NOTES最新文献

{"title":"Music Received","authors":"Kathleen Abromeit","doi":"10.1353/not.2023.a905343","DOIUrl":"https://doi.org/10.1353/not.2023.a905343","url":null,"abstract":"Music Received Compiled by Kathleen Abromeit This column features percussion music by women composers. Names were compiled using the Theodore Front database. Additional names were contributed by Ross Karre, Associate Professor of Percussion, in the Oberlin Conservatory of Music. The lists of works included are not comprehensive for each composer but are rather either recently published or notable. Special thanks to Jake Balmuth for assisting with this column. Arismendi, Diana. Solar: For Marimba. LaFi, 2019. Score, 7 p. $20. Blake, Kathryn. Just Ordinary: For Solo Percussion (2019). Media, 2021. Score, 2 p. $12. Brouwer, Margaret. Through the Haze: For Four Percussionists (Solo Percussion and Three More Percussionists). Brouwer New Music, 2019. Score, 8 p. and 4 parts. $40. Cheney, Lisa. Miniature No. 1: For Percussion Quintet. Australian Music Centre, 2018. ISMN 9790720208541. Score, 4 p. $15. Cheney, Lisa. Miniature No. 1: For Percussion Quintet. Australian Music Centre, 2018. 5 parts. $30. Feldman, Barbara Monk. Three Clarinets and Percussion (1994). Frog Peak Music, n.d. Score, 14 p. and 2 parts. Spiral. $30. Fung, Vivian. (Un)Wandering Souls: For Percussion Quartet (2020). Vivian Fung, 2022. 1340. Set of 4 scores, 8 p. $40. Fure, Ashley. Shiver Lung 2: For Solo Percussion and Electronics (2019). Peters, 2021. EP68703 ISMN 9790300761411. Score, 2 p. Spiral. $35. Gaines, Julia. Sequential Studies, Book 2: For Four Mallet Marimba. Tapspace, 2019. TSPB43. Score, 96 p. Spiral. $24 Gassi, Carmen. Bingo-Bango-Bongo: For Percussion Ensemble. Eighth Note, 2016. PE1630. ISBN 9781771573634. Score, 15 p. and 6 parts. $25. Kander, Susan. Once. Upon. A Time: For Percussion Ensemble. Subito, 2017. 90900340. Score, 22 p. and 6 parts. $45. Kepley, Angela. 1-21: For Percussion Quartet. CAP, 2019. 26120. Score, 6 p. and 4 parts. $28. Kepley, Angela. And We Meet Again…: For Percussion Quintet. CAP, 2019. 26170. Score, 5 p. and 5 parts. $32. Kepley, Angela. Battle Royale: For Percussion Ensemble. CAP, 2017. CAP23760. Score, 3 p. and 10 parts. $28. Kepley, Angela. Circles: Bucket Ensemble for 3 or More Players. CAP, 2017. CAP23770 Score, 4 p. and 6 parts. $28. Kepley, Angela. From The Inside Out: For Percussion Quartet. CAP, 2017. CAP23810. Score, 6 p. and 4 parts $28. Kepley, Angela. Quintessential Quintets: For Percussion Quintet. CAP, 2017. CAP23870. Score, 16 p. and 5 parts. $36. Ko, Tonia. Negative Magic: For Snare Drum (2019). Composers Edition, 2021. CETK1NM1. Score, 10 p. Spiral. $21. Larsen, Libby. DDT: For Percussion Quartet. Libby Larsen Publishing, 2014. Score,11 p. and 4 parts. Spiral. $30. Lash, Hannah. Start: For Solo Snare Drum. Schott, 2019. ED 20327. 9781705155721. Score, 7 p. $15. Lizée, Nicole. I Still Think About You: For Solo Percussion (2018). Canadian Music Centre, 2021. QC 78138. Score, 29 p. $41. [End Page 199] Lizée, Nicole. Katana of Choice: For Drum Kit Solo and Video (2014). Canadian Music Centre, 2016. QC77185. Score, 64 p., 1 part,","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136310378","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}

{"title":"Symphonie No. 1, op. 5 by Niels Wilhelm Gade (review)","authors":"Jacquelyn Sholes","doi":"10.1353/not.2023.a905341","DOIUrl":"https://doi.org/10.1353/not.2023.a905341","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"190 - 193"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46111322","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}

{"title":"The Sonic Episteme: Acoustic Resonance, Neoliberalism, and Biopolitics by Robin James (review)","authors":"Bryan Parkhurst","doi":"10.1353/not.2023.a905324","DOIUrl":"https://doi.org/10.1353/not.2023.a905324","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"126 - 136"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43595631","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}

{"title":"Archives","authors":"David R. Lewis, Allison McClanahan","doi":"10.1353/not.2023.a905320","DOIUrl":"https://doi.org/10.1353/not.2023.a905320","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"100 - 108"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41666193","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}

{"title":"The Italian Opera Singers in Mozart's Vienna by Dorothea Link (review)","authors":"Miguel Arango Calle","doi":"10.1353/not.2023.a905327","DOIUrl":"https://doi.org/10.1353/not.2023.a905327","url":null,"abstract":"and telegraphy). In fact, possibly the most fascinating aspect of the volume consists in its pairing of opera and material culture studies (and the work of William Brown in particular [“Thing Theory,” Critical Inquiry 28, no. 1 (Autumn 2001): 1–22]). Material and musical objects, Vella seems to suggest, are what make opera and the practices and discourses surrounding it ultimately possible, and one can learn a great deal of information about the culture of any given time by studying the precarious connections that such objects (fail to) establish with each other. Even more intriguingly, Vella applies this object-oriented approach to her own writing, as she borrows from mobility and media studies to “network” the research materials presented in the volume with each other. But herein lies the book’s main flaw: networks by themselves do not necessarily make for compelling arguments. The virtuosic interdisciplinary connections that animate the book often proceed by analogy or chronological proximity rather than by evidence. As such, they obfuscate rather than serve Vella’s claims, and the absence of a conclusion in the book does not help the reader to recapitulate the book’s main contributions. Furthermore, Vella’s tendency to avoid discussing the implications of what she analyzes beyond the specific case at hand frequently frustrates the reader’s hard-won appreciation of the intellectual tours de force proposed in the book. Take, for instance, the volume’s final chapter. After observing a possible similarity between telegraphy and stage communication in Aida—an interpretation which, lacking any concrete evidence, appears to be as good as many possible others—Vella discusses topics as disparate as the introduction of the telegraph in Italy, the opening of the Suez Canal, older communication media (including carrier pigeons!), and the synchronization of time in nineteenth-century Italy, only to conclude in the very final lines of the chapter that “the simultaneity underlying the opera’s composition, performance and reception . . . failed, in the long term, to produce transformative cultural realities” (p. 167). Therefore, Networking Operatic Italy is notable not so much for the incisiveness of its main arguments as for the originality of its method, whose ramifications directly connect opera studies with the philosophy of history. As she advances a notion of networking intended as “both a historical and historiographical action (or set of actions)” (p. 13), Vella reminds us that the (music) historian’s work, far from being impartial, cannot but rely on biased, culturally determined practices of selection and recombination of ideas and archival evidence (the historian’s “objects”). What remains to be done, Vella concludes, is to “shake loose some of their (and our) most self-conscious motives” (p. 15) lurking behind past historiographical myths, while also being mindful of the networks that we, whether as actors in the present or interpreters of the pa","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"142 - 145"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44330695","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}

{"title":"Leon Kirchner and His Verdant World ed. by Lisa Kirchner (review)","authors":"Jonathan Blumhofer","doi":"10.1353/not.2023.a905334","DOIUrl":"https://doi.org/10.1353/not.2023.a905334","url":null,"abstract":"over the course of these lectures is more focused on promoting his own work and ideas than on discussing the music of others in any significant detail. What purports to be analysis is often simply glancing mention: in introducing the score of Penderecki’s Threnody, for example, Carter admits, “I don’t know what the instruments always are, what their arrangement is, but it does not matter very much anyway . . . . I don’t know what all the symbols mean” (p. 80), after joking that it makes no difference whether the score is upside down or right side up. The most substantive analysis of another composer’s work, Nono’s Il canto sospeso, is lifted, errors and all, from earlier writing by Reginald Smith Brindle (p. 62). Partially, this superficial approach may be explained by the lectures’ audience, which ostensibly consisted of laymen. On the other hand, Carter is unafraid to use very technical terminology in the description of his own work, and the audience’s questions are generally informed. So, one wonders at his lack of depth in addressing other composers’ work. The most successful portions of the lecture series are those that focus on Carter’s individual worldview and experience (especially in lectures 1 and 3). In these areas, his off-the-cuff approach is appropriate, and tucked into his unplanned statements and digressions are moments that offer legitimate insight into his work. In a discussion of orchestration in his early ballet Pocahontas, for example, Carter casually remarks, “This is also something that greatly interested me ever since: the idea of having a theme not accompanied in a traditional way, by the bass or an instrument lower than the theme, but something that is plastered right on top of it, and it is of a different color” (p. 116). It’s also fascinating to read, in his own words, Carter’s subjective reaction to pieces that were contemporary at that time and have since found their way into the unassailable academic canon. The most productive way of framing these lectures may not be as Elliott Carter explaining music, but rather as Elliott Carter explaining Elliott Carter. In 1967, Carter was at the zenith of his influence as a composer, positioned equidistantly between two Pulitzer Prizes and about to begin a new teaching position at Cornell University. At the age of fifty-eight, he must surely have thought that his career was closer to its end than its beginning. The Minnesota lectures have a confidently valedictory feel to them: one can sense Carter’s belief that his current perspective, and the repertoire upon which it’s based, will remain valid—or at least relevant—into the foreseeable future. Astonishingly, Carter outlived that foreseeable future. One wonders what pains and pleasures he experienced while reconciling the worldview expressed in the Minnesota lectures with the diminishing influence of both his artistic approach and concert music in general over the next forty-five years. By the time he died in 2012, at the age o","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"162 - 165"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46651695","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}

{"title":"Reference Sources","authors":"Veronica Wells","doi":"10.1353/not.2023.a905316","DOIUrl":"https://doi.org/10.1353/not.2023.a905316","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"66 - 72"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66447783","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}

{"title":"The Haydn Economy: Music, Aesthetics, and Commerce in the Late Eighteenth Century by Nicholas Mathew (review)","authors":"Erick Arenas","doi":"10.1353/not.2023.a905325","DOIUrl":"https://doi.org/10.1353/not.2023.a905325","url":null,"abstract":"balderdash. And the notion that what’s saliently troubling about Milton Friedman is that his prose is overly musical is almost too frivolous for words. The parts of The Sonic Episteme that pay close attention to particular songs, such as its discussion of “Love is a Bourgeois Construct” by the Pet Shop Boys (pp. 23–24), are intermittently interesting. Be warned, however, that James sometimes plays fast and loose with musical terminology. She goes on at some length about “soars” and “drops,” but gives only the most cursory description of how those devices work (pp. 129– 30). I had never once run across the word soars (used as a plural noun) and couldn’t deduce its meaning from context clues. Mildly ashamed at my complete unfamiliarity with what James seemed to be employing as a piece of standardly accepted music-analytical lingo, I googled the term, to discover that the only hits online were an obscure 2011 article that seems to have coined the term and a blog post by James. The article says that soars are: “That surge from a dynamically static mid-tempo 4/4 verse to a ramped-up major-key chorus, topped, in the case of female singers, with fountaining melisma; the moment the producer deploys the riff, the synth-gush, the shouted vocal-hook for which the whole of the rest of the song is a mere appendage, a prologue and epilogue that only the chorus validates” (Daniel Barrow, “A Plague of Soars—Warps in the Fabric of Pop,” Quietus, 13 April 2011, https://thequietus.com/articles/06073 -a-plague-of-soars-warps-in-the-fabric -of-pop [accessed 2 March 2023]). This description does not seem to me to detectably resemble the single thumbnail sketch of soars that James gives, so I’m still uncertain of what soars are. At one point in The Sonic Episteme James says, puzzlingly, that “arpeggios are figures that play all the notes of a chord in ascending or descending sequence rather than simultaneously; church bells are a commonly heard arpeggio” (p. 191, n. 2). (The first bit is okay as a description of an arpeggio, but I have never heard a church bell that was just a broken chord, and the church bell tune everyone knows, “Westminster Quarters,” is decidedly not an arpeggiation.) James then refers to a bass motive in Love is a Bour­ geois Construct as “those arpeggios” (p. 23) even though the motive under examination doesn’t at all fit her definition. Her discussion of metric organization in Rihanna’s “Bitch Better Have My Money” (pp. 82–86) is nearly impossible to follow because she talks about this unnotated music in terms “bars” (presumably in 4/4 time) without noticing or noting that the pulse pattern is an additive 3+2+3 scheme. And I could not make heads or tails of the claim that in Rihanna’s song “we have the music-box synth on a 2/4 pattern and the vocals on a 1/3 pattern— which is totally common. What’s uncommon about [“Bitch Better Have My Money”] is that it’s really a 4/2 and a 3/1 pattern” (p. 85). Maybe I’m missing something simple and obvious, b","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"136 - 139"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42071010","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}

{"title":"Sound Recordings","authors":"Stephanie Bonjack, Kirstin Dougan Johnson","doi":"10.1353/not.2023.a905319","DOIUrl":"https://doi.org/10.1353/not.2023.a905319","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"90 - 99"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49275076","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}

{"title":"Notes for Notes","authors":"Tamar Barzel, Kate Rivers, James P. Cassaro, Veronica Wells, Jonathan Sauceda","doi":"10.1353/not.2023.a905322","DOIUrl":"https://doi.org/10.1353/not.2023.a905322","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"80 1","pages":"116 - 122"},"PeriodicalIF":0.9,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44743477","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}