Abstract In this study, I take a critical look at the presence of narcoculture in reggaeton using as a case study the music video of the remix of ‘Somos de calle’. Specifically, I evaluate whether and to what extent reggaeton’s narco-messages and narco-representations – when they converge with other variables – could potentially influence an individual’s modes of thinking and behaviour. The study does not aim to provide a definitive answer to the debate surrounding this issue. More than anything, it strives to analyse the extent to which the claim that such influence may occur has scientific merit, in order to advocate further research on this matter. The article also discusses the highly politicized debate that has surrounded this topic in public discourse, and how this has seemingly affected its critical assessment in academia. For the analysis I rely particularly on social psychology literature concerning violent media content and in the areas of persuasion studies and prejudice studies, but I also consider literature from other fields, including criminology.
摘要在这项研究中，我以“Somos de calle”混音的音乐视频为例，批判性地审视了雷鬼音乐中毒品文化的存在。具体来说，我评估雷鬼的毒品信息和毒品表征——当它们与其他变量趋同时——是否以及在多大程度上可能影响个人的思维和行为模式。这项研究的目的并不是为围绕这一问题的争论提供一个明确的答案。最重要的是，它努力分析这种影响可能发生的说法在多大程度上具有科学价值，以便倡导对此事进行进一步研究。文章还讨论了公共话语中围绕这一话题的高度政治化辩论，以及这似乎如何影响了学术界对其的批判性评估。在分析中，我特别依赖于有关暴力媒体内容的社会心理学文献，以及说服研究和偏见研究领域的文献，但我也考虑了其他领域的文学，包括犯罪学。
{"title":"The Influence of Narcoculture on Popular Music: A Critical Look at Reggaeton’s Narco-Messages and Narco-Representations","authors":"Omar Ruiz Vega","doi":"10.1017/rma.2022.13","DOIUrl":"https://doi.org/10.1017/rma.2022.13","url":null,"abstract":"Abstract In this study, I take a critical look at the presence of narcoculture in reggaeton using as a case study the music video of the remix of ‘Somos de calle’. Specifically, I evaluate whether and to what extent reggaeton’s narco-messages and narco-representations – when they converge with other variables – could potentially influence an individual’s modes of thinking and behaviour. The study does not aim to provide a definitive answer to the debate surrounding this issue. More than anything, it strives to analyse the extent to which the claim that such influence may occur has scientific merit, in order to advocate further research on this matter. The article also discusses the highly politicized debate that has surrounded this topic in public discourse, and how this has seemingly affected its critical assessment in academia. For the analysis I rely particularly on social psychology literature concerning violent media content and in the areas of persuasion studies and prejudice studies, but I also consider literature from other fields, including criminology.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"77 - 104"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42941975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Dent Medal, struck in memory of the distinguished scholar and musician Edward J. Dent (1876–1957), has been awarded by the Royal Musical Association annually since 1961 to recipients selected for their outstanding contribution to musicology. A list of candidates is drawn up by the Council of the Association and the Directorium of the International Musicological Society. The Dent Medal for 2021 is awarded to LAURA TUNBRIDGE. Laura Tunbridge completed her Ph.D. at Princeton University in 2002 and subsequently held lectureships at the universities of Reading and Manchester. She is currently Professor of Music at the University of Oxford and Henfrey Fellow and Tutor in Music at St Catherine’s College. Tunbridge’s research has focused primarily on German repertoires of the nineteenth and twentieth centuries. She did much to challenge the reception of Schumann with her first monograph, Schumann’s Late Style (Cambridge University Press, 2007), and the co-edited collection Rethinking Schumann (Oxford University Press, 2011), and has subsequently made a major contribution to the history of song with the monographs The Song Cycle (Cambridge University Press, 2010) and Singing in the Age of Anxiety: Lieder Performance in New York and London between the World Wars (University of Chicago Press, 2018), and the co-edited collectionsGerman Song Onstage (Indiana University Press, 2020) and Song beyond the Nation: Translation, Transnationalism, Performance (Oxford University Press, 2021). Her most recent book, Beethoven: A Life in Nine Pieces (Viking, 2020), has been warmly received across a broad media spectrum, winning the Best Composer Biography award from Presto Books in 2021. Tunbridge’s work is distinguished by her dedication to the historical specificity and contingency of musical meaning, whether unpicking the way that Schumann’s biography shaped the reception of his music, the role of recording technology in communicating the idea of a song cycle or the agency of performers (or radio producers or film-makers) as they engage with and interpret repertoires we think we know. In The Song Cycle, this led Tunbridge to challenge musicologists to take seriously as song cycles concept albums by twentieth-century popular artists as disparate as Joni Mitchell and Radiohead alongside earlier classical examples by Schubert and Schumann. Singing in the Age of Anxiety, meanwhile, is exemplary in its subtle, productive intertwining of performing and cultural histories. Tunbridge’s scholarly achievements are particularly remarkable given the work she has also undertaken as an administrator and public intellectual. She was editor of the Journal of the Royal Musical Association from 2013 until 2018; she was elected to the Directorium of the International Musicological Society in 2017; and she features regularly in the media. The widespread success of Beethoven: A Life in Nine Pieces has cemented Tunbridge’s standing as one of the most significant public musicologists in
{"title":"The Dent Medal","authors":"","doi":"10.1017/rma.2022.1","DOIUrl":"https://doi.org/10.1017/rma.2022.1","url":null,"abstract":"The Dent Medal, struck in memory of the distinguished scholar and musician Edward J. Dent (1876–1957), has been awarded by the Royal Musical Association annually since 1961 to recipients selected for their outstanding contribution to musicology. A list of candidates is drawn up by the Council of the Association and the Directorium of the International Musicological Society. The Dent Medal for 2021 is awarded to LAURA TUNBRIDGE. Laura Tunbridge completed her Ph.D. at Princeton University in 2002 and subsequently held lectureships at the universities of Reading and Manchester. She is currently Professor of Music at the University of Oxford and Henfrey Fellow and Tutor in Music at St Catherine’s College. Tunbridge’s research has focused primarily on German repertoires of the nineteenth and twentieth centuries. She did much to challenge the reception of Schumann with her first monograph, Schumann’s Late Style (Cambridge University Press, 2007), and the co-edited collection Rethinking Schumann (Oxford University Press, 2011), and has subsequently made a major contribution to the history of song with the monographs The Song Cycle (Cambridge University Press, 2010) and Singing in the Age of Anxiety: Lieder Performance in New York and London between the World Wars (University of Chicago Press, 2018), and the co-edited collectionsGerman Song Onstage (Indiana University Press, 2020) and Song beyond the Nation: Translation, Transnationalism, Performance (Oxford University Press, 2021). Her most recent book, Beethoven: A Life in Nine Pieces (Viking, 2020), has been warmly received across a broad media spectrum, winning the Best Composer Biography award from Presto Books in 2021. Tunbridge’s work is distinguished by her dedication to the historical specificity and contingency of musical meaning, whether unpicking the way that Schumann’s biography shaped the reception of his music, the role of recording technology in communicating the idea of a song cycle or the agency of performers (or radio producers or film-makers) as they engage with and interpret repertoires we think we know. In The Song Cycle, this led Tunbridge to challenge musicologists to take seriously as song cycles concept albums by twentieth-century popular artists as disparate as Joni Mitchell and Radiohead alongside earlier classical examples by Schubert and Schumann. Singing in the Age of Anxiety, meanwhile, is exemplary in its subtle, productive intertwining of performing and cultural histories. Tunbridge’s scholarly achievements are particularly remarkable given the work she has also undertaken as an administrator and public intellectual. She was editor of the Journal of the Royal Musical Association from 2013 until 2018; she was elected to the Directorium of the International Musicological Society in 2017; and she features regularly in the media. The widespread success of Beethoven: A Life in Nine Pieces has cemented Tunbridge’s standing as one of the most significant public musicologists in","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"305 - 307"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48634916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMA volume 147 issue 1 Cover and Front matter","authors":"","doi":"10.1017/rma.2022.14","DOIUrl":"https://doi.org/10.1017/rma.2022.14","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"f1 - f4"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43635812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
similarly self-fashioned authorial subjects, now becomes harder to extricate from the empirical subject (‘the real person’), as a forest of links and hyperlinks causes the mingling of that selfconsciously crafted creative persona with news and reportage. Thematerialist deconstruction of art’s ‘transcendence’ comes home to roost, and Henze’s holde Kunst becomes just another branch of current affairs, its expansive temporality now forced to coexist with (and pressurized to conform to) the rapid cycles of media consumption. With the dignified distance between work and non-work increasingly effaced, the former becomes gathered up in the ceaseless flow of the composer’s ‘production’ – and indeed of ‘production’ generally, as sidebars encourage the effortless surfing from one work and one composer to another. At one level, nothing could seem more fitting for Henze’s Gesamtkunstwerk-in-progress, in which musical others – the composers he arranged, the arrangers who arranged him, or those (Hindemith, Stravinsky,Mahler, Berg)whoprovide themusic’s undercurrent of stylistic allusion– coexist in a single stream. Yet even today composers work in a system (of royalties and copyright inter alia) to which traditional notions of authorship remain fundamental and the composer’s exercise of control over correctness or incorrectness (even on a level as mundane as proof correction) is not just a right but a duty. Where authorized meanings are concerned, these are less easily reined in by trilingual commentaries in a work catalogue – commentaries which, quite rightly, should provide the beginning rather than the end point of critical interpretation. But the algorithms of the internet do not interpret; they simply expose. Search rankings throwup repetitive gobbets of information, reducing meaning to (often literally) anonymous soundbites. As Groys suggests, the ‘gaze of others’ under which the internet places us ‘is experienced by us as an evil eye’ not because it is all-seeing – it isn’t, quite – but because it ‘reduces us to what it sees and registers’.90 Henze’s attempt to ensure the longevity of his output by making of it a cloth-bound physical memorial may, from this vantage point, seem an antiquated and somewhat futile gesture, a mode of authorial control exercised in its very death throes. And yet perhaps he was prescient too in realizing that such longevity may depend on his works’ ability to forget their origins from time to time and forge new paths into the future: a future not of instantaneous transparency but of ongoing hermeneutic endeavour, the constant creation and recreation of meaning; a future not left to the inertia of impersonal repositories of information, but shaped humanly, intentionally, subjectively, as a willed ‘compositional’ and communicative act.
{"title":"Conducting Problems and Graphic Issues as Reasons for Revising a Composition","authors":"Edwin Roxburgh","doi":"10.1017/rma.2022.9","DOIUrl":"https://doi.org/10.1017/rma.2022.9","url":null,"abstract":"similarly self-fashioned authorial subjects, now becomes harder to extricate from the empirical subject (‘the real person’), as a forest of links and hyperlinks causes the mingling of that selfconsciously crafted creative persona with news and reportage. Thematerialist deconstruction of art’s ‘transcendence’ comes home to roost, and Henze’s holde Kunst becomes just another branch of current affairs, its expansive temporality now forced to coexist with (and pressurized to conform to) the rapid cycles of media consumption. With the dignified distance between work and non-work increasingly effaced, the former becomes gathered up in the ceaseless flow of the composer’s ‘production’ – and indeed of ‘production’ generally, as sidebars encourage the effortless surfing from one work and one composer to another. At one level, nothing could seem more fitting for Henze’s Gesamtkunstwerk-in-progress, in which musical others – the composers he arranged, the arrangers who arranged him, or those (Hindemith, Stravinsky,Mahler, Berg)whoprovide themusic’s undercurrent of stylistic allusion– coexist in a single stream. Yet even today composers work in a system (of royalties and copyright inter alia) to which traditional notions of authorship remain fundamental and the composer’s exercise of control over correctness or incorrectness (even on a level as mundane as proof correction) is not just a right but a duty. Where authorized meanings are concerned, these are less easily reined in by trilingual commentaries in a work catalogue – commentaries which, quite rightly, should provide the beginning rather than the end point of critical interpretation. But the algorithms of the internet do not interpret; they simply expose. Search rankings throwup repetitive gobbets of information, reducing meaning to (often literally) anonymous soundbites. As Groys suggests, the ‘gaze of others’ under which the internet places us ‘is experienced by us as an evil eye’ not because it is all-seeing – it isn’t, quite – but because it ‘reduces us to what it sees and registers’.90 Henze’s attempt to ensure the longevity of his output by making of it a cloth-bound physical memorial may, from this vantage point, seem an antiquated and somewhat futile gesture, a mode of authorial control exercised in its very death throes. And yet perhaps he was prescient too in realizing that such longevity may depend on his works’ ability to forget their origins from time to time and forge new paths into the future: a future not of instantaneous transparency but of ongoing hermeneutic endeavour, the constant creation and recreation of meaning; a future not left to the inertia of impersonal repositories of information, but shaped humanly, intentionally, subjectively, as a willed ‘compositional’ and communicative act.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"268 - 272"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41994903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The question of post-première revision acquires signi fi cance when the première itself is understood as establishing a decisive moment in the relationship between the work and its audience. The première is more than simply a fi rst performance. It is a formal handing over of the work from the composer to the audience (the patron). Any change to it after that event constitutes perturbation of a publicly established relationship. For this situation to occur, the musical work must be held under a certain nexus of conditions:
{"title":"Post-Première Revision: Guillaume de Machaut and Written Music in the Late Middle Ages","authors":"David Maw","doi":"10.1017/rma.2022.7","DOIUrl":"https://doi.org/10.1017/rma.2022.7","url":null,"abstract":"The question of post-première revision acquires signi fi cance when the première itself is understood as establishing a decisive moment in the relationship between the work and its audience. The première is more than simply a fi rst performance. It is a formal handing over of the work from the composer to the audience (the patron). Any change to it after that event constitutes perturbation of a publicly established relationship. For this situation to occur, the musical work must be held under a certain nexus of conditions:","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"252 - 259"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43418131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What happens to the status and identity of a musical work once it has been performed for the first time? Although compositional revisions are an innate part of the creative process (and are often themselves the basis of critical, musicological archaeology), the practice of further revision once the work has been realized via live performance, printed publication or recorded artefact enters potentially challenging territory. Indeed,Western music history tells of many composers who have been subjected to intense scrutiny for having dared to alter a composition that had entered the canon of musical works. This round table is intended to begin a critical dialogue that invites interrogation of amurky, divisive issue which relates, on the one hand, to the private relationship between composer and musical work, and on the other, to the ecological web of collaborators (performers, producers, administrators, artistic directors, publishers, agents, philanthropists) who are intertwined in bringing a new musical composition to life. Perusing music history, we encounter divergent accounts from the composers themselves regarding the ethics of post-première revision: Judith Bingham believes that there is an element of dishonesty connected with the revision of a score, akin to ‘revising a diary’.1 For many composers, the right to alter works of music is retained in perpetuity. For others, the composition is a ‘gift’ to the performer which, once handed over, should not be revoked. We can add further layers of complexity to the discussion when drawing a distinction between large-scale works, such as those written for the stage or orchestral platform, and chamber works written for specific performers (the orchestra might be less agreeable to change than, say, a duo ensemble). The nature of the score –whether a printed publication prior to the first performance or a handwritten autograph –may also factor in resistance to change.Moreover, we may consider the impact of twentieth-century copyright law on published materials; one need only consider the reworking (and borrowing) of pre-existing material by Handel to highlight how much attitudes towards revision have changed over time.2
{"title":"Round Table: Score Revisions Post-Première","authors":"Simon Desbruslais","doi":"10.1017/rma.2021.28","DOIUrl":"https://doi.org/10.1017/rma.2021.28","url":null,"abstract":"What happens to the status and identity of a musical work once it has been performed for the first time? Although compositional revisions are an innate part of the creative process (and are often themselves the basis of critical, musicological archaeology), the practice of further revision once the work has been realized via live performance, printed publication or recorded artefact enters potentially challenging territory. Indeed,Western music history tells of many composers who have been subjected to intense scrutiny for having dared to alter a composition that had entered the canon of musical works. This round table is intended to begin a critical dialogue that invites interrogation of amurky, divisive issue which relates, on the one hand, to the private relationship between composer and musical work, and on the other, to the ecological web of collaborators (performers, producers, administrators, artistic directors, publishers, agents, philanthropists) who are intertwined in bringing a new musical composition to life. Perusing music history, we encounter divergent accounts from the composers themselves regarding the ethics of post-première revision: Judith Bingham believes that there is an element of dishonesty connected with the revision of a score, akin to ‘revising a diary’.1 For many composers, the right to alter works of music is retained in perpetuity. For others, the composition is a ‘gift’ to the performer which, once handed over, should not be revoked. We can add further layers of complexity to the discussion when drawing a distinction between large-scale works, such as those written for the stage or orchestral platform, and chamber works written for specific performers (the orchestra might be less agreeable to change than, say, a duo ensemble). The nature of the score –whether a printed publication prior to the first performance or a handwritten autograph –may also factor in resistance to change.Moreover, we may consider the impact of twentieth-century copyright law on published materials; one need only consider the reworking (and borrowing) of pre-existing material by Handel to highlight how much attitudes towards revision have changed over time.2","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"249 - 251"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49395207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
installed in its place. However, the copying of the oeuvre at various stages during its development into replica manuscripts meant that post-première revision led to the simultaneous circulation of different versions of certain pieces. Machaut’s authorial pride overcame the proprieties of the patronage system. Although the work was officially finished, his sense of the importance of his achievement as a whole meant that further refinements could be entertained. Had he been more fully engaged with writing for real patrons, this might have posed a problem; indeed, it might never have occurred to him to do it. His desire for control over his work, aided no doubt by the amenable personal circumstances of his high standing in courtly circles, led him to absorb patronage into the work itself, as an allegory of its creation. He controlled the patronage and reserved the right to assert his judgment on the work even after its formal acceptance by the patron. During an era of increased interest in the modalities of writing within musical practice, Machaut made a stand for a culture of written music.38
{"title":"The Composer’s Catalogue and the ‘Right to be Forgotten’: Hans Werner Henze’s Ein Werkverzeichnis, 1946–1996","authors":"Charles Wilson","doi":"10.1017/rma.2022.8","DOIUrl":"https://doi.org/10.1017/rma.2022.8","url":null,"abstract":"installed in its place. However, the copying of the oeuvre at various stages during its development into replica manuscripts meant that post-première revision led to the simultaneous circulation of different versions of certain pieces. Machaut’s authorial pride overcame the proprieties of the patronage system. Although the work was officially finished, his sense of the importance of his achievement as a whole meant that further refinements could be entertained. Had he been more fully engaged with writing for real patrons, this might have posed a problem; indeed, it might never have occurred to him to do it. His desire for control over his work, aided no doubt by the amenable personal circumstances of his high standing in courtly circles, led him to absorb patronage into the work itself, as an allegory of its creation. He controlled the patronage and reserved the right to assert his judgment on the work even after its formal acceptance by the patron. During an era of increased interest in the modalities of writing within musical practice, Machaut made a stand for a culture of written music.38","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"259 - 268"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44706583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"RMA volume 147 issue 1 Cover and Back matter","authors":"","doi":"10.1017/rma.2022.15","DOIUrl":"https://doi.org/10.1017/rma.2022.15","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42558506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
revisions was not an option. As a conductor, I inserted barlines where possible and numbered the arrows in relation to the beating patterns I prescribed (see Figure 1). These graphics remained for use in subsequent performances. As in other scores which I have discussed, the impracticalities were induced by the ideas which informed the work. It is part of a conductor’s task to interpret them with solutions which project the idea successfully. The post-première revisions are then an asset to the performers. My contention is that such changes should never preclude an awareness by the performers of the original score.
{"title":"One into Three: Context, Method and Motivation in Revising and Reworking Dance Maze for Solo Piano","authors":"T. Armstrong","doi":"10.1017/rma.2022.10","DOIUrl":"https://doi.org/10.1017/rma.2022.10","url":null,"abstract":"revisions was not an option. As a conductor, I inserted barlines where possible and numbered the arrows in relation to the beating patterns I prescribed (see Figure 1). These graphics remained for use in subsequent performances. As in other scores which I have discussed, the impracticalities were induced by the ideas which informed the work. It is part of a conductor’s task to interpret them with solutions which project the idea successfully. The post-première revisions are then an asset to the performers. My contention is that such changes should never preclude an awareness by the performers of the original score.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"272 - 281"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44958733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article illustrates, with particular focus on Rolando Chaparro’s rock fusion album Bohemio (2011), the way in which music operates in expressing Paraguayan national, racial and class identity. It first reviews the literature on music and identity generally, as well as more specifically in relation to Paraguay. It then explores expressions of nationalism and paraguayidad (Paraguayanness) in folkloric ‘popular’ musics (música popular) and the concept of raza guaraní (a widespread belief in a common ancestry based on Spanish and Guaraní ethnic identity) in the construction, maintenance and expression of identity. Finally, it examines the Agustín Barrios revivals in Paraguay and people’s class consciousness as it is expressed in Paraguayan guitar music culture.
{"title":"Music and Identity in Paraguay: Expressing National, Racial and Class Identity in Guitar Music Culture","authors":"Simone Krüger Bridge","doi":"10.1017/rma.2022.11","DOIUrl":"https://doi.org/10.1017/rma.2022.11","url":null,"abstract":"Abstract This article illustrates, with particular focus on Rolando Chaparro’s rock fusion album Bohemio (2011), the way in which music operates in expressing Paraguayan national, racial and class identity. It first reviews the literature on music and identity generally, as well as more specifically in relation to Paraguay. It then explores expressions of nationalism and paraguayidad (Paraguayanness) in folkloric ‘popular’ musics (música popular) and the concept of raza guaraní (a widespread belief in a common ancestry based on Spanish and Guaraní ethnic identity) in the construction, maintenance and expression of identity. Finally, it examines the Agustín Barrios revivals in Paraguay and people’s class consciousness as it is expressed in Paraguayan guitar music culture.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"1 - 49"},"PeriodicalIF":0.3,"publicationDate":"2022-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41907931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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