Pub Date : 2019-07-03DOI: 10.1080/08145857.2019.1696166
S. Hogan
Modern scholarly interest in Jan Dismas Zelenka (1679–1745) tends to focus on his compositional activities, while an understanding of his contribution as a contrabassist to the Dresden Hofkapelle d...
{"title":"From the Ground Up: Constructing a Contrabass Section for the Dresden Hofkapelle","authors":"S. Hogan","doi":"10.1080/08145857.2019.1696166","DOIUrl":"https://doi.org/10.1080/08145857.2019.1696166","url":null,"abstract":"Modern scholarly interest in Jan Dismas Zelenka (1679–1745) tends to focus on his compositional activities, while an understanding of his contribution as a contrabassist to the Dresden Hofkapelle d...","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1696166","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47807154","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 : 2019-07-03DOI: 10.1080/08145857.2019.1696167
Szymon Paczkowski
Jacob Heinrich von Flemming (1667–1728) was one of the most prominent figures in the political life of Saxony and Poland during the reign of August II (‘the Strong’). Flemming achieved the peak of ...
{"title":"Music and Diplomacy: The Correspondence of Marshal Jacob Heinrich Flemming and Other Records, 1700–1720","authors":"Szymon Paczkowski","doi":"10.1080/08145857.2019.1696167","DOIUrl":"https://doi.org/10.1080/08145857.2019.1696167","url":null,"abstract":"Jacob Heinrich von Flemming (1667–1728) was one of the most prominent figures in the political life of Saxony and Poland during the reign of August II (‘the Strong’). Flemming achieved the peak of ...","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1696167","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46267505","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 : 2019-07-03DOI: 10.1080/08145857.2019.1696162
{"title":"Selected Bibliography of the Writings of Janice Beverley Stockigt","authors":"","doi":"10.1080/08145857.2019.1696162","DOIUrl":"https://doi.org/10.1080/08145857.2019.1696162","url":null,"abstract":"","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1696162","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44060157","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 : 2019-01-02DOI: 10.1080/08145857.2019.1621438
R. Campbell
Although the Aboriginal-derived titles and programmes of Peter Sculthorpe’s early music are well known, his works from the 1950s have been interpreted for the most part as landscape compositions or in relation to generalized notions of ‘Australian’ musical character. This article examines the work’s paratexts and Sculthorpe’s chronologically close statements to show that when the pieces were written he was less concerned with landscape than with achieving what he saw as a national character derived from connections between his music and Australian Aboriginal culture. Interpretation of Sculthorpe’s statements in the context of the abundant press coverage of John Antill’s Corroboree combined with analysis of musical topics and gestures in the Sonatina and Irkanda I reveals that sections of these early works are more representational than has previously been thought, and that these representations draw on the discourse of primitivism and the discourse of the folk. One facet of this involves the example of some of Bartók’s folk-derived modernist idioms which served Sculthorpe as a model. Since some of this music includes the first iterations of what became Sculthorpe’s characteristic harmonically static fast music, the interpretation of primitivism presented here has bearing on how we might understand the fast, percussive passages of his later work. Doubt is cast both on Sculthorpe’s claims of the formative influence of Aaron Copland’s music and on the idea that the slow melody of Irkanda I derived from Sculthorpe’s sketching of the landscape around Canberra. Newly accurate dating of the composition of the Sonatina and The Loneliness of Bunjil is given, as well as analysis of aspects of Irkanda I in terms of its early title, ‘Aboriginal Burial (Irkanda)’.
{"title":"‘The Whole Work is Full of Primitive Rhythms’: The Folk-Primitivist Origins of Peter Sculthorpe’s National Music","authors":"R. Campbell","doi":"10.1080/08145857.2019.1621438","DOIUrl":"https://doi.org/10.1080/08145857.2019.1621438","url":null,"abstract":"Although the Aboriginal-derived titles and programmes of Peter Sculthorpe’s early music are well known, his works from the 1950s have been interpreted for the most part as landscape compositions or in relation to generalized notions of ‘Australian’ musical character. This article examines the work’s paratexts and Sculthorpe’s chronologically close statements to show that when the pieces were written he was less concerned with landscape than with achieving what he saw as a national character derived from connections between his music and Australian Aboriginal culture. Interpretation of Sculthorpe’s statements in the context of the abundant press coverage of John Antill’s Corroboree combined with analysis of musical topics and gestures in the Sonatina and Irkanda I reveals that sections of these early works are more representational than has previously been thought, and that these representations draw on the discourse of primitivism and the discourse of the folk. One facet of this involves the example of some of Bartók’s folk-derived modernist idioms which served Sculthorpe as a model. Since some of this music includes the first iterations of what became Sculthorpe’s characteristic harmonically static fast music, the interpretation of primitivism presented here has bearing on how we might understand the fast, percussive passages of his later work. Doubt is cast both on Sculthorpe’s claims of the formative influence of Aaron Copland’s music and on the idea that the slow melody of Irkanda I derived from Sculthorpe’s sketching of the landscape around Canberra. Newly accurate dating of the composition of the Sonatina and The Loneliness of Bunjil is given, as well as analysis of aspects of Irkanda I in terms of its early title, ‘Aboriginal Burial (Irkanda)’.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"41 1","pages":"36 - 57"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1621438","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47335612","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 : 2019-01-02DOI: 10.1080/08145857.2019.1636446
S. Macarthur
1 In Deleuzian thought, an assemblage is a coming together of all things and beings—corporeal and incorporeal, animate and inanimate, and organic and inorganic—in the moment of their formations as connections rather than as static objects or bodies that exist inside a pre-determined template, such as the assemblage of a jigsaw puzzle. The assemblage is linked with the idea of the machine. For Deleuze, a machinic assemblage is always in flux and movement, continuously made up of multiple machinic connections. The abstract machine is used as a tool for thinking about the way in which connections come about, and the way in which they are apt to change and transform their connections. The machinic assemblage is often fuelled by desire, and hence conceived as a desiring machine. For Deleuze, as Carfoot writes, ‘life is actually a machine: all of life is made up of multiple machinic connections from which we form our image of the world’. See Gavin Carfoot, ‘Deleuze and Music: A Creative Approach to the Study of Music’ (master’s thesis, University of Queensland, 2004), 70.
{"title":"Facts, Fictions and the Alma Mahler Machine: A Schizoanalysis","authors":"S. Macarthur","doi":"10.1080/08145857.2019.1636446","DOIUrl":"https://doi.org/10.1080/08145857.2019.1636446","url":null,"abstract":"1 In Deleuzian thought, an assemblage is a coming together of all things and beings—corporeal and incorporeal, animate and inanimate, and organic and inorganic—in the moment of their formations as connections rather than as static objects or bodies that exist inside a pre-determined template, such as the assemblage of a jigsaw puzzle. The assemblage is linked with the idea of the machine. For Deleuze, a machinic assemblage is always in flux and movement, continuously made up of multiple machinic connections. The abstract machine is used as a tool for thinking about the way in which connections come about, and the way in which they are apt to change and transform their connections. The machinic assemblage is often fuelled by desire, and hence conceived as a desiring machine. For Deleuze, as Carfoot writes, ‘life is actually a machine: all of life is made up of multiple machinic connections from which we form our image of the world’. See Gavin Carfoot, ‘Deleuze and Music: A Creative Approach to the Study of Music’ (master’s thesis, University of Queensland, 2004), 70.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"41 1","pages":"61 - 71"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1636446","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45884717","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 : 2019-01-02DOI: 10.1080/08145857.2019.1622182
J. Carmody
If Shakespeare was alive today he would probably have Hamlet tell Rosencrantz: ‘There is nothing either good or bad, but marketing makes it so’. This is relevant to some of the several themes of Dr Tr€umpi’s scholarly and sobering book, which is a cultural study as much as a musical one. They include political and ideological or nationalist concerns as well as those issues of sociological and musical salesmanship. The political and amoral rivalries of the two capital cities of those two bellicose nations are always part of the glowering historical sky, as well as their compliant orchestras which unedifyingly supported the politics and jealousies of those rival r egimes. Tr€umpi puts a little quote at the head of each chapter, and the one for Chapter 3 (‘Continuous Radicalization under Austrofascism and National Socialism’) seems to me to encapsulate the gestalt of his concerns well:
{"title":"The Political Orchestra: The Vienna and Berlin Philharmonics During the Third Reich","authors":"J. Carmody","doi":"10.1080/08145857.2019.1622182","DOIUrl":"https://doi.org/10.1080/08145857.2019.1622182","url":null,"abstract":"If Shakespeare was alive today he would probably have Hamlet tell Rosencrantz: ‘There is nothing either good or bad, but marketing makes it so’. This is relevant to some of the several themes of Dr Tr€umpi’s scholarly and sobering book, which is a cultural study as much as a musical one. They include political and ideological or nationalist concerns as well as those issues of sociological and musical salesmanship. The political and amoral rivalries of the two capital cities of those two bellicose nations are always part of the glowering historical sky, as well as their compliant orchestras which unedifyingly supported the politics and jealousies of those rival r egimes. Tr€umpi puts a little quote at the head of each chapter, and the one for Chapter 3 (‘Continuous Radicalization under Austrofascism and National Socialism’) seems to me to encapsulate the gestalt of his concerns well:","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"41 1","pages":"58 - 60"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1622182","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43617729","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 : 2019-01-02DOI: 10.1080/08145857.2019.1621436
Helen J. English
Following the first performances of the Virginia Minstrels in 1843, the minstrel show and its music were adopted across the Anglophone world. The Virginia Minstrels toured England in the year of their US debut, generating numerous imitators. American and British minstrel groups toured to the Australian colonies from 1850. In their wake, amateur minstrelsy emerged in private and public spheres. Although the touring groups, their musical content, and their reception have been the subject of considerable research, much less study has been made of amateur minstrel activities, especially in the colonial context. This article seeks to redress this and examines three different minstrel groups active in the 1850s, 1860s, and 1870s in the Newcastle region of New South Wales. Within this study, attention is paid to the conundrum of coalminers with their coal-blackened faces taking on the role of blackface performer, in the context of historical vilification of miners in racial terms. The article thus contributes to an understanding of the colonial impact of an Imperial racist agenda in which dirt, pigment, and impurity were elided.
{"title":"Blackface at Work and Play: Amateur Minstrel Groups in the Hunter Valley, 1840–1880","authors":"Helen J. English","doi":"10.1080/08145857.2019.1621436","DOIUrl":"https://doi.org/10.1080/08145857.2019.1621436","url":null,"abstract":"Following the first performances of the Virginia Minstrels in 1843, the minstrel show and its music were adopted across the Anglophone world. The Virginia Minstrels toured England in the year of their US debut, generating numerous imitators. American and British minstrel groups toured to the Australian colonies from 1850. In their wake, amateur minstrelsy emerged in private and public spheres. Although the touring groups, their musical content, and their reception have been the subject of considerable research, much less study has been made of amateur minstrel activities, especially in the colonial context. This article seeks to redress this and examines three different minstrel groups active in the 1850s, 1860s, and 1870s in the Newcastle region of New South Wales. Within this study, attention is paid to the conundrum of coalminers with their coal-blackened faces taking on the role of blackface performer, in the context of historical vilification of miners in racial terms. The article thus contributes to an understanding of the colonial impact of an Imperial racist agenda in which dirt, pigment, and impurity were elided.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"41 1","pages":"1 - 21"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1621436","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48259331","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 : 2019-01-02DOI: 10.1080/08145857.2019.1621437
Paul Watt
The history of buskers and busking is a relatively new field of musicological research: recent scholarship has mainly been concerned with studies of street musicians in nineteenth-century London and Paris. This article, however, focuses on Australia and draws on a wide variety of articles in the daily and weekly press including interviews, law reports, letters to newspaper editors, and reprints and summaries of international news of busking in Europe and North America. The article charts busking culture principally from 1860 to 1920, when the Australian newspaper industry was at its zenith. Utilizing recent methodologies derived from newspaper research in a digital environment, the article documents the plight of buskers, the instruments they played, the repertory they performed, the money they earned, and the moral codes they were thought to subvert. The article provides an account of the profession of busking in nineteenth-century Australia and the types of social, musical, and moral issues that arose from debates over the value of the busking profession.
{"title":"Buskers and Busking in Australia in the Nineteenth Century","authors":"Paul Watt","doi":"10.1080/08145857.2019.1621437","DOIUrl":"https://doi.org/10.1080/08145857.2019.1621437","url":null,"abstract":"The history of buskers and busking is a relatively new field of musicological research: recent scholarship has mainly been concerned with studies of street musicians in nineteenth-century London and Paris. This article, however, focuses on Australia and draws on a wide variety of articles in the daily and weekly press including interviews, law reports, letters to newspaper editors, and reprints and summaries of international news of busking in Europe and North America. The article charts busking culture principally from 1860 to 1920, when the Australian newspaper industry was at its zenith. Utilizing recent methodologies derived from newspaper research in a digital environment, the article documents the plight of buskers, the instruments they played, the repertory they performed, the money they earned, and the moral codes they were thought to subvert. The article provides an account of the profession of busking in nineteenth-century Australia and the types of social, musical, and moral issues that arose from debates over the value of the busking profession.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"41 1","pages":"22 - 35"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1621437","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41534504","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 : 2018-07-03DOI: 10.1080/08145857.2018.1550141
Calista Yeoh, Myfany Turpin
Songs are a fundamental part of Indigenous Australian cultures. They are vehicles for transmitting experiences about a region, including the stories and ancestral entities from the creation. Yet relatively little is known about the musical characteristics of songs from many parts of Australia. In this article we present the first musical analysis of traditional songs of the Anmatyerr people of central Australia. We analyse a selection of songs from recordings of a women’s song set owned and performed by the landholders of Arrwek, an estate that straddles the Anmatyerr-speaking and Warlpiri-speaking regions. We analyse three basic acoustic elements of a central Australian Aboriginal song: rhythmic text, pitch, and the relationship between them. Our analysis finds that these have much in common with Warlpiri songs, despite their Anmatyerr geographic affiliation.
{"title":"An Aboriginal Women’s Song from Arrwek, Central Australia","authors":"Calista Yeoh, Myfany Turpin","doi":"10.1080/08145857.2018.1550141","DOIUrl":"https://doi.org/10.1080/08145857.2018.1550141","url":null,"abstract":"Songs are a fundamental part of Indigenous Australian cultures. They are vehicles for transmitting experiences about a region, including the stories and ancestral entities from the creation. Yet relatively little is known about the musical characteristics of songs from many parts of Australia. In this article we present the first musical analysis of traditional songs of the Anmatyerr people of central Australia. We analyse a selection of songs from recordings of a women’s song set owned and performed by the landholders of Arrwek, an estate that straddles the Anmatyerr-speaking and Warlpiri-speaking regions. We analyse three basic acoustic elements of a central Australian Aboriginal song: rhythmic text, pitch, and the relationship between them. Our analysis finds that these have much in common with Warlpiri songs, despite their Anmatyerr geographic affiliation.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"40 1","pages":"101 - 126"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2018.1550141","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49317955","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 : 2018-07-03DOI: 10.1080/08145857.2018.1550140
Brenda Lamb, Barnabas G. Smith
Situated within similar digital fantasy environments, The Elder Scrolls V: Skyrim and The Witcher 3: Wild Hunt share numerous aspects of design, including geographical formations, architectural design, and cultural indicators. Music cues are also implemented in similar ways in both games, with either layered stems or complete tracks dynamically adapting to the players’ actions. While both their non-diegetic scores aim to support landscape and emotion within the gameworld, differing musical approaches see various utilizations of orchestral, vocal, and folk music elements. It is in fact the diegetic music found in each gameworld, predominantly performed by characters throughout the environments, that share the most musical commonalities in approach yet differ vastly in output. This in-game music espouses approximations of fourteenth-century and neo-mediaevalist traditions, but as creations of fantasy these musical endeavours are often historically inaccurate. This presents a compelling musical dichotomy of fantasy tropes and historical depictions, and it is these differing musical approaches that this article aims to explore.
{"title":"From Skyrim to Skellige: Fantasy Video Game Music Within a Neo-Mediaevalist Paradigm","authors":"Brenda Lamb, Barnabas G. Smith","doi":"10.1080/08145857.2018.1550140","DOIUrl":"https://doi.org/10.1080/08145857.2018.1550140","url":null,"abstract":"Situated within similar digital fantasy environments, The Elder Scrolls V: Skyrim and The Witcher 3: Wild Hunt share numerous aspects of design, including geographical formations, architectural design, and cultural indicators. Music cues are also implemented in similar ways in both games, with either layered stems or complete tracks dynamically adapting to the players’ actions. While both their non-diegetic scores aim to support landscape and emotion within the gameworld, differing musical approaches see various utilizations of orchestral, vocal, and folk music elements. It is in fact the diegetic music found in each gameworld, predominantly performed by characters throughout the environments, that share the most musical commonalities in approach yet differ vastly in output. This in-game music espouses approximations of fourteenth-century and neo-mediaevalist traditions, but as creations of fantasy these musical endeavours are often historically inaccurate. This presents a compelling musical dichotomy of fantasy tropes and historical depictions, and it is these differing musical approaches that this article aims to explore.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"40 1","pages":"100 - 79"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2018.1550140","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49512656","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：