Pub Date : 2023-04-01DOI: 10.1177/15366006231167624
Alan L. Spurgeon
{"title":"Book Review: To Do This, You Must Know How: Music Pedagogy in the Black Gospel Tradition","authors":"Alan L. Spurgeon","doi":"10.1177/15366006231167624","DOIUrl":"https://doi.org/10.1177/15366006231167624","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46057800","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 : 2023-04-01DOI: 10.1177/15366006231167626
Elizabeth Chappell
The relevance of the book to music education history is clear. It offers a fascinating collection of different historical approaches to conceptualizing music and teaching singing. It provides translations of a range of European texts with accessible introductions noting their contexts and importance. Friddle’s immersion in the choral and organ worlds, as well as his scholarly experience, shine through in the close attention to musical examples and practical exercises, as well as some comment on their particular relevance for modern-day practice. It is this turn towards practitioners, rather than scholars, which perhaps characterizes the emphasis of the book on sources and factual information, rather than narrative and argument. Despite this, however, the book provides an important resource for performers, educators and researchers, and this reviewer has no doubt it will act as a valuable springboard for further research in this area.
{"title":"Book Review: Reflections on Elizabeth A. H. Green’s Life and Career in Music Education","authors":"Elizabeth Chappell","doi":"10.1177/15366006231167626","DOIUrl":"https://doi.org/10.1177/15366006231167626","url":null,"abstract":"The relevance of the book to music education history is clear. It offers a fascinating collection of different historical approaches to conceptualizing music and teaching singing. It provides translations of a range of European texts with accessible introductions noting their contexts and importance. Friddle’s immersion in the choral and organ worlds, as well as his scholarly experience, shine through in the close attention to musical examples and practical exercises, as well as some comment on their particular relevance for modern-day practice. It is this turn towards practitioners, rather than scholars, which perhaps characterizes the emphasis of the book on sources and factual information, rather than narrative and argument. Despite this, however, the book provides an important resource for performers, educators and researchers, and this reviewer has no doubt it will act as a valuable springboard for further research in this area.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47739141","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 : 2023-04-01DOI: 10.1177/15366006231167622
P. Sanders
{"title":"Book Review: Performing Racial Uplift: E. Azalia Hackley and African American Activism in the Postbellum to Pre-Harlem Era","authors":"P. Sanders","doi":"10.1177/15366006231167622","DOIUrl":"https://doi.org/10.1177/15366006231167622","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46438051","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 : 2023-02-06DOI: 10.1177/15366006221144057
Laurie J. Sampsel, Donald M. Puscher
The history of female piano teachers, especially those working with children, remains largely unstudied. Estelle Philleo (1880–1936) is one example from the early 20th century who specialized in group lessons for beginners. A New Woman who never married, she began as a junior piano teacher at the Michigan Female Seminary before graduating in 1902. After moving to Denver around 1906, she continued teaching and began composing. Philleo traveled widely in the West conducting Melody Way campaigns during the 1920s. The year after she died, Willis Music published her teaching pieces, Two Pastimes on the Black Keys. She is remembered today primarily for her 1917 hit song, “Out Where the West Begins.” Philleo’s work as a composer and performer garnered the press coverage that makes documenting her career possible. Newspaper articles are the primary sources used to explore her three-pronged career as an educator, composer, and performer. She used her traditional career as a music educator to support work unexpected for a woman—writing and performing music about the American West. This article explores Philleo’s teaching career, which spanned more than three decades. By doing so, it contributes to the history of female class piano teachers in the United States.
女钢琴教师的历史，特别是那些与儿童一起工作的女钢琴教师的历史，在很大程度上仍然没有得到研究。埃斯特尔·菲利奥(1880-1936)是20世纪初专门为初学者提供小组课程的一个例子。她是一位从未结婚的新女性，在1902年毕业之前，她在密歇根女子神学院担任初级钢琴教师。1906年左右搬到丹佛后，她继续教书并开始作曲。20世纪20年代，菲利奥在西部广泛开展“旋律之路”运动。她去世后的第二年，威利斯音乐出版了她的教学作品《黑键上的两个消遣》。今天人们记住她主要是因为她1917年的热门歌曲《Out of the West Begins》。菲利奥作为作曲家和表演者的作品获得了媒体的报道，这使得记录她的职业生涯成为可能。报纸文章是用来探索她作为教育家、作曲家和表演者的三管齐下的职业生涯的主要来源。她利用自己作为音乐教育家的传统职业来支持一个女性意想不到的工作——创作和表演有关美国西部的音乐。本文探讨了菲利奥长达30多年的教学生涯。通过这样做，它为美国女性课堂钢琴教师的历史做出了贡献。
{"title":"Teaching Her Way Through the American West: Estelle Philleo’s Journey as a Piano Teacher","authors":"Laurie J. Sampsel, Donald M. Puscher","doi":"10.1177/15366006221144057","DOIUrl":"https://doi.org/10.1177/15366006221144057","url":null,"abstract":"The history of female piano teachers, especially those working with children, remains largely unstudied. Estelle Philleo (1880–1936) is one example from the early 20th century who specialized in group lessons for beginners. A New Woman who never married, she began as a junior piano teacher at the Michigan Female Seminary before graduating in 1902. After moving to Denver around 1906, she continued teaching and began composing. Philleo traveled widely in the West conducting Melody Way campaigns during the 1920s. The year after she died, Willis Music published her teaching pieces, Two Pastimes on the Black Keys. She is remembered today primarily for her 1917 hit song, “Out Where the West Begins.” Philleo’s work as a composer and performer garnered the press coverage that makes documenting her career possible. Newspaper articles are the primary sources used to explore her three-pronged career as an educator, composer, and performer. She used her traditional career as a music educator to support work unexpected for a woman—writing and performing music about the American West. This article explores Philleo’s teaching career, which spanned more than three decades. By doing so, it contributes to the history of female class piano teachers in the United States.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44180213","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 : 2022-12-13DOI: 10.1177/15366006221144707
Viktoria Mitlytska, T. Gerdova
This article is devoted to studying the musical and educational activities of the Yekaterinoslav Theological Seminary in the context of Russian spiritual education in the late nineteenth and early twentieth centuries. The Seminary’s role in regional culture is considered in detail, with a specific focus on the development of music education and musical art. The extent of dissemination of musical knowledge by the Yekaterinoslav Theological Seminary is discussed. The role of Seminary musical education in preserving the traditions of church singing art is also studied. The connection between Seminary musical education and musical life is traced, as well as the emergence of secular musical art elements in the performance of sacred music in the concert repertoire of the Seminary choir, orchestra, and instrumental ensembles. Finally, the three most important functions of the Theological Seminary’s musical and educational activities are formulated. This research is a contribution to the study of the process that supported Ukraine music education formation as a part of Europe.
{"title":"Yekaterinoslav Theological Seminary’s Role in the Development of Music Education in Southeastern Ukraine in the Late Nineteenth to Early Twentieth Centuries","authors":"Viktoria Mitlytska, T. Gerdova","doi":"10.1177/15366006221144707","DOIUrl":"https://doi.org/10.1177/15366006221144707","url":null,"abstract":"This article is devoted to studying the musical and educational activities of the Yekaterinoslav Theological Seminary in the context of Russian spiritual education in the late nineteenth and early twentieth centuries. The Seminary’s role in regional culture is considered in detail, with a specific focus on the development of music education and musical art. The extent of dissemination of musical knowledge by the Yekaterinoslav Theological Seminary is discussed. The role of Seminary musical education in preserving the traditions of church singing art is also studied. The connection between Seminary musical education and musical life is traced, as well as the emergence of secular musical art elements in the performance of sacred music in the concert repertoire of the Seminary choir, orchestra, and instrumental ensembles. Finally, the three most important functions of the Theological Seminary’s musical and educational activities are formulated. This research is a contribution to the study of the process that supported Ukraine music education formation as a part of Europe.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42863197","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 : 2022-12-07DOI: 10.1177/15366006221144333
Halina Leung, K. Burwell
The purpose of this study is to explore the life and work of Pierre Sancan (1916–2008), an exemplary piano teacher who, like many masters in the apprenticeship tradition, is chiefly remembered today by his pupils alone. An all-round musician, Sancan had early success as a composer when he won the Prix de Rome in 1943, and enjoyed a flourishing career in solo and ensemble piano performance. His applied studio practices were based on the French school but extended beyond it by drawing on Russian approaches to technique, a study of anatomy, and the influence of jazz improvisation. However, at the height of his creative career, hailed as ‘one of the biggest names in French music today’, Sancan became professor of piano at the Paris Conservatoire, increasingly devoting his expertise and energies to the musical lives of his pupils and influencing generations of pianists and piano teachers around the world. In this study, Sancan’s musical career is examined through archival material including institutional documents, interviews and personal memorabilia, alongside an interview and survey study with former pupils including Jean-Philippe Collard and Jean-Efflam Bavouzet.
{"title":"Pierre Sancan: “Master of the Masterclass”","authors":"Halina Leung, K. Burwell","doi":"10.1177/15366006221144333","DOIUrl":"https://doi.org/10.1177/15366006221144333","url":null,"abstract":"The purpose of this study is to explore the life and work of Pierre Sancan (1916–2008), an exemplary piano teacher who, like many masters in the apprenticeship tradition, is chiefly remembered today by his pupils alone. An all-round musician, Sancan had early success as a composer when he won the Prix de Rome in 1943, and enjoyed a flourishing career in solo and ensemble piano performance. His applied studio practices were based on the French school but extended beyond it by drawing on Russian approaches to technique, a study of anatomy, and the influence of jazz improvisation. However, at the height of his creative career, hailed as ‘one of the biggest names in French music today’, Sancan became professor of piano at the Paris Conservatoire, increasingly devoting his expertise and energies to the musical lives of his pupils and influencing generations of pianists and piano teachers around the world. In this study, Sancan’s musical career is examined through archival material including institutional documents, interviews and personal memorabilia, alongside an interview and survey study with former pupils including Jean-Philippe Collard and Jean-Efflam Bavouzet.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49233119","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 : 2022-11-26DOI: 10.1177/15366006221120369
Tianna M. Gilliam
The purpose of this historical investigation was to contribute to the growing body of knowledge about women in music education by means of documenting the life and career of Genevieve F. Hargiss (1912-1995), a lesser known yet exemplary twentieth-century music educator. Through the investigation of primary source materials including Hargiss’s personal scrapbooks, interviews, and her scholarly publications, as well as newspaper articles and oral histories, this paper explores Hargiss’s contributions to the field of music education from 1929 to 1982. This study argues that Hargiss made a lasting impact in her field through her innovative, research-based improvements to professional teacher-training programs and elementary general music programs in Kansas, Arizona, and across the U.S. Hargiss blazed a trail for women in the field of music education through her excellence in performing, research, mentoring, and teaching; a brilliant educator and scholar – “not just for her time, but for any time.”
{"title":"Genevieve Hargiss: A Biographical Portrait of an Exemplary Twentieth-Century Music Educator","authors":"Tianna M. Gilliam","doi":"10.1177/15366006221120369","DOIUrl":"https://doi.org/10.1177/15366006221120369","url":null,"abstract":"The purpose of this historical investigation was to contribute to the growing body of knowledge about women in music education by means of documenting the life and career of Genevieve F. Hargiss (1912-1995), a lesser known yet exemplary twentieth-century music educator. Through the investigation of primary source materials including Hargiss’s personal scrapbooks, interviews, and her scholarly publications, as well as newspaper articles and oral histories, this paper explores Hargiss’s contributions to the field of music education from 1929 to 1982. This study argues that Hargiss made a lasting impact in her field through her innovative, research-based improvements to professional teacher-training programs and elementary general music programs in Kansas, Arizona, and across the U.S. Hargiss blazed a trail for women in the field of music education through her excellence in performing, research, mentoring, and teaching; a brilliant educator and scholar – “not just for her time, but for any time.”","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43817248","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 : 2022-11-23DOI: 10.1177/15366006221123906
Xinyue Le
This historical study is an extension of an earlier study “The Origins of Multicultural Music Education in Chinese Secondary Schools’ General Music Classes.” In the earlier study, I examined multicultural music education in middle school music classes in the People’s Republic of China from 1989 to 2010. The present study examines the same topic during an earlier time period, 1978–1988. Primary sources are national syllabi issued by the Chinese Ministry of Education and State Education Commission. The study concludes that during the time period Chinese multicultural music education highlighted the diversity of Chinese music culture, involving music from 56 nationalities in the People’s Republic of China. The findings, along with the findings of the earlier study, reveal trends in multicultural music education in Chinese schools.
{"title":"Multicultural Music Education in Chinese Middle School General Music Classes, 1978–1988","authors":"Xinyue Le","doi":"10.1177/15366006221123906","DOIUrl":"https://doi.org/10.1177/15366006221123906","url":null,"abstract":"This historical study is an extension of an earlier study “The Origins of Multicultural Music Education in Chinese Secondary Schools’ General Music Classes.” In the earlier study, I examined multicultural music education in middle school music classes in the People’s Republic of China from 1989 to 2010. The present study examines the same topic during an earlier time period, 1978–1988. Primary sources are national syllabi issued by the Chinese Ministry of Education and State Education Commission. The study concludes that during the time period Chinese multicultural music education highlighted the diversity of Chinese music culture, involving music from 56 nationalities in the People’s Republic of China. The findings, along with the findings of the earlier study, reveal trends in multicultural music education in Chinese schools.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42187993","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 : 2022-09-22DOI: 10.1177/15366006221120739
Michael Gale
drummers in the 17th century and their work later during the Napoleonic period. All of this is accompanied by a thorough knowledge of military history in general, which deftly shapes the narrative. The only element of the book with which this reviewer took issue is the absence of footnotes, endnotes, and other documentation, likely an action of the publisher rather than the author. Norris does a good job of acknowledging authors within the text but does not give the sourced works specifically. While he supplies a bibliography, it is not inclusive. This reviewer would have also liked to have seen a more complete index— again, likely decisions of the publisher rather than the author. Taken as a whole, this is an excellent work, highly recommended for those interested in military history, military music, and of interest to general historians as well as general readers and veteran military personnel, especially musicians. The strength of Norris’s writing and research skills will ensure thatMarching to the Drums will retain a rightful place in the literature for years to come.
{"title":"Book Review: Music, Dance, and Drama in Early Modern English Schools","authors":"Michael Gale","doi":"10.1177/15366006221120739","DOIUrl":"https://doi.org/10.1177/15366006221120739","url":null,"abstract":"drummers in the 17th century and their work later during the Napoleonic period. All of this is accompanied by a thorough knowledge of military history in general, which deftly shapes the narrative. The only element of the book with which this reviewer took issue is the absence of footnotes, endnotes, and other documentation, likely an action of the publisher rather than the author. Norris does a good job of acknowledging authors within the text but does not give the sourced works specifically. While he supplies a bibliography, it is not inclusive. This reviewer would have also liked to have seen a more complete index— again, likely decisions of the publisher rather than the author. Taken as a whole, this is an excellent work, highly recommended for those interested in military history, military music, and of interest to general historians as well as general readers and veteran military personnel, especially musicians. The strength of Norris’s writing and research skills will ensure thatMarching to the Drums will retain a rightful place in the literature for years to come.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45210096","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 : 2022-09-22DOI: 10.1177/15366006221126857
William R. Lee
since the author engages head-on with an issue that historians of all persuasions must confront when studying past cultural events: those inevitable gaps left by the surviving textual evidence. Her solution is promising, grounded in recent work by Carolyn Abbate and Elisabeth Le Guin, among others, emphasizing the corporeal and experiential dimensions of music-making. Stressing the physical and performative aspects of the musical and dramatic occasions identified, the author usefully evokes Gertrude Stein’s concept of ‘syncopated time’ – whereby the “past collapses into present; present collapses into past” (p. 63) – and shows how ongoing continuities within these performance traditions can forge links between early-modern and present-day events. By examining sung services at Christ’s Hospital school from the seventeenth century to the present, or interrogating recent school-based performances of Dido and Aeneas, the author argues that we reanimate the past by re-enacting these cultural practices. Using present-day experiences – as a participant, as a listener and viewer, and as a parent of school-age children – the author is able to nourish and inform the work as a historian, fleshing out the bones of the narrative tentatively reconstructed from textual sources. This book thus offers a skilful model of how to engage with past culture, despite the inevitable challenges posed by lacunae in available sources. The work will be of enormous value to scholars working across a wide spectrum of early modern cultural discourses, including gender identity, social hierarchy, the development of the professions, religious and confessional practices, etc. It is a bold and provocative study and should appeal to a range of readers far greater than its rather functional, descriptive title suggests.
因为作者直面了各种信仰的历史学家在研究过去的文化事件时必须面对的一个问题：那些幸存的文本证据留下的不可避免的空白。她的解决方案很有希望，基于Carolyn Abbate和Elisabeth Le Guin等人最近的工作，强调音乐制作的物质和体验层面。强调所确定的音乐和戏剧场合的身体和表演方面，作者有效地唤起了格特鲁德·斯坦的“切分时间”概念——即“过去坍塌为现在；现在坍塌为过去”（第63页）——并展示了这些表演传统中持续的连续性如何在早期现代和现代事件之间建立联系。通过考察17世纪至今基督医院学校的歌唱服务，或者询问迪多和埃涅阿斯最近在学校的表演，作者认为我们通过重新制定这些文化实践来复活过去。利用当今的经验——作为参与者、听众和观众，以及学龄儿童的父母——作者能够作为历史学家滋养和告知作品，充实从文本来源初步重建的叙事的骨骼。因此，这本书提供了一个技巧性的模式，说明如何与过去的文化接触，尽管现有资料的空白带来了不可避免的挑战。这项工作对研究早期现代文化话语的学者来说将具有巨大价值，包括性别认同、社会等级制度、职业发展、宗教和忏悔实践等。这是一项大胆而富有煽动性的研究，应该比其功能性的描述性标题更能吸引广大读者。
{"title":"Book Review: Child Composers in the Old Conservatories: How Orphans Became Elite Musicians","authors":"William R. Lee","doi":"10.1177/15366006221126857","DOIUrl":"https://doi.org/10.1177/15366006221126857","url":null,"abstract":"since the author engages head-on with an issue that historians of all persuasions must confront when studying past cultural events: those inevitable gaps left by the surviving textual evidence. Her solution is promising, grounded in recent work by Carolyn Abbate and Elisabeth Le Guin, among others, emphasizing the corporeal and experiential dimensions of music-making. Stressing the physical and performative aspects of the musical and dramatic occasions identified, the author usefully evokes Gertrude Stein’s concept of ‘syncopated time’ – whereby the “past collapses into present; present collapses into past” (p. 63) – and shows how ongoing continuities within these performance traditions can forge links between early-modern and present-day events. By examining sung services at Christ’s Hospital school from the seventeenth century to the present, or interrogating recent school-based performances of Dido and Aeneas, the author argues that we reanimate the past by re-enacting these cultural practices. Using present-day experiences – as a participant, as a listener and viewer, and as a parent of school-age children – the author is able to nourish and inform the work as a historian, fleshing out the bones of the narrative tentatively reconstructed from textual sources. This book thus offers a skilful model of how to engage with past culture, despite the inevitable challenges posed by lacunae in available sources. The work will be of enormous value to scholars working across a wide spectrum of early modern cultural discourses, including gender identity, social hierarchy, the development of the professions, religious and confessional practices, etc. It is a bold and provocative study and should appeal to a range of readers far greater than its rather functional, descriptive title suggests.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43314435","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：