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":null,"pages":null},"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.2023.76.2.530
Tilman Skowroneck
{"title":"Carl Philipp Emanuel Bach: The Complete Works","authors":"Tilman Skowroneck","doi":"10.1525/jams.2023.76.2.530","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.530","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":"67228303","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.2023.76.2.543
Bo Kyung Blenda Im
{"title":"American Religious Sounds Project","authors":"Bo Kyung Blenda Im","doi":"10.1525/jams.2023.76.2.543","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.543","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":"67228450","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.2023.76.2.556
Mark Burford
{"title":"Summer of Soul (… Or, When the Revolution Could Not Be Televised), directed by Ahmir “Questlove” Thompson","authors":"Mark Burford","doi":"10.1525/jams.2023.76.2.556","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.556","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":"67228514","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.2023.76.2.583
{"title":"Author Submission Guidelines","authors":"","doi":"10.1525/jams.2023.76.2.583","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.583","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135311890","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.2023.76.1.169
D. Oliva
For several decades, the topic of natural disaster has featured significantly across the humanities; in musicology, however, the severity of such events has been marked primarily in the footnotes to our histories. Often leaving a substantial and insurmountable lacuna in the historical record, natural disasters are rarely considered for their generative potential. This article demonstrates the value of a disaster-studies approach to musicology, showing how natural events can have long-term impacts on the development and evolution of musical practices. It centers on the Santa Marta earthquake of 1773 and its effects on music and musicians in the colonial capital of Santiago de Guatemala. Colonial disasters, in particular, generated a flurry of written documentation, requiring correspondence at the local, regional, and imperial level to negotiate the process of restoring order to urban centers. I argue that it is precisely the disruptive nature of disaster that allows us to observe new details of both the extraordinary and ordinary musical practices of a colonial city. Embedded in an extensive archival record is evidence of the ways ecclesiastical notions of decencia (decency) in the post-disaster landscape were enacted through musical performance, which contributed to the political process of reinstating colonial power over a destroyed Guatemala. The article expands the relationship between music and nature, placing colonial musical practices in dialogue with the sociopolitical impacts of disaster, weaving together a history of music that intersects with environmental history.
{"title":"Sonic Decency: Music in the Aftermath of Guatemala’s 1773 Santa Marta Earthquake","authors":"D. Oliva","doi":"10.1525/jams.2023.76.1.169","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.169","url":null,"abstract":"For several decades, the topic of natural disaster has featured significantly across the humanities; in musicology, however, the severity of such events has been marked primarily in the footnotes to our histories. Often leaving a substantial and insurmountable lacuna in the historical record, natural disasters are rarely considered for their generative potential. This article demonstrates the value of a disaster-studies approach to musicology, showing how natural events can have long-term impacts on the development and evolution of musical practices. It centers on the Santa Marta earthquake of 1773 and its effects on music and musicians in the colonial capital of Santiago de Guatemala. Colonial disasters, in particular, generated a flurry of written documentation, requiring correspondence at the local, regional, and imperial level to negotiate the process of restoring order to urban centers. I argue that it is precisely the disruptive nature of disaster that allows us to observe new details of both the extraordinary and ordinary musical practices of a colonial city. Embedded in an extensive archival record is evidence of the ways ecclesiastical notions of decencia (decency) in the post-disaster landscape were enacted through musical performance, which contributed to the political process of reinstating colonial power over a destroyed Guatemala. The article expands the relationship between music and nature, placing colonial musical practices in dialogue with the sociopolitical impacts of disaster, weaving together a history of music that intersects with environmental history.","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":"67227343","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.2023.76.1.238
Kristine M. McCusker
{"title":"Queer Country, by Shana Goldin-Perschbacher","authors":"Kristine M. McCusker","doi":"10.1525/jams.2023.76.1.238","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.238","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":"67227361","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.2023.76.1.226
Lisa Colton
{"title":"Sonic Bodies: Text, Music, and Silence in Late Medieval England, by Tekla Bude","authors":"Lisa Colton","doi":"10.1525/jams.2023.76.1.226","DOIUrl":"https://doi.org/10.1525/jams.2023.76.1.226","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":"67227445","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.2023.76.2.279
S. Zohn
Between the 1830s and the 1880s, leading female singers such as Henriette Rossi Sontag, Laure Cinti-Damoreau, Adelina Patti, and Pauline Viardot participated in a widespread custom of inscribing original vocal cadenzas in autograph albums (also known as friendship albums, keepsake albums, alba amicorum, or Stammbücher). The appeal of album cadenzas, along with other compact inscriptions, reflects a wider Romantic fascination with remembering through small keepsakes such as miniature almanacs and annual compilations of poetry, prose, or music. Whether improvised in the presence of collectors or offered as souvenirs of earlier performances, cadenzas functioned as mementos of musical and social encounters while visually representing singers’ musical personae through performative gestures. These florid pieces also allowed female singers to exercise agency as both creative artists and curators of their public images, much like the (mostly male) composers whose musical signatures fill surrounding album leaves. As performance-practical sources, vocal cadenzas preserve rare and revealing traces of singers’ artistry; many, in fact, can be linked to specific concerts or performances of operas by Bellini, Donizetti, Meyerbeer, Rossini, Verdi, and others. In the case of Cinti-Damoreau, such music illuminates the connection between improvisation, performance, and pedagogy. The gradual disappearance of album cadenzas during the last quarter of the nineteenth century is attributable not only to a waning interest in musical improvisation generally, but also to a shift in creative authority away from singers and toward composers, particularly in the operatic realm.
{"title":"Remember Me: Vocal Cadenzas as Mementos in Nineteenth-Century Musical Autograph Albums","authors":"S. Zohn","doi":"10.1525/jams.2023.76.2.279","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.279","url":null,"abstract":"Between the 1830s and the 1880s, leading female singers such as Henriette Rossi Sontag, Laure Cinti-Damoreau, Adelina Patti, and Pauline Viardot participated in a widespread custom of inscribing original vocal cadenzas in autograph albums (also known as friendship albums, keepsake albums, alba amicorum, or Stammbücher). The appeal of album cadenzas, along with other compact inscriptions, reflects a wider Romantic fascination with remembering through small keepsakes such as miniature almanacs and annual compilations of poetry, prose, or music. Whether improvised in the presence of collectors or offered as souvenirs of earlier performances, cadenzas functioned as mementos of musical and social encounters while visually representing singers’ musical personae through performative gestures. These florid pieces also allowed female singers to exercise agency as both creative artists and curators of their public images, much like the (mostly male) composers whose musical signatures fill surrounding album leaves. As performance-practical sources, vocal cadenzas preserve rare and revealing traces of singers’ artistry; many, in fact, can be linked to specific concerts or performances of operas by Bellini, Donizetti, Meyerbeer, Rossini, Verdi, and others. In the case of Cinti-Damoreau, such music illuminates the connection between improvisation, performance, and pedagogy. The gradual disappearance of album cadenzas during the last quarter of the nineteenth century is attributable not only to a waning interest in musical improvisation generally, but also to a shift in creative authority away from singers and toward composers, particularly in the operatic realm.","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":"67227920","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.2023.76.2.353
Inge van Rij
The orchestra that participated in the opening ceremony of the New Zealand International Exhibition held in Christchurch in 1906 played a central role in signaling what officials described as “nationhood achieved,” as the country marked its move from British colony to dominion. This contribution to nationhood was negotiated through acts of exclusion as well as empowerment, particularly in relation to gender and race. Exhibition officials sought to ban women from participation in the orchestra, demonstrating the tenacious rhetoric of masculinity prevalent in orchestras of the period. Although women eventually overcame this ban, New Zealand’s Indigenous Māori population remained barred from self-representation on the exhibition stage, instead performing their culture as ethnological entertainment beyond the concert hall. At the exhibition’s opening ceremony, it was the orchestra that represented Māori; in the third movement of the Exhibition Ode composed for the event by the orchestra’s conductor, New Zealand composer Alfred Hill, the orchestra performed “in the time of a haka” (Māori war dance). Drawing on an examination of archival material pertaining to the exhibition and analysis of the haka movement, this article argues that the performance of Hill’s haka movement by both women and men in the exhibition orchestra was an act of “brownface” in which the empowerment of the white women of the orchestra was complicated by questions of appropriation and assimilation. Examining the haka movement as event and score illuminates both the role of women in colonial cultures and the colonizing practices of orchestras themselves.
1906年，在克赖斯特彻奇举行的新西兰国际博览会(New Zealand International Exhibition)开幕式上，该乐团发挥了核心作用，标志着该国从英国殖民地转变为自治领，官方称这是“国家地位的实现”。这种对建国的贡献是通过排除和赋予权力的行为进行谈判的，特别是在性别和种族方面。展览官员试图禁止女性参加管弦乐队，这表明了那个时期管弦乐队中普遍存在的顽强的男子气概修辞。虽然女性最终克服了这一禁令，但新西兰的土著Māori人口仍然被禁止在展览舞台上自我展示，而是在音乐厅之外作为民族娱乐表演他们的文化。在展览的开幕式上，代表Māori的是管弦乐团;在乐团指挥新西兰作曲家阿尔弗雷德·希尔为此次活动创作的《展览颂歌》第三乐章中，乐团演奏了“在哈卡的时间里”(Māori战舞)。通过对与展览有关的档案材料的研究和对哈卡舞运动的分析，本文认为，在展览管弦乐队中，希尔的哈卡舞的男女表演都是一种“棕色脸”行为，在这种行为中，管弦乐队中白人女性的权力被挪用和同化的问题复杂化了。将哈卡运动作为事件和乐谱来考察，既说明了女性在殖民文化中的作用，也说明了管弦乐队本身的殖民行为。
{"title":"Race, Gender, and the Colonial Orchestral Body at the New Zealand International Exhibition, 1906","authors":"Inge van Rij","doi":"10.1525/jams.2023.76.2.353","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.353","url":null,"abstract":"The orchestra that participated in the opening ceremony of the New Zealand International Exhibition held in Christchurch in 1906 played a central role in signaling what officials described as “nationhood achieved,” as the country marked its move from British colony to dominion. This contribution to nationhood was negotiated through acts of exclusion as well as empowerment, particularly in relation to gender and race. Exhibition officials sought to ban women from participation in the orchestra, demonstrating the tenacious rhetoric of masculinity prevalent in orchestras of the period. Although women eventually overcame this ban, New Zealand’s Indigenous Māori population remained barred from self-representation on the exhibition stage, instead performing their culture as ethnological entertainment beyond the concert hall. At the exhibition’s opening ceremony, it was the orchestra that represented Māori; in the third movement of the Exhibition Ode composed for the event by the orchestra’s conductor, New Zealand composer Alfred Hill, the orchestra performed “in the time of a haka” (Māori war dance). Drawing on an examination of archival material pertaining to the exhibition and analysis of the haka movement, this article argues that the performance of Hill’s haka movement by both women and men in the exhibition orchestra was an act of “brownface” in which the empowerment of the white women of the orchestra was complicated by questions of appropriation and assimilation. Examining the haka movement as event and score illuminates both the role of women in colonial cultures and the colonizing practices of orchestras themselves.","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":"67228035","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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