Pub Date : 2020-06-29DOI: 10.1080/01411896.2020.1771185
Malcom Bilson
ABSTRACT In several late works of Beethoven, we find a curious tie over the barline, in string and especially in piano works, where we find the numbers 4,3 over the tie, seemingly indicating fingering. Since the late nineteenth century scholars and performers have been discussing whether or not the second note should be struck or bowed again. Interpreting this curious tie goes not only to the problem of execution, but to the deeper musical question of Affekt.
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Pub Date : 2020-06-26DOI: 10.1080/01411896.2020.1774755
K. Hamilton
ABSTRACT Few pianists have been as acclaimed or as abominated as Vladimir Horowitz. Long ago the subject of a notorious hatchet-job by Michael Steinberg in the New Grove Dictionary of Music, and of an equally trenchant, if undeniably wittier, defense by Richard Taruskin in the New York Times, Horowitz’s playing polarized critical opinion in a manner clearly unattainable by polished mediocrity. But now, nearly thirty years after his death, the time is finally ripe for a reassessment of his artistry and public persona, not least because of the recent release of dozens of live recordings from the later decades of his career. These recordings not only allow a hitherto unattainable overview of Horowitz’s pianism, but prompt a reevaluation of his earlier discography. Moreover, they provide evidence for an analysis of the myths surrounding the art of interpretation in general. Horowitz was routinely castigated by critics for alleged crimes against acceptable practice, while idolized by audiences for many of the same reasons. A reappraisal of Horowitz’s legacy serves to evaluate its place in the history of pianism and seeks to illuminate competing esthetic perspectives on the art of interpretation itself, arguing that for nearly two centuries many pianists and critics have been missing the point: some supposedly purely musical issues in performance practice have as much to do with concepts of ethics and ownership, authority and morality, as with art.
很少有钢琴家像弗拉基米尔•霍洛维茨那样受到赞誉，也很少有人像他那样令人厌恶。很久以前，迈克尔·斯坦伯格(Michael Steinberg)在《新格罗夫音乐词典》(New Grove Dictionary of Music)中发表了一篇臭名昭著的诽谤文章，理查德·塔鲁斯金(Richard Taruskin)在《纽约时报》上发表了一篇同样尖锐(如果不可否认更诙谐)的辩护文章。霍洛维茨以一种圆滑的平庸者显然无法达到的方式，演奏了两极分化的批评意见。但现在，在他去世近30年后，重新评估他的艺术和公众形象的时机终于成熟了，尤其是因为最近发布了数十张他职业生涯后期的现场录音。这些录音不仅让人们对霍洛维茨的钢琴演奏有了一个前所未有的了解，而且促使人们对他早期的专辑进行重新评价。此外，它们为分析围绕阐释艺术的神话提供了证据。霍洛维茨经常因为所谓的违反可接受的行为而受到评论家的严厉批评，同时也因为许多同样的原因而受到观众的崇拜。重新评价霍洛维茨的遗产有助于评估其在钢琴史上的地位，并试图阐明对诠释艺术本身的竞争美学观点，认为近两个世纪以来，许多钢琴家和评论家都错过了一点:在表演实践中，一些被认为纯粹的音乐问题与伦理、所有权、权威和道德的概念一样多，就像艺术一样。
{"title":"Do They Still Hate Horowitz? The “Last Romantic” Revisited","authors":"K. Hamilton","doi":"10.1080/01411896.2020.1774755","DOIUrl":"https://doi.org/10.1080/01411896.2020.1774755","url":null,"abstract":"ABSTRACT Few pianists have been as acclaimed or as abominated as Vladimir Horowitz. Long ago the subject of a notorious hatchet-job by Michael Steinberg in the New Grove Dictionary of Music, and of an equally trenchant, if undeniably wittier, defense by Richard Taruskin in the New York Times, Horowitz’s playing polarized critical opinion in a manner clearly unattainable by polished mediocrity. But now, nearly thirty years after his death, the time is finally ripe for a reassessment of his artistry and public persona, not least because of the recent release of dozens of live recordings from the later decades of his career. These recordings not only allow a hitherto unattainable overview of Horowitz’s pianism, but prompt a reevaluation of his earlier discography. Moreover, they provide evidence for an analysis of the myths surrounding the art of interpretation in general. Horowitz was routinely castigated by critics for alleged crimes against acceptable practice, while idolized by audiences for many of the same reasons. A reappraisal of Horowitz’s legacy serves to evaluate its place in the history of pianism and seeks to illuminate competing esthetic perspectives on the art of interpretation itself, arguing that for nearly two centuries many pianists and critics have been missing the point: some supposedly purely musical issues in performance practice have as much to do with concepts of ethics and ownership, authority and morality, as with art.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"107 1","pages":"246 - 271"},"PeriodicalIF":0.3,"publicationDate":"2020-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81349014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-24DOI: 10.1080/01411896.2020.1770091
Rebecca Cypess
ABSTRACT Despite the increased use of period instruments in modern-day conservatories and concert life, many classical musicians continue to make their careers by playing early music on “modern” instruments. In such performances, aspects of the esthetic impulse of the music can always be conveyed. In adapting early music for modern instruments, it is helpful to think about the adaptation as an “arrangement,” and to seek out ways of capturing the esthetic impulse of the music despite the use of instruments from later time periods. It is possible to contextualize an understanding of the term “arrangement” within performance practices of the eighteenth century by highlighting sources that attest to the flexibility of instrumentation as an important feature of eighteenth-century music. A series of examples of performance practices from the collection of the Berlin salonnière Sara Levy reveal a spectrum of choices available to interpreters of music from the Bach family tradition and help provide a set of historically grounded principles for arrangements that may be applied in the present day by instrumentalists of all sorts.
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Pub Date : 2020-06-18DOI: 10.1080/01411896.2020.1754128
Robynn J. Stilwell
ABSTRACT In Akira Kurasawa’s classic 1950 film Rashômon, three participants testify to a tribunal about a rape/murder. The rape itself has been elided into the crime of murder in most of the literature—a symptom of patriarchal frames, both Eastern and Western, and both within the film and in the scholarship. Two characters represent female archetypes: the woman Masako is—even in the same tellings—a lady and a seductress; the Medium who channels the testimony of the samurai—a crone figure, androgynous, powerful, and terrifying. Music is at its most manipulative in relationship to these two characters, functioning like narrative magic: a glamor that conceals beneath an appealing surface, or an incantation that summons a ghost. Fumio Hayasaka’s score borrows heavily from an exoticist Franco-Russian depiction of Spanishness from the dance repertoire of the 1910–20s, emphasizing the startling physicality of the two women that may challenge the tale’s misogyny. The unmarked male gaze is perhaps irreparably shattered to modern viewers, particularly in an era sensitized by scandals of powerful men abusing their power over women.
{"title":"The “Rashômon Effect” Effect: Post-Orientalism in the Era of #MeToo","authors":"Robynn J. Stilwell","doi":"10.1080/01411896.2020.1754128","DOIUrl":"https://doi.org/10.1080/01411896.2020.1754128","url":null,"abstract":"ABSTRACT In Akira Kurasawa’s classic 1950 film Rashômon, three participants testify to a tribunal about a rape/murder. The rape itself has been elided into the crime of murder in most of the literature—a symptom of patriarchal frames, both Eastern and Western, and both within the film and in the scholarship. Two characters represent female archetypes: the woman Masako is—even in the same tellings—a lady and a seductress; the Medium who channels the testimony of the samurai—a crone figure, androgynous, powerful, and terrifying. Music is at its most manipulative in relationship to these two characters, functioning like narrative magic: a glamor that conceals beneath an appealing surface, or an incantation that summons a ghost. Fumio Hayasaka’s score borrows heavily from an exoticist Franco-Russian depiction of Spanishness from the dance repertoire of the 1910–20s, emphasizing the startling physicality of the two women that may challenge the tale’s misogyny. The unmarked male gaze is perhaps irreparably shattered to modern viewers, particularly in an era sensitized by scandals of powerful men abusing their power over women.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"25 11 1","pages":"76 - 94"},"PeriodicalIF":0.3,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82690935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-04DOI: 10.1080/01411896.2020.1754731
Sezi Seskir
ABSTRACT A fair amount of literature has been published on the use of musical topics in the works of eighteenth-century composers, with the writings of Leonard Ratner and Wendy Allanbrook among the most influential. Allanbrook, Ratner, and their disciples have shown how studying representations of topics in opera might allow for the recognition of those same musical characteristics when they appear in instrumental music. Although for these scholars the use of topics was an eighteenth-century practice, it is also useful to consider their use in nineteenth-century repertoire. Ratner’s method can be used to create a guideline for the general musical topoi that Johannes Brahms uses in his late piano works through the examination of his other piano pieces, chamber music works, and songs. The comparison of Brahms’ written tempo markings and the examination of textural elements such as rhythmic patterns, figurations, and key areas help support the identification of certain topical characteristics. Brahms’ songs in particular offer instructive information on common textural topoi, where the text helps underline the given mood of a passage. The compilation of a list of musical topoi used by Brahms, one that reflects both the given period’s and the composer’s personal musical choices, furthers the understanding of Brahms’ musical language and allows for more well-informed interpretations of his works.
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Pub Date : 2020-04-08DOI: 10.1080/01411896.2020.1735937
Alison DeSimone
ABSTRACT The composer Elisabetta de Gambarini (1730–65) led a life of public and private contradictions. Publicly, she was renowned as both a professional performer and one of the first female composers to publish in Britain. Recently discovered documents at the British National Archives show, however, that her final year of life was marked by violence and physical abuse at the hands of her husband, Stephen Chazell. A feminist biography of Gambarini should not ignore or downplay her survivorhood, but should stress how she harnessed her virtue as a means of promoting herself as a female performer and composer whose entrepreneurial and publishing activities emulated those of male musicians. The documents themselves help us to understand how, despite her stature as a virtuous woman and a prominent public figure, she was erased from the narrative of her own abuse. In the age of #MeToo, Elisabetta’s biography provides an opportunity to reflect on how surviving trauma does not define a woman’s core identity; at the same time, it shows that ignoring assault and trauma in historical biography suppresses important lessons about believing women—lessons that are now more important than ever.
{"title":"Musical Virtue, Professional Fortune, and Private Trauma in Eighteenth-Century Britain: A Feminist Biography of Elisabetta de Gambarini (1730–65)","authors":"Alison DeSimone","doi":"10.1080/01411896.2020.1735937","DOIUrl":"https://doi.org/10.1080/01411896.2020.1735937","url":null,"abstract":"ABSTRACT The composer Elisabetta de Gambarini (1730–65) led a life of public and private contradictions. Publicly, she was renowned as both a professional performer and one of the first female composers to publish in Britain. Recently discovered documents at the British National Archives show, however, that her final year of life was marked by violence and physical abuse at the hands of her husband, Stephen Chazell. A feminist biography of Gambarini should not ignore or downplay her survivorhood, but should stress how she harnessed her virtue as a means of promoting herself as a female performer and composer whose entrepreneurial and publishing activities emulated those of male musicians. The documents themselves help us to understand how, despite her stature as a virtuous woman and a prominent public figure, she was erased from the narrative of her own abuse. In the age of #MeToo, Elisabetta’s biography provides an opportunity to reflect on how surviving trauma does not define a woman’s core identity; at the same time, it shows that ignoring assault and trauma in historical biography suppresses important lessons about believing women—lessons that are now more important than ever.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"66 1","pages":"5 - 38"},"PeriodicalIF":0.3,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76450851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-17DOI: 10.1080/01411896.2020.1738138
S. Gunst
2018 was a notable year for interrogating the racialized voice, given the release of two much-talked-about films: Spike Lee’s BlacKkKlansman and Boots Riley’s Sorry to Bother You. In the first, bas...
{"title":"The Race of Sound: Listening, Timbre, and Vocality in African American Music","authors":"S. Gunst","doi":"10.1080/01411896.2020.1738138","DOIUrl":"https://doi.org/10.1080/01411896.2020.1738138","url":null,"abstract":"2018 was a notable year for interrogating the racialized voice, given the release of two much-talked-about films: Spike Lee’s BlacKkKlansman and Boots Riley’s Sorry to Bother You. In the first, bas...","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"30 1","pages":"355 - 357"},"PeriodicalIF":0.3,"publicationDate":"2020-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81306448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-16DOI: 10.1080/01411896.2020.1738156
Samantha M. Cooper
Musicologist Lily Hirsch’s Anneliese Landau’s Life in Music: Nazi Germany to Emigre California is an empathetic biography about the life of Jewish female music scholar Anneliese Landau. To rectify ...
{"title":"Anneliese Landau’s Life in Music: Nazi Germany to Émigré California","authors":"Samantha M. Cooper","doi":"10.1080/01411896.2020.1738156","DOIUrl":"https://doi.org/10.1080/01411896.2020.1738156","url":null,"abstract":"Musicologist Lily Hirsch’s Anneliese Landau’s Life in Music: Nazi Germany to Emigre California is an empathetic biography about the life of Jewish female music scholar Anneliese Landau. To rectify ...","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"150 1","pages":"350 - 354"},"PeriodicalIF":0.3,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77412477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-10DOI: 10.1080/01411896.2020.1738139
H. Pollack
{"title":"Dearest Lenny: Letters from Japan and the Making of the World Maestro","authors":"H. Pollack","doi":"10.1080/01411896.2020.1738139","DOIUrl":"https://doi.org/10.1080/01411896.2020.1738139","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"93 1","pages":"358 - 360"},"PeriodicalIF":0.3,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84091132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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