Pub Date : 2022-01-01DOI: 10.1525/jams.2022.75.1.181
Louis K. Epstein
{"title":"Nadia Boulanger and Her World, edited by Jeanice Brooks","authors":"Louis K. Epstein","doi":"10.1525/jams.2022.75.1.181","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.181","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":"67225310","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.2022.75.1.186
Diana R. Hallman
{"title":"Grand Illusion: Phantasmagoria in Nineteenth-Century Opera, by Gabriela Cruz","authors":"Diana R. Hallman","doi":"10.1525/jams.2022.75.1.186","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.186","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":"67225419","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.2022.75.2.273
Marco Ladd
This article examines a series of lawsuits that consumed Italy’s legal establishment between approximately 1924 and 1933. Resulting from a protracted labor dispute between instrumental musicians who worked in cinemas and the exhibitors who employed them, the lawsuits turned on a question of employment law: whether musicians ought to be considered full-time employees—entitled to various benefits and protections against unfair termination—or more precariously situated freelancers whom exhibitors could hire and fire at will. As a consequence of the vagaries of existing Italian labor law and new Fascist legislation governing labor relations, musicians were already at a disadvantage in this dispute. Unexpectedly, their situation was further undermined by the judiciary, as Italy’s highest court made their employee status conditional on the perceived aesthetic value of cinema and its associated music making. That is, musicians had to prove that their musical abilities were integral to the artistic outcome of any given film screening—a tall order in the context of silent cinematic exhibition, where musical accompaniment was materially distinct from the projected film. Precisely because the courts valorized the fusion of music and image, however, the Italian musicians’ lawsuits illuminate a fundamental parameter of cinematic aesthetics—synchronization—and reveal something significant about the nature of film music. Public recognition for effecting music-image synchronization in film conferred symbolic, but also literal, capital; thus I contend that synchronization ought to be understood as a form of musical labor, both in the silent era and beyond.
{"title":"Synchronization as Musical Labor in Italian Silent Cinemas","authors":"Marco Ladd","doi":"10.1525/jams.2022.75.2.273","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.273","url":null,"abstract":"This article examines a series of lawsuits that consumed Italy’s legal establishment between approximately 1924 and 1933. Resulting from a protracted labor dispute between instrumental musicians who worked in cinemas and the exhibitors who employed them, the lawsuits turned on a question of employment law: whether musicians ought to be considered full-time employees—entitled to various benefits and protections against unfair termination—or more precariously situated freelancers whom exhibitors could hire and fire at will. As a consequence of the vagaries of existing Italian labor law and new Fascist legislation governing labor relations, musicians were already at a disadvantage in this dispute. Unexpectedly, their situation was further undermined by the judiciary, as Italy’s highest court made their employee status conditional on the perceived aesthetic value of cinema and its associated music making. That is, musicians had to prove that their musical abilities were integral to the artistic outcome of any given film screening—a tall order in the context of silent cinematic exhibition, where musical accompaniment was materially distinct from the projected film. Precisely because the courts valorized the fusion of music and image, however, the Italian musicians’ lawsuits illuminate a fundamental parameter of cinematic aesthetics—synchronization—and reveal something significant about the nature of film music. Public recognition for effecting music-image synchronization in film conferred symbolic, but also literal, capital; thus I contend that synchronization ought to be understood as a form of musical labor, both in the silent era and beyond.","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":"67225661","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.2022.75.2.379
M. Frolova-Walker
{"title":"In Stravinsky’s Orbit: Responses to Modernism in Russian Paris, by Klára Móricz","authors":"M. Frolova-Walker","doi":"10.1525/jams.2022.75.2.379","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.379","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":"67225725","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.2022.75.1.1
C. Raz
There is, Berlioz writes in his essay “De la musique en général” (1837), “a strange agitation in my blood circulation: my arteries beat violently … a trembling overtakes my limbs and a numbness my hands and feet, while the nerves of sight and hearing are partially paralyzed.” The composer here is not, as one might think, describing the symptoms of an opium overdose, but rather the powerful effect of “good music” on his own body. Challenging our tendency to dismiss Berlioz’s musical writings as merely overheated Romantic effusions, I argue that the remarkable medical detail presented in his arguments reveals a hitherto neglected dimension of nineteenth-century engagement with the embodied effects of music. Contextualizing Berlioz’s claims within the neurophysiology of his age, and in particular the physiological psychology of Cabanis, the anatomy of Bichat, and the acoustic theories of Lamarck, I recover the medical and scientific epistemes that motivated the composer’s assertions about the power of music to effect embodied and emotional transformation—a constellation of ideas that I term his “neurophysiological imagination.” An analysis in these terms of some of Berlioz’s major compositional innovations reveals how both his writings and his music explore an explicitly neurophysiological dimension of early Romantic listening. Specifically, I propose that Berlioz repeatedly attempted both to represent and to induce an experience that was of great interest to the artists and audiences of his day: an overpowering mental and physical response to music experienced as an embodied, neurophysiological form of the sublime.
柏辽兹在他1837年的文章《De la musique en gsamenzal》中写道:“我的血液循环中有一种奇怪的躁动:我的动脉剧烈跳动……我的四肢颤抖，手脚麻木，而视觉和听觉的神经也部分瘫痪。”正如人们可能认为的那样，作曲家在这里并不是在描述鸦片过量的症状，而是在描述“好音乐”对他自己身体的强大影响。我们有一种倾向，认为柏辽兹的音乐作品仅仅是过分浪漫主义的流露，我对此提出了挑战。我认为，在他的论证中，引人注目的医学细节揭示了一个迄今为止被忽视的维度，即19世纪对音乐的具体影响的参与。我将柏辽兹的主张置于他那个时代的神经生理学，特别是卡巴尼斯的生理心理学、比查的解剖学和拉马克的声学理论的背景下，恢复了促使作曲家断言音乐的力量能够影响身体和情感转变的医学和科学知识——我称之为他的“神经生理学想象力”的一系列观点。从这些方面分析柏辽兹的一些主要作曲创新，揭示了他的作品和音乐如何明确地探索早期浪漫主义聆听的神经生理学维度。具体来说，我认为柏辽兹反复尝试表现和诱导一种对他那个时代的艺术家和观众非常感兴趣的体验:一种对音乐的强烈的精神和身体反应，作为一种体现的、神经生理学的崇高形式。
{"title":"Hector Berlioz’s Neurophysiological Imagination","authors":"C. Raz","doi":"10.1525/jams.2022.75.1.1","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.1","url":null,"abstract":"There is, Berlioz writes in his essay “De la musique en général” (1837), “a strange agitation in my blood circulation: my arteries beat violently … a trembling overtakes my limbs and a numbness my hands and feet, while the nerves of sight and hearing are partially paralyzed.” The composer here is not, as one might think, describing the symptoms of an opium overdose, but rather the powerful effect of “good music” on his own body. Challenging our tendency to dismiss Berlioz’s musical writings as merely overheated Romantic effusions, I argue that the remarkable medical detail presented in his arguments reveals a hitherto neglected dimension of nineteenth-century engagement with the embodied effects of music. Contextualizing Berlioz’s claims within the neurophysiology of his age, and in particular the physiological psychology of Cabanis, the anatomy of Bichat, and the acoustic theories of Lamarck, I recover the medical and scientific epistemes that motivated the composer’s assertions about the power of music to effect embodied and emotional transformation—a constellation of ideas that I term his “neurophysiological imagination.” An analysis in these terms of some of Berlioz’s major compositional innovations reveals how both his writings and his music explore an explicitly neurophysiological dimension of early Romantic listening. Specifically, I propose that Berlioz repeatedly attempted both to represent and to induce an experience that was of great interest to the artists and audiences of his day: an overpowering mental and physical response to music experienced as an embodied, neurophysiological form of the sublime.","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":"67225641","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.2022.75.2.405
Horace J. Maxile Jr.
{"title":"Fantasie nègre: The Piano Music of Florence Price, by Samantha Ege","authors":"Horace J. Maxile Jr.","doi":"10.1525/jams.2022.75.2.405","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.405","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":"67225901","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.2022.75.1.200
Stephen A. Marini
{"title":"Moravian Soundscapes: A Sonic History of the Moravian Missions in Early Pennsylvania, by Sarah Justina Eyerly","authors":"Stephen A. Marini","doi":"10.1525/jams.2022.75.1.200","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.200","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":"67225926","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.2022.75.1.39
N. Newman
Despite the key role played by Alma Schindler Mahler-Werfel (1879–1964) in the preservation of her husband Gustav’s compositions and biography, she has often been viewed as having deliberately distorted his legacy. As sometimes happens to the widows of accomplished men, Alma’s capacity for sound judgment and right to control her image have been challenged by her husband’s devotees. This article considers Alma’s situation in terms of the #MeToo movement’s demand for the reevaluation of sexual politics between powerful men and younger women. Fundamental to this reconsideration is the imperative to listen to what individuals say about their experiences. Alma was nearly twenty years Gustav’s junior and pregnant when their marriage was hastily arranged. I explore key elements in their relationship, such as the devastating letter in which Gustav forbade her to compose, in terms of new conceptualizations of gaslighting, grooming, consent, character assessment, and believability articulated by the #MeToo movement. This theoretical foundation grounds extensive critique of both the conventions of fin-de-siècle Vienna and the chauvinism of late twentieth-century scholars. I conclude by briefly proposing an alternative perspective on Alma’s musical contributions based on her writings, compositions, and editorial, organizational, and curatorial activities. The revision of assumptions about one of Europe’s most famous musical couples has gained urgency since #MeToo began to articulate a new perspective on gender relations and artistic aspirations founded on social justice.
{"title":"#AlmaToo: The Art of Being Believed","authors":"N. Newman","doi":"10.1525/jams.2022.75.1.39","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.39","url":null,"abstract":"Despite the key role played by Alma Schindler Mahler-Werfel (1879–1964) in the preservation of her husband Gustav’s compositions and biography, she has often been viewed as having deliberately distorted his legacy. As sometimes happens to the widows of accomplished men, Alma’s capacity for sound judgment and right to control her image have been challenged by her husband’s devotees. This article considers Alma’s situation in terms of the #MeToo movement’s demand for the reevaluation of sexual politics between powerful men and younger women. Fundamental to this reconsideration is the imperative to listen to what individuals say about their experiences. Alma was nearly twenty years Gustav’s junior and pregnant when their marriage was hastily arranged. I explore key elements in their relationship, such as the devastating letter in which Gustav forbade her to compose, in terms of new conceptualizations of gaslighting, grooming, consent, character assessment, and believability articulated by the #MeToo movement. This theoretical foundation grounds extensive critique of both the conventions of fin-de-siècle Vienna and the chauvinism of late twentieth-century scholars. I conclude by briefly proposing an alternative perspective on Alma’s musical contributions based on her writings, compositions, and editorial, organizational, and curatorial activities. The revision of assumptions about one of Europe’s most famous musical couples has gained urgency since #MeToo began to articulate a new perspective on gender relations and artistic aspirations founded on social justice.","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":"67226010","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.2022.75.2.419
Maria Mendonça
{"title":"Song in the Sumatran Highlands","authors":"Maria Mendonça","doi":"10.1525/jams.2022.75.2.419","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.419","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":"67226162","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.2022.75.2.393
Megan Steigerwald Ille
{"title":"Industry: Bang on a Can and New Music in the Marketplace, by William Robin","authors":"Megan Steigerwald Ille","doi":"10.1525/jams.2022.75.2.393","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.393","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":"67225887","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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