C yrilla Barr and Ralph P. Locke emphasize in their Cultivating Music in America: Women Patrons and Activists Since 1860 that throughout music history women have diligently served artistic communities as performers, pedagogues, and patrons. However, many stories of these women remain unnoticed and underexplored due to a phenomenon Barr and Locke describe as the “distortion of omission,” in which women’s voices are silenced and erased from history by the men who write it, as well as the “distortion of substitution,” which credits men for the work of women, “thereby polluting the historical record.” Selma Riemenschneider is no exception. As a voice pedagogue, Selma belongs to this underrepresented portion of Baldwin Wallace University (BW) history, since she is memorialized primarily in the shadow of her husband, Albert. Yet Selma studied music at a high level at BW, as well as in Europe, cultivating her own set of pedagogical and performance philosophies that distinguished her as an expert in her field. While Selma did not employ her experiences predominantly in performance, she at many points employed her experiences as both student and teacher at BW to create a lasting impact on BW students and Conservatory culture. There are limited sources with which to understand the gravity of Selma’s impact, which obscures her place in BW history and her effect on modern BW Conservatory culture. For example, we know little of Selma’s students, excluding her niece, Mary Marting Pendell. We also know little of Selma’s own experience as a performer besides
{"title":"The Marchesi Legacy: Selma Riemenschneider and Vocal Pedagogy","authors":"Olivia Helman","doi":"10.1353/bach.2022.0004","DOIUrl":"https://doi.org/10.1353/bach.2022.0004","url":null,"abstract":"C yrilla Barr and Ralph P. Locke emphasize in their Cultivating Music in America: Women Patrons and Activists Since 1860 that throughout music history women have diligently served artistic communities as performers, pedagogues, and patrons. However, many stories of these women remain unnoticed and underexplored due to a phenomenon Barr and Locke describe as the “distortion of omission,” in which women’s voices are silenced and erased from history by the men who write it, as well as the “distortion of substitution,” which credits men for the work of women, “thereby polluting the historical record.” Selma Riemenschneider is no exception. As a voice pedagogue, Selma belongs to this underrepresented portion of Baldwin Wallace University (BW) history, since she is memorialized primarily in the shadow of her husband, Albert. Yet Selma studied music at a high level at BW, as well as in Europe, cultivating her own set of pedagogical and performance philosophies that distinguished her as an expert in her field. While Selma did not employ her experiences predominantly in performance, she at many points employed her experiences as both student and teacher at BW to create a lasting impact on BW students and Conservatory culture. There are limited sources with which to understand the gravity of Selma’s impact, which obscures her place in BW history and her effect on modern BW Conservatory culture. For example, we know little of Selma’s students, excluding her niece, Mary Marting Pendell. We also know little of Selma’s own experience as a performer besides","PeriodicalId":42367,"journal":{"name":"BACH","volume":"53 1","pages":"102 - 109"},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44955613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Baldwin Wallace (BW) Bach Festival, established in 1933 and now the oldest collegiate Bach Festival in the United States, rose to national prominence under the artistic guidance of Albert Riemenschneider, festival director until his death in 1950. What little scholarship exists on the BW Bach Festival is, expectedly, a male-focused narrative of BW’s Bach heritage—the study and performance of J. S. Bach’s music under the leadership of a series of male artistic directors, from the establishment of the festival under Albert in the early twentieth century to the present day. As steward to the BW Bach heritage in my position as Riemenschneider Bach Institute (RBI) scholar-in-residence, I have worked closely with the historical documents related to the BW Bach Festival.
鲍德温华莱士巴赫音乐节(BW)成立于1933年，是美国历史最悠久的大学巴赫音乐节，在音乐节总监阿尔伯特·莱门施耐德(Albert Riemenschneider)的艺术指导下，在1950年去世之前，巴赫音乐节在全国范围内取得了卓越的成就。BW巴赫音乐节上所存在的少量学术研究，可以预料的是，是以男性为中心的对BW巴赫遗产的叙述——从20世纪初艾伯特领导下的音乐节成立到现在，在一系列男性艺术总监的领导下，研究和演奏j.s.巴赫的音乐。作为Riemenschneider Bach Institute (RBI)驻校学者，我一直密切关注与BW Bach音乐节相关的历史文献。
{"title":"Faculty-Student Collaborative: Selma Riemenschneider and the Baldwin Wallace Bach Heritage","authors":"Danielle M. Kuntz","doi":"10.1353/bach.2022.0003","DOIUrl":"https://doi.org/10.1353/bach.2022.0003","url":null,"abstract":"The Baldwin Wallace (BW) Bach Festival, established in 1933 and now the oldest collegiate Bach Festival in the United States, rose to national prominence under the artistic guidance of Albert Riemenschneider, festival director until his death in 1950. What little scholarship exists on the BW Bach Festival is, expectedly, a male-focused narrative of BW’s Bach heritage—the study and performance of J. S. Bach’s music under the leadership of a series of male artistic directors, from the establishment of the festival under Albert in the early twentieth century to the present day. As steward to the BW Bach heritage in my position as Riemenschneider Bach Institute (RBI) scholar-in-residence, I have worked closely with the historical documents related to the BW Bach Festival.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"53 1","pages":"101 - 96"},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41591955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Riemenschneider Bach Institute at Baldwin Wallace University possesses a square piano dated 1792, made by the Verschneider firm, organ builders of Puttelange-aux-Lacs, Moselle. The five-octave piano, of unknown provenance but modeled after English-style prototypes, is the oldest extant Verschneider product and their only known piano, evidently fourth in a series of otherwise lost instruments. Undistinguished in workmanship and repeatedly altered, in the mid-twentieth century by Marcel Asseman in Paris, the piano nevertheless displays interesting features indicative of stressful conditions in provincial Revolutionary France
摘要：鲍德温-华莱士大学里门施奈德巴赫研究所拥有一架1792年的方形钢琴，由摩泽尔Puttelange aux Lacs的风琴师Verschneider公司制造。这架五倍频程钢琴来源不明，但仿照了英国风格的原型，是现存最古老的Verschneider产品，也是他们唯一已知的钢琴，显然是一系列失传乐器中的第四架。二十世纪中叶，马塞尔·阿塞曼在巴黎创作了一架钢琴，尽管其工艺不受争议，而且反复修改，但它仍然表现出了有趣的特征，表明了法国大革命时期的紧张局势
{"title":"The Verschneider Piano at the Riemenschneider Bach Institute","authors":"Laurence Libin","doi":"10.1353/bach.2022.0002","DOIUrl":"https://doi.org/10.1353/bach.2022.0002","url":null,"abstract":"Abstract:The Riemenschneider Bach Institute at Baldwin Wallace University possesses a square piano dated 1792, made by the Verschneider firm, organ builders of Puttelange-aux-Lacs, Moselle. The five-octave piano, of unknown provenance but modeled after English-style prototypes, is the oldest extant Verschneider product and their only known piano, evidently fourth in a series of otherwise lost instruments. Undistinguished in workmanship and repeatedly altered, in the mid-twentieth century by Marcel Asseman in Paris, the piano nevertheless displays interesting features indicative of stressful conditions in provincial Revolutionary France","PeriodicalId":42367,"journal":{"name":"BACH","volume":"53 1","pages":"70 - 95"},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49644739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I t was on a spring day in mid-April 1936 that Albert Riemenschneider called together a team of roughly twenty-five women dedicated to strengthening the reputation and excellence of the Baldwin Wallace (BW) Bach Festival. From this group arose the Berea Women’s Committee, whom Albert assured during their initial assembly that “if you will do this for me, your names will be in the Library of Congress!” What exactly he meant by this, we do not know, but Lucy S. Berger—a member of the committee—stated that it was “Perhaps an early form of Women’s Lib!” While the names of these women have not been commemorated by the Library of Congress, we cannot forget their accomplishments in shaping the BW Bach Festival into what it is today. Among these women was Selma Riemenschneider, whose steadfast endeavors established her as perhaps the most impactful figure on the committee and, more broadly, the unheralded mastermind behind the Bach Festival. Archival materials related to the Berea Women’s Committee are limited, so their tremendous efforts have been left unacknowledged by researchers. However, the resources that we do possess present clear insight into the accomplishments and significance of the committee. One such item is “The Berea Women’s Committee of the Baldwin-Wallace Bach Festival,” an unpublished assemblage of written materials that illuminates the committee’s affairs. This collection takes the form of a leather-bound notebook whose pages feature the writing (some manuscript, some typed) of the committee’s secretary, Lucy S. Berger. The majority of the information within these pages relates to the meeting’s minutes, some of which Berger has included in their original form; she states that “it was much more
{"title":"Selma Riemenschneider and the Berea Women’s Committee","authors":"Ben Webster","doi":"10.1353/bach.2022.0006","DOIUrl":"https://doi.org/10.1353/bach.2022.0006","url":null,"abstract":"I t was on a spring day in mid-April 1936 that Albert Riemenschneider called together a team of roughly twenty-five women dedicated to strengthening the reputation and excellence of the Baldwin Wallace (BW) Bach Festival. From this group arose the Berea Women’s Committee, whom Albert assured during their initial assembly that “if you will do this for me, your names will be in the Library of Congress!” What exactly he meant by this, we do not know, but Lucy S. Berger—a member of the committee—stated that it was “Perhaps an early form of Women’s Lib!” While the names of these women have not been commemorated by the Library of Congress, we cannot forget their accomplishments in shaping the BW Bach Festival into what it is today. Among these women was Selma Riemenschneider, whose steadfast endeavors established her as perhaps the most impactful figure on the committee and, more broadly, the unheralded mastermind behind the Bach Festival. Archival materials related to the Berea Women’s Committee are limited, so their tremendous efforts have been left unacknowledged by researchers. However, the resources that we do possess present clear insight into the accomplishments and significance of the committee. One such item is “The Berea Women’s Committee of the Baldwin-Wallace Bach Festival,” an unpublished assemblage of written materials that illuminates the committee’s affairs. This collection takes the form of a leather-bound notebook whose pages feature the writing (some manuscript, some typed) of the committee’s secretary, Lucy S. Berger. The majority of the information within these pages relates to the meeting’s minutes, some of which Berger has included in their original form; she states that “it was much more","PeriodicalId":42367,"journal":{"name":"BACH","volume":"53 1","pages":"116 - 124"},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47050743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article is a critical reflection on selected interpretations of Johann Sebastian Bach’s Clavier-Übung III, including the problematic issue of the symbolism of numbers. From those analyses, a theoretical model has been created, inspired by Umberto Eco’s writings and consisting of the following levels of interpretation: (1) intentio auctoris—authorial intentions; (2) intentio operis—interpretations that arise from the semiotic code of the piece; (3) intentio lectoris/intentio auditoris—readings that result from the recipient’s own perception of the written text (intentio lectoris) or an auditory experience (intentio auditoris); and (4) intentio actoris—meanings that are shaped by decisions made by the performer(s). The model was developed in the course of studying the Clavier-Übung III and provides a framework for describing the process of negotiating the meanings of the collection’s constituent pieces. Additionally, it enables a better understanding of the controversial issue of number symbolism within Clavier-Übung III, which—as is argued in the article—is shaped between intentio operis and intentio lectoris. Last but not least, the model presented takes into consideration an often-neglected aspect of construing the meaning in music, namely the part played by the audience and performers.
{"title":"What Does the Author Mean? The Example of Clavier-Übung III","authors":"Tomasz Górny","doi":"10.1353/bach.2022.0001","DOIUrl":"https://doi.org/10.1353/bach.2022.0001","url":null,"abstract":"Abstract:This article is a critical reflection on selected interpretations of Johann Sebastian Bach’s Clavier-Übung III, including the problematic issue of the symbolism of numbers. From those analyses, a theoretical model has been created, inspired by Umberto Eco’s writings and consisting of the following levels of interpretation: (1) intentio auctoris—authorial intentions; (2) intentio operis—interpretations that arise from the semiotic code of the piece; (3) intentio lectoris/intentio auditoris—readings that result from the recipient’s own perception of the written text (intentio lectoris) or an auditory experience (intentio auditoris); and (4) intentio actoris—meanings that are shaped by decisions made by the performer(s). The model was developed in the course of studying the Clavier-Übung III and provides a framework for describing the process of negotiating the meanings of the collection’s constituent pieces. Additionally, it enables a better understanding of the controversial issue of number symbolism within Clavier-Übung III, which—as is argued in the article—is shaped between intentio operis and intentio lectoris. Last but not least, the model presented takes into consideration an often-neglected aspect of construing the meaning in music, namely the part played by the audience and performers.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"53 1","pages":"45 - 69"},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48223601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The early history of Johann Sebastian Bach’s Violin Sonatas and Partitas and Cello Suites is obscure and has been the subject of much speculation. This article seeks to dispel some widespread misinformation about the sources and to offer new insights into the genesis and reception of this famous music. Disrupting the scholarly consensus of the past several decades, I argue that there are no surviving early versions of either collection: every known copy of the Violin Sonatas and Partitas traces its ancestry to the composer’s 1720 autograph, and every known copy of the Cello Suites traces its ancestry to a lost (autograph?) manuscript known in the literature as Source [F]. Further, I propose identifications of the scribe who copied an influential manuscript of the Violin Sonatas and Partitas in the 1720s (Violin Source C) and the musician who provided Johann Peter Kellner with his models for both collections (Violin Source D and Cello Source B). Finally, I argue that Johann Justus Friedrich Dotzauer’s edition of the Cello Suites (Leipzig, 1826?) is based not on Kellner’s manuscript (Cello Source B), but rather on Kellner’s model, or a different copy thereof. We know little about how Bach’s contemporaries used his unaccompanied works for violin and cello, but knowing the names and biographies of those who came into contact with this music furnishes us with a basis for asking new questions.
摘要：巴赫的小提琴奏鸣曲、组曲和大提琴组曲的早期历史是模糊的，一直是人们猜测的主题。本文试图消除一些关于音乐来源的广泛错误信息，并对这首著名音乐的起源和接受提供新的见解。打破了过去几十年的学术共识，我认为这两个系列都没有幸存的早期版本：每一本已知的《小提琴奏鸣曲》和《Partitas》都可以追溯到作曲家1720年的亲笔签名，而每一本大提琴组曲都可以追溯其祖先，追溯到文献中称为来源的一本丢失的（亲笔签名？）手稿[F]。此外，我建议确认1720年代抄写小提琴奏鸣曲和Partitas的一份有影响力的手稿的抄写员（小提琴源C），以及为约翰·彼得·凯尔纳提供两个系列模型的音乐家（小提琴源D和大提琴源B）。最后，我认为Johann Justus Friedrich Dotzauer的大提琴组曲（莱比锡，1826。我们对巴赫的同时代人是如何将他的无伴奏作品用于小提琴和大提琴的知之甚少，但了解那些接触过这种音乐的人的名字和传记为我们提出新问题提供了基础。
{"title":"Some Observations on the Sources for Bach’s Violin Soli and Cello Suites","authors":"Andrew Talle","doi":"10.1353/bach.2022.0000","DOIUrl":"https://doi.org/10.1353/bach.2022.0000","url":null,"abstract":"Abstract:The early history of Johann Sebastian Bach’s Violin Sonatas and Partitas and Cello Suites is obscure and has been the subject of much speculation. This article seeks to dispel some widespread misinformation about the sources and to offer new insights into the genesis and reception of this famous music. Disrupting the scholarly consensus of the past several decades, I argue that there are no surviving early versions of either collection: every known copy of the Violin Sonatas and Partitas traces its ancestry to the composer’s 1720 autograph, and every known copy of the Cello Suites traces its ancestry to a lost (autograph?) manuscript known in the literature as Source [F]. Further, I propose identifications of the scribe who copied an influential manuscript of the Violin Sonatas and Partitas in the 1720s (Violin Source C) and the musician who provided Johann Peter Kellner with his models for both collections (Violin Source D and Cello Source B). Finally, I argue that Johann Justus Friedrich Dotzauer’s edition of the Cello Suites (Leipzig, 1826?) is based not on Kellner’s manuscript (Cello Source B), but rather on Kellner’s model, or a different copy thereof. We know little about how Bach’s contemporaries used his unaccompanied works for violin and cello, but knowing the names and biographies of those who came into contact with this music furnishes us with a basis for asking new questions.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"53 1","pages":"1 - 44"},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47341082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
N ancy Reich’s “Women as Musicians: A Question of Class” identifies the distinction between professional and nonprofessional women musicians in the context of nineteenthcentury European music. Professional musicians, or what Reich refers to as the “artist-musician class,” were those who considered their artistry a source of income. For them, music was their livelihood. Conversely, nonprofessional musicians did not primarily participate in musical life publicly. Reich elaborates: “throughout the nineteenth century and well into the twentieth, then, we see women musicians on two tracks . . . on the one hand women who sang and played only in the privacy of their own homes, on the other hand women who appeared on concert and opera stages.” Selma Riemenschneider falls somewhere in between; she performed publicly only for a brief period in her early career, and primarily within the confines of church services and local organ recitals, which often were held at Baldwin Wallace (BW), where Selma was a member of the faculty. Ultimately, she refrained from a performance career and chose to focus on other musical activities, particularly related to the BW Bach Festival. Selma’s upper-class status certainly correlates with her professional life. Reich explains that “those from upper-class families used their skills and education at home, often to enhance a husband’s social position: a wife who could sing or play was a valuable asset. Other women searched out ways to perform, establish, and support music in their homes, churches, and communities, but always on a nonprofessional basis.” Selma’s father was John C. Marting, treasurer of BW, which meant that she came from a family of high status and therefore was not reliant upon her musical training to make a living for herself. Selma’s husband, Albert, was of a similar social class; the Riemenschneiders were well known in the community,
{"title":"Selma Riemenschneider’s Performance Career","authors":"Madeline Mascia","doi":"10.1353/bach.2022.0005","DOIUrl":"https://doi.org/10.1353/bach.2022.0005","url":null,"abstract":"N ancy Reich’s “Women as Musicians: A Question of Class” identifies the distinction between professional and nonprofessional women musicians in the context of nineteenthcentury European music. Professional musicians, or what Reich refers to as the “artist-musician class,” were those who considered their artistry a source of income. For them, music was their livelihood. Conversely, nonprofessional musicians did not primarily participate in musical life publicly. Reich elaborates: “throughout the nineteenth century and well into the twentieth, then, we see women musicians on two tracks . . . on the one hand women who sang and played only in the privacy of their own homes, on the other hand women who appeared on concert and opera stages.” Selma Riemenschneider falls somewhere in between; she performed publicly only for a brief period in her early career, and primarily within the confines of church services and local organ recitals, which often were held at Baldwin Wallace (BW), where Selma was a member of the faculty. Ultimately, she refrained from a performance career and chose to focus on other musical activities, particularly related to the BW Bach Festival. Selma’s upper-class status certainly correlates with her professional life. Reich explains that “those from upper-class families used their skills and education at home, often to enhance a husband’s social position: a wife who could sing or play was a valuable asset. Other women searched out ways to perform, establish, and support music in their homes, churches, and communities, but always on a nonprofessional basis.” Selma’s father was John C. Marting, treasurer of BW, which meant that she came from a family of high status and therefore was not reliant upon her musical training to make a living for herself. Selma’s husband, Albert, was of a similar social class; the Riemenschneiders were well known in the community,","PeriodicalId":42367,"journal":{"name":"BACH","volume":"53 1","pages":"110 - 115"},"PeriodicalIF":0.1,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44741951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Thanks to frequent appearances in film and television throughout the twentieth century, the Toccata and Fugue in D Minor has developed powerful significations ranging from the pious to the grotesque. The Toccata and Fugue is emblematic of the pipe organ’s power and majesty, frequently used in horror films and other media to convey that which is gothic and grand. The Toccata and Fugue is also featured in a number of video games for the Nintendo Entertainment System (NES). Although it still often evokes the macabre, the work’s signifying function shifts in video games. The interactivity of the medium and the combination of the music with seemingly incongruous settings such as ancient Greek temples and alien planets make it more difficult to discern the relationship between music and the image onscreen.This shifting meaning is produced not only by the audiovisual context, but also by how the work is transformed to fit the sound capabilities of the NES’s hardware. The use of the Toccata and Fugue allowed game designers instant access to a bank of culturally conferred extramusical meanings, while still allowing room for artistic license in creating the work anew via what I have identified as three forms of quotation: synthesis, juxtaposition, and mistranslation. These quotations of the Toccata and Fugue range from momentary snippets of the original inserted into newly composed music (synthesis), to truncated, albeit faithful, re-creations in bizarre settings (juxtaposition), to hastily condensed versions riddled with chromatic and contrapuntal inaccuracies (mistranslation)—the last of which I discovered through transcription of the original audio files into Western musical notation. In this article, I argue that it is, intriguingly, the moments of error that are the most interesting and potentially powerful, giving the player agency to create their own meanings through mistranslation.
{"title":"From the Concert Hall to the Console: Three 8-Bit Translations of the Toccata and Fugue in D Minor","authors":"Dana Plank","doi":"10.22513/BACH.50.1.0032","DOIUrl":"https://doi.org/10.22513/BACH.50.1.0032","url":null,"abstract":"Abstract:Thanks to frequent appearances in film and television throughout the twentieth century, the Toccata and Fugue in D Minor has developed powerful significations ranging from the pious to the grotesque. The Toccata and Fugue is emblematic of the pipe organ’s power and majesty, frequently used in horror films and other media to convey that which is gothic and grand. The Toccata and Fugue is also featured in a number of video games for the Nintendo Entertainment System (NES). Although it still often evokes the macabre, the work’s signifying function shifts in video games. The interactivity of the medium and the combination of the music with seemingly incongruous settings such as ancient Greek temples and alien planets make it more difficult to discern the relationship between music and the image onscreen.This shifting meaning is produced not only by the audiovisual context, but also by how the work is transformed to fit the sound capabilities of the NES’s hardware. The use of the Toccata and Fugue allowed game designers instant access to a bank of culturally conferred extramusical meanings, while still allowing room for artistic license in creating the work anew via what I have identified as three forms of quotation: synthesis, juxtaposition, and mistranslation. These quotations of the Toccata and Fugue range from momentary snippets of the original inserted into newly composed music (synthesis), to truncated, albeit faithful, re-creations in bizarre settings (juxtaposition), to hastily condensed versions riddled with chromatic and contrapuntal inaccuracies (mistranslation)—the last of which I discovered through transcription of the original audio files into Western musical notation. In this article, I argue that it is, intriguingly, the moments of error that are the most interesting and potentially powerful, giving the player agency to create their own meanings through mistranslation.","PeriodicalId":42367,"journal":{"name":"BACH","volume":"50 1","pages":"32 - 62"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47897598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.22513/BACH.48-49.2-1.0013
Jeannette Sorrell
{"title":"Imagination on Fire: A Remembrance of Gustav Leonhardt","authors":"Jeannette Sorrell","doi":"10.22513/BACH.48-49.2-1.0013","DOIUrl":"https://doi.org/10.22513/BACH.48-49.2-1.0013","url":null,"abstract":"","PeriodicalId":42367,"journal":{"name":"BACH","volume":"49 1","pages":"13 - 20"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47211963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","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：