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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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
{"title":"About the Authors","authors":"Matthew D. Morrison","doi":"10.1080/01411896.2021.1993684","DOIUrl":"https://doi.org/10.1080/01411896.2021.1993684","url":null,"abstract":"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 ","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86767789","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 : 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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