Pub Date : 2017-01-02DOI: 10.1080/08145857.2017.1332972
Andrew Alter
Throughout the 1990s and the early part of this century, World Music discourse has emphasized a local–global syllogism in which global hegemonic forces have been pitted against smaller more locally defined musical practices. A few notable exceptions within the discourse have recognized the national space as a significant, although often absent, middle space between the local and the global. This article examines contemporary Ethiopian music and the way Ethiopia—the nation-state, the geography, and the global myths that construct its identity on the world stage—heavily influence the vectors of circulation through which its music is constructed, appropriated, transformed, and manipulated. Diasporic musicians confront the mythical Ethiopia and adopt ambassadorial musical roles to portray themselves and their homeland in ways that seek to liberate it from the homogenization of globalization.
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Pub Date : 2017-01-02DOI: 10.1080/08145857.2017.1334301
Joseph Toltz
In 2011, Bohlau Verlag published Die Verschwundenen Musiker: Judischer Fluchtlinge in Australien by Albrecht Dumling, a German musicologist and critic. After many requests for an English translatio...
2011年，Bohlau Verlag出版了德国音乐学家和评论家Albrecht Dumling的《Die Verschwinden Musiker:Judischer Fluchtlinge In Australian》。在多次要求提供英文翻译后。。。
{"title":"The Vanished Musicians: Jewish Refugees in Australia","authors":"Joseph Toltz","doi":"10.1080/08145857.2017.1334301","DOIUrl":"https://doi.org/10.1080/08145857.2017.1334301","url":null,"abstract":"In 2011, Bohlau Verlag published Die Verschwundenen Musiker: Judischer Fluchtlinge in Australien by Albrecht Dumling, a German musicologist and critic. After many requests for an English translatio...","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"39 1","pages":"67 - 71"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2017.1334301","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42048231","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 : 2017-01-02DOI: 10.1080/08145857.2017.1334298
S. Macarthur, J. Szuster
Elizabeth Wood at the Women’s March on Washington, 21 January 2017Elizabeth Wood (nee Cranwell) is a native of Australia and an independent scholar who has resided in New York since the late 1970s....
{"title":"Transposing Musicology: An Essay in Honour of Elizabeth Wood","authors":"S. Macarthur, J. Szuster","doi":"10.1080/08145857.2017.1334298","DOIUrl":"https://doi.org/10.1080/08145857.2017.1334298","url":null,"abstract":"Elizabeth Wood at the Women’s March on Washington, 21 January 2017Elizabeth Wood (nee Cranwell) is a native of Australia and an independent scholar who has resided in New York since the late 1970s....","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"39 1","pages":"46 - 64"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2017.1334298","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44304375","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 : 2017-01-02DOI: 10.1080/08145857.2017.1334299
Anne Forbes
In her most recent book, Experiencing Music—Restoring the Spiritual, the Rev. June BoyceTillman MBE draws on a lifetime of musical experience as a performer, educator and composer of sacred works, and explores the transformative power of music to rebuild individuals, relationships and community that she has experienced and observed. She balances the liminality of ethnographic research by frequent recourse to an extraordinary breadth of scholarship from disciplines such as theology, musicology, philosophy, education and anthropology to construct a framework for her arguments.
{"title":"Experiencing Music—Restoring the Spiritual: Music as Well-being","authors":"Anne Forbes","doi":"10.1080/08145857.2017.1334299","DOIUrl":"https://doi.org/10.1080/08145857.2017.1334299","url":null,"abstract":"In her most recent book, Experiencing Music—Restoring the Spiritual, the Rev. June BoyceTillman \u0000MBE draws on a lifetime of musical experience as a performer, educator and \u0000composer of sacred works, and explores the transformative power of music to rebuild individuals, \u0000relationships and community that she has experienced and observed. She balances \u0000the liminality of ethnographic research by frequent recourse to an extraordinary breadth \u0000of scholarship from disciplines such as theology, musicology, philosophy, education and \u0000anthropology to construct a framework for her arguments.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"39 1","pages":"65 - 67"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2017.1334299","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47138434","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 : 2017-01-02DOI: 10.1080/08145857.2017.1332971
S. Owens
In early August 1914—within a fortnight of the outbreak of World War I—Auckland police arrested twenty-four German nationals and sent them for internment in Wellington. Strikingly, twelve of these so-called ‘enemy aliens’ comprised a German band led by Rudolf Mersy (1867–1949), a composer renowned in his homeland as the ‘Aschbacher Mozart’. Drawing upon previously restricted files held at Archives New Zealand (Wellington), this article uncovers the origins of these musicians, their activity in New Zealand prior to the advent of war, and the circumstances surrounding their internment. Somewhat surprisingly, given the cramped (and at times brutal) conditions on Somes Island, Mersy and his fellow bandsmen continued to be active as musicians throughout their captivity. The extant documents, which include official reports and confiscated letters written by the Prisoners of War (POWs) to family members, also reveal poignant details concerning their daily lives. Yet despite their earlier successes as touring musicians, in the immediate aftermath of the war lingering anti-German sentiment and the advent of recorded sound combined to ensure the disappearance of the once perennially popular German Band from the global musical scene.
{"title":"‘The Above Mentioned Aliens’: Rudolf Mersy’s German Band in New Zealand, 1913–1919","authors":"S. Owens","doi":"10.1080/08145857.2017.1332971","DOIUrl":"https://doi.org/10.1080/08145857.2017.1332971","url":null,"abstract":"In early August 1914—within a fortnight of the outbreak of World War I—Auckland police arrested twenty-four German nationals and sent them for internment in Wellington. Strikingly, twelve of these so-called ‘enemy aliens’ comprised a German band led by Rudolf Mersy (1867–1949), a composer renowned in his homeland as the ‘Aschbacher Mozart’. Drawing upon previously restricted files held at Archives New Zealand (Wellington), this article uncovers the origins of these musicians, their activity in New Zealand prior to the advent of war, and the circumstances surrounding their internment. Somewhat surprisingly, given the cramped (and at times brutal) conditions on Somes Island, Mersy and his fellow bandsmen continued to be active as musicians throughout their captivity. The extant documents, which include official reports and confiscated letters written by the Prisoners of War (POWs) to family members, also reveal poignant details concerning their daily lives. Yet despite their earlier successes as touring musicians, in the immediate aftermath of the war lingering anti-German sentiment and the advent of recorded sound combined to ensure the disappearance of the once perennially popular German Band from the global musical scene.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"39 1","pages":"1 - 14"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2017.1332971","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45268647","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 : 2016-07-02DOI: 10.1080/08145857.2016.1244880
Chris van Rhyn
Diplomacy provides us with an alternative context in which to read ‘foreignness’ in composition, other than the existing discourses on the forming of identities in the contexts of exile and displacement. It is a reflexive mode of critique that aims not to point out a composer’s intent but, rather, to ask the composer whether the analyst’s perception speaks to his intent. A brief sojourn into general diplomatic theory is followed by an overview of selected literature on music and diplomacy. Readings of contemporary art songs by the African expatriate composers Fred Onovwerosuoke (USA–Nigeria/Ghana) and Robert Fokkens (United Kingdom–South Africa) then serve to demonstrate how a reading of scores in the context of diplomacy tells us how we perceive those composers to portray an unstable concept of foreignness—being ‘African’—in nuanced manners that allow acceptance with specific target audiences, and the influence that this may have on those audiences.
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Pub Date : 2016-07-02DOI: 10.1080/08145857.2016.1239240
S. Macarthur
In the first two decades of the twenty-first century, women composers have continued to be sidelined, with some of the research suggesting an inbuilt culture of sexism and bias against their music.1 Against this backdrop, these three recently published books potentially counter this negativity. Each shines a radiant light on the rich and diverse contribution to music by women, showing how they are changing the fields of composition, music analysis and musicology. Two of the books, Reconceiving Structure in Contemporary Music by Judy Lochhead and Analytical Essays on Music by Women Composers edited by Laurel Parsons and Brenda Ravenscroft, engage close readings of music, locating themselves in the field of music theory/music analysis. Both deal with twentieth-century and twenty-first-century female composers in the western classical tradition. The third book, Gender, Age and Musical Creativity edited by Catherine Haworth and Lisa Colton, covers a range of historical periods, genres and musical styles. This book overlaps the body of work in critical musicology as well as more broadly reaching out to gender, queer and cultural studies. It makes a unique contribution by extending the categories routinely used to study music—gender, ethnicity, class and sexuality—to include the rarely addressed category of age. It questions the
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Pub Date : 2016-07-02DOI: 10.1080/08145857.2016.1239244
D. Collins
In Towards a Global Music Theory, Mark Hijleh presents a method for analysing examples of repertoire from across any of the world’s musical cultures. Although he acknowledges that he is not presenting a theory for all music, he asserts that his method adopts a practical approach which can offer insights into very different kinds of music and can also capture commonalities between seemingly diverse examples. He claims that
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Pub Date : 2016-07-02DOI: 10.1080/08145857.2016.1244878
James Mitchell
Monash University possesses a unique collection of Thai music sound recordings, the majority of which originally belonged to the Thai broadcasting service of Radio Australia. The 932 gramophone records are in 78 rpm, 45 rpm and 33 rpm formats dating from 1950 to 1985, covering almost every Thai music genre from that period. This description and analysis considers whether the collection is historically and culturally representative, and what its scope might reveal about Thai/Australian relations and Radio Australia during the period in which it was assembled. The collection’s monetary, cultural and scholarly value is assessed along with recommendations on how it could be expanded and managed into the future.
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Pub Date : 2016-07-02DOI: 10.1080/08145857.2016.1239243
D. Collins
The contents of the Cantiones sacrae, published by Thomas Tallis and William Byrd in 1575, have been edited, performed and recorded numerous times, yet John Milsom’s contribution to the Early English Church Music series is the first attempt to bring all of the works of this volume together in a single edition. Unlike other studies of this music, Milsom employs a system of parallel scores whereby variant states of each work, where they exist, are placed side by side in the edition with the version published in 1575. An introductory essay and detailed critical notes to each work and its variants preclude the need for detailed commentaries and notes at the end of the book, while footnotes to the musical editions are kept to a minimum. In the general introduction to the volume, Milsom takes issue with several tenacious views about the circumstances surrounding the publication of the Cantiones sacrae. Most contentious are his arguments that it was a book intended for a primarily Continental readership and that it was not necessarily a financial failure. The present article assesses the merits of Milsom’s editorial approach and contextual discussions and their likely impact on the field of early music scholarship. In his edition of the monumental Cantiones, quae ab argumento sacrae vocantur, published in 1575 as a joint venture between England’s two most eminent English composers, John Milsom presents the entire contents of the volume (hereafter CS1575) in their published order side by side with revisions and adaptations of individual works by Tallis and Byrd or by other hands. The result is a volume that departs significantly from prior editorial practice in the Early English Church Music series and indeed from many commonly encountered approaches to editing early music. Milsom’s aim is to put the book itself at the centre of his enterprise. As Magnus Williamson points out in his Foreword, Milsom considers CS1575 ‘as part, perhaps the central part, of a dynamic process of creation and adaptation’ which is illuminated by a detailed investigation of the reception history of CS1575 by way of its copies and contrafacta (p. v). The result is a book of nearly 500 pages, with no effort spared by the editor or publisher to gather in one place critical editions of each of the compositions in CS1575 and their variants until approximately the time of Byrd’s death. Milsom’s exemplary attention to editorial methodology along with his imaginative and frequently provocative assessments of historical and contextual issues will provide both novice and seasoned readers
由托马斯·塔利斯和威廉·伯德于1575年出版的《圣咏》的内容已经被编辑、演奏和录制了无数次，但约翰·米尔索姆对早期英国教会音乐系列的贡献是第一次尝试将该卷的所有作品集中在一个版本中。与其他对这种音乐的研究不同，米尔索姆采用了一种平行乐谱系统，即每个作品的不同状态，在它们存在的地方，在1575年出版的版本中并排放置。每个作品及其变体的介绍性文章和详细的批评笔记排除了在书末详细评论和注释的需要，而音乐版本的脚注则保持在最低限度。在对卷的一般介绍中，米尔索姆提出了几个关于《圣言》出版环境的顽固观点。最有争议的是他的论点，即这本书主要是为欧洲大陆的读者准备的，它不一定是一个财务失败。本文评估了米尔索姆的编辑方法和上下文讨论的优点及其对早期音乐学术领域的可能影响。在他的不朽的Cantiones版本中，quae ab argumento sacrae vocanur，出版于1575年，作为英国两位最杰出的英国作曲家的合作，约翰·米尔索姆(John Milsom)按照出版顺序呈现了该卷(以下简称CS1575)的全部内容，并与塔利斯和伯德或其他人对个别作品的修订和改编并排。结果是一卷，从早期英国教会音乐系列之前的编辑实践明显偏离，确实从许多常见的方法来编辑早期音乐。米尔索姆的目标是让这本书本身成为他事业的中心。马格努斯·威廉姆森在他的前言中指出，米尔索姆认为CS1575 "是创造和改编动态过程的一部分，也许是核心部分"这是通过对CS1575的接受历史的详细调查来阐明的通过它的副本和契约(第5页)结果是一本近500页的书，编辑或出版商不遗余力地将CS1575中每一篇作品及其变体的重要版本收集在一起，直到伯德去世前后。米尔索姆对编辑方法的模范关注，以及他对历史和背景问题富有想象力和经常具有挑衅性的评估，将为新手和经验丰富的读者提供帮助
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