Pub Date : 2023-07-18DOI: 10.1080/08145857.2023.2223830
Gillian Dooley
{"title":"Defining the Discographic Self: Desert Island Discs in Context (Proceedings of the British Academy 211)","authors":"Gillian Dooley","doi":"10.1080/08145857.2023.2223830","DOIUrl":"https://doi.org/10.1080/08145857.2023.2223830","url":null,"abstract":"","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47242159","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 : 2023-07-12DOI: 10.1080/08145857.2023.2226956
M. Roycroft
{"title":"French Musical Life: Local Dynamics in the Century to World War II","authors":"M. Roycroft","doi":"10.1080/08145857.2023.2226956","DOIUrl":"https://doi.org/10.1080/08145857.2023.2226956","url":null,"abstract":"","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47156791","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 : 2023-07-12DOI: 10.1080/08145857.2023.2223351
E. Helyard
The avowed aim of this well-documented book is to explore the development of French opera that contains spoken dialogue. In its investigation of this repertory from its beginnings, the study follows a roughly chronological course
{"title":"Popular Opera in Eighteenth-Century France: Music and Entertainment before the Revolution","authors":"E. Helyard","doi":"10.1080/08145857.2023.2223351","DOIUrl":"https://doi.org/10.1080/08145857.2023.2223351","url":null,"abstract":"The avowed aim of this well-documented book is to explore the development of French opera that contains spoken dialogue. In its investigation of this repertory from its beginnings, the study follows a roughly chronological course","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46733714","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 : 2023-07-12DOI: 10.1080/08145857.2023.2216481
R. Stove
{"title":"La Musique religieuse en France au XIXe siècle. Le sentiment religieux entre profane et sacré (1830–1914)","authors":"R. Stove","doi":"10.1080/08145857.2023.2216481","DOIUrl":"https://doi.org/10.1080/08145857.2023.2216481","url":null,"abstract":"","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44745246","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 : 2023-07-11DOI: 10.1080/08145857.2023.2225150
Paul Watt
{"title":"Musicians of Bath and Beyond: Edward Loder (1809–1865) and His Family (Music in Britain, 1600–2000)","authors":"Paul Watt","doi":"10.1080/08145857.2023.2225150","DOIUrl":"https://doi.org/10.1080/08145857.2023.2225150","url":null,"abstract":"","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46756741","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 : 2023-06-15DOI: 10.1080/08145857.2023.2216480
Bill Badger
Abstract Hainbach is the stage name of the Berlin-based composer, lyricist, and live musician, Stefan Paul Goetsch, who is perhaps best known from his YouTube channel of the same name. Descriptions and classifications of Hainbach’s music invariably include references to the musician’s innovative and ‘experimental’ approach to music production and highlight his use of magnetic tape and obsolete tone generators, such as those used by the early proponents of electronic-based music. This article examines three of Hainbach’s recent electronic works: Tagwerk (2022), Landfill Totems (2019), and Destruction Loops (2019–2021), framing them as palimpsests of archived destruction that recall such wide-ranging works as the magnetic tape experiments of Alvin Lucier, the auto-destructive impulse and social engagement of German-born artist and activist Gustav Metzger, or even the ‘erasures’ of Robert Rauschenberg. In this article, I reveal the complex, seemingly contradictory, palimpsestuous structure of Hainbach’s works, where creation meets destruction, collage and décollage are co-planar, and the gestures of ‘play’—that creative act with destruction at its horizon—are ever present. Through play, Hainbach explores the creative potential of both sound and instrument, surveys their affordances, and courts creativity at the unpredictable intersection of serendipity and failure.
{"title":"Hainbach and the Sound of Destruction","authors":"Bill Badger","doi":"10.1080/08145857.2023.2216480","DOIUrl":"https://doi.org/10.1080/08145857.2023.2216480","url":null,"abstract":"Abstract Hainbach is the stage name of the Berlin-based composer, lyricist, and live musician, Stefan Paul Goetsch, who is perhaps best known from his YouTube channel of the same name. Descriptions and classifications of Hainbach’s music invariably include references to the musician’s innovative and ‘experimental’ approach to music production and highlight his use of magnetic tape and obsolete tone generators, such as those used by the early proponents of electronic-based music. This article examines three of Hainbach’s recent electronic works: Tagwerk (2022), Landfill Totems (2019), and Destruction Loops (2019–2021), framing them as palimpsests of archived destruction that recall such wide-ranging works as the magnetic tape experiments of Alvin Lucier, the auto-destructive impulse and social engagement of German-born artist and activist Gustav Metzger, or even the ‘erasures’ of Robert Rauschenberg. In this article, I reveal the complex, seemingly contradictory, palimpsestuous structure of Hainbach’s works, where creation meets destruction, collage and décollage are co-planar, and the gestures of ‘play’—that creative act with destruction at its horizon—are ever present. Through play, Hainbach explores the creative potential of both sound and instrument, surveys their affordances, and courts creativity at the unpredictable intersection of serendipity and failure.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46193824","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 : 2022-07-03DOI: 10.1080/08145857.2023.2179764
M. Lawson
Abstract Holocaust representation in film has received much academic attention, with a focus on how cinematography and the narrative may assist our memorialization process. One aspect of film which has received little academic attention, however, is the issue surrounding the musical accompaniments of such films. The three countries of East, West and reunified Germany each attempted to engage with the Holocaust, including through the medium of film. They have done so in contrasting ways and to varying degrees of effectiveness. The opposing political, social and cultural environments of East and West Germany outweighed their geographical proximity. Likewise, reunified Germany developed a third, divergent approach to Holocaust engagement. This article examines a film co-produced by reunified Germany and the Czech Republic, and places the musicological study of its film score in an interdisciplinary context with film music theory, Holocaust representation in film, and German politics, history and culture. Through a textual analysis of the original and pre-existing score in Der letzte Zug (2006), this article examines how musical flashbacks in film offer the audience a sense of catharsis and respite from a challenging narrative, and engages with the significance of identity and religion in the music used during the flashbacks.
电影中对大屠杀的抽象再现受到了学术界的广泛关注，重点是电影摄影和叙事如何帮助我们的记忆过程。然而，很少受到学术关注的电影的一个方面是围绕这类电影的音乐伴奏的问题。东西方和统一后的德国三国都试图参与大屠杀，包括通过电影媒介。他们这样做的方式截然不同，效果各异。东德和西德对立的政治、社会和文化环境超过了它们的地理位置。同样，统一后的德国发展了第三种不同的参与大屠杀的方法。本文考察了一部由统一的德国和捷克共和国联合制作的电影，并将其电影配乐的音乐学研究置于电影音乐理论、电影中的大屠杀再现以及德国政治、历史和文化的跨学科背景下。通过对Der letzte Zug（2006）中原始和预先存在的配乐的文本分析，本文探讨了电影中的音乐闪回如何为观众提供一种从充满挑战的叙事中解脱出来的宣泄感和喘息感，并探讨了闪回中使用的音乐中身份和宗教的意义。
{"title":"Musical Catharsis and Identity in Holocaust Cinema: Der letzte Zug (2006)","authors":"M. Lawson","doi":"10.1080/08145857.2023.2179764","DOIUrl":"https://doi.org/10.1080/08145857.2023.2179764","url":null,"abstract":"Abstract Holocaust representation in film has received much academic attention, with a focus on how cinematography and the narrative may assist our memorialization process. One aspect of film which has received little academic attention, however, is the issue surrounding the musical accompaniments of such films. The three countries of East, West and reunified Germany each attempted to engage with the Holocaust, including through the medium of film. They have done so in contrasting ways and to varying degrees of effectiveness. The opposing political, social and cultural environments of East and West Germany outweighed their geographical proximity. Likewise, reunified Germany developed a third, divergent approach to Holocaust engagement. This article examines a film co-produced by reunified Germany and the Czech Republic, and places the musicological study of its film score in an interdisciplinary context with film music theory, Holocaust representation in film, and German politics, history and culture. Through a textual analysis of the original and pre-existing score in Der letzte Zug (2006), this article examines how musical flashbacks in film offer the audience a sense of catharsis and respite from a challenging narrative, and engages with the significance of identity and religion in the music used during the flashbacks.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"44 1","pages":"127 - 142"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49492760","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 : 2022-07-03DOI: 10.1080/08145857.2023.2170079
Laura Case
Abstract This article will use the European violin as a lens through which to reinterpret interactions between Aboriginal people and Europeans in twentieth-century Australia. The violin is a particularly well-respected instrument within the western art music tradition. Accordingly, the Europeans took the Indigenous embrace of the violin as evidence of successful assimilation policies and the acquisition of civility. However, the diverse and adaptable sound of the violin, combined with its construction from natural materials, aligned with Aboriginal people’s traditional and collaborative experience of music. This allowed the violin to act as a powerful means of cultural continuation and expression that was encouraged, not forbidden. The ability to adapt in the face of cultural genocide has ensured the survival of Aboriginal people and their traditions over the years since the colonists arrived and it is important to understand how Aboriginal people reacted. The article aims to contribute not only to a new understanding of the way Aboriginal people have responded to the violin, but also to how it has been understood within histories of Australia and colonization.
{"title":"The Adaptation of Violin Playing by Indigenous People in Early Twentieth-Century Western Australia and New South Wales","authors":"Laura Case","doi":"10.1080/08145857.2023.2170079","DOIUrl":"https://doi.org/10.1080/08145857.2023.2170079","url":null,"abstract":"Abstract This article will use the European violin as a lens through which to reinterpret interactions between Aboriginal people and Europeans in twentieth-century Australia. The violin is a particularly well-respected instrument within the western art music tradition. Accordingly, the Europeans took the Indigenous embrace of the violin as evidence of successful assimilation policies and the acquisition of civility. However, the diverse and adaptable sound of the violin, combined with its construction from natural materials, aligned with Aboriginal people’s traditional and collaborative experience of music. This allowed the violin to act as a powerful means of cultural continuation and expression that was encouraged, not forbidden. The ability to adapt in the face of cultural genocide has ensured the survival of Aboriginal people and their traditions over the years since the colonists arrived and it is important to understand how Aboriginal people reacted. The article aims to contribute not only to a new understanding of the way Aboriginal people have responded to the violin, but also to how it has been understood within histories of Australia and colonization.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"44 1","pages":"107 - 126"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42465004","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 : 2022-07-03DOI: 10.1080/08145857.2022.2187988
J. Stockigt, M. Talbot, Andrew Frampton, F. Kiernan, D. Collins
Abstract The wealth of new source discoveries alongside an enormous growth in performing and recording of the music of Jan Dismas Zelenka (1679–1745) over the last twenty years signals a pressing need for a critical edition of his complete works, including a thorough revision of the Zelenka-Werke-Verzeichnis (ZWV). The contributions to this colloquy consider principles around the composition of an editorial team, questions of methodology, cross-border collaborations, strategies for publication of volumes, integration of online and print elements, and lessons that can be learned from other editorial projects. The authors further reflect on how a new critical edition can effectively meet specific needs of performance contexts, and how music analysis—generally absent from Zelenka studies—informs the editorial enterprise in essential ways.
在过去的二十年里，随着扬·迪斯马斯·泽连卡(Jan Dismas Zelenka, 1679-1745)音乐的表演和录音的巨大增长，大量新的音乐来源的发现表明，迫切需要对他的全部作品进行批判，包括对《泽连卡- werke - verzeichnis》(ZWV)的彻底修订。对这次讨论会的贡献考虑了围绕编辑团队组成的原则，方法问题，跨境合作，出版卷的战略，在线和印刷元素的整合，以及可以从其他编辑项目中学到的教训。作者进一步反思了新的批评版本如何有效地满足表演背景的特定需求，以及音乐分析如何以基本的方式通知编辑企业- Zelenka研究中通常没有。
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