Pub Date : 2021-01-21DOI: 10.1093/oso/9780190919566.001.0001
Angela Mace Christian
Fanny Hensel is arguably the most gifted female composer of the nineteenth century—a composer of over 450 works, including 249 songs, who created some of the most pathbreaking music of her era. As much as Hensel has finally moved out from behind the shadow of her more famous brother, however, and as much as we now know about her life, there is one aspect of this astonishing composer that still remains understudied: her music. This book focuses on Hensel’s contributions to the genre of song, the art form that she said “suits her best,” where her gifts as a composer are especially evident. Its twelve chapters consider such topics as Hensel’s fascination with certain poets and poetic themes; her innovative harmonic, melodic, rhythmic, and textual strategies; her connection to larger literary and musical trends; her efforts to break free the constraints placed on her as a woman; and her place in the history of nineteenth-century Lieder. No matter their particular topics of inquiry, the authors are guided by the conviction that the best way to honor Hensel’s achievements as a composer and to appreciate her historical importance is to thoroughly examine what she wrote within its many diverse contexts, be they biographical, historical, cultural, or musical.
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Pub Date : 2021-01-02DOI: 10.1080/01411896.2020.1868265
Hilary Poriss
{"title":"A Note from the Editor-in-Chief","authors":"Hilary Poriss","doi":"10.1080/01411896.2020.1868265","DOIUrl":"https://doi.org/10.1080/01411896.2020.1868265","url":null,"abstract":"","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76383192","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 : 2020-12-10DOI: 10.1080/01411896.2020.1839315
(2020). About the Authors. Journal of Musicological Research: Vol. 39, No. 4, pp. 364-364.
(2020)。关于作者。音乐研究杂志:第39卷，第4期，第364-364页。
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Pub Date : 2020-10-12DOI: 10.1080/01411896.2020.1823845
K. Hearfield
ABSTRACT The use of live popular music performance as a platform to address gendered and sexual violence and trauma within the popular music industry can be demonstrated through the analysis of Kesha’s performance of “Praying” at the 2018 Grammy Awards. Analyzing the artist’s vocal and artistic delivery, in addition to her public persona following her allegations of sexual abuse against producer Lukasz Gottwald (Dr. Luke), illustrates how live performance—building on and contrasting with social media campaigns, such as #FreeKesha and #MeToo, and studio recordings—is a uniquely effective mode of processing individual and collective trauma.
{"title":"Kesha’s Comeback and the Stakes of Live Performance: Connecting through Trauma at the 2018 Grammy Awards","authors":"K. Hearfield","doi":"10.1080/01411896.2020.1823845","DOIUrl":"https://doi.org/10.1080/01411896.2020.1823845","url":null,"abstract":"ABSTRACT The use of live popular music performance as a platform to address gendered and sexual violence and trauma within the popular music industry can be demonstrated through the analysis of Kesha’s performance of “Praying” at the 2018 Grammy Awards. Analyzing the artist’s vocal and artistic delivery, in addition to her public persona following her allegations of sexual abuse against producer Lukasz Gottwald (Dr. Luke), illustrates how live performance—building on and contrasting with social media campaigns, such as #FreeKesha and #MeToo, and studio recordings—is a uniquely effective mode of processing individual and collective trauma.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78961535","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 : 2020-09-10DOI: 10.1080/01411896.2020.1809393
Min-Jung Kang
ABSTRACT Even though the sonata spread from Italy throughout Europe no later than the second decade of the seventeenth century, it seems to have been introduced into England only after the Restoration. One of the reasons for this was the popularity of the fantasia suite, which remained in circulation both inside and outside the court. The absorption of the Italian sonata in England was a gradual process, but it eventually came to occupy a prominent position within English musical life after Corelli’s music arrived at the turn of the century, nearly sweeping away any kind of English instrumental music. Nevertheless, when and how the sonata was introduced into England is still not fully understood. An examination of two particular early trio sonatas written in England can help to understand how the Italian sonata was introduced in England and the extent of its influence on early English sonatas in the latter part of the seventeenth century.
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Pub Date : 2020-07-30DOI: 10.1080/01411896.2020.1792240
James Millea
For students of sound and music in cinema, in my experience, two topics have continually generated the most engagement. The first of those is the neo-classical film score, particularly the work of ...
{"title":"Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics","authors":"James Millea","doi":"10.1080/01411896.2020.1792240","DOIUrl":"https://doi.org/10.1080/01411896.2020.1792240","url":null,"abstract":"For students of sound and music in cinema, in my experience, two topics have continually generated the most engagement. The first of those is the neo-classical film score, particularly the work of ...","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84719247","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 : 2020-07-24DOI: 10.1080/01411896.2020.1787793
W. Capitain
ABSTRACT It is common in the academic reception of the legacy of Edward Said to limit the analysis of his theorization of a contrapuntal perspective on colonial history to the dominant theme of Said’s published writings. Nevertheless, alternative narratives emerge in unpublished texts preserved in the Edward W. Said Papers at Columbia University. Archival research reveals that Said actually proposes a heterophonic, instead of contrapuntal, perspective in early drafts for Culture and Imperialism (1993). Said’s legacy itself requires a heterophonic reading to analyze the overlap and interactions of these variations in his writings.
在学术上接受爱德华·萨义德的遗产时，将其殖民历史对位观点的理论分析限制在萨义德已发表作品的主要主题上是很常见的。然而，哥伦比亚大学爱德华·w·赛义德论文(Edward W. Said Papers)中保存的未发表文本中出现了另一种叙述。档案研究表明，萨义德在《文化与帝国主义》(1993)的初稿中实际上提出了一种异声调的视角，而不是对位的视角。赛义德的遗产本身就需要一种异音的阅读来分析他作品中这些变化的重叠和相互作用。
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Pub Date : 2020-07-16DOI: 10.1080/01411896.2020.1792239
Jake Johnson
I’m reading, writing, and living under quarantine. Broadway’s theaters are closed and the television, I’m now convinced, is an absolute necessity in managing isolation with young children. Media an...
{"title":"Broadway in the Box: Television’s Lasting Love Affair with the Musical","authors":"Jake Johnson","doi":"10.1080/01411896.2020.1792239","DOIUrl":"https://doi.org/10.1080/01411896.2020.1792239","url":null,"abstract":"I’m reading, writing, and living under quarantine. Broadway’s theaters are closed and the television, I’m now convinced, is an absolute necessity in managing isolation with young children. Media an...","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84229146","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 : 2020-07-09DOI: 10.1080/01411896.2020.1787794
Francis Maes
ABSTRACT The rejection of Boris Godunov for the lack of a female part led Modest Musorgskii to revise the opera to include the historical character of Marina Mniszech. The resulting “Polish” Act has been received with mixed feelings. Bias against it is one of the reasons behind the contemporary surge of interest in the original 1869 version of the opera, as testified to by productions at the Mariiinski Theater, the Bavarian State Opera, the Royal Opera House, and the Paris Opéra. The return to the original Boris has a side effect, however, which is precisely the one the selection committee of the Imperial Theaters warned against: it represents a world devoid of female agency. In the otherwise significant production created by Ivo van Hove for Paris, this omission sits uncomfortably with the social and political values that have been articulated most clearly in the #MeToo campaign. Since Musorgskii provided an alternative, the experience of the original Boris Godunov in actual performance might stimulate a renewed interest in what has been left out. Considered from the standards of the #MeToo movement, the part of Marina Mniszech becomes significant as a reminder of the active role played by women in the historical events represented on stage. The part also resonates with the contemporary #MeToo analysis of gender roles. The character of Marina combines a desire for female autonomy with submission to patriarchal forces and could offer interesting material for a stage production that addresses the story from a modern awareness of gender roles. A comparison with van Hove’s take on Schiller’s Mary Stuart demonstrates that such awareness may be creatively productive.
鲍里斯·戈杜诺夫因缺少女性角色而遭拒，穆索尔斯基对歌剧进行了修改，加入了历史人物玛丽娜·米尼泽克。由此产生的“波兰”法案让人百感交集。对它的偏见是当代人们对1869年原版歌剧兴趣激增的原因之一，这一点在玛丽林斯基剧院、巴伐利亚国家歌剧院、皇家歌剧院和巴黎歌剧院的演出中得到了证明。然而，回归原来的鲍里斯有一个副作用，这正是帝国剧院评选委员会警告的:它代表了一个缺乏女性主体的世界。在伊沃·范·霍夫(Ivo van Hove)为巴黎创作的这部原本意义重大的作品中，这一遗漏与#MeToo运动中最明确表达的社会和政治价值观格格不入。既然穆索尔斯基提供了另一种选择，那么鲍里斯·戈杜诺夫原作在实际演出中的经历可能会激发人们对被遗漏的东西的重新兴趣。从#MeToo运动的标准来看，Marina Mniszech的角色很重要，因为它提醒了女性在舞台上表现的历史事件中所扮演的积极角色。这一部分也与当代#MeToo对性别角色的分析产生了共鸣。玛丽娜这个角色结合了对女性自主的渴望和对父权力量的屈服，可以为舞台剧提供有趣的材料，从现代的性别角色意识来讲述这个故事。与范霍夫对席勒的《玛丽·斯图尔特》所作的比较表明，这种意识可能具有创造性的生产力。
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Pub Date : 2020-07-09DOI: 10.1080/01411896.2020.1786383
L. Rocha
ABSTRACT Masters of music and dance were very important figures within the European Baroque society. They were responsible for educating the upper classes and did so in the suitable privacy of the home environment. However, their presence in Portugal has been little noted, and few studies concerning their functions as teachers and choreographers have been produced in the last decades. Analysis of new iconographic and literary sources from the second half of the seventeenth and the first half of the eighteenth centuries has resulted in new data about their existence and relevance. A study of this new information proves the presence of this professional class in Portugal and allows for the contextualization of its members’ activity, the evaluation of their importance to the musical life of that period, and the analysis of issues related to musical and dancing practices.
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