifa, and since 2016, a committee member of the Purcell Society. He is the author of The Sonatas of Henry Purcell: Rhetoric and Reversal (University of Rochester Press, 2018) and ","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"126 1","pages":"366 - 367"},"PeriodicalIF":0.3,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86767789","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":"Soundworks: Race, Sound, and Poetry in Production","authors":"C. Moore","doi":"10.1080/01411896.2021.1985897","DOIUrl":"https://doi.org/10.1080/01411896.2021.1985897","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"3 1","pages":"356 - 358"},"PeriodicalIF":0.3,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88180406","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 Concept Album and the Early Music Revival","authors":"Alon Schab","doi":"10.1080/01411896.2021.1993738","DOIUrl":"https://doi.org/10.1080/01411896.2021.1993738","url":null,"abstract":"ABSTRACT Early music has been recorded for over half a century but most of its pre-1600 repertoire resists the programming conventions accepted in classical-romantic albums. Instead, the early music revival has developed its own unique approach to recording, inspired by innovations in musical styles other than classical music. The emergence of the rock concept album in the 1960s helped to shape the genres of art rock and progressive rock and to set them apart from other sub-genres. Some of the achievements of the early concept album—the use of studio technology and the medium of the LP in a way that yielded a large-scale musical and narrative form—appealed to early music and folk musicians. The article examines the work of prominent early music performers who adopted a conceptual-narrative approach to the recording of early repertories. David Munrow’s first early music albums demonstrate techniques borrowed from his work in the folk scene. Thomas Binkley’s careful handling of large-scale musical form helped to shape the pilgrimage narrative of his influential “Camino de Santiago” album. The article analyses further examples from several recordings of Hildegard’s music, and from the recordings of Jordi Savall and Pedro Memelsdorff, as early music concept albums. These albums show how early music performers use narrativity both to create a quasi-historical illusion and to create abstract musical narratives.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"310 1","pages":"323 - 348"},"PeriodicalIF":0.3,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76443563","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":"Creative Authorship and the Filipina Diva Atang de la Rama","authors":"I. K. Miranda","doi":"10.1080/01411896.2021.1992595","DOIUrl":"https://doi.org/10.1080/01411896.2021.1992595","url":null,"abstract":"ABSTRACT This essay focuses on the career of Honorata “Atang” de la Rama on the popular sarsuwela and vaudeville stages during the period of American colonization in the Philippines. Through sound recordings, reviews, photos, and her own writings, I amplify de la Rama’s musical and metaphorical voice to address the important role of women in Philippine music and popular culture. Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. De la Rama’s celebrity status also carried through the visual aspects of her public persona on and off stage, cultivating an image that was both modern and traditional, Filipino and cosmopolitan. Such self-fashioning carried political significance, especially during the resurgence of nationalism and in the emerging women’s movement during the 1920s and 1930s in the Philippines.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"11 1","pages":"297 - 322"},"PeriodicalIF":0.3,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90371329","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}
L. Hirsch, I. Mosley, Robin M. James, Matthew D. Morrison
{"title":"Review of Musicology Twitter","authors":"L. Hirsch, I. Mosley, Robin M. James, Matthew D. Morrison","doi":"10.1080/01411896.2021.1969859","DOIUrl":"https://doi.org/10.1080/01411896.2021.1969859","url":null,"abstract":"Lily Hirsch (LH): As Reviews Editor of the Journal of Musicological Research, I am excited to be trying something brand new for this journal, and possibly for the field as a whole: a “Review of Musicology Twitter” that takes place through an informal conversation among experts. The inspiration for this idea comes from “The Conversation” between columnists Gail Collins and Bret Stephens published weekly in the New York Times. For this inaugural musicological “conversation,” I wanted to focus on Twitter because of the platform’s deep connections to activism, a topic explored brilliantly in the book #Hashtag Activism by Sarah J. Jackson, Moya Bailey, and Brooke Foucault Welles. Despite the social media site’s well-earned negative reputation, Twitter has struck me as a potentially egalitarian space, offering musicologist of all ranks (and no rank at all) a chance to connect, to share research, and to discover research-related questions. As an independent scholar, this potential has long been attractive to me, even more so during the Covid lockdown, when travel prevented even those with means from attending conferences. It is clear, however, that these positives only exist if a person engages with Twitter in certain ways. After all, the pitfalls are many: Twitter trolls are everywhere and it is surprisingly easy to become mired in public confrontations and controversies. With this in mind, I reached out to three Twitter veterans, music scholars who have a visible and influential presence on Twitter, hoping they might shed some light on Twitter best practices, both for those like me, in music and newly on Twitter, and for those thinking about joining this network. I am confident their conversation will be useful for more seasoned Twitter users as well. Here, then, are my kickoff questions, addressed to Matthew D. Morrison (@DrMaDMo), Robin James (@doctaj), and Imani Mosley (@imanimosley):","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"10 1","pages":"349 - 355"},"PeriodicalIF":0.3,"publicationDate":"2021-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77322432","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":"10.1080/01411896.2021.1949206","DOIUrl":"https://doi.org/10.1080/01411896.2021.1949206","url":null,"abstract":"(2021). About the Authors. Journal of Musicological Research: Vol. 40, No. 3, pp. 295-296.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"25 7","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138505456","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":"From “Angelegenheit Großdeutschlands” to “Österreichische Abende”: Programming the 1945 Salzburg Festival","authors":"Rachel Scott","doi":"10.1080/01411896.2021.1937151","DOIUrl":"https://doi.org/10.1080/01411896.2021.1937151","url":null,"abstract":"ABSTRACT Österreichische Abende, or Austrian Evenings, were a series unique to the 1945 Salzburg Festival. These six solo recitals, five of which featured singers, highlighted Austrian musical culture by recruiting Austrian performers to perform Austrian music in an Austrian setting. For the first time since the Annexation in 1938, Salzburg Festival administrators had the opportunity, albeit with limited resources, to assert an identity separate from Germany. By leveraging available resources, collaborating strategically with occupiers, evoking nostalgia, and providing a sacred space, these small-scale recitals were integral to the first postwar season of the Salzburg Festival and its subsequent revival.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"61 8","pages":"214 - 238"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01411896.2021.1937151","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72394272","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":"Metamorphosis and the Protean Performer","authors":"Sara Gross Ceballos","doi":"10.1080/01411896.2021.1949309","DOIUrl":"https://doi.org/10.1080/01411896.2021.1949309","url":null,"abstract":"The god also merited extensive commentaries in period translations and appearances in works for the opera and fair theaters, collections of poetry, scientific and medical treatises, and of course Furetière’s Dictionnaire. Across this discourse, authors generated diverse interpretive readings, from metaphysical allegories originating in ancient, medieval, and renaissance interpretations, to modern enlightened euhemerist analyses in which Ovid’s myths are perceived to refer to historical persons and events. While François Couperin does not appear to have owned a copy of any one of the texts from this “grand siècle of French translations of Ovid,” the social dissimulators that appear within his pièces de clavecin certainly resemble Furetière’s Protean master of disguise. Moreover, “two small","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"6 1","pages":"270 - 278"},"PeriodicalIF":0.3,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73770634","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}
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