《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 0 MUSIC
Anthony W. Rasmussen
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引用次数: 1

摘要

他在1970年为亚伯拉罕·卡普兰写的一首作品,卡普兰为卡迪什交响乐团准备了合唱团。蓝调也在其中。例如,Mass的《我不知道》借用了Muddy Waters的《曼尼什男孩》中的即兴小段。但并不是所有伯恩斯坦的爵士乐灵感都进入了决赛。我们还读到,伯恩斯坦最初计划在弥撒的闭幕式“Communion”中加入一个爵士声乐三人组。“摇摆时代的回声对伯恩斯坦来说从未完全消失,所以他仍然可以听到爵士乐作为庆祝和团结的音乐”(197)。也许是为了不让自己听起来过时,伯恩斯坦还在弥撒中尝试了其他风格。The Celebration的《简单之歌》(Simple Song)被巴伯称为“激进的音调简单”,让我们想起了梵蒂冈二世后天主教教堂吉他弥撒中常见的民间风格曲调,摇滚乐队是伯恩斯坦在其音乐宝库中呼吁的众多合奏团之一。尽管这些与时俱进的尝试没有被批评者所接受,但巴贝尔在某种程度上哀叹伯恩斯坦在1600年无法继续这一轨迹。她的部分批评集中在这样一个事实上,即“伯恩斯坦使用爵士乐词汇为黑人角色写作,代表他们自己说话的时刻,危险地接近于彻底的腹语术或现代吟游诗人”(205)。她接着指出,通过再次为这些角色回归布鲁斯,例如在歌曲《明亮与黑色》中,伯恩斯坦“解放了早期的黑人表现文化”(214)。如果他能够在弥撒中吸收民间音乐和摇滚乐,那么为什么不唤起1600年阿瑞莎·富兰克林或詹姆斯·布朗的灵魂音乐呢?“为了支持他喜欢的爵士乐文化而忽略了灵魂,他似乎错过了黑人力量的意义”(215),并可能揭示了他的作曲语言的局限性。有人可能在没有写第一章的情况下就把分析写在了第二章到第六章。但是,在仔细挑选伯恩斯坦的作品来定义天生的音调、人类交流和身份这三条戒律时,巴伯为接下来的阅读提供了坚实的基础。因此,她的分析性观察,无论是音乐性的还是非音乐性的,都因第一章的背景而变得更加丰富。但更重要的是,她对伯恩斯坦作曲哲学的有力而彻底的研究为未来对伯恩斯坦音乐的研究提供了一个框架,无论它是否涉及爵士乐问题。从这个意义上讲,巴伯的书可以作为一个更大项目的案例研究来阅读。她所奠定的基础和树立的榜样可能会在未来几年对伯恩斯坦的研究产生深远影响。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Rites, Rights & Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific by Michael Birenbaum Quintero (review)
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 Perhaps in an effort not to sound outdated, Bernstein also tried his hand at other styles in Mass.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.
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
0
期刊介绍: Now in its 28th year, American Music publishes articles on American composers, performers, publishers, institutions, events, and the music industry, as well as book and recording reviews, bibliographies, and discographies.
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