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: 10.1080/01411896.2021.1949309
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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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: 10.1080/01411896.2021.1948281
Ali Jones
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Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1949308
Elisabeth Le Guin
Thus Bartolomé de las Casas, conveying the experiences of Cristóbal Colón on his first voyage to what he thought were the Indies. The translation is necessarily ambiguous; “alguna manera” can signal a negative or a qualified positive, and the difference is only knowable in live speech. As such, this passage gestures toward metamorphosis through its necessary relation to performance, as well as in its content. Colón’s “serenas” looked somewhat human; they looked not at all human. They apparently did not sing—which, if they were manatees, as commentators have suggested given the Caribbean setting, is not surprising. Or perhaps they did sing, and were not heard; history suggests that Colón was not a very good listener. We are talking about metamorphosis here, and instability is the point rather than taxonomical certitude. I am not the first musicologist to love the Sirens, and, the high cost notwithstanding, I suspect I will not be the last. They are peerless icons of the lability of signification, and for its rich untrustworthiness when it becomes entangled with matters of identity. 09 de enero de 1493 January 9th, 1493 El día pasado, cuando el Almirante iba al Río de Oro,dijo que vido tres serenas que salieron bien alto de la mar, pero que no
这就是巴托罗米奥·德·拉斯·卡萨斯在他第一次航行到他所认为的印度群岛时所表达的Cristóbal Colón的经历。翻译必然是模棱两可的;“藻毛”既可以表示否定，也可以表示有条件的肯定，两者的区别只有在现场讲话中才能知道。因此，这篇文章通过它与表演的必然关系，以及在它的内容中，表明了它的蜕变。Colón的“serenas”看起来有点像人类;他们看起来一点也不像人类。它们显然不会唱歌——如果它们是海牛，就像评论员所说的那样，考虑到加勒比海的环境，这并不奇怪。也许他们唱过，却没有人听见;历史表明Colón并不是一个很好的倾听者。我们在这里讨论的是变态，不稳定性是重点，而不是分类学上的确定性。我不是第一个喜欢塞壬的音乐学家，而且，尽管代价高昂，我想我不会是最后一个。它们是无可比拟的象征，象征着意义的不稳定性，以及当它与身份问题纠缠在一起时，它丰富的不可靠性。1493年1月9日，1493年1月9日，El día pasado, cuando El Almirante iba al Río de Oro,dijo que video res res serenas que salieren en alto de la mar, pero que no
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Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1949307
Deirdre Loughridge
It’s the year 1740. The viol, recently favored instrument of the French aristocracy, has been losing admirers while the violin has been gaining them. As a viol enthusiast, you wish to make a persuasive argument for the continued cultivation and appreciation for viol playing. How do you make the case? The most obvious strategy would be to appeal to that oft-cited emblem of peak musicality: the voice. Marin Mersenne measured the viol against the voice in his Harmonie universelle (1636), finding favorably:
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Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1949311
Pierpaolo Polzonetti
Music and metamorphosis are symbiotic. It is in part for this reason that the presence of Ovid’s stories from his Metamorphoses have been visited and revisited in music from the Renaissance to the present time. In the eighteenth century, we witness the emergence of a new sensibility that values change, transformation, and ultimately revolution, as part of nature and history, as a manifestation—to summon Lucretius—of the way things are. The penchant for transformation over stasis is typical of a modern forwardlooking attitude, conceptualized by Karol Berger as a preference for the arrow over the circle, which emerged gradually during the eighteenth century. In the second half of the century, Ovid’s works were no longer a goldmine for the extraction of useful myths for opera plots. In fact, as a plot-mine, after a long time of intensive exploitation, Ovid almost dried up. Yet, the Roman poet continued to be present in works, events, and activities that are not necessarily casting Ovid’s heroes and heroines as characters. The practice of reading The Metamorphoses was still widespread in the eighteenth century, motivated by a curiosity not only and not so much for the stories told, but also and especially for the way Ovid tells his stories. Ovid demands from his readers (or listeners) to be imaginative, creative, able and willing to visualize the transformation of matter in their heads. He does so in a way that is akin to the practices of music composition, performance, and listening. Ovid tells stories of metamorphosis in the present tense, with a formidable sense of rhythm and pace, describing bodies in the most economical terms by reducing bodily shapes to elemental forms and qualities of matter (long, short, rough, smooth, whole, fragmented, empty, filled, and so on), moving in space like melodic lines or sonic events (up, down, fading, melting, shrinking, growing, and so on). Ovid’s invention is functional to transformation and development, and the new forms always relate to the original ones before the metamorphosis.
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Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1949310
Bettina Varwig
It is evident that via the blood certain ideas can be carried to the brain, which then lodge themselves in there so firmly that they can hardly be expelled. This can be observed in the so-called canine rage, which arises from the bite of a rabid dog, as well as that which arises from the sting of a tarantula or of other especially enraged animals. This is what causes lycanthropy etc., in which patients take on the manner of the animal whose idea they received through their saliva or other fluid.
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Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1949313
M. Head
The epistemology of the eighteenth century is changing. The great chain of being —influentially announced in the 1930s by Arthur Lovejoy as the eighteenth century’s article of faith—is now under siege from dynamic philosophies reported by historians of the period’s scientific and literary cultures. The great chain, as Lovejoy enshrined it, posited eternal stability. A scale of perfection ran downwards from God to inanimate matter, fixing—but also linking—the variety of all creation. There were no valid prospects for transformation of this order. Following Plato’s dictum, everything that could be, already was. To contemplate novel bodies and forms was to entertain monsters. At stake was not simply a world view, in a humanist sense, but what Foucault—excavating the grounds of knowledge—called the classical episteme. In that “order,” Foucault contended, any knowledge worthy of that name would of necessity turn on taxonomy, describing and evaluating things according to their proper type, their species. In this context, Carl Linnaeus’s binomial taxonomy of the universe of animals, plants and minerals in his Systema Naturae (Leiden, 1735)—a living project through the rest of the century—like the intricate classification of musical styles and genres by Johann Mattheson—are emblematic of (at least a major component of) the period’s official ways of knowing. The stability of the great chain of being, but not its structuring role, is questioned in many recent studies of the history of science. Peter Reill (drawing on a burgeoning literature) argues that at least by mid-century, the eternal order of bodies, divinely created, preformed, and set in motion by the hand of God, was destabilized by vitalism, a broad term for emerging discourses of dynamic, selforganizing systems of life. Resisting a conventional elision of the Enlightenment with “mechanistic rationalism,” and the supposed dominance of preformationism,
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