This response situates Stephen Amico’s provocation within the context of an intimate connection between postcolonial thought and the drive towards interdisciplinarity. It examines via three critical moments the deeply intertwined desires to destroy the colony on the one hand and disciplinarity on the other. To this end it analyses the debates around interdisciplinarity between Gayatri Spivak, Homi Bhabha, and Laurent Dubreuil, before turning to the explicit thematization of transdisciplinarity as part of the neoliberalization of the university. Finally, the essay turns to Hélène Cixous’s reflections in “Mon Algériance” to develop another way of thinking about the irreducible dispersal and dissemination of disciplinarity and its imbrication in the (post)colonial.
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Pub Date : 2019-10-01DOI: 10.1525/jm.2019.36.4.401
J. Peraino
This article tells the story of a cassette tape housed in the Andy Warhol Museum Archives, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended audience: Andy Warhol. Warhol and Reed are giant figures in the history of twentieth-century Pop Art and popular music, and their collaboration from 1966 to 1967 resulted in the acclaimed album The Velvet Underground and Nico. Based on extensive archival research and interviews, I discuss how this tape reflects Warhol’s and Reed’s failed attempt to collaborate on a stage version of Reed’s album Berlin (1973); Reed’s reaction to Warhol’s book, THE Philosophy of Andy Warhol (From A to B and Back Again) (1975); and how elements of Warhol’s own audio aesthetics and taping practices find their way into Reed’s recordings around 1975. I also place this cassette in the context of the emerging common practice of creating and gifting homemade mixtapes of curated music, and demonstrate how such mixtapes function as a type of “closet media” (to quote theater scholar Nick Salvato) marked by private audience, disappearance, and inaccessibility. Drawing on William S. Burroughs’s conceptual spliced-tape experiments and their challenge to unified subjectivity, I explore the epistemological and ontological ramifications of sonically entangling the self with another person, and the queer intimacies of doing so on cassette tape.
这篇文章讲述了安迪·沃霍尔博物馆档案馆里的一盘盒式磁带的故事，这盘磁带是卢·里德(Lou Reed)的一组从未发行(也很少听到)的歌曲，而这盘磁带的目标受众是安迪·沃霍尔。沃霍尔和里德是二十世纪波普艺术和流行音乐史上的巨人，他们从1966年到1967年的合作产生了广受好评的专辑《地下丝绒和尼克》。基于大量的档案研究和采访，我讨论了这盘磁带如何反映了沃霍尔和里德合作制作里德的专辑《柏林》(Berlin, 1973)舞台版的失败尝试;里德对沃霍尔的书《安迪·沃霍尔的哲学(从A到B再回来)》(1975)的反应;以及沃霍尔自己的音频美学和录音实践的元素是如何在1975年左右进入里德的录音的。我还将这盘磁带置于创作和赠送自制精选音乐混音带的背景下，并展示了这种混音带作为一种“秘密媒体”(引用戏剧学者尼克·萨尔瓦托的话)是如何发挥作用的，它以私人观众、消失和不可接近为特征。借鉴威廉·s·巴勒斯(William S. Burroughs)的概念拼接磁带实验及其对统一主体性的挑战，我探索了将自己与另一个人的声音纠缠在一起的认识论和本体论的后果，以及在盒式磁带上这样做的奇怪亲密关系。
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Pub Date : 2019-10-01DOI: 10.1525/jm.2019.36.4.498
D. Randel
St. Isidore of Seville (d. 636) and Pope Gregory the Great (d. 604) had an intellectual exchange facilitated in part by Isidore’s brother Leander (d. ca. 600), who preceded Isidore as bishop of Seville, had met Gregory in Constantinople, and to whom Gregory dedicated his Moralia in Job. Isidore’s writings and contemporaneous records of Spanish church councils make clear that the Old Hispanic Rite was already largely, though not entirely, formed in his day, much as we find it in the earliest surviving liturgical documents: the Oracional Visigótico (ca. 711) and the Antiphoner of León (ca. 900). This is a rite deriving from a great exegetical project in which liturgical chant formed only a part. Its starting points were the various translations of the Bible and the writings of the church fathers, especially Gregory and Augustine. From this an elaborate and systematic repertory of chant was formed in coordination with prayers, readings, and sermons. All of this speaks to deliberate composition by Isidore, Leander, and their colleagues rather than to the writing down of a long-standing oral tradition. Gregory surely knew about this activity in Spain. Is it likely that Gregory and his colleagues were not engaged in any such activity or that such activity in Rome took place so much later than it did in Spain? Perhaps there is a good reason why the chant created in Rome is called Gregorian just as the Old Hispanic Chant was much later called Isidorean. In the absence of Roman sources we may never know. But the Old Hispanic sources suggest that we ought to wonder.
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Pub Date : 2019-10-01DOI: 10.1525/jm.2019.36.4.464
G. Cornish
This article repositions the space race as a sonic phenomenon by analyzing music and sounds related to the Soviet space program. Early triumphs such as the orbit of Sputnik I in 1957, Yuri Gagarin’s groundbreaking orbital flight in 1961, and Valentina Tereshkova’s success as the first woman in space in 1963 epitomized the complexities of the cultural Cold War and the utopian underpinnings of the Thaw. Space, the ultimate nonaligned sphere, was a new world for the planting of real and ideological flags. At the same time, these successes were key to reimagining the ideals of Soviet citizenship and national identity in the post-Stalin era. Heating up at a moment of great change and consequence, the space race provides an inroad to examine how music, media, and sound helped spread these emerging values. Drawing on the popular press, radio broadcasts, and variety television performances, this article demonstrates how music was used to humanize the cosmonauts and promote a new personal ethics—one that prized approachability and humility alongside heroism and bravery. The divergent ways that composers and performers celebrated Gagarin and Tereshkova reveal a complex politics of gender during the Thaw. Gagarin, the conqueror, was revered in marches extolling his colonizing feats; Tereshkova, the homemaker, was celebrated with romances and tales of domesticity. By demonstrating the prevalence of new media and the power of participatory practices in the sonic space race, this article contributes to our understanding of the cultural Cold War as a lived and performed experience.
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Pub Date : 2019-10-01DOI: 10.1525/jm.2019.36.4.437
T. McEnaney
This article investigates the different affordances of magnetic tape and print as they are entextualized in various co(n)texts by writers, ethnographers, and musicians throughout the Americas in the late 1960s. I analyze printed books made from tape recordings—Cuban anthropologist Miguel Barnet and his interview subject Esteban Montejo’s Biografía de un cimarrón (Biography of a Runaway Slave, 1966), Rodolfo Walsh’s true-crime denunciation ¿Quién mató a Rosendo? (Who killed Rosendo?, 1968), and Andy Warhol’s experimental a: a novel (1968)—to ask why these writers transduced their recordings into print rather than release them as audiobooks, how or if listening to those tapes would alter the meaning of their printed entextualizations, and what musical interactions with the same media in the same contexts can tell us about the limits both of print and of symbolic musical notation. Tracing the intersection of musical and literary works, the article argues that a writerly ethics of distortion, rather than fidelity, arises from this mutual encounter with sound on tape, and ponders how dialogic audiobooks might contest older issues of power and representation for those writers, North and South, who worked in support of marginalized (Afro-Cuban, working class, and queer) subjects.
本文调查了20世纪60年代末，美国各地的作家、民族志学家和音乐家在各种co(n)文本中对磁带和印刷的不同启示。我分析了由磁带录音制成的印刷书籍——古巴人类学家米格尔·巴尼特和他的采访对象埃斯特班·蒙特霍的Biografía de un cimarrón(一个逃跑的奴隶传记，1966年)，鲁道夫·沃尔什的真实罪行谴责¿qui mató a Rosendo?(谁杀了罗森多?(1968)，以及安迪·沃霍尔(Andy Warhol)的实验性小说《a: a: a》(1968)——询问为什么这些作家将他们的录音转印成印刷品，而不是以有声读物的形式发行，听这些录音带会如何或是否会改变他们印刷的意译，以及在相同的背景下与相同的媒体进行音乐互动，可以告诉我们印刷和象征性音乐符号的局限性。追溯音乐和文学作品的交叉点，文章认为，一种扭曲的作家伦理，而不是忠实，源于这种与磁带上的声音的相互接触，并思考对话性有声书如何对那些支持边缘化(非裔古巴人、工人阶级和酷儿)主题的南北作家的权力和代表性问题提出质疑。
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Pub Date : 2019-07-01DOI: 10.1525/JM.2019.36.3.370
N. Sloan
Cab Calloway was of the most popular jazz musicians of the 1930s and 1940s whose legacy today is complicated by his repertoire of novelty songs with references to minstrelsy, his residency at a segregated Harlem cabaret, the Cotton Club, and his marketing to white audiences by manager Irving Mills. Calloway’s sound and persona—commercial, racialized, theatrical—did not square with an emergent art discourse around jazz during the 1930s. Hit songs like “Minnie the Moocher” (1931), with its dark, minor sound world, exaggerated depictions of seedy Harlem nightlife, and cultivated use of local slang, catapulted Calloway to success and stardom while erasing him from a burgeoning narrative that defined jazz as an autonomous, high-art tradition. Drawing on an elaborate press manual prepared by Mills, Calloway’s reception in historical black newspapers, and musical analysis of recordings of “Minnie” and other lesser-known Calloway numbers, this article examines the music, marketing and reception of Calloway during his Cotton Club residency (1931–34, with sporadic appearances thereafter) to illuminate the contemporary valences of an important interwar performer. Rather than hearing Calloway’s music in terms dictated by jazz’s post-war art discourse, the article strives to locate his songs in their original time and place, and seeks to understand Calloway’s significance by exploring the construction of his public persona. The application of a lens of historical particularity reveals that Calloway’s “novelty” songs acted as powerful articulations of contemporary black life during a pivotal period of Harlem culture.
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Pub Date : 2019-07-01DOI: 10.1525/JM.2019.36.3.261
S. Barrett
This study seeks to reconstruct the music for Boethius’s final and most widely read work, On the Consolation of Philosophy. Although a handful of neumations for Boethius’s thirty-nine poems have long been known, the almost complete absence of surviving pitched versions of the melodies has hindered the task of reconstruction. Following a systematic study of neumed manuscripts dating from the ninth to the eleventh centuries and identification of underlying principles of melodic design, it is now possible to attempt informed reconstructions. Even so, the leap from scholarship to modern performance remains substantial, involving a preliminary need to recreate melodies through experimentation. Collaboration with members of the ensemble Sequentia over a four-year period (2014–17) provided an opportunity to explore ways in which creative practice might supplement scholarly knowledge, whether through posing new research questions, the formation and exploration of hypotheses, or recourse to memorized practices built up through sustained engagement with early medieval repertories and instruments. Taking a recovered mid eleventh-century leaf of the Cambridge Songs as a focus for investigation, songs from the first book of Boethius’s De consolatione philosophiae were newly reconstructed. Although debate continues to surround the status of results obtained through creative practice, comparison with the way other disciplines have proceeded under similar conditions reveals acceptance of experimentation as a mode of inquiry. This essay proposes that performance can fruitfully supplement philology in seeking to reconstruct lost songs from notated traces.
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Pub Date : 2019-07-01DOI: 10.1525/JM.2019.36.3.331
Marianne C E Gillion
The publication of the Missale Romanum (1570), revised at the behest of the Council of Trent (1545–63), had direct consequences for plainchant. In order to celebrate a sung mass, the contents of graduals had to be brought into conformity with the new missal. In 1572 the Venetian firms of Giunta and Varisco issued the first printed editions of the Graduale Romanum in Italy after the missal’s promulgation. The volumes contain prefaces adumbrating the requisite alterations, which from 1580 onwards were mostly assimilated into the contents of subsequent graduals. Three types of modifications affected chant melodies: the removal of text, the addition of text, and the addition of new propers. This study explores these categories in key editions of the Graduale Romanum printed in Italy between 1572 and 1653. Analyses of five offertory chants reveal that the combination of editorial freedom, source interrelation, and textual variants in editions of the Missale Romanum resulted in musical diversity. The removal of text in the offertories Iubilate deo omnis terra and Iubilate deo universa terra reflects the editors’ aesthetic preferences and their understanding of musical grammar. In Dextera domini and Iustitiae domini, the addition of text is dependent on the edition of the missal used in the process of collation, the relationships between the sources, and the editors’ responses to the changes mandated. The added chant Insurrexerunt in me, with its mixture of traditional and contemporary characteristics, highlights the freedom with which the editors sourced, or even composed, chant melodies. These findings highlight textual and musical diversity within newly regularized liturgical structures and clarify the relationship between the Council of Trent and plainchant revision. As a result, they call into question the suitability of the “Post-Tridentine” label often given to early modern chant.
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Pub Date : 2019-04-01DOI: 10.1525/JM.2019.36.2.228
Vera Wolkowicz
When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s compositions and Moreno’s music analyses. It demonstrates how they either included Incan culture in or excluded it from a national music history, in dialogue with scholars outside Ecuador. Early twentieth-century musical discourse in Ecuador produced a series of conflicting and converging perspectives on national and continental music that contribute to our understanding of the global history of nationalistic art musics.
当厄瓜多尔民族艺术音乐在19世纪末开始发展时，作曲家和音乐史学家遵循欧洲模式，研究民间传说，作为了解过去的窗口。在探索和阐明真正的“厄瓜多尔”的过程中，印加文化占据了一个复杂的位置，有时被誉为厄瓜多尔音乐遗产的主要组成部分，有时被视为无关紧要。本文探讨了作曲家Pedro Pablo Traversari, Segundo Luis Moreno和Sixto María Durán所写的音乐史，并调查了Traversari的作品选择和Moreno的音乐分析。它展示了他们如何将印加文化纳入或排除在国家音乐史之外，与厄瓜多尔以外的学者进行对话。二十世纪早期，厄瓜多尔的音乐话语产生了一系列关于民族和大陆音乐的冲突和融合的观点，有助于我们理解民族主义艺术音乐的全球历史。
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Pub Date : 2019-04-01DOI: 10.1525/JM.2019.36.2.167
Anthony Newcomb
As a composer of secular music, Giovanni Maria Nanino seems to have published only three books of madrigals and one of canzonettas, yet he contributed numerous pieces to anthologies, and his madrigals were often reprinted. Scarcely an important anthology appeared in these years without a contribution by him. Indeed in the fifteen years before the death of Giovanni Pierluigi da Palestrina in 1594, Nanino rivaled him as the most esteemed of Roman composers; in the decade after Palestrina’s death, Nanino was the undisputed head of the large and important Roman school. By certain measures Nanino was the most often represented composer in anthologies printed between 1570 and 1620. In this area he surpasses not only Palestrina, but also Luca Marenzio, Philippe de Monte, and Alessandro Striggio. Despite Nanino’s immense prestige among his contemporaries, in modern histories his secular music is scarcely discussed, with just a passing mention in Alfred Einstein’s voluminous The Italian Madrigal. This article establishes Nanino’s leadership in defining the new Roman style of madrigal in the late sixteenth century, outlines its musical characteristics, and suggests paths for future research into this as yet little studied school.
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