This listening journal is about grief and family, the way sounds interweaves with text and realms of communication, how to ask for instructions to lay to rest the remains of the dead. An observer creates credibility for the doer, which in turn gives importance to the observer. The thread of the sound practice is trust. Who lets me hold space for them, who I let hold space for me. In recording this journey of Amma's death, I thought a lot about how my practice with the listening journals influenced my speaking, my performance practice, my listening to people speak. I noticed that when I listen to my recording, I had a lot of umm’s, as if there was a hum in the middle of my speech, but it also created a hesitancy and pause to the authority of speech. Perhaps my listening practice is to create a habitat to experience, to move, to listen, to think.
{"title":"I misunderstand you","authors":"Rajnesh Chakrapani","doi":"10.52214/cm.v111i.11202","DOIUrl":"https://doi.org/10.52214/cm.v111i.11202","url":null,"abstract":"\u0000 \u0000 \u0000 \u0000This listening journal is about grief and family, the way sounds interweaves with text and realms of communication, how to ask for instructions to lay to rest the remains of the dead. An observer creates credibility for the doer, which in turn gives importance to the observer. The thread of the sound practice is trust. Who lets me hold space for them, who I let hold space for me. In recording this journey of Amma's death, I thought a lot about how my practice with the listening journals influenced my speaking, my performance practice, my listening to people speak. I noticed that when I listen to my recording, I had a lot of umm’s, as if there was a hum in the middle of my speech, but it also created a hesitancy and pause to the authority of speech. Perhaps my listening practice is to create a habitat to experience, to move, to listen, to think. \u0000 \u0000 \u0000 \u0000","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46284733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents the partial results of a dissertation entitled The role of music in the internationalization of capoeira: Flows and crossroads Rio-France-Germany (2022). Documents prepared by practitioners of the N'Zinga Capoeira School in Hanover, Germany, published on a platform called Yumpu, provide information on how musical-cultural knowledge of capoeira is understood and passed down in this context. Through the translation of songs and the study of informational texts written by German instructors about capoeira, I observe that musicality (and, by extension, corporeality) are fundamenatal to the consolidation of capoeira culture in Germany. This analysis is influenced by Leda Martins' Performances da Oralitura (2003), which highlights the enduring African root in Afro-diasporic cultural activities, transmitting africanidades ("Africanities") beyond the performance itself. Paul Gilroy's The Black Alantic (1993) also informed my understanding of the relevance of Black culture in critiques of European democracy. German capoeira practitioners gain a deeper understanding of the structural differences imposed on racialized people when they coexist with their mestres and learn of oppression and social difference through the art of capoeira.
{"title":"There goes the Berimbau: An Africa-Brazil-Germany Musician-Body Trajectory","authors":"Simone Grundner","doi":"10.52214/cm.v111i.10969","DOIUrl":"https://doi.org/10.52214/cm.v111i.10969","url":null,"abstract":"This article presents the partial results of a dissertation entitled The role of music in the internationalization of capoeira: Flows and crossroads Rio-France-Germany (2022). Documents prepared by practitioners of the N'Zinga Capoeira School in Hanover, Germany, published on a platform called Yumpu, provide information on how musical-cultural knowledge of capoeira is understood and passed down in this context. Through the translation of songs and the study of informational texts written by German instructors about capoeira, I observe that musicality (and, by extension, corporeality) are fundamenatal to the consolidation of capoeira culture in Germany. This analysis is influenced by Leda Martins' Performances da Oralitura (2003), which highlights the enduring African root in Afro-diasporic cultural activities, transmitting africanidades (\"Africanities\") beyond the performance itself. Paul Gilroy's The Black Alantic (1993) also informed my understanding of the relevance of Black culture in critiques of European democracy. German capoeira practitioners gain a deeper understanding of the structural differences imposed on racialized people when they coexist with their mestres and learn of oppression and social difference through the art of capoeira. ","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45660866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1948, Elliott Carter penned an analysis of his Piano Sonata for Edgard Varèse. His analysis of the first movement, in particular, makes one ask why Carter did not subsume its recurrent two-tempo structure under “first group” of its sonata form. Given Carter’s sophistication, was he experiencing a moment of music historical “agnosia,” since two-tempo expositions inform familiar Beethoven works such as Piano Sonata, op.31, no.2 and String Quartet in Bb, op.130. This paper explores Carter’s “agnosia” by way of internal and external evidence. Internally, it revisits the thematic chart he attached to the 1948 analysis and goes on to posit the idea that the work’s quintal neo-tonality so saturates its thematic network themes as to distort the composer’s analysis of the form, historical precedents irrespective. Externally, the paper compares three works by Beethoven to Carter’s Sonata as regards its two-tempo structure, using concepts borrowed from Hepokoski and Darcy’s Elements of Sonata Theory (1999). Finally, the author revisits writings of Carter and his circle that may explain why his analysis downplayed historical precedents to the Piano Sonata.
1948年，艾略特·卡特写了一篇分析他为埃德加·瓦罗斯创作的钢琴奏鸣曲的文章。尤其是他对第一乐章的分析，让人不禁要问，为什么卡特没有将其反复出现的双节奏结构归入奏鸣曲形式的“第一组”。考虑到卡特的老练，他是否经历了音乐史上的“失认症”，因为贝多芬的作品中经常出现双节奏的展示，比如《钢琴奏鸣曲》，op.31, no. 5。b大调弦乐四重奏，作品130。本文通过内外证据对卡特的“失认症”进行了探讨。在内部，它重新审视了他附在1948年分析中的主题图表，并继续假设作品的五重奏新调性如此饱和于其主题网络主题，以至于扭曲了作曲家对形式的分析，无论历史先例如何。在外部，本文使用Hepokoski和Darcy的《奏鸣曲理论要素》(Elements of Sonata Theory, 1999)中的概念，将贝多芬的三部作品与卡特的奏鸣曲的双节奏结构进行了比较。最后，作者回顾了卡特和他的圈子的著作，这可能解释了为什么他的分析淡化了钢琴奏鸣曲的历史先例。
{"title":"Elliott Carter's Analysis of his Piano Sonata (1945-46)","authors":"Ira Braus","doi":"10.52214/cm.v108i.3593","DOIUrl":"https://doi.org/10.52214/cm.v108i.3593","url":null,"abstract":"In 1948, Elliott Carter penned an analysis of his Piano Sonata for Edgard Varèse. His analysis of the first movement, in particular, makes one ask why Carter did not subsume its recurrent two-tempo structure under “first group” of its sonata form. Given Carter’s sophistication, was he experiencing a moment of music historical “agnosia,” since two-tempo expositions inform familiar Beethoven works such as Piano Sonata, op.31, no.2 and String Quartet in Bb, op.130. This paper explores Carter’s “agnosia” by way of internal and external evidence. Internally, it revisits the thematic chart he attached to the 1948 analysis and goes on to posit the idea that the work’s quintal neo-tonality so saturates its thematic network themes as to distort the composer’s analysis of the form, historical precedents irrespective. Externally, the paper compares three works by Beethoven to Carter’s Sonata as regards its two-tempo structure, using concepts borrowed from Hepokoski and Darcy’s Elements of Sonata Theory (1999). Finally, the author revisits writings of Carter and his circle that may explain why his analysis downplayed historical precedents to the Piano Sonata.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46058092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Arts advocacy in the U.S. tends to cultivate state and philanthropic art support by emphasizing art’s potential to increase productivity and generate revenue in various ways. Even musicologists often take this rhetorical route, arguing for the continued relevance of our work, for example by noting that studying music cultivates the kind of creative thinking skills that make workers attractive to corporations like Google. This way of promoting music and musicology thus reinforces the logic of state and capital by demonstrating music’s usefulness within that logic. I argue that we should instead embrace and pedagogically center music’s uselessness as its most potentially radical quality. Doing so could help us construct a new political imaginary that might more robustly resist the antisocial logics of capital. My argument circles around the question of musical autonomy. While a certain version of autonomy undergirds our discipline’s tools and assumptions, today this value is dismissed by almost everyone, including leftists and liberals, activists and academics. In salvaging the autonomous ideal, I attempt to resituate it firmly within collective practice, an orientation it has traditionally been seen as transcending. My exploration of collective autonomy weaves together work from musicology, political theory, anthropology, feminist theory, and Black studies, as well as from radical activist traditions that develop outside of any institutional framework. I think with and through these diverse perspectives, arguing that celebrating music’s uselessness might aid our collective ability imagine a radically different world.
{"title":"Resisting Usefulness","authors":"Marianna Ritchey","doi":"10.52214/cm.v108i.7799","DOIUrl":"https://doi.org/10.52214/cm.v108i.7799","url":null,"abstract":"Arts advocacy in the U.S. tends to cultivate state and philanthropic art support by emphasizing art’s potential to increase productivity and generate revenue in various ways. Even musicologists often take this rhetorical route, arguing for the continued relevance of our work, for example by noting that studying music cultivates the kind of creative thinking skills that make workers attractive to corporations like Google. This way of promoting music and musicology thus reinforces the logic of state and capital by demonstrating music’s usefulness within that logic. I argue that we should instead embrace and pedagogically center music’s uselessness as its most potentially radical quality. Doing so could help us construct a new political imaginary that might more robustly resist the antisocial logics of capital. \u0000My argument circles around the question of musical autonomy. While a certain version of autonomy undergirds our discipline’s tools and assumptions, today this value is dismissed by almost everyone, including leftists and liberals, activists and academics. In salvaging the autonomous ideal, I attempt to resituate it firmly within collective practice, an orientation it has traditionally been seen as transcending. My exploration of collective autonomy weaves together work from musicology, political theory, anthropology, feminist theory, and Black studies, as well as from radical activist traditions that develop outside of any institutional framework. I think with and through these diverse perspectives, arguing that celebrating music’s uselessness might aid our collective ability imagine a radically different world.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49412149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Robinson, Dylan. 2020. Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis: University of Minnesota Press.","authors":"Derek Baron","doi":"10.52214/cm.v108i.7186","DOIUrl":"https://doi.org/10.52214/cm.v108i.7186","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47089430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Brown, Rae Linda. 2020. The Heart of a Woman: The Life and Music of Florence B. Price. Champaign: University of Illinois Press.","authors":"Lauren Shepherd","doi":"10.52214/cm.v108i.7925","DOIUrl":"https://doi.org/10.52214/cm.v108i.7925","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46210958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This review essay considers the relationships among opera, sound recording, and critical race theory, and explores them at a moment when these fields are beginning to converge. One of my concerns will be the recent and ground-breaking studies and collections on opera and race by Naomi Adele André (2017, 2019), Kira Thurman (2012, 2019), Pamela Karantonis and Dylan Robinson (2011), and Mary I. Ingraham, Joseph K. So and Roy Moodley (2016). Another will be the neglected history of opera and sound recording; notable scholars here include Karen Henson (2020), Robert Cannon (2014), and Richard Leppert (2015). Finally, I will focus on the thought-provoking analyses of race and sound by Alexander Weheliye (2005), Brian Ward (2003), Jennifer Lynn Stoever (2016) and Nina Sun Eidsheim (2019). There are obvious connections among these three bodies of scholarship, yet these connections have not yet been clearly identified and explored. Although many scholars have come to embrace opera as a material and embodied phenomenon, the artform’s dissemination, analysis, and enjoyment through sound recording is still overlooked as a site of enquiry, especially its potential as a fertile site of inquiry about identity. To overlook the issue of identity in relation to recording is to perpetuate the belief that recordings are primarily documents of performance practice. It ignores the army of technicians who invisibly craft the acoustic object, many of whom are historically white and male. This review essay seeks to address this neglect and to suggest some ways in which the processes of making and consuming opera recordings is intimately related to whiteness and anti-Blackness—but also to Black possibility. In what follows, I cast a broad net, ranging widely and at times unexpectedly. I begin with some recent events in American musicology and in the New York operatic scene; then, turn to a consideration of some of the scholarship just mentioned; and finally conclude with a brief discussion of a specific recording, the Metropolitan Opera’s “live” sound recording of the 2019 production of Gershwin’s Porgy and Bess.
这篇评论文章考虑了歌剧、录音和批判种族理论之间的关系，并在这些领域开始融合的时候对它们进行了探索。我关注的问题之一是Naomi Adele andr(2017年、2019年)、Kira Thurman(2012年、2019年)、Pamela Karantonis和Dylan Robinson(2011年)以及Mary I. Ingraham、Joseph K. So和Roy Moodley(2016年)最近对歌剧和种族的开创性研究和收集。另一个将是被忽视的歌剧和录音的历史;这里的著名学者包括Karen Henson (2020)， Robert Cannon(2014)和Richard Leppert(2015)。最后，我将重点介绍Alexander Weheliye(2005)、Brian Ward(2003)、Jennifer Lynn Stoever(2016)和Nina Sun Eidsheim(2019)对种族和声音的发人深省的分析。这三个学术机构之间有明显的联系，但这些联系还没有被清楚地识别和探索。尽管许多学者已经开始接受歌剧作为一种物质和具体化的现象，但这种艺术形式通过录音的传播、分析和享受仍然被忽视为一个探索的场所，尤其是它作为一个探索身份的肥沃场所的潜力。忽视与录音有关的身份问题是使录音主要是表演实践的文件这一信念永久化。它忽略了那些无形地制造声音物体的技术人员，其中许多人历来是白人男性。这篇评论文章试图解决这种忽视，并提出一些方法，其中制作和消费歌剧录音的过程与白人和反黑人密切相关，但也与黑人的可能性密切相关。在接下来的文章中，我撒了一张大网，涉及面很广，有时出乎意料。我从美国音乐学和纽约歌剧界最近发生的一些事件开始;然后，我们来考虑一下刚才提到的一些奖学金;最后简要讨论了一段具体的录音，即大都会歌剧院对2019年格什温的《波吉与贝斯》的“现场”录音。
{"title":"Opera, Sound Recording, and Critical Race Theory","authors":"M. Timmermans","doi":"10.52214/cm.v108i.8811","DOIUrl":"https://doi.org/10.52214/cm.v108i.8811","url":null,"abstract":"This review essay considers the relationships among opera, sound recording, and critical race theory, and explores them at a moment when these fields are beginning to converge. One of my concerns will be the recent and ground-breaking studies and collections on opera and race by Naomi Adele André (2017, 2019), Kira Thurman (2012, 2019), Pamela Karantonis and Dylan Robinson (2011), and Mary I. Ingraham, Joseph K. So and Roy Moodley (2016). Another will be the neglected history of opera and sound recording; notable scholars here include Karen Henson (2020), Robert Cannon (2014), and Richard Leppert (2015). Finally, I will focus on the thought-provoking analyses of race and sound by Alexander Weheliye (2005), Brian Ward (2003), Jennifer Lynn Stoever (2016) and Nina Sun Eidsheim (2019). There are obvious connections among these three bodies of scholarship, yet these connections have not yet been clearly identified and explored. \u0000Although many scholars have come to embrace opera as a material and embodied phenomenon, the artform’s dissemination, analysis, and enjoyment through sound recording is still overlooked as a site of enquiry, especially its potential as a fertile site of inquiry about identity. To overlook the issue of identity in relation to recording is to perpetuate the belief that recordings are primarily documents of performance practice. It ignores the army of technicians who invisibly craft the acoustic object, many of whom are historically white and male. This review essay seeks to address this neglect and to suggest some ways in which the processes of making and consuming opera recordings is intimately related to whiteness and anti-Blackness—but also to Black possibility. In what follows, I cast a broad net, ranging widely and at times unexpectedly. I begin with some recent events in American musicology and in the New York operatic scene; then, turn to a consideration of some of the scholarship just mentioned; and finally conclude with a brief discussion of a specific recording, the Metropolitan Opera’s “live” sound recording of the 2019 production of Gershwin’s Porgy and Bess.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48812635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Tunbridge, Laura. 2018. Singing in the Age of Anxiety: Lieder Performances in New York and London Between the World Wars. Chicago: University of Chicago Press.","authors":"Stewart Duncan","doi":"10.52214/cm.v108i.7169","DOIUrl":"https://doi.org/10.52214/cm.v108i.7169","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49041638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The assertions, refutations, and counter-refutations concerning two core pieces of Richard Taruskin’s studies on Russian music—Tchaikovsky’s Symphony No. 6 and Shostakovich’s Symphony No. 5—provide a starting point for discussion about the possibilities, limits, and obligations of musicological interpretation. Moreover, an important aspect of the discussion is the phenomenon of “alternative facts,” both in publication and in pedagogy, and possibly in music itself. Taruskin argues against the logical fallacies of overly specific or overly simplistic interpretations, but hesitates to fully interpret certain music himself, thereby participating in the web of alternative facts. Taruskin refutes popular myths about biographical meanings in Tchaikovsky’s symphony, but in so doing, also seems to reject a tragic reading of any kind. He explains away various musical structures and extroversive references, but fails to explore why those elements are in fact present. As for Shostakovich’s symphony, Taruskin notes its saturation with musical topics, but ignores their allusive specificity, downplaying their significance altogether for what he calls their transferability. Yet Taruskin himself identifies an allusion to a specific Orthodox hymn, and therefrom draws specific conclusions. His evidence for calling the passage a “literal imitation” is actually flawed, but a truly literal quotation of this very hymn may be present throughout the entire symphony, and may act as a sort of species of alternative fact itself. In any case, something that specific, and its placement in the symphonic structure, deserve notice and demand specificity of interpretation.
{"title":"Alternative Facts in Musicology and Vechnaya Pamyat' in Shostakovich's Symphony No. 5","authors":"E. Mah","doi":"10.52214/cm.v108i.7176","DOIUrl":"https://doi.org/10.52214/cm.v108i.7176","url":null,"abstract":"The assertions, refutations, and counter-refutations concerning two core pieces of Richard Taruskin’s studies on Russian music—Tchaikovsky’s Symphony No. 6 and Shostakovich’s Symphony No. 5—provide a starting point for discussion about the possibilities, limits, and obligations of musicological interpretation. Moreover, an important aspect of the discussion is the phenomenon of “alternative facts,” both in publication and in pedagogy, and possibly in music itself. \u0000 Taruskin argues against the logical fallacies of overly specific or overly simplistic interpretations, but hesitates to fully interpret certain music himself, thereby participating in the web of alternative facts. Taruskin refutes popular myths about biographical meanings in Tchaikovsky’s symphony, but in so doing, also seems to reject a tragic reading of any kind. He explains away various musical structures and extroversive references, but fails to explore why those elements are in fact present. \u0000 As for Shostakovich’s symphony, Taruskin notes its saturation with musical topics, but ignores their allusive specificity, downplaying their significance altogether for what he calls their transferability. Yet Taruskin himself identifies an allusion to a specific Orthodox hymn, and therefrom draws specific conclusions. His evidence for calling the passage a “literal imitation” is actually flawed, but a truly literal quotation of this very hymn may be present throughout the entire symphony, and may act as a sort of species of alternative fact itself. In any case, something that specific, and its placement in the symphonic structure, deserve notice and demand specificity of interpretation.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47679178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.52214/cm.v108i108.7921
C. Oram, Keir GoGwilt
This article is written from our perspectives as a performer and a composer, focusing on our violin concerto, “a loose affiliation of alleluias”, which we created and premiered in 2019. Making this concerto was an exercise in excavating the material histories that guide our creative practice. Our purpose in doing so was to work towards a clear and necessarily complex appraisal of how our current practices are motivated by, and reproduce, historically-determined knowledge, authority, and cultural attitudes. We think through our own reproductions of historical knowledge via Ben Spatz’s exegesis of “technique”, and via Edward Said’s notion of “affiliations” as the networks which build up cultural associations and cultural authority. With this theoretical frame, we contextualize some of the musical techniques and tropes engaged in our concerto—for instance polyphony, ornamentation, and the concerto soloist as heroic subject. We contextualize our reflections next to critical positions staked circumscribed by what Ben Piekut calls “elite avantgardism”—an analytical category which we see ourselves as operating within. We discuss, for instance, the critical gestures of musical modernism which (per Adorno’s analysis) conspicuously arrest and negate historical musical grammars and logics – and yet continue to reproduce its structuring values. In our concluding statements we gesture towards some of the pedagogical implications of this work, considering how creative practice can be leveraged to re-appraise the histories shaping our practices of composition, improvisation, and performance.
{"title":"A Loose Affiliation of Alleluias","authors":"C. Oram, Keir GoGwilt","doi":"10.52214/cm.v108i108.7921","DOIUrl":"https://doi.org/10.52214/cm.v108i108.7921","url":null,"abstract":"This article is written from our perspectives as a performer and a composer, focusing on our violin concerto, “a loose affiliation of alleluias”, which we created and premiered in 2019. Making this concerto was an exercise in excavating the material histories that guide our creative practice. Our purpose in doing so was to work towards a clear and necessarily complex appraisal of how our current practices are motivated by, and reproduce, historically-determined knowledge, authority, and cultural attitudes. We think through our own reproductions of historical knowledge via Ben Spatz’s exegesis of “technique”, and via Edward Said’s notion of “affiliations” as the networks which build up cultural associations and cultural authority. With this theoretical frame, we contextualize some of the musical techniques and tropes engaged in our concerto—for instance polyphony, ornamentation, and the concerto soloist as heroic subject. \u0000We contextualize our reflections next to critical positions staked circumscribed by what Ben Piekut calls “elite avantgardism”—an analytical category which we see ourselves as operating within. We discuss, for instance, the critical gestures of musical modernism which (per Adorno’s analysis) conspicuously arrest and negate historical musical grammars and logics – and yet continue to reproduce its structuring values. In our concluding statements we gesture towards some of the pedagogical implications of this work, considering how creative practice can be leveraged to re-appraise the histories shaping our practices of composition, improvisation, and performance.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41633978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：