{"title":"Picking up the “Tone” of an Era: An Interview (2001) with Musicologist Reinhold Brinkmann on Music, Society, Composition, and Scholarship","authors":"Jürgen Thym, R. Locke","doi":"10.1093/musqtl/gdaa009","DOIUrl":"https://doi.org/10.1093/musqtl/gdaa009","url":null,"abstract":"","PeriodicalId":45285,"journal":{"name":"MUSICAL QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/musqtl/gdaa009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48716854","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 Problem of Perfection in Classical Recording: The Performer’s Perspective","authors":"A. Blier-Carruthers","doi":"10.1093/musqtl/gdaa008","DOIUrl":"https://doi.org/10.1093/musqtl/gdaa008","url":null,"abstract":"","PeriodicalId":45285,"journal":{"name":"MUSICAL QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44918056","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}
With his sensational London performance of Beethoven’s Violin Concerto, Op. 61, under Mendelssohn’s baton on May 27, 1844,* the musical destiny of the twelve-year-old Joseph Joachim was preordained. Later in the century, he came to embody that concerto and its instrumental aesthetic as few musicians have, before or since. Mendelssohn’s prot eg e—he referred to the violinist variously as “Hungarian boy,” “Posaunen Engel,” and “Teufelsbraten”—achieved this tumultuous success despite performing a concerto that was still relatively unknown, and indeed not viewed as particularly violinistic. One critic for the Musical World allegedly commented: “So well did he play, that we forgot how entirely unadapted for display was the violin part.” But he also tells us how decidedly virtuosic Joachim’s cadenzas were, and that they were interrupted by applause: “the two cadenzas introduced by the young player were not only tremendous executive feats, but ingeniously composed—consisting wholly of excellent and musician-like workings of phrases and passages from the concerto.” Another reviewer went even further, comparing Joachim’s cadenzas to Paganini: “The boy Joachim, from thirteen to fourteen years old [sic]. . . For Joachim is not only an experienced concerto-player—he played the whole of Beethoven’s Concerto from memory, with the utmost self-possession—but a composer. The Paganinian cadences [cadenzas] he produced were of a first-rate description, and are said to be his own.” For some time, scholars and musicians have been keen to learn more about the scope and contents of Joachim’s early cadenzas. However, most details remain buried in the past. Although several album leaves afford us glimpses on the ones played at the 1844 concert, the earliest published cadenzas—one for each movement—date from later, from 1853, and were released by the Viennese publisher Haslinger. As Table 1 shows, Joachim would publish his cadenzas again later in life, in 1894, this time with Schlesinger in Berlin, and now he included two sets. One set differed significantly from the early publication and is
{"title":"An Unknown Beethoven Cadenza by Joseph Joachim: “Dublin 1852”","authors":"Katharina Uhde","doi":"10.1093/MUSQTL/GDAB003","DOIUrl":"https://doi.org/10.1093/MUSQTL/GDAB003","url":null,"abstract":"With his sensational London performance of Beethoven’s Violin Concerto, Op. 61, under Mendelssohn’s baton on May 27, 1844,* the musical destiny of the twelve-year-old Joseph Joachim was preordained. Later in the century, he came to embody that concerto and its instrumental aesthetic as few musicians have, before or since. Mendelssohn’s prot eg e—he referred to the violinist variously as “Hungarian boy,” “Posaunen Engel,” and “Teufelsbraten”—achieved this tumultuous success despite performing a concerto that was still relatively unknown, and indeed not viewed as particularly violinistic. One critic for the Musical World allegedly commented: “So well did he play, that we forgot how entirely unadapted for display was the violin part.” But he also tells us how decidedly virtuosic Joachim’s cadenzas were, and that they were interrupted by applause: “the two cadenzas introduced by the young player were not only tremendous executive feats, but ingeniously composed—consisting wholly of excellent and musician-like workings of phrases and passages from the concerto.” Another reviewer went even further, comparing Joachim’s cadenzas to Paganini: “The boy Joachim, from thirteen to fourteen years old [sic]. . . For Joachim is not only an experienced concerto-player—he played the whole of Beethoven’s Concerto from memory, with the utmost self-possession—but a composer. The Paganinian cadences [cadenzas] he produced were of a first-rate description, and are said to be his own.” For some time, scholars and musicians have been keen to learn more about the scope and contents of Joachim’s early cadenzas. However, most details remain buried in the past. Although several album leaves afford us glimpses on the ones played at the 1844 concert, the earliest published cadenzas—one for each movement—date from later, from 1853, and were released by the Viennese publisher Haslinger. As Table 1 shows, Joachim would publish his cadenzas again later in life, in 1894, this time with Schlesinger in Berlin, and now he included two sets. One set differed significantly from the early publication and is","PeriodicalId":45285,"journal":{"name":"MUSICAL QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/MUSQTL/GDAB003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43830766","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":"“A Melody That Doesn’t Exist Anymore”: Negation, Erasure, and Void in Israeli Art Music, as Reflected in Hanoch Jacoby’s Mutatio","authors":"Irit Youngerman","doi":"10.1093/musqtl/gdaa010","DOIUrl":"https://doi.org/10.1093/musqtl/gdaa010","url":null,"abstract":"","PeriodicalId":45285,"journal":{"name":"MUSICAL QUARTERLY","volume":"103 1","pages":"139-183"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/musqtl/gdaa010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42140151","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":"Post-Pandemic Anxieties: Contemplating the Prospect that Classical Music Culture Might Disappear","authors":"L. Botstein","doi":"10.1093/musqtl/gdaa011","DOIUrl":"https://doi.org/10.1093/musqtl/gdaa011","url":null,"abstract":"","PeriodicalId":45285,"journal":{"name":"MUSICAL QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/musqtl/gdaa011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41978253","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":"Vaughan Williams and the Soundscapes of Scott of the Antarctic","authors":"C. Philpott, E. Leane, D. Quin","doi":"10.1093/musqtl/gdaa006","DOIUrl":"https://doi.org/10.1093/musqtl/gdaa006","url":null,"abstract":"","PeriodicalId":45285,"journal":{"name":"MUSICAL QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/musqtl/gdaa006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43326678","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}
This study assessed the impact of adding computer-assisted orthopedic surgery (CAOS) augmentation to conventional mechanical instrumentation with regard to the enablement of both mechanical and natural alignment surgical philosophies and accuracy of postoperative alignment for total knee arthroplasty (TKA). Fifty CAOS augmented TKA cases were compared to 101 conventional cases. Data on surgical time, length of stay, and postoperative weight-bearing long leg alignment were collected. The results reported no significant impact on surgical time with incorporation of CAOS augmentation into the conventional surgical workflow, as well as a shorter length of stay and substantial decrease in alignment outliers compared to the conventional TKA cases. The study revealed the advantages of CAOS augmentation in providing a non-disruptive tool to enhance surgical accuracy and offer versatility in accommodating different surgical philosophies during TKA.
{"title":"CAOS Augmented Mechanical Instrumentation Provides Versatility and Improved Accuracy During Total Knee Arthroplasty","authors":"J. Morrison, E. Frazier, M. Stumb","doi":"10.29007/mq2k","DOIUrl":"https://doi.org/10.29007/mq2k","url":null,"abstract":"This study assessed the impact of adding computer-assisted orthopedic surgery (CAOS) augmentation to conventional mechanical instrumentation with regard to the enablement of both mechanical and natural alignment surgical philosophies and accuracy of postoperative alignment for total knee arthroplasty (TKA). Fifty CAOS augmented TKA cases were compared to 101 conventional cases. Data on surgical time, length of stay, and postoperative weight-bearing long leg alignment were collected. The results reported no significant impact on surgical time with incorporation of CAOS augmentation into the conventional surgical workflow, as well as a shorter length of stay and substantial decrease in alignment outliers compared to the conventional TKA cases. The study revealed the advantages of CAOS augmentation in providing a non-disruptive tool to enhance surgical accuracy and offer versatility in accommodating different surgical philosophies during TKA.","PeriodicalId":45285,"journal":{"name":"MUSICAL QUARTERLY","volume":"4 1","pages":"193-196"},"PeriodicalIF":0.1,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47332542","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 : 2020-09-01DOI: 10.46469/mq.2020.61.1.12
G. Meisenberg
Piketty’s new book is a sequel to his 2014 bestseller The Capital in the 21st Century. Like the earlier book, Capital and Ideology offers descriptions of historical developments that are sound, relevant and enlightening, and most of his policy proposals are commendable. Piketty recognizes that ideology is causally effective rather than mere superstructure, and that it has driven in large part the political and economic developments that he describes. However, he has his blind spots. His neglect of psychology and biology leaves his treatment of ideology shallow and unenlightening. Although he advocates for inequality-reducing policies, he presents no coherent rationale to justify such an endeavor; nor does he consider the individual differences in ability and personality that every effort at reducing inequality has to face. Piketty’s book provides a wealth of useful information, but it is also a prominent example for the inability of mainstream economics and social science to explain existing inequalities and to guide policies aimed at minimizing them.
{"title":"Missed Opportunities and the Limitations of Social Science: A Review of Thomas Piketty’s [i]Capital and Ideology[/i]","authors":"G. Meisenberg","doi":"10.46469/mq.2020.61.1.12","DOIUrl":"https://doi.org/10.46469/mq.2020.61.1.12","url":null,"abstract":"Piketty’s new book is a sequel to his 2014 bestseller The Capital in the 21st Century. Like the earlier book, Capital and Ideology offers descriptions of historical developments that are sound, relevant and enlightening, and most of his policy proposals are commendable. Piketty recognizes that ideology is causally effective rather than mere superstructure, and that it has driven in large part the political and economic developments that he describes. However, he has his blind spots. His neglect of psychology and biology leaves his treatment of ideology shallow and unenlightening. Although he advocates for inequality-reducing policies, he presents no coherent rationale to justify such an endeavor; nor does he consider the individual differences in ability and personality that every effort at reducing inequality has to face. Piketty’s book provides a wealth of useful information, but it is also a prominent example for the inability of mainstream economics and social science to explain existing inequalities and to guide policies aimed at minimizing them.","PeriodicalId":45285,"journal":{"name":"MUSICAL QUARTERLY","volume":"61 1","pages":"136-150"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47057404","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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