Pub Date : 2023-06-01DOI: 10.1353/not.2023.a897451
James Buhler
{"title":"The Day the Earth Stood Still by Bernard Herrmann, and: Krull by James Horner (review)","authors":"James Buhler","doi":"10.1353/not.2023.a897451","DOIUrl":"https://doi.org/10.1353/not.2023.a897451","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"663 - 667"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42177340","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 : 2023-06-01DOI: 10.1353/not.2023.a897453
Marty Jenkins
{"title":"Index to Volume 79: September 2022 through June 2023","authors":"Marty Jenkins","doi":"10.1353/not.2023.a897453","DOIUrl":"https://doi.org/10.1353/not.2023.a897453","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"686 - 694"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42344536","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 : 2023-06-01DOI: 10.1353/not.2023.a897463
Jeff Schwartz
for the Art Publication Society of St. Louis—for which Leopold Godowsky was editor-in-chief and Josef Hofmann also played a major role, both men calling on Sauer for his involvement. From the standpoint of basic biography, Crocus’s book provides adequate coverage of Emil von Sauer’s life. It contains twenty-seven illustrations and forty-seven pages of source citations. But what could and should have been a thorough treatment of Sauer’s significant, lasting contributions to music and pianism has instead become a sad example of missed opportunities. May it not also preclude the possibility of a better study of Sauer in the future.
{"title":"75 Years on 4 Strings: The Music and Life of François Rabbath by Hans Sturm (review)","authors":"Jeff Schwartz","doi":"10.1353/not.2023.a897463","DOIUrl":"https://doi.org/10.1353/not.2023.a897463","url":null,"abstract":"for the Art Publication Society of St. Louis—for which Leopold Godowsky was editor-in-chief and Josef Hofmann also played a major role, both men calling on Sauer for his involvement. From the standpoint of basic biography, Crocus’s book provides adequate coverage of Emil von Sauer’s life. It contains twenty-seven illustrations and forty-seven pages of source citations. But what could and should have been a thorough treatment of Sauer’s significant, lasting contributions to music and pianism has instead become a sad example of missed opportunities. May it not also preclude the possibility of a better study of Sauer in the future.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"612 - 614"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42667460","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 : 2023-06-01DOI: 10.1353/not.2023.a897458
J. Wilson
{"title":"Antoine Reicha redécouvert: Catalogue de l'exposition = Antonín Rejcha znovunalezený: Katalog výstavy ed. by Jana Franková and François-Pierre Goy (review)","authors":"J. Wilson","doi":"10.1353/not.2023.a897458","DOIUrl":"https://doi.org/10.1353/not.2023.a897458","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"10 4","pages":"597 - 599"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41267316","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 : 2023-06-01DOI: 10.1353/not.2023.a897464
Matthew Dueppen
grew up with (pp. 184–86). Rabbath’s compositions often have the qualities of a taqsim, modal cadenzas making heavy use of sequences and pushing the limits of the instrument and the player’s capabilities. Studies of Rabbath as composer and improviser are thus in order. In the tradition of virtuosos like Giovanni Bottesini and Domenico Dragonetti, his material is often a pretext for his bravura musicianship, although it also relates closely to his pedagogy, with many compositions serving as etudes as well as showpieces. His incorporation of Arabic, flamenco, and other elements suggests that, were he a generation or two younger, he would have fit easily into Yo-Yo Ma’s Silk Road Ensemble. Like the music of Ma and the ensemble he founded, Rabbath’s work has a complex relationship to genre, having been presented variously as exotica, jazz, classical, and avant-garde music. Discussions of its production, marketing, and reception would be relevant to studies of the construction of genres, aesthetics, and cultural hierarchy. Rabbath’s status as a colonial subject and person of color is used to build up to one fantastic anecdote, when he first arrived in Paris and was stunned to see White men employed as sanitation workers. But this theme does not reappear (pp. 31–32). His personal connections to Syria, France, and Europe are part of his relationship to musical materials and genres and could be explored along the lines of Robin D. G. Kelley’s Africa Speaks, America Answers (Cambridge, MA: Harvard University Press, 2012), Steven Feld’s Jazz Cosmopolitanism in Accra (Durham, NC: Duke University Press, 2012), David Toop’s Exotica: Fabricated Soundscapes in a Real World (London: Serpent’s Tail, 1999), and similar studies of intercultural hybridity. Strum’s book will satisfy its core audience of bassists and Rabbath fans, but it also has the potential to aid scholars of genre, cultural hierarchy, and the music industry. While not an essential purchase for institutions without a significant bass performance program, it is recommended to any serving a music department with an interest in diversity, equity, inclusion, and belonging. Libraries interested in this title should also consider Mary Rannie’s authorized biography of Karr, Life on the G String (Victoria, BC: Friesen, 2017), and Turetzky’s memoir, A Different View (Del Mar, CA: BT & NC, 2014).
{"title":"The Art of Trumpet Teaching: The Legacy of Keith Johnson by Leigh Anne Hunsaker (review)","authors":"Matthew Dueppen","doi":"10.1353/not.2023.a897464","DOIUrl":"https://doi.org/10.1353/not.2023.a897464","url":null,"abstract":"grew up with (pp. 184–86). Rabbath’s compositions often have the qualities of a taqsim, modal cadenzas making heavy use of sequences and pushing the limits of the instrument and the player’s capabilities. Studies of Rabbath as composer and improviser are thus in order. In the tradition of virtuosos like Giovanni Bottesini and Domenico Dragonetti, his material is often a pretext for his bravura musicianship, although it also relates closely to his pedagogy, with many compositions serving as etudes as well as showpieces. His incorporation of Arabic, flamenco, and other elements suggests that, were he a generation or two younger, he would have fit easily into Yo-Yo Ma’s Silk Road Ensemble. Like the music of Ma and the ensemble he founded, Rabbath’s work has a complex relationship to genre, having been presented variously as exotica, jazz, classical, and avant-garde music. Discussions of its production, marketing, and reception would be relevant to studies of the construction of genres, aesthetics, and cultural hierarchy. Rabbath’s status as a colonial subject and person of color is used to build up to one fantastic anecdote, when he first arrived in Paris and was stunned to see White men employed as sanitation workers. But this theme does not reappear (pp. 31–32). His personal connections to Syria, France, and Europe are part of his relationship to musical materials and genres and could be explored along the lines of Robin D. G. Kelley’s Africa Speaks, America Answers (Cambridge, MA: Harvard University Press, 2012), Steven Feld’s Jazz Cosmopolitanism in Accra (Durham, NC: Duke University Press, 2012), David Toop’s Exotica: Fabricated Soundscapes in a Real World (London: Serpent’s Tail, 1999), and similar studies of intercultural hybridity. Strum’s book will satisfy its core audience of bassists and Rabbath fans, but it also has the potential to aid scholars of genre, cultural hierarchy, and the music industry. While not an essential purchase for institutions without a significant bass performance program, it is recommended to any serving a music department with an interest in diversity, equity, inclusion, and belonging. Libraries interested in this title should also consider Mary Rannie’s authorized biography of Karr, Life on the G String (Victoria, BC: Friesen, 2017), and Turetzky’s memoir, A Different View (Del Mar, CA: BT & NC, 2014).","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"614 - 616"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45024508","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 : 2023-06-01DOI: 10.1353/not.2023.a897468
A. Giust
{"title":"Mapping Artistic Networks: Eighteenth-Century Italian Theatre and Opera across Europe ed. by Tatiana Korneeva (review)","authors":"A. Giust","doi":"10.1353/not.2023.a897468","DOIUrl":"https://doi.org/10.1353/not.2023.a897468","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"625 - 628"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46418420","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 : 2023-06-01DOI: 10.1353/not.2023.a897454
Scott Stone
ABSTRACT:The author analyzed the citations from a total of seventy-five dance MFA theses from the years 2010, 2015, and 2020. Results indicate that dance scholars use books more frequently than other types of information. Based on an analysis of Library of Congress Classification areas, the information cited in the theses was very interdisciplinary, with more non-dance resources being cited than dance-specific ones. This information—the first citation analysis focused on dance—helps to establish a baseline of information use in the scholarly dance field and can also be of practical use to the performing arts librarian wanting to better understand how to potentially work with this unique discipline.
{"title":"The Interdisciplinary Nature of Dance Scholarship as Seen Through a Citation Analysis of MFA Theses","authors":"Scott Stone","doi":"10.1353/not.2023.a897454","DOIUrl":"https://doi.org/10.1353/not.2023.a897454","url":null,"abstract":"ABSTRACT:The author analyzed the citations from a total of seventy-five dance MFA theses from the years 2010, 2015, and 2020. Results indicate that dance scholars use books more frequently than other types of information. Based on an analysis of Library of Congress Classification areas, the information cited in the theses was very interdisciplinary, with more non-dance resources being cited than dance-specific ones. This information—the first citation analysis focused on dance—helps to establish a baseline of information use in the scholarly dance field and can also be of practical use to the performing arts librarian wanting to better understand how to potentially work with this unique discipline.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"475 - 494"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42936518","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 : 2023-06-01DOI: 10.1353/not.2023.a897470
DREW EDWARD Davies
the United States World War One Centennial Commission, for example, declares that “America Won the First World War with Song” (see https://www .worldwar1centennial.org/index.php /american-music-introduction.html, accessed 7 January 2023). Over Here, Over There is just one of several books dedicated to the war’s musical life (see, for example, Peter Grant, National Myth and the First World War in Modern Popular Music [London: Palgrave Macmillan, 2017]; Christina Gier, Singing, Soldiering, and Sheet Music in America during the First World War [Lanham, MD: Lexington Books, 2017]; and Don Tyler, Music of the First World War [Santa Barbara, CA: Greenwood, 2016]). That music played an important role in the conflict has never been less in doubt. In this crowded moment, Over Here, Over There shines by focusing not just on the music itself but on what the act of writing, performing, or witnessing music did for the many lives thrown together by the war.
{"title":"Neglo celebramo, pañolo burlamo: La negrilla en España y en América by Leonardo J. Waisman (review)","authors":"DREW EDWARD Davies","doi":"10.1353/not.2023.a897470","DOIUrl":"https://doi.org/10.1353/not.2023.a897470","url":null,"abstract":"the United States World War One Centennial Commission, for example, declares that “America Won the First World War with Song” (see https://www .worldwar1centennial.org/index.php /american-music-introduction.html, accessed 7 January 2023). Over Here, Over There is just one of several books dedicated to the war’s musical life (see, for example, Peter Grant, National Myth and the First World War in Modern Popular Music [London: Palgrave Macmillan, 2017]; Christina Gier, Singing, Soldiering, and Sheet Music in America during the First World War [Lanham, MD: Lexington Books, 2017]; and Don Tyler, Music of the First World War [Santa Barbara, CA: Greenwood, 2016]). That music played an important role in the conflict has never been less in doubt. In this crowded moment, Over Here, Over There shines by focusing not just on the music itself but on what the act of writing, performing, or witnessing music did for the many lives thrown together by the war.","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"631 - 633"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45835770","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 : 2023-06-01DOI: 10.1353/not.2023.a897467
David Salkowski
the Baltic countries but in the West. In recognition of the critical and commercial success of his tintinnabuli works, he received Award of the Year from the Ministry of Culture of the Estonian SSR in May 1978 (p. 119). Yet in 1979, Pärt and his family emigrated from Estonia, following the infamous speech the composer made at the XI Congress of the Estonian SSR Composer’s Union in February 1979 in which he declared himself a dissident, which drew immediate repercussions. His contemporaries Schnittke and Gubaidulina would also soon leave their home country and start a new chapter abroad in Germany. Karnes’s consideration of Pärt’s career becoming a tabula rasa once in Vienna hauntingly mirrors the current situation that many Russian musicians and artists who do not support the Putin regime find themselves in during the ongoing escalation of the RussoUkrainian war since 24 February 2022. In the later part of the book, Karnes continues to trace Lediņš’s professional trajectory following the festivals, for his career did not end with the unfortunate cancellation of the discotheques. In 1978, he moved on to record his own music and further explore Soviet soundscapes during his walks to Bolderāja (a neighborhood in Riga) with the artist Juris Boiko. These walks “extended a distinctly Soviet strain of experimentalist performance art—one that regarded the ritualized journey beyond the city as a means of experiencing social and expressive freedom— into the socially cohering, broadly accessible realm of the disco hall” (p. 134). Karnes is aware and transparent that there is no photographic or recorded evidence for some of these events; they are not fixed and remain ever-changing memories of the participants in this conversation. Nevertheless, these fragments piece together a Baltic landscape of artistic support and underground creative freedom that allowed Pärt to share and establish a musical identity that is internationally known today. Alexei Yurchak also describes intriguing new physical and mental temporalities that emerged in the sphere of Soviet visual and literary arts in the 1960s and 1970s and served as an escapism of sorts—a space of refuge from the imposing authoritarian governance. He defines this space as vnye, which for him means “being simultaneously inside and outside of some context—such as, being within a context while remaining oblivious to it, imagining yourself elsewhere, or being inside your own mind” (Alexei Yurchak, Everything Was Forever, until It Was No More: The Last Soviet Generation [Princeton, NJ: Princeton University Press, 2006], 128). Arguably, Lediņš’s creation of the discotheque spaces within the Soviet system allowed individuals like Pärt, Martynov, and many others to exhibit their religion, as reflected so intimately in their music, and to survive spiritually and creatively in restrictive Soviet surroundings. Karnes’s attentive text is vital to the studies of Arvo Pärt, his contemporaries, and Soviet music and culture
{"title":"Representing Russia's Orient: From Ethnography to Art Song by Adalyat Issiyeva (review)","authors":"David Salkowski","doi":"10.1353/not.2023.a897467","DOIUrl":"https://doi.org/10.1353/not.2023.a897467","url":null,"abstract":"the Baltic countries but in the West. In recognition of the critical and commercial success of his tintinnabuli works, he received Award of the Year from the Ministry of Culture of the Estonian SSR in May 1978 (p. 119). Yet in 1979, Pärt and his family emigrated from Estonia, following the infamous speech the composer made at the XI Congress of the Estonian SSR Composer’s Union in February 1979 in which he declared himself a dissident, which drew immediate repercussions. His contemporaries Schnittke and Gubaidulina would also soon leave their home country and start a new chapter abroad in Germany. Karnes’s consideration of Pärt’s career becoming a tabula rasa once in Vienna hauntingly mirrors the current situation that many Russian musicians and artists who do not support the Putin regime find themselves in during the ongoing escalation of the RussoUkrainian war since 24 February 2022. In the later part of the book, Karnes continues to trace Lediņš’s professional trajectory following the festivals, for his career did not end with the unfortunate cancellation of the discotheques. In 1978, he moved on to record his own music and further explore Soviet soundscapes during his walks to Bolderāja (a neighborhood in Riga) with the artist Juris Boiko. These walks “extended a distinctly Soviet strain of experimentalist performance art—one that regarded the ritualized journey beyond the city as a means of experiencing social and expressive freedom— into the socially cohering, broadly accessible realm of the disco hall” (p. 134). Karnes is aware and transparent that there is no photographic or recorded evidence for some of these events; they are not fixed and remain ever-changing memories of the participants in this conversation. Nevertheless, these fragments piece together a Baltic landscape of artistic support and underground creative freedom that allowed Pärt to share and establish a musical identity that is internationally known today. Alexei Yurchak also describes intriguing new physical and mental temporalities that emerged in the sphere of Soviet visual and literary arts in the 1960s and 1970s and served as an escapism of sorts—a space of refuge from the imposing authoritarian governance. He defines this space as vnye, which for him means “being simultaneously inside and outside of some context—such as, being within a context while remaining oblivious to it, imagining yourself elsewhere, or being inside your own mind” (Alexei Yurchak, Everything Was Forever, until It Was No More: The Last Soviet Generation [Princeton, NJ: Princeton University Press, 2006], 128). Arguably, Lediņš’s creation of the discotheque spaces within the Soviet system allowed individuals like Pärt, Martynov, and many others to exhibit their religion, as reflected so intimately in their music, and to survive spiritually and creatively in restrictive Soviet surroundings. Karnes’s attentive text is vital to the studies of Arvo Pärt, his contemporaries, and Soviet music and culture ","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"621 - 624"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42441207","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 : 2023-06-01DOI: 10.1353/not.2023.a897475
C. Rowden, William Osmond
{"title":"Ohé! les p'tits agneaux! A Parisian revue de fin d'année for 1857 ed. by Richard Sherr (review)","authors":"C. Rowden, William Osmond","doi":"10.1353/not.2023.a897475","DOIUrl":"https://doi.org/10.1353/not.2023.a897475","url":null,"abstract":"","PeriodicalId":44162,"journal":{"name":"NOTES","volume":"79 1","pages":"651 - 655"},"PeriodicalIF":0.9,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49026401","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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