AMERICAN MUSIC最新文献_第2页

Working Collectively: Thoughts toward a Better Music Studies from the Project Spectrum Graduate Student Committee 集体工作:对更好的音乐研究的想法来自项目谱研究生委员会

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.04

A. Gatdula, Clifton Boyd, Hyeonjin Park, Carlo Aguilar González, Sinem Eylem Arslan, Hanisha Kulothparan, Gerardo (Gerry) Lopez, B. V. Sengdala, Renata Yazzie

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Music, Movement Culture, and the Politics of Bodily Health 音乐、运动文化与身体健康政治

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.19

Natalia Alexis Perez

{"title":"Music, Movement Culture, and the Politics of Bodily Health","authors":"Natalia Alexis Perez","doi":"10.5406/19452349.40.4.19","DOIUrl":"https://doi.org/10.5406/19452349.40.4.19","url":null,"abstract":"Physical fitness has long been a central preoccupation within American culture. One of the most influential publications in this area was Physical Culture. It was founded by entrepreneur and selfproclaimed “fitness guru” Bernarr Macfadden in 1899 and ran until about 1961. Macfadden did not invent the term “physical culture” but rather appropriated it from a preexisting trend that glorified health and wellness above all else. The magazine presented what its contributors felt constituted “sound health”: exercise, disease prevention, hygiene, bodily symmetry, and a balanced diet. Many of the articles in early issues of Physical Culture were opinion pieces that claimed authority by citing research in the fields of psychology, phrenology, and biology. Authors professed to know the secrets to increasing brain size and output, “supreme” bodily control, and healing. They presented readers with formulas that promised perfect physical fitness, optimized neurological function, and social superiority. The magazine’s central premise was simple. Fitness was a tool available to everyone, and there were no excuses for not improving your health. Macfadden summarized it in his nowfamous dictum that he boldly printed on the magazine’s cover: “WEAKNESS IS A CRIME. DON’T BE A CRIMINAL!”1 What if we were to read Physical Culture from a musicological perspective? Musicologists already know that music is inseparable from","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"40 1","pages":"534 - 539"},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42794453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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 Art of the Black Feminist Scholar-Performer 黑人女性学者表演者的艺术

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.11

S. Ege

引用次数: 0

Podcasts, Partnerships, and Laboratories for American Music 播客、合作伙伴和美国音乐实验室

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.20

Nathan Platte

{"title":"Podcasts, Partnerships, and Laboratories for American Music","authors":"Nathan Platte","doi":"10.5406/19452349.40.4.20","DOIUrl":"https://doi.org/10.5406/19452349.40.4.20","url":null,"abstract":"I might not have gotten involved with podcasts, were it not for two colleagues, an undergraduate student, and Dolly Parton. For the past two and a half years, I have studied, produced, and taught from podcasts. They have changed my relationship to American music and those who care for its many streams. In this essay, I will share some observations on how podcasts may help us reflect differently on the values that propel our work as scholars and teachers. In my case, a variety of circumstances led me to the format, which in turn facilitated forms of connection and collaboration that I had not originally envisioned. As a disclaimer and invitation, I do not offer these thoughts from a position of podcasterly prestige or authority. There are other music scholars whose work in this medium is more widely known and explicitly anchored to American music studies. But I share my account as a podcast dabbler in the hope that it may offer some reassurance: yes, you can do this too. Whether you are a podcast aficionado or simply hoping to explore alternative methods of research and teaching, the following may offer some encouragement. It helped that I have a friend who has a podcast. Trevor Harvey, my colleague at the University of Iowa, hosts Ethnomusicology Today, a podcast for the Society for Ethnomusicology in which he speaks with scholars","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"40 1","pages":"540 - 546"},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45409348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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

Valuing Collaboration in American Music Studies 重视美国音乐研究中的合作

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.18

G. Magee

引用次数: 0

The 701 Articles of American Music: A Quantitative Study of Forty Years of Scholarship 美国音乐的701篇文章:四十年学术研究的定量研究

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.02

Todd Decker, D. Fister, Rachel E. Jones

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引用次数: 0

Anti-Asian Hate and the Transpacific History of American Music; Or, Why Is "Chinatown, My Chinatown" Still Played? 反亚裔仇恨与美国跨太平洋音乐史；或者，为什么《唐人街，我的唐人街》还在播放？

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.21

N. Rao

引用次数: 0

Rock 'n' Roll (Archipelagic American Music Studies) 摇滚(群岛美国音乐研究)

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.22

Jessica A. Schwartz

引用次数: 0

Capitalism and the Future of American Classical Music Scholarship 资本主义与美国古典音乐学术的未来

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.24

Douglas W. Shadle

{"title":"Capitalism and the Future of American Classical Music Scholarship","authors":"Douglas W. Shadle","doi":"10.5406/19452349.40.4.24","DOIUrl":"https://doi.org/10.5406/19452349.40.4.24","url":null,"abstract":"Perhaps no historical composer has sparked more public interest in recent memory than Florence Price (1888–1953). Since 2018, when Alex Ross of the New Yorker and musicologist Micaela Baranello reported on the world premiere recording of Price’s two violin concertos in expansive contextual essays, global performances of her music have skyrocketed, even despite the COVID19 pandemic. As one scholar among many endeavoring to build on biographical work by pioneers like Barbara Garvey Jackson, Mildred Denby Green, and Rae Linda Brown, I’ve come face to face with impediments to scholarship on American classical music embedded in the webs of contemporary global capitalism manifested in the classical music industry. This essay offers reflections on a few of these challenges. Documents in the Rae Linda Brown papers held at Emory University indicate that Price scholars and performers ran into significant difficulty discerning who managed the rights to Price’s catalog after her daughter’s death in 1975. By the mid1990s, however, one of Price’s grandchildren had teamed with Brown to negotiate with publishers on the Price estate’s behalf, thus solving a major quandary. During the two decades prior to Brown’s tragic death in 2017, Barbara Garvey Jackson’s boutique publishing house, ClarNan Editions, released nearly thirty editions of Price’s smaller works, while Brown herself edited Price’s Sonata in E Minor and two of her symphonies for G. Schirmer and AR Editions, respectively. Even so, a substantial percentage of Price’s catalog remained","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"40 1","pages":"567 - 570"},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49274558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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

Finding the "Frontier" in a Page of Music: Imperial Evidence and the Legacy of Settler Colonialism 在一页音乐中寻找“边界”：帝国证据与殖民主义的遗产

IF 0.2 3区艺术学

AMERICAN MUSIC Pub Date : 2022-12-01 DOI: 10.5406/19452349.40.4.08

Rhae Lynn Barnes, G. Goodman

{"title":"Finding the \"Frontier\" in a Page of Music: Imperial Evidence and the Legacy of Settler Colonialism","authors":"Rhae Lynn Barnes, G. Goodman","doi":"10.5406/19452349.40.4.08","DOIUrl":"https://doi.org/10.5406/19452349.40.4.08","url":null,"abstract":"A page with music printed on both sides is inserted between two pages of a 1722 book published in Paris about Native Americans in North America.1 The songs are likely from the Illinois people, possibly part of a Calumet ceremony.2 There are seven staff lines per page in treble clef with no bar lines, representing two songs, divided from one another by an unobtrusive double bar line on the first page. The first song features a predominantly quarternote melody with a repeating descending contour set to what seem to be vocables (ni na ha). The second song is longer and more melodically and rhythmically elaborate with lyrics. The page offers no titles or attribution. Features that would be of great consequence for identifying the songs or how to perform them are left out. There is no indication of tempo and no translation. The page is unusual for its time because it has music printed from engraved plates on both sides. The volume contains numerous engraved inserts—elaborate maps, detailed illustrations of dwellings, representations of cooking practices and dress—but those are only printed on one side. Printing from an engraving entailed pressing an inked metal plate into a piece of paper. This left an indentation on the page; it was messy","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"40 1","pages":"469 - 475"},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47638584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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