{"title":"Yasar, Kerim. 2018. Electrified Voices: How the Telephone, Phonograph, and Radio Shaped Modern Japan, 1868–1945. New York: Columbia University Press.","authors":"Thomas A. Cressy","doi":"10.7916/D8-N2YY-RS98","DOIUrl":"https://doi.org/10.7916/D8-N2YY-RS98","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"103 1","pages":"139-146"},"PeriodicalIF":0.0,"publicationDate":"2020-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47470693","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":"“It’s Awfully Important to Listen”: Ella Jenkins and Musical Multiculturalism","authors":"Gayle Wald","doi":"10.7916/D8-G92D-Q288","DOIUrl":"https://doi.org/10.7916/D8-G92D-Q288","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"104 1","pages":"45-68"},"PeriodicalIF":0.0,"publicationDate":"2020-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44630040","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 more or less simultaneous appearance of these two substantial books on the music of Harrison Birtwistle by a pair of British academics is clinching evidence-if such a thing were required-of Birtwistle’s standing as a major world figure, at least in the eyes of his British admirers. All the same, something needs to be said about that qualification. Birtwistle also enjoys a certain reputation on the European mainland, but it is of much more recent date and by no means universal. His manuscripts are housed in the archive set up in Basle by the late Paul Sacher, who commissioned his trumpet concerto Endless Parade in 1986; but the distinguished Franco-Swiss-German musicologists who now run the Sacher Stiftung are by no means unanimous in their admiration. As for the United States, my impression from across the pond is that Birtwistle’s music, like his person, is a very intermittent presence. Presligious commissions like Exody (for the Chicago Symphony Orchestra) can be traced to influential admirers-in this case, Daniel Barenboim, who was also midwife to the Berlin premiere of Birtwistle’s latest opera, The Last Supper. Otherwise, in the States most of Birtwistle’s stage works, and much else of note, remain little known.
{"title":"Review of Jonathan Cross. 2000. Harrison Birtwistle: Man, Mind, Music. Ithaca: Cornell University Press; and Robert Adlington. 2000. The Music of Harrison Birtwistle. Cambridge: Cambridge University Press","authors":"S. Walsh","doi":"10.7916/CM.V0I70.4807","DOIUrl":"https://doi.org/10.7916/CM.V0I70.4807","url":null,"abstract":"The more or less simultaneous appearance of these two substantial books on the music of Harrison Birtwistle by a pair of British academics is clinching evidence-if such a thing were required-of Birtwistle’s standing as a major world figure, at least in the eyes of his British admirers. All the same, something needs to be said about that qualification. Birtwistle also enjoys a certain reputation on the European mainland, but it is of much more recent date and by no means universal. His manuscripts are housed in the archive set up in Basle by the late Paul Sacher, who commissioned his trumpet concerto Endless Parade in 1986; but the distinguished Franco-Swiss-German musicologists who now run the Sacher Stiftung are by no means unanimous in their admiration. As for the United States, my impression from across the pond is that Birtwistle’s music, like his person, is a very intermittent presence. Presligious commissions like Exody (for the Chicago Symphony Orchestra) can be traced to influential admirers-in this case, Daniel Barenboim, who was also midwife to the Berlin premiere of Birtwistle’s latest opera, The Last Supper. Otherwise, in the States most of Birtwistle’s stage works, and much else of note, remain little known.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"70 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44222772","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}
As an undergraduate music major interested in graduate study in music theory, I asked Joseph Straus, with whom I was taking an independent study in music theory and feminism, if he knew of any published work in feminist music theory. The only relevant writing he could think of was Susan McClary’s “Pitches, Expression, Ideology,” from the little-known journal Enclitic (1983). After reading this article (which I still reference when teaching Schubert Lieder), I corresponded with McClary, and we set up a meeting during her visit to New York to speak at the Brecht Forum/ New York Marxist School. We quickly bonded over the fact that we both grew up in the same small town in Illinois—Carbondale—and that in graduate school we both tried desperately to expunge all traces of our distinctive southern Illinois twang. As a first-year music theory graduate student at Harvard eager to bring feminist criticism to my newly chosen subfield, I established a study group for those interested in learning more about what then was a brand-new area of research. The Group for Gender Studies in Music (GGSM) met once a month to discuss the few publications then available in feminist music studies, analyze music by women composers, produce a concert of music by women composers in honor of Women’s History Month, and plan a colloquium series. We found a sympathetic adviser in David Lewin, the senior music theorist on the faculty, and I secured funding from Radcliffe College and several other sources to pay for honoraria and travel for our four invited speakers. Lewin generously wrote a check as seed money to support our group when our request for department funding for our activities was turned down. When I met with the department chair about possible support for GGSM, I was asked to supply a list of names of those who attended our meetings, ostensibly to establish the level of student interest in the group. Our group was more controversial than I had anticipated and I wondered whether there would be negative consequences for anyone involved. (I did not comply with the request for names.) Without support from the department, we could not internally process the donations we received, and had to open an account at a local bank. Meetings of the Group for Gender Studies in Music were very well attended by curious graduate students in music theory, musicology, and ethnomusicology. Word of our colloquium series, advertised in hard-copy posters I prepared with my dot-matrix printer in the days before Facebook, Twitter, and e-mail somehow reached Professor Judith Tick at Northeastern University and Dr. Hugh Morgan Hill, also known as Brother Blue. Dr. Hill was a playwright and storyteller based in Cambridge who had earned a doctorate in storytelling from Union Graduate School (Grimes 2009). He attended McClary’s GGSM colloquium on Laurie Anderson, work she developed into a chapter in Feminine Endings (1991), and he took McClary aside to comment on the significance of her speaking
{"title":"Power and Equity in the Academy: Change from Within","authors":"Ellie M. Hisama","doi":"10.7916/CM.V0I102.5365","DOIUrl":"https://doi.org/10.7916/CM.V0I102.5365","url":null,"abstract":"As an undergraduate music major interested in graduate study in music theory, I asked Joseph Straus, with whom I was taking an independent study in music theory and feminism, if he knew of any published work in feminist music theory. The only relevant writing he could think of was Susan McClary’s “Pitches, Expression, Ideology,” from the little-known journal Enclitic (1983). After reading this article (which I still reference when teaching Schubert Lieder), I corresponded with McClary, and we set up a meeting during her visit to New York to speak at the Brecht Forum/ New York Marxist School. We quickly bonded over the fact that we both grew up in the same small town in Illinois—Carbondale—and that in graduate school we both tried desperately to expunge all traces of our distinctive southern Illinois twang. \u0000As a first-year music theory graduate student at Harvard eager to bring feminist criticism to my newly chosen subfield, I established a study group for those interested in learning more about what then was a brand-new area of research. The Group for Gender Studies in Music (GGSM) met once a month to discuss the few publications then available in feminist music studies, analyze music by women composers, produce a concert of music by women composers in honor of Women’s History Month, and plan a colloquium series. We found a sympathetic adviser in David Lewin, the senior music theorist on the faculty, and I secured funding from Radcliffe College and several other sources to pay for honoraria and travel for our four invited speakers. Lewin generously wrote a check as seed money to support our group when our request for department funding for our activities was turned down. When I met with the department chair about possible support for GGSM, I was asked to supply a list of names of those who attended our meetings, ostensibly to establish the level of student interest in the group. Our group was more controversial than I had anticipated and I wondered whether there would be negative consequences for anyone involved. (I did not comply with the request for names.) Without support from the department, we could not internally process the donations we received, and had to open an account at a local bank. \u0000Meetings of the Group for Gender Studies in Music were very well attended by curious graduate students in music theory, musicology, and ethnomusicology. Word of our colloquium series, advertised in hard-copy posters I prepared with my dot-matrix printer in the days before Facebook, Twitter, and e-mail somehow reached Professor Judith Tick at Northeastern University and Dr. Hugh Morgan Hill, also known as Brother Blue. Dr. Hill was a playwright and storyteller based in Cambridge who had earned a doctorate in storytelling from Union Graduate School (Grimes 2009). He attended McClary’s GGSM colloquium on Laurie Anderson, work she developed into a chapter in Feminine Endings (1991), and he took McClary aside to comment on the significance of her speaking","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46503805","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":"Chávez, Alex E. 2017. Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño . Durham, NC: Duke University Press","authors":"Nandini Rupa Banerjee-Datta","doi":"10.7916/D8-QDH5-T427","DOIUrl":"https://doi.org/10.7916/D8-QDH5-T427","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"102 1","pages":"281-283"},"PeriodicalIF":0.0,"publicationDate":"2020-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46806645","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":"From Idea to Institution: The Development and Dissemination of the Orff-Schulwerk from Germany to the United States","authors":"E. Spitz","doi":"10.7916/D8-HHGJ-AG35","DOIUrl":"https://doi.org/10.7916/D8-HHGJ-AG35","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"104 1","pages":"7-44"},"PeriodicalIF":0.0,"publicationDate":"2020-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45762203","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}
C. Hatch, Dineen, J. P. Walsh, Jo-Ann Reif, Murray, Peter Schubert
Patricia Carpenter (1923-2000) studied with Arnold Schoenberg for seven years (1942-1949) at UCLA and in private lessons. This experience proved crucial for her later research, teaching, and writing. Carpenter taught music theory at Barnard College and Columbia University from 1961-1989. The publication of the following two articles celebrates the 2004 renaming of the Music Theory Society of New York State's Young Scholar Award after Professor Carpenter. The previously unpublished paper, "Schoenberg's Tonal Body," was the keynote address at the 1988 MTSNYS conference. "The Piano Music of Arnold Schoenberg" is an early article (1961) that appeared in The Piano Quarterly} Those interested in Schoenberg's concepts of Grundgestalt, developing variation, and the Musical Idea, in both the tonal and post-tonal repertoire, will find these articles helpful. Both essays apply these notions concretely to music, including the first movement of Brahms 's Piano Quartet in C minor, op. 60 and Schoenbeig's piano pieces op. 1 1, no. 2 and op. 25. The following remarks are meant to introduce the kind of endeavor we believe Pat Carpenter was doing in these and her other writings.
{"title":"Patricia Carpenter in Commemoration","authors":"C. Hatch, Dineen, J. P. Walsh, Jo-Ann Reif, Murray, Peter Schubert","doi":"10.7916/D8FF3R9T","DOIUrl":"https://doi.org/10.7916/D8FF3R9T","url":null,"abstract":"Patricia Carpenter (1923-2000) studied with Arnold Schoenberg for seven years (1942-1949) at UCLA and in private lessons. This experience proved crucial for her later research, teaching, and writing. Carpenter taught music theory at Barnard College and Columbia University from 1961-1989. The publication of the following two articles celebrates the 2004 renaming of the Music Theory Society of New York State's Young Scholar Award after Professor Carpenter. The previously unpublished paper, \"Schoenberg's Tonal Body,\" was the keynote address at the 1988 MTSNYS conference. \"The Piano Music of Arnold Schoenberg\" is an early article (1961) that appeared in The Piano Quarterly} Those interested in Schoenberg's concepts of Grundgestalt, developing variation, and the Musical Idea, in both the tonal and post-tonal repertoire, will find these articles helpful. Both essays apply these notions concretely to music, including the first movement of Brahms 's Piano Quartet in C minor, op. 60 and Schoenbeig's piano pieces op. 1 1, no. 2 and op. 25. The following remarks are meant to introduce the kind of endeavor we believe Pat Carpenter was doing in these and her other writings.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"69 1","pages":"186-198"},"PeriodicalIF":0.0,"publicationDate":"2020-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42213440","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":"Tia DeNora. 2013. Music Asylums: Wellbeing Through Music in Everyday Life","authors":"Jonathan Still","doi":"10.7916/D85445GT","DOIUrl":"https://doi.org/10.7916/D85445GT","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"101 1","pages":"145-150"},"PeriodicalIF":0.0,"publicationDate":"2020-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46802645","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 has its source in a larger research project on distorted guitar playing in rock music which focuses on distortion’s effect on playability and expressiveness, its psychological influences on chord perception, composition, and production, and on issues regarding genre aesthetics. While most work on rock music and guitar cultures has either studied recorded and transcribed music or the star’s personality, behavior, and medial staging, this empirical study mainly focuses on amateur and semi-professional musicians, but it also evaluates statements of professional guitarists of various prominence. It explores guitar players’ views and attitudes as well as their preferred equipment, based on the theoretically grounded assumption that musicians’ use of equipment is strongly connected with genre conventions.
{"title":"Empirical Explorations of Guitar Players’ Attitudes Towards Their Equipment and the Role of Distortion in Rock Music","authors":"Jan Herbst","doi":"10.7916/CM.V0I105.5404","DOIUrl":"https://doi.org/10.7916/CM.V0I105.5404","url":null,"abstract":"This article has its source in a larger research project on distorted guitar playing in rock music which focuses on distortion’s effect on playability and expressiveness, its psychological influences on chord perception, composition, and production, and on issues regarding genre aesthetics. While most work on rock music and guitar cultures has either studied recorded and transcribed music or the star’s personality, behavior, and medial staging, this empirical study mainly focuses on amateur and semi-professional musicians, but it also evaluates statements of professional guitarists of various prominence. It explores guitar players’ views and attitudes as well as their preferred equipment, based on the theoretically grounded assumption that musicians’ use of equipment is strongly connected with genre conventions.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"1 1","pages":"75-106"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41656889","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：