JOURNAL OF MUSICOLOGICAL RESEARCH最新文献_第9页

Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics 跨媒体导演:艺术、工业和新视听美学

IF 0.3 2区艺术学

JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-30 DOI: 10.1080/01411896.2020.1792240

James Millea

引用次数: 0

From Counterpoint to Heterophony and Back Again: Reading Edward Said’s Drafts for Culture and Imperialism 从对位到杂音再回来——读萨义德的《文化与帝国主义》草稿

IF 0.3 2区艺术学

JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-24 DOI: 10.1080/01411896.2020.1787793

W. Capitain

引用次数: 3

Broadway in the Box: Television’s Lasting Love Affair with the Musical 百老汇在盒子里:电视与音乐剧的永恒爱情

IF 0.3 2区艺术学

JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-16 DOI: 10.1080/01411896.2020.1792239

Jake Johnson

引用次数: 0

Where Have All the Women Gone? On the Absence of Feminine Agency in Contemporary Productions of the Original Boris Godunov 女人都去哪儿了?论《鲍里斯·戈杜诺夫》原作当代创作中女性能动性的缺失

IF 0.3 2区艺术学

JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-09 DOI: 10.1080/01411896.2020.1787794

Francis Maes

{"title":"Where Have All the Women Gone? On the Absence of Feminine Agency in Contemporary Productions of the Original Boris Godunov","authors":"Francis Maes","doi":"10.1080/01411896.2020.1787794","DOIUrl":"https://doi.org/10.1080/01411896.2020.1787794","url":null,"abstract":"ABSTRACT The rejection of Boris Godunov for the lack of a female part led Modest Musorgskii to revise the opera to include the historical character of Marina Mniszech. The resulting “Polish” Act has been received with mixed feelings. Bias against it is one of the reasons behind the contemporary surge of interest in the original 1869 version of the opera, as testified to by productions at the Mariiinski Theater, the Bavarian State Opera, the Royal Opera House, and the Paris Opéra. The return to the original Boris has a side effect, however, which is precisely the one the selection committee of the Imperial Theaters warned against: it represents a world devoid of female agency. In the otherwise significant production created by Ivo van Hove for Paris, this omission sits uncomfortably with the social and political values that have been articulated most clearly in the #MeToo campaign. Since Musorgskii provided an alternative, the experience of the original Boris Godunov in actual performance might stimulate a renewed interest in what has been left out. Considered from the standards of the #MeToo movement, the part of Marina Mniszech becomes significant as a reminder of the active role played by women in the historical events represented on stage. The part also resonates with the contemporary #MeToo analysis of gender roles. The character of Marina combines a desire for female autonomy with submission to patriarchal forces and could offer interesting material for a stage production that addresses the story from a modern awareness of gender roles. A comparison with van Hove’s take on Schiller’s Mary Stuart demonstrates that such awareness may be creatively productive.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"41 12","pages":"53 - 75"},"PeriodicalIF":0.3,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01411896.2020.1787794","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72470999","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

An Unexpected Presence, or the Master of Dance and the Master of Music in Portuguese Baroque Society 《意想不到的存在》或《葡萄牙巴洛克社会的舞蹈大师和音乐大师》

IF 0.3 2区艺术学

JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-09 DOI: 10.1080/01411896.2020.1786383

L. Rocha

引用次数: 0

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

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":"5 1","pages":"122 - 133"},"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":"3 1","pages":"134 - 160"},"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

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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

引用次数: 0