Pub Date : 2023-01-01DOI: 10.1525/jams.2023.76.2.510
Natasha Roule
{"title":"Music and Power at the Court of Louis XIII: Sounding the Liturgy in Early Modern France, by Peter Bennett","authors":"Natasha Roule","doi":"10.1525/jams.2023.76.2.510","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.510","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":"67228546","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.2023.76.2.518
Chad S. Hamill/Čnaq’ymi
{"title":"Sound Relations: Native Ways of Doing Music History in Alaska, by Jessica Bissett Perea","authors":"Chad S. Hamill/Čnaq’ymi","doi":"10.1525/jams.2023.76.2.518","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.518","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":"67228144","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.2023.76.2.506
Holly Watkins
{"title":"Music, Subjectivity, and Schumann, by Benedict Taylor","authors":"Holly Watkins","doi":"10.1525/jams.2023.76.2.506","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.506","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":"67228493","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.2023.76.2.513
R. Wistreich
{"title":"Seachanges: Music in the Mediterranean and Atlantic Worlds, 1550–1800, edited by Kate van Orden","authors":"R. Wistreich","doi":"10.1525/jams.2023.76.2.513","DOIUrl":"https://doi.org/10.1525/jams.2023.76.2.513","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":"67228586","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 : 2022-01-01DOI: 10.1525/jams.2022.75.2.384
Douglas W. Shadle
{"title":"Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, edited by Charles Hiroshi Garrett and Carol J. Oja","authors":"Douglas W. Shadle","doi":"10.1525/jams.2022.75.2.384","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.384","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225813","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 : 2022-01-01DOI: 10.1525/jams.2022.75.3.547
G. Cornish
In this article, I show that contrary to enduring Cold War binaries between Western experimentalism and Soviet socialist realism, the Soviet government strategically deployed electronic music to bolster its image as a modern, forward-looking nation during the early Cold War. Drawing on previously unseen archival sources, oral history interviews, and organological methods, I argue that the Soviet government cultivated a specific politics of timbre through the creation of state-sponsored electronic musical instruments and ensembles. I begin by examining a 1955 order from the Ministry of Culture, by which engineers and inventors were tasked with building electronic instruments that sounded “modern.” I then follow the development of the Ekvodin, a multivoice synthesizer with a keyboard for easy performance, which the Ministry of Culture heralded as the future of Soviet music. Using the Ekvodin as a case study reveals both the sonic and the ideological values at play in the design of electronic musical instruments. I also explore two “misfires” in Soviet electronic music: the invention of the Il’ston synthesizer and Alfred Schnittke’s Poem about Space. Finally, I analyze the reception of the Ekvodin and the All-Union Radio and Television’s Ensemble of Electromusical Instruments to highlight the ideological debates over how best to “sound modern” in global networks of musical creation. In doing so, the article invites a broad reconsideration of musical aesthetics and politics in the Cold War.
{"title":"Synthesized Socialism: Soviet Modernity and the Politics of Timbre in the Cold War","authors":"G. Cornish","doi":"10.1525/jams.2022.75.3.547","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.547","url":null,"abstract":"In this article, I show that contrary to enduring Cold War binaries between Western experimentalism and Soviet socialist realism, the Soviet government strategically deployed electronic music to bolster its image as a modern, forward-looking nation during the early Cold War. Drawing on previously unseen archival sources, oral history interviews, and organological methods, I argue that the Soviet government cultivated a specific politics of timbre through the creation of state-sponsored electronic musical instruments and ensembles. I begin by examining a 1955 order from the Ministry of Culture, by which engineers and inventors were tasked with building electronic instruments that sounded “modern.” I then follow the development of the Ekvodin, a multivoice synthesizer with a keyboard for easy performance, which the Ministry of Culture heralded as the future of Soviet music. Using the Ekvodin as a case study reveals both the sonic and the ideological values at play in the design of electronic musical instruments. I also explore two “misfires” in Soviet electronic music: the invention of the Il’ston synthesizer and Alfred Schnittke’s Poem about Space. Finally, I analyze the reception of the Ekvodin and the All-Union Radio and Television’s Ensemble of Electromusical Instruments to highlight the ideological debates over how best to “sound modern” in global networks of musical creation. In doing so, the article invites a broad reconsideration of musical aesthetics and politics in the Cold War.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226497","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 : 2022-01-01DOI: 10.1525/jams.2022.75.3.624
N. Lerner
{"title":"Alien Listening: Voyager’s Golden Record and Music from Earth, by Daniel K. L. Chua and Alexander Rehding","authors":"N. Lerner","doi":"10.1525/jams.2022.75.3.624","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.624","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226684","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 : 2022-01-01DOI: 10.1525/jams.2022.75.2.319
Kai West
Questions of race have been central to an understanding of George Gershwin’s Porgy and Bess (1935), yet the opera’s portrayal of whiteness remains an aspect hidden in plain sight. While focusing on a Black community living under Jim Crow segregation, the work also features five white characters—a Detective and two police officers, a Coroner, and a lawyer—whose actions affect the lives of the people of Catfish Row in three often overlooked sections of the opera. Through close readings of the score, literary antecedents, and recorded as well as live performances, this article examines the relational role that whiteness plays in the compositional architecture and production history of Porgy and Bess. To show how the opera’s complex social dynamics are embedded in its musical structure, I employ an interdisciplinary approach combining musicological analysis with critical race theory, which pinpoints racial formation as a key component of Gershwin’s score. The article’s central analysis of the score reveals nuanced portrayals of Jim Crow race relations, highlighted by both multilayered expressions of white supremacy and powerful moments of Black resistance. These nuances, however, depend on reading the opera in its complete state, yet the three Black/white exchanges are often heavily altered in performance. To further understand how staging these scenes can affect their meanings, I investigate several key productions from across the opera’s history. Concluding with the Metropolitan Opera’s 2019–20 production, I reflect that the depictions of police brutality, white supremacy, and Black resistance in Porgy and Bess are more painfully relevant today than ever before.
种族问题一直是理解乔治·格什温(George Gershwin)的《波吉与贝斯》(Porgy and Bess, 1935)的核心问题，然而歌剧对白人的描绘仍然是隐藏在显而易见的一面。虽然这部作品关注的是生活在种族隔离制度下的黑人社区，但也有五个白人角色——一名侦探和两名警察，一名验尸官和一名律师——他们的行为影响了鲶鱼街人们的生活，这是歌剧中经常被忽视的三个部分。通过对乐谱、文学背景、录音和现场表演的仔细阅读，本文探讨了白人在《波吉与贝丝》的作曲结构和制作历史中所扮演的相关角色。为了展示歌剧复杂的社会动态如何嵌入到它的音乐结构中，我采用了一种跨学科的方法，将音乐学分析与批判种族理论结合起来，指出种族形成是格什温乐谱的一个关键组成部分。这篇文章对乐谱的核心分析揭示了对吉姆·克劳种族关系的微妙描绘，强调了白人至上主义的多层次表达和黑人抵抗的强大时刻。然而，这些细微差别取决于在完整的状态下阅读歌剧，然而，三种黑/白交换在表演中经常发生重大变化。为了进一步了解这些场景如何影响它们的意义，我研究了歌剧历史上的几个关键作品。以大都会歌剧院2019 - 2020年的作品作为总结，我认为，《波吉与贝丝》中对警察暴行、白人至上主义和黑人抵抗的描绘，在今天比以往任何时候都更加令人痛苦。
{"title":"Buckra: Whiteness and Porgy and Bess","authors":"Kai West","doi":"10.1525/jams.2022.75.2.319","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.319","url":null,"abstract":"Questions of race have been central to an understanding of George Gershwin’s Porgy and Bess (1935), yet the opera’s portrayal of whiteness remains an aspect hidden in plain sight. While focusing on a Black community living under Jim Crow segregation, the work also features five white characters—a Detective and two police officers, a Coroner, and a lawyer—whose actions affect the lives of the people of Catfish Row in three often overlooked sections of the opera. Through close readings of the score, literary antecedents, and recorded as well as live performances, this article examines the relational role that whiteness plays in the compositional architecture and production history of Porgy and Bess. To show how the opera’s complex social dynamics are embedded in its musical structure, I employ an interdisciplinary approach combining musicological analysis with critical race theory, which pinpoints racial formation as a key component of Gershwin’s score. The article’s central analysis of the score reveals nuanced portrayals of Jim Crow race relations, highlighted by both multilayered expressions of white supremacy and powerful moments of Black resistance. These nuances, however, depend on reading the opera in its complete state, yet the three Black/white exchanges are often heavily altered in performance. To further understand how staging these scenes can affect their meanings, I investigate several key productions from across the opera’s history. Concluding with the Metropolitan Opera’s 2019–20 production, I reflect that the depictions of police brutality, white supremacy, and Black resistance in Porgy and Bess are more painfully relevant today than ever before.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225694","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 : 2022-01-01DOI: 10.1525/jams.2022.75.3.614
Nicholas Mathew
{"title":"The Beethoven Syndrome: Hearing Music as Autobiography, by Mark Evan Bonds","authors":"Nicholas Mathew","doi":"10.1525/jams.2022.75.3.614","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.614","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67226847","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 : 2022-01-01DOI: 10.1525/jams.2022.75.2.389
Downing A. Thomas
{"title":"The Comedians of the King: “Opéra Comique” and the Bourbon Monarchy on the Eve of Revolution, by Julia Doe","authors":"Downing A. Thomas","doi":"10.1525/jams.2022.75.2.389","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.389","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225869","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：