Pub Date : 2022-04-03DOI: 10.1080/01411896.2022.2074845
P. Kupfer
ABSTRACT Drawing on work by José Bowen, Nicholas Cook, and Daniel Leech-Wilkinson, in this article I examine the performance history of the coda of Dmitry Shostakovich’s Fifth Symphony (1937) through statistical analysis of tempo in 152 recordings made between 1938 and 2019. I contextualize the trends that emerge from this data within the unique mix of errors, myths, and ideologies that have informed the performance and reception history of the symphony. Ultimately, I demonstrate how changing historical circumstances can affect the meanings of performances (as preserved in recordings) and how empirical methods can help reveal patterns among them.
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Pub Date : 2022-04-03DOI: 10.1080/01411896.2022.2073155
Cody Black
{"title":"The Logic of Filtering: How Noise Shapes the Sound of Recorded Music","authors":"Cody Black","doi":"10.1080/01411896.2022.2073155","DOIUrl":"https://doi.org/10.1080/01411896.2022.2073155","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"45 1","pages":"136 - 138"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78628503","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 : 2022-02-28DOI: 10.1080/01411896.2022.2039557
Erinn Knyt
ABSTRACT Eduard Steuermann is remembered primarily as a protégé of Arnold Schoenberg, with whom he studied theory and composition from 1912 to 1914. However, he also studied with Ferruccio Busoni beginning in 1910, maintaining contact with him until at least 1922. Although Schoenberg’s influence on Steuermann is well documented, little has been written about Busoni’s impact, including the lasting effect their relationship had on Steuermann’s activities as pianist, author, composer, and teacher. After documenting the Busoni connection, my article shows that Steuermann helped pioneer a vision of contemporary music that blended ideals from both of his mentors to forge unorthodox treatments of serialism.
{"title":"Intersections, Divergences, and Cross Sections: Eduard Steuermann, the Busoni-Schoenberg Nexus, and a Broadening of Compositional Procedures in the Twentieth Century","authors":"Erinn Knyt","doi":"10.1080/01411896.2022.2039557","DOIUrl":"https://doi.org/10.1080/01411896.2022.2039557","url":null,"abstract":"ABSTRACT Eduard Steuermann is remembered primarily as a protégé of Arnold Schoenberg, with whom he studied theory and composition from 1912 to 1914. However, he also studied with Ferruccio Busoni beginning in 1910, maintaining contact with him until at least 1922. Although Schoenberg’s influence on Steuermann is well documented, little has been written about Busoni’s impact, including the lasting effect their relationship had on Steuermann’s activities as pianist, author, composer, and teacher. After documenting the Busoni connection, my article shows that Steuermann helped pioneer a vision of contemporary music that blended ideals from both of his mentors to forge unorthodox treatments of serialism.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"284 1","pages":"105 - 132"},"PeriodicalIF":0.3,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79464407","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 : 2022-02-09DOI: 10.1080/01411896.2021.2022408
(2022). About the Authors. Journal of Musicological Research: Vol. 41, No. 1, pp. 60-60.
(2022)。关于作者。音乐研究杂志:第41卷，第1期，第60-60页。
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Pub Date : 2022-01-12DOI: 10.1080/01411896.2021.2021698
Angela Mace Christian
(2022). The Songs of Fanny Hensel. Journal of Musicological Research: Vol. 41, No. 1, pp. 50-53.
(2022)。范妮·亨塞尔之歌。音乐研究杂志:第41卷，第1期，第50-53页。
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Pub Date : 2022-01-02DOI: 10.1080/01411896.2021.2021703
J. Parsons
Indefatigable Lied scholar Susan Youens concludes the first paragraph of her 1991 book, Retracing a Winter’s Journey: Schubert’s Winterreise, with this: “more than 150 years after its birth, Schubert’s eighty-ninth published opus still compels the fascination due a masterpiece.” That enthrallment continues thirty years later, a fact made clear by The Cambridge Companion to Schubert’s Winterreise, a provocative new study edited by Marjorie W. Hirsch and Lisa Feurzeig. The book’s fourteen chapters, dedicated to Youens, are organized into five parts: the musical heritage of Schubert’s Winterreise, Wilhelm Müller’s poetic cycle Die Winterreise (Schubert’s title omits Müller’s definite article), cultural and historical contexts, Schubert’s musical response to Müller’s cycle, and reception and influence. Part I contains three chapters that provide the groundwork for the remaining eleven. Andrea Lindmayr-Brandl offers a comprehensive yet succinct summary of Schubert’s Vienna that begins with political and economic concerns before moving on to the city’s rich cultural milieu. Hirsch explores how Schubert’s song approach relies on and departs from that of his predecessors, using as an analytical lens Schubert’s two settings of Goethe’s nine-stanza poem “An den Mond” (“To the Moon,” 1815 and 1820?), D259 and D296, together with renderings of the same poem by six previous composers, the earliest from 1778, the last likely from 1815. Whereas previously, some scholars have insisted that after Schubert’s “first tentative experiments” his songs “annihilate all that precedes” (Charles Rosen, The Classical Style [New York: W. W. Norton, 1972], 454), Hirsch prudently avoids this type of unfounded assertion. Instead, she informs readers how Schubert built on existing Lied traditions while also moving beyond them. In the process she makes the important point that changes in German poetry beginning in the 1770s played a part as well. In stressing the how, her discussion is valuable not only for the light it sheds on Winterreise, but on Schubert’s songs more generally. Feurzeig’s survey of Lieder before Winterreise devoted to winter and solitary wanderers dovetails nicely with Hirsch’s chapter. In it Feurzeig ponders why Romantics were drawn to the wanderer topos, both in verse and song. Although Feurzeig adduces a number of persuasive answers, one goes unmentioned: the Enlightenment Bildungsweg—the path of self-cultivation—as formulated by, among others, Lessing, Kant, Goethe, Schiller, Hölderlin, Fichte, Schelling, and Hegel, a path M. H. Abrams in his still-essential Natural Supernaturalism (New York: W. W. Norton, 1971) calls the “circuitous journey.” As Hegel reflected in his 1807 Phänomenologie des Geistes, the individual seeking self-understanding “must travel a long way” to attain “genuine knowledge,” a journey not accomplished “like the shot from a pistol,” but “as stages on a path that has been made level with toil.” Have not Müller and Schubert inverted an
孜孜不倦的文学学者苏珊·尤恩斯在她1991年出版的书《追忆冬天的旅程:舒伯特的冬日之旅》的第一段中总结道:“舒伯特出版的第89部作品问世150多年后，仍然令人着迷，因为这是一部杰作。”这种迷恋在三十年后仍在继续，这一事实在《舒伯特的冬天之旅的剑桥陪伴》中得到了明确说明，这是一项由马乔里·w·赫希和丽莎·福尔扎格编辑的具有挑衅性的新研究。这本书的14章，献给尤恩斯，分为五个部分:舒伯特的《Winterreise》的音乐遗产，威廉·米勒的诗歌循环《Winterreise》(舒伯特的标题省略了米勒的定冠词)，文化和历史背景，舒伯特对米勒循环的音乐回应，以及接受和影响。第一部分包含三章，为其余十一章提供基础。Andrea lindmayer - brandl对舒伯特的《维也纳》进行了全面而简洁的总结，从政治和经济问题开始，然后转向城市丰富的文化环境。赫希探讨了舒伯特的歌曲方式是如何依赖和偏离他的前辈的，他使用了舒伯特对歌德的九节诗“an den Mond”(“To the Moon”，1815年和1820年?)，D259和D296的两个设置作为分析的镜头，以及六位前作曲家对同一首诗的渲染，最早的是1778年，最后一个可能是1815年。然而之前，一些学者坚持认为，在舒伯特的“第一次试试性实验”之后，他的歌曲“湮灭了之前的一切”(Charles Rosen, The Classical Style [New York: w.w. Norton, 1972]， 454)，赫希谨慎地避免了这种毫无根据的断言。相反，她告诉读者舒伯特是如何建立在现有的谎言传统之上，同时又超越它们的。在这个过程中，她提出了一个重要的观点，那就是18世纪70年代开始的德国诗歌的变化也起到了一定的作用。在强调“如何”的过程中，她的讨论不仅为《Winterreise》带来了光明，而且更广泛地为舒伯特的歌曲带来了光明。费尔泽格在《Winterreise》之前对《Lieder》的调查，致力于冬天和孤独的流浪者，与赫希的章节非常吻合。在这篇文章中，费尔泽格思考了为什么浪漫主义者会被诗歌和歌曲中的流浪主题所吸引。虽然费尔泽格提出了许多有说服力的答案，但有一个没有被提及:启蒙教育——自我修养的道路——由莱辛、康德、歌德、席勒、Hölderlin、费希特、谢林和黑格尔等人阐述，m.h.艾布拉姆斯在他仍然重要的《自然超自然主义》(纽约:w.w.诺顿出版社，1971年)中称之为“迂回之旅”。正如黑格尔在他1807年的著作Phänomenologie des Geistes中所反映的那样，寻求自我理解的个人“必须走很长的路”才能获得“真正的知识”，这段旅程不是“像手枪射出的子弹一样”完成的，而是“在一条经过艰苦奋斗的道路上的阶段”。难道米勒和舒伯特不是颠倒了18世纪的原型，重新塑造了一个不再相信启蒙思想的新时代吗?“迂回的旅程”总是以回家和自我认识结束，这使得舒伯特的循环中两者的缺失更加令人不安。第二部分分为两章。克里斯汀娜·穆克斯菲尔德(Kristina Muxfeldt)关注的是舒伯特的传记《Die schöne mllerin》(舒伯特的两个歌曲周期中的第一个，以m ller诗歌周期为主题)
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Pub Date : 2022-01-02DOI: 10.1080/01411896.2021.2021699
Caitlin Schmid
that lend them the articulative capabilities that Bradley elucidates throughout the book. For example, how might artists’ varying degrees of national fame affect how they give voice to a distinctively Southern identity? Accessible to a wide range of readers, and beloved by the undergraduates I recently assigned it to, Bradley’s book provides an excellent model for authors hoping to articulate the nuances of the cultural work that music does, and an elegant example of how gracefully written this sort of work can be. I am eagerly awaiting the next chapter in this narrative as subsequent generations of rappers like Future, Young Thug, Lil Baby, and 21 Savage (to name a few) have made the South—and Atlanta in particular—the most dominant region in hip-hop today. What might this margins-to-mainstream story—the shift from “the South got something to say” to the South dominating the conversation in hip-hop today—tell us about lived experience in the contemporary South, and how might the long-term interest in southern hip-hop alter how the region fits into U.S. culture more broadly? Chronicling Stankonia ends with an encouragement to continue writing the cultural history and legacy of this style, and I hope that other scholars take up Bradley on this invitation.
这让他们具备了布拉德利在整本书中阐述的发音能力。例如，艺术家不同程度的全国知名度会如何影响他们表达独特的南方身份?布拉德利的书有广泛的读者群，而且深受我最近指派的本科生的喜爱，它为希望阐明音乐所做的文化工作的细微差别的作者提供了一个极好的模型，也是一个优雅的例子，说明这类工作可以写得多么优雅。我热切地期待着这个故事的下一章，因为后来的几代说唱歌手，如Future, Young Thug, Lil Baby和21 Savage(仅举几例)已经使南方，特别是亚特兰大，成为当今嘻哈音乐中最具主导地位的地区。这个从边缘到主流的故事——从“南方有话要说”到今天主导嘻哈对话的南方的转变——可能告诉我们当代南方的生活经历，以及对南方嘻哈的长期兴趣如何改变该地区如何更广泛地融入美国文化?《斯坦科尼亚编年史》的结尾鼓励人们继续撰写这种风格的文化历史和遗产，我希望其他学者也能接受布拉德利的邀请。
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Pub Date : 2022-01-02DOI: 10.1080/01411896.2021.2021514
Eva Moreda Rodríguez
ABSTRACT The present article draws upon thirty years of recorded evidence (from the first wax cylinders made in the late nineteenth century, to the first electrical recordings of the 1920s and early 1930s) to study two modes of voice production used in Spanish zarzuela: one indebted to operatic singing, characterized by timbral modification and widespread vibrato; and another one more connected to popular forms of entertainment, based on a low-larynx position and clear enunciation. Far from constituting a rigid dichotomy, this article discusses how both modes of voice production coexisted and were combined within the general governing principle of communicating text expressively, confirming—as has been suggested by recent historiographical research—zarzuela’s status as a hybrid genre able to absorb a number of influences. The article also discusses how the former of these two modes of production became more widespread at the end of the period under study, and considers the influence of recording technologies in this process.
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Pub Date : 2021-10-14DOI: 10.1080/01411896.2021.1984790
S. Waltz
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