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“Make It Funky”: Funk, Live Performance, and the Concept “Genre Works” “Make It Funky”:放克、现场表演和“流派作品”概念
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-12-02 DOI: 10.5406/americanmusic.38.3.0353
Matthew Valnes
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引用次数: 1
Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti-Germanismus around World War I 费鲁奇奥·布索尼、波士顿交响乐团和第一次世界大战前后反日耳曼主义的影响
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-12-02 DOI: 10.5406/americanmusic.38.3.0303
Erinn Knyt
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引用次数: 0
Rethinking American Music 重新思考美国音乐
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-12-01 DOI: 10.5406/americanmusic.38.4.0524
Naomi Graber
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引用次数: 0
Rites, Rights & Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific by Michael Birenbaum Quintero (review) 《仪式、权利与节奏:哥伦比亚黑人太平洋的音乐意义谱系》作者:迈克尔·比伦鲍姆·金特罗
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-12-01 DOI: 10.5406/americanmusic.38.4.0520
Anthony W. Rasmussen
{"title":"Rites, Rights & Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific by Michael Birenbaum Quintero (review)","authors":"Anthony W. Rasmussen","doi":"10.5406/americanmusic.38.4.0520","DOIUrl":"https://doi.org/10.5406/americanmusic.38.4.0520","url":null,"abstract":"piece he had written in 1970 for Abraham Kaplan, who had prepared the choir for the Kaddish Symphony. Blues also figures in. For example, “I Don’t Know” from Mass borrows the riff from “Mannish Boy” by Muddy Waters. But not all of Bernstein’s jazz inspirations made the final cut. We also read that Bernstein originally planned the closing “Communion” of Mass to include a jazzbased vocal trio. “The echoes of the swing era never fully die away for Bernstein, so he still could hear jazz as a music for celebration and unity” (197). Perhaps in an effort not to sound outdated, Bernstein also tried his hand at other styles in Mass. The Celebrant’s “Simple Song,” which Baber labels as “radical tonal simplicity,” reminds us of the folkinspired tunes that were common at guitar masses in Catholic churches post–Vatican II, and a rock band is one of the many ensembles Bernstein calls for in his musical cornucopia. Although these attempts at keeping up with the times were not accepted by critics, Baber somewhat laments Bernstein’s inability to continue this trajectory in 1600. Part of her critique focuses on the fact that “the moments in which Bernstein uses the vocabulary of jazz to write for black characters, speaking on their own behalf, veer perilously close to outright ventriloquism or modernday minstrelsy” (205). She goes on to point out that by returning once again to the blues for these characters, for example, in the song “Bright and Black,” Bernstein “freez[es] black expressive culture at an earlier stage” (214). If he was able to absorb folk and rock in Mass, then why not evoke the soul music of Aretha Franklin or James Brown in 1600? “In leaving out soul in favor of his preferred jazz culture, he seems to have missed the point of black power” (215) and possibly revealed a limitation of his compositional language. Someone likely could have written the analyses in chapters 2 through 6 without writing chapter 1. But in carefully culling Bernstein’s writings to define the three precepts of innate tonality, human communication, and identity, Baber provides a firm grounding for the readings that follow. Her analytical observations, both musical and extramusical, are thus made richer by the context of the underpinnings of chapter 1. But more important, her cogent and thorough study of Bernstein’s compositional philosophy provides a framework for future research on Bernstein’s music, whether it engages with the issue of jazz or not. In this sense, Baber’s book can be read as a case study within a much larger project. The foundation she has laid and the example she has set will have likely a profound impact on Bernstein studies for years to come.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49262767","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: 1
Leonard Bernstein and the Language of Jazz 伦纳德·伯恩斯坦和爵士乐的语言
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-12-01 DOI: 10.5406/americanmusic.38.4.0518
J. D. Jenkins
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引用次数: 0
What Will I Be: American Music and Cold War Identity by Philip M. Gentry (review) 《我将成为什么样的人:美国音乐与冷战身份》作者:菲利普·m·金特里
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-12-01 DOI: 10.5406/americanmusic.38.4.0527
John Kapusta
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引用次数: 0
Experimentalisms in Practice: Music Perspectives from Latin America ed. by Ana R. Alonso-Minutti, Eduardo Herrera, and Alejandro L. Madrid (review) 《实践中的实验:拉丁美洲的音乐视角》,安娜·R·阿隆索·米努蒂、爱德华多·埃雷拉和亚历杭德罗·L·马德里主编(评论)
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-10-01 DOI: 10.5406/americanmusic.38.3.0380
David F. García
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引用次数: 2
Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño 穿越之声:音乐、迁徙与华潘戈·阿里贝尼奥的听觉诗学
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-10-01 DOI: 10.5406/americanmusic.38.3.0390
Leonel Corona
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引用次数: 1
Hollywood Harmony: Musical Wonder and the Sound of Cinema by Frank Lehman (review) 《好莱坞和谐:音乐奇迹与电影之声》作者:弗兰克·雷曼
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-10-01 DOI: 10.5406/americanmusic.38.3.0387
Nathan Fleshner
{"title":"Hollywood Harmony: Musical Wonder and the Sound of Cinema by Frank Lehman (review)","authors":"Nathan Fleshner","doi":"10.5406/americanmusic.38.3.0387","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0387","url":null,"abstract":"1. Anne C. Shreffler, “‘Music Left and Right’: A Tale of Two Histories of Progressive Music,” in Red Strains: Music and Communism outside the Communist Bloc, ed. Robert Adlington (Oxford: Published for the British Academy by Oxford University Press, 2013), 69. 2. Elizabeth Bergman Crist, Music for the Common Man: Aaron Copland during the Depression and War (New York: Oxford University Press, 2005), 21, for example. 3. Ibid., 200. 4. Anne C. Shreffler, “Ideologies of Serialism: Stravinsky’s Threni and the Congress for Cultural Freedom,” in Music and the Aesthetics of Modernity, ed. Karol Berger and Anthony Newcomb (Cambridge, MA: Harvard University Department of Music / Harvard University Press, 2005), 217–21. 5. Leonard Bernstein, The Unanswered Question: Six Talks at Harvard (Cambridge, MA: Harvard University Press, 1976), 53. 6. John Adams, Hallelujah Junction: Composing an American Life (New York: Farrar, Straus and Giroux, 2008), 106–7. 7. Richard Taruskin, Kyoto Prize at Oxford Lecture, “How to Win a Stalin Prize: Shostakovich’s Piano Quintet,” May 8, 2018, https://youtu.be/skAFru23KTk. Taruskin had previously advanced his idea of “affordances” in Richard Taruskin, “Two Serendipities: Keynoting a Conference, ‘Music and Power,’” in Russian Music at Home and Abroad: New Essays (Berkeley: University of California Press, 2016), 328. First delivered as a keynote address at the conference “Music and Power,” Miami University (Oxford, Ohio), February 28, 2013, and published in Journal of Musicology 33, no. 3 (Summer 2016). 8. Taruskin, “Two Serendipities,” 328.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48684746","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 Sound of a Superpower: Musical Americanism and the Cold War by Emily Abrams Ansari (review) 艾米丽·阿布拉姆斯·安萨里的《超级大国之声:音乐美国主义与冷战》(评论)
IF 0.2 3区 艺术学
AMERICAN MUSIC Pub Date : 2020-10-01 DOI: 10.5406/americanmusic.38.3.0383
Victoria Aschheim
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引用次数: 1
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