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":"90 1","pages":"361 - 363"},"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 Nevertheless, alternative narratives emerge in unpublished texts preserved in the Edward W. Said Papers at Columbia University.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。
{"title":"From Counterpoint to Heterophony and Back Again: Reading Edward Said’s Drafts for Culture and Imperialism","authors":"W. Capitain","doi":"10.1080/01411896.2020.1787793","DOIUrl":"https://doi.org/10.1080/01411896.2020.1787793","url":null,"abstract":"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.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"67 1","pages":"1 - 22"},"PeriodicalIF":0.3,"publicationDate":"2020-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78944828","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 : 2020-07-16DOI: 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":"28 1","pages":"230 - 232"},"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。
{"title":"Where Have All the Women Gone? On the Absence of Feminine Agency in Contemporary Productions of the Original Boris Godunov","authors":"Francis Maes","doi":"10.1080/01411896.2020.1787794","DOIUrl":"https://doi.org/10.1080/01411896.2020.1787794","url":null,"abstract":"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.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"41 12","pages":"53 - 75"},"PeriodicalIF":0.3,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01411896.2020.1787794","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72470999","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: 10.1080/01411896.2020.1786383
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.
{"title":"An Unexpected Presence, or the Master of Dance and the Master of Music in Portuguese Baroque Society","authors":"L. Rocha","doi":"10.1080/01411896.2020.1786383","DOIUrl":"https://doi.org/10.1080/01411896.2020.1786383","url":null,"abstract":"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.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"29 1","pages":"325 - 346"},"PeriodicalIF":0.3,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88282701","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 : 2020-07-02DOI: 10.1080/01411896.2020.1775087
Laurence Dreyfus
ABSTRACT The idea of a musical performance as an “interpretation” cannot be dated before the 1840s, yet we use the term unthinkingly as a synonym for a privileged performance of any music from the past. Tracing a history and pre-history of the metaphor and its usage sheds light on the eclipse of more richly textured models of music-making from previous eras as well as on an esthetic predicament within contemporary “historicist” performance. The limitations of the metaphor suggest moving “beyond interpretation” in favor of more experiential and intuitive notions of making music.
{"title":"Beyond the Interpretation of Music","authors":"Laurence Dreyfus","doi":"10.1080/01411896.2020.1775087","DOIUrl":"https://doi.org/10.1080/01411896.2020.1775087","url":null,"abstract":"ABSTRACT The idea of a musical performance as an “interpretation” cannot be dated before the 1840s, yet we use the term unthinkingly as a synonym for a privileged performance of any music from the past. Tracing a history and pre-history of the metaphor and its usage sheds light on the eclipse of more richly textured models of music-making from previous eras as well as on an esthetic predicament within contemporary “historicist” performance. The limitations of the metaphor suggest moving “beyond interpretation” in favor of more experiential and intuitive notions of making music.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"102 1","pages":"161 - 186"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75874610","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 : 2020-07-02DOI: 10.1080/01411896.2020.1773265
Martin Küster
ABSTRACT For understanding eighteenth-century notions of “singing” on an instrument, modern standards of “classical” performance can be a source of confusion rather than clarification. Rather than simply calling for legato or vibrato, such notions tapped into a pool of ideas concerned with essential commonalities between music and language. Song, as understood in the eighteenth century, is the anthropological origin of music and language, a primitive vocal expression of emotion carried into verbal speech through its musical properties (prosody) and understood as working similarly in musical melody. At the same time, a trove of terms used in music theory—such as “rhythm,” “meter,” “accent,” or “phrase”—is concerned not with language (as is often claimed), but with the same intersection of music and speech, a gray area between these realms. It is in this field that the eighteenth-century theory of text setting operates. It can be said that, from an eighteenth-century perspective, every piece of instrumental music is a “Song without Words,” having all the music-prosodic features—accents, lines, phrases, even rhymes—with which the vocal composer would respond to a specific text. Such a perspective can illuminate and perhaps answer some questions that performers (especially historically informed performers) often struggle with and are forced to answer with theories indebted to more recent traditions, such as those associated with Schenker and Riemann.
{"title":"Should the End of a Phrase be Emphasized? An Essay in Musical Prosody","authors":"Martin Küster","doi":"10.1080/01411896.2020.1773265","DOIUrl":"https://doi.org/10.1080/01411896.2020.1773265","url":null,"abstract":"ABSTRACT For understanding eighteenth-century notions of “singing” on an instrument, modern standards of “classical” performance can be a source of confusion rather than clarification. Rather than simply calling for legato or vibrato, such notions tapped into a pool of ideas concerned with essential commonalities between music and language. Song, as understood in the eighteenth century, is the anthropological origin of music and language, a primitive vocal expression of emotion carried into verbal speech through its musical properties (prosody) and understood as working similarly in musical melody. At the same time, a trove of terms used in music theory—such as “rhythm,” “meter,” “accent,” or “phrase”—is concerned not with language (as is often claimed), but with the same intersection of music and speech, a gray area between these realms. It is in this field that the eighteenth-century theory of text setting operates. It can be said that, from an eighteenth-century perspective, every piece of instrumental music is a “Song without Words,” having all the music-prosodic features—accents, lines, phrases, even rhymes—with which the vocal composer would respond to a specific text. Such a perspective can illuminate and perhaps answer some questions that performers (especially historically informed performers) often struggle with and are forced to answer with theories indebted to more recent traditions, such as those associated with Schenker and Riemann.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"5 1","pages":"122 - 133"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89314254","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 : 2020-07-02DOI: 10.1080/01411896.2020.1802263
Andrew Friedman
ABSTRACT Until rather recently, music theory has had little to no truck with performance, whether disregarding it entirely, derogating its corporeal-temporal non-ideality, or issuing it unsolicited prescriptions from atop the ivory tower. Consequently, the dialogue between these two domains, especially in the twentieth century, has been closer to a paternalistic monologue with (understandably) no audience. Happily, a rapprochement is afoot and the prospect of a sustained, salutary, and symbiotic relationship seems increasingly possible, its early fruits provocative and promising. I begin by tracing the relationship of theoria and praxis from Hellenic times to our own, highlighting the philosophical and cultural ideas and ideals that have shaped our terrain. I then survey recent work in performance analysis, in particular that of the last three decades, in which theorists have-- perhaps for the first time--truly listened to performance and performers with open ears and minds. I conclude by offering my approach to the issues at hand, exemplifying it with analyses of Haydn and Chopin that open up what I hope will be intriguing possibilities for performance interpretations.
{"title":"What Can Performance and Theory Teach Each Other?","authors":"Andrew Friedman","doi":"10.1080/01411896.2020.1802263","DOIUrl":"https://doi.org/10.1080/01411896.2020.1802263","url":null,"abstract":"ABSTRACT Until rather recently, music theory has had little to no truck with performance, whether disregarding it entirely, derogating its corporeal-temporal non-ideality, or issuing it unsolicited prescriptions from atop the ivory tower. Consequently, the dialogue between these two domains, especially in the twentieth century, has been closer to a paternalistic monologue with (understandably) no audience. Happily, a rapprochement is afoot and the prospect of a sustained, salutary, and symbiotic relationship seems increasingly possible, its early fruits provocative and promising. I begin by tracing the relationship of theoria and praxis from Hellenic times to our own, highlighting the philosophical and cultural ideas and ideals that have shaped our terrain. I then survey recent work in performance analysis, in particular that of the last three decades, in which theorists have-- perhaps for the first time--truly listened to performance and performers with open ears and minds. I conclude by offering my approach to the issues at hand, exemplifying it with analyses of Haydn and Chopin that open up what I hope will be intriguing possibilities for performance interpretations.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"3 1","pages":"134 - 160"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87722022","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 : 2020-07-02DOI: 10.1080/01411896.2020.1773264
David Hyun-su Kim
ABSTRACT The most superficially apparent feature of the Historically–Informed Performance movement is the use of “historically-appropriate” instruments. Interest in such instruments has grown alongside the dedication and expertise of instrumental builders and restorers who have performed extensive research on antique instruments. Thanks to their efforts, modern musicians have access to high-quality copies and restored antiques that offer inspiring musical insight. Despite these opportunities, the relationship between players and instrument-builders has not fundamentally changed: the vast majority of musicians lack basic organological knowledge and—in a perhaps telling irony—the close relationship that musicians of the common practice period had with instrument-makers remains anomalous, even amongst HIP-sters. Interviews with six of the world’s foremost fortepiano builders demonstrate the musical and interpretive relevance of organological knowledge by transmitting piano-technical information for the performer, while arguing that builders are an integral part of music-making, as they wrestle with musical and historical topics just as musicians do. With the impressive wealth of knowledge that builders have acquired in the past decades, the time may be ripe for the serious consideration of instruments to become a meaningful and indispensable part of the contemporary interpretive process.
{"title":"Listening to Builders","authors":"David Hyun-su Kim","doi":"10.1080/01411896.2020.1773264","DOIUrl":"https://doi.org/10.1080/01411896.2020.1773264","url":null,"abstract":"ABSTRACT The most superficially apparent feature of the Historically–Informed Performance movement is the use of “historically-appropriate” instruments. Interest in such instruments has grown alongside the dedication and expertise of instrumental builders and restorers who have performed extensive research on antique instruments. Thanks to their efforts, modern musicians have access to high-quality copies and restored antiques that offer inspiring musical insight. Despite these opportunities, the relationship between players and instrument-builders has not fundamentally changed: the vast majority of musicians lack basic organological knowledge and—in a perhaps telling irony—the close relationship that musicians of the common practice period had with instrument-makers remains anomalous, even amongst HIP-sters. Interviews with six of the world’s foremost fortepiano builders demonstrate the musical and interpretive relevance of organological knowledge by transmitting piano-technical information for the performer, while arguing that builders are an integral part of music-making, as they wrestle with musical and historical topics just as musicians do. With the impressive wealth of knowledge that builders have acquired in the past decades, the time may be ripe for the serious consideration of instruments to become a meaningful and indispensable part of the contemporary interpretive process.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"6 1","pages":"213 - 230"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90498822","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 : 2020-06-30DOI: 10.1080/01411896.2020.1780923
Nicholas Mathew
ABSTRACT Two of the most famous pianists of the 1950s, Glenn Gould and Liberace occupied opposing esthetic and cultural positions. Liberace’s style of performance and self-presentation was by and large consistent with his late nineteenth-century pianistic models; however, emerging television esthetics, among other factors, made this style increasingly incomprehensible, except as an extreme brand of musical kitsch or camp (the mode for which he became notorious). Meanwhile, Gould’s studied neutrality, which energetically deployed the period’s new media forms to cultivate a radical denial of the performing mechanism and the performing body, interpellated a generation of listeners who were not addressed by a musical rhetorician as much as they were invited to eavesdrop on, and to make their own, a self-possessed sound object. The story of Gould and Liberace thus not only sheds light on the new austerity of 1950s performance practice, but has something important to teach us about the ideological fate of nineteenth-century performance cultures since the late twentieth century.
{"title":"Gould and Liberace, or the Fate of Nineteenth-Century Performance Culture","authors":"Nicholas Mathew","doi":"10.1080/01411896.2020.1780923","DOIUrl":"https://doi.org/10.1080/01411896.2020.1780923","url":null,"abstract":"ABSTRACT Two of the most famous pianists of the 1950s, Glenn Gould and Liberace occupied opposing esthetic and cultural positions. Liberace’s style of performance and self-presentation was by and large consistent with his late nineteenth-century pianistic models; however, emerging television esthetics, among other factors, made this style increasingly incomprehensible, except as an extreme brand of musical kitsch or camp (the mode for which he became notorious). Meanwhile, Gould’s studied neutrality, which energetically deployed the period’s new media forms to cultivate a radical denial of the performing mechanism and the performing body, interpellated a generation of listeners who were not addressed by a musical rhetorician as much as they were invited to eavesdrop on, and to make their own, a self-possessed sound object. The story of Gould and Liberace thus not only sheds light on the new austerity of 1950s performance practice, but has something important to teach us about the ideological fate of nineteenth-century performance cultures since the late twentieth century.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"8 10","pages":"231 - 245"},"PeriodicalIF":0.3,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01411896.2020.1780923","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72493051","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：