Pub Date : 2021-08-01DOI: 10.1525/rep.2021.155.6.139
A. Ben-yishai
Starting with some reflections on her experiences teaching a seminar on the Anglophone literature of the 1947 South Asian Partition to Jewish-Israeli and Palestinian students in the English Department at Haifa, Professor Ben-Yishai argues for a critical and pedagogic practice that reinvests Anglophone texts with their historical, political and formal density while raising important questions about comparative methodologies.
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Pub Date : 2021-05-01DOI: 10.1525/REP.2021.154.5.47
Carolyn Abbate
The attraction of objects has motivated a swerve within the humanities—a move away from texts and exegesis, linguistics, and semiotics; a move toward the body, the senses, materiality, and physiology. A musical instrument, a scientific artifact, a collection of sounds, an antique postcard: yes, all these objects are expressive and sometimes aesthetically pleasing, and in being so they can be understood to embody an epistemology, with theories and realms of knowledge written into their every contour. Or they can be understood as traces of global exchange and displacement. But what if the object is not very good, not loveable at all? Crumbling, toxic paper or banal images, with no exit from a strange historical or cultural space, perhaps an uncomfortable space to which you feel averse (or at least, feel you should disdain, as beneath contempt)? Or what if the object is misdirecting? What if it is ephemeral, like sound, something that cannot be held? These questions are woven in this essay into a reflection on the forms taken by certain loves for opera, a reflection centered on some nineteenth-century material objects that relate to act 4 of Giacomo Meyerbeer’s opera Les Huguenots (1836).
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Pub Date : 2021-05-01DOI: 10.1525/REP.2021.154.7.87
M. Smart
Best known for his reminiscences of artistic and intellectual life in midcentury Paris and for his chronicle of the 1931 Dakar-Djibouti mission, L’Afrique fantôme (1934), Michel Leiris also wrote obsessively about music, turning to imperfectly recalled fragments of song and opera to evoke key moments of early childhood and to explore affective relationships. This article focuses on two episodes from Leiris’s writings to demonstrate that his highly emotional and anecdotal mode of writing about music anticipates, and quite possibly influenced, the more systematic theories of voice, sound, and language of Roland Barthes and Jacques Derrida. Derrida engaged directly with Leiris in his essay “Tympan” (in The Margins of Philosophy), which quotes at length a text by Leiris on the cognitive and relational dimensions of hearing and writing. Leiris’s experience in the 1930s and 40s developing a lexicon and grammar for the ritual language of the Dogon people of Mali, I argue, fundamentally shaped his conviction that both music and language are most communicative when they permeate and destabilize each other.
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Pub Date : 2021-05-01DOI: 10.1525/REP.2021.154.10.129
D. Casadei
This essay offers a reconsideration of Giambattista Vico’s work for scholars interested in history, sound, and aurality. It takes as its point of departure the chronological table that stands at the opening of The New Science, homing in on its blind spots, raw absences, and tangled claims to objectivity. Vico’s understanding of history relies—this essay goes on to argue—on a lively world of aural metaphors involved in the act of its writing: imaginary sounds, meaningless speech, false listenings, along with invented onomatopoeic etymologies. Such unruly sounds lead us to a crucial paradox of Viconian history, one that must confront all historians invested in retrieving and rewriting the stories of those who are lost, erased, and unrepresented: what role does imagination play in the writing of history? Can human invention, imagination, and even falsehood lead us toward new historical findings? The essay closes with a gloss of Vico’s nascent theory of the physical and aural phenomenon of laughter, presented in the Vici vindiciae as a complex pathway between humanity and animality and, what’s more, as a historical interface between incommensurable stages of creaturely life.
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Pub Date : 2021-05-01DOI: 10.1525/REP.2021.154.6.69
G. Kreuzer
Taking inspiration from Kalle Pihlainen’s philosophy of historical representation, this essay explores some of the ways in which operatic performance can harness the ambiguity between the genre’s historicist and presentist implications to mobilize not just the difference of the past from the present but also their connection. The essay focuses on two recent examples—Heartbeat Opera’s Butterfly (New York, 2017) and The Industry’s Sweet Land (Los Angeles, 2020)—whose unconventional presentations critically engage such temporal complexity. Moving beyond the proscenium and crucially involving the music in their directorial visions, both couch history’s grip on the present in terms of the consequences of past actions. By self-staging their differences from mainstream opera-house productions, moreover, both explore whether opera can still aspire to sociopolitical relevance today. Though Butterfly tackles a controversial repertory staple, while the immersive and site-specific Sweet Land enlists the operatic genre itself to probe various modes of historical imagination, both expose continuities of historical racism in contemporary US culture. Their blurring of lines between past and present prevents audiences from confining racist positions to the operas’ allegedly historical plots: instead of presenting past alterity, the productions reveal transhistorical semblance. Opera thus becomes a medium for performing the multidimensionality and open-endedness of history.
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Pub Date : 2021-05-01DOI: 10.1525/REP.2021.154.1.1
M. Feldman, Nicholas Mathew
LA T E L Y, A C R O S S T HE HU M A NI T I E S , H I S T O R I C I S M in its many guises has been in retreat—a retreat that music studies has in some respects hastened. This collection of essays asks why sound and music appear to induce exhaustion with history and historical method and how a renewed focus on musical practices might motivate fresh histories and novel forms of history writing. Such questions were the premise of a multidisciplinary Mellon-funded collaboration between Yale University, the University of California at Berkeley, the University of Chicago, and King’s College London that met from 2016 to 2018. Charged with rethinking the relation of music to history, the participants ultimately wondered why scholars, musicological and non-, have so frequently deployed music to disrupt or delimit historical projects—indeed whether music itself tends to elicit or even cause such disruptions and delimitations. The ironies here are patent. Not long ago, musicologists would regularly posit history as the most efficacious cure for what ailed their discipline. The study of music, so it was thought, always risked having its head in the clouds, especially the vapors of German idealism. To write music history was to place music’s feet on secure ground—to resituate, rematerialize, and re-embody in ways that checked the transcendental and formalist tendencies of old. ‘‘History,’’ by this reckoning, also designated a place, one where values are produced, where things are exchanged, where bodies move, where politics is played out. And yet, as many have observed, music has never been an entirely convincing occupant of this place, whose solidity is specious at best. Vibrational, ephemeral, footloose, politically mobile, and semiotically uncertain, music forever raises the specter of old philosophical anxieties—about the relation of the aesthetic to the historical, of sensuous experience to rational knowledge, of political orthodoxies to the undercommons of insurgency and resistance, of the vivid present to the absent past. Small wonder that so many theories of music’s historicity have treated musics of all kinds as strange and exceptional historical actors, even improbable bearers of special historical insight. ‘‘Janis Joplin, Bob Dylan, and Jimi Hendrix say
LA T E L Y，A C R O S T HE HU M A NI T I E S，H I S T O R I C I S M在许多方面都在退缩——音乐研究在某些方面加速了这种退缩。这本散文集询问了为什么声音和音乐似乎会导致历史和历史方法的疲惫，以及重新关注音乐实践如何激发新的历史和新颖的历史写作形式。这些问题是耶鲁大学、加州大学伯克利分校、芝加哥大学和伦敦国王学院于2016年至2018年举行的由梅隆大学资助的多学科合作的前提。负责重新思考音乐与历史的关系的参与者最终想知道，为什么音乐学和非音乐学的学者如此频繁地使用音乐来破坏或界定历史项目——事实上，音乐本身是否倾向于引发甚至导致这种破坏和界定。这里的讽刺是专利。不久前，音乐学家经常认为历史是治疗他们学科失败的最有效的方法。人们认为，对音乐的研究总是冒着被抛在云端的风险，尤其是在德国理想主义的蒸汽中。写音乐史就是把音乐的脚放在一个安全的地方——以一种遏制旧的超越主义和形式主义倾向的方式重新定位、重新物质化和重新体现。”根据这一计算，历史也指定了一个地方，一个价值观产生的地方，事物交换的地方，身体移动的地方，政治上演的地方。然而，正如许多人所观察到的那样，音乐从来都不是这个地方的一个完全令人信服的占有者，它的坚固性充其量是似是而非的。音乐具有振动性、短暂性、自由性、政治流动性和符号不确定性，它永远引发了古老哲学焦虑的幽灵——关于审美与历史的关系，关于感性经验与理性知识的关系，对于政治正统与反叛和抵抗的不实，关于生动的现在与不存在的过去的关系。难怪这么多关于音乐历史性的理论都把各种音乐视为奇怪而特殊的历史行动者，甚至是不太可能具有特殊历史洞察力的人。”詹尼斯·乔普林、鲍勃·迪伦和吉米·亨德里克斯说
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Pub Date : 2021-05-01DOI: 10.1525/REP.2021.154.4.35
M. Stokes
How has “the migrant crisis” affected musicology? What “edges” now appear, with what implications for musicology’s persistent call to historicize? This article suggests these have been more persistent questions than the current language of “crisis” might suggest. Taking some examples with the ongoing Syrian war as a backdrop, the implications of Mieke Bal’s injunction to “remember with” are explored as a route to thinking through the dilemmas of activism and compassion.
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Pub Date : 2021-05-01DOI: 10.1525/REP.2021.154.11.143
Nicholas Mathew
This essay is about the long-standing and tenacious audile technique of listening past—that is, the discrimination of music, musical performances, and even sound amid the ostensibly broader range of vibrations conveyed by any media form. For some time, an assortment of musicians, sound artists, and theoreticians have lined up to maintain that this cognitive-discursive technique, which suppresses or diminishes the processes of mediation, is in some sense ideological: illusory, contingent, and even exclusionary. Cagean theories of sound, feminist valorizations of embodiment and presence, ecological ethics of the soundscape, tech-focused philosophies of mediation, ethnographic conceptions of aurality, and Deleuzian vibrational ontologies—all are united in their foundational skepticism. Centered on digital transfer of an early electric recording of a performance of Beethoven’s Sixth from 1927 conducted by Felix Weingartner, this essay seeks to reevaluate the political implications of listening past by drawing out its submerged relationships to the traditional historicist project of recovering what I call past listenings—lost modes of listening that are supposedly indivisible from particular spaces, historical moments, and radically situated subjectivities.
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Pub Date : 2021-05-01DOI: 10.1525/REP.2021.154.3.23
Jessica Swanston Baker
This essay presents the song “Area Code 869,” an example of a Caribbean genre known as “wilders” or “pep,” as a form of what Kodwo Eshun calls “sonic fiction.” By focusing on sonic bodies as “bodies touched by sound,” the essay suggests that “869” offers a reimagination of the historical relationship between sugar, sound, and speed in the Eastern Caribbean island of St. Kitts, a former British sugar colony.
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Pub Date : 2021-02-01DOI: 10.1525/REP.2021.153.8.127
Amy M. Hollywood
Reading Henry James’s late novel The Wings of the Dove with Honoré de Balzac’s Seraphita, this essay argues that James performs through his novel an act of secular devotion, a memorialization of lost others through which he enables himself to continue to live.
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