Tritones sounding over subdominant harmony, either as suspensions, accented passing tones, or incomplete neighbors, constitute a class of sonorities regularly heard in film and television music. I collectively refer to these phenomena as “subdominant tritones” (SdTT), and theorize a link between the SdTT and emotions it engenders. The article presents close visual/musical analysis of selected SdTT-tinged passages in feature films that animate various heightened emotional states, including longing, nostalgia, relief, and melancholy. [Please note: This article contains embedded video files. These files cannot be played on all PDF readers. Current Musicology recommends Foxit PDF Reader, Adobe Acrobat, or any other PDF reader capable of reading "enriched" media.]
{"title":"The Subdominant Tritone in Film and Television Music","authors":"B. Osborn","doi":"10.52214/CM.V107I.7840","DOIUrl":"https://doi.org/10.52214/CM.V107I.7840","url":null,"abstract":"Tritones sounding over subdominant harmony, either as suspensions, accented passing tones, or incomplete neighbors, constitute a class of sonorities regularly heard in film and television music. I collectively refer to these phenomena as “subdominant tritones” (SdTT), and theorize a link between the SdTT and emotions it engenders. The article presents close visual/musical analysis of selected SdTT-tinged passages in feature films that animate various heightened emotional states, including longing, nostalgia, relief, and melancholy.\u0000[Please note: This article contains embedded video files. These files cannot be played on all PDF readers. Current Musicology recommends Foxit PDF Reader, Adobe Acrobat, or any other PDF reader capable of reading \"enriched\" media.]","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"62-92"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46342016","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 colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars.
{"title":"Our Project","authors":"A. Gatdula","doi":"10.52214/cm.v107i.7268","DOIUrl":"https://doi.org/10.52214/cm.v107i.7268","url":null,"abstract":"This colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44699612","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 1969 West Germany, the country was abuzz with anticipation of the approaching Beethoven bicentennial. That year the composer and experimental filmmaker Mauricio Raul Kagel, born in Argentina to Russian- and German-Jewish parents in 1931 and living in Cologne since 1957, was commissioned by the State to commemorate the momentous occasion. What resulted was a film that surely no West German official had anticipated. Entitled Ludwig van: A Report and strongly inflected by Kagel’s absurdist aesthetic, Kagel’s film critiques the fetish object that Beethoven’s music and person had become in twentieth-century West Germany, touching upon, amongst many topics, East German claims of Beethoven’s “misuse” by the West German government, as well as the rise in the 1960s of the theory that Beethoven was Black. While Ludwig van has been recognized for its sendup of bourgeois music culture, it has yet to be analyzed from the perspective of diasporic experience. Simultaneously a love letter to and deconstruction of Beethoven’s cultural legacy, Ludwig van asks its audience to consider the complex diasporic experiences of avant-garde artists in the wake of WWII. Drawing on work by Brigid Cohen, I argue for the centrality of the theme of migration and displacement in Ludwig van. And in reading two central scenes from the film, I consider, in dialogue with Scott Burnham, what light the fifty-one-year-old film’s critique of the fetishization of origins and genealogy might shed on the celebration of Beethoven’s 250th birthday in 2020, and such acts of memorization more generally. [Please note: This article contains embedded video files. These files cannot be played on all PDF readers. Current Musicology recommends Foxit PDF Reader, Adobe Acrobat, or any other PDF reader capable of reading "enriched" media.]
{"title":"Beethoven Returns to Bonn: Origins, Belonging and Misuse in Mauricio Kagel’s Ludwig van (1969)","authors":"E. F. Gibbon","doi":"10.52214/CM.V107I.7195","DOIUrl":"https://doi.org/10.52214/CM.V107I.7195","url":null,"abstract":"In 1969 West Germany, the country was abuzz with anticipation of the approaching Beethoven bicentennial. That year the composer and experimental filmmaker Mauricio Raul Kagel, born in Argentina to Russian- and German-Jewish parents in 1931 and living in Cologne since 1957, was commissioned by the State to commemorate the momentous occasion. What resulted was a film that surely no West German official had anticipated. Entitled Ludwig van: A Report and strongly inflected by Kagel’s absurdist aesthetic, Kagel’s film critiques the fetish object that Beethoven’s music and person had become in twentieth-century West Germany, touching upon, amongst many topics, East German claims of Beethoven’s “misuse” by the West German government, as well as the rise in the 1960s of the theory that Beethoven was Black.\u0000While Ludwig van has been recognized for its sendup of bourgeois music culture, it has yet to be analyzed from the perspective of diasporic experience. Simultaneously a love letter to and deconstruction of Beethoven’s cultural legacy, Ludwig van asks its audience to consider the complex diasporic experiences of avant-garde artists in the wake of WWII. Drawing on work by Brigid Cohen, I argue for the centrality of the theme of migration and displacement in Ludwig van. And in reading two central scenes from the film, I consider, in dialogue with Scott Burnham, what light the fifty-one-year-old film’s critique of the fetishization of origins and genealogy might shed on the celebration of Beethoven’s 250th birthday in 2020, and such acts of memorization more generally.\u0000[Please note: This article contains embedded video files. These files cannot be played on all PDF readers. Current Musicology recommends Foxit PDF Reader, Adobe Acrobat, or any other PDF reader capable of reading \"enriched\" media.]","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"29-61"},"PeriodicalIF":0.0,"publicationDate":"2021-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49217617","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 colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. Sarah Hankins shares thoughts on mental illness, arguing that it is a gap in our discourse. Hankins asks us to bear witness to experiences of those who boldly declare that they are “unfit” for the pipeline—“unfit” to survive the pipeline, to have access to the pipeline, and for the so-called promises at the end of the pipeline. Following the work of Black studies, queer of color critique, Black radicalism, Afropessimism, and especially the writings of Stefano Harney and Fred Moten, Hankins’s intervention in this colloquy demands pause in academia’s system of perpetual motion.
{"title":"Unfit for Subjection: Mental Illness, Mental Health, and the University Undercommons","authors":"Sarah E. Hankins","doi":"10.52214/CM.V107I.7843","DOIUrl":"https://doi.org/10.52214/CM.V107I.7843","url":null,"abstract":"This colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. \u0000Sarah Hankins shares thoughts on mental illness, arguing that it is a gap in our discourse. Hankins asks us to bear witness to experiences of those who boldly declare that they are “unfit” for the pipeline—“unfit” to survive the pipeline, to have access to the pipeline, and for the so-called promises at the end of the pipeline. Following the work of Black studies, queer of color critique, Black radicalism, Afropessimism, and especially the writings of Stefano Harney and Fred Moten, Hankins’s intervention in this colloquy demands pause in academia’s system of perpetual motion.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"153-157"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47046120","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":"Sykes, Jim. 2018. The Musical Gift: Sonic Generosity in Post-War Sri Lanka. Oxford: Oxford University Press.","authors":"Davindar Singh","doi":"10.52214/CM.V107I.6663","DOIUrl":"https://doi.org/10.52214/CM.V107I.6663","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"171-180"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42593456","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 colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. Matthew Ovalle and Andrew Dell’Antonio contribute a joint-paper outlining the alternative pathways that give people the chance to make their own way through the music academia pipeline. Using personal anecdotes from their positions as teachers, mentors, and the mentored, they offer a representation of academia as one of care, empathy, and optimism.
{"title":"Mentoring, Institutional Barriers, Structures of Justice: A Dialogue Across Positions of Privilege and Power","authors":"A. Dell'antonio, Matthew Ovalle","doi":"10.52214/CM.V107I.7842","DOIUrl":"https://doi.org/10.52214/CM.V107I.7842","url":null,"abstract":"This colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. \u0000Matthew Ovalle and Andrew Dell’Antonio contribute a joint-paper outlining the alternative pathways that give people the chance to make their own way through the music academia pipeline. Using personal anecdotes from their positions as teachers, mentors, and the mentored, they offer a representation of academia as one of care, empathy, and optimism.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"148-152"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48001734","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 colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. Margaret Thomas takes us into the undergraduate music theory classroom, addressing one of the entry points into the music academia pipeline. Thomas proposes two educational theories to make our classrooms more inclusive: universal design for learning (UDL) and equity pedagogy. More importantly, she calls for music pedagogues to be proactive and to address the structural inequities that shape a student’s engagement in and out of the classroom.
{"title":"Making the Case for Equity Pedagogy","authors":"Margaret E. Thomas","doi":"10.52214/CM.V107I.7841","DOIUrl":"https://doi.org/10.52214/CM.V107I.7841","url":null,"abstract":"This colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. \u0000Margaret Thomas takes us into the undergraduate music theory classroom, addressing one of the entry points into the music academia pipeline. Thomas proposes two educational theories to make our classrooms more inclusive: universal design for learning (UDL) and equity pedagogy. More importantly, she calls for music pedagogues to be proactive and to address the structural inequities that shape a student’s engagement in and out of the classroom.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"142-147"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43732315","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":"Jas, Eric. 2018. Piety and Polyphony in Sixteenth-Century Holland: The Choirbooks of St Peter’s Church, Leiden. Studies in Medieval and Renaissance Music, 18. Woodbridge: The Boydell Press.","authors":"Michael Gale","doi":"10.52214/CM.V107I.7235","DOIUrl":"https://doi.org/10.52214/CM.V107I.7235","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"163-170"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47365216","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}
Adrienne Rich’s poem “The Ninth Symphony of Beethoven Understood at Last as a Sexual Message” has become a fixture in musicological accounts of Beethoven and the Ninth ever since its introduction to the discipline in an influential essay by Susan McClary. But though Rich’s work has been cited in numerous books and articles in the intervening decades, it has remained yoked to McClary’s text, with critics rarely considering the poem on its own terms. This paper considers what is at stake in our discipline’s reliance on Rich’s “Beethoven” poem. After taking stock of its use at the hands of musicologists since the publication of Feminine Endings, asking to what end authors reference Rich’s work, it returns to the poem in order to stage a more explicit confrontation with its text, reestablish its connections to contemporary discussions of Beethoven and feminism, and consider its significance to musicology.
{"title":"The Ninth Symphony of Beethoven, Its Rich History","authors":"Campbell Shiflett","doi":"10.52214/CM.V107I.7136","DOIUrl":"https://doi.org/10.52214/CM.V107I.7136","url":null,"abstract":"Adrienne Rich’s poem “The Ninth Symphony of Beethoven Understood at Last as a Sexual Message” has become a fixture in musicological accounts of Beethoven and the Ninth ever since its introduction to the discipline in an influential essay by Susan McClary. But though Rich’s work has been cited in numerous books and articles in the intervening decades, it has remained yoked to McClary’s text, with critics rarely considering the poem on its own terms. This paper considers what is at stake in our discipline’s reliance on Rich’s “Beethoven” poem. After taking stock of its use at the hands of musicologists since the publication of Feminine Endings, asking to what end authors reference Rich’s work, it returns to the poem in order to stage a more explicit confrontation with its text, reestablish its connections to contemporary discussions of Beethoven and feminism, and consider its significance to musicology.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"6-28"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44523543","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}
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