Pub Date : 2021-04-01DOI: 10.1525/JAMS.2021.74.1.91
M. Caldwell
This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century manuscripts and conclude with its unnotated appearance in nineteenth-century printed Catholic songbooks. I argue that the refrain’s long-standing appeal can be located in its function as a poetic and liturgical trope of time itself. While tropes often enhance the “hic et nunc” (here and now) of the liturgy, the “Fulget dies” refrain gained additional temporal significance through its intimate link to songs of the Christmas season. The “shining day” imagery introduced by the refrain offered a tangible way of marking seasonal time in devotional rites, poetically indexing the light-based symbolism of Christmas, the winter solstice, and the New Year. The inherently temporal meaning of the refrain lent it flexibility as a trope, enabling its movement across genres and liturgies. Integrated into sacred Latin songs, the “Fulget dies” refrain functioned as a pithy musical and poetic commentary on liturgical, calendrical, and seasonal temporalities—in other words, as a trope of time in sacred song.
这篇文章探讨了从十二世纪到十九世纪整个欧洲的一种实践，这种实践涉及在神圣的拉丁歌曲和赞美诗中唱一个简短的副歌。追踪两部分叠句“Fulget dies…Fulget dies ista”在多个世纪中的循环，在办公室诗集《Benedicamus Domino》的歌曲形式修辞和作为插入到赞美诗中的修辞，我绘制了它在流派之间以及在书面记录中和在书面记录之外的独特运动。考察副歌不寻常的起源、传播和功能，我从它在12世纪手稿中的出现开始，以它在19世纪印刷的天主教歌本中无注释的出现结束。我认为叠句的长期吸引力可以定位于它作为时间本身的诗意和礼仪修辞的功能。虽然比喻经常增强礼拜仪式的“hic et nunc”(此时此地)，但“Fulget dies”副歌通过与圣诞节歌曲的密切联系获得了额外的时间意义。副歌中引入的“灿烂的一天”意象提供了一种有形的方式来标记虔诚仪式中的季节时间，诗意地索引了圣诞节、冬至和新年的光的象征意义。叠句固有的时间意义赋予它作为比喻的灵活性，使其能够跨越流派和礼拜仪式。在神圣的拉丁歌曲中，“Fulget dies”副歌作为一种简洁的音乐和诗歌评论，对礼拜仪式、日历和季节性的短暂性——换句话说，作为神圣歌曲中的时间比喻。
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Pub Date : 2021-04-01DOI: 10.1525/JAMS.2021.74.1.1
N. Loges
"For some time Schubert appeared very upset and melancholy. When I asked him what was troubling him, he would say only, “Soon you will hear and understand.” One day he said to me, “Come over to Schober’s today, and I will sing you a cycle of horrifying songs. I am anxious to know what you will say about them. They have cost me more effort than any of my other songs.” So he sang the entire Winterreise through to us in a voice full of emotion." In 1858, Schubert’s friend Josef von Spaun published a memoir of Schubert which included this recollection of the composer’s own performance of his Winterreise D. 911. Spaun’s marvellously portentous account is quoted in nearly every programme and recording liner note of the work, and many assume he meant all twenty-four songs in the cycle, roughly 75 uninterrupted minutes of music, for a rapt, silent audience – in other words, a standard, modern performance. However, Spaun’s emotive recollection raises many questions. The first concerns what Spaun meant by the “complete Winterreise,” and this depends on the timing of this performance, which cannot be established. As many scholars have observed, Schubert most likely only sang the twelve songs he had initially composed. Susan Youens recounts that the autograph manuscript of these twelve songs is dated February 1827; if Spaun’s recollection really did refer to the entire cycle of twenty-four, then the performance might have taken place in autumn that year. Against this, as Youens points out, John Reed questions the likelihood of Schubert keeping the earlier twelve songs from his friends for so long, especially since they would be published in January of the following year. We simply cannot know. But this is only the first question, since, regardless of how many songs were sung, Schubert’s performance most probably included any or all of the following typical performance practices of his day: repetition of songs; omission of verses; interpolations of other music; improvisation between numbers; and breaks for refreshment, discussion and applause. This reality is acknowledged within scholarship, but only in the most general terms, and its implications for our understanding of the work remain unexplored.
有一段时间，舒伯特显得非常沮丧和忧郁。当我问他有什么烦恼时，他只会说:“你很快就会听到并明白的。”有一天他对我说:“今天来肖伯酒吧，我给你唱一组恐怖的歌曲。我很想知道你会对他们说些什么。这两首歌比我的其他任何一首歌都耗费了我更多的精力。”于是他用充满感情的声音为我们唱了整首《冬城之歌》。”1858年，舒伯特的朋友Josef von Spaun出版了舒伯特回忆录，其中包括作曲家自己演奏的《Winterreise D. 911》的回忆。斯伯恩奇妙的预言被引用在几乎每一个节目和作品的录音中，许多人认为他指的是这个循环中的所有24首歌，大约75分钟不间断的音乐，为一个全神贯注的，沉默的观众——换句话说，一个标准的，现代的表演。然而，斯伯恩的情感回忆引发了许多问题。第一个问题是关于斯潘所说的“完整的Winterreise”是什么意思，这取决于演出的时间，这是无法确定的。正如许多学者所观察到的，舒伯特很可能只唱了他最初创作的12首歌。苏珊·尤恩斯(Susan Youens)叙述说，这十二首歌的亲笔手稿的日期是1827年2月;如果斯伯恩的回忆确实是指整个二十四周期，那么演出就可能发生在那年秋天。与此相反，正如尤恩斯指出的，约翰·里德质疑舒伯特这么长时间不让他的朋友知道早期的12首歌的可能性，尤其是因为它们将在次年1月出版。我们根本无法知道。但这只是第一个问题，因为，不管唱了多少首歌，舒伯特的表演很可能包括他那个时代的任何一种或全部典型的表演方式:重复歌曲;省略诗句;其他音乐的内插;数字之间的即兴演奏;休息时间是茶点，讨论和鼓掌。这一现实在学术界得到了承认，但只是在最一般的条件下，它对我们理解这项工作的影响仍未被探索。
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Pub Date : 2021-04-01DOI: 10.1525/JAMS.2021.74.1.214
E. Hein
{"title":"Ableton Live 11","authors":"E. Hein","doi":"10.1525/JAMS.2021.74.1.214","DOIUrl":"https://doi.org/10.1525/JAMS.2021.74.1.214","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41535245","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 : 2021-04-01DOI: 10.1525/JAMS.2021.74.1.176
Yo Tomita
{"title":"Sex, Death and Minuets: Anna Magdalena Bach and Her Musical Notebooks, by David Yearsley","authors":"Yo Tomita","doi":"10.1525/JAMS.2021.74.1.176","DOIUrl":"https://doi.org/10.1525/JAMS.2021.74.1.176","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45959872","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 : 2021-04-01DOI: 10.1525/JAMS.2021.74.1.161
R. Locke
{"title":"Mémoires d’Hector Berlioz de 1803 à 1865 et ses voyages en Italie, en Allemagne, en Russie et en Angleterre écrits par lui-même, edited by Peter Bloom","authors":"R. Locke","doi":"10.1525/JAMS.2021.74.1.161","DOIUrl":"https://doi.org/10.1525/JAMS.2021.74.1.161","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45016794","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 : 2021-04-01DOI: 10.1525/JAMS.2021.74.1.187
Lucia Marchi
{"title":"Tasso in Music Project (TiMP): Digital Edition of the Settings of Torquato Tasso’s Poetry, c. 1570–1640","authors":"Lucia Marchi","doi":"10.1525/JAMS.2021.74.1.187","DOIUrl":"https://doi.org/10.1525/JAMS.2021.74.1.187","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46177883","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 : 2021-04-01DOI: 10.1525/JAMS.2021.74.1.181
Jared C. Hartt
{"title":"Polyphony in Medieval Paris: The Art of Composing with Plainchant, by Catherine A. Bradley","authors":"Jared C. Hartt","doi":"10.1525/JAMS.2021.74.1.181","DOIUrl":"https://doi.org/10.1525/JAMS.2021.74.1.181","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46946028","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 : 2021-01-01DOI: 10.1525/jams.2021.74.3.659
Carolina Santamaría-Delgado
{"title":"The Invention of Latin American Music: A Transnational History, by Pablo Palomino","authors":"Carolina Santamaría-Delgado","doi":"10.1525/jams.2021.74.3.659","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.659","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67224797","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 : 2021-01-01DOI: 10.1525/jams.2021.74.3.681
Julie Hubbert
{"title":"Film, Music, Memory, by Berthold Hoeckner","authors":"Julie Hubbert","doi":"10.1525/jams.2021.74.3.681","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.681","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225433","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 : 2021-01-01DOI: 10.1525/jams.2021.74.3.701
Marc R. Thompson
{"title":"Sonic Visualiser: Visualisation, Analysis, and Annotation of Music Audio Recordings","authors":"Marc R. Thompson","doi":"10.1525/jams.2021.74.3.701","DOIUrl":"https://doi.org/10.1525/jams.2021.74.3.701","url":null,"abstract":"","PeriodicalId":17183,"journal":{"name":"Journal of the American Musicological Society","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67225518","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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