JOURNAL OF MUSICOLOGY最新文献

Constructing a Versatile Virtuoso Persona 构建一个多才多艺的艺术大师角色

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2023-01-01 DOI: 10.1525/jm.2023.40.1.73

Peng Liu

{"title":"Constructing a Versatile Virtuoso Persona","authors":"Peng Liu","doi":"10.1525/jm.2023.40.1.73","DOIUrl":"https://doi.org/10.1525/jm.2023.40.1.73","url":null,"abstract":"German pianist Anna Caroline de Belleville was one of the foremost virtuoso pianists in the 1820s and 1830s, deemed the “Chamber Virtuoso of Her Royal Highness” by Princess Louise of Prussia and “Queen of the Piano” by Paganini. Although a few modern biographical accounts provide an overview of her life and career, there has been no critical examination of her virtuosity within the context of early nineteenth-century performance culture. Drawing on periodicals, magazines, correspondence, memoirs, and contemporary writings, this article reconstructs Belleville’s early career and illustrates her significance by examining her strategic programming, pianism, and reception. I argue that Belleville’s reorientation of her public concert repertory in the mid-1830s, particularly her incorporation of works considered “classical” or “serious,” enabled her to mediate the conflicting musical tastes of her critics and audiences, and to reinvent herself as a pianist renowned not for a bravura style but for a versatile, eclectic virtuosity centering on the faithful interpretation of “serious” works. This course of action marked Belleville as a significant forerunner to the interpreter-performer pianists who came to dominate the virtuoso scene from the mid-nineteenth century onward.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83158480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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

Sonny Rollins’s Musical Thought 桑尼·罗林斯的音乐思想

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2023-01-01 DOI: 10.1525/jm.2023.40.1.1

B. Givan

引用次数: 0

From Milton to Hamilton and Handel 从弥尔顿到汉密尔顿和汉德尔

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2023-01-01 DOI: 10.1525/jm.2023.40.1.34

Minji Kim

{"title":"From Milton to Hamilton and Handel","authors":"Minji Kim","doi":"10.1525/jm.2023.40.1.34","DOIUrl":"https://doi.org/10.1525/jm.2023.40.1.34","url":null,"abstract":"In Handel’s oratorio Samson (1742), the aria “Total eclipse” compares Samson’s blindness, inflicted by the enemy’s gouging out of his eyes, to darkness during the total solar eclipse. The librettist Newburgh Hamilton drew the astronomical metaphor as well as the majority of his text for the oratorio from John Milton’s closet drama Samson Agonistes (1671). With respect to scientific knowledge on the eclipses, however, the two works are from very different eras. Examining changing perspectives on eclipses in Britain from the seventeenth to the eighteenth century provides a hitherto unexplored historical context for recognizing the difference in their metaphorical treatments of the phenomenon. It brings to the fore Hamilton’s portrayal of Samson’s sense of divine judgment in his blindness and presents a new textual basis for understanding Handel’s musical setting. The aria reveals the composer’s careful consideration in his choice of key and use of enharmonicism to convey Samson’s apprehension. Studying Handel’s musical language in the context of eighteenth-century music theory and in comparison to other movements in Samson and his earlier works offers deeper insight into his dramatic purpose. This article explores the history of eclipse science, the literary and biblical background to the libretto, and Handel’s compositional technique. It shows their deep interconnection in depicting Samson’s pathos, offering a new perspective not only on the aria and its impact on the rest of the oratorio but also on the contribution of Samson to mid-eighteenth-century musico-dramatic style.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75293178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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

Heroic Artists, Critical Abuse, and the Death of Maria Malibran 英雄艺术家，批评的辱骂，和玛丽亚·马利布兰的死

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2023-01-01 DOI: 10.1525/jm.2023.40.1.103

Hilary Poriss

{"title":"Heroic Artists, Critical Abuse, and the Death of Maria Malibran","authors":"Hilary Poriss","doi":"10.1525/jm.2023.40.1.103","DOIUrl":"https://doi.org/10.1525/jm.2023.40.1.103","url":null,"abstract":"Maria Malibran (1808–36), the most famous opera star of her day, suffered a violent, protracted, and gory death. Although the story of her final days has been told time and again, this article offers a new reading, focusing on the abuse that she sustained as a child at the hands of her father, Manuel Garcia, and the subsequent trauma that followed her for the rest of her life. This rereading of Malibran’s death draws on the growing body of scholarship dedicated to understanding the daily life and contributions of performers, especially prima donnas. In reevaluating some of the key moments of her development as an artist and person, I nevertheless take a largely biographical approach, adding elements to her story while casting new light on other established narratives. In so doing, my aim is not only to correct long-standing assumptions surrounding the causes of her illnesses and death but also to illustrate that many of the pressures Malibran faced throughout her career reveal a set of burdens shared by many other prima donnas as well as some leading men. By exploring how Malibran responded to these pressures, I expand the picture of the conditions in which nineteenth-century prima donnas were trained and worked, and suggest that their heroism can be taken at face value, without the guise of mythical Romanticism.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73776292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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

Viva, viva la Tirana

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2022-01-01 DOI: 10.1525/jm.2022.39.4.469

Aurèlia Pessarrodona

{"title":"Viva, viva la Tirana","authors":"Aurèlia Pessarrodona","doi":"10.1525/jm.2022.39.4.469","DOIUrl":"https://doi.org/10.1525/jm.2022.39.4.469","url":null,"abstract":"While eighteenth-century Spanish folk airs such as the fandango and seguidilla are now gaining more recognition, there remains an important oversight: the tirana, a dance song that became particularly popular during the last third of the century onward, even inspiring foreign composers such as Luigi Boccherini, Ludwig van Beethoven, and Saverio Mercadante. Lacking a systematic study, the tirana has been regarded as a general name for Andalusian songs without clear typologies or concrete, identifying musical characteristics. Based on an analysis of approximately one hundred tiranas found in the repertoire of the old theaters of Madrid (held in the Biblioteca Histórica Municipal de Madrid) and dating from the late 1770s and 1780s, the period of development and consolidation of this dance song, this article verifies that the tirana has distinct attributes and evolved from its earliest forms, originating in Andalusia, to more complex and richer examples. In light of this analysis, it is now possible to investigate the circulation and impact of the tirana abroad in the late eighteenth century. For example, Vicente Martín y Soler’s “Viva, viva la Regina” from Una cosa rara (1786), long wrongfully considered the first onstage manifestation of the Viennese waltz, can now be identified as a tirana.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85121453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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

Chopin’s Żydek, and Other Apocryphal Tales 肖邦的Żydek和其他虚构的故事

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2022-01-01 DOI: 10.1525/jm.2022.39.3.342

B. Milewski, B. Werb

{"title":"Chopin’s Żydek, and Other Apocryphal Tales","authors":"B. Milewski, B. Werb","doi":"10.1525/jm.2022.39.3.342","DOIUrl":"https://doi.org/10.1525/jm.2022.39.3.342","url":null,"abstract":"Music scholars, critics, and popular writers have for generations told and retold the same tale about Fryderyk Chopin: namely, that the teenaged composer encountered Jewish folk musicians during his visits to the Polish countryside, was fascinated by their music, and even occasionally performed it. Our article endeavors to counter this and similar misconceptions about Chopin's connections to Jews and Jewish folk music, drawing on an array of historical, ethnographic, and literary sources previously discounted or overlooked by Chopin scholars, and freshly reexamining the composer's earliest correspondence. Having established an absence of primary documentation corroborating oft-repeated anecdotes about the young Chopin's interactions with Jewish music makers, we argue that the “Jewish tales” tenaciously clinging to the composer's biography reflect narratives rooted in later nineteenth-century nationalist rhetoric, anachronistic misreadings of Polish-Jewish relations, and unchallenged reliance on precedent writing. Finally, we offer a sampling of the folk and popular music Chopin would likely have heard, performed, and described to his family, citing material sourced from the work of the pioneering Polish ethnographer, and Chopin family friend, Oskar Kolberg.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89100452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 a Concept! What, a Concept? What Concept?” The Byrds, Jefferson Airplane, and the Early Days of the Concept Album “多好的概念啊!”什么，概念车?什么概念?”鸟，杰弗逊飞机，和早期的概念专辑

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2022-01-01 DOI: 10.1525/jm.2022.39.2.209

J. Grier

{"title":"“What a Concept! What, a Concept? What Concept?” The Byrds, Jefferson Airplane, and the Early Days of the Concept Album","authors":"J. Grier","doi":"10.1525/jm.2022.39.2.209","DOIUrl":"https://doi.org/10.1525/jm.2022.39.2.209","url":null,"abstract":"While almost everyone agrees that the Beatles set the bar for the concept album, many would argue about possible precursors, rivals, and imitators. Two releases frame the Beatles’ two most important albums: the Byrds’ Fifth Dimension appeared on July 18, 1966, just weeks before the release of Revolver on August 5 and 8 (the British and US releases, respectively); while Jefferson Airplane’s After Bathing at Baxter’s was released in late November 1967, nearly six months after Sgt. Pepper’s Lonely Hearts Club Band appeared on June 1 and 2. Fifth Dimension and After Bathing at Baxter’s each provides its own interpretation of how thirty to forty minutes of music, articulated by a break halfway through between the end of side one and the beginning of side two, should proceed. The Byrds create an artful succession of songs familiar from single releases and new material, generating a multitude of stylistic cross-references and binding the album together despite the variety of styles it embraces, including Dylanesque psychedelia, Coltrane-inspired jazz, and items from the traditional folk repertory. The Airplane, on the other hand, attempt to string groups of two or three songs together into “suites,” as the band terms them on the jacket, with greater or lesser success. But the overall structure of the album depends on the strength of the material with which each side begins and ends. Both Fifth Dimension and Baxter’s contribute their own perspectives on how the album could become a well-integrated, thoughtful, and creative collection of material.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80780633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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

Cardano and Scaliger in Debate on the Revival of Ancient Music 古音乐复兴之争中的卡尔达诺与斯卡利格

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2022-01-01 DOI: 10.1525/jm.2022.39.1.109

J. Prins

{"title":"Cardano and Scaliger in Debate on the Revival of Ancient Music","authors":"J. Prins","doi":"10.1525/jm.2022.39.1.109","DOIUrl":"https://doi.org/10.1525/jm.2022.39.1.109","url":null,"abstract":"The rediscovery of ancient ideas about the power of music inspired Renaissance scholars to formulate a tantalizing view of the restoration of the wonderful music of the ancient Greeks. But from the start of this revival, skeptical voices questioned the feasibility of any attempt to establish a historically informed music practice. This article explores the changing status and authority of classical music-theoretical sources in sixteenth-century Italy by analyzing the famous debate between Girolamo Cardano and Julius Caesar Scaliger on ancient ideas about sound, hearing, and the power of music. Both voices mark a pivotal early stage in the emergence of early modern musical science, in which scholars began to study musical phenomena in accordance with a new philosophy of nature but had no established research agenda upon which to rely when doing so. Their attempts to theorize, in terms of natural phenomena, the seemingly inexplicable musical wonders recounted in traditional sources demonstrate that the tradition of Pythagorean and Platonic mathematics could not be easily discarded in the mid-sixteenth century. Cardano and Scaliger inspired later generations of scholars to formulate new theories in which music was valued less for its numerical perfection and supernatural power than for its sensory qualities and natural effect on the passions of the soul—ideas that would come to underpin the development of acoustics and music aesthetics in later centuries.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84965103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 Castrato Remains—or, Galvanizing the Corpse of Musical Style 阉割遗存——或者说，为音乐风格的尸体注入活力

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2022-01-01 DOI: 10.1525/jm.2022.39.3.371

Jessica Gabriel Peritz

{"title":"The Castrato Remains—or, Galvanizing the Corpse of Musical Style","authors":"Jessica Gabriel Peritz","doi":"10.1525/jm.2022.39.3.371","DOIUrl":"https://doi.org/10.1525/jm.2022.39.3.371","url":null,"abstract":"This article considers the spectral afterlives of castrati in nineteenth-century music historiography, reading them as transhistorical mediators between the “stuff” of archives and embodied musical experience. The article first sketches out the germane late eighteenth-century notions of feeling, art history, and aesthetics—from the empirical potential of sensibility to J. J. Winckelmann's systematization of classical art—that invited people to imagine certain bodies as capable of sensing history and, in turn, of rendering history “sense-able” through artistic style. Bringing these historical threads into dialogue with recent theories of queer temporality and queer aesthetics, the article argues that castrato singers were cast as once-living art objects and thereby invested musically, dramaturgically, and bodily with the same hybrid temporalities associated with artifacts of material culture—enabling later writers to invoke castrati as having materialized both the ephemerality and the historical situatedness of past musical styles. Moving from the generalized castrato figure to one particularly salient example, the article then focuses on three writers' representations of Gasparo Pacchierotti (1740–1821). The authors discussed here—Alessandro Pepoli (1790s), Stendhal (1820s), and Vernon Lee (1880s)—each portrayed Pacchierotti as embodying the frictions between the singer's late eighteenth-century moment and the writer's own hybrid present. Imaginatively encountering Pacchierotti as, respectively, a living body, a remembered voice, and material remains, each grappled with the limitations—and the stakes—of music histories. Ultimately, the castrato emerges from these scattered remains as a ghost of the feelings, fictions, and fantasies that haunt historiography.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74854475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 Unknown Music of Mascagni’s Cavalleria rusticana 马斯卡尼乡村骑士的不为人知的音乐

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2022-01-01 DOI: 10.1525/jm.2022.39.3.255

Andreas Giger

{"title":"The Unknown Music of Mascagni’s Cavalleria rusticana","authors":"Andreas Giger","doi":"10.1525/jm.2022.39.3.255","DOIUrl":"https://doi.org/10.1525/jm.2022.39.3.255","url":null,"abstract":"Shortly before the premiere of Cavalleria rusticana, Pietro Mascagni cut 246 measures from his opera. This substantial section of music has remained largely unknown and has never been examined. Recent access to the original prompter's score, the score once in the possession of the first conductor (Leopoldo Mugnone), autograph letters, unexplored reviews, and a rediscovered staging manual have made a thorough evaluation of the cuts possible. These cuts fall into three categories: (1) those tightening the pace, (2) those reducing the taxing part of the chorus, and (3) those accommodating transpositions requested at the last minute by the star singers Gemma Bellincioni (Santuzza) and Roberto Stagno (Turiddu). The article argues that the cuts had consequences beyond their originally intended function, affecting the staging, drama, and formal conception. In the “Introduzione,” for instance, they lead to confusion about the way in which the scene should be staged; in the “Sortita di Alfio,” they eliminate music that functioned as the culmination of the aria's large-scale formal plan; and in the composite No. 5, they exaggerate the so-called dramaturgy of harsh junctures. In short, these cuts shed important light on the composer's original dramatic intentions and technical aspirations, and have lingered for over one hundred years without being considered for reinstatement.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90178633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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