Pub Date : 2022-01-01DOI: 10.1525/jams.2022.75.2.398
B. Gordon
{"title":"Women and Music in Sixteenth-Century Ferrara, by Laurie Stras","authors":"B. Gordon","doi":"10.1525/jams.2022.75.2.398","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.398","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":"67226093","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.2022.75.2.221
Christina Baade
In the late 1950s, musical variety shows on television played a critical role in the careers of numerous singers, particularly women working in mainstream pop. Some even hosted their own shows, becoming “television personalities,” a new type of performer skilled at conveying televisual authenticity and intimacy. We can better understand the significance of these often overlooked singers by recentering the role of television in their careers. This article takes as its case study the British singer Vera Lynn and Vera Lynn Sings, the lavishly produced, prime-time musical variety show that she hosted from 1956 to 1959 and that was the centerpiece of her exclusive, multi-year contract with the British Broadcasting Corporation. By examining her star persona on the show, the article offers a corrective to accounts of Lynn’s long life as a public figure, which tend to emphasize her fame as a singer in World War II while skimming over her accomplished career in the decades that followed. Drawing upon production documents and scripts at the BBC Written Archives Centre, together with press sources, this article argues that Vera Lynn Sings helped shape popular notions of British national identity in the late 1950s. Through its musical, performative, and visual strategies, the show offered a vision of national belonging that placed aspirational, white, feminine domesticity at the center. Anchored by Lynn’s sincere persona and sentimental songs, the show’s intimate address and musical repertoire welcomed a “family” audience across lines of gender, class, and age, while simultaneously reinforcing racist and colonial definitions of national belonging.
在20世纪50年代后期，电视上的音乐综艺节目在许多歌手的职业生涯中发挥了关键作用，尤其是在主流流行音乐领域工作的女性。有些人甚至主持自己的节目，成为“电视名人”，这是一种新型的表演者，擅长传达电视上的真实性和亲切感。通过重新审视电视在这些歌手职业生涯中的作用，我们可以更好地理解这些经常被忽视的歌手的重要性。本文以英国歌手薇拉·林恩和薇拉·林恩之歌(Vera Lynn and Vera Lynn Sings)为例进行了研究，这是她在1956年至1959年期间主持的黄金时段制作奢华的音乐综艺节目，也是她与英国广播公司(British Broadcasting Corporation)签订的多年独家合同的核心内容。通过审视她在剧中的明星形象，这篇文章纠正了对林恩作为公众人物的长期生活的描述，这些描述往往强调她在第二次世界大战期间作为歌手的名声，而忽略了她在随后几十年里取得的成就。根据英国广播公司书面档案中心的制作文件和剧本，以及新闻来源，本文认为薇拉·林恩·辛斯在20世纪50年代后期帮助塑造了英国国民身份的流行观念。通过其音乐、表演和视觉策略，该节目提供了一种民族归属感的愿景，将有抱负的白人女性家庭生活置于中心。在林恩真诚的人格和感人至深的歌曲的支撑下，这部剧的亲密演讲和音乐曲目欢迎了跨越性别、阶级和年龄界限的“家庭”观众，同时强化了种族主义和殖民主义对国家归属的定义。
{"title":"Vera Lynn Sings: Domesticity, Glamour, and National Belonging on 1950s British Television","authors":"Christina Baade","doi":"10.1525/jams.2022.75.2.221","DOIUrl":"https://doi.org/10.1525/jams.2022.75.2.221","url":null,"abstract":"In the late 1950s, musical variety shows on television played a critical role in the careers of numerous singers, particularly women working in mainstream pop. Some even hosted their own shows, becoming “television personalities,” a new type of performer skilled at conveying televisual authenticity and intimacy. We can better understand the significance of these often overlooked singers by recentering the role of television in their careers. This article takes as its case study the British singer Vera Lynn and Vera Lynn Sings, the lavishly produced, prime-time musical variety show that she hosted from 1956 to 1959 and that was the centerpiece of her exclusive, multi-year contract with the British Broadcasting Corporation. By examining her star persona on the show, the article offers a corrective to accounts of Lynn’s long life as a public figure, which tend to emphasize her fame as a singer in World War II while skimming over her accomplished career in the decades that followed. Drawing upon production documents and scripts at the BBC Written Archives Centre, together with press sources, this article argues that Vera Lynn Sings helped shape popular notions of British national identity in the late 1950s. Through its musical, performative, and visual strategies, the show offered a vision of national belonging that placed aspirational, white, feminine domesticity at the center. Anchored by Lynn’s sincere persona and sentimental songs, the show’s intimate address and musical repertoire welcomed a “family” audience across lines of gender, class, and age, while simultaneously reinforcing racist and colonial definitions of national belonging.","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":"67226109","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.2022.75.3.608
Arne Spohr
{"title":"The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries, by Anna Maria Busse Berger","authors":"Arne Spohr","doi":"10.1525/jams.2022.75.3.608","DOIUrl":"https://doi.org/10.1525/jams.2022.75.3.608","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":"67226479","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.2022.75.1.191
David J. Rothenberg
{"title":"Music, Liturgy, and Confraternity Devotions in Paris and Tournai, 1300–1550, by Sarah Ann Long","authors":"David J. Rothenberg","doi":"10.1525/jams.2022.75.1.191","DOIUrl":"https://doi.org/10.1525/jams.2022.75.1.191","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":"67225464","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 : 2021-08-01DOI: 10.1525/jams.2021.74.2.289
Alexandra Kieffer
In a review of 1895, Henry Gauthier-Villars described Claude Debussy’s Prélude à l’après-midi d’un faune as “musique de rêve,” a descriptor that has been attached to Debussy’s style ever since. Partly because of the importance of the Prélude within his compositional development, the distinctive sound of Debussy’s “dream music” has often been understood as a response to the hermetic and difficult literary style of French Symbolists, especially that of Stéphane Mallarmé. Yet Gauthier-Villars’s appellation of “musique de rêve” also invoked a specifically sonic (and largely forgotten) set of cultural reference points, an aural backdrop crucial for understanding Debussy’s early style in the 1880s and early 1890s—the widespread cultivation of the topos of reverie in French music in the final two decades of the nineteenth century. Settings of Baudelaire, Verlaine, and Mallarmé by Debussy and his young contemporaries around 1890 were infused with signifiers of dream and reverie that trace back to salon genres of the 1870s and that cross-pollinated with the harmonic language of the newly fashionable valse lente in the early 1880s. Hearing Debussy’s early works in the context of this reverie topos and its aural kinship to the popular valse lente sheds light on the extent to which the radical idiosyncrasy so vaunted by modernists was constantly evolving in tandem with—and could never truly free itself from—an aural culture defined by mass production, repetition, and cliché.
{"title":"Reverie, Schmaltz, and the Modernist Imagination","authors":"Alexandra Kieffer","doi":"10.1525/jams.2021.74.2.289","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.289","url":null,"abstract":"\u0000 In a review of 1895, Henry Gauthier-Villars described Claude Debussy’s Prélude à l’après-midi d’un faune as “musique de rêve,” a descriptor that has been attached to Debussy’s style ever since. Partly because of the importance of the Prélude within his compositional development, the distinctive sound of Debussy’s “dream music” has often been understood as a response to the hermetic and difficult literary style of French Symbolists, especially that of Stéphane Mallarmé. Yet Gauthier-Villars’s appellation of “musique de rêve” also invoked a specifically sonic (and largely forgotten) set of cultural reference points, an aural backdrop crucial for understanding Debussy’s early style in the 1880s and early 1890s—the widespread cultivation of the topos of reverie in French music in the final two decades of the nineteenth century. Settings of Baudelaire, Verlaine, and Mallarmé by Debussy and his young contemporaries around 1890 were infused with signifiers of dream and reverie that trace back to salon genres of the 1870s and that cross-pollinated with the harmonic language of the newly fashionable valse lente in the early 1880s. Hearing Debussy’s early works in the context of this reverie topos and its aural kinship to the popular valse lente sheds light on the extent to which the radical idiosyncrasy so vaunted by modernists was constantly evolving in tandem with—and could never truly free itself from—an aural culture defined by mass production, repetition, and cliché.","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49106894","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 : 2021-08-01DOI: 10.1525/jams.2021.74.2.440
S. Long
{"title":"Composing Community in Late Medieval Music: Self-Reference, Pedagogy, and Practice, by Jane D. Hatter","authors":"S. Long","doi":"10.1525/jams.2021.74.2.440","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.440","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41639853","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 : 2021-08-01DOI: 10.1525/jams.2021.74.2.435
M. C. Tusa
{"title":"Beethoven 1806, by Mark Ferraguto","authors":"M. C. Tusa","doi":"10.1525/jams.2021.74.2.435","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.435","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45216186","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 : 2021-08-01DOI: 10.1525/jams.2021.74.2.431
P. V. Bohlman
{"title":"Cursed Questions: On Music and Its Social Practices, by Richard Taruskin","authors":"P. V. Bohlman","doi":"10.1525/jams.2021.74.2.431","DOIUrl":"https://doi.org/10.1525/jams.2021.74.2.431","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41775922","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}
{"title":"A Trial on Ishwarimula (Aristolochia indica Linn.) in Dushta Vrana in Patients","authors":"M. Faisal, Shrikanth Padigar, S. Narayana","doi":"10.5530/JAMS.2019.4.10","DOIUrl":"https://doi.org/10.5530/JAMS.2019.4.10","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44501996","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}
{"title":"Ayurveda- An Invocation to Boost Immunity and the Fight against COVID-19","authors":"Bhavana Mawar, R. Yadava, R. Mahto","doi":"10.5530/JAMS.2019.4.8","DOIUrl":"https://doi.org/10.5530/JAMS.2019.4.8","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45339143","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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