AMERICAN MUSIC最新文献

{"title":"Making Messiah Swedish: Localities of Music and Identity in Ethnotourist America","authors":"Benjamin R. Teitelbaum","doi":"10.5406/americanmusic.38.3.0327","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0327","url":null,"abstract":"Rehearsals were under way for the 123rd annual performance of Messiah in the small town of Lindsborg, Kansas. Not only is the community of 3,500 home to one of the oldest continuous traditions of performing Handel’s famous oratorio, it is also known nationally for branding itself as an ethnotourism center—as “Little Sweden U.S.A.”—in recognition of its founding during the mid1800s by Swedish immigrants. When local journalist Marty Hardy published the above statement on the front page of the town’s newspaper in 2005, she was keeping to a pattern. A year earlier she described singing Messiah as “probably the most significant event in keeping the Swedish heritage alive in Lindsborg.”1 Two months later, she would again use her column to urge fellow community members to celebrate upcoming performances by flying Swedish flags outside their homes. And so it continued in her writings and communications until her retirement as a journalist in 2006 and passing in 2016. I first read these columns in 2004 when I was an undergraduate student at Bethany College in Lindsborg, the institution hosting the annual oratorio performances. I found the commentary provocative: I had come to Lindsborg and Bethany as an eighteenyearold because of its Swedish","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"38 1","pages":"327 - 352"},"PeriodicalIF":0.2,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42433611","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}

{"title":"“Make It Funky”: Funk, Live Performance, and the Concept “Genre Works”","authors":"Matthew Valnes","doi":"10.5406/americanmusic.38.3.0353","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0353","url":null,"abstract":"In the summer of 1971, James Brown and his band went into Rodel Studios in Washington, D.C., and recorded a jam session that resulted in a track entitled “Make It Funky.” The track opens with an exchange between Bobby Byrd, who asks Brown what he plans to play, to which Brown replies that he does not know, but whatever he plays, “it’s got to be funky!” After counting off three beats, Brown and members of the band enter on beat 4 chanting the phrase “make it funky” before the entire band enters on the following downbeat with short horns stabs, a “scratch” guitar line, and what had by this time become Brown’s signature rhythmically dense funk. As the song progresses in a way that feels almost like a live performance, multiple musicians are featured in brief solo sections, and Brown himself interjects lyrics that mention what is considered “traditional” Black southern fare, including grits and gravy, cornbread, and buttermilk. This brief description of Brown’s track highlights many salient aspects of Black popular music in the late 1960s and 1970s, a time period commonly referred to as the post–civil rights era. The evocation of Black southern fare suggests Brown’s roots in South Carolina and Georgia and serves as a reminder of the musical and cultural traditions from which he emerged. At the same time, however, by the 1970s his image and status as a bandleader—as a domineering and athletic performer— helped popularize funk, a form of Black popular music that emphasizes bodily movement, sexuality, and the physicality that both engender.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"38 1","pages":"353 - 379"},"PeriodicalIF":0.2,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70704697","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}

{"title":"Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti-Germanismus around World War I","authors":"Erinn Knyt","doi":"10.5406/americanmusic.38.3.0303","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0303","url":null,"abstract":"On March 10–11, 2017, Symphony Hall in Boston resounded with the strains of Ferruccio Busoni’s approximately seventyminutelong Piano Concerto in C Major, BV 247 (1901–4), which the Boston Symphony Orchestra was performing for the first time.1 Conductor Sakari Oramo and pianist Kirill Gerstein performed impressively, and critics provided largely positive reviews of the piece.2 The belatedness of this performance of Busoni’s piano concerto with the Boston Symphony Orchestra is striking, given Busoni’s close connection with that institution. It was Karl Muck, conductor of the Boston Symphony Orchestra from 1912 to 1918, who directed the concerto’s premiere in 1904 in Berlin.3 Busoni (1866–1924) also appeared as soloist thirtysix times between 1891 and 1911, more than with any other major U.S. orchestra during his lifetime.4 In addition, the Boston Symphony Orchestra performed more of his compositions during his lifetime than any other orchestral institution in the United States.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"38 1","pages":"303 - 326"},"PeriodicalIF":0.2,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45208938","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}

{"title":"Rethinking American Music","authors":"Naomi Graber","doi":"10.5406/americanmusic.38.4.0524","DOIUrl":"https://doi.org/10.5406/americanmusic.38.4.0524","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43191833","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}

{"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":"38 1","pages":"520 - 524"},"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}

{"title":"Leonard Bernstein and the Language of Jazz","authors":"J. D. Jenkins","doi":"10.5406/americanmusic.38.4.0518","DOIUrl":"https://doi.org/10.5406/americanmusic.38.4.0518","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45535071","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}

{"title":"What Will I Be: American Music and Cold War Identity by Philip M. Gentry (review)","authors":"John Kapusta","doi":"10.5406/americanmusic.38.4.0527","DOIUrl":"https://doi.org/10.5406/americanmusic.38.4.0527","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"38 1","pages":"527 - 529"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48702856","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}

{"title":"Experimentalisms in Practice: Music Perspectives from Latin America ed. by Ana R. Alonso-Minutti, Eduardo Herrera, and Alejandro L. Madrid (review)","authors":"David F. García","doi":"10.5406/americanmusic.38.3.0380","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0380","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"38 1","pages":"380 - 383"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47460430","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}

{"title":"Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño","authors":"Leonel Corona","doi":"10.5406/americanmusic.38.3.0390","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0390","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41558299","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}

{"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":"38 1","pages":"387 - 390"},"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}