JOURNAL OF MUSICOLOGY最新文献_第4页

For Transdisciplinarity 对于Transdisciplinarity

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2020-01-01 DOI: 10.1525/jm.2020.37.1.51

Naomi Waltham-Smith

引用次数: 2

I’ll Be Your Mixtape 我将是你的混音带

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-10-01 DOI: 10.1525/jm.2019.36.4.401

J. Peraino

{"title":"I’ll Be Your Mixtape","authors":"J. Peraino","doi":"10.1525/jm.2019.36.4.401","DOIUrl":"https://doi.org/10.1525/jm.2019.36.4.401","url":null,"abstract":"This article tells the story of a cassette tape housed in the Andy Warhol Museum Archives, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended audience: Andy Warhol. Warhol and Reed are giant figures in the history of twentieth-century Pop Art and popular music, and their collaboration from 1966 to 1967 resulted in the acclaimed album The Velvet Underground and Nico. Based on extensive archival research and interviews, I discuss how this tape reflects Warhol’s and Reed’s failed attempt to collaborate on a stage version of Reed’s album Berlin (1973); Reed’s reaction to Warhol’s book, THE Philosophy of Andy Warhol (From A to B and Back Again) (1975); and how elements of Warhol’s own audio aesthetics and taping practices find their way into Reed’s recordings around 1975. I also place this cassette in the context of the emerging common practice of creating and gifting homemade mixtapes of curated music, and demonstrate how such mixtapes function as a type of “closet media” (to quote theater scholar Nick Salvato) marked by private audience, disappearance, and inaccessibility. Drawing on William S. Burroughs’s conceptual spliced-tape experiments and their challenge to unified subjectivity, I explore the epistemological and ontological ramifications of sonically entangling the self with another person, and the queer intimacies of doing so on cassette tape.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/jm.2019.36.4.401","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72400155","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: 3

Leander, Isidore, and Gregory 利安德，伊西多尔，还有格雷戈里

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-10-01 DOI: 10.1525/jm.2019.36.4.498

D. Randel

{"title":"Leander, Isidore, and Gregory","authors":"D. Randel","doi":"10.1525/jm.2019.36.4.498","DOIUrl":"https://doi.org/10.1525/jm.2019.36.4.498","url":null,"abstract":"St. Isidore of Seville (d. 636) and Pope Gregory the Great (d. 604) had an intellectual exchange facilitated in part by Isidore’s brother Leander (d. ca. 600), who preceded Isidore as bishop of Seville, had met Gregory in Constantinople, and to whom Gregory dedicated his Moralia in Job. Isidore’s writings and contemporaneous records of Spanish church councils make clear that the Old Hispanic Rite was already largely, though not entirely, formed in his day, much as we find it in the earliest surviving liturgical documents: the Oracional Visigótico (ca. 711) and the Antiphoner of León (ca. 900). This is a rite deriving from a great exegetical project in which liturgical chant formed only a part. Its starting points were the various translations of the Bible and the writings of the church fathers, especially Gregory and Augustine. From this an elaborate and systematic repertory of chant was formed in coordination with prayers, readings, and sermons. All of this speaks to deliberate composition by Isidore, Leander, and their colleagues rather than to the writing down of a long-standing oral tradition. Gregory surely knew about this activity in Spain. Is it likely that Gregory and his colleagues were not engaged in any such activity or that such activity in Rome took place so much later than it did in Spain? Perhaps there is a good reason why the chant created in Rome is called Gregorian just as the Old Hispanic Chant was much later called Isidorean. In the absence of Roman sources we may never know. But the Old Hispanic sources suggest that we ought to wonder.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85562278","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

Music and the Making of the Cosmonaut Everyman 音乐与宇航员普通人的形成

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-10-01 DOI: 10.1525/jm.2019.36.4.464

G. Cornish

{"title":"Music and the Making of the Cosmonaut Everyman","authors":"G. Cornish","doi":"10.1525/jm.2019.36.4.464","DOIUrl":"https://doi.org/10.1525/jm.2019.36.4.464","url":null,"abstract":"This article repositions the space race as a sonic phenomenon by analyzing music and sounds related to the Soviet space program. Early triumphs such as the orbit of Sputnik I in 1957, Yuri Gagarin’s groundbreaking orbital flight in 1961, and Valentina Tereshkova’s success as the first woman in space in 1963 epitomized the complexities of the cultural Cold War and the utopian underpinnings of the Thaw. Space, the ultimate nonaligned sphere, was a new world for the planting of real and ideological flags. At the same time, these successes were key to reimagining the ideals of Soviet citizenship and national identity in the post-Stalin era. Heating up at a moment of great change and consequence, the space race provides an inroad to examine how music, media, and sound helped spread these emerging values. Drawing on the popular press, radio broadcasts, and variety television performances, this article demonstrates how music was used to humanize the cosmonauts and promote a new personal ethics—one that prized approachability and humility alongside heroism and bravery. The divergent ways that composers and performers celebrated Gagarin and Tereshkova reveal a complex politics of gender during the Thaw. Gagarin, the conqueror, was revered in marches extolling his colonizing feats; Tereshkova, the homemaker, was celebrated with romances and tales of domesticity. By demonstrating the prevalence of new media and the power of participatory practices in the sonic space race, this article contributes to our understanding of the cultural Cold War as a lived and performed experience.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82900839","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: 2

Forgotten Histories of the Audiobook 被遗忘的有声书历史

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-10-01 DOI: 10.1525/jm.2019.36.4.437

T. McEnaney

{"title":"Forgotten Histories of the Audiobook","authors":"T. McEnaney","doi":"10.1525/jm.2019.36.4.437","DOIUrl":"https://doi.org/10.1525/jm.2019.36.4.437","url":null,"abstract":"This article investigates the different affordances of magnetic tape and print as they are entextualized in various co(n)texts by writers, ethnographers, and musicians throughout the Americas in the late 1960s. I analyze printed books made from tape recordings—Cuban anthropologist Miguel Barnet and his interview subject Esteban Montejo’s Biografía de un cimarrón (Biography of a Runaway Slave, 1966), Rodolfo Walsh’s true-crime denunciation ¿Quién mató a Rosendo? (Who killed Rosendo?, 1968), and Andy Warhol’s experimental a: a novel (1968)—to ask why these writers transduced their recordings into print rather than release them as audiobooks, how or if listening to those tapes would alter the meaning of their printed entextualizations, and what musical interactions with the same media in the same contexts can tell us about the limits both of print and of symbolic musical notation. Tracing the intersection of musical and literary works, the article argues that a writerly ethics of distortion, rather than fidelity, arises from this mutual encounter with sound on tape, and ponders how dialogic audiobooks might contest older issues of power and representation for those writers, North and South, who worked in support of marginalized (Afro-Cuban, working class, and queer) subjects.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85357179","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: 2

Constructing Cab Calloway 建造Cab Calloway

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-07-01 DOI: 10.1525/JM.2019.36.3.370

N. Sloan

{"title":"Constructing Cab Calloway","authors":"N. Sloan","doi":"10.1525/JM.2019.36.3.370","DOIUrl":"https://doi.org/10.1525/JM.2019.36.3.370","url":null,"abstract":"Cab Calloway was of the most popular jazz musicians of the 1930s and 1940s whose legacy today is complicated by his repertoire of novelty songs with references to minstrelsy, his residency at a segregated Harlem cabaret, the Cotton Club, and his marketing to white audiences by manager Irving Mills. Calloway’s sound and persona—commercial, racialized, theatrical—did not square with an emergent art discourse around jazz during the 1930s. Hit songs like “Minnie the Moocher” (1931), with its dark, minor sound world, exaggerated depictions of seedy Harlem nightlife, and cultivated use of local slang, catapulted Calloway to success and stardom while erasing him from a burgeoning narrative that defined jazz as an autonomous, high-art tradition.\u0000 Drawing on an elaborate press manual prepared by Mills, Calloway’s reception in historical black newspapers, and musical analysis of recordings of “Minnie” and other lesser-known Calloway numbers, this article examines the music, marketing and reception of Calloway during his Cotton Club residency (1931–34, with sporadic appearances thereafter) to illuminate the contemporary valences of an important interwar performer. Rather than hearing Calloway’s music in terms dictated by jazz’s post-war art discourse, the article strives to locate his songs in their original time and place, and seeks to understand Calloway’s significance by exploring the construction of his public persona. The application of a lens of historical particularity reveals that Calloway’s “novelty” songs acted as powerful articulations of contemporary black life during a pivotal period of Harlem culture.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83886344","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

Creative Practice and the Limits of Knowledge in Reconstructing Lost Songs from Boethius’s On the Consolation of Philosophy 从波伊提乌《哲学的慰藉》看《失落之歌》重构中的创造性实践与知识的局限

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-07-01 DOI: 10.1525/JM.2019.36.3.261

S. Barrett

{"title":"Creative Practice and the Limits of Knowledge in Reconstructing Lost Songs from Boethius’s On the Consolation of Philosophy","authors":"S. Barrett","doi":"10.1525/JM.2019.36.3.261","DOIUrl":"https://doi.org/10.1525/JM.2019.36.3.261","url":null,"abstract":"This study seeks to reconstruct the music for Boethius’s final and most widely read work, On the Consolation of Philosophy. Although a handful of neumations for Boethius’s thirty-nine poems have long been known, the almost complete absence of surviving pitched versions of the melodies has hindered the task of reconstruction. Following a systematic study of neumed manuscripts dating from the ninth to the eleventh centuries and identification of underlying principles of melodic design, it is now possible to attempt informed reconstructions. Even so, the leap from scholarship to modern performance remains substantial, involving a preliminary need to recreate melodies through experimentation.\u0000 Collaboration with members of the ensemble Sequentia over a four-year period (2014–17) provided an opportunity to explore ways in which creative practice might supplement scholarly knowledge, whether through posing new research questions, the formation and exploration of hypotheses, or recourse to memorized practices built up through sustained engagement with early medieval repertories and instruments. Taking a recovered mid eleventh-century leaf of the Cambridge Songs as a focus for investigation, songs from the first book of Boethius’s De consolatione philosophiae were newly reconstructed. Although debate continues to surround the status of results obtained through creative practice, comparison with the way other disciplines have proceeded under similar conditions reveals acceptance of experimentation as a mode of inquiry. This essay proposes that performance can fruitfully supplement philology in seeking to reconstruct lost songs from notated traces.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79358984","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: 1

Retrofitting Plainchant 改造单声圣歌

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-07-01 DOI: 10.1525/JM.2019.36.3.331

Marianne C E Gillion

{"title":"Retrofitting Plainchant","authors":"Marianne C E Gillion","doi":"10.1525/JM.2019.36.3.331","DOIUrl":"https://doi.org/10.1525/JM.2019.36.3.331","url":null,"abstract":"The publication of the Missale Romanum (1570), revised at the behest of the Council of Trent (1545–63), had direct consequences for plainchant. In order to celebrate a sung mass, the contents of graduals had to be brought into conformity with the new missal. In 1572 the Venetian firms of Giunta and Varisco issued the first printed editions of the Graduale Romanum in Italy after the missal’s promulgation. The volumes contain prefaces adumbrating the requisite alterations, which from 1580 onwards were mostly assimilated into the contents of subsequent graduals. Three types of modifications affected chant melodies: the removal of text, the addition of text, and the addition of new propers. This study explores these categories in key editions of the Graduale Romanum printed in Italy between 1572 and 1653. Analyses of five offertory chants reveal that the combination of editorial freedom, source interrelation, and textual variants in editions of the Missale Romanum resulted in musical diversity. The removal of text in the offertories Iubilate deo omnis terra and Iubilate deo universa terra reflects the editors’ aesthetic preferences and their understanding of musical grammar. In Dextera domini and Iustitiae domini, the addition of text is dependent on the edition of the missal used in the process of collation, the relationships between the sources, and the editors’ responses to the changes mandated. The added chant Insurrexerunt in me, with its mixture of traditional and contemporary characteristics, highlights the freedom with which the editors sourced, or even composed, chant melodies. These findings highlight textual and musical diversity within newly regularized liturgical structures and clarify the relationship between the Council of Trent and plainchant revision. As a result, they call into question the suitability of the “Post-Tridentine” label often given to early modern chant.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81523796","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: 2

Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950 是不是印加人?在追求民族主义艺术音乐的过程中构建厄瓜多尔的音乐历史，1900-1950

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-04-01 DOI: 10.1525/JM.2019.36.2.228

Vera Wolkowicz

引用次数: 1

The New Roman Style and Giovanni Maria Nanino 新罗马风格和乔瓦尼·玛丽亚·纳尼诺

IF 0.5 1区艺术学

JOURNAL OF MUSICOLOGY Pub Date : 2019-04-01 DOI: 10.1525/JM.2019.36.2.167

Anthony Newcomb

{"title":"The New Roman Style and Giovanni Maria Nanino","authors":"Anthony Newcomb","doi":"10.1525/JM.2019.36.2.167","DOIUrl":"https://doi.org/10.1525/JM.2019.36.2.167","url":null,"abstract":"As a composer of secular music, Giovanni Maria Nanino seems to have published only three books of madrigals and one of canzonettas, yet he contributed numerous pieces to anthologies, and his madrigals were often reprinted. Scarcely an important anthology appeared in these years without a contribution by him. Indeed in the fifteen years before the death of Giovanni Pierluigi da Palestrina in 1594, Nanino rivaled him as the most esteemed of Roman composers; in the decade after Palestrina’s death, Nanino was the undisputed head of the large and important Roman school. By certain measures Nanino was the most often represented composer in anthologies printed between 1570 and 1620. In this area he surpasses not only Palestrina, but also Luca Marenzio, Philippe de Monte, and Alessandro Striggio.\u0000 Despite Nanino’s immense prestige among his contemporaries, in modern histories his secular music is scarcely discussed, with just a passing mention in Alfred Einstein’s voluminous The Italian Madrigal. This article establishes Nanino’s leadership in defining the new Roman style of madrigal in the late sixteenth century, outlines its musical characteristics, and suggests paths for future research into this as yet little studied school.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76618292","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