Pub Date : 2020-12-02DOI: 10.5406/americanmusic.38.3.0353
Matthew Valnes
In the summer of 1971, James Brown and his band went into Rodel Studios in Washington, D.C., and recorded a jam session that resulted in a track entitled “Make It Funky.” The track opens with an exchange between Bobby Byrd, who asks Brown what he plans to play, to which Brown replies that he does not know, but whatever he plays, “it’s got to be funky!” After counting off three beats, Brown and members of the band enter on beat 4 chanting the phrase “make it funky” before the entire band enters on the following downbeat with short horns stabs, a “scratch” guitar line, and what had by this time become Brown’s signature rhythmically dense funk. As the song progresses in a way that feels almost like a live performance, multiple musicians are featured in brief solo sections, and Brown himself interjects lyrics that mention what is considered “traditional” Black southern fare, including grits and gravy, cornbread, and buttermilk. This brief description of Brown’s track highlights many salient aspects of Black popular music in the late 1960s and 1970s, a time period commonly referred to as the post–civil rights era. The evocation of Black southern fare suggests Brown’s roots in South Carolina and Georgia and serves as a reminder of the musical and cultural traditions from which he emerged. At the same time, however, by the 1970s his image and status as a bandleader—as a domineering and athletic performer— helped popularize funk, a form of Black popular music that emphasizes bodily movement, sexuality, and the physicality that both engender.
1971年夏天，詹姆斯·布朗(James Brown)和他的乐队来到华盛顿特区的罗德尔录音室(Rodel Studios)，录制了一段即兴演奏，并制作了一首名为《Make It Funky》的歌曲。这首歌的开头是鲍比·伯德(Bobby Byrd)问布朗打算演奏什么，布朗回答说他不知道，但不管他演奏什么，“一定要很时髦!”在数完三拍后，布朗和乐队的成员们唱着“make it funky”进入第4拍，然后整个乐队用短喇叭戳了一下，“划痕”吉他线进入了下面的重拍，这已经成为布朗标志性的节奏密集的放克。随着这首歌以一种几乎像是现场表演的方式进行，多位音乐家在简短的独奏部分出现，布朗自己也插入了一些歌词，提到了被认为是“传统的”南方黑人食物，包括玉米粒和肉汁、玉米面包和酪乳。布朗的这首歌的简短描述突出了20世纪60年代末和70年代黑人流行音乐的许多突出方面，这段时间通常被称为后民权时代。对南方黑人饮食的唤起表明了布朗在南卡罗来纳州和佐治亚州的根源，并提醒人们他从音乐和文化传统中脱颖而出。然而，与此同时，到20世纪70年代，他作为乐队指挥的形象和地位——作为一个霸道而健壮的表演者——帮助普及了放克音乐，这是一种黑人流行音乐，强调身体运动、性和肉体性。
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Pub Date : 2020-12-02DOI: 10.5406/americanmusic.38.3.0303
Erinn Knyt
On March 10–11, 2017, Symphony Hall in Boston resounded with the strains of Ferruccio Busoni’s approximately seventyminutelong Piano Concerto in C Major, BV 247 (1901–4), which the Boston Symphony Orchestra was performing for the first time.1 Conductor Sakari Oramo and pianist Kirill Gerstein performed impressively, and critics provided largely positive reviews of the piece.2 The belatedness of this performance of Busoni’s piano concerto with the Boston Symphony Orchestra is striking, given Busoni’s close connection with that institution. It was Karl Muck, conductor of the Boston Symphony Orchestra from 1912 to 1918, who directed the concerto’s premiere in 1904 in Berlin.3 Busoni (1866–1924) also appeared as soloist thirtysix times between 1891 and 1911, more than with any other major U.S. orchestra during his lifetime.4 In addition, the Boston Symphony Orchestra performed more of his compositions during his lifetime than any other orchestral institution in the United States.
{"title":"Ferruccio Busoni, the Boston Symphony Orchestra, and the Impact of Anti-Germanismus around World War I","authors":"Erinn Knyt","doi":"10.5406/americanmusic.38.3.0303","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0303","url":null,"abstract":"On March 10–11, 2017, Symphony Hall in Boston resounded with the strains of Ferruccio Busoni’s approximately seventyminutelong Piano Concerto in C Major, BV 247 (1901–4), which the Boston Symphony Orchestra was performing for the first time.1 Conductor Sakari Oramo and pianist Kirill Gerstein performed impressively, and critics provided largely positive reviews of the piece.2 The belatedness of this performance of Busoni’s piano concerto with the Boston Symphony Orchestra is striking, given Busoni’s close connection with that institution. It was Karl Muck, conductor of the Boston Symphony Orchestra from 1912 to 1918, who directed the concerto’s premiere in 1904 in Berlin.3 Busoni (1866–1924) also appeared as soloist thirtysix times between 1891 and 1911, more than with any other major U.S. orchestra during his lifetime.4 In addition, the Boston Symphony Orchestra performed more of his compositions during his lifetime than any other orchestral institution in the United States.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45208938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.5406/americanmusic.38.4.0520
Anthony W. Rasmussen
piece he had written in 1970 for Abraham Kaplan, who had prepared the choir for the Kaddish Symphony. Blues also figures in. For example, “I Don’t Know” from Mass borrows the riff from “Mannish Boy” by Muddy Waters. But not all of Bernstein’s jazz inspirations made the final cut. We also read that Bernstein originally planned the closing “Communion” of Mass to include a jazzbased vocal trio. “The echoes of the swing era never fully die away for Bernstein, so he still could hear jazz as a music for celebration and unity” (197). Perhaps in an effort not to sound outdated, Bernstein also tried his hand at other styles in Mass. The Celebrant’s “Simple Song,” which Baber labels as “radical tonal simplicity,” reminds us of the folkinspired tunes that were common at guitar masses in Catholic churches post–Vatican II, and a rock band is one of the many ensembles Bernstein calls for in his musical cornucopia. Although these attempts at keeping up with the times were not accepted by critics, Baber somewhat laments Bernstein’s inability to continue this trajectory in 1600. Part of her critique focuses on the fact that “the moments in which Bernstein uses the vocabulary of jazz to write for black characters, speaking on their own behalf, veer perilously close to outright ventriloquism or modernday minstrelsy” (205). She goes on to point out that by returning once again to the blues for these characters, for example, in the song “Bright and Black,” Bernstein “freez[es] black expressive culture at an earlier stage” (214). If he was able to absorb folk and rock in Mass, then why not evoke the soul music of Aretha Franklin or James Brown in 1600? “In leaving out soul in favor of his preferred jazz culture, he seems to have missed the point of black power” (215) and possibly revealed a limitation of his compositional language. Someone likely could have written the analyses in chapters 2 through 6 without writing chapter 1. But in carefully culling Bernstein’s writings to define the three precepts of innate tonality, human communication, and identity, Baber provides a firm grounding for the readings that follow. Her analytical observations, both musical and extramusical, are thus made richer by the context of the underpinnings of chapter 1. But more important, her cogent and thorough study of Bernstein’s compositional philosophy provides a framework for future research on Bernstein’s music, whether it engages with the issue of jazz or not. In this sense, Baber’s book can be read as a case study within a much larger project. The foundation she has laid and the example she has set will have likely a profound impact on Bernstein studies for years to come.
{"title":"Rites, Rights & Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific by Michael Birenbaum Quintero (review)","authors":"Anthony W. Rasmussen","doi":"10.5406/americanmusic.38.4.0520","DOIUrl":"https://doi.org/10.5406/americanmusic.38.4.0520","url":null,"abstract":"piece he had written in 1970 for Abraham Kaplan, who had prepared the choir for the Kaddish Symphony. Blues also figures in. For example, “I Don’t Know” from Mass borrows the riff from “Mannish Boy” by Muddy Waters. But not all of Bernstein’s jazz inspirations made the final cut. We also read that Bernstein originally planned the closing “Communion” of Mass to include a jazzbased vocal trio. “The echoes of the swing era never fully die away for Bernstein, so he still could hear jazz as a music for celebration and unity” (197). Perhaps in an effort not to sound outdated, Bernstein also tried his hand at other styles in Mass. The Celebrant’s “Simple Song,” which Baber labels as “radical tonal simplicity,” reminds us of the folkinspired tunes that were common at guitar masses in Catholic churches post–Vatican II, and a rock band is one of the many ensembles Bernstein calls for in his musical cornucopia. Although these attempts at keeping up with the times were not accepted by critics, Baber somewhat laments Bernstein’s inability to continue this trajectory in 1600. Part of her critique focuses on the fact that “the moments in which Bernstein uses the vocabulary of jazz to write for black characters, speaking on their own behalf, veer perilously close to outright ventriloquism or modernday minstrelsy” (205). She goes on to point out that by returning once again to the blues for these characters, for example, in the song “Bright and Black,” Bernstein “freez[es] black expressive culture at an earlier stage” (214). If he was able to absorb folk and rock in Mass, then why not evoke the soul music of Aretha Franklin or James Brown in 1600? “In leaving out soul in favor of his preferred jazz culture, he seems to have missed the point of black power” (215) and possibly revealed a limitation of his compositional language. Someone likely could have written the analyses in chapters 2 through 6 without writing chapter 1. But in carefully culling Bernstein’s writings to define the three precepts of innate tonality, human communication, and identity, Baber provides a firm grounding for the readings that follow. Her analytical observations, both musical and extramusical, are thus made richer by the context of the underpinnings of chapter 1. But more important, her cogent and thorough study of Bernstein’s compositional philosophy provides a framework for future research on Bernstein’s music, whether it engages with the issue of jazz or not. In this sense, Baber’s book can be read as a case study within a much larger project. The foundation she has laid and the example she has set will have likely a profound impact on Bernstein studies for years to come.","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49262767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.5406/americanmusic.38.4.0518
J. D. Jenkins
{"title":"Leonard Bernstein and the Language of Jazz","authors":"J. D. Jenkins","doi":"10.5406/americanmusic.38.4.0518","DOIUrl":"https://doi.org/10.5406/americanmusic.38.4.0518","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45535071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-01DOI: 10.5406/americanmusic.38.4.0527
John Kapusta
{"title":"What Will I Be: American Music and Cold War Identity by Philip M. Gentry (review)","authors":"John Kapusta","doi":"10.5406/americanmusic.38.4.0527","DOIUrl":"https://doi.org/10.5406/americanmusic.38.4.0527","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48702856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.5406/americanmusic.38.3.0380
David F. García
{"title":"Experimentalisms in Practice: Music Perspectives from Latin America ed. by Ana R. Alonso-Minutti, Eduardo Herrera, and Alejandro L. Madrid (review)","authors":"David F. García","doi":"10.5406/americanmusic.38.3.0380","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0380","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47460430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.5406/americanmusic.38.3.0390
Leonel Corona
{"title":"Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño","authors":"Leonel Corona","doi":"10.5406/americanmusic.38.3.0390","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0390","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41558299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.5406/americanmusic.38.3.0387
Nathan Fleshner
1. Anne C. Shreffler, “‘Music Left and Right’: A Tale of Two Histories of Progressive Music,” in Red Strains: Music and Communism outside the Communist Bloc, ed. Robert Adlington (Oxford: Published for the British Academy by Oxford University Press, 2013), 69. 2. Elizabeth Bergman Crist, Music for the Common Man: Aaron Copland during the Depression and War (New York: Oxford University Press, 2005), 21, for example. 3. Ibid., 200. 4. Anne C. Shreffler, “Ideologies of Serialism: Stravinsky’s Threni and the Congress for Cultural Freedom,” in Music and the Aesthetics of Modernity, ed. Karol Berger and Anthony Newcomb (Cambridge, MA: Harvard University Department of Music / Harvard University Press, 2005), 217–21. 5. Leonard Bernstein, The Unanswered Question: Six Talks at Harvard (Cambridge, MA: Harvard University Press, 1976), 53. 6. John Adams, Hallelujah Junction: Composing an American Life (New York: Farrar, Straus and Giroux, 2008), 106–7. 7. Richard Taruskin, Kyoto Prize at Oxford Lecture, “How to Win a Stalin Prize: Shostakovich’s Piano Quintet,” May 8, 2018, https://youtu.be/skAFru23KTk. Taruskin had previously advanced his idea of “affordances” in Richard Taruskin, “Two Serendipities: Keynoting a Conference, ‘Music and Power,’” in Russian Music at Home and Abroad: New Essays (Berkeley: University of California Press, 2016), 328. First delivered as a keynote address at the conference “Music and Power,” Miami University (Oxford, Ohio), February 28, 2013, and published in Journal of Musicology 33, no. 3 (Summer 2016). 8. Taruskin, “Two Serendipities,” 328.
1. Anne C. Shreffler，“‘音乐的左右’:进步音乐的两个历史的故事”，《红色的旋律:共产主义阵营之外的音乐和共产主义》，Robert Adlington编辑(牛津:牛津大学出版社为英国学院出版，2013年)，69页。2. 伊丽莎白·伯格曼·克里斯特，《普通人的音乐:大萧条和战争时期的亚伦·科普兰》(纽约:牛津大学出版社，2005)，第21页，例如。3.出处同上,200年。4. Anne C. Shreffler，“序列主义的意识形态:斯特拉文斯基的Threni和文化自由大会，”在音乐和现代性美学，编辑卡罗尔·伯杰和安东尼·纽科姆(剑桥，马萨诸塞州:哈佛大学音乐系/哈佛大学出版社，2005)，217-21。5. 伦纳德·伯恩斯坦，《未回答的问题:在哈佛的六场演讲》(马萨诸塞州剑桥:哈佛大学出版社，1976年)，53页。6. 约翰·亚当斯:《哈利路亚枢纽:谱写美国人生》(纽约:Farrar, Straus and Giroux出版社，2008)，第106-7页。7. 理查德·塔鲁斯金，牛津大学京都奖演讲，“如何赢得斯大林奖:肖斯塔科维奇钢琴五重奏”，2018年5月8日，https://youtu.be/skAFru23KTk。塔鲁斯金之前在理查德·塔鲁斯金的《两种偶然性:主题会议，“音乐与力量”》中提出了他的“启示”思想，《国内外俄罗斯音乐:新论文》(伯克利:加州大学出版社，2016)，328页。2013年2月28日，在迈阿密大学(俄亥俄州牛津)“音乐与力量”会议上，作为主题演讲首次发表，并发表在《音乐学杂志》33期。3(2016年夏季)。8. 塔鲁斯金，《两次意外》，328页。
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Pub Date : 2020-10-01DOI: 10.5406/americanmusic.38.3.0383
Victoria Aschheim
{"title":"The Sound of a Superpower: Musical Americanism and the Cold War by Emily Abrams Ansari (review)","authors":"Victoria Aschheim","doi":"10.5406/americanmusic.38.3.0383","DOIUrl":"https://doi.org/10.5406/americanmusic.38.3.0383","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43021260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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