Pub Date : 2021-01-01DOI: 10.1525/jams.2021.74.2.445
Laura Zattra
{"title":"Electronic Inspirations : Technologies of the Cold War Musical Avant-Garde, by Jennifer Iverson","authors":"Laura Zattra","doi":"10.1525/jams.2021.74.2.445","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.445","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67224834","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 : 2021-01-01DOI: 10.1525/jams.2021.74.2.449
Juliet Hess
{"title":"Class, Control, and Classical Music, by Anna Bull","authors":"Juliet Hess","doi":"10.1525/jams.2021.74.2.449","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.449","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67224918","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 : 2021-01-01DOI: 10.1525/jams.2021.74.3.463
Gavin Williams
Shellac was essential to the gramophone industry throughout the first half of the twentieth century, yet the material has long kept a low profile. At once inaudible and urgently required, shellac was a plastic and colonial commodity with wide-ranging applications. Building on recent scholarship that explores its ecological imbrication, this article additionally presents a case for understanding it as a musical thing. First, it shows how lac—the resinous encrustation of the lac insect, and a South Asian technique for preserving things over time—became a global commodity, shellac, aiding the development of sound reproduction. Second, it investigates a scientific bureaucracy promoting the study of the lac insect, which emerged in Indian forests during the 1920s. Third, it tracks how musical demand intensified a system of migrant, indentured, and technical labor involved in processing lac into shellac. In reconstructing shellac’s economic and scientific networks, the article argues that the material was a multiplicity, which entailed both the entangled knowledge systems of its production and a decisive switch: from bodily techniques of production into those of mediated musical listening. Through a focus on shellac, it decenters North American narratives about the development of sound reproduction technology, showing how South Asian knowledge, labor, and environments were profoundly involved, even if they were only rarely acknowledged in mediated musical experiences. Indeed, in an age before synthetic hydrocarbon polymers, shellac fulfilled the role of musical plastic through its inconspicuousness: its capacity to hold and harmonize multiple disc ingredients, while disappearing into the background it supplied.
{"title":"Shellac as Musical Plastic","authors":"Gavin Williams","doi":"10.1525/jams.2021.74.3.463","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.463","url":null,"abstract":"Shellac was essential to the gramophone industry throughout the first half of the twentieth century, yet the material has long kept a low profile. At once inaudible and urgently required, shellac was a plastic and colonial commodity with wide-ranging applications. Building on recent scholarship that explores its ecological imbrication, this article additionally presents a case for understanding it as a musical thing. First, it shows how lac—the resinous encrustation of the lac insect, and a South Asian technique for preserving things over time—became a global commodity, shellac, aiding the development of sound reproduction. Second, it investigates a scientific bureaucracy promoting the study of the lac insect, which emerged in Indian forests during the 1920s. Third, it tracks how musical demand intensified a system of migrant, indentured, and technical labor involved in processing lac into shellac. In reconstructing shellac’s economic and scientific networks, the article argues that the material was a multiplicity, which entailed both the entangled knowledge systems of its production and a decisive switch: from bodily techniques of production into those of mediated musical listening. Through a focus on shellac, it decenters North American narratives about the development of sound reproduction technology, showing how South Asian knowledge, labor, and environments were profoundly involved, even if they were only rarely acknowledged in mediated musical experiences. Indeed, in an age before synthetic hydrocarbon polymers, shellac fulfilled the role of musical plastic through its inconspicuousness: its capacity to hold and harmonize multiple disc ingredients, while disappearing into the background it supplied.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67224941","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 : 2021-01-01DOI: 10.1525/jams.2021.74.3.501
Zhuqing Hu
This article compares extractivist ideologies of voice and listening in late eighteenth-century Europe and China to envision a decolonial comparativism. Inspired by Dylan Robinson’s “apposite methodology,” the article “writes with” the French Jesuit Jean-Joseph-Marie Amiot, who compared European and Chinese ears several times during his career in Beijing to ascertain why the Chinese abhorred European harmony. Through his correspondence with the Republic of Letters, Amiot’s comparisons resonated with the “sharp-eared Chinese” trope in European discourse. The dialectics of this trope, laid bare in Johann Gottfried Herder’s surprisingly similar denigrations of China and of deafness, reflected an extractivist phonocentrism by which recognition of one’s subjectivity required opening oneself up to society’s extractive listening. Hegel and post-Thermidorian French elites even posited such extraction as the foundation for pluralism and progress. Though specifically othered by European phonocentrism, the Qing Empire then ruling China articulated similar ideologies. While Amiot compared the qupai stock melodies of Kunqu theater to the vaudeville songs of opéra-comique, eighteenth-century Qing court adaptations of Kunqu departed from the pervasive use of qupai to achieve a transcendent positionality of listening. Qing-imperial ethnographies of languages and songs further revealed such transcendent listening as undergirding the multiethnic empire, where subjecthood depended on proffering a voice to the imperial ear via an extractive phonography (“voice-writing”). The article concludes by situating this phonocentrism shared between Europe and China within current academic discourses on decolonization and deimperialization. It argues that comparativism can create spaces that facilitate “turning away” from the extraction of voices, which continues to sustain imperial hegemonies as uniquely transcendent ears.
本文比较了十八世纪晚期欧洲和中国的话语权和倾听意识形态，以设想一种非殖民化的比较主义。受迪伦·罗宾逊“恰当的方法论”的启发，这篇文章“引用”了法国耶稣会士让-约瑟夫-玛丽·阿米奥特，他在北京的职业生涯中多次比较欧洲人和中国人的耳朵，以确定为什么中国人厌恶欧洲的和谐。通过他与《文坛》的通信，阿米奥特的比较与欧洲话语中“尖耳朵的中国人”的比喻产生了共鸣。这个比喻的辩证法，在约翰·戈特弗里德(Johann Gottfried Herder)对中国和耳聋的惊人相似的诋毁中暴露出来，反映了一种提取主义的语音中心主义，通过这种思想，承认一个人的主体性需要向社会的提取性倾听敞开心扉。黑格尔和后热月时期的法国精英们甚至把这种抽取作为多元主义和进步的基础。尽管受到欧洲语言中心主义的特殊影响，当时统治中国的清朝也表达了类似的意识形态。当Amiot将昆曲戏剧的曲拍旋律与opsamada -comique的杂耍歌曲进行比较时，18世纪清朝宫廷对昆曲的改编脱离了曲拍的普遍使用，以达到一种超越的听觉位置。清朝帝国的语言和歌曲民族志进一步揭示了这种超越性的倾听，作为多民族帝国的基础，在那里，主体依赖于通过提取的音韵法(“语音写作”)向帝国的耳朵提供声音。文章最后将这种中欧共同的语音中心主义置于当前非殖民化和去帝国化的学术话语中。它认为，比较主义可以创造空间，促进“远离”声音的提取，这种声音继续维持帝国霸权作为独特的超越的耳朵。
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Pub Date : 2021-01-01DOI: 10.1525/jams.2021.74.3.677
Richard E. Mueller
{"title":"Extreme Exoticism: Japan in the American Musical Imagination, by W. Anthony Sheppard","authors":"Richard E. Mueller","doi":"10.1525/jams.2021.74.3.677","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.677","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225319","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 : 2021-01-01DOI: 10.1525/jams.2021.74.2.365
N. Chong
This article investigates Beethoven’s connection to the Bavarian Catholic theologian Johann Michael Sailer (1751–1832), the importance of which has been understated or misunderstood in the existing Beethoven literature. Drawing on historical studies of the complex relationship between Catholicism and the German Enlightenment, it provides a detailed and nuanced account of Sailer’s theology, situating it within the fierce debates that took place among German Catholics in this period. The article goes on to examine the contents of three books by Sailer in Beethoven’s possession, and to show how key ideas in these books resonate with features of Beethoven’s Missa solemnis, which he worked on around the time he was exposed to Sailer’s ideas. In conclusion, the article argues that a deeper understanding of Sailer and his possible influence on Beethoven should prompt a reconsideration of long-standing assumptions regarding the composer’s religious outlook, which may have been more sympathetic to Catholicism than has previously been supposed.
{"title":"Beethoven’s Theologian: Johann Michael Sailer and the Missa solemnis","authors":"N. Chong","doi":"10.1525/jams.2021.74.2.365","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.365","url":null,"abstract":"This article investigates Beethoven’s connection to the Bavarian Catholic theologian Johann Michael Sailer (1751–1832), the importance of which has been understated or misunderstood in the existing Beethoven literature. Drawing on historical studies of the complex relationship between Catholicism and the German Enlightenment, it provides a detailed and nuanced account of Sailer’s theology, situating it within the fierce debates that took place among German Catholics in this period. The article goes on to examine the contents of three books by Sailer in Beethoven’s possession, and to show how key ideas in these books resonate with features of Beethoven’s Missa solemnis, which he worked on around the time he was exposed to Sailer’s ideas. In conclusion, the article argues that a deeper understanding of Sailer and his possible influence on Beethoven should prompt a reconsideration of long-standing assumptions regarding the composer’s religious outlook, which may have been more sympathetic to Catholicism than has previously been supposed.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67224660","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 : 2021-01-01DOI: 10.1525/jams.2021.74.3.673
Jennifer Saltzstein
{"title":"Mapping Medieval Identities in Occitanian Crusade Song, by Rachel May Golden","authors":"Jennifer Saltzstein","doi":"10.1525/jams.2021.74.3.673","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.673","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225209","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 : 2021-01-01DOI: 10.1525/jams.2021.74.2.235
Jessica Gabriel Peritz
This article delves into the puzzling reception of opera singer Luigia Todi (1753–1833) in order to explore how the traces left by pre-phonographic voices contain long-forgotten cultural histories. Operagoers in 1790s Venice claimed that Todi’s moral qualities allowed her to overcome her “vocal defects,” and, in turn, taught her listeners to become good citizens. Hearing vocal difficulties as a manifestation of interiority, rather than as poor training, marked a significant departure from what were then the predominant aesthetics of operatic voice. In attempting to smooth over this gap, listeners pieced together narratives about Todi’s subjectivity based on the unstable, fragmented sounds of her voice. This article argues that such remediations of Todi’s singing were subtended by two seemingly irreconcilable ontologies of female voice, one of them rooted in ancient myths of sublime song and the other born of Enlightenment ideologies of domesticity. I thus read inscriptions of Todi’s voice through a network of late eighteenth-century Italian cultural anxieties, drawing on literary reimaginings of Sappho, debates over the nature of musical skill, discourses on women’s education, and more. By interrogating the narratives about one woman’s unusual voice, I offer a new origin story for still resonant assumptions about the relationships between gender and disability, politics and domestic labor, and, fundamentally, bodies and voices.
{"title":"The Female Sublime: Domesticating Luigia Todi’s Voice","authors":"Jessica Gabriel Peritz","doi":"10.1525/jams.2021.74.2.235","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.235","url":null,"abstract":"This article delves into the puzzling reception of opera singer Luigia Todi (1753–1833) in order to explore how the traces left by pre-phonographic voices contain long-forgotten cultural histories. Operagoers in 1790s Venice claimed that Todi’s moral qualities allowed her to overcome her “vocal defects,” and, in turn, taught her listeners to become good citizens. Hearing vocal difficulties as a manifestation of interiority, rather than as poor training, marked a significant departure from what were then the predominant aesthetics of operatic voice. In attempting to smooth over this gap, listeners pieced together narratives about Todi’s subjectivity based on the unstable, fragmented sounds of her voice. This article argues that such remediations of Todi’s singing were subtended by two seemingly irreconcilable ontologies of female voice, one of them rooted in ancient myths of sublime song and the other born of Enlightenment ideologies of domesticity. I thus read inscriptions of Todi’s voice through a network of late eighteenth-century Italian cultural anxieties, drawing on literary reimaginings of Sappho, debates over the nature of musical skill, discourses on women’s education, and more. By interrogating the narratives about one woman’s unusual voice, I offer a new origin story for still resonant assumptions about the relationships between gender and disability, politics and domestic labor, and, fundamentally, bodies and voices.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225025","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 : 2021-01-01DOI: 10.1525/jams.2021.74.2.427
S. Ege
{"title":"The Heart of a Woman: The Life and Music of Florence B. Price, by Rae Linda Brown","authors":"S. Ege","doi":"10.1525/jams.2021.74.2.427","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.427","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67224717","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 : 2021-01-01DOI: 10.1525/jams.2021.74.3.689
C. A. Norling and Marian Wilson Kimber
{"title":"Metropolitan Opera Archives; Traveling Culture: Circuit Chautauqua in the Twentieth Century; Re-envisioning Japan: Japan as Destination in 20th-Century Visual and Material Culture","authors":"C. A. Norling and Marian Wilson Kimber","doi":"10.1525/jams.2021.74.3.689","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.689","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225499","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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