Pub Date : 2022-01-01DOI: 10.1525/jams.2022.75.3.439
Daniel F. Castro Pantoja
This article presents an analytical framework for the study of Latin American music autobiographies. I take Colombian composer Guillermo Uribe Holguín’s 1941 autobiography Vida de un músico colombiano as a paradigmatic case in order to argue that Latin American music autobiographies are not secondary sources that lack historical or literary value—a common historiographical assumption—but rather agonistic and intermedial objects that intervene in local and translocal networks. In addition to introducing recent literature on music autobiographies, the article expands on post-foundationalist political thought to make a case for a renewed examination of Latin American music autobiographies and their relevance to the study of music, sound, and the political. In my reading of the Vida, I consider Uribe Holguín’s literary inscription of cosmopolitan musickings, anxieties, and agentic claims and evaluate their potential to at once reify and/or disarticulate a nationalist-populist poetics, the conflation of partisan struggle with national identity, and narratives of European and Euro-American exceptionalism in global music histories. The article also discusses how other political actors continue to use the Vida to sound and perform a politics of belonging in contraposition to Uribe Holguín’s non-national, cosmopolitan autobiographical self. The last section exposes Michael Herzfeld’s notion of cultural intimacy to Ernesto Laclau and Chantal Mouffe’s category of antagonism to account for the Vida’s reception beyond national borders and analyze the performances of cosmopolitan subjectivity it enabled among actors at the margins of a global modernity who saw themselves as precarized by the geopolitics of Western art music.
本文提出了拉丁美洲音乐自传研究的分析框架。我以哥伦比亚作曲家吉列尔莫·乌里韦Holguín 1941年的自传《Vida de un músico columbiano》为例，论证拉丁美洲音乐自传并非缺乏历史或文学价值的二手资料(这是一种常见的史学假设)，而是介入地方和跨地方网络的竞争和中介对象。除了介绍关于音乐自传的最新文献外，本文还扩展了后基础主义政治思想，以重新审视拉丁美洲音乐自传及其与音乐，声音和政治研究的相关性。在我阅读《维达》时，我考虑了乌里韦Holguín对世界主义音乐、焦虑和代理主张的文学铭文，并评估了它们立即具体化和/或消解民族主义-民粹主义诗学、党派斗争与民族身份的融合、以及全球音乐史上欧洲和欧美例外主义的叙述的潜力。这篇文章也讨论了其他政治行动者如何继续使用维达来发声和执行一种归属感的政治，与乌里韦Holguín的非民族的、世界主义的自传体自我相对立。最后一部分将迈克尔·赫茨菲尔德的文化亲密概念与埃内斯托·拉克劳和尚塔尔·墨菲的对抗范畴进行了揭露，以解释Vida超越国界的接受，并分析了它在全球现代性边缘的演员中所表现出的世界主义主体性，这些演员认为自己被西方艺术音乐的地缘政治所破坏。
{"title":"Life of a Colombian Musician: Music Autobiography, Cosmopolitan Musickings, and Agonistic Objectification","authors":"Daniel F. Castro Pantoja","doi":"10.1525/jams.2022.75.3.439","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.439","url":null,"abstract":"This article presents an analytical framework for the study of Latin American music autobiographies. I take Colombian composer Guillermo Uribe Holguín’s 1941 autobiography Vida de un músico colombiano as a paradigmatic case in order to argue that Latin American music autobiographies are not secondary sources that lack historical or literary value—a common historiographical assumption—but rather agonistic and intermedial objects that intervene in local and translocal networks. In addition to introducing recent literature on music autobiographies, the article expands on post-foundationalist political thought to make a case for a renewed examination of Latin American music autobiographies and their relevance to the study of music, sound, and the political. In my reading of the Vida, I consider Uribe Holguín’s literary inscription of cosmopolitan musickings, anxieties, and agentic claims and evaluate their potential to at once reify and/or disarticulate a nationalist-populist poetics, the conflation of partisan struggle with national identity, and narratives of European and Euro-American exceptionalism in global music histories. The article also discusses how other political actors continue to use the Vida to sound and perform a politics of belonging in contraposition to Uribe Holguín’s non-national, cosmopolitan autobiographical self. The last section exposes Michael Herzfeld’s notion of cultural intimacy to Ernesto Laclau and Chantal Mouffe’s category of antagonism to account for the Vida’s reception beyond national borders and analyze the performances of cosmopolitan subjectivity it enabled among actors at the margins of a global modernity who saw themselves as precarized by the geopolitics of Western art music.","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":"67226227","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.2022.75.3.487
J. M. Pierce
The 1949 Chopin Year was a large-scale cultural mobilization whose purpose was to bring Chopin’s music to hundreds of thousands of Poles and to promote it around the world, all funded and overseen by Poland’s newly established Communist state. Among the most striking aspects of the Chopin Year was its extensive international programming: not only did Polish diplomatic missions convince around thirty countries to organize Chopin celebrations that paralleled those in Poland, but they targeted countries outside the Soviet-dominated Eastern Bloc, despite the strictures of Stalinist-era anti-Westernism then growing across Eastern Europe. This article draws on unstudied archival sources from Polish ministries, musical institutions, and diplomatic missions to explore the historical and political forces at play in Poland’s Chopin-centered internationalism during the early Cold War. I demonstrate that cultural officials, composers, diplomats, and performers—all with varying stakes in state socialism—competed over the meaning of Chopin and his accomplishments when planning the Chopin Year. These various factions often agreed, however, on a decades-old view of the composer as both a national and an international figure, whose legacy was uniquely capable of promoting Polish causes on the global stage. By showing how the Chopin Year drew on and perpetuated a longue durée of Polish transnational contacts and discourse about the global Chopin, the article places Cold War internationalism within a longer lineage of border-crossing that had been a central aspect of European musical culture since at least Chopin’s lifetime.
{"title":"Global Chopin: The 1949 Centenary and Polish Internationalism during the Early Cold War","authors":"J. M. Pierce","doi":"10.1525/jams.2022.75.3.487","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.487","url":null,"abstract":"The 1949 Chopin Year was a large-scale cultural mobilization whose purpose was to bring Chopin’s music to hundreds of thousands of Poles and to promote it around the world, all funded and overseen by Poland’s newly established Communist state. Among the most striking aspects of the Chopin Year was its extensive international programming: not only did Polish diplomatic missions convince around thirty countries to organize Chopin celebrations that paralleled those in Poland, but they targeted countries outside the Soviet-dominated Eastern Bloc, despite the strictures of Stalinist-era anti-Westernism then growing across Eastern Europe. This article draws on unstudied archival sources from Polish ministries, musical institutions, and diplomatic missions to explore the historical and political forces at play in Poland’s Chopin-centered internationalism during the early Cold War. I demonstrate that cultural officials, composers, diplomats, and performers—all with varying stakes in state socialism—competed over the meaning of Chopin and his accomplishments when planning the Chopin Year. These various factions often agreed, however, on a decades-old view of the composer as both a national and an international figure, whose legacy was uniquely capable of promoting Polish causes on the global stage. By showing how the Chopin Year drew on and perpetuated a longue durée of Polish transnational contacts and discourse about the global Chopin, the article places Cold War internationalism within a longer lineage of border-crossing that had been a central aspect of European musical culture since at least Chopin’s lifetime.","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":"67226341","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.2022.75.1.81
David H. Miller
Anton Webern’s vocal music has long been overshadowed by the aphoristic miniatures and rigorously organized twelve-tone works—both largely instrumental genres—for which the composer is best known. Yet over half of Webern’s output consists of vocal works. During the 1950s, as composers and intellectuals celebrated the “instrumental” Webern, an alternative view of the composer was emerging through the performances of three soprano soloists. Bethany Beardslee gave posthumous premieres of three of Webern’s works in New York and recorded his Four Songs op. 12 for Dial Records. On the other side of the country, Grace-Lynne Martin and Marni Nixon performed works by Webern at the Evenings on the Roof in Los Angeles, and collaborated with Robert Craft on Columbia Records’ Anton Webern: The Complete Music. Beardslee, Martin, and Nixon adopted a variety of approaches to learning Webern’s famously difficult works, and their work paid off: all three sopranos earned praise for weathering the extreme technical challenges of Webern’s soprano lines while also delivering musically satisfying performances. Yet these performances have been largely forgotten in the decades since, as a consequence of changing attitudes toward postwar performance practices as well as the sometimes sexist views of male music critics. Nevertheless, the performances of these sopranos constituted a crucial step toward perspectives on Webern that are now current among contemporary performers and scholars, and understanding their contributions is essential to understanding the vocal side of Webern.
{"title":"Singing Webern, Sounding Webern: Bethany Beardslee, Grace-Lynne Martin, and Marni Nixon, 1950–1957","authors":"David H. Miller","doi":"10.1525/jams.2022.75.1.81","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.81","url":null,"abstract":"Anton Webern’s vocal music has long been overshadowed by the aphoristic miniatures and rigorously organized twelve-tone works—both largely instrumental genres—for which the composer is best known. Yet over half of Webern’s output consists of vocal works. During the 1950s, as composers and intellectuals celebrated the “instrumental” Webern, an alternative view of the composer was emerging through the performances of three soprano soloists. Bethany Beardslee gave posthumous premieres of three of Webern’s works in New York and recorded his Four Songs op. 12 for Dial Records. On the other side of the country, Grace-Lynne Martin and Marni Nixon performed works by Webern at the Evenings on the Roof in Los Angeles, and collaborated with Robert Craft on Columbia Records’ Anton Webern: The Complete Music. Beardslee, Martin, and Nixon adopted a variety of approaches to learning Webern’s famously difficult works, and their work paid off: all three sopranos earned praise for weathering the extreme technical challenges of Webern’s soprano lines while also delivering musically satisfying performances. Yet these performances have been largely forgotten in the decades since, as a consequence of changing attitudes toward postwar performance practices as well as the sometimes sexist views of male music critics. Nevertheless, the performances of these sopranos constituted a crucial step toward perspectives on Webern that are now current among contemporary performers and scholars, and understanding their contributions is essential to understanding the vocal side of Webern.","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":"67226056","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.2022.75.1.167
Alejandro García Sudo, Elisabeth Le Guin
{"title":"De Nueva España a México: El universo musical mexicano entre centenarios (1517–1917), edited by Javier Marín-López","authors":"Alejandro García Sudo, Elisabeth Le Guin","doi":"10.1525/jams.2022.75.1.167","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.167","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":"67225298","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.2022.75.3.599
M. A. Pottinger
{"title":"Singing Like Germans: Black Musicians in the Land of Bach, Beethoven, and Brahms, by Kira Thurman","authors":"M. A. Pottinger","doi":"10.1525/jams.2022.75.3.599","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.599","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":"67226645","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.2022.75.1.195
W. D. Sutcliffe
{"title":"Instrumental Music in Late Eighteenth-Century Naples: Politics, Patronage and Artistic Culture, by Anthony R. DelDonna","authors":"W. D. Sutcliffe","doi":"10.1525/jams.2022.75.1.195","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.195","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":"67225522","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.2022.75.2.409
J. Henry
{"title":"I Used to Love to Dream, by A. D. Carson","authors":"J. Henry","doi":"10.1525/jams.2022.75.2.409","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.409","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":"67226550","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.2022.75.3.619
Megan Sarno
{"title":"Sacred Sounds, Secular Spaces: Transforming Catholicism through the Music of Third-Republic Paris, by Jennifer Walker","authors":"Megan Sarno","doi":"10.1525/jams.2022.75.3.619","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.619","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":"67227094","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.2022.75.1.129
R. Grant
During the eighteenth century, a vibrant tradition of choral and orchestral music flourished among the Chiquitano Indigenous people. Coerced into entering Jesuit missions in the Spanish Viceroyalty of Peru (now eastern Bolivia) the Chiquitano first heard and then began to make music in a European style. Archival sources preserve several operas and large-scale liturgical compositions written entirely in the Chiquitano language and attributed to Indigenous composers. Unlike the heavy counterpoint of other New World sacred music, this repertoire is characterized by simple harmonies, regular cadence patterns, and transparent textures. In three analytical vignettes, this article explains how the galant style of this mission music helped to achieve the colonial aims of European settlers. Previous scholars have generally celebrated the exceptional status of this unusual body of music and pointed to it as proof of an isolated set of instances in which traditional power hierarchies between colonizers and Indigenous colonized were unstable. Drawing on Brian Larkin, Homi Bhabha, and Franz Fanon, this article by contrast suggests that the specific aesthetic forms produced by the Chiquitano were vital in helping to shape them as colonial subjects. The galant style of their music was both easy to participate in and impressive to experience. Taking this seriously means rewriting our European narrative of the galant and retelling it, in part, as one of cultural imperialism and colonial hegemony.
{"title":"Colonial Galant: Three Analytical Perspectives from the Chiquitano Missions","authors":"R. Grant","doi":"10.1525/jams.2022.75.1.129","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.129","url":null,"abstract":"During the eighteenth century, a vibrant tradition of choral and orchestral music flourished among the Chiquitano Indigenous people. Coerced into entering Jesuit missions in the Spanish Viceroyalty of Peru (now eastern Bolivia) the Chiquitano first heard and then began to make music in a European style. Archival sources preserve several operas and large-scale liturgical compositions written entirely in the Chiquitano language and attributed to Indigenous composers. Unlike the heavy counterpoint of other New World sacred music, this repertoire is characterized by simple harmonies, regular cadence patterns, and transparent textures. In three analytical vignettes, this article explains how the galant style of this mission music helped to achieve the colonial aims of European settlers. Previous scholars have generally celebrated the exceptional status of this unusual body of music and pointed to it as proof of an isolated set of instances in which traditional power hierarchies between colonizers and Indigenous colonized were unstable. Drawing on Brian Larkin, Homi Bhabha, and Franz Fanon, this article by contrast suggests that the specific aesthetic forms produced by the Chiquitano were vital in helping to shape them as colonial subjects. The galant style of their music was both easy to participate in and impressive to experience. Taking this seriously means rewriting our European narrative of the galant and retelling it, in part, as one of cultural imperialism and colonial hegemony.","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":"67225202","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.2022.75.1.163
Birgitta J. Johnson
{"title":"Flaming? The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance, by Alisha Lola Jones","authors":"Birgitta J. Johnson","doi":"10.1525/jams.2022.75.1.163","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.163","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":"67225249","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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