Pub Date : 2021-10-02DOI: 10.1080/01411896.2021.1993684
Matthew D. Morrison
Robin James is Associate Professor of Philosophy at University of North Carolina, Charlotte. She is the author of four books: The Future of Rock and Roll: 97X WOXY and The Fight for True Independence (University of North Carolina Press, forthcoming), The Sonic Episteme (Duke University Press, 2019), and Resilience and Melancholy (Zer0, 2015). Isidora Miranda received her PhD in Musicology at the University of WisconsinMadison and is currently a Postdoctoral Scholar at Vanderbilt University. Her work focuses on music and theater performance within the context of the Philippines’ long colonial history. She is currently working on a book project on the Tagalog sarsuwela, cultural nationalism, and constructions of racial and gendered identities in the musical stages of Manila. Her work has been supported by various grants, including the American Musicological Society’s resident fellowship at the Newberry Library and the Mellon Fellowship for Dissertation Research in Original Sources through the Council for Library and Information Resources. Celeste Day Moore is a historian of African American culture, media, and black internationalism and the author of Soundscapes of Liberation: African American Music in Postwar France (Duke University Press, 2021). She is an Assistant Professor of History at Hamilton College in Clinton, NY. Matthew D. Morrison, a native of Charlotte, North Carolina, is an Assistant Professor in the Clive Davis Institute of Recorded Music at the Tisch School of the Arts of New York University. He is the Susan McClary and Robert Walser American Council of Learned Societies Fellow from 2021–2022, where he is in residence at the University of Edinburgh. Matthew is completing his book manuscript, Blacksound: Making Race and Popular Music in the United States (University of California Press, forthcoming). His work has appeared in various publications, including the Journal of the American Musicological Society and the Oxford Handbook of Music and Philosophy, and he contributes creatively as a dramaturg and artistic consultant within the arts. Imani Danielle Mosley is a musicologist, cultural historian, and digital humanist focusing on the work of Benjamin Britten, music, opera, and modernism in Britain post-1945. Her current research addresses digital sonic mapping, acoustics, and rituals in the English churches and cathedrals central to Britten’s sacred music. In addition to her work on Britten, Mosley also specializes in contemporary opera, reception history, queer theory, masculinities studies, and race in 21st-century popular musics. Alon Schab is a musicologist, composer, and recorder player. He wrote his doctoral dissertation on Henry Purcell at Trinity College Dublin. Since 2012 he has been a faculty member in the Department of Music at the University of Haifa, and since 2016, a committee member of the Purcell Society. He is the author of The Sonatas of Henry Purcell: Rhetoric and Reversal (University of Rochester Press, 2018) and
罗宾·詹姆斯是北卡罗来纳大学夏洛特分校的哲学副教授。她是四本书的作者:摇滚的未来:97X WOXY和为真正的独立而战(北卡罗来纳大学出版社，即将出版)，Sonic Episteme(杜克大学出版社，2019)和Resilience and Melancholy (Zer0, 2015)。伊西多拉·米兰达在威斯康星大学麦迪逊分校获得音乐学博士学位，目前是范德比尔特大学的博士后学者。她的作品专注于菲律宾长期殖民历史背景下的音乐和戏剧表演。她目前正在撰写一本关于马尼拉音乐舞台上的他加禄语sarsuwela、文化民族主义以及种族和性别身份建构的书。她的工作得到了各种资助，包括美国音乐学会在纽伯里图书馆的常驻奖学金和梅隆大学通过图书馆和信息资源委员会的原创论文研究奖学金。塞莱斯特·戴·摩尔是研究非裔美国人文化、媒体和黑人国际主义的历史学家，著有《解放的音景:战后法国的非裔美国人音乐》(杜克大学出版社，2021年)。她是纽约克林顿市汉密尔顿学院历史学助理教授。马修·d·莫里森(Matthew D. Morrison)是北卡罗来纳州夏洛特人，现任纽约大学蒂施艺术学院克莱夫·戴维斯录音音乐学院助理教授。他是2021-2022年Susan McClary和Robert Walser美国学术团体理事会的研究员，他在爱丁堡大学居住。马修正在完成他的书手稿，《黑声:在美国制作种族和流行音乐》(加州大学出版社，即将出版)。他的作品曾发表在各种出版物上，包括《美国音乐学会杂志》和《牛津音乐与哲学手册》，他作为戏剧和艺术顾问在艺术领域做出了创造性的贡献。伊玛尼·丹妮尔·莫斯利是一位音乐学家、文化历史学家和数字人文主义者，专注于本杰明·布里顿的作品、音乐、歌剧和1945年后英国的现代主义。她目前的研究涉及数字声音映射，声学，以及英国教堂和大教堂的仪式，这是布里顿神圣音乐的核心。除了对布里顿的研究，莫斯利还专注于当代歌剧、接受史、酷儿理论、男性化研究和21世纪流行音乐中的种族。Alon Schab是一位音乐学家、作曲家和竖笛演奏家。他在都柏林三一学院写了关于亨利·珀塞尔的博士论文。自2012年以来，他一直担任海法大学音乐系的教员，并自2016年以来担任Purcell Society的委员会成员。他是《亨利·珀塞尔奏鸣曲:修辞与逆转》(罗切斯特大学出版社，2018年)和《表演者转录、编辑和编曲早期音乐指南》(牛津大学出版社，即将出版)的作者。j rgen Thym，伊士曼音乐学院(罗切斯特大学)音乐学名誉教授，是19世纪古典音乐和《音乐学研究杂志》2021年第40卷的权威。4,366 - 367 https://doi.org/10.1080/01411896.2021.1993684
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Pub Date : 2021-10-02DOI: 10.1080/01411896.2021.1985897
C. Moore
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Pub Date : 2021-10-02DOI: 10.1080/01411896.2021.1993738
Alon Schab
ABSTRACT Early music has been recorded for over half a century but most of its pre-1600 repertoire resists the programming conventions accepted in classical-romantic albums. Instead, the early music revival has developed its own unique approach to recording, inspired by innovations in musical styles other than classical music. The emergence of the rock concept album in the 1960s helped to shape the genres of art rock and progressive rock and to set them apart from other sub-genres. Some of the achievements of the early concept album—the use of studio technology and the medium of the LP in a way that yielded a large-scale musical and narrative form—appealed to early music and folk musicians. The article examines the work of prominent early music performers who adopted a conceptual-narrative approach to the recording of early repertories. David Munrow’s first early music albums demonstrate techniques borrowed from his work in the folk scene. Thomas Binkley’s careful handling of large-scale musical form helped to shape the pilgrimage narrative of his influential “Camino de Santiago” album. The article analyses further examples from several recordings of Hildegard’s music, and from the recordings of Jordi Savall and Pedro Memelsdorff, as early music concept albums. These albums show how early music performers use narrativity both to create a quasi-historical illusion and to create abstract musical narratives.
早期音乐已经录制了半个多世纪，但其大部分1600年前的曲目抵制了古典浪漫主义专辑中所接受的编程惯例。相反，早期的音乐复兴发展了自己独特的录音方法，灵感来自于古典音乐以外的音乐风格的创新。20世纪60年代摇滚概念专辑的出现帮助塑造了艺术摇滚和前卫摇滚的流派，并将它们与其他子流派区分开来。早期概念专辑的一些成就——使用录音室技术和LP媒介，产生了一种大规模的音乐和叙事形式——吸引了早期音乐和民间音乐家。本文考察了杰出的早期音乐表演者的工作，他们采用了一种概念叙事的方法来记录早期的剧目。大卫·芒罗的第一张早期音乐专辑展示了他在民谣舞台上借鉴的技巧。托马斯·宾克利(Thomas Binkley)对大型音乐形式的精心处理有助于塑造他颇具影响力的“圣地亚哥之路”(Camino de Santiago)专辑中的朝圣叙事。本文进一步分析了Hildegard的几张音乐唱片，以及Jordi Savall和Pedro Memelsdorff作为早期音乐概念专辑的唱片。这些专辑展示了早期的音乐表演者如何使用叙事来创造一种准历史的幻觉，并创造抽象的音乐叙事。
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Pub Date : 2021-10-02DOI: 10.1080/01411896.2021.1992595
I. K. Miranda
ABSTRACT This essay focuses on the career of Honorata “Atang” de la Rama on the popular sarsuwela and vaudeville stages during the period of American colonization in the Philippines. Through sound recordings, reviews, photos, and her own writings, I amplify de la Rama’s musical and metaphorical voice to address the important role of women in Philippine music and popular culture. Her work highlights the role of the performer as an equally important locus of creative authorship as that ascribed to playwrights and composers. De la Rama’s celebrity status also carried through the visual aspects of her public persona on and off stage, cultivating an image that was both modern and traditional, Filipino and cosmopolitan. Such self-fashioning carried political significance, especially during the resurgence of nationalism and in the emerging women’s movement during the 1920s and 1930s in the Philippines.
摘要本文主要研究美国殖民时期菲律宾流行的舞剧和杂耍舞台上的奥诺拉塔·“阿唐”·德拉拉玛的职业生涯。通过录音、评论、照片和她自己的作品，我放大了de la Rama的音乐和隐喻的声音，以解决女性在菲律宾音乐和流行文化中的重要作用。她的作品强调了表演者的角色，作为一个同样重要的创造性作者，归因于剧作家和作曲家。德拉玛的名人地位也通过她在舞台内外的公众形象体现出来，塑造了一个既现代又传统，既菲律宾又世界的形象。这种自我塑造具有政治意义，特别是在民族主义复兴和20世纪二三十年代菲律宾新兴的妇女运动期间。
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Pub Date : 2021-09-22DOI: 10.1080/01411896.2021.1969859
L. Hirsch, I. Mosley, Robin M. James, Matthew D. Morrison
Lily Hirsch (LH): As Reviews Editor of the Journal of Musicological Research, I am excited to be trying something brand new for this journal, and possibly for the field as a whole: a “Review of Musicology Twitter” that takes place through an informal conversation among experts. The inspiration for this idea comes from “The Conversation” between columnists Gail Collins and Bret Stephens published weekly in the New York Times. For this inaugural musicological “conversation,” I wanted to focus on Twitter because of the platform’s deep connections to activism, a topic explored brilliantly in the book #Hashtag Activism by Sarah J. Jackson, Moya Bailey, and Brooke Foucault Welles. Despite the social media site’s well-earned negative reputation, Twitter has struck me as a potentially egalitarian space, offering musicologist of all ranks (and no rank at all) a chance to connect, to share research, and to discover research-related questions. As an independent scholar, this potential has long been attractive to me, even more so during the Covid lockdown, when travel prevented even those with means from attending conferences. It is clear, however, that these positives only exist if a person engages with Twitter in certain ways. After all, the pitfalls are many: Twitter trolls are everywhere and it is surprisingly easy to become mired in public confrontations and controversies. With this in mind, I reached out to three Twitter veterans, music scholars who have a visible and influential presence on Twitter, hoping they might shed some light on Twitter best practices, both for those like me, in music and newly on Twitter, and for those thinking about joining this network. I am confident their conversation will be useful for more seasoned Twitter users as well. Here, then, are my kickoff questions, addressed to Matthew D. Morrison (@DrMaDMo), Robin James (@doctaj), and Imani Mosley (@imanimosley):
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Pub Date : 2021-08-13DOI: 10.1080/01411896.2021.1949206
(2021). About the Authors. Journal of Musicological Research: Vol. 40, No. 3, pp. 295-296.
(2021)。关于作者。音乐研究杂志:第40卷，第3期，第295-296页。
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Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1937151
Rachel Scott
ABSTRACT Österreichische Abende, or Austrian Evenings, were a series unique to the 1945 Salzburg Festival. These six solo recitals, five of which featured singers, highlighted Austrian musical culture by recruiting Austrian performers to perform Austrian music in an Austrian setting. For the first time since the Annexation in 1938, Salzburg Festival administrators had the opportunity, albeit with limited resources, to assert an identity separate from Germany. By leveraging available resources, collaborating strategically with occupiers, evoking nostalgia, and providing a sacred space, these small-scale recitals were integral to the first postwar season of the Salzburg Festival and its subsequent revival.
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Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1949309
Sara Gross Ceballos
The god also merited extensive commentaries in period translations and appearances in works for the opera and fair theaters, collections of poetry, scientific and medical treatises, and of course Furetière’s Dictionnaire. Across this discourse, authors generated diverse interpretive readings, from metaphysical allegories originating in ancient, medieval, and renaissance interpretations, to modern enlightened euhemerist analyses in which Ovid’s myths are perceived to refer to historical persons and events. While François Couperin does not appear to have owned a copy of any one of the texts from this “grand siècle of French translations of Ovid,” the social dissimulators that appear within his pièces de clavecin certainly resemble Furetière’s Protean master of disguise. Moreover, “two small
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