Pub Date : 2019-04-01DOI: 10.1525/JM.2019.36.2.131
Emily Zazulia
Guillaume Du Fay’s Nuper rosarum flores (1436) has been subject to symbolic interpretation ever since Charles Warren suggested that the structure of the motet reflects the architectural proportions of the cathedral of Florence. More recent analyses have accepted the premise that the motet’s form has extramusical meaning, in particular, that mensural and architectural proportions can be directly analogized. These tantalizing connections have led scholars to canonize this motet, now a mainstay of music history textbooks. The extent and specificity of the extramusical associations Nuper rosarum flores enjoys—an occasion, a place, and a secure attribution—are rare in the fifteenth century. This fact alone makes the motet appear to be exceptional. But reading Nuper rosarum flores alongside the norms of genre and notation and against the grain of the work’s modern historiography suggests that it isn’t all that special—or at least that it is no more special than Du Fay’s other ceremonial motets. The interpretive history of Nuper rosarum flores exemplifies what I call “false exceptionalism,” which relates to a more general problem in music studies—the alluring but often elusive relationship between musical form and social meaning.
纪尧姆·杜·费伊(Guillaume Du Fay)的《玫瑰花环》(Nuper rosarum flores)(1436年)自从查尔斯·沃伦(Charles Warren)提出圣坛的结构反映了佛罗伦萨大教堂的建筑比例以来，就一直受到象征性的解释。最近的分析已经接受了一个前提，即圣歌的形式具有音乐之外的意义，特别是，测量和建筑比例可以直接类比。这些诱人的联系让学者们把这首圣歌奉为圣典，现在已经成为音乐史教科书的主要内容。在15世纪，迷迭花所享受的音乐外联想的广度和特殊性——一个场合，一个地方，一个安全的归属——是罕见的。单凭这一事实，就足以使圣歌显得与众不同。但是，如果将《玫瑰花束》与流派和符号的规范结合起来，并与该作品的现代史学脉络相违背，那么阅读它就会发现，它并没有那么特别——至少它并不比杜费的其他仪式性颂歌更特别。对玫瑰花的历史解释例证了我所说的“假例外论”，它与音乐研究中的一个更普遍的问题有关——音乐形式和社会意义之间诱人但往往难以捉摸的关系。
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Pub Date : 2019-04-01DOI: 10.1525/JM.2019.36.2.195
P. Bullock
As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This article challenges such views by drawing on the recently published complete correspondence between Chaikovsky and his publisher, Petr Iurgenson, as well as on financial records preserved in the composer’s archives. In particular, this article analyzes the relationship among Chaikovsky, Iurgenson, and the operation of Russia’s musical “marketplace” at the level of genre, examining the interaction between financial considerations on the one hand and Chaikovsky’s decision to work in particular musical forms on the other. By examining the connections among Russia’s nascent musical institutions, Chaikovsky’s particular collaboration with his publisher, and the relative status of different musical genres, it becomes possible to establish the nature of Russia’s musical “art world” in the second half of the nineteenth century. In proposing a more nuanced and systematic account of Chaikovsky’s economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century.
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This essay argues that musicological interpretations of Immanuel Kant’s music aesthetics tend to misread his stance as a defense of artistic formalism and autonomy—traits that, although present in his account of music, in fact reinforce his peculiarly low estimate of music’s value among the fine arts. Kant's position and its subsequent influence can be grasped more securely by analyzing his dichotomy between “free” and “dependent” beauty. Through an exploration of this opposition’s echoes and applications in the thought of three “Kantian” music critics and aestheticians in the two decades after the appearance of the Critique of Judgement—J. F. Reichardt, an anonymous series of articles commonly attributed to J. K. F. Triest, and C. F. Michaelis—this essay argues that Kantian aesthetics as applied in practice involved close attention to the impact of genre, style, function, and compositional aims on the relevant standards of judgment for an individual musical work. The result was not one-sided support for the aesthetic or metaphysical “truth” of absolute music, but a characteristic balance between the claims of “pure” and “applied” art forms—a balance that continued to be maintained in the transition from classical to Romantic aesthetics in the first decade of the nineteenth century.
本文认为，对伊曼努尔·康德音乐美学的音乐学解释往往会误解他的立场，认为这是对艺术形式主义和自主性的辩护——尽管这些特征出现在他对音乐的描述中，但实际上强化了他对音乐在美术中的价值的特别低的估计。通过分析康德对“自由美”和“依赖美”的二分法，我们可以更有把握地把握康德的立场及其后续影响。在《判断力批判- j》问世后的二十年里，通过对这一对立在三位“康德主义”音乐评论家和美学家思想中的回响和应用的探索。F. Reichardt，一篇通常被认为是J. K. F. Triest和C. F. michaelis的匿名系列文章，这篇文章认为，康德美学在实践中的应用涉及密切关注流派、风格、功能和作曲目标对个人音乐作品的相关判断标准的影响。结果不是片面地支持绝对音乐的美学或形而上学的“真理”，而是在“纯粹”和“应用”艺术形式的主张之间保持了一种特有的平衡——这种平衡在19世纪头十年从古典美学向浪漫主义美学的过渡中继续保持着。
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Even among devotees of her music, Galina Ustvolskaya is often reduced to an intersectional victim of gendered and political repression, a fearful casualty of the Soviet system. Her percussive scores, including the Sixth Piano Sonata, have earned Ustvolskaya the nickname “lady with the hammers.” This article reviews the literature about this composer alongside scores from the beginning, middle, and end of her career, asking: Should her life and work be considered from a less empathetic perspective in order to take greater account of her craft, and to avoid the gendered, cultural, and political furrows that would narrow our conception of her music? Instead of defining Ustvolskaya’s life and work against our own expectations, this essay questions our assumptions.
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Baroque opera was invented on a deathly premise: reviving a tradition of sung ancient tragedy that had in fact never existed. Modern historiography has struggled with the notion of origins, focusing on relationships among the surviving textual sources to make sense of the proliferation of theatrical subjects. These relationships remain important—but there is also reason to delve deeper into the “haunted” status of early opera. With respect to three central works on the subject of Agrippina and her son Nero (Nerone fatto Cesare, Noris-Perti, Venice 1693; Agrippina, Noris-Magni, Milan 1703; and L’Agrippina, Handel-[Grimani], Venice 1709), the haunted status of performances was made explicit, both in the drama and in contemporary poems dedicated to the main singers. Using terminology associated with the “spectral turn” in the humanities, this essay argues for rethinking operatic genealogies through the lens of hauntological intertextualities. In contrast to traditional theories of compositional influence, this study adopts a non-linear historiographical approach to performance genealogies, embracing text, music, and discourse about opera itself. Contesting the use of the concept of “origins” with respect to both the birth and subject matter of baroque opera, I argue that the genre developed as an already haunted narration.
巴洛克歌剧是在一个致命的前提下诞生的:复兴一种实际上从未存在过的古代悲剧传统。现代史学一直在与起源的概念作斗争，关注幸存的文本来源之间的关系，以理解戏剧主题的扩散。这些关系仍然很重要，但也有理由深入研究早期歌剧的“闹鬼”状态。关于阿格里皮娜和她的儿子尼禄的三部中心作品(Nerone fatto Cesare, Noris-Perti, 1693年威尼斯);阿格里皮纳，诺里斯-马尼，米兰1703;和L 'Agrippina, Handel-[Grimani]，威尼斯，1709年)，表演的鬼魂状态是明确的，无论是在戏剧和当代诗歌献给主要歌手。本文使用与人文学科中“光谱转向”相关的术语，主张通过幽灵互文性的镜头重新思考歌剧谱系。与传统的作曲影响理论不同，本研究采用非线性史学方法研究表演谱系，包括文本、音乐和关于歌剧本身的话语。关于巴洛克歌剧的诞生和主题，我对“起源”概念的使用提出了异议，我认为这种类型是作为一种已经困扰的叙事发展起来的。
{"title":"Ghosting Agrippina","authors":"C. Lanfossi","doi":"10.1525/JM.2019.36.1.1","DOIUrl":"https://doi.org/10.1525/JM.2019.36.1.1","url":null,"abstract":"Baroque opera was invented on a deathly premise: reviving a tradition of sung ancient tragedy that had in fact never existed. Modern historiography has struggled with the notion of origins, focusing on relationships among the surviving textual sources to make sense of the proliferation of theatrical subjects. These relationships remain important—but there is also reason to delve deeper into the “haunted” status of early opera. With respect to three central works on the subject of Agrippina and her son Nero (Nerone fatto Cesare, Noris-Perti, Venice 1693; Agrippina, Noris-Magni, Milan 1703; and L’Agrippina, Handel-[Grimani], Venice 1709), the haunted status of performances was made explicit, both in the drama and in contemporary poems dedicated to the main singers. Using terminology associated with the “spectral turn” in the humanities, this essay argues for rethinking operatic genealogies through the lens of hauntological intertextualities. In contrast to traditional theories of compositional influence, this study adopts a non-linear historiographical approach to performance genealogies, embracing text, music, and discourse about opera itself. Contesting the use of the concept of “origins” with respect to both the birth and subject matter of baroque opera, I argue that the genre developed as an already haunted narration.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":"15 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88358846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Berlioz’s Harold en Italie (1834) is a strange, ambiguously programmatic symphony that refers explicitly to both Beethoven and Byron—two of the lions of Romantic heroism—in ways that are not always straightforward. I argue that Berlioz’s evocation of Romantic heroism is an ironic commentary on the impossibility of artistic freedom in bourgeois society. I also identify a new literary connection to the symphony: the comically ironic short stories and journalism written by Berlioz’s friend Théophile Gautier. Many have argued that both the Byronic archetype and the nineteenth-century symphony became vehicles for exploring the high ideal of Romantic heroism. Hearing Harold as humorously ironic enables insights into Berlioz’s experience of his cultural moment and alternative readings of the impact of Byronic and Beethovenian heroism on subsequent generations of artists, while also opening possibilities for exploring narrative as a hermeneutic for musical analysis.
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