{"title":"Black Labor and the Deep South in Hurston’s The Great Day and Ellington’s Black, Brown, and Beige","authors":"Brendan Kibbee","doi":"10.7916/D8FN2Q3D","DOIUrl":"https://doi.org/10.7916/D8FN2Q3D","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"101 1","pages":"81-97"},"PeriodicalIF":0.0,"publicationDate":"2020-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49016593","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":"“Hear What You Want”: Sonic Politics, Blackness, and Racism-Canceling Headphones","authors":"Alex Blue","doi":"10.7916/D8DV32SN","DOIUrl":"https://doi.org/10.7916/D8DV32SN","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"1 1","pages":"87-106"},"PeriodicalIF":0.0,"publicationDate":"2020-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43201189","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":"Sarah Hibbert and Richard Wrigley, eds. 2014. Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions","authors":"J. Doe","doi":"10.7916/D8XP8NTZ","DOIUrl":"https://doi.org/10.7916/D8XP8NTZ","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"101 1","pages":"125-129"},"PeriodicalIF":0.0,"publicationDate":"2020-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46064553","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 explores how singing became “Wagnerian” after Wagner’s death in 1883. Common perceptions of Wagnerian singing center on its sheer volume, its muscular and heroic tone. Interestingly, the last century of Wagnerian singing has been shaped by a school of singing defined not by theories of resonance and phonation, but by the disciplining of the breathing body. In arguing that certain ideas of singing technique adapted to and then defined this Wagnerian ideal, the essay demonstrates that the “work” of the operatic singer involves much more than having “a voice.” In doing so, the article opens up a new space for considering Wagnerian singing, a topic neglected in scholarly literature. More generally, it also builds on recent scholarship that has begun to explore the voice in all its material realities and pedagogy as a crucial site of the construction of sonic ideals.
{"title":"Wagnerian Singing and the Limits of Vocal Pedagogy","authors":"S. Parr","doi":"10.7916/CM.V0I105.5403","DOIUrl":"https://doi.org/10.7916/CM.V0I105.5403","url":null,"abstract":"This article explores how singing became “Wagnerian” after Wagner’s death in 1883. Common perceptions of Wagnerian singing center on its sheer volume, its muscular and heroic tone. Interestingly, the last century of Wagnerian singing has been shaped by a school of singing defined not by theories of resonance and phonation, but by the disciplining of the breathing body. In arguing that certain ideas of singing technique adapted to and then defined this Wagnerian ideal, the essay demonstrates that the “work” of the operatic singer involves much more than having “a voice.” In doing so, the article opens up a new space for considering Wagnerian singing, a topic neglected in scholarly literature. More generally, it also builds on recent scholarship that has begun to explore the voice in all its material realities and pedagogy as a crucial site of the construction of sonic ideals.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42509782","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":"Kreuzer, Gundula. 2018. Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera . Oakland, CA: University of California Press.","authors":"Alexander K. Rothe","doi":"10.7916/D8-5WXB-XZ23","DOIUrl":"https://doi.org/10.7916/D8-5WXB-XZ23","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"103 1","pages":"131-138"},"PeriodicalIF":0.0,"publicationDate":"2020-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45772751","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":"Coelho, Victor and Keith Polk. 2016. Instrumentalists and Renaissance Culture, 1420-1600: Players of Function and Fantasy . Cambridge: Cambridge University Press.","authors":"Jonathan Ligrani","doi":"10.7916/D8-C5KK-1E24","DOIUrl":"https://doi.org/10.7916/D8-C5KK-1E24","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"104 1","pages":"187-192"},"PeriodicalIF":0.0,"publicationDate":"2020-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44382216","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 this essay I trace a path through the intellectual history of the last thirty-five years by using the idea of relationality to connect widely different theoretical frameworks that have been used in the fields of ethnomusicology and musicology. These perspectives are all part of a generalized move away from the fixity of structuralism and towards more contingent, dynamic, and anti-foundationalist modes of understanding power, identity, embodiment, technology, and the sensory. Although philosophical perspectives must be addressed, I am fundamentally more interested in exploring the application of these ideas to empirical work—historical and ethnographic. To this end I sing in praise of theoretical eclecticism: the practice of selecting the most productive ideas from philosophy, social theory, and other fields, according to how well they can illuminate and frame an empirical project. To borrow a concept from a recently fashionable philosopher, I suggest that creating theoretical assemblages with clear points of connection to the principle topic of research might serve us well. Deleuze famously advocated for a rhizomatic rather than arborescent understanding of interconnection: “unlike trees or their roots, the rhizome connects any point to any other point, and its traits are not necessarily linked to traits of the same nature; it brings into play very different regimes of signs, and even nonsign states” (Deleuze and Guattari 1987, 21). Or more pithily: “We’re tired of trees. We should stop believing in trees, roots, and radicles. They’ve made us suffer too much” (15). Assemblages, for Deleuze and Guattari, are non-hierarchical consistencies that develop among these connections and they may link different strata. After tracing an outline of the legacy of relational thinking I will show how and why I have applied an anthropological assemblage theory of ethics and morality to my work on Malian balafonist Neba Solo in conjunction with older social and cultural theories. This essay also addresses the limits of Deleuze and Guattari’s concept of assemblage, and philosophical perspectives more generally, as resources for socially engaged empirical musical studies. The need to engage issues of power, inequality, diversity and gender inequality, I argue, requires engagement with the social sciences, such as sociology, anthropology, and economics. Emphasis on these social theoretical resources encapsulates one historical difference between musicology and ethnomusicology in terms of relational thinking.
在这篇文章中，我通过使用关系的概念来连接在民族音乐学和音乐学领域中使用的广泛不同的理论框架，追溯了过去35年的思想史。这些观点都是从结构主义的固定性转向更偶然的、动态的、反基础主义的理解权力、身份、体现、技术和感官的模式。虽然必须解决哲学观点，但我从根本上更感兴趣的是探索这些思想在实证工作中的应用——历史和民族志。为此，我赞扬理论折衷主义:从哲学、社会理论和其他领域中选择最具生产力的思想的实践，根据它们能在多大程度上阐明和构建一个实证项目。借用一位最近很流行的哲学家的一个概念，我认为创建与研究的主要主题有明确联系的理论集合可能对我们很有帮助。德勒兹主张以根状而不是树状来理解相互联系:“与树木或它们的根不同，根状茎将任何一点连接到任何其他一点，它的特征不一定与相同性质的特征联系在一起;它带来了非常不同的符号制度，甚至是非符号状态”(Deleuze and Guattari 1987, 21)。或者更简洁地说:“我们厌倦了树木。我们应该停止相信树、根和根茎。他们让我们承受了太多的痛苦。”对于德勒兹和瓜塔里来说，组合是在这些联系中发展起来的非等级一致性，它们可能连接不同的阶层。在对关系思维的遗产进行概述之后，我将展示我如何以及为什么将伦理学和道德的人类学组合理论与更古老的社会和文化理论相结合，应用于我对马里巴拉芬主义者内巴·索罗的研究。本文还讨论了德勒兹和瓜塔里的集合概念的局限性，以及更普遍的哲学观点，作为社会参与经验音乐研究的资源。我认为，要解决权力、不平等、多样性和性别不平等等问题，就需要与社会学、人类学和经济学等社会科学进行接触。对这些社会理论资源的强调概括了音乐学和民族音乐学在关系思维方面的一个历史差异。
{"title":"In Praise of Eclecticism: Relational Thinking and Theoretical Assemblage","authors":"Ingrid T. Monson","doi":"10.7916/CM.V0I102.5368","DOIUrl":"https://doi.org/10.7916/CM.V0I102.5368","url":null,"abstract":"In this essay I trace a path through the intellectual history of the last thirty-five years by using the idea of relationality to connect widely different theoretical frameworks that have been used in the fields of ethnomusicology and musicology. These perspectives are all part of a generalized move away from the fixity of structuralism and towards more contingent, dynamic, and anti-foundationalist modes of understanding power, identity, embodiment, technology, and the sensory. Although philosophical perspectives must be addressed, I am fundamentally more interested in exploring the application of these ideas to empirical work—historical and ethnographic. To this end I sing in praise of theoretical eclecticism: the practice of selecting the most productive ideas from philosophy, social theory, and other fields, according to how well they can illuminate and frame an empirical project. To borrow a concept from a recently fashionable philosopher, I suggest that creating theoretical assemblages with clear points of connection to the principle topic of research might serve us well. Deleuze famously advocated for a rhizomatic rather than arborescent understanding of interconnection: “unlike trees or their roots, the rhizome connects any point to any other point, and its traits are not necessarily linked to traits of the same nature; it brings into play very different regimes of signs, and even nonsign states” (Deleuze and Guattari 1987, 21). Or more pithily: “We’re tired of trees. We should stop believing in trees, roots, and radicles. They’ve made us suffer too much” (15). Assemblages, for Deleuze and Guattari, are non-hierarchical consistencies that develop among these connections and they may link different strata. After tracing an outline of the legacy of relational thinking I will show how and why I have applied an anthropological assemblage theory of ethics and morality to my work on Malian balafonist Neba Solo in conjunction with older social and cultural theories. \u0000This essay also addresses the limits of Deleuze and Guattari’s concept of assemblage, and philosophical perspectives more generally, as resources for socially engaged empirical musical studies. The need to engage issues of power, inequality, diversity and gender inequality, I argue, requires engagement with the social sciences, such as sociology, anthropology, and economics. Emphasis on these social theoretical resources encapsulates one historical difference between musicology and ethnomusicology in terms of relational thinking.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46829371","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}
Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his development as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography.
{"title":"Review of Charles M. Joseph. 2011. Stravinsky’s Ballets . New Haven: Yale University Press.","authors":"Maeve Sterbenz","doi":"10.7916/CM.V0I96.5318","DOIUrl":"https://doi.org/10.7916/CM.V0I96.5318","url":null,"abstract":"Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his development as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"96 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46797130","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":"On Teaching the History of Nineteenth-Century Music","authors":"W. Frisch","doi":"10.7916/D8-131T-EZ81","DOIUrl":"https://doi.org/10.7916/D8-131T-EZ81","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"104 1","pages":"85-98"},"PeriodicalIF":0.0,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71363488","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 founding of the Paris Conservatoire in 1795 was intended to bring standardization and meritocracy to French musical pedagogy. However, major compromises were reached in the setting of the Conservatoire’s curriculum, aimed at synthesizing the diverse pedagogical approaches of its professors. Charles-Simon Catel’s Traite d’Harmonie (1803), the Conservatoire’s official harmony textbook, was one such compromise, written to bring an end to ongoing disagreements between the pro-Rameau and anti-Rameau factions on the institution’s faculty. This paper examines the music-theoretical debates that underpinned the Catel compromise by placing Catel’s Traite in dialogue with the music and pedagogy of composer Henri-Montan Berton. Although largely unknown today, Berton was one of the most prolific opera composers of the Revolution; in 1795, he was appointed harmony professor to the Conservatoire, where he served on the committee which unanimously approved Catel’s treatise. Comparing Berton’s Rameau-inspired conception of harmonic space with Catel’s more pragmatic harmonic doctrine, this paper will present an archaeology of a single chord, the subdominant, tracing its use from Berton’s pedagogical games to his Revolutionary-era operas. This paper argues that the subdominant chord occupied a much more privileged position in Berton’s work than it did in Catel’s Traite d’Harmonie, Berton frequently employing harmonic forms that seem to emphasize the subdominant at the expense of the more powerful dominant. Thus, Berton’s treatment of the subdominant, both in the opera house and in the classroom, reveals just how far Catel’s treatise was removed from the musical practices of the Conservatoire’s faculty.
{"title":"Berton’s Ludic Pedagogy and the Subdominant Otherwise: Tension and Compromise in the Early Paris Conservatoire Curriculum","authors":"Callum Blackmore","doi":"10.7916/CM.V0I104.5395","DOIUrl":"https://doi.org/10.7916/CM.V0I104.5395","url":null,"abstract":"The founding of the Paris Conservatoire in 1795 was intended to bring standardization and meritocracy to French musical pedagogy. However, major compromises were reached in the setting of the Conservatoire’s curriculum, aimed at synthesizing the diverse pedagogical approaches of its professors. Charles-Simon Catel’s Traite d’Harmonie (1803), the Conservatoire’s official harmony textbook, was one such compromise, written to bring an end to ongoing disagreements between the pro-Rameau and anti-Rameau factions on the institution’s faculty. This paper examines the music-theoretical debates that underpinned the Catel compromise by placing Catel’s Traite in dialogue with the music and pedagogy of composer Henri-Montan Berton. Although largely unknown today, Berton was one of the most prolific opera composers of the Revolution; in 1795, he was appointed harmony professor to the Conservatoire, where he served on the committee which unanimously approved Catel’s treatise. Comparing Berton’s Rameau-inspired conception of harmonic space with Catel’s more pragmatic harmonic doctrine, this paper will present an archaeology of a single chord, the subdominant, tracing its use from Berton’s pedagogical games to his Revolutionary-era operas. This paper argues that the subdominant chord occupied a much more privileged position in Berton’s work than it did in Catel’s Traite d’Harmonie, Berton frequently employing harmonic forms that seem to emphasize the subdominant at the expense of the more powerful dominant. Thus, Berton’s treatment of the subdominant, both in the opera house and in the classroom, reveals just how far Catel’s treatise was removed from the musical practices of the Conservatoire’s faculty.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"104 1","pages":"99-140"},"PeriodicalIF":0.0,"publicationDate":"2020-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42575755","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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