Abstract Historians have viewed nineteenth-century music salons in Paris as concert-like environments where performers and audience gathered in a designated music room. Architectural studies and first-hand accounts, however, show that the music salon incorporated multiple reception rooms, and that guests frequently listened to musical performances from adjoining spaces. While conceptual space has been a subject central to salon studies, this project analyses material space, re-evaluating how the architecture of the salon influenced audience structure, listening modes and compositional practices. This architecture was ultimately central to the development of salon opera, which flourished between 1850 and the 1870s and was epitomized by Gustave Nadaud’s Le docteur Vieuxtemps (1854).
{"title":"Re-examining Salon Space: Structuring Audiences and Music at Parisian Receptions","authors":"Nicole Vilkner","doi":"10.1017/rma.2021.22","DOIUrl":"https://doi.org/10.1017/rma.2021.22","url":null,"abstract":"Abstract Historians have viewed nineteenth-century music salons in Paris as concert-like environments where performers and audience gathered in a designated music room. Architectural studies and first-hand accounts, however, show that the music salon incorporated multiple reception rooms, and that guests frequently listened to musical performances from adjoining spaces. While conceptual space has been a subject central to salon studies, this project analyses material space, re-evaluating how the architecture of the salon influenced audience structure, listening modes and compositional practices. This architecture was ultimately central to the development of salon opera, which flourished between 1850 and the 1870s and was epitomized by Gustave Nadaud’s Le docteur Vieuxtemps (1854).","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"221 - 248"},"PeriodicalIF":0.3,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49021384","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}
In January 2019, the Centre de Recherches sur les Arts et le Langage (CRAL) at L’École des Hautes Études en Sciences Sociales (EHESS) in Paris presented the conference Sound and Music in the Prism of Sound Studies.1 A spectacular video announces the event: a heavy-metal band screams about the conference’s themes and cries out each speaker’s name, which is in turn spelt out on screen in gothic-bloody font. The band’s song lyrics note that the focus of sound studies is on topics such as soundscape, noise, silence, recording techniques and listening. Most critically, the band shouts: ‘These are issues that musicology has been dealing with for a long time. What is then the place of musicology in the wake of sound studies?’
2019年1月，巴黎艺术与语言研究中心(CRAL)在L ' École des Hautes Études社会科学中心(EHESS)举办了“声音研究棱镜中的声音与音乐”会议。1一段精彩的视频宣布了这一事件:重金属乐队尖叫着会议的主题，并喊出每位演讲者的名字，而演讲者的名字又以哥特式血腥字体在屏幕上写出来。乐队的歌词指出，声音研究的重点是音景、噪音、沉默、录音技术和聆听等主题。最关键的是，乐队大声疾呼:“这些是音乐学长期以来一直在处理的问题。”那么音乐学在声音研究之后的地位是什么呢?”
{"title":"Histories of Hearing","authors":"K. Bijsterveld","doi":"10.1017/rma.2021.27","DOIUrl":"https://doi.org/10.1017/rma.2021.27","url":null,"abstract":"In January 2019, the Centre de Recherches sur les Arts et le Langage (CRAL) at L’École des Hautes Études en Sciences Sociales (EHESS) in Paris presented the conference Sound and Music in the Prism of Sound Studies.1 A spectacular video announces the event: a heavy-metal band screams about the conference’s themes and cries out each speaker’s name, which is in turn spelt out on screen in gothic-bloody font. The band’s song lyrics note that the focus of sound studies is on topics such as soundscape, noise, silence, recording techniques and listening. Most critically, the band shouts: ‘These are issues that musicology has been dealing with for a long time. What is then the place of musicology in the wake of sound studies?’","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"297 - 304"},"PeriodicalIF":0.3,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45581076","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 explores music’s role in radio drama. While musical aspects of early experimental radio dramas have often been explored, the music that figures in the Anglo-American radio play tradition has remained under-theorized. Borrowing interpretative tools from audiovisual discourses can help to elucidate some of the subtleties of the medium, but methodological inadequacies soon become apparent. As exemplars of modern radio dramatic technique, the BBC’s complete adaptations of Sherlock Holmes stories (1989–98) are explored, their music interwoven into the drama with consistent levels of subtlety. I draw primarily from Michel Chion’s application of the ‘acousmatic’, showing how the ambiguity concerning the location of the enveloping solo violin music – Holmes’s instrument – offers twists and turns to the agency of the unfolding narrative. I examine further how a sustained technique of intertextual allusion creates what I call a paradiegetic space, in which pre-existing music, heard within the dramas, provides a parenthetical narrative that unravels in parallel with the primary narrative, reflecting back on its themes, changing its meanings and moreover challenging our preconceptions about radio’s particular acousmatic zone.
{"title":"Music in Radio Drama: The Curious Case of the Acousmatic Detective","authors":"K. Smith","doi":"10.1017/rma.2021.30","DOIUrl":"https://doi.org/10.1017/rma.2021.30","url":null,"abstract":"Abstract This article explores music’s role in radio drama. While musical aspects of early experimental radio dramas have often been explored, the music that figures in the Anglo-American radio play tradition has remained under-theorized. Borrowing interpretative tools from audiovisual discourses can help to elucidate some of the subtleties of the medium, but methodological inadequacies soon become apparent. As exemplars of modern radio dramatic technique, the BBC’s complete adaptations of Sherlock Holmes stories (1989–98) are explored, their music interwoven into the drama with consistent levels of subtlety. I draw primarily from Michel Chion’s application of the ‘acousmatic’, showing how the ambiguity concerning the location of the enveloping solo violin music – Holmes’s instrument – offers twists and turns to the agency of the unfolding narrative. I examine further how a sustained technique of intertextual allusion creates what I call a paradiegetic space, in which pre-existing music, heard within the dramas, provides a parenthetical narrative that unravels in parallel with the primary narrative, reflecting back on its themes, changing its meanings and moreover challenging our preconceptions about radio’s particular acousmatic zone.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"105 - 134"},"PeriodicalIF":0.3,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41727820","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 In the genesis of Mahler’s Third Symphony, the composition of the first movement occupies a particularly interesting and important position. The first in the symphony but the last to be composed, this movement had a complex structural development from the mere introduction that it was originally supposed to be to the gigantic and extraordinary construction that we know today. As it is, every new piece of evidence that surfaces sheds more light on this fascinating process. This article examines one such item: an original manuscript source in a private collection which gives a fresh take on the creative mechanism behind the composition of this movement and is directly connected to a well-known manuscript housed in the Österreichische Nationalbibliothek in Vienna.
摘要在马勒《第三交响曲》的创作过程中，第一乐章的创作占有特别重要的地位。这是交响乐中的第一个，但也是最后一个被创作的乐章，从最初的介绍到我们今天所知的巨大而非凡的结构，这一乐章有着复杂的结构发展。事实上，每一个新的证据浮出水面，都会为这个迷人的过程提供更多的线索。这篇文章研究了一个这样的项目：一个私人收藏的原始手稿来源，它对这场运动背后的创作机制进行了全新的解读，并与维也纳Österreichische National bibliothek的一份著名手稿直接相关。
{"title":"Before Pan Awoke: A Quiet Beginning for Mahler’s Third Symphony","authors":"Milijana Pavlović","doi":"10.1017/rma.2022.2","DOIUrl":"https://doi.org/10.1017/rma.2022.2","url":null,"abstract":"Abstract In the genesis of Mahler’s Third Symphony, the composition of the first movement occupies a particularly interesting and important position. The first in the symphony but the last to be composed, this movement had a complex structural development from the mere introduction that it was originally supposed to be to the gigantic and extraordinary construction that we know today. As it is, every new piece of evidence that surfaces sheds more light on this fascinating process. This article examines one such item: an original manuscript source in a private collection which gives a fresh take on the creative mechanism behind the composition of this movement and is directly connected to a well-known manuscript housed in the Österreichische Nationalbibliothek in Vienna.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"193 - 220"},"PeriodicalIF":0.3,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48864606","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 Ken Russell’s 1971 film The Devils is a shocking historical drama which, eclipsed by its own battle against censorship, has only recently had a critical revival. A landmark musical collaboration central to that film remains unexplored: Peter Maxwell Davies wrote the score, which is heard in tandem with ‘period’ performances from David Munrow and the Early Music Consort of London. Though ostensibly historical, the film’s disruptive atemporal style is elevated through an art of stylized anachronism. This collaboration mirrors Davies’s opera Taverner (premièred in 1972), not only because that too featured Munrow and his consort but also because Russell was supposed to direct its première. This article posits Davies’s film score as a compelling work combining historicist compositional interests and a challenging aesthetic of excess within the popular context of mass cinematic spectacle. Informed by the close study of Davies’s own manuscripts, it argues for new ways of understanding the role of a persistent past in the music of a resolutely modernist present.
肯·罗素1971年执导的电影《魔鬼》是一部令人震惊的历史题材影片，它因与审查制度的斗争而黯然失色，直到最近才重新获得评论界的关注。这部电影中具有里程碑意义的音乐合作仍未得到探索:彼得·麦克斯韦尔·戴维斯(Peter Maxwell Davies)为这部电影写了配乐，并与大卫·芒罗(David Munrow)和伦敦早期音乐乐团(Early Music Consort of London)的“时代”表演结合在一起。虽然表面上看是历史题材，但影片颠覆性的时空风格通过一种程式化的时代错误艺术得以提升。这次合作反映了戴维斯的歌剧《塔弗纳》(1972年首演)，不仅因为那部歌剧也有芒罗和他的配偶，还因为罗素本应执导这部歌剧的首演。本文认为戴维斯的电影配乐是一部引人注目的作品，结合了历史主义的作曲兴趣和在大众电影奇观的流行背景下具有挑战性的过度美学。通过对戴维斯自己的手稿的深入研究，这本书提出了一种新的方式来理解在坚决的现代主义当下的音乐中，持久的过去所起的作用。
{"title":"‘A crazy clutter of the mediaeval, medical mind’: Ken Russell, Peter Maxwell Davies and Modernist Medievalism in The Devils","authors":"Alexander Kolassa","doi":"10.1017/rma.2021.29","DOIUrl":"https://doi.org/10.1017/rma.2021.29","url":null,"abstract":"Abstract Ken Russell’s 1971 film The Devils is a shocking historical drama which, eclipsed by its own battle against censorship, has only recently had a critical revival. A landmark musical collaboration central to that film remains unexplored: Peter Maxwell Davies wrote the score, which is heard in tandem with ‘period’ performances from David Munrow and the Early Music Consort of London. Though ostensibly historical, the film’s disruptive atemporal style is elevated through an art of stylized anachronism. This collaboration mirrors Davies’s opera Taverner (premièred in 1972), not only because that too featured Munrow and his consort but also because Russell was supposed to direct its première. This article posits Davies’s film score as a compelling work combining historicist compositional interests and a challenging aesthetic of excess within the popular context of mass cinematic spectacle. Informed by the close study of Davies’s own manuscripts, it argues for new ways of understanding the role of a persistent past in the music of a resolutely modernist present.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"135 - 170"},"PeriodicalIF":0.3,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46860118","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}
In 1965, a short article entitled ‘On the Performing Arts: An Anatomy of their Economic Problems’ appeared in the American Economic Review, the flagship journal of the American Economic Association.1 Written by two Princeton-affiliated economists, William J. Baumol and William G. Bowen, the article laid out in eight short pages a powerful explanation for why the operating costs of so many performing arts organizations consistently overran their earnings, and why this tendency had become more pronounced over time. The problem was not that lavish budgets were being spent on productions, nor that musicians’ unions had wrung too many concessions from management. Rather, the problem was more prosaic, having to do with ‘differential rates of growth in the economy’.2 To illustrate the argument, Baumol and Bowen asked readers to perform a thought experiment: ‘Think of an economy divided into two sectors: one in which productivity is rising and another where productivity is stable.’3 For the sake of simplicity, they explicitly assumed a number of useful fictions: that labour can easily and frictionlessly move between the two sectors; that wage increases across the board will keep pace with productivity growth (a standard if problematic assumption in modern economic theory);4 and that the monetary supply is sufficiently controlled to maintain overall price stability. What, given these assumptions, is the outcome of such a stark split in the economy? In the productive sector, the increase in wages that workers receive will be offset by increased productivity. In the stagnant sector, wages will rise but output will not. And if an organization is to avoid bankruptcy, the only way to do so is by raising prices to cover the rise in labour costs. (Remember, one of Baumol and Bowen’s working assumptions is that wage increases will keep pace with productivity growth, in both productive and stagnant sectors.) Yet this solution to the problem creates another one, since over time prices in the unproductive sector will increase at a much faster rate than those in the productive one, making the products of the former unaffordable to an increasing number of workers.
1965年，一篇题为《论表演艺术》的短文:这篇文章由普林斯顿大学的两位经济学家William J. Baumol和William G. Bowen撰写，在短短八页的文章中有力地解释了为什么这么多表演艺术组织的运营成本总是超过他们的收入，以及为什么这种趋势随着时间的推移变得越来越明显。问题不在于在制作上花费了过多的预算，也不在于音乐家工会从管理层那里榨取了太多的让步。相反，这个问题更为平淡无奇，与“经济增长率的差异”有关为了说明这一观点，鲍莫尔和鲍恩请读者做了一个思维实验:“想象一个经济体被分为两个部门:一个部门的生产率在上升，另一个部门的生产率保持稳定。”为了简单起见，他们明确假设了一些有用的虚构:劳动力可以在两个部门之间轻松无摩擦地流动;工资的全面增长将与生产率的增长保持同步(这是现代经济理论中一个标准但有问题的假设);货币供应得到充分控制，以保持总体价格稳定。考虑到这些假设，经济如此严重分裂的结果是什么?在生产部门，工人工资的增加将被生产率的提高所抵消。在停滞的行业，工资会上涨，但产出不会。如果一个组织想要避免破产，唯一的办法就是通过提高价格来弥补劳动力成本的上涨。(请记住，鲍莫尔和鲍恩的一个有效假设是，无论是在生产性部门还是停滞不前的部门，工资增长都将与生产率增长保持同步。)然而，这个问题的解决方案会产生另一个问题，因为随着时间的推移，非生产性部门的价格将以比生产性部门快得多的速度上涨，使越来越多的工人负担不起前者的产品。
{"title":"Foundations, Market Failures and the Funding of New Music","authors":"ERIC DROTT","doi":"10.1017/rma.2021.26","DOIUrl":"https://doi.org/10.1017/rma.2021.26","url":null,"abstract":"<p>In 1965, a short article entitled ‘On the Performing Arts: An Anatomy of their Economic Problems’ appeared in the American Economic Review, the flagship journal of the American Economic Association.<span>1</span> Written by two Princeton-affiliated economists, William J. Baumol and William G. Bowen, the article laid out in eight short pages a powerful explanation for why the operating costs of so many performing arts organizations consistently overran their earnings, and why this tendency had become more pronounced over time. The problem was not that lavish budgets were being spent on productions, nor that musicians’ unions had wrung too many concessions from management. Rather, the problem was more prosaic, having to do with ‘differential rates of growth in the economy’.<span>2</span> To illustrate the argument, Baumol and Bowen asked readers to perform a thought experiment: ‘Think of an economy divided into two sectors: one in which productivity is rising and another where productivity is stable.’<span>3</span> For the sake of simplicity, they explicitly assumed a number of useful fictions: that labour can easily and frictionlessly move between the two sectors; that wage increases across the board will keep pace with productivity growth (a standard if problematic assumption in modern economic theory);<span>4</span> and that the monetary supply is sufficiently controlled to maintain overall price stability. What, given these assumptions, is the outcome of such a stark split in the economy? In the productive sector, the increase in wages that workers receive will be offset by increased productivity. In the stagnant sector, wages will rise but output will not. And if an organization is to avoid bankruptcy, the only way to do so is by raising prices to cover the rise in labour costs. (Remember, one of Baumol and Bowen’s working assumptions is that wage increases will keep pace with productivity growth, in both productive and stagnant sectors.) Yet this solution to the problem creates another one, since over time prices in the unproductive sector will increase at a much faster rate than those in the productive one, making the products of the former unaffordable to an increasing number of workers.</p>","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"3 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138529025","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 The Scottish composer Sir James MacMillan (b. 1959) is a vocal proponent of contemporary sacred music, yet little scholarly analysis looks beyond the surface to explore how theological themes and language influence his work. This article offers a fresh perspective on the relationship between theology and music via an analysis of MacMillan’s characterization of his compositional process as ‘transubstantiation’. Far from being merely an evocative description, transubstantiation is a conceptual metaphor that signifies a distinctively eucharistic logic and practice in music. I trace these implications through MacMillan’s Miserere (2009), which reinscribes past music and rituals as part of refashioning the contemporary imagining of religion.
{"title":"Transubstantiating Miserere: James MacMillan’s Compositional Theology","authors":"Ariana Phillips-Hutton","doi":"10.1017/rma.2021.21","DOIUrl":"https://doi.org/10.1017/rma.2021.21","url":null,"abstract":"Abstract The Scottish composer Sir James MacMillan (b. 1959) is a vocal proponent of contemporary sacred music, yet little scholarly analysis looks beyond the surface to explore how theological themes and language influence his work. This article offers a fresh perspective on the relationship between theology and music via an analysis of MacMillan’s characterization of his compositional process as ‘transubstantiation’. Far from being merely an evocative description, transubstantiation is a conceptual metaphor that signifies a distinctively eucharistic logic and practice in music. I trace these implications through MacMillan’s Miserere (2009), which reinscribes past music and rituals as part of refashioning the contemporary imagining of religion.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"147 1","pages":"51 - 76"},"PeriodicalIF":0.3,"publicationDate":"2021-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48403555","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 146 issue 2 Cover and Front matter","authors":"","doi":"10.1017/rma.2021.23","DOIUrl":"https://doi.org/10.1017/rma.2021.23","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":" ","pages":"f1 - f4"},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43271488","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 146 issue 2 Cover and Back matter","authors":"","doi":"10.1017/rma.2021.24","DOIUrl":"https://doi.org/10.1017/rma.2021.24","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"b1 - b1"},"PeriodicalIF":0.3,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43469474","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 provides a critical account of Brahms’s early collection of quotations, aphorisms and poems commonly known as Des jungen Kreislers Schatzkästlein in the context of the composer’s youthful engagement with German literature. Drawing on archival materials housed in Vienna, it evaluates the 1909 publication of the Schatzkästlein by the Deutsche Brahms-Gesellschaft and traces Brahms’s path in assembling his quotations to reveal borrowings from sources he encountered in the Schumann house in Düsseldorf in 1854. The second section of the article considers the different modes of reading implied by Brahms’s collection, while the third reflects on the artistic worldview articulated by the assembled entries. While scholars have viewed the Schatzkästlein largely as evidence of Brahms’s adolescent infatuation with the writings of the German Romantics, this investigation emphasizes the competing conceptions of artistry present in these fascinatingly messy notebooks and argues that this youthful collection points to the important role played by literature in the development of Brahms’s distinctive musical sensibility.
{"title":"Between Hoffmann and Goethe: The Young Brahms as Reader","authors":"Reuben Phillips","doi":"10.1017/rma.2021.20","DOIUrl":"https://doi.org/10.1017/rma.2021.20","url":null,"abstract":"Abstract This article provides a critical account of Brahms’s early collection of quotations, aphorisms and poems commonly known as Des jungen Kreislers Schatzkästlein in the context of the composer’s youthful engagement with German literature. Drawing on archival materials housed in Vienna, it evaluates the 1909 publication of the Schatzkästlein by the Deutsche Brahms-Gesellschaft and traces Brahms’s path in assembling his quotations to reveal borrowings from sources he encountered in the Schumann house in Düsseldorf in 1854. The second section of the article considers the different modes of reading implied by Brahms’s collection, while the third reflects on the artistic worldview articulated by the assembled entries. While scholars have viewed the Schatzkästlein largely as evidence of Brahms’s adolescent infatuation with the writings of the German Romantics, this investigation emphasizes the competing conceptions of artistry present in these fascinatingly messy notebooks and argues that this youthful collection points to the important role played by literature in the development of Brahms’s distinctive musical sensibility.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"455 - 489"},"PeriodicalIF":0.3,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46560236","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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