Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.1.256
K. S. Carithers
{"title":"Musical Migration and Imperial New York: Early Cold War Scenes, by Brigid Cohen","authors":"K. S. Carithers","doi":"10.1525/jams.2023.76.1.256","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.256","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227832","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.2023.76.1.57
Andrew J. Chung
This article considers musicological consequences of recent proposals by climate researchers to date the beginning of the Anthropocene—the geological epoch in which human activities define the Earth system—to the period immediately following New World colonization. Colonial decimation of Indigenous communities in Central and South America led to land abandonment and a reforestation event. In 1610, this reforestation triggered carbon dioxide sequestration and a planetary low point of CO2, a climatic signal that geologists call the “Orbis Spike.” I explore how colonization’s Orbis Spike alters the historiographical horizons for approaching musical and aural documents of the early modern to nineteenth-century Atlantic. The Orbis Spike proposal challenges musicological inquiry into the Anthropocene to be not only ecologically and musicologically sensitive, but also decolonial, antiracist, and critical of global capitalism. Accordingly, I develop Anthropocenic recontextualizations of Purcell’s Indian Queen (1695), eighteenth- and nineteenth-century musical and ethnographic representations of Native American “death songs,” and two practices of Indigenous resurgence via song: psalmody and Ghost Dance ceremonies. Recognizing how the lethality of colonization shaped the Anthropocene confronts the time of musical history with geological time, centering Anthropocene climate change as a background analytical framework for music seemingly far-removed from familiar ecomusicological themes. Ultimately, this article demonstrates Anthropocene stakes for early modern music studies and foregrounds the colonial underpinnings and contemporary racial asymmetries of ecological precarity as urgent questions for musicology’s emerging engagement with the Anthropocene.
{"title":"Songs of the New World and the Breath of the Planet at the Orbis Spike, 1610: Toward a Decolonial Musicology of the Anthropocene","authors":"Andrew J. Chung","doi":"10.1525/jams.2023.76.1.57","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.57","url":null,"abstract":"This article considers musicological consequences of recent proposals by climate researchers to date the beginning of the Anthropocene—the geological epoch in which human activities define the Earth system—to the period immediately following New World colonization. Colonial decimation of Indigenous communities in Central and South America led to land abandonment and a reforestation event. In 1610, this reforestation triggered carbon dioxide sequestration and a planetary low point of CO2, a climatic signal that geologists call the “Orbis Spike.” I explore how colonization’s Orbis Spike alters the historiographical horizons for approaching musical and aural documents of the early modern to nineteenth-century Atlantic. The Orbis Spike proposal challenges musicological inquiry into the Anthropocene to be not only ecologically and musicologically sensitive, but also decolonial, antiracist, and critical of global capitalism. Accordingly, I develop Anthropocenic recontextualizations of Purcell’s Indian Queen (1695), eighteenth- and nineteenth-century musical and ethnographic representations of Native American “death songs,” and two practices of Indigenous resurgence via song: psalmody and Ghost Dance ceremonies. Recognizing how the lethality of colonization shaped the Anthropocene confronts the time of musical history with geological time, centering Anthropocene climate change as a background analytical framework for music seemingly far-removed from familiar ecomusicological themes. Ultimately, this article demonstrates Anthropocene stakes for early modern music studies and foregrounds the colonial underpinnings and contemporary racial asymmetries of ecological precarity as urgent questions for musicology’s emerging engagement with the Anthropocene.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227664","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.2023.76.2.407
Joel Haney
Studies of the Weimar-era discourse of Gebrauchsmusik (utility music, or music for everyday use) have emphasized Heinrich Besseler’s appropriation of Martin Heidegger’s concept of knowledge gained through immediate participatory experience. Along with Germany’s musical youth movement (Jugendmusikbewegung), Besseler rejected formal concert institutions and promoted musical practices that solicited active involvement in everyday social contexts. The focus on Besseler has kept alive Theodor Adorno’s critique of the amateur movement’s claims of participatory immediacy as being illusory and allied with unreflective, exclusivist elements of National Socialist ideology. Adorno’s assimilation of the prominent Gebrauchsmusik composer Paul Hindemith to a Besselerian/Heideggerian position still informs scholarship, although this view overlooks an alternative paradigm for amateur and school music-making articulated in the late 1920s by the critic and educationist Erich Doflein. Doflein outlined a concept of Übungsmusik (practice music) by intertwining Besselerian elements with a commitment to pedagogical contexts, and by interpreting Hindemith’s compositional strategies as rewarding participants only after challenging their understanding and drawing them into deeply focused, playful activity. Übungsmusik offers a lens for reexamining Hindemith’s collaborations with the music-educational reformers Hilmar Höckner and Edgar Rabsch. Here, ongoing mutual effort formed a precondition for claims of sociomusical connectedness, claims that are further illuminated by the play-centered theory of sociability formulated by the philosophical anthropologist Helmuth Plessner. By bringing together musical knowing and doing at a fundamental level, Doflein’s paradigm is also relevant to recent methodological disputes over music’s object- and event-status.
{"title":"“Empty Claims of Fellowship”? Erich Doflein, Paul Hindemith, and Übungsmusik as Shared Task","authors":"Joel Haney","doi":"10.1525/jams.2023.76.2.407","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.407","url":null,"abstract":"Studies of the Weimar-era discourse of Gebrauchsmusik (utility music, or music for everyday use) have emphasized Heinrich Besseler’s appropriation of Martin Heidegger’s concept of knowledge gained through immediate participatory experience. Along with Germany’s musical youth movement (Jugendmusikbewegung), Besseler rejected formal concert institutions and promoted musical practices that solicited active involvement in everyday social contexts. The focus on Besseler has kept alive Theodor Adorno’s critique of the amateur movement’s claims of participatory immediacy as being illusory and allied with unreflective, exclusivist elements of National Socialist ideology. Adorno’s assimilation of the prominent Gebrauchsmusik composer Paul Hindemith to a Besselerian/Heideggerian position still informs scholarship, although this view overlooks an alternative paradigm for amateur and school music-making articulated in the late 1920s by the critic and educationist Erich Doflein. Doflein outlined a concept of Übungsmusik (practice music) by intertwining Besselerian elements with a commitment to pedagogical contexts, and by interpreting Hindemith’s compositional strategies as rewarding participants only after challenging their understanding and drawing them into deeply focused, playful activity. Übungsmusik offers a lens for reexamining Hindemith’s collaborations with the music-educational reformers Hilmar Höckner and Edgar Rabsch. Here, ongoing mutual effort formed a precondition for claims of sociomusical connectedness, claims that are further illuminated by the play-centered theory of sociability formulated by the philosophical anthropologist Helmuth Plessner. By bringing together musical knowing and doing at a fundamental level, Doflein’s paradigm is also relevant to recent methodological disputes over music’s object- and event-status.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67228331","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.2023.76.2.503
I. Mosley
{"title":"O Say Can You Hear? A Cultural Biography of “The Star-Spangled Banner,” by Mark Clague","authors":"I. Mosley","doi":"10.1525/jams.2023.76.2.503","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.503","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67228441","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.2023.76.1.113
James A. Hepokoski
Between 1911 and 1913, Odeon records, in Berlin, produced and made available for sale five complete, four-movement symphonies, the first complete symphonies ever recorded. They were Beethoven’s Fifth and Sixth Symphonies (August and November–December 1911), and then Haydn’s Symphony no. 94 (“Surprise”) and Mozart’s Symphonies nos. 40 and 39 (in that order, March and April 1913). Each was performed by members of the Odeon company’s orchestra, billed as the “Großes Odeon-Streich-Orchester.” While no conductor is identified on the labels, it was surely Eduard Künneke, Odeon’s house conductor at that time. (Arthur Nikisch’s Beethoven’s Fifth with the Berlin Philharmonic would follow, from Grammophon records, in November 1913.) Odeon’s decisions to record these five symphonies took place within two larger corporate contexts, 1907–13: first, that of what was becoming increasingly possible within the enabling yet constraining affordances of the era’s music-recording industry; second, that of how those affordances were giving rise to the more innovative plans and economic gambles of recording extended classical works—longer stretches of operetta and opera, high-prestige orchestral music, and, eventually, symphonies. Much of this history can be traced in reports, reviews, and advertisements in the contemporaneous German trade journal the Phonographische Zeitschrift. The whole is framed here within the contexts of recent media theory and varying views of the impact of sound recordings on twentieth- and twenty-first-century listening practices. As Antoine Hennion put it, “The disc has been powerful enough to introduce modern listeners to musical repertoires conceived with a different relationship in mind.”
{"title":"“Listen and Be Amazed!”: Odeon, Künneke, and the First Recordings of Complete Symphonies","authors":"James A. Hepokoski","doi":"10.1525/jams.2023.76.1.113","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.113","url":null,"abstract":"Between 1911 and 1913, Odeon records, in Berlin, produced and made available for sale five complete, four-movement symphonies, the first complete symphonies ever recorded. They were Beethoven’s Fifth and Sixth Symphonies (August and November–December 1911), and then Haydn’s Symphony no. 94 (“Surprise”) and Mozart’s Symphonies nos. 40 and 39 (in that order, March and April 1913). Each was performed by members of the Odeon company’s orchestra, billed as the “Großes Odeon-Streich-Orchester.” While no conductor is identified on the labels, it was surely Eduard Künneke, Odeon’s house conductor at that time. (Arthur Nikisch’s Beethoven’s Fifth with the Berlin Philharmonic would follow, from Grammophon records, in November 1913.) Odeon’s decisions to record these five symphonies took place within two larger corporate contexts, 1907–13: first, that of what was becoming increasingly possible within the enabling yet constraining affordances of the era’s music-recording industry; second, that of how those affordances were giving rise to the more innovative plans and economic gambles of recording extended classical works—longer stretches of operetta and opera, high-prestige orchestral music, and, eventually, symphonies. Much of this history can be traced in reports, reviews, and advertisements in the contemporaneous German trade journal the Phonographische Zeitschrift. The whole is framed here within the contexts of recent media theory and varying views of the impact of sound recordings on twentieth- and twenty-first-century listening practices. As Antoine Hennion put it, “The disc has been powerful enough to introduce modern listeners to musical repertoires conceived with a different relationship in mind.”","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226968","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.2023.76.2.576
{"title":"Publications Received","authors":"","doi":"10.1525/jams.2023.76.2.576","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.576","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"171 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135311891","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.2023.76.2.525
Ginger Dellenbaugh
{"title":"Material Cultures of Music Notation: New Perspectives on Musical Inscription, edited by Floris Schuiling and Emily Payne","authors":"Ginger Dellenbaugh","doi":"10.1525/jams.2023.76.2.525","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.525","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67228285","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.2023.76.1.234
Marian Wilson Kimber
{"title":"Clara Schumann Studies, edited by Joe Davies","authors":"Marian Wilson Kimber","doi":"10.1525/jams.2023.76.1.234","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.234","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227159","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.2023.76.1.245
Jacek Blaszkiewicz
{"title":"Berlioz in Time: From Early Recognition to Lasting Renown, by Peter Bloom","authors":"Jacek Blaszkiewicz","doi":"10.1525/jams.2023.76.1.245","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.245","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67227530","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.2023.76.2.520
Sylvia Kahan
{"title":"French Musical Life: Local Dynamics in the Century to World War II, by Katharine Ellis","authors":"Sylvia Kahan","doi":"10.1525/jams.2023.76.2.520","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.520","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67228168","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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