{"title":"Andrey Smirnov. 2013. Sound in Z: Experiments in Sound and Electronic Music in Early 20th-Century Russia","authors":"Thomas W. Patteson","doi":"10.7916/D8DN5NZM","DOIUrl":"https://doi.org/10.7916/D8DN5NZM","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"101 1","pages":"139-143"},"PeriodicalIF":0.0,"publicationDate":"2020-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49459881","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":"Ethnography, Sound Studies and the Black Atlantic","authors":"Michael E. Veal, W. Slaten","doi":"10.7916/D8FV040B","DOIUrl":"https://doi.org/10.7916/D8FV040B","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"1 1","pages":"21-36"},"PeriodicalIF":0.0,"publicationDate":"2020-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47199958","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":"Seeing and Hearing the Thinking Voice","authors":"Gayatri Gopinath","doi":"10.7916/D8-PQJ4-FB25","DOIUrl":"https://doi.org/10.7916/D8-PQJ4-FB25","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"102 1","pages":"243-245"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45293156","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}
What might a broken clavicle, a urinating Frederic Chopin, the execution of parricides, and Sigismund Thalberg’s “third hand” all have in common? According to James Davies, these practices, accidents, and medical woes share nothing less than a concern for defining musical bodies. Romantic Anatomies of Performance offers a richly detailed history of hands, voices, and the music they made circa 1830. Travelling between London and Paris with the same alacrity as early nineteenth–century musicians, Davies marshals an impressive array of primary sources, including testimony by performers, composers, listeners, critics, and scientific researchers. By thickly describing the conflicts among participants in musical culture, Davies argues that music was itself as a site on which theories and practices of embodiment took shape. Davies’s scholarship contributes to several musicological sub–fields, most notably to the study of music and embodiment. Carolyn Abbate (2004) and Elisabeth Le Guin (2006) have trenchantly re–asserted the centrality of the body for musical experience. Moreover, they have shown how attention to performance’s materialities may generate musical knowledge of a type traditionally outside the purview of musicology. Davies is taking the next step in the study of music and body, as he brings a concern for embodiment to bear on nineteenth–century music in a new level of detail. Such a study is especially germane, as the musical practices cemented in the commercial centers of nineteenth–century Europe were arguably central to the formation of ideologies of modern art music more generally.
锁骨骨折、弗雷德里克·肖邦撒尿、杀鹦鹉案的执行以及西格斯蒙德·塔尔伯格的“第三只手”可能都有什么共同点？根据詹姆斯·戴维斯的说法，这些做法、事故和医疗困境都与定义音乐身体有关。《表演的浪漫解剖》提供了关于手、声音和他们在1830年左右创作的音乐的丰富详细的历史。戴维斯以与19世纪早期音乐家一样的敏捷在伦敦和巴黎之间旅行，收集了一系列令人印象深刻的主要来源，包括表演者、作曲家、听众、评论家和科学研究人员的证词。戴维斯通过大量描述音乐文化参与者之间的冲突，认为音乐本身就是一个形成化身理论和实践的场所。戴维斯的学术贡献了几个音乐学子领域，尤其是对音乐和化身的研究。Carolyn Abbate（2004）和Elisabeth Le Guin（2006）坚定地重新确立了身体对音乐体验的中心地位。此外，他们还展示了对表演材料的关注如何产生传统上超出音乐学范畴的音乐知识。戴维斯在研究音乐和身体方面迈出了下一步，他将对19世纪音乐的具体化的关注带到了一个新的细节层面。这项研究尤其密切相关，因为十九世纪欧洲商业中心巩固的音乐实践可以说是现代艺术音乐意识形态形成的核心。
{"title":"Davies, J.Q. 2014. Romantic Anatomies of Performance . Berkeley: University Of California Press.","authors":"J. M. Pierce","doi":"10.7916/CM.V0I98.5339","DOIUrl":"https://doi.org/10.7916/CM.V0I98.5339","url":null,"abstract":"What might a broken clavicle, a urinating Frederic Chopin, the execution of parricides, and Sigismund Thalberg’s “third hand” all have in common? According to James Davies, these practices, accidents, and medical woes share nothing less than a concern for defining musical bodies. Romantic Anatomies of Performance offers a richly detailed history of hands, voices, and the music they made circa 1830. Travelling between London and Paris with the same alacrity as early nineteenth–century musicians, Davies marshals an impressive array of primary sources, including testimony by performers, composers, listeners, critics, and scientific researchers. By thickly describing the conflicts among participants in musical culture, Davies argues that music was itself as a site on which theories and practices of embodiment took shape. \u0000Davies’s scholarship contributes to several musicological sub–fields, most notably to the study of music and embodiment. Carolyn Abbate (2004) and Elisabeth Le Guin (2006) have trenchantly re–asserted the centrality of the body for musical experience. Moreover, they have shown how attention to performance’s materialities may generate musical knowledge of a type traditionally outside the purview of musicology. Davies is taking the next step in the study of music and body, as he brings a concern for embodiment to bear on nineteenth–century music in a new level of detail. Such a study is especially germane, as the musical practices cemented in the commercial centers of nineteenth–century Europe were arguably central to the formation of ideologies of modern art music more generally.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"98 1","pages":"151-155"},"PeriodicalIF":0.0,"publicationDate":"2020-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49077722","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":"Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance . New York: Routledge","authors":"Jane Forner","doi":"10.7916/D8-0BSC-R397","DOIUrl":"https://doi.org/10.7916/D8-0BSC-R397","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"102 1","pages":"273-280"},"PeriodicalIF":0.0,"publicationDate":"2020-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41755776","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":"Fink, Robert, Melinda Latour, and Zachary Wallmark (eds). 2018. The Relentless Pursuit of Tone . New York: Oxford University Press.","authors":"Megan L. Lavengood","doi":"10.7916/D8-PVVT-XR51","DOIUrl":"https://doi.org/10.7916/D8-PVVT-XR51","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"103 1","pages":"121-130"},"PeriodicalIF":0.0,"publicationDate":"2020-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45520277","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}
Like Brussels sprouts, humanism is good for you, nourishing, nurturing, soulwarming—and from Phyllis Wheatley to R. Kelly, present-day R&B is a perpetual fight for human status, a yearning for human rights, a struggle for inclusion within the human species. Allergic to cybersonic if not to sonic technology, mainstream American media—in its drive to banish alienation, and to recover a sense of the whole human being through belief systems that talk to the “real you”—compulsively deletes any intimation of an AfroDiasporic futurism, of a “webbed network” of computerhythms, machine mythology and conceptechnics which routes, reroutes and crisscrosses the Atlantic. This digital diaspora connecting the UK to the US, the Caribbean to Europe to Africa, is in Paul Gilroy’s definition a “rhizomorphic, fractal structure,” a “transcultural, international formation.” [...]
{"title":"African Afro-futurism: Allegories and Speculations","authors":"Gavin Steingo","doi":"10.7916/D8XS7CB1","DOIUrl":"https://doi.org/10.7916/D8XS7CB1","url":null,"abstract":"Like Brussels sprouts, humanism is good for you, nourishing, nurturing, soulwarming—and from Phyllis Wheatley to R. Kelly, present-day R&B is a perpetual fight for human status, a yearning for human rights, a struggle for inclusion within the human species. Allergic to cybersonic if not to sonic technology, mainstream American media—in its drive to banish alienation, and to recover a sense of the whole human being through belief systems that talk to the “real you”—compulsively deletes any intimation of an AfroDiasporic futurism, of a “webbed network” of computerhythms, machine mythology and conceptechnics which routes, reroutes and crisscrosses the Atlantic. This digital diaspora connecting the UK to the US, the Caribbean to Europe to Africa, is in Paul Gilroy’s definition a “rhizomorphic, fractal structure,” a “transcultural, international formation.” [...]","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"122 ","pages":"45-75"},"PeriodicalIF":0.0,"publicationDate":"2020-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41314506","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":"Marie Sumner Lott. 2015. The Social Worlds of Nineteenth-Century Chamber Music","authors":"V. Ivanova","doi":"10.7916/D8P575CM","DOIUrl":"https://doi.org/10.7916/D8P575CM","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"101 1","pages":"131-137"},"PeriodicalIF":0.0,"publicationDate":"2020-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43844260","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":"David Brackett. 2016. Categorizing Sound: Genre and Twentieth-Century Popular Music . Berkeley: University of California Press","authors":"Thomas Johnson","doi":"10.7916/D8-6EA7-NJ31","DOIUrl":"https://doi.org/10.7916/D8-6EA7-NJ31","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"102 1","pages":"263-271"},"PeriodicalIF":0.0,"publicationDate":"2020-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41932791","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":"The Wonder of Delays","authors":"Alexandra T. Vazquez","doi":"10.7916/D8-Y501-MV62","DOIUrl":"https://doi.org/10.7916/D8-Y501-MV62","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"102 1","pages":"239-241"},"PeriodicalIF":0.0,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49197348","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：