Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.1.249
Thomas W. Patteson
{"title":"Nothing but Noise: Timbre and Musical Meaning at the Edge, by Zachary Wallmark","authors":"Thomas W. Patteson","doi":"10.1525/jams.2023.76.1.249","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.249","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227191","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.2.538
Alyson McLamore
{"title":"The Haydn Economy: Music, Aesthetics, and Commerce in the Late Eighteenth Century, by Nicholas Mathew","authors":"Alyson McLamore","doi":"10.1525/jams.2023.76.2.538","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.538","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67228398","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.1.259
Mark Everist
{"title":"Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France, by Yossi Maurey; Vexilla regis glorie: Liturgy and Relics at the Sainte-Chapelle in the Thirteenth Century, edited by M. Cecilia Gaposchkin","authors":"Mark Everist","doi":"10.1525/jams.2023.76.1.259","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.259","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227968","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.1.1
Chris Adams
Giacomo Puccini’s operas have a long history of being hailed as “cinematic.” Such descriptions began to appear during his lifetime and persisted in the years following his death, and more recent scholarship has continued to echo them. Associations between Puccini and film also extend to the cinematic screen: there are numerous filmed versions and adaptations of his operas, and his music has been featured in film soundtracks since the 1930s. Nevertheless, even though Puccini’s career roughly coincided with the first three decades of film history, surprisingly little is known about his attitude toward film or how it may have influenced his oeuvre. Taking La fanciulla del West as a case study, I investigate the complex historical relationship between early cinema, Puccini, and his operas, focusing particularly on the connections between Fanciulla and three American silent film genres that were popular in the years leading up to the opera’s premiere: early or “Eastern” Westerns, chase films, and lynching or execution films. I begin by investigating the filmic world to which Puccini and his creative team were exposed, tracing the evolution of cinema to 1910. I then turn specifically to the chase scene and attempted lynching in act 3 of Fanciulla, which I analyze in relation to the aforementioned genres, as well as to Belasco’s play The Girl of the Golden West, on which the libretto is based. Finally, I offer new perspectives on what it means—and meant—to understand Puccini’s operas as cinematic. In so doing, I demonstrate that the meaning of the adjective “cinematic” is historically contingent, not determined by immutable characteristics or qualities.
{"title":"Staging the Cinematic: Puccini, Fanciulla, and Early Silent Film","authors":"Chris Adams","doi":"10.1525/jams.2023.76.1.1","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.1","url":null,"abstract":"Giacomo Puccini’s operas have a long history of being hailed as “cinematic.” Such descriptions began to appear during his lifetime and persisted in the years following his death, and more recent scholarship has continued to echo them. Associations between Puccini and film also extend to the cinematic screen: there are numerous filmed versions and adaptations of his operas, and his music has been featured in film soundtracks since the 1930s. Nevertheless, even though Puccini’s career roughly coincided with the first three decades of film history, surprisingly little is known about his attitude toward film or how it may have influenced his oeuvre. Taking La fanciulla del West as a case study, I investigate the complex historical relationship between early cinema, Puccini, and his operas, focusing particularly on the connections between Fanciulla and three American silent film genres that were popular in the years leading up to the opera’s premiere: early or “Eastern” Westerns, chase films, and lynching or execution films. I begin by investigating the filmic world to which Puccini and his creative team were exposed, tracing the evolution of cinema to 1910. I then turn specifically to the chase scene and attempted lynching in act 3 of Fanciulla, which I analyze in relation to the aforementioned genres, as well as to Belasco’s play The Girl of the Golden West, on which the libretto is based. Finally, I offer new perspectives on what it means—and meant—to understand Puccini’s operas as cinematic. In so doing, I demonstrate that the meaning of the adjective “cinematic” is historically contingent, not determined by immutable characteristics or qualities.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226822","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.1.230
E. Jacobson
{"title":"Feasting and Fasting in Opera: From Renaissance Banquets to the Callas Diet, by Pierpaolo Polzonetti","authors":"E. Jacobson","doi":"10.1525/jams.2023.76.1.230","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.230","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227540","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.1.253
Claire Fontijn
{"title":"From Servant to Savant: Musical Privilege, Property, and the French Revolution, by Rebecca Dowd Geoffroy-Schwinden","authors":"Claire Fontijn","doi":"10.1525/jams.2023.76.1.253","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.253","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227710","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.2.463
Stephanie N. Stallings
Mexican composers Silvestre Revueltas and Carlos Chávez each wrote one song that execrates the lynching-murder of Black persons in the United States. In them, the composers pit a Mexican aesthetics of death against violent spectacle and social inequities to assert a universal dignity of life and to situate an antiracist position within the context of a broader international class struggle. In the process of airing fresh interpretations of the songs, I imply that the composers’ divergent experiences in the United States—Chávez’s relative proximity to establishment structures of power and Revueltas’s intimacy with working-class struggle and race-based discrimination—informed their translation of Black suffering into the (differently historically colonized) context of Mexico. Both composers effected an artful indirection: a displaced deictic center from which to mediate their social thought concerning Mexico’s own problems of penal excess and extrajudicial lynching. Bracha Ettinger’s aesthetically activated Matrixial dimension sets a theoretical and analytical stage for an exploration of these anti-lynching songs and offers a way of understanding aesthetic expressions of allyship in a transhistorical mode.
{"title":"Aesthetic Wit(h)nessing in Anti-lynching Songs by Silvestre Revueltas and Carlos Chávez","authors":"Stephanie N. Stallings","doi":"10.1525/jams.2023.76.2.463","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.463","url":null,"abstract":"Mexican composers Silvestre Revueltas and Carlos Chávez each wrote one song that execrates the lynching-murder of Black persons in the United States. In them, the composers pit a Mexican aesthetics of death against violent spectacle and social inequities to assert a universal dignity of life and to situate an antiracist position within the context of a broader international class struggle. In the process of airing fresh interpretations of the songs, I imply that the composers’ divergent experiences in the United States—Chávez’s relative proximity to establishment structures of power and Revueltas’s intimacy with working-class struggle and race-based discrimination—informed their translation of Black suffering into the (differently historically colonized) context of Mexico. Both composers effected an artful indirection: a displaced deictic center from which to mediate their social thought concerning Mexico’s own problems of penal excess and extrajudicial lynching. Bracha Ettinger’s aesthetically activated Matrixial dimension sets a theoretical and analytical stage for an exploration of these anti-lynching songs and offers a way of understanding aesthetic expressions of allyship in a transhistorical mode.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67228422","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.2.563
Kenneth Womack
{"title":"The Beatles: Get Back, directed by Peter Jackson","authors":"Kenneth Womack","doi":"10.1525/jams.2023.76.2.563","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.563","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67228572","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.1.223
Emily H. Green
{"title":"Mozart and the Mediation of Childhood, by Adeline Mueller","authors":"Emily H. Green","doi":"10.1525/jams.2023.76.1.223","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.223","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227389","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}
Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.1.242
Thomas B. Payne
{"title":"Devotional Refrains in Medieval Latin Song, by Mary Channen Caldwell","authors":"Thomas B. Payne","doi":"10.1525/jams.2023.76.1.242","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.242","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227474","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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