Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1949312
E. Lockhart
For those of us who think about musical genres of eighteenth-century theater —opera, festa teatrale, melodrama, pantomime—Ovid’s Metamorphoses is a consistent ambivalent presence: an unimaginably rich font of ancient stories and characters, but one that, by and large, was drawn on for works appearing outside the mainstream. An obvious exception must immediately be made for the tale of Orpheus and Eurydice, which has supplied a mythology for opera’s origins as well as its expressive power. Yet this story is an oddity within Ovid’s poem, involving no metamorphosis save death and dismemberment, and possessed of an unusually detailed narrative structure and affective trajectory. What is more, there were so many Orpheus dramas within opera of the seventeenth and eighteenth centuries that to craft an Orfeo or an Orphée for the opera house was to engage with this theatrical intertext far more than with the imaginative world of the Metamorphoses. For the most part, Ovid’s volume of stories about bodily transformation was a second-tier source for serious drama, lagging far behind the Aeneid, Racine’s dramas, and various Roman histories. None of Metastasio’s opera seria libretti, which dominated serious opera for most of the eighteenth century, used stories from Ovid’s magnum opus. Why not? Metastasio did not leave behind an explanation, of course, but one may speculate that most of the stories in the Metamorphoses were too short, too redolent of “myth” as opposed to ancient history, too difficult to stage (how could a woman change into a cow and back in the theater?), and too lacking in developed or potentially heroic characters. As Pierpaolo Polzonetti tellingly writes, Ovid’s stories were used “more often than not for celebratory works for birthday and wedding festivities of the wealthiest aristocracy”: occasional works, in other words, the most conservative and propagandistic of eighteenth-century music-theatrical genres. However, as Polzonetti also notes, Ovid’s tales could also be found in abundance within explicitly experimental genres during this period. Gluck
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Pub Date : 2021-07-03DOI: 10.1080/01411896.2021.1941005
Táhirih Motazedian
ABSTRACT Soviet filmmaker Sergei Eisenstein was commissioned to produce Wagner’s Die Walküre in 1940, after the signing of the German-Soviet Non-Aggression Pact, to demonstrate Soviet loyalty to Germany during a time of hostile relations. This would be the last Ring performance in the Soviet Union before it was banished for thirty bitter years, but the politico-ideological underpinnings of this fascinating historic production have been largely overlooked. This article provides a close reading of Eisenstein’s political intentions for this production and posits that he promoted Wagner as the representative ideology of Germany, pairing it with Soviet communism in order to depict a Soviet-German union without endorsing German politics.
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Pub Date : 2021-04-03DOI: 10.1080/01411896.2021.1905445
Lasse Lehtonen
Gabriel Andrade received a Ph.D. from the University of Zulia (Venezuela) in 2008. He worked as Titular Professor at the University of Zulia from 2005 to 2015, teaching courses in the Humanities and writing numerous books and articles in Spanish. He then moved on to teach at the College of the Marshall Islands (Republic of the Marshall Islands), Xavier University School of Medicine (Aruba), and St. Matthew’s University School of Medicine (Cayman Islands). He joined Ajman University in August 2019. He is currently an Assistant Professor at Ajman University, United Arab Emirates.
Gabriel Andrade, 2008年获得委内瑞拉苏利亚大学博士学位。2005年至2015年，他在苏利亚大学担任有名无实的教授，教授人文学科课程，并用西班牙语撰写了大量书籍和文章。随后，他先后在马绍尔群岛学院(马绍尔群岛共和国)、泽维尔大学医学院(阿鲁巴)和圣马修大学医学院(开曼群岛)任教。他于2019年8月加入阿吉曼大学。他目前是阿拉伯联合酋长国阿吉曼大学的助理教授。
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Pub Date : 2021-03-31DOI: 10.1080/01411896.2021.1902725
Marian Wilson Kimber, David Suisman, Travis D. Stimeling, L. Hirsch
{"title":"Reviewing the Book Review: A Roundtable","authors":"Marian Wilson Kimber, David Suisman, Travis D. Stimeling, L. Hirsch","doi":"10.1080/01411896.2021.1902725","DOIUrl":"https://doi.org/10.1080/01411896.2021.1902725","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75539287","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 : 2021-03-30DOI: 10.1080/01411896.2021.1901541
F. Hadley
{"title":"The Meaning of Soul: Black Music and Resilience Since the 1960s","authors":"F. Hadley","doi":"10.1080/01411896.2021.1901541","DOIUrl":"https://doi.org/10.1080/01411896.2021.1901541","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87826950","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 : 2021-03-30DOI: 10.1080/01411896.2021.1901542
P. Sommerfeld
NPR jazz critic Kevin Whitehead frames his intended goals in writing Play the Way You Feel as “partly about jazz movies as a narrative tradition with recurring plot points and story tropes” (p. ix) as well as “how jazz and its people are regarded in American culture and how filmmakers depict jazz subculture” (p. xi). With a primarily chronological organization that works its way from the 1920s to the present in topical chapters, such as “Origin Stories,” “Suffering Artists,” and “The Jazz Musician (and Fan) as Character,” the book is written as a guide for a jazz-loving but not necessarily academic audience. The deep knowledge of jazz film history in America Whitehead offers is impressive, but those topical threads prove difficult to track over 350 pages of prose for both scholar and layperson alike. The book’s strength resides in the detailed knowledge Whitehead provides about the individual films on which his book focuses. Many of the films covered, particularly those from the 1930s, 1940s, and 1950s, are either obscure or lesser known. Whitehead’s topics focus on the flaws and failings of the films’ content, but his approach foregrounds their positive traits—or at least those elements worthy of a second look. This decidedly “kleinmeister” approach to music history, in which unknown works are highlighted as worthy of scholarly attention, is well-known in the musicological discourse, and this book would have benefited from addressing head-on the shortcomings of that approach. Yet it is Whitehead’s treatment of film narrative that prevents the book from negotiating any larger considerations of his stated goals: “jazz movies as narrative tradition” or “how filmmakers depict jazz subculture.” Whitehead’s discussions of individual films offer play-by-play walkthroughs of the plot with occasional statements that nod to larger issues. He prioritizes detailed narrative summary over analysis. For example, in his discussion of St Louis Blues (1929), Whitehead states that “St. Louis Blues is a male director’s woman’s picture; the heroine suffers for our entertainment” (p. 7). Whitehead never explains what he means, nor does he thread that connection, tying it to later discussions. This specific point itself is buried in the middle of a paragraph and is situated as more offhand, unsupported aside than analysis. This approach to narrative summaries proves difficult to follow throughout the book. Whitehead is most concerned with the process of film adaptation and accuracy: what details from a jazz performer’s life were excised, changed, or chronologically compressed to fit the film narrative. Whitehead peppers his text with anecdotes and offhand observations in search of a larger, unifying argument. Similarly, he occasionally draws connections between narrative, cinematography, and other elements of a production’s mis-en-scène. But he fails to link them as part of the larger arguments he frames in the introduction. Especially in the later chapters, Whitehead
美国国家公共电台(NPR)的爵士评论家凯文·怀特黑德(Kevin Whitehead)将他的写作目标设定为“部分关于爵士乐电影作为一种叙事传统，具有反复出现的情节点和故事修辞”(第ix页)，以及“爵士乐和它的人在美国文化中是如何被看待的，电影制片人是如何描绘爵士乐亚文化的”(第xi页)。以一个主要的时间顺序组织，从20世纪20年代到现在，在主题章节中，如“起源故事”，“受苦的艺术家”，以及《作为角色的爵士音乐家(和粉丝)》(The Jazz musicians (and Fan))，这本书是为热爱爵士但不一定是学术读者编写的指南。怀特黑德对美国爵士电影史的深入了解令人印象深刻，但对于学者和外行来说，这些主题线索很难追踪超过350页的散文。这本书的优势在于怀特黑德提供了关于他的书所关注的个别电影的详细知识。所涵盖的许多电影，特别是那些来自20世纪30年代、40年代和50年代的电影，要么是鲜为人知的，要么是鲜为人知的。怀特黑德的主题集中在电影内容的缺陷和失败上，但他的方法突出了电影的积极特征——或者至少是那些值得再看一遍的元素。这种明确的“克莱因迈斯特”(kleinmeister)研究音乐史的方法，将不知名的作品突出显示为值得学术关注的作品，在音乐学论述中是众所周知的，这本书将从正面解决这种方法的缺点中受益。然而，正是怀特黑德对电影叙事的处理，阻止了这本书对他所陈述的目标进行更大的考虑:“作为叙事传统的爵士电影”或“电影制作人如何描绘爵士亚文化”。怀特黑德对个别电影的讨论提供了对情节的逐场演练，偶尔也会提到更大的问题。他优先考虑详细的叙述总结，而不是分析。例如，怀特黑德在他对《圣路易斯蓝调》(1929)的讨论中指出:“《圣路易斯蓝调》是男性导演的女性电影;女主角为了我们的娱乐而受苦”(第7页)。怀特黑德从来没有解释他的意思，也没有把这种联系联系起来，把它与后来的讨论联系起来。这个特定的观点本身就隐藏在段落的中间，比分析更随意，更没有根据。这种叙述总结的方法很难在整本书中遵循。怀特黑德最关心的是电影改编的过程和准确性:为了适应电影叙事，爵士表演者的生活中有哪些细节被删除、改变或按时间顺序压缩。怀特黑德在他的文章中加入了轶事和随意的观察，以寻求一个更大、更统一的论点。同样地，他偶尔也会把叙事、摄影和一部作品中场景失误的其他元素联系起来。但他没有把它们作为他在引言中构建的更大论点的一部分联系起来。特别是在后面的章节中，Whitehead从一个细节跳到另一个细节，当主题句可以帮助读者理解为什么这些细节是引人注目或重要的时候。所选影片的对话片段偶尔会出现
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Pub Date : 2021-03-30DOI: 10.1080/01411896.2021.1901543
Tina Frühauf
With the resurgence of klezmer music in the late twentieth century and its subsequent turn into a global phenomenon, the repertoire and culture of the klezmorim past and present has become a subject of scholarly inquiry in musicology-at-large (that is, ethnomusicology, historical musicology, and theory) and in cultural studies. The last twenty years alone saw a surge of studies, culminating in nearly one thousand publications that appeared largely around the world’s northern hemisphere, from the United States and Canada to various European countries, Israel, the Russian Federation and Ukraine, China and Japan—a “klezmer turn,” as it were. Amongst this plethora of publications are a few dozen books, some of which discuss klezmer music peripherally, others center on it. Joel Rubin was amongst the first to canonize klezmer in musicology, most notably with his monograph in German, Klezmer-Musik, coauthored with Rita Ottens in 1999, a significant year for klezmer scholarship indeed. Momentous publications followed, from Mark Slobin’s Fiddler on the Move to Yale Strom’s Book of Klezmer, Hankus Netzsky’s Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia, to Walter Zev Feldman’s monumental Klezmer: Music, History and Memory. As with many of these authors, Rubin is both an accomplished performer and a seasoned scholar, and with New York Klezmer in the Early Twentieth Century he has provided an impressively comprehensive study that centers on two of klezmer’s greats: the clarinetists Naftule Brandwein (1884–1963) and Dave Tarras (1895–1989). Rubin approached this subject over a vast narrative of nearly five hundred pages, and he does so with in-depth knowledge and eloquence. To begin, Rubin’s first chapter provides the reader with a short history of klezmorim in Europe in order to lay the foundation for what is to come. Indeed, as Rubin states in his introduction, “it’s not possible to fully understand American klezmer music without knowledge of European history” (p. 5). After a broad overview of Jewish life in towns and cities, he then focuses specifically on the role of music in Jewish eastern Europe in order to trace the emergence of klezmer as a culture. The klezmer kapelye as a nineteenth-century phenomenon receives particular attention. Rubin also details the klezmorim’s differing performance contexts, such as the Jewish wedding, the military, and events by various non-Jewish groups. These preliminaries lead to the first substantial chapter, which brings the reader straight to New York. Rubin begins by sketching life in the Yiddish-speaking
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Pub Date : 2021-03-02DOI: 10.1080/01411896.2021.1881402
Lasse Lehtonen
ABSTRACT Matsudaira Yoritsune (1907–2001) is commonly recognized as one of the most influential Japanese composers of the twentieth century, and yet the work he completed prior to the Pacific War has remained virtually unaddressed in the scholarly literature. To compensate for this gap, this article discusses Matsudaira’s prewar work, focusing on his two primary musical influences, Japanese folk songs and gagaku court music. As Matsudaira’s aspiration was to fuse contemporary Western compositional techniques with elements from premodern Japanese music, his prewar work contributes to our understanding not just of the development of his own musical language but also of Japanese music in the 1930s in general.
{"title":"Expressions of Modernity and Nationality in Matsudaira Yoritsune’s Prewar Work","authors":"Lasse Lehtonen","doi":"10.1080/01411896.2021.1881402","DOIUrl":"https://doi.org/10.1080/01411896.2021.1881402","url":null,"abstract":"ABSTRACT Matsudaira Yoritsune (1907–2001) is commonly recognized as one of the most influential Japanese composers of the twentieth century, and yet the work he completed prior to the Pacific War has remained virtually unaddressed in the scholarly literature. To compensate for this gap, this article discusses Matsudaira’s prewar work, focusing on his two primary musical influences, Japanese folk songs and gagaku court music. As Matsudaira’s aspiration was to fuse contemporary Western compositional techniques with elements from premodern Japanese music, his prewar work contributes to our understanding not just of the development of his own musical language but also of Japanese music in the 1930s in general.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86144580","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 : 2021-02-16DOI: 10.1080/01411896.2021.1875786
Gabriel E Andrade
ABSTRACT Despite his popularity throughout his tenure as President of Venezuela, Hugo Chávez’s populist style aroused confrontation. This confrontation took place in media, and music was not spared. One particular musical genre, gaita zuliana, was used as an expression of dissatisfaction with Chávez’s policies and attitudes. This article analyzes the most relevant protest gaitas composed in a relatively short period of time (1999–2003) by the bands Gran Coquivacoa, Koquimba, and Barrio Obrero. Although in subsequent years protest gaitas all but disappeared, the creative wave of protest gaita in this period still resonates today, as Venezuelans still listen intently to these songs.
{"title":"Gaita Zuliana’s Confrontation with Hugo Chávez in Venezuela: 1999-2003","authors":"Gabriel E Andrade","doi":"10.1080/01411896.2021.1875786","DOIUrl":"https://doi.org/10.1080/01411896.2021.1875786","url":null,"abstract":"ABSTRACT Despite his popularity throughout his tenure as President of Venezuela, Hugo Chávez’s populist style aroused confrontation. This confrontation took place in media, and music was not spared. One particular musical genre, gaita zuliana, was used as an expression of dissatisfaction with Chávez’s policies and attitudes. This article analyzes the most relevant protest gaitas composed in a relatively short period of time (1999–2003) by the bands Gran Coquivacoa, Koquimba, and Barrio Obrero. Although in subsequent years protest gaitas all but disappeared, the creative wave of protest gaita in this period still resonates today, as Venezuelans still listen intently to these songs.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83897357","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 : 2021-02-16DOI: 10.1080/01411896.2021.1872378
James Porter
ABSTRACT This paper discusses an opera by the English composer Harriet Wainewright (ca.1766-1843), namely Comàla, which received its premiere at the Hanover Square Rooms, London on January 26, 1792. The composer was from a Liverpool family of Wainwright (variable spelling). In her Critical Remarks on the Art of Singing (1836) she describes her musical ability as a young woman. Moving to London she cultivated an introduction to influential figures in society and attended opera performances, where the singing of stellar castrati such as Pachierotti or Marchesi fascinated her. Possessed of a fine soprano voice she studied harmony and counterpoint with John Worgan, an organist at Vauxhall Gardens. She decided to compose an opera herself and spent about a year writing Comàla, a dramatic tale from the poems of Ossian. But she was unable to find a theater in London that would stage the opera; it had to be performed as a concert piece, the lead roles being sung by Sophia Corri and James Bartleman. Critics, including Burney, were fulsome in their praise of the work, and Haydn’s publisher William Napier eventually brought out a full score in 1803. Disappointed at not securing staged performances of Comàla or her earlier opera (Don Quixote) Harriet left for India in 1796 where she married Col. John Stewart, an officer in the British Army (East India Company) in 1801. She had Comàla performed in Calcutta by amateurs, singing the main role herself. Returning to England as “Mrs. Col. Stewart” she continued to compose songs and choruses after her husband’s death in 1820. She died in London at the end of 1843.
{"title":"An English Composer and Her Opera: Harriet Wainewright’s Comàla (1792)","authors":"James Porter","doi":"10.1080/01411896.2021.1872378","DOIUrl":"https://doi.org/10.1080/01411896.2021.1872378","url":null,"abstract":"ABSTRACT This paper discusses an opera by the English composer Harriet Wainewright (ca.1766-1843), namely Comàla, which received its premiere at the Hanover Square Rooms, London on January 26, 1792. The composer was from a Liverpool family of Wainwright (variable spelling). In her Critical Remarks on the Art of Singing (1836) she describes her musical ability as a young woman. Moving to London she cultivated an introduction to influential figures in society and attended opera performances, where the singing of stellar castrati such as Pachierotti or Marchesi fascinated her. Possessed of a fine soprano voice she studied harmony and counterpoint with John Worgan, an organist at Vauxhall Gardens. She decided to compose an opera herself and spent about a year writing Comàla, a dramatic tale from the poems of Ossian. But she was unable to find a theater in London that would stage the opera; it had to be performed as a concert piece, the lead roles being sung by Sophia Corri and James Bartleman. Critics, including Burney, were fulsome in their praise of the work, and Haydn’s publisher William Napier eventually brought out a full score in 1803. Disappointed at not securing staged performances of Comàla or her earlier opera (Don Quixote) Harriet left for India in 1796 where she married Col. John Stewart, an officer in the British Army (East India Company) in 1801. She had Comàla performed in Calcutta by amateurs, singing the main role herself. Returning to England as “Mrs. Col. Stewart” she continued to compose songs and choruses after her husband’s death in 1820. She died in London at the end of 1843.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77315781","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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