{"title":"From Machine to Musical Instrument","authors":"Stephanie Probst","doi":"10.1525/jm.2021.38.3.329","DOIUrl":"https://doi.org/10.1525/jm.2021.38.3.329","url":null,"abstract":"Media histories of music often frame technological innovation in the early twentieth century within a general zeal for automated musical reproduction. The engineering efforts of the Aeolian Company and its Pianola counter such narratives by fostering active music-making rather than passive listening. As a pneumatically powered attachment to a piano, the Pianola was initially limited to reproducing strictly mechanical renditions of music from perforated paper rolls. But the invention of the Metrostyle in 1903, a hand lever to achieve tempo-specific effects, significantly refined the musical capacities of the instrument. It allowed for inscribing onto the music rolls authoritative performance instructions that could be enacted by the player. Revisiting the various places that the Metrostyle Pianola inhabited, from the manufacturing site to the concert hall and the bourgeois living room, I illuminate the different sociocultural relationships and musical experiences that it mediates. By relegating certain tasks of conventional piano-playing to the mechanical workings inside the instrument, the Pianola was marketed as facilitating simplified music-making in ever wider parts of society. The Metrostyle annotations served as a pedagogical device for instructing novice players in principles of nuanced and tasteful interpretation. My analysis exposes the reciprocal relationships between the instrument and its human players, from attempts to adapt the physical interface to human physiologies, to the ways in which the instrument, in turn, imposes certain mechanistic affordances on its players.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90809235","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}
{"title":"Texts, Drugs, and Rock ’n’ Roll","authors":"J. Lee","doi":"10.1525/jm.2021.38.3.296","DOIUrl":"https://doi.org/10.1525/jm.2021.38.3.296","url":null,"abstract":"Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both inter- and intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue/image/plot point and song lyrics/musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters/situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75066534","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}
{"title":"The Scribe of W1 and His Scottish Context","authors":"K. Steiner","doi":"10.1525/jm.2021.38.3.364","DOIUrl":"https://doi.org/10.1525/jm.2021.38.3.364","url":null,"abstract":"This article examines W1 (Wolfenbüttel, Herzog August Bibliothek, cod. Guelf. 628 Helmstad.) as a source of musical identity in St Andrews through a “new philological” approach. Challenging the current view on the production of W1, it argues that a single singer-scribe, whose work spanned his association with at least two different bishop’s communities, was responsible for copying the manuscript’s entire contents. New archival assessments suggest that the manuscript was compiled for the community of secular clerics in St Andrews, who may have been taught by the scribe. Parisian polyphony, both in its written form and in performance, thus directly influenced the local production of liturgical polyphony, including a unique collection of polyphony for the Lady mass, at St Andrews Cathedral through the scribe of W1.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74909428","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}
{"title":"Handel’s Transformative Compositional Practices","authors":"David Ross Hurley","doi":"10.1525/jm.2021.38.4.479","DOIUrl":"https://doi.org/10.1525/jm.2021.38.4.479","url":null,"abstract":"In recent decades singers of Handel’s music have made great strides in recapturing the art of embellishing his music, thus breathing new life into forms such as the da capo aria. Yet Handel’s own “variations”—his development and transformation of musical material in his vocal music, important for understanding his compositional practice with borrowed as well as (presumably) original music—are not yet fully explored or appreciated. Admittedly, scholars have discussed musical procedures such as inserting, deleting, and reordering musical materials, as well as other Baroque combinatorial practices in Handel’s arias, but the musical transformations I discuss here are closer to a specifically Handelian brand of developing variation. To my knowledge, the concept of developing variation has never before been applied to early eighteenth-century music. I explore the relation of developing variation to drama (also rarely done) in two of Handel’s arias, providing a close examination of “Ombre, piante” from the opera Rodelinda and new thoughts about “Lament not thus,” originally intended for the oratorio Belshazzar. Although these arias belong to different genres and different stages of Handel’s career, they both exhibit material that undergoes a kind of progressive variation process that has tangible musical and dramatic ramifications, of interest to opera specialists and performers. Furthermore, both arias have a complicated compositional history; I offer fresh insights into the aesthetic qualities of each version, thereby throwing light on Handel’s possible compositional intentions. This article also discloses for the first time some recurring musical passages shared between “Lament not thus” and other pieces that could influence the listener’s interpretation of certain musico-dramatic gestures.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81170612","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}
{"title":"“Behind the Sounds”","authors":"Michael A. Figueroa","doi":"10.1525/jm.2021.38.4.401","DOIUrl":"https://doi.org/10.1525/jm.2021.38.4.401","url":null,"abstract":"In this article I explore the aesthetics and political valence of shirei meshorerim (SM), a body of Israeli sung poetry that emerged out of a series of radio programs, festivals, and recording projects beginning in the 1970s and drawing on long-standing local practices in both Palestine/Israel and contemporary Mediterranean sung-poetry movements. I argue that the development of SM was characterized by an aesthetic distinction, wherein the high cultural register of poetry—a value produced by both the domestic discourse on art vis-à-vis politics and the broader global discourse in which the local field was embedded—and an associated move to cosmopolitanize music production contributed to the “cultural accreditation” of post-1967 pop-rock in Israel. This article explores what poetry meant for song, and vice versa, in Israel during the 1970s and 1980s through sociopolitical analysis and close listening to the text-setting practices and stylistic affinities of two musicians strongly identified with SM: Matti Caspi and Shlomo Gronich.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75767967","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}
{"title":"Music for Martyrs","authors":"Kimberly Beck Hieb","doi":"10.1525/jm.2021.38.4.436","DOIUrl":"https://doi.org/10.1525/jm.2021.38.4.436","url":null,"abstract":"This article interrogates sacred repertoire produced in late seventeenth-century Salzburg as a reflection of a local Catholic piety that centered on sacrifice, especially the ultimate sacrifice of martyrdom. As an individual principality that was subject to both the Papal court in Rome and the Holy Roman Emperor, Salzburg provides a meaningful case study in the heterogeneous regional post-Tridentine Catholic practices that musicologists and historians alike have only begun to explore. Compositions by Andreas Hofer (1629–84) and Heinrich Biber (1644–1704) present a prime example of sacred music’s ability to manifest a region’s distinct piety. Supported by their patron Prince-Archbishop Maximilian Gandolph von Kuenburg (r. 1668–87), Hofer and Biber left behind musical evidence of this exceptional Catholicism in the feasts they elaborated with substantial concerted compositions as well as the distinct texts they set, which do not align with prescribed liturgies and likely reflect persistent local practices that resonated with the prince-archbishop’s Counter-Reformation agenda. Printed liturgical books and emblems celebrating Maximilian Gandolph further support the claim that throughout the seventeenth century liturgical practice and sacred music in Salzburg maintained a local flavor that concentrated on themes of sacrifice and martyrdom.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84473439","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}
{"title":"The Musical Ineffable Revisited","authors":"Rolf J. Goebel","doi":"10.1525/jm.2021.38.4.419","DOIUrl":"https://doi.org/10.1525/jm.2021.38.4.419","url":null,"abstract":"Inherited from Romantic metaphysics, the musical ineffable is a contested category; denoting something in musical experience that largely escapes verbal articulation, it also leads to diverse philosophical assessments of its validity as an analytic category. Its contested status, however, can be given clearer, historically embedded contours if it is related to Jacques Lacan’s psychoanalytic register of the Real across historically changing modes of media-technological reproducibility. This connection gives us new insights into the interface between sensuous immediacy, verbal articulation, and sonic media characteristic of the auditory imagination.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75931558","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}
{"title":"Music Psychology of the Piano-Playing Hands in Historical Discourse","authors":"Y. Kim","doi":"10.1525/JM.2021.38.1.32","DOIUrl":"https://doi.org/10.1525/JM.2021.38.1.32","url":null,"abstract":"Music-making hands have drawn considerable scholarly attention, featuring prominently in recent investigations in biomechanics, paleoanthropology, and cognitive sciences. Yet already in the late nineteenth and early twentieth centuries, piano pedagogy theories were evolving not only in response to changing musical styles but also to scientific conceptualizations of the human body. Taking piano-playing hands as a platform for human/machine interaction, this article analyzes the historical discourse on piano-playing hands in relation to the contemporary scientific context and via the framework of cognitive science. In this process, these scientific and pedagogical writings, which have been previously discussed only dispersedly and marginally, emerge as more than didactic instruction. This historical discourse on music psychology of piano-playing hands points to music cognition that is extended beyond the body, situated in activity, and distributed beyond the individual.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79842901","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}
{"title":"“Exactly engrav’d by Tho","authors":"Rebecca Herissone","doi":"10.1525/JM.2020.37.3.305","DOIUrl":"https://doi.org/10.1525/JM.2020.37.3.305","url":null,"abstract":"Thomas Cross Jr. was the first music printer to capitalize on the growth of public musical performances in late seventeenth-century England by producing cheap, single-sheet editions of the newest and most popular songs, especially those from the latest theater productions, for audience members and others in fashionable society to buy. As England’s first specialist music engraver, he was able to produce his simple prints of individual songs unusually quickly and to sell them at a fraction of the price of the larger movable-type anthologies that remained the mainstay of established London music stationers in this period. In the absence of intellectual property laws, Cross was free to print any music he could acquire, and he soon came to be seen as a threat by composers and music stationers alike. He clearly did not enjoy good relationships with contemporary composers, and we can safely assume that they did not supply him with his source materials. Given that his prints were nearly always the first published editions of the theater songs to appear in print, how did he obtain his musical texts? This article examines the hypothesis that Cross’s engravings may have derived directly from the stage performances of the singers he names in the titles of his editions, and that they may reflect the singers’ interpretations of the music “exactly engrav’d,” as Cross claimed. Comparison of the variants in Cross’s editions with readings preserved in sources that have known connections to contemporary performance demonstrates that his prints—despite their not undeserved reputation for inaccuracy—probably preserve contemporary performing practices more closely than has hitherto been acknowledged. Their significance as sources thus needs to be reevaluated, which raises broader questions about the criteria that scholars use when making judgments about the relative authority of sources from this period.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88161572","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}
{"title":"The German Connection","authors":"Louis K. Epstein","doi":"10.1525/jm.2020.37.1.94","DOIUrl":"https://doi.org/10.1525/jm.2020.37.1.94","url":null,"abstract":"In 1930 the French composer Darius Milhaud achieved a major career milestone: his ambitious opera Christophe Colomb received its premiere at Berlin’s Staatsoper Unter den Linden. The premiere was the most prestigious of a surprisingly large number of performances of Milhaud’s music in Germany in the late 1920s and early 1930s. Even as he found success in Germany, many French critics dismissed Milhaud’s music as frivolous or incomprehensible, and in 1930 the Paris Opéra had yet to stage one of Milhaud’s works. In the wake of the Berlin premiere, however, the specter of German cultural dominance provoked calls in Paris for reevaluation of Milhaud’s work. In response, the director of the Paris Opéra, Jacques Rouché, quickly secured the right to stage Milhaud’s next opera, Maximilien, and Milhaud subsequently received a string of state commissions. After years of struggle with French critics and institutions, Milhaud’s success abroad finally precipitated official recognition at home.\u0000 Milhaud owed his popularity in Germany and the subsequent transformation in his French reception to his relationship with the Viennese music publisher Universal Edition. Unpublished correspondence and contracts reveal how the firm orchestrated Milhaud’s success in Germany through a network of affiliated conductors, composers, and institutions. Universal Edition and its director, Emil Hertzka, played crucial but largely unrecognized roles in advancing Milhaud’s early career, and Milhaud’s letters demonstrate his keen appreciation for the advantages that working with Universal brought, both to his finances and to his international reputation. The transnational collaboration that enabled Milhaud’s German reception and facilitated his path to official recognition ultimately offers a thought-provoking counterexample to the historiography of chauvinism and antipathy that otherwise dominates narratives of interwar Franco-German musical relations.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81545749","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}
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