Pub Date : 2023-01-02DOI: 10.1080/01411896.2023.2200182
Jessica H. Grimmer
ABSTRACT Arnold Schoenberg’s 1947 A Survivor from Warsaw relates a traumatic experience through the eyes of the titular narrator, frequently meditating on the theme of disrupted memory. This article draws on medical research and the pathology of PTSD as presented in Holocaust survivors. The simultaneous decline of conscious memory and increase in unconscious memory that emerges from medical research is represented in Schoenberg’s textual and compositional structure, particularly in the use of aggregate rows. It posits a new interpretation of the work as communicating both the events endured by survivors and its attendant effects on memory.
阿诺德·勋伯格(Arnold Schoenberg)的《1947年华沙幸存者》(1947 A Survivor from Warsaw)通过名义上的叙述者的眼睛讲述了一段创伤经历，经常思考记忆中断的主题。这篇文章借鉴了医学研究和创伤后应激障碍的病理，呈现在大屠杀幸存者。从医学研究中出现的有意识记忆的同时下降和无意识记忆的增加在勋伯格的文本和组成结构中得到了体现，特别是在使用汇总行时。它提出了一种新的解释，作为传达幸存者所经历的事件及其对记忆的影响。
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Pub Date : 2023-01-02DOI: 10.1080/01411896.2023.2202819
Sio Pan Leong
ABSTRACT This article examines Franz Schubert’s sonata-form transitions within the context of Romanticism’s stylized fantasy aesthetic. The analysis draws from the G Major Quartet (D. 887), E♭ Major Trio (D. 929), and C Major Quintet (D. 956). I argue that Schubert’s unique blending of two distinct tonal syntaxes in this music creates a moment of the fantastic, evoking a sense of “magic” where reality and dreams intertwine. This interpretation challenges the familiar readings of “dream” and “otherworldly” in current hermeneutic approaches to Schubert’s sonata forms, and offers novel perspectives in the broader discourse of “rationality” in Schubert’s music.
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Pub Date : 2023-01-02DOI: 10.1080/01411896.2023.2202607
Anna-Elena Pääkkölä
In the small but vibrant community of musicology Twitter, colleagues sometimes share their course ideas, descriptions, or complete lecture outlines to aid, and occasionally, to inspire others. I have often found myself wishing I was a student today, or a fly on the wall, attending these courses that tackle core issues about current musicology, with the benefit of all of the inspiring research that has accumulated over the years and the lessons that have been learned about good pedagogical practice. Jacqueline Warwick’s book Music, Gender, and Sexuality Studies: A Teacher’s Guide is the next best thing to sitting in a classroom yourself. In this book, Warwick argues for teaching intersectional musicology, provides sample lectures, and suggests classroom discussion topics. The book opens a window to the teaching practices of an established scholar and it represents a useful guide for anyone attempting to expand and deepen their pedagogical approach. Twitter discussions about what an intersectional approach might mean for music education have been widespread lately. Almost since the birth of feminist musicology, Beethoven has been a contested figure, as the foremost canonical male composer, with accusations of “canceling” him and, by extension, the whole canon of Western music stirring up impassioned debate. In this context of polemical debate, Warwick’s book is a welcome, unagitated voice that provides two arguments for teaching intersectionality in and through music. First, Warwick insists that in the context of Western music history and gender, merely adding historical facts about women alongside the established canon is not adequate. The point is not to “cancel” Beethoven and replace him with Clara Schumann, but to acknowledge how differently the two composers established themselves in their craft and in the eyes of their colleagues and critics. Societal constraints placed on women composers simply did not allow for the type of expansive careers enjoyed by Beethoven and many other men. Warwick’s second claim is that composition should not be the sole, nor the first, platform from which to examine the value of music. Beethoven or Wagner, the Beatles, or even Kanye West, can still provide examples of “good” music, but an intersectional approach investigates the values implied in definitions of “good” music, the factors (geography, era, genre, and so on) that shaped these values, and who formulated them and why. Only then can scholars and students understand what made these figures imposing players in music history, and why women are still widely excluded from being understood as such. The times of “neutrally good” music are long past, if they ever existed; teaching about a composer or a band simply “because they need to be known” is not sufficient for our students anymore. As instructors, we need to address this. Our students will question the giants for us if we do not do it with them. Warwick approaches the meanings of gender in music through fo
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Pub Date : 2022-10-02DOI: 10.1080/01411896.2023.2168376
Nathan Friedman
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Pub Date : 2022-10-02DOI: 10.1080/01411896.2023.2168374
J. Prest
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":"J. Prest","doi":"10.1080/01411896.2023.2168374","DOIUrl":"https://doi.org/10.1080/01411896.2023.2168374","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":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79110013","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 : 2022-08-12DOI: 10.1080/01411896.2022.2077609
Published in Journal of Musicological Research (Vol. 41, No. 2, 2022)
发表于《音乐学研究杂志》(Vol. 41, No. 2, 2022)
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Pub Date : 2022-07-03DOI: 10.1080/01411896.2022.2078205
Z. Granat
ABSTRACT This article focuses on a unique relationship that Chopin’s Prelude in A Minor, Op. 28, No. 2 shares with the Lieder of Franz Schubert. Proceeding from the topical analysis of the Prelude, I examine the role of the Parisian salon and the little-known influence of Schubert’s music on Chopin. I then present two songs by Schubert that, I will claim, function as hitherto unnoticed models for his prelude, and demonstrate how Chopin used the “cut and paste” technique to create a representation of a dream. This analytical reading is supported with concepts borrowed from narrativity, performativity, and Romantic interiority.
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Pub Date : 2022-07-03DOI: 10.1080/01411896.2022.2081920
Angela Mace Christian
ABSTRACT Fanny Mendelssohn committed her Easter Sonata to paper in 1828, thereafter mentioning it only briefly in her diary and letters in 1829. Whether the manuscript survived, and if so where it was, remained a mystery until the 1970s when the work was performed in Paris, France. In 2010, the manuscript was rediscovered and positively identified as a work by Fanny Mendelssohn. This article presents the story of the Easter Sonata using documentary and codicological evidence, provides musical analysis of the work to identify Fanny Mendelssohn’s compositional voice, and places the Easter Sonata in context of the Mendelssohn family’s social constructs.
{"title":"The Easter Sonata of Fanny Mendelssohn (1828)","authors":"Angela Mace Christian","doi":"10.1080/01411896.2022.2081920","DOIUrl":"https://doi.org/10.1080/01411896.2022.2081920","url":null,"abstract":"ABSTRACT Fanny Mendelssohn committed her Easter Sonata to paper in 1828, thereafter mentioning it only briefly in her diary and letters in 1829. Whether the manuscript survived, and if so where it was, remained a mystery until the 1970s when the work was performed in Paris, France. In 2010, the manuscript was rediscovered and positively identified as a work by Fanny Mendelssohn. This article presents the story of the Easter Sonata using documentary and codicological evidence, provides musical analysis of the work to identify Fanny Mendelssohn’s compositional voice, and places the Easter Sonata in context of the Mendelssohn family’s social constructs.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75732803","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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