Pub Date : 2022-05-13DOI: 10.1017/S1479409822000088
Sarah Gerk
This article illuminates ways in which memory of Ireland's Great Famine or ‘an Gorta Mór’ (1845–1852) shaped US music during the US Civil War (1861–1865). Among scholarship on Irish Americans in the Civil War, few sources substantively address lingering memories and trauma from the Great Famine. Yet, a significant amount of the estimated 1.6 million Irish immigrants living in the US in 1860, 170,000 of whom enlisted in the war, were famine survivors. Music's unique role in emotional life offers robust source material for understanding famine memory in this transnational context. Adopting a concept of ‘private, secret, insidious trauma’ from Laura Brown and Maria P.P. Root, as well as understanding Jeffrey Alexander's ideas about cultural trauma as a sociological process, the article highlights a some of the ways in which famine memories emerged in music-making during the war. Case studies include a survey of US sheet music, the transnational performance and reception history of the song ‘Kathleen Mavourneen’, and research on the life of the northern Union army's most successful bandleader, Patrick Gilmore, who left Athlone, in Ireland famine-ravaged West, as a teenager in the late 1840s. The approach is inherently transatlantic, accounting for histories that occurred in the United States, Ireland and the broader Atlantic world dominated by Britain. The essay illustrates how music can contribute to social history, ways in which the application of research on trauma can inform musicological work, and ways in which traumatic memories can emerge across time and distance, particularly in diasporic contexts.
{"title":"Songs of Famine and War: Irish Famine Memory in the Music of the US Civil War","authors":"Sarah Gerk","doi":"10.1017/S1479409822000088","DOIUrl":"https://doi.org/10.1017/S1479409822000088","url":null,"abstract":"This article illuminates ways in which memory of Ireland's Great Famine or ‘an Gorta Mór’ (1845–1852) shaped US music during the US Civil War (1861–1865). Among scholarship on Irish Americans in the Civil War, few sources substantively address lingering memories and trauma from the Great Famine. Yet, a significant amount of the estimated 1.6 million Irish immigrants living in the US in 1860, 170,000 of whom enlisted in the war, were famine survivors. Music's unique role in emotional life offers robust source material for understanding famine memory in this transnational context. Adopting a concept of ‘private, secret, insidious trauma’ from Laura Brown and Maria P.P. Root, as well as understanding Jeffrey Alexander's ideas about cultural trauma as a sociological process, the article highlights a some of the ways in which famine memories emerged in music-making during the war. Case studies include a survey of US sheet music, the transnational performance and reception history of the song ‘Kathleen Mavourneen’, and research on the life of the northern Union army's most successful bandleader, Patrick Gilmore, who left Athlone, in Ireland famine-ravaged West, as a teenager in the late 1840s. The approach is inherently transatlantic, accounting for histories that occurred in the United States, Ireland and the broader Atlantic world dominated by Britain. The essay illustrates how music can contribute to social history, ways in which the application of research on trauma can inform musicological work, and ways in which traumatic memories can emerge across time and distance, particularly in diasporic contexts.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49381273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-10DOI: 10.1017/S147940982200009X
J. Sobaskie
This book addresses students, teachers, performers, and scholars who wish to fathom the unique nature of the French vocal genre of the mélodie, doing so in a warmly personal manner that may surprise as well as please. Le chant intime: De l’interprétation de la mélodie française originally was published in 2004, and this slightly expanded English-language version is welcome, given the globally increasing interest in nineteenth-century French aural culture among musicians and audiences today. Although there is an expanding array of resources devoted to themélodie, this one differs in design and substance. Within the Foreword, journalist Romain Raynaldy reveals its origins as interviews with the baritone François Le Roux: ‘I suggested that François not take amusicological approach to French art song, but rather to write the kind of work that would allow his readers to discover and expand their understanding in a lively and accessible language’ (p. ix). Within the Introduction, Le Roux surveys its structure:
这本书面向那些希望深入了解法国声乐流派梅洛迪的独特性质的学生、教师、表演者和学者，以一种热情的个人方式进行探索，这可能会让他们感到惊讶，也可能会让人感到高兴。Le chant intime:De l’interpétation De la mélodie française最初于2004年出版，鉴于当今全球音乐家和观众对19世纪法国听觉文化的兴趣日益浓厚，这一略微扩展的英语版本受到欢迎。尽管有越来越多的资源专门用于他们的住所，但这一次在设计和实质上都有所不同。在前言中，记者罗曼·雷纳尔迪（Romain Raynaldy）通过对男中音弗朗索瓦·勒鲁（François Le Roux）的采访揭示了它的起源：“我建议弗朗索瓦不要对法国艺术歌曲采取有趣的方法，而是要写一种作品，让他的读者能够用生动易懂的语言发现并扩大他们的理解”（第九页）。在引言中，Le Roux对其结构进行了调查：
{"title":"François Le Roux and Romain Raynaldy, Le Chant Intime: The Interpretation of French Mélodie, trans. Sylvia Kahan (New York: Oxford University Press, 2021). x + 283 pp. $99.00.","authors":"J. Sobaskie","doi":"10.1017/S147940982200009X","DOIUrl":"https://doi.org/10.1017/S147940982200009X","url":null,"abstract":"This book addresses students, teachers, performers, and scholars who wish to fathom the unique nature of the French vocal genre of the mélodie, doing so in a warmly personal manner that may surprise as well as please. Le chant intime: De l’interprétation de la mélodie française originally was published in 2004, and this slightly expanded English-language version is welcome, given the globally increasing interest in nineteenth-century French aural culture among musicians and audiences today. Although there is an expanding array of resources devoted to themélodie, this one differs in design and substance. Within the Foreword, journalist Romain Raynaldy reveals its origins as interviews with the baritone François Le Roux: ‘I suggested that François not take amusicological approach to French art song, but rather to write the kind of work that would allow his readers to discover and expand their understanding in a lively and accessible language’ (p. ix). Within the Introduction, Le Roux surveys its structure:","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45454069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-10DOI: 10.1017/S1479409822000106
Peter Mondelli
explore the genre, master appropriate pronunciation of the poetic texts, and become more confident interpreters. His advocacy of lesser-known literature and composers, as well as his blend of erudition, excitement, and technique, are sure to be emulated by emerging artists. Indeed, scholars are apt to find hints here to stimulate new research. Yet certain aspects of formatting and content attract attention. For instance, copyright notices appear for no apparent reason at the starts of all 33 chapters, plus the Introduction, as well as that normally found in the front matter. Misalignments within texts and translations make close study awkward at times. Finally, some terminological imprecisions remain without acknowledgement. Nevertheless, this volume offers such a cordial entrée to its subject for those curious about mélodies that these quibbles are, in the main, relatively minor. Perhaps the signal achievement of Le Chant Intime is its engaging illumination of a rich repertoire some still regard as inscrutable or exclusive. Yet as the genre continues to be studied more closely, it appears to represent a more important factor behind the evolution of nineteenth-century musical culture than many had thought. Indeed, close contextual study of the literature suggests themélodie served as a conduit and disseminator for the Symbolist aesthetic, which, in turn, prompted the emergence of Modernism in late-nineteenth-century France. Conceptual reconciliation might start here.
{"title":"Hervé Lacombe, ed., Histoire de l'opéra français: Du Consulat aux débuts de la IIIe République (Paris: Fayard, 2020). 1,258 pp. €39.00.","authors":"Peter Mondelli","doi":"10.1017/S1479409822000106","DOIUrl":"https://doi.org/10.1017/S1479409822000106","url":null,"abstract":"explore the genre, master appropriate pronunciation of the poetic texts, and become more confident interpreters. His advocacy of lesser-known literature and composers, as well as his blend of erudition, excitement, and technique, are sure to be emulated by emerging artists. Indeed, scholars are apt to find hints here to stimulate new research. Yet certain aspects of formatting and content attract attention. For instance, copyright notices appear for no apparent reason at the starts of all 33 chapters, plus the Introduction, as well as that normally found in the front matter. Misalignments within texts and translations make close study awkward at times. Finally, some terminological imprecisions remain without acknowledgement. Nevertheless, this volume offers such a cordial entrée to its subject for those curious about mélodies that these quibbles are, in the main, relatively minor. Perhaps the signal achievement of Le Chant Intime is its engaging illumination of a rich repertoire some still regard as inscrutable or exclusive. Yet as the genre continues to be studied more closely, it appears to represent a more important factor behind the evolution of nineteenth-century musical culture than many had thought. Indeed, close contextual study of the literature suggests themélodie served as a conduit and disseminator for the Symbolist aesthetic, which, in turn, prompted the emergence of Modernism in late-nineteenth-century France. Conceptual reconciliation might start here.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49443596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-05DOI: 10.1017/s1479409822000052
Yasuko Tsukahara
In Japan, there is an abundance of materials related to the various genres of traditional music that were established in each of the historical periods, from ancient times to the present day, that have been handed down and preserved. After the Meiji Period (1868–1912), in which Western musical practice took root within Japan, materials related to Western music began to accumulate concurrently with those related to traditional music. The fact that up until the present day, both of these types of materials have been preserved and passed down together, is a significant and unique feature of Japan’s musical materials heritage. In this way, on account of their precious value alone, the emphasis on the preservation of these musical materials rather than their exhibition or utilization, has been strong. As a result, the complexities of the procedures for perusing and duplicating library materials up until the twentieth century have at times been a barrier to research. This situation changed dramatically at the beginning of the twenty-first century, as the National Diet Library embarked upon an ambitious programme of digitalization of and granting of access to materials in its possession. In this essay, I consider the digital materials related to the research of nineteenth century music found in the National Diet Library Digital Collections and other libraries and archives. The materials fall into four categories: (A) books (including printed scores), (B) audio materials (among which digitized 78rpm records are prevalent), (C) searchable databases and (D) other materials. I hope that the exhaustive use of these digital materials will open up new fields of research into Japanese music.
{"title":"The Current State of Digital Musical Materials in Japan","authors":"Yasuko Tsukahara","doi":"10.1017/s1479409822000052","DOIUrl":"https://doi.org/10.1017/s1479409822000052","url":null,"abstract":"In Japan, there is an abundance of materials related to the various genres of traditional music that were established in each of the historical periods, from ancient times to the present day, that have been handed down and preserved. After the Meiji Period (1868–1912), in which Western musical practice took root within Japan, materials related to Western music began to accumulate concurrently with those related to traditional music. The fact that up until the present day, both of these types of materials have been preserved and passed down together, is a significant and unique feature of Japan’s musical materials heritage. In this way, on account of their precious value alone, the emphasis on the preservation of these musical materials rather than their exhibition or utilization, has been strong. As a result, the complexities of the procedures for perusing and duplicating library materials up until the twentieth century have at times been a barrier to research. This situation changed dramatically at the beginning of the twenty-first century, as the National Diet Library embarked upon an ambitious programme of digitalization of and granting of access to materials in its possession. In this essay, I consider the digital materials related to the research of nineteenth century music found in the National Diet Library Digital Collections and other libraries and archives. The materials fall into four categories: (A) books (including printed scores), (B) audio materials (among which digitized 78rpm records are prevalent), (C) searchable databases and (D) other materials. I hope that the exhaustive use of these digital materials will open up new fields of research into Japanese music.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44878843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-26DOI: 10.1017/S1479409822000039
M. Meinhart, Jillian C. Rogers
Investigations of how people have used music to represent, perform, enact and cope with trauma have proliferated in the last decade, although these have often focused on post-World War II musicians and musical phenomena. This work has engaged various methodologies and drawn on myriad bodies of trauma theory in order to better understand the relationships between music and trauma for Holocaust survivors, Cold War- and glasnost-era Eastern European musicians and civilians and soldiers in Iraq. However, despite the growing interest in trauma within music scholarship, scant attention has been paid to relationships between musical phenomena and trauma prior to World War II. And yet, the wars, revolutions, forced displacement, slavery and imperialism of the late nineteenth and early twentieth centuries make these years some of the most violent in the histories of modern Europe and the Americas, and thus some of the most important to address when asking questions regarding relationships between music and trauma. In this special issue's introductory essay, we consider why pre-twentieth century musicians and repertoires have historically not been addressed in scholarly literature. In so doing, we outline the aims of the issue; review relevant literature in musicology and trauma studies; discuss the benefits and challenges of applying trauma theory to nineteenth-century music and musicians and provide readers with information on this special issue's collaborative history. Although giving readers a fleshed-out overview of trauma studies from the nineteenth century to present is outside the scope of this article, this introduction nevertheless provides enough background on the status and main ideas of trauma research from the mid-nineteenth century to present day to facilitate comprehension of how the research showcased in this special issue relates to social, historical and political conceptions of trauma.
{"title":"Theorizing Trauma and Music in the Long Nineteenth Century","authors":"M. Meinhart, Jillian C. Rogers","doi":"10.1017/S1479409822000039","DOIUrl":"https://doi.org/10.1017/S1479409822000039","url":null,"abstract":"Investigations of how people have used music to represent, perform, enact and cope with trauma have proliferated in the last decade, although these have often focused on post-World War II musicians and musical phenomena. This work has engaged various methodologies and drawn on myriad bodies of trauma theory in order to better understand the relationships between music and trauma for Holocaust survivors, Cold War- and glasnost-era Eastern European musicians and civilians and soldiers in Iraq. However, despite the growing interest in trauma within music scholarship, scant attention has been paid to relationships between musical phenomena and trauma prior to World War II. And yet, the wars, revolutions, forced displacement, slavery and imperialism of the late nineteenth and early twentieth centuries make these years some of the most violent in the histories of modern Europe and the Americas, and thus some of the most important to address when asking questions regarding relationships between music and trauma. In this special issue's introductory essay, we consider why pre-twentieth century musicians and repertoires have historically not been addressed in scholarly literature. In so doing, we outline the aims of the issue; review relevant literature in musicology and trauma studies; discuss the benefits and challenges of applying trauma theory to nineteenth-century music and musicians and provide readers with information on this special issue's collaborative history. Although giving readers a fleshed-out overview of trauma studies from the nineteenth century to present is outside the scope of this article, this introduction nevertheless provides enough background on the status and main ideas of trauma research from the mid-nineteenth century to present day to facilitate comprehension of how the research showcased in this special issue relates to social, historical and political conceptions of trauma.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45626866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-07DOI: 10.1017/S1479409821000495
Anja Bunzel, S. Wollenberg
Nineteenth-century salon culture has received important attention in recent years with regard to examining the nature and function of the salon as an institution, together with notions of the salonesque. Social gatherings of this kind provided for the participants a semi-public, non-commercial and inclusive space. Typically music played a key role in the gatherings; however, the extent of its cultivation, and the compositional and technical degree of complexity involved, varied according to the individual circumstances. While, on the one hand, Robert Schumann in 1841 dismissed ‘salon music’ as too sentimental and intellectually dull, on the other hand Johann Christian Lobe warned in 1853 that we should not generalize about the music performed in salons. Lobe supported his plea by giving examples of salon music possessing more than ephemeral qualities: he instanced Schumann’s Kinderszenen, Beethoven’s Bagatelles, Weber’s Aufforderung zum Tanze Op. 65, Schubert’s marches for four-hand piano, and Mendelssohn’s Lieder ohne Worte. Lobe’s list and Schumann’s concerns point to two problems: first, the definition of ‘salon music’ is far from clear; and secondly, the range of aesthetic and technical aspects related to musical performance in salons is diffuse. Ballstaedt attempted to capture the nuances of the ‘serious’ and the ‘popular’within this context by differentiating between ‘music for the salon’, consisting of light-hearted music composed for the purpose of entertainment, and ‘music in salons’, encompassing all music which could be heard
近年来，19世纪沙龙文化受到了重要的关注，人们将沙龙作为一种机构的性质和功能，以及沙龙风格的概念进行了研究。这种社交聚会为参与者提供了一个半公共的、非商业的、包容的空间。通常，音乐在聚会中起着关键作用;然而，它的培养程度，以及所涉及的组成和技术复杂程度，根据个人情况而有所不同。一方面，罗伯特·舒曼(Robert Schumann)在1841年认为“沙龙音乐”过于煽情和智力迟钝，另一方面，约翰·克里斯蒂安·波勒(Johann Christian Lobe)在1853年警告说，我们不应该对沙龙演奏的音乐进行概括。为了支持他的请求，波勒列举了一些沙龙音乐的例子，这些音乐不仅仅具有短暂的品质:舒曼的《孩子》、贝多芬的《小小奏》、韦伯的《探泽曲》作品65、舒伯特的四手钢琴进行曲和门德尔松的《抒情》。波勒的名单和舒曼的担忧指向两个问题:首先，“沙龙音乐”的定义远不明确;其次，与沙龙音乐表演有关的美学和技术方面的范围是分散的。Ballstaedt试图通过区分“沙龙音乐”和“沙龙音乐”来捕捉“严肃”和“流行”之间的细微差别，“沙龙音乐”是指为娱乐目的而创作的轻松音乐，而“沙龙音乐”则包括所有可以听到的音乐
{"title":"Rethinking Salon Music: Case-Studies in Analysis","authors":"Anja Bunzel, S. Wollenberg","doi":"10.1017/S1479409821000495","DOIUrl":"https://doi.org/10.1017/S1479409821000495","url":null,"abstract":"Nineteenth-century salon culture has received important attention in recent years with regard to examining the nature and function of the salon as an institution, together with notions of the salonesque. Social gatherings of this kind provided for the participants a semi-public, non-commercial and inclusive space. Typically music played a key role in the gatherings; however, the extent of its cultivation, and the compositional and technical degree of complexity involved, varied according to the individual circumstances. While, on the one hand, Robert Schumann in 1841 dismissed ‘salon music’ as too sentimental and intellectually dull, on the other hand Johann Christian Lobe warned in 1853 that we should not generalize about the music performed in salons. Lobe supported his plea by giving examples of salon music possessing more than ephemeral qualities: he instanced Schumann’s Kinderszenen, Beethoven’s Bagatelles, Weber’s Aufforderung zum Tanze Op. 65, Schubert’s marches for four-hand piano, and Mendelssohn’s Lieder ohne Worte. Lobe’s list and Schumann’s concerns point to two problems: first, the definition of ‘salon music’ is far from clear; and secondly, the range of aesthetic and technical aspects related to musical performance in salons is diffuse. Ballstaedt attempted to capture the nuances of the ‘serious’ and the ‘popular’within this context by differentiating between ‘music for the salon’, consisting of light-hearted music composed for the purpose of entertainment, and ‘music in salons’, encompassing all music which could be heard","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45311241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-06DOI: 10.1017/S1479409822000040
Erin Johnson-Williams
Under the recurring headline ‘the Concertina's Deadly Work in the Trenches’, several British newspapers reported in early 1900 that, during the ongoing siege of Mafeking, British army concertina players were capturing enemy soldiers by simply playing strains of the concertina to distract them out of their hiding places. ‘One is sorry to learn that the art of music should be pressed into service to lure persons to destruction’, a commentator in the Musical News noted, but then, it was rationalized, ‘all's fair in war’. This hybrid use of the concertina during the South African War was further employed as a metaphor for the decay of the physical body itself: as has been noted by Elizabeth van Heyningen, food in Boer concentration camps was so meagre that the meat served to prisoners was once described as coming from a ‘carcase [who] looks like a concertina drawn out fully with all the wind knocked out’. Likewise, Krebs (1999) has discussed the presence of the concertina in the trenches as an example of contemporaneous stereotypes about the susceptibility of Boer soldiers to music in relation to perceived notions that they were backwards and easily manipulated. Drawing upon references to music – particularly the ubiquitous, anthropomorphised, instrument of the concertina – in concentration camps during the South African War, this paper will situate the use of British military music at the dawn of the twentieth century within the framework of trauma studies, proposing that the soundscapes of imperial war were implicitly tinged with traces of physical suffering.
{"title":"‘The Concertina's Deadly Work in the Trenches’: Soundscapes of Suffering in the South African War","authors":"Erin Johnson-Williams","doi":"10.1017/S1479409822000040","DOIUrl":"https://doi.org/10.1017/S1479409822000040","url":null,"abstract":"Under the recurring headline ‘the Concertina's Deadly Work in the Trenches’, several British newspapers reported in early 1900 that, during the ongoing siege of Mafeking, British army concertina players were capturing enemy soldiers by simply playing strains of the concertina to distract them out of their hiding places. ‘One is sorry to learn that the art of music should be pressed into service to lure persons to destruction’, a commentator in the Musical News noted, but then, it was rationalized, ‘all's fair in war’. This hybrid use of the concertina during the South African War was further employed as a metaphor for the decay of the physical body itself: as has been noted by Elizabeth van Heyningen, food in Boer concentration camps was so meagre that the meat served to prisoners was once described as coming from a ‘carcase [who] looks like a concertina drawn out fully with all the wind knocked out’. Likewise, Krebs (1999) has discussed the presence of the concertina in the trenches as an example of contemporaneous stereotypes about the susceptibility of Boer soldiers to music in relation to perceived notions that they were backwards and easily manipulated. Drawing upon references to music – particularly the ubiquitous, anthropomorphised, instrument of the concertina – in concentration camps during the South African War, this paper will situate the use of British military music at the dawn of the twentieth century within the framework of trauma studies, proposing that the soundscapes of imperial war were implicitly tinged with traces of physical suffering.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43021656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-05DOI: 10.1017/s1479409822000064
Callum Blackmore
{"title":"Ohé! les p'tits agneaux!: A Parisian revue de fin d'année for 1857, edited by Richard Sherr. Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries 82–83 (Middleton, WI: A-R editions, 2021). Introductory Materials and Act 1. clix + 205pp. $450. Act 2, Act 3, Critical Report, and Appendices. viii + 207pp. $450.","authors":"Callum Blackmore","doi":"10.1017/s1479409822000064","DOIUrl":"https://doi.org/10.1017/s1479409822000064","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138506997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/s1479409822000180
{"title":"Notes on Article Contributors","authors":"","doi":"10.1017/s1479409822000180","DOIUrl":"https://doi.org/10.1017/s1479409822000180","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45096532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1017/s1479409822000192
{"title":"NCM volume 19 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1479409822000192","DOIUrl":"https://doi.org/10.1017/s1479409822000192","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42114283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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