Pub Date : 2021-10-01DOI: 10.1177/15366006211039119
William R. Lee
example, she employs the work of other musicologists and their interpretations of the work. One of Dalos’s unique contributions to the scholarship is to bring to light the connection of the work to Hungarian poet Endre Ady’s poem “The Peacock.” Though Kodály himself didn’t reference the poem in the composition, he did quote Ady in his writings and called him a “pathbreaking symbolist poet.” The poem and the composition use the bird as an analogy that juxtaposes beauty and flightlessness. Dalos, along with other musicologists, sees that the work may be an autobiographical work, summarizing his compositions after Psalmus Hungaricus, perhaps wondering if his works will take off and “fly.” She asks whether Kodály may be asking the same about Hungary itself and whether its high ideals will be attainable. The author shows Kodály’s place in the neoclassical tradition and provides a resource for international scholarship, similar to what is already in place for Kodály’s contemporaries (e.g., Bartók). She argues that more than just an outstanding anomaly of genius, Kodály fits into the context of composers his era. This book will be of particular interest to musicologists and those interested in aspects of Kodály’s life that are not yet as celebrated internationally, but which remained a major impetus for his commitment to a better music education in Hungary.
{"title":"Book Review: The Flageolet in England 1660–1914","authors":"William R. Lee","doi":"10.1177/15366006211039119","DOIUrl":"https://doi.org/10.1177/15366006211039119","url":null,"abstract":"example, she employs the work of other musicologists and their interpretations of the work. One of Dalos’s unique contributions to the scholarship is to bring to light the connection of the work to Hungarian poet Endre Ady’s poem “The Peacock.” Though Kodály himself didn’t reference the poem in the composition, he did quote Ady in his writings and called him a “pathbreaking symbolist poet.” The poem and the composition use the bird as an analogy that juxtaposes beauty and flightlessness. Dalos, along with other musicologists, sees that the work may be an autobiographical work, summarizing his compositions after Psalmus Hungaricus, perhaps wondering if his works will take off and “fly.” She asks whether Kodály may be asking the same about Hungary itself and whether its high ideals will be attainable. The author shows Kodály’s place in the neoclassical tradition and provides a resource for international scholarship, similar to what is already in place for Kodály’s contemporaries (e.g., Bartók). She argues that more than just an outstanding anomaly of genius, Kodály fits into the context of composers his era. This book will be of particular interest to musicologists and those interested in aspects of Kodály’s life that are not yet as celebrated internationally, but which remained a major impetus for his commitment to a better music education in Hungary.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48603905","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 : 2021-10-01DOI: 10.1177/15366006211039118
Andrew S. Paney
Zoltán Kodály is best known internationally for his work in developing a music pedagogy for children. His educational interests grew out of his desire for a truly Hungarian musical culture and a culturally literate Hungarian public. He recognized the importance of developing skills in the youngest children and the significance this would have for the arts culture of his nation. His successful educational work and the work of several of his collaborators were recognized at the International Society for Music Education (ISME) conference in Budapest in 1964. Anna Dalos’s book instead focuses on Kodály’s dedication to composition and philosophy—Kodály saw himself primarily as a composer. The author, a musicologist and Head of the archives for twentiethand twenty-first century Hungarian Music at the Institute for Musicology of the Research Centre for the Humanities in Budapest, includes some biographical information, but centers the text around Kodály’s thought and music, with particular attention to linking his writings and compositions. Dalos draws on previous scholarship in musicology and uses primary sources in Kodály’s papers at the Kodály Archives and at the library of the Liszt Academy in Budapest. The book interprets and contextualizes Kodály’s music using his writings, biographical details, and parallel world events. The book is divided into fourteen chapters, alternating between biographical information, the development of his thought as a philosopher, his use of musical forms, and investigations of some of his best-known works. Chapters address his youth, his international travels, and the influence of major world events on his work, particularly in the tumultuous first half of the twentieth century. Other chapters investigate his interpretation of folk songs as a source for composition, his interest in Debussy and modernity, his representation of women in his songs, and his views on church music. Several chapters look at his compositional style, especially his use of the folk song and counterpoint. Some chapters focus on a single work: String Quartet No. 1, String Quartet No. 2, Peacock Variations, and his Concerto. In the chapter on Peacock Variations, for Book Reviews
Zoltán Kodály因其为儿童开发音乐教学法的工作而闻名于世。他的教育兴趣源于他对真正的匈牙利音乐文化和文化素养的匈牙利公众的渴望。他认识到培养最小孩子的技能的重要性，以及这对他的国家艺术文化的意义。1964年，在布达佩斯举行的国际音乐教育学会（ISME）会议上，他成功的教育工作和几位合作者的工作得到了认可。安娜·达洛斯（Anna Dalos）的书转而关注科达利对作曲和哲学的执着——科达利认为自己主要是一名作曲家。作者是一名音乐学家，也是布达佩斯人文研究中心音乐研究所二十一世纪匈牙利音乐档案馆的负责人，他包括了一些传记信息，但文本围绕着Kodály的思想和音乐展开，特别注意将他的作品和作品联系起来。达洛斯借鉴了之前在音乐学方面的学术成果，并在科达利档案馆和布达佩斯李斯特学院图书馆使用了科达利论文的主要来源。这本书使用Kodály的作品、传记细节和平行的世界事件来解读和语境化他的音乐。这本书分为十四章，在传记信息、他作为哲学家思想的发展、他对音乐形式的使用以及对他一些最著名作品的调查之间交替。章节讲述了他的青年时代，他的国际旅行，以及世界重大事件对他的作品的影响，特别是在动荡的二十世纪上半叶。其他章节探讨了他对民歌作为创作来源的解释，他对德彪西和现代性的兴趣，他在歌曲中对女性的表现，以及他对教堂音乐的看法。有几章论述了他的作曲风格，特别是他对民歌和对位法的运用。有些章节集中在一首作品上：第一弦乐四重奏，第二弦乐四重奏、孔雀变奏曲和他的协奏曲。在孔雀变奏曲章节中，供书评使用
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Pub Date : 2021-09-09DOI: 10.1177/15366006211039120
Gordon Cox
The year 2015 marked the thirtieth anniversary of Cyril Ehrlich’s landmark book, The Music Profession in Britain since the Eighteenth Century: A Social History (1986).1 A conference was organized, and this volume of essays has resulted from it. Professor Cyril Ehrlich (1925–2004) was primarily an economic historian of Africa. In the course of the 1960s, he switched his research to music. He realized that while the social history of music had begun to receive attention, its economic history had been virtually ignored. His first book in this field was The Piano: A History (1976) in which he focused upon industrial production and the growth of a market.2 Ehrlich’s influence has been considerable, as evident in a series of essays published in his honor in 2000, Music and British Culture 1785–1914 (Christina Bashford and Leanne Langley, eds.).3 As far as music education history is concerned, David Wright’s notable social and cultural history The Associated Board of the Royal Schools of Music (2013)4 is clearly influenced by Ehrlich’s work. In the Introduction, Rosemary Golding outlines the main themes under consideration. Her dilemma lies in the impossibility of describing a single ‘music profession’ because of music’s protean nature. She quotes the sociologist Julia Evetts’s writing about professions: “Most researchers have accepted definitional uncertainty and moved on” (p. 2). In this volume, the contributors positively engage with such incertitude. Rebecca Gribble’s opening chapter considers the finances, estates, and social status of musicians in the late eighteenth century. She challenges the commonly held view that musicians occupied a low social status as artisans. In fact, they could gain patronage and improve their own social status through teaching socially superior young women to play an instrument or sing. Other artisans lacked this contact. Gribble concludes that while allocating ‘artisan’ status can be
2015年是西里尔·埃利希里程碑式的著作《18世纪以来英国的音乐职业:社会史》出版30周年组织了一次会议，由此产生了这本论文集。西里尔·埃利希教授(1925-2004)主要是非洲经济历史学家。在20世纪60年代，他将研究转向了音乐。他意识到，当音乐的社会史开始受到关注时，它的经济史实际上却被忽视了。他在这一领域的第一本书是《钢琴:一段历史》(1976)，在这本书中，他专注于工业生产和市场的增长埃利希的影响是相当大的，正如2000年为纪念他而发表的一系列文章《1785-1914年的音乐和英国文化》(克里斯蒂娜·巴什福德和琳恩·兰利主编)所示就音乐教育史而言，David Wright著名的《The Associated Board of The Royal Schools of music》(2013)4显然受到了埃利希作品的影响。在引言中，罗斯玛丽·戈尔丁概述了正在考虑的主要主题。她的困境在于无法描述单一的“音乐职业”，因为音乐具有千变万化的本质。她引用了社会学家朱莉娅·埃维茨(Julia Evetts)关于职业的文章:“大多数研究人员已经接受了定义上的不确定性，并继续前进”(第2页)。在这本书中，作者积极地参与了这种不确定性。丽贝卡·格里布尔的第一章考虑了18世纪晚期音乐家的经济状况、财产和社会地位。她挑战了人们普遍认为音乐家作为工匠的社会地位低下的观点。事实上，他们可以通过教社会地位优越的年轻女性演奏乐器或唱歌来获得赞助，提高自己的社会地位。其他工匠缺乏这种接触。格里布尔总结说，虽然分配“工匠”地位可以
{"title":"Book Review: The Music Profession in Britain, 1780–1920: New Perspectives on Status and Identity","authors":"Gordon Cox","doi":"10.1177/15366006211039120","DOIUrl":"https://doi.org/10.1177/15366006211039120","url":null,"abstract":"The year 2015 marked the thirtieth anniversary of Cyril Ehrlich’s landmark book, The Music Profession in Britain since the Eighteenth Century: A Social History (1986).1 A conference was organized, and this volume of essays has resulted from it. Professor Cyril Ehrlich (1925–2004) was primarily an economic historian of Africa. In the course of the 1960s, he switched his research to music. He realized that while the social history of music had begun to receive attention, its economic history had been virtually ignored. His first book in this field was The Piano: A History (1976) in which he focused upon industrial production and the growth of a market.2 Ehrlich’s influence has been considerable, as evident in a series of essays published in his honor in 2000, Music and British Culture 1785–1914 (Christina Bashford and Leanne Langley, eds.).3 As far as music education history is concerned, David Wright’s notable social and cultural history The Associated Board of the Royal Schools of Music (2013)4 is clearly influenced by Ehrlich’s work. In the Introduction, Rosemary Golding outlines the main themes under consideration. Her dilemma lies in the impossibility of describing a single ‘music profession’ because of music’s protean nature. She quotes the sociologist Julia Evetts’s writing about professions: “Most researchers have accepted definitional uncertainty and moved on” (p. 2). In this volume, the contributors positively engage with such incertitude. Rebecca Gribble’s opening chapter considers the finances, estates, and social status of musicians in the late eighteenth century. She challenges the commonly held view that musicians occupied a low social status as artisans. In fact, they could gain patronage and improve their own social status through teaching socially superior young women to play an instrument or sing. Other artisans lacked this contact. Gribble concludes that while allocating ‘artisan’ status can be","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138520920","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 : 2021-08-26DOI: 10.1177/15366006211039117
M. Mccarthy
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Pub Date : 2021-08-04DOI: 10.1177/15366006211033966
Matthew D. Thibeault
In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.
{"title":"John Philip Sousa’s Historic Resistance to Technology in Music Learning","authors":"Matthew D. Thibeault","doi":"10.1177/15366006211033966","DOIUrl":"https://doi.org/10.1177/15366006211033966","url":null,"abstract":"In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/15366006211033966","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43267135","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 : 2021-05-03DOI: 10.1177/15366006211011912
Philip Jane, PhD
Toward the end of the nineteenth century a number of external music examining systems were introduced to New Zealand. Two of them, Trinity College, London, and the Associated Board, gained a strong following and became de facto standards in the absence of a national music conservatorium. This article briefly outlines the beginning of external exams in England and follows their export to various overseas members of the British Empire. Graded music exams as a form of tuition engendered considerable debate as to efficacy, merit, and overall validity. Trinity College arrived first in New Zealand, in 1888, followed by the Associated Board in 1897, and their rapid assumption in the southern city of Dunedin is documented and used as a case study of their progress up until 1916. There is a background discussion on the growth and use of post-nominal letters in the local music teaching profession, and the increasing use of formal qualifications by music teachers is noted. These included the professional diplomas from both schools, and the role they played in the formation of a local professional body is explored.
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Pub Date : 2021-05-03DOI: 10.1177/15366006211009201
Ian Cicco, M.M.Ed.
The purpose of this study was to examine the sociocultural roots of folk songs from the perspective of renowned folklorist Henry Glassie. Dr. Henry Glassie holds the rank of Professor Emeritus at Indiana University, where he previously served on the faculty for the Department of Folklore and Ethnomusicology. Primary sources included Glassie’s archived collection of folk song transcriptions, recordings, and field notes from the Appalachian region between 1961-1967, housed at the Archives of Traditional Music at Indiana University. A total of 1,665 titles from elementary general music sources were cross-referenced with Glassie’s collection, 26 of which appeared in the archived account. Two oral history interviews with Glassie revealed that folk songs that are commonly used in elementary general music classrooms have historical roots of which teachers may be unaware. The songs in this study raise ethical and moral questions regarding their use in the general music classroom and suggest that teachers carefully research folk songs and their related meanings.
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Pub Date : 2021-04-01DOI: 10.1177/1536600621990935
M. Mccarthy
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Pub Date : 2021-04-01DOI: 10.1177/1536600621989025
Jacob W. Hardesty
{"title":"Racial Uplift and American Music, 1878-1943, by Lawrence Schenbeck. Jackson, MS: University Press of Mississippi, 2014 (paper).","authors":"Jacob W. Hardesty","doi":"10.1177/1536600621989025","DOIUrl":"https://doi.org/10.1177/1536600621989025","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600621989025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48472101","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 : 2021-04-01DOI: 10.1177/1536600621989024
Timothy E. Nowak
{"title":"Blackface Nation: Race, Reform, and Identity in American Popular Music, 1812-1925, by Brian Roberts. Chicago: University of Chicago Press, 2017.","authors":"Timothy E. Nowak","doi":"10.1177/1536600621989024","DOIUrl":"https://doi.org/10.1177/1536600621989024","url":null,"abstract":"","PeriodicalId":40170,"journal":{"name":"Journal of Historical Research in Music Education","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1536600621989024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42881199","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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