item: #1 of 583 id: currentmusicology-10139 author: Hudson, Stephen title: Reverse Extensions and Multi-Layered Experiences of Harmony in Drake’s Harmonic Loops date: 2023 words: 9492 flesch: 58 summary: This creates a feeling of dissociation between the chord loop and the bass, drawing on the double-function effect of reverse extension chords that I described above; the chords with E in the bass are in one sense Emaj7 chords, but in another sense they can be heard as G#m chords with a disconnected bass, and similar double- (or even triple-) hearings occur when the bass moves to C#. A reverse extension is thus both a harmonic-bass divorce and an integrated chord, which potentially can afford multiple different heard roots and chord identities. keywords: bass; chord; drake; example; extension; harmony; hearing; jazz; loop; music; new; reverse; song; theory; tonic cache: currentmusicology-10139.pdf plain text: currentmusicology-10139.txt item: #2 of 583 id: currentmusicology-10969 author: Grundner, Simone title: There goes the Berimbau: An Africa-Brazil-Germany Musician-Body Trajectory date: 2023 words: 6878 flesch: 55 summary: Such language, which becomes part of the gestures and movements of capoeira practitioners, provides a sensorial link between their bodies and the culture originating in the Congo region, where Angola is located today, and directly or indirectly acts in transformations for freedom. These are geared towards capoeira practitioners and potential future teachers and reveal how instruction has been adapted in a new context. keywords: berimbau; body; capoeira; german; gross; instrument; mestre; movement; music; portuguese; practitioners; roda; sound cache: currentmusicology-10969.pdf plain text: currentmusicology-10969.txt item: #3 of 583 id: currentmusicology-10982 author: Molteni, Pietro title: Dal Bon, Bruno. 2020. La Gioia Sovrana: Nietzsche e la Musica come Filosofia. Milano: Mimesis Edizioni. date: 2023 words: 2846 flesch: 62 summary: In the gorgeous central hall of said Waldhaus Hotel in Sils-Maria, after speaking at a concert conference about the string quartets by two Nietzsche’s friends, Bruno Dal Bon told me about the book he had just finished writing: La Gioia Sovrana (“The Sovereign Joy”). Writing about Nietzsche and music is a hard task – the subject is indeed well-known and covered. keywords: bon; dal; life; music; nietzsche; operetta; piano cache: currentmusicology-10982.pdf plain text: currentmusicology-10982.txt item: #4 of 583 id: currentmusicology-11041 author: Luis Matos-Tovar title: Transitional Functions: The Emergence of the Anticipatory Transition in Nineteenth-Century Sonatas date: 2023 words: 7636 flesch: 52 summary: The copy-and- paste anticipatory transition copies material in the transition and pastes those musical subjects in a subsequent module that results in its main theme. 34 Luis Matos-Tovar ____________________________________________ Example 3: Charles Alkan, Piano Trio No. 1 in G Minor Op. 30, Mvt. 1, 106-112, developed TR theme in the Codetta of the Recapitulation. keywords: example; material; minor; module; piano; schumann; sonata; theme; transition cache: currentmusicology-11041.pdf plain text: currentmusicology-11041.txt item: #5 of 583 id: currentmusicology-11042 author: A. Harris, Treviene title: Dub Writing in Marcia Douglas’ The Marvellous Equations of the Dread: A Novel in Bass Riddim date: 2023 words: 9150 flesch: 59 summary: Leenah is guided towards other ways of finding balance. Effectively, by writing dub, Marvellous shows up the insufficiency of writing and language to bear, fully encompass, and express Caribbean histories, therefore, staging its own quarrel with history. keywords: bass; douglas; dub; history; knowledge; leenah; marley; music; novel; sound; text; time; way; ways; words; writing cache: currentmusicology-11042.pdf plain text: currentmusicology-11042.txt item: #6 of 583 id: currentmusicology-11045 author: Zamcheck, Akiva; Mirza , Adam title: Fake Radiolab: Audio and Ideology date: 2023 words: 3127 flesch: 56 summary: Fake Radiolab: In Fake Radiolab we try to magnify these audio maneuvers to draw attention to their underlying nihilistic snark, inscrutable postmodernism, and withdrawal into pure aesthetic experience. keywords: adam; audio; live; new; performance; radiolab; studio cache: currentmusicology-11045.pdf plain text: currentmusicology-11045.txt item: #7 of 583 id: currentmusicology-11202 author: Chakrapani, Rajnesh title: I misunderstand you date: 2023 words: 2507 flesch: 72 summary: The conversation about trauma and boundaries doesn’t take into account that in many cases people and entities set up alienating boundaries for Amma. When people are in positions of power over me and create boundaries to preserve a racist and toxic status quo, Amma taught me to cross them. keywords: amma; boundaries; cream; life; strawberry cache: currentmusicology-11202.pdf plain text: currentmusicology-11202.txt item: #8 of 583 id: currentmusicology-11633 author: Rubin, Jessie title: Simon, Andrew. 2022. Media of The Masses: Cassette Culture in Modern Egypt. Stanford, CA: Stanford University Press. date: 2023 words: 3147 flesch: 45 summary: Launching his investigation around cassette players (rather than cassettes themselves), Simon uses the photograph to contextualize Egypt’s changing economic landscape and growing consumer culture under Anwar Sadat’s infitah (Egypt’s economic opening, or ‘Open Door Policy’). In general, aside from electronics store owner Mansur ‘Abd al-’Al interviewed in Chapter 6, contemporary listeners and appreciators of sha’bi are absent from the narrative, and I think Simon’s compelling claims about the democratization of sound via cassette culture would have been strengthened with concrete interview material from the “working class, such as bus drivers and microbus drivers” who are described as enjoying the music (160). keywords: book; cassette; chapter; class; egypt; egyptian; music; simon cache: currentmusicology-11633.pdf plain text: currentmusicology-11633.txt item: #9 of 583 id: currentmusicology-11696 author: Frías, Johnny title: Deciphering Guarapachangueo: Formulas and Formulaic Variation in Contemporary Rumba Percussion date: 2023 words: 9424 flesch: 58 summary: It may have emerged out of the original guarapachangueo formula, which can be flipped in terms of its relationship with the clave. As Bodenheimer (2015, 195) notes, many contemporary rumba groups in the Cuban provinces outside Havana reflect the influence of the Havana-based groups’ ensemble roles, instrumentation, and rhythmic formulas. keywords: afro; cajón; chinitos; clave; contemporary; cuba; drummers; example; formulas; guaguancó; guarapachangueo; havana; music; rumba; rumberos; style; tumbador cache: currentmusicology-11696.pdf plain text: currentmusicology-11696.txt item: #10 of 583 id: currentmusicology-3593 author: Braus, Ira title: Elliott Carter's Analysis of his Piano Sonata (1945-46): A Moment of Music Historical Agnosia? date: 2021 words: 8499 flesch: 62 summary: Amusingly, Rosen imparts the backstory of the above example as follows (emphasis his own): I telephoned Mr. Carter one day to tell him that I had remarked that playing the B natural with considerable force stimulates the B flat harmonics on the piano but does not stimulate the A natural. I’ll conclude by proposing biographical factors that may have informed Carter’s seeming agnosia.1 For those familiar with Carter’s biography, it should not surprise that Beethoven’s name peppers much of the former’s writings on music. keywords: beethoven; carter; development; example; form; maestoso; measures; movement; music; page; piano; second; sharp; sonata cache: currentmusicology-3593.pdf plain text: currentmusicology-3593.txt item: #11 of 583 id: currentmusicology-3607 author: Lippman, Edward A. title: What Should Musicology Be? Letter from the Editor date: 2019 words: 2175 flesch: 43 summary: He also finds that we have erred in neglecting the less pretenti6us varieties of music such as jazz and folk music} and indeed in neglecting the history of American music in general. But there will be concrete benefits as well as intangible ones, when matters of the diffusion of musical instruments are in- volved, for example, or of the impact of distant cultural areas, or of the interaction of folk music and cultivated music, of vocal and instrumental styles, of notation and performance practice. keywords: culture; history; music; musicology; social cache: currentmusicology-3607.pdf plain text: currentmusicology-3607.txt item: #12 of 583 id: currentmusicology-3608 author: Van de Werf, Hendrik title: The Trouvere Chansons As Creations of a Notationless Musical Culture date: 2019 words: 2945 flesch: 58 summary: Hundreds of trouvere chansons have been preserved.! Some medieval authors such as Chretien de Troyes, Richard de Fournival and Jean Bodel, who are prima- rily known for literary works, also wrote chansons, but the famous trouveres, except for Adam de la Halle, produced chan- sons exclusively. keywords: chanson; melodies; melody; original; trouvere; versions cache: currentmusicology-3608.pdf plain text: currentmusicology-3608.txt item: #13 of 583 id: currentmusicology-3610 author: Sheldon, David A. title: The Philosophy of Theodor Adorno date: 2019 words: 3471 flesch: 49 summary: He seems to feel that the same thing is happening to modern music that is happening to popular music, classical music, and music in general. As a music critic, Adorno is alternately praised as a person of sharp, penetrating insight and damned as an idealist whose negative attitude and vague theorizing cannot cope with the realities of modern music. keywords: adorno; der; die; form; music; new; schonberg; society; sociology; time cache: currentmusicology-3610.pdf plain text: currentmusicology-3610.txt item: #14 of 583 id: currentmusicology-3611 author: Kamien, Roger title: Rita Benton, Nicolas Joseph Hullmandel and French instrumental music in the second half of the 18th Century date: 2019 words: 1200 flesch: 60 summary: In this dissertation, as in many other studies, one is not often given 3 Along with Eduard Reeser, Dr. Benton accepts Fetis' report that Hiillmandel studied with Carl Philipp Emanuel Bach. 2 Dr. Benton shows that he was born not in 1751, as was previously believed, but in 1756, and that he was the son of Michel Hiillmandel, a musician at the Strasbourg Cathedral. N.]. keywords: benton; century; hiillmandel cache: currentmusicology-3611.pdf plain text: currentmusicology-3611.txt item: #15 of 583 id: currentmusicology-3612 author: Bergquist, Peter title: Authur Michael Daniels: The De musica libri septem of Francisco de Salinas date: 2019 words: 2183 flesch: 58 summary: In Book II Salinas studies the numerical ratios which define intervals and classifies the intervals as consonant or dissonant. This last book contains the examples of Spanish and other folk music which have been Salinas' chief claim to fame. keywords: book; daniels; music; salinas cache: currentmusicology-3612.pdf plain text: currentmusicology-3612.txt item: #16 of 583 id: currentmusicology-3613 author: Newlin, Dika title: Wallace C. McKenzie, Jr. the Music of Anton Webern date: 2019 words: 1915 flesch: 65 summary: Naturally, in discussing the group of works now under considera- tion, McKenzie has to pay a great deal of attention to the importance of the individual intervals. And his name and work will not be misused for tendentious purposes which he would-in my belief-have been the first to repudiate. keywords: mckenzie; music; schoenberg; webern; work cache: currentmusicology-3613.pdf plain text: currentmusicology-3613.txt item: #17 of 583 id: currentmusicology-3614 author: Gillis, Frank J. title: Launcelot Allen Pyke, II: Jazz, 1920 to 1927: an analytical study date: 2019 words: 824 flesch: 58 summary: Third, in his treatment of a representa- tive selection of New Orleans jazz the author fails to include even one of at least a dozen significant recordings made by Jelly Roll Mor- ton's Red Hot Peppers in 1926-27, a group that many jazz critics, writers, and enthusiasts would quickly name as one of the two out- standing jazz units-the other being King Oliver's Creole Jazz Band, represented in the dissertation by four selections-playing in the New Orleans ensemble style. Pyke's work, a study based upon ten transcribed jazz tunes recorded during what might be called the classical period of New Orleans improvised ensemble jazz, is divided into two parts. keywords: jazz; study cache: currentmusicology-3614.pdf plain text: currentmusicology-3614.txt item: #18 of 583 id: currentmusicology-3615 author: Hanning, Barbara Russano title: Joseph Emilio Rotondi: Literary and musical aspects of Roman Opera, 1600-1650 date: 2019 words: 2928 flesch: 51 summary: It gives special consideration to the problem of the origins of comic opera, and finally presents a section that treats of the subtitles of 17th-century opera. Mr. Rotondi offers very little information about the nature or whereabouts of his primary sources. keywords: chapter; commedia; elements; libretti; opera; rotondi; works cache: currentmusicology-3615.pdf plain text: currentmusicology-3615.txt item: #19 of 583 id: currentmusicology-3616 author: Holmes, William C. title: Robert L. Weaver: Florentine comic operas of the 17th century date: 2019 words: 1455 flesch: 59 summary: This is not to say that, especially in the case of Roman opera, nearly enough music has been made available in order to make it possible to reach definite stylistic conclusions. This is in marked contrast to Roman opera of the period, which relied heavily on complicated stage machinery. keywords: century; opera; roman; weaver cache: currentmusicology-3616.pdf plain text: currentmusicology-3616.txt item: #20 of 583 id: currentmusicology-3617 author: Poladian, Sirvart title: Miriam Karpilow Whaples: Exoticism in dramatic music date: 2019 words: 1593 flesch: 55 summary: Early examples of exotic music are brought together from scattered sources, such as the Tupi melodies from Brazil (1592) and the Turkish tunes in Donado (1688). In spite of our widespread and intimate knowledge of exotic musics today, only one European composer, Alan Hovhannes, has succeeded in making exotic idioms his own musical vocabulary after years of intensive study. keywords: author; european; music; style; whaples cache: currentmusicology-3617.pdf plain text: currentmusicology-3617.txt item: #21 of 583 id: currentmusicology-3640 author: Newman, Joel title: A Gentleman's Lute Book:: The tablature of Gabriello Fallamero date: 2019 words: 4355 flesch: 76 summary: r r r I 1- Li via gen til, /. li3 #,J r r I r r f' I f' r r I F r r I r F r 1- Pre - so son i 0, /. keywords: canzonette; che; del; fallamero; j r; lasso; lute; madrigal; music; parte; r f; r r; son; tablature cache: currentmusicology-3640.pdf plain text: currentmusicology-3640.txt item: #22 of 583 id: currentmusicology-3641 author: Clarkson, Austin title: The 1965 revision of the U.S. copyright law date: 2019 words: 3031 flesch: 51 summary: The revision bill takes a giant step forward by requiring that protected works be fixed in any tangible medium of ex- pression now known or later developed, from which works can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The inability of the producers and users of copyright works to agree on a definition of fair use betrays a lamentable cleavage in our culture. keywords: bill; copyright; law; revision; use; works cache: currentmusicology-3641.pdf plain text: currentmusicology-3641.txt item: #23 of 583 id: currentmusicology-3642 author: Sheldon, David A. title: Report from Indiana: Inter-American Conference of ethno-musi date: 2019 words: 1014 flesch: 42 summary: While the composers from Latin American countries were fairly well represented, major figures from North America were disappointingly few since most of those invited were unable to attend. Of the sixteen papers given in the ethnomusicology confer- ence (including the two given at the joint session), ten were presented by delegates from Latin American countries. keywords: latin; music; university cache: currentmusicology-3642.pdf plain text: currentmusicology-3642.txt item: #24 of 583 id: currentmusicology-3643 author: Sutton, Julia title: William Sherman Casey: Printed English Lute instruction books, 1568-1610 date: 2019 words: 2810 flesch: 63 summary: The chief problem is that Casey has really attempted to handle two theses: a study of lute instruction books published in Elizabethan England and a study and transcription of Thomas Robinson's Schoole of Musick. A Briefe and Easie Instruction to Learne the Tableture to Conducte and Dispose Thy Hande unto the Lute. Translated by J. Alford Londoner. keywords: books; casey; lute; music; robinson; roy cache: currentmusicology-3643.pdf plain text: currentmusicology-3643.txt item: #25 of 583 id: currentmusicology-3644 author: Zimmerman, Franklin; Zimmerman, Franklin title: Stoddard Lincoln: John Eccles: The last of a tradition date: 2019 words: 723 flesch: 55 summary: Its total worth is such that it is cer- tain to be an important item in the bibliographies of future scholars of English music of the late 17th and early 18th centuries. Placing Eccles in the as-yet-seldom-researched hiatus between the periods of Purcell and Handel in the history of English music, Mr. Lincoln first sorts out a few genealogical problems, then sets to work on his main task: to discover Eccles' significance in native musical de- velopments in London during the post-Purcellian twilight and to diag- nose the ills which brought these developments to nothing. keywords: eccles; english cache: currentmusicology-3644.pdf plain text: currentmusicology-3644.txt item: #26 of 583 id: currentmusicology-3645 author: Weakland, Rembert G. title: Sister Mary Joachim Holthaus, O.S.B.: Beneventan notation in the Vatican manuscripts date: 2019 words: 710 flesch: 61 summary: Chapters 3 and 4 (Evolution of Beneventan Notation: A Study and Manuscripts with Beneventan notation found in the Vatican Li- brary, respectively) are for the most part a resume of the two works on notation cited above. Beneventan notation was from its inception somewhat diastematic in character but like the Beneventan script was a unique, localized style. keywords: beneventan; manuscripts; notation cache: currentmusicology-3645.pdf plain text: currentmusicology-3645.txt item: #27 of 583 id: currentmusicology-3648 author: Wolff, Konrad title: Imanuel Willheim: Johann Adolph Scheibe: German musical thought in transition date: 2019 words: 3297 flesch: 62 summary: Willheim investigates the personal relations between Bach and Scheibe thoroughly and arrives at the convincing conclusion that there was no personal feud (as some Bach biographers believe). Willheim is objective enough to sympathize with Scheibe's criticism that Bach wrote too unvocally. keywords: bach; composer; dissertation; german; music; scheibe; willheim cache: currentmusicology-3648.pdf plain text: currentmusicology-3648.txt item: #28 of 583 id: currentmusicology-3665 author: Clarkson, Austin title: Introduction: Music literacy and the teaching of music in school, college, and university date: 2019 words: 3720 flesch: 40 summary: Unless the most responsible and imaginative professionals work creatively together to prepare the needed software, music education may soon be sad- dled with expensive but misbegotten programs that might do the cause of musical literacy more harm than good. • SPECIAL SECTION: ARTICLES, REPORTS, AND REVIEWS ON MUSICOLOGY AND MUSIC EDUCATION Introduction: Musical literacy and the teaching oj music in school) college) and university Austin Clarkson NPRAISALS OF THE RELATION BETWEEN THE MUSIC EDUCATIONAL ESTAB-J-\. LISHMENT from grade to graduate school and the culture at large should take at least cursory note of John Kenneth Galbraith's warning that education is being shaped more than we realize by the needs of modem in- dustry. keywords: concepts; education; educators; literacy; music; new; sound; structure; teaching cache: currentmusicology-3665.pdf plain text: currentmusicology-3665.txt item: #29 of 583 id: currentmusicology-3666 author: Mayer, Frederick D.; Sacher, Jack title: Toward a rapprochement of musicology and music education:: Some practical considerations date: 2019 words: 2568 flesch: 46 summary: Because of this monstrous predicament, school music has taken a disastrous turn in the last decade or so. Before discussing the ways in which musicologists and music educators might recognize their interdependence and benefit from each other's work, let us examine some of the unique qualities of public school music education and of the training of its teachers. keywords: courses; education; educators; music; school; teachers cache: currentmusicology-3666.pdf plain text: currentmusicology-3666.txt item: #30 of 583 id: currentmusicology-3667 author: Palisca, Claude V. title: The challenge of educational reform date: 2019 words: 3154 flesch: 47 summary: Such a movement to revise the content of music education too has begun, but it has gathered only little momentum. The theory, history, and literature of music form only a small part of most undergraduate programs in music education and often this is bar-ely augmcnted in graduate programs. keywords: arts; college; education; music; musicologists; research; school; teaching cache: currentmusicology-3667.pdf plain text: currentmusicology-3667.txt item: #31 of 583 id: currentmusicology-3668 author: D'Andrea, Frank title: Music education needs musicology date: 2019 words: 2692 flesch: 39 summary: A revised college program that introduces musical systems other than triadic tonality, contrapuntal and instrumental procedures other than four-part chorale harmonizations, and compositional skills for achieving greater insight into historical styles and problems of performance will sub- stantially improve the teaching of school music. Only in this way will the quality of teacher education and, ultimately, of school music be improved. keywords: education; educators; history; literature; music; school cache: currentmusicology-3668.pdf plain text: currentmusicology-3668.txt item: #32 of 583 id: currentmusicology-3669 author: Brook, Barry S. title: On graduate study and standards in musicology date: 2019 words: 2459 flesch: 48 summary: The definitions of graduate study and graduate faculty that emerged from the discussion are worth quoting in full: On Graduate Study and Standards Z:n MusZ:cology Barry S. Brook THE STIMULATING RECENT REAPPRAISALS OF THE NATURE AND AIMS OF musicology in America (by Harrison, Hood, Palisca, Kerman, Lowin- sky, Lippman, etc.) have been concerned only secondarily with problems of graduate study and standards. keywords: faculty; graduate; musicology; standards; study; time cache: currentmusicology-3669.pdf plain text: currentmusicology-3669.txt item: #33 of 583 id: currentmusicology-3670 author: Lazarevich, Gordana title: Reports on research and development in music education date: 2019 words: 4897 flesch: 45 summary: For this project on experimentation in school music education, Ronald Thomas collected descriptions of 92 innovative programs from 132 schools in 36 states. Although the impact and effectiveness of these projects will obviously vary considerably according to a large number of factors, we hope that these reports will present the reader with some idea of what is being done in an area of music education of immediate concern to musicologists.-GORDANA LAZAREVICH. keywords: development; education; listening; literature; materials; music; project; reports; research; school; students; study; teachers cache: currentmusicology-3670.pdf plain text: currentmusicology-3670.txt item: #34 of 583 id: currentmusicology-3671 author: Orceyre, Raoul title: Report from Fairfield:: The committee for Jesuits in the fine arts date: 2019 words: 859 flesch: 45 summary: The Committee includes composers, musicologists, and performers whose influence will be of the greatest importance in shaping the future role of musical education in Jesuit high schools and colleges. Subsidiary aspects of the paper concerned performance prospects, some specifi- cally Christian aspects of musical education, and the field of popular religious music. keywords: arts; jesuit; music cache: currentmusicology-3671.pdf plain text: currentmusicology-3671.txt item: #35 of 583 id: currentmusicology-3672 author: Rosengard, Rose title: Report: The current status of the copyright revision bill date: 2019 words: 770 flesch: 54 summary: Thus, since without Senate action the House would have to reintroduce the bill next session in any case, it will prob- ably refrain from acting this session. Assuming that the new Congress does not differ significantly from the old in its attitude towards copyright practice, a new law will in all likelihood be passed during the coming session. keywords: bill; session cache: currentmusicology-3672.pdf plain text: currentmusicology-3672.txt item: #36 of 583 id: currentmusicology-3673 author: Stefanovic, Dimitrije title: Report from Oxford:: The thirteenth International Congress of Bysantine Studies date: 2019 words: 2534 flesch: 48 summary: The analysis of the Greek hymns has shown that some of them arc in fact borrow- ings from, or partial or complete adaptations of, Byzantine hymns composed by earlier authors for other saints. Professor Oliver Strunk, who succeeded Professor Varsten Hoeg as director of Monumenta Musicae By;:::antinae, wrote a comprehensive and revealing main paper on Byzantine music in the light of recent research and publication. keywords: byzantine; chant; greek; manuscripts; music; paper; slavic cache: currentmusicology-3673.pdf plain text: currentmusicology-3673.txt item: #37 of 583 id: currentmusicology-3674 author: Daniels, Arthur title: Martin Orville Johnson: The philosophies and attitude of selected music teachers toward music education date: 2019 words: 2289 flesch: 45 summary: Of those who did respond, 50 percent were high school music teachers, 22.5 percent were supervisors of music education, and 27.4 percent were college-university teachers of music education subjects. In keeping with the nature of this special issue, CA1 here presents revie\vs of doctoral dissertations in music education. keywords: education; johnson; music; statements cache: currentmusicology-3674.pdf plain text: currentmusicology-3674.txt item: #38 of 583 id: currentmusicology-3675 author: McKinnon, James title: Josiah Darnell: An evaluation of the bachelor of music education curriculum at Murray State College through an analysis of the opinions of its teaching graduates date: 2019 words: 1920 flesch: 57 summary: Moreover, the subject of the survey is an important one, and the replies present a wealth of raw material for music educators to ponder. An example of the finished product is that the competency to develop music reading ability in the elementary grades was rated 2.8 (on a scale of 0.0 to 3.0) as to its importance and 2.0 as to the effectiveness of the Murray State preparation. keywords: effectiveness; evaluation; murray; music; state cache: currentmusicology-3675.pdf plain text: currentmusicology-3675.txt item: #39 of 583 id: currentmusicology-3676 author: Stevens, Halsey title: Peter Meyer: Béla Bartók's Ady-Lieder, Op. 16 date: 2019 words: 1405 flesch: 60 summary: Aside from a number of songs from his student years composed to German texts (Heine, Siebel, Ruckert) and a few more in Hungarian (P6sa, Peres, Havas, Stank6), there are only two sets of composed songs: Opus 15 (1915-16) on unidentified Hungarian texts and Opus 16 (February-April, 1916) on texts by Endre Adyl By far the greater contribution or Bart6k to song literature is the large number of folksong transcriptions, ranging from the relatively literal harmonizations of 1906 to the highly imaginative settings of 1929. For that reason it may perhaps be advantageous to speak of art songs rather than original songs; but this dis- tinction cannot be clearly made in Bart6k, since the peasant songs become art songs in his hands (p. 10-11). keywords: bart6k; meyer; music; songs cache: currentmusicology-3676.pdf plain text: currentmusicology-3676.txt item: #40 of 583 id: currentmusicology-3677 author: Hultberg, Cortland title: Harold Brook Porter: An integrated course in music literature, theory, and ensemble performance for talented high school students date: 2019 words: 841 flesch: 47 summary: (e) Knowing music: knowledge of music history, music theory, musical in- struments, and musical forms. Universities that are starting or have already begun such programs will be producing a brand of high school music teacher who will more easily be able to fully implement the Laboratory in Musicianship that Harold Brook Porter describes. keywords: music; porter cache: currentmusicology-3677.pdf plain text: currentmusicology-3677.txt item: #41 of 583 id: currentmusicology-3678 author: Martin, Gary M. title: John Malcolm Tait: The significance of musical understanding in music education date: 2019 words: 637 flesch: 50 summary: Five areas of musical understanding are identified as follows: (a) Hearing music: aural recognition of the components of music, such as, rhythm, melody, harmony, form, and so forth. Feeling music: imagining and feeling music are the most intangible of the five aspects of musical understanding. keywords: music; understanding cache: currentmusicology-3678.pdf plain text: currentmusicology-3678.txt item: #42 of 583 id: currentmusicology-3679 author: Clarkson, Austin title: abstracts date: 2019 words: 1002 flesch: 45 summary: Ht' concludes that the Reformation had both bmdicial and detrimental eff('Cts on Slovene music, and that after the triumph of the Counter-Reformation at the beginning of the 17th century, Slo\ene music took a considerably different course from what was the case in regions where Protestantism took permanent root. The musical instruments in these medieval frescoes bear out the evidence of written sources that instrumental music was perpetrated by traveling art- ists from whose ranks permanently employed musicians descended. keywords: instruments; lisinski; ljubljana; music cache: currentmusicology-3679.pdf plain text: currentmusicology-3679.txt item: #43 of 583 id: currentmusicology-3681 author: Ringer, Alexander L. title: Musicology and the Future of Music Education date: 2019 words: 2192 flesch: 39 summary: By the same token, the members of our supposedly free academic communities responsible for the artistic and intel- lectual preparation of music teachers have done shamefully little to counteract the whims of a citizenry accustomed to identifying music almost exclusively ------ Though obviously less in the limelight than the sciences and so-called language arts, school music, too, is currently subject to wide-spread reap- praisal. keywords: education; high; music; musicology; program cache: currentmusicology-3681.pdf plain text: currentmusicology-3681.txt item: #44 of 583 id: currentmusicology-3682 author: Seltzer, Cheryl title: Table of Contents: Masthead date: 2019 words: 988 flesch: -11 summary: Pestelli Richard Marlowe Josephine M. Mason Niels Martin Jensen Winifried Kirsch Karl-Werner Giimpel Michael Tilmouth Othmar Wessely Anthony Ford Rita Egger Anna Amalie Abert Anne-Marie Bragard Andrej Rijavec Ian D. Bent Theodor Gellner John Steele Marie Briquet Robert Guilloux Willem Elders J. E. Maddrell Hans Conradin Ake Berglund University of Texas, Austin, Texas University of Toronto, Ontario, Canada University of Washington, Seattle, Wash. University of Wisconsin, Madison, Wis. Washington University, St. Louis, Mo. Western Reserve University, Cleveland, Ohio Yale University, New Haven, Conn. Bartok Archives, Budapest, Hungary Bratislava University, Bratislava, C.S.S.R. Cambridge University, Cambridge, England Giittingen University, Giittingen, Germany Haile Selassie I University, Law Faculty, Addis Ababa, Ethiopia Hamburg University, Hamburg, Germany Humboldt University, Berlin, Germany Karl Marx University, Leipzig, Germany Karlova University, Prague, C.S.S.R. Martin Luther University, Halle-Wittenberg, Germany Munster University, MUnster, Germany Oxford University, Oxford, England Phillips University, Marburg, Germany Queens University, Department of Extra-Mural Studies, Belfast, Ireland Saint Andrews University, French Department, Fife, Scotland Svenskt Music History Archives, Stockholm, Sweden Turin University, Turin, Italy The University, Southampton, England University of Birmingham, Birmingham, England University of Copenhagen, Denmark University of Frankfurt, Frankfurt, Germany University of Freiburg, Freiburg, Germany University of Glasgow, Glasgow, Scotland University of Graz, Graz, Austria University of Hull, Yorkshire, England University of Innsbruck, Innsbruck, Austria University of Kiel, Kiel, Germany University of Liege, Liege, Belgium University of Ljubljana, Ljubljana, Yugoslavia University of London, London, England University of Munich, Munich, Germany University of Otago, Dunedin, New Zealand University of Paris, Paris, France University of Utrecht, Utrecht, Holland University of York, English Department, York, England University of Zurich, ZUrich, Switzerland Uppsala University, Uppsala, Sweden Communications to the corresponding editors should be addressed care of the music department of the university unless otherwise noted. Brandeis University, Waltham, Mass. Catholic University of America, Washington, D.C. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, City College, New York, N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. George Peabody College for Teachers, Nashville, Tenn. Indiana University, Bloomington, Ind. New York University, New York, N.Y. keywords: college; england; germany; john; michael; mrs; n.y; new; new york; university; york cache: currentmusicology-3682.pdf plain text: currentmusicology-3682.txt item: #45 of 583 id: currentmusicology-3683 author: Seltzer, Cheryl title: Letter to the Editor date: 2019 words: 889 flesch: 39 summary: It aims to investigate modes of musicological description and explanation and to expand our understanding of musical works in themselves and in the context of tradition. She is concerned with the apprehension of a musical entity and considers such factors as distance and spatiality; the organization of time; music as object and music as process; the sense of hearing and musical perception; the re- lation of our linguistic and musical concepts; the relation of the object to changing notions of form. keywords: composition; music; piece cache: currentmusicology-3683.pdf plain text: currentmusicology-3683.txt item: #46 of 583 id: currentmusicology-3684 author: Crocker, Richard L. title: Some Reflections on the Shape of Music date: 2019 words: 3291 flesch: 61 summary: In the 17th century the structure ofa keyboard suite apparently depended upon the selection made by the performer from the dances and other pieces available to him. In between the 19th-century composer and his ideal of a con- tinuous, organic form stands the obstinate reality that multimovement form is multipiece form, that the constituent movement or piece is transcended only by exceptional effort not always crowned with success. keywords: canons; century; form; music; piece; trope cache: currentmusicology-3684.pdf plain text: currentmusicology-3684.txt item: #47 of 583 id: currentmusicology-3685 author: Carpenter, Patricia title: The Musical Object date: 2019 words: 18286 flesch: 62 summary: And secondly, in thus abstracting from time, we can see the extent to which a piece of musical time depends upon the exploitation of simultane- ity. 20 Gisele Bre1et, in Le temps musical (Paris, 1949), has laid the groundwork for current studies of musical time. keywords: art; change; distance; example; form; hearing; kind; melody; music; new; notion; object; perception; piece; point; sense; sound; space; thing; time; way; work; world cache: currentmusicology-3685.pdf plain text: currentmusicology-3685.txt item: #48 of 583 id: currentmusicology-3686 author: Treitler, Leo title: On Patricia Carpenter's "The Musical Object" date: 2019 words: 3339 flesch: 65 summary: To support this assertion I can only refer the reader to three of my own studies on the subject of unified form in the music of the Middle Ages: Musical syntax in the Middle Ages in Perspectives of new music IV (1965), p. 75; Tone system in the secular works of Guillaume Dufay in Journal of the American Musicological Society XVIII (1965), p. 131; On the structure of the Alleluya melisma: a Western tendency in Western chant in Studies in music history: essaysfor Oliver Strunk, to be published by Princeton University Press. The third thesis is the assertion that the history of Western music may be understood from the vantage point of the first and second theses. keywords: ages; carpenter; form; music; renaissance; substance; thesis cache: currentmusicology-3686.pdf plain text: currentmusicology-3686.txt item: #49 of 583 id: currentmusicology-3688 author: Arnheim, Rudolf title: Rudolf Arnheim date: 2019 words: 936 flesch: 67 summary: Many speculations of theorists derive the origin of music from bird song because early music has a continuous texture, in which one activity persists. Unless they do they are not new music but the denial of art. keywords: art; music cache: currentmusicology-3688.pdf plain text: currentmusicology-3688.txt item: #50 of 583 id: currentmusicology-3690 author: Rowen, Ruth Halle title: Musical Hearing in History date: 2019 words: 2824 flesch: 58 summary: Ruth Halle Rowen, Musical hearing in history I read the articles of Miss Carpenter and Mr. Crocker with great interest, especially as they raise the question of musical hearing. Let us compare statements on musical hearing by Heinrich Schenker of Vienna and Aristoxenus of Tarentum-figures at opposite ends of the historical span. keywords: century; color; hearing; movements; music; piece; symphony cache: currentmusicology-3690.pdf plain text: currentmusicology-3690.txt item: #51 of 583 id: currentmusicology-3691 author: Cone, Edward T. title: What is a Composition? date: 2019 words: 3820 flesch: 64 summary: At the other extreme, much l5th- and 16th-century polyphony, while primarily textual, achieves forms that are either satisfactory from a purely musical standpoint or at least independent enough to be listened to as musical compositions.) Grove says that the earliest use of the absolute term in English referred to the parts of a suite, but that the word is not generally applied to works in several movements, like a sonata, nor to the individual movements thereof-and further, that it is not used of vocal music. keywords: art; composition; music; piece; word; work cache: currentmusicology-3691.pdf plain text: currentmusicology-3691.txt item: #52 of 583 id: currentmusicology-3692 author: Stambler, Bernard title: Debts and Transfigurations date: 2019 words: 3292 flesch: 53 summary: One line of this occurs within music itself: the development of an idea we have come to accept as having the full force of a natural truth-absolute music, a con- cept or an aim never attempted before or outside Western music of the past two centuries.2 Miss Carpenter quotes Pater's remark that all the arts aspire to the condition of music; more to the point is the Western notion that all musics aspire to the condition of absolute music. A distinction between subjective and objective has come to seem one of the revealed data of existence, but such a distinction in today's (psycho- 110 logical) sense is another creation ofthe 18th century. keywords: aristotle; art; bach; carpenter; century; instance; music cache: currentmusicology-3692.pdf plain text: currentmusicology-3692.txt item: #53 of 583 id: currentmusicology-3693 author: Burrows, David title: On Patricia Carpenter's "The Musical Object" date: 2019 words: 2205 flesch: 58 summary: Miss Carpenter points out herself, but it also corresponds roughly to the period of the objectivization of discourse in printed books, as Marshall McLuhan has been reminding us. If I have any real disagreement with Miss Carpenter, it is not with her idea, but with the extent to which she gives in to it. keywords: carpenter; miss; music; object cache: currentmusicology-3693.pdf plain text: currentmusicology-3693.txt item: #54 of 583 id: currentmusicology-3694 author: Hills, Arthur title: Michael Bruce Collins: The performance of coloration, sesquialtera, and hemiolia (1450-1750) date: 2019 words: 2644 flesch: 64 summary: The unequal tactus was used only when all parts moved in triple meter, either by mensural sign, or by black notes. Otherwise, the equal tactus prevailed, and black notes, sesquialtera proportion, or any other unequal proportion occurring in a single part, had to be reconciled somehow to that tactus. keywords: black; collins; notes; tactus cache: currentmusicology-3694.pdf plain text: currentmusicology-3694.txt item: #55 of 583 id: currentmusicology-3695 author: Collins, Michael title: Reply to Arthur Hills date: 2019 words: 1470 flesch: 62 summary: Mr. Hills has given us a completely unsupported hypothesis as a statement of fact when he asserts that the 'Italian style' is real triplets against dup- lets. Tigrini is beholden, as, are they all, to Gafurio, whose treatise is not about Italian music, and to Tinctoris, Aron, and Lusitano (a Portuguese theorist); he cites Josquin as well as Palestrina. keywords: century; hills; theorists cache: currentmusicology-3695.pdf plain text: currentmusicology-3695.txt item: #56 of 583 id: currentmusicology-3696 author: Salop, Arnold title: Donald M. Mintz: The Sketches and Drafts of three of Felix Mendelssohn's Major Works date: 2019 words: 4502 flesch: 54 summary: Dr. Mintz goes about his task by first discussing any matters of background that seem relevant to the work or movement in question, then describing in more or less detail the published versions of the various movements-i.e. those of the Breitkopf & Hartel Gesamtausgabe (GA), and finally drawing comparisons with the versions found in draft form (MS). Dr. Mintz suggests that the more Romantic (i.e., Schumann-like) quality of the GA version can be traced to the fact that what was a direct, even prosaic, move from tonic to dominant in the MS comes to center around the mediant degree in the GA and only slips away to the dominant at the very end of the phrase. keywords: kind; mendelssohn; mintz; music cache: currentmusicology-3696.pdf plain text: currentmusicology-3696.txt item: #57 of 583 id: currentmusicology-3697 author: Chalmers, John title: Mayer Joel Mandelbaum: Multiple division of the octave and the tonal resources of 19-tone temperament date: 2019 words: 2511 flesch: 50 summary: Fokker has developed an interesting method which depends on the choice of certain intervals which Wiirschmidt termed defining intervals.6 If the factors of these intervals are taken as components of a set of vectors, the resulting octave division corresponds to a periodicity in the corresponding tone lattice. The other is a harmonic one, based on the accuracy of certain generating harmonic intervals such as the third, fifth, and harmonic seventh. keywords: division; intervals; mandelbaum; system; temperaments; tone cache: currentmusicology-3697.pdf plain text: currentmusicology-3697.txt item: #58 of 583 id: currentmusicology-3698 author: Hughes, Matt C. title: Reply to Michael Kassler date: 2019 words: 990 flesch: 58 summary: Mr. Kassler writes: However, as will be evident, Hughes's characteriza- tion of his treatment of the Skriabin preludes as information-theoretic in the Shannon tradition is mistaken (p. 83). In a footnote Mr. Kassler states: I have made no attempt to check Hughes's numerical calculations in general, though ... keywords: hughes cache: currentmusicology-3698.pdf plain text: currentmusicology-3698.txt item: #59 of 583 id: currentmusicology-3699 author: Kassler, Michael title: Reply to Matt C. Hughes date: 2019 words: 536 flesch: 62 summary: Hughes apparently believes that merely by naming the results of his internal-evidential procedures a 'measure of tonal complexity' he has 144 endued his procedures with the power to make significant musicological determinations. We find that Hughes neither articulates any specific hypotheses about Skriabin's preludes nor puts the data to any significant use (p. 86). keywords: hughes cache: currentmusicology-3699.pdf plain text: currentmusicology-3699.txt item: #60 of 583 id: currentmusicology-3700 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 1060 flesch: -39 summary: Ohio State University, Columbus, Ohio Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. State University of New York at Buffalo, Buffalo, N.Y. Syracuse University, Syracuse, N.Y. Tulane University, Newcomb College, New Orleans, La. University of Arizona, Tucson, Ariz. University of California, Berkeley, Calif. University of California, Davis, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Col. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Miami, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School of Music, Rochester, N.Y. University of Southern California, Los Angeles, Calif. University of Texas, Austin, Tex. University of Toronto, Toronto, Ontario, Canada University of Washington, Seattle, Wash. University of Wyoming, Laramie, Wyo. Washington University, St. Louis, Mo. Yale University, New Haven, Conn. Foreign Karl-Werner Giimpel Laszlo Somfai Ladislav Burlas Alan Brown Anna Amalie Abert Reinhard Gerlach Peter Strauss Reiner Kluge Winifried Kirsch Hubert Unverricht Othmar Wessely Eberhard Klemm Olga Mikl6ssy Rita Egger Theodor GCillner Bernd Baselt J. D. Bergsagel Horst Heussner John C. G. Waterhouse Brian Jeffery Willem Elders Axel Helmer Se6irse Bodley Josephine M. Mason Niels Martin Jensen Michael Tilmouth Georg Borchardt Anthony Ford Anne-Marie Bragard Andrej Rijavec Ian D. Bent John Steele Marie Briquet Robert Guilloux Richard Marlowe Ludwig Finscher Georgio Pestelli J. E. Maddrell Hans Conradin Ake Berglund M. Witte Albert-Ludwig University, Freiburg, Germany . Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Louisiana State University, Baton Rouge, La. New York University, New York, N.Y. keywords: college; department; england; germany; mrs; music; n.y; new; richard; state; university; york cache: currentmusicology-3700.pdf plain text: currentmusicology-3700.txt item: #61 of 583 id: currentmusicology-3701 author: Seltzer, Cheryl title: Letter from the Editor date: 2019 words: 351 flesch: 30 summary: Treating the apprehension and description of the musical work, philosopher Arnold Berleant proposes a dis- tinction between experiential and conceptual realms of musical perception. In the present issue Saul Novack, responding to Professor Crocker's question, what is a musical piece, investigates the cohesion ofmuIti-movement compositions and the criteria of musical structure. keywords: composition; music cache: currentmusicology-3701.pdf plain text: currentmusicology-3701.txt item: #62 of 583 id: currentmusicology-3702 author: Kaiser, Kenneth title: Concepts of the Architectural Object date: 2019 words: 3458 flesch: 58 summary: Contrasting their work with Gothic building, we see a strong shift from semiotic to symbolic meaning, matching the change from ritualized building activity to the self-conscious piece. It seems fairly certain that the exploitation of numerical proportions in building depended heavily on the idea of central perspective, particularly for a theory of proportional diminution with distance. keywords: architecture; art; buildings; corbusier; fig; iconology; object; use cache: currentmusicology-3702.pdf plain text: currentmusicology-3702.txt item: #63 of 583 id: currentmusicology-3703 author: Berleant, Arnold title: Music as Sound and Idea date: 2019 words: 3143 flesch: 49 summary: Any clarification of what a piece of music is must necessarily involve reference to musical experience. th the primary sense of the notion of musical object or pIece m .. e t I experience and ass. keywords: art; experience; form; music; object; perceptual; piece cache: currentmusicology-3703.pdf plain text: currentmusicology-3703.txt item: #64 of 583 id: currentmusicology-3705 author: Novack, Saul title: Some Thoughts on the Nature of the Musical Composition: Further Considerations of Professor Crocker's Reflections date: 2019 words: 3009 flesch: 52 summary: The character of musical structure, however, has been far more elusive. To discern, therefore, the nature of musical structure, one must find the structural conditions that are unique or peculiar to a particular time style, conditions that are inherent in the system. keywords: composition; design; form; music; structure; unity cache: currentmusicology-3705.pdf plain text: currentmusicology-3705.txt item: #65 of 583 id: currentmusicology-3706 author: Hall, Robert L. title: Music as the Form of World date: 2019 words: 3114 flesch: 54 summary: With regard to cultural World forms, we now come to the historical aspect of Miss Carpenter's paper and to a brief commentary on her distinction between primitive, medieval, and modem Western musical apprehension. The parallel of musical pattern to World pattern could not be 108 more complete. keywords: form; music; space; way; world cache: currentmusicology-3706.pdf plain text: currentmusicology-3706.txt item: #66 of 583 id: currentmusicology-3707 author: Maniates, Maria Rika title: Musical Form: Product and Process date: 2019 words: 2520 flesch: 49 summary: Our relationship to musical process is such that we tend to participate in depth in the musical activity; since our perception demands total involvement with internal succession of details, we find it difficult to conceptualize musical process in an abstract, objective way. Both these aspects operated within the conceptual arena of musical process-a process which historians call Western polyphony. keywords: carpenter; miss; music; process; product cache: currentmusicology-3707.pdf plain text: currentmusicology-3707.txt item: #67 of 583 id: currentmusicology-3708 author: Crocker, Richard L. title: Commentary date: 2019 words: 981 flesch: 59 summary: As to the large point: I found both encouragement and horror in the fact that Miss Carpenter and seemingly all the respondents either explicitly asserted the decisive importance of historical concepts in resolving questions of aesthetics, or else tacitly agreed to such importance by invoking historical ideas to illuminate their arguments. Richard L. Crocker The articles by Miss Carpenter and myself have produced a gratifying divergence of responses. keywords: carpenter; miss cache: currentmusicology-3708.pdf plain text: currentmusicology-3708.txt item: #68 of 583 id: currentmusicology-3709 author: Carpenter, Patricia title: Commentary date: 2019 words: 6487 flesch: 50 summary: Let me then gloss my statement that curren.t controversies concerning musical form reflect in a specialized way currently changing conceptions of both 'form' and 'object.' The passage ftom Walter Pater, for example, was cited not so matter to be affirmed or denied, but rather as a matter of fact, as marking the limits beyond which the kind of musical form under question can no longer be conceived. keywords: art; distinction; example; experience; form; matter; music; object; perception; work; world cache: currentmusicology-3709.pdf plain text: currentmusicology-3709.txt item: #69 of 583 id: currentmusicology-3713 author: Mixter, Keith E. title: Ronald Cross - Matthaeus Pipelare: A Historic and Stylistic Study of his Works date: 2019 words: 1796 flesch: 51 summary: It is a pleasure for the reviewer to point to two further fruits of Dr. Cross's research: his article, The life and works of Matthaeus Pipelare, Musica Disciplina, XV: 97-114 (1963), which presents the biographical details and a list of works by genre, and his edition of the Opera Omnia of Pipelare (Rome: American Institute of Musicology, 1966-67, 3vols.). Dr. Cross has let Pipelare's works determine the course of the dissertation, since he feels that the problems are often related to specific compositions. keywords: author; cross; dissertation; pipelare; works cache: currentmusicology-3713.pdf plain text: currentmusicology-3713.txt item: #70 of 583 id: currentmusicology-3714 author: Williams, Hermine Weigel title: Ursula Kirkendale - Antonio Caldara: Sein Leben und seine Venezianich-Römischen Oratorien date: 2019 words: 1396 flesch: 52 summary: The biographical narrative begins with confirmation of the fact that Caldara, son of the violinist, Giuseppe Caldara, was indeed from Venice, for it was at San Marco that he began his musical career as one oftheboy singers for the ducal chapel. In Part I, which deals with the life of Caldara, Dr. Kirkendale not only greatly expands our knowledge of his early life but corrects many errors of fact that appear in the article, Caldara, in Die Musil; in Gescliichte und Gegenwart. keywords: caldara; oratorios; rome; style cache: currentmusicology-3714.pdf plain text: currentmusicology-3714.txt item: #71 of 583 id: currentmusicology-3718 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 1005 flesch: -15 summary: University of Colorado, Boulder, Col. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Miami, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School of Music, Rochester N.Y. University of Southern California, Los Angeles, Calif. University of Toronto, Toronto, Ontario, Canada University of Washington, Seattle, Wash. University of Wyoming, Laramie, Wyo. Washington University, St. Louis, Mo. Yale University, New Haven, Conn. Foreign Karl-Werner Giimpel Laszlo Somfai Ladislav Burlas Alan Brown Anna Amalie Abert Reinhard Gerlach Don Harran Reiner Kluge Winfried Kirsch Hubert Unverricht Othmar Wessely Eberhard Klemm Mrs. Olga Mikl6ssy Rita Egger Theodor Gellner Bernd Baselt J. D. Bergsagel Horst Heussner John C. G. Waterhouse Willem Elders Axel Helmer Se6irse Bodley Josephine M. Mason Niels Martin Jensen Michael Tilmouth Georg Borchardt Anthony Ford Anne-Marie Bragard Andrej Rijavec Ian D. Bent John Steele Marie Briquet Robert Guilloux Richard Marlowe Ludwig Finscher Georgio Pestelli J. E. Maddrell Hans Conradin Ake Berglund M. Witte Albert-Ludwig University, Freiburg, Germany Bartok Archives, Budapest, Hungary Bratislava University, Bratislava, Czechoslovakia Cambridge University, Cambridge, England Christian-Albrechts University, Kiel, Germany Georg-August University, G6ttingen, Germany Hebrew University, Jerusalem, Israel Humboldt University, Berlin, Germany Johann Wolfgang Goethe University, Frankfurt, Germany Johannes Gutenberg University, Mainz, Germany Karl-Franzens University, Graz, Austria Karl Marx University, Leipzig, Germany Karlova University, Prague, Czechoslovakia Leopold-Franzens University, Innsbruck, Austria Ludwig-Maximilians University, Munich, Germany Martin Luther University, Halle-Wittenberg, Germany Oxford University, Oxford, England Phillips University, Marburg, Germany Queens University, Department of Extra-Mural Studies, Belfast, Ireland State University of Utrecht, Utrecht, Holland Svenskt Music History Archives, Stockholm, Sweden University College, Dublin, Ireland University of Birmingham, Birmingham, England University of Copenhagen, Copenhagen, Denmark University of Glasgow, Glasgow, Scotland University of Hamburg, Hamburg, Germany University of Hull, Yorkshire, England University of Liege, Liege, Belgium University of Ljubljana, Ljubljana, Yugoslavia University of London, London, England University of Otago, Dunedin, New Zealand University of Paris, Paris, France University of Paris, Paris, France University of Southampton, Southampton, England University of the Saarland, Saarbriicken, Germany University of Turin, Turin, Italy University of York, English Department, York, England University of Zurich, ZUrich, Switzerland Uppsala University, Uppsala, Sweden Westfalische Wilhelms University, Munster, Germany Communications to the corresponding editors should be addressed care of the music department of the university unless otherwise noted. keywords: college; editors; england; germany; mrs; music; n.y; new; new york; state; university; york cache: currentmusicology-3718.pdf plain text: currentmusicology-3718.txt item: #72 of 583 id: currentmusicology-3719 author: Dart, Thurston title: Current Musicology's Project on Musicological Method: Some Comments date: 2019 words: 2474 flesch: 64 summary: There seems little or no contact between musicology, as it is taught in American universities, and professional music, as it is heard in concert or community hall, or opera house, or television studio, or radio program. Music criticism: does not this begin with writing reviews of composing methods, scores, performances, books, tele- vision spectaculars, of our own time? keywords: composer; music; musicology; performance; problems; time cache: currentmusicology-3719.pdf plain text: currentmusicology-3719.txt item: #73 of 583 id: currentmusicology-3720 author: Correll, Linda E. title: Structural Revisions in the String Quartets: Opus 41 of Robert Schumann date: 2019 words: 3389 flesch: 68 summary: The manuscript material drawn upon constitutes two sets of Schumann autographs-the sketches1 and the fair copy.2 However, the quartets appear to be the subject of several entries in Schumann's Haushaltbilcher,3 and it is probable that a set of preliminary sketches also exists.4 Schumann wrote the Op. Structural revisions in the String Quartets Opus 4I of Robert Schumann Linda E. Correll The study of sketches affords many insights into the compositional process. keywords: bars; major; movement; schumann; sketches cache: currentmusicology-3720.pdf plain text: currentmusicology-3720.txt item: #74 of 583 id: currentmusicology-3721 author: Shapiro, Michael title: Music and Song in Plays Acted by Children's Companies during the English Renaissance date: 2019 words: 6674 flesch: 66 summary: In addition to the earlier studies of Naylor, Noble, and Cowling, we are now fortunate to have John H. Long's and Frederick Sternfeld's more specialized studies of the uses of music and song in the comedies and tragedies respectively, Peter Seng's useful compendium of information on the songs, and John Cutts's edition of songs used in the later plays. Cutts and Andrew J. Sabol have unearthed several settings for songs from plays acted by children's troupes, and W. R. Bowden in The English Dramatic Lyric: 1603-1641 has investigated the use of song in plays acted in both pub- lic and private theaters by both adult and boy companies. keywords: adult; children; companies; music; paul; plays; press; shakespeare; song; troupes; university; use; vol cache: currentmusicology-3721.pdf plain text: currentmusicology-3721.txt item: #75 of 583 id: currentmusicology-3722 author: Hudson, Frederick title: Bach's Wedding Music date: 2019 words: 5315 flesch: 64 summary: Schweitzer4 suggests that BWV 97, In allen meinen Taten, and BWV 100, Was Gott tut, das ist wohlgetan, were used as wedding cantatas, while Schering 5 adds as possibilities BWV 9, Es ist das Heil uns kommen her, BWV 93, Wer nur den lieben Gott lasst walten, BWV 99 or 100, Was Gott tut, das ist wohlgetan, and BWV Ill, Was mein Gott will, das g'scheh allzeit. As St. Thomas' and St. Nicholas' were used equally, sharing the cantata choir and orchestra on alternate Sundays, we may speculate that as many wedding cantatas were performed in the latter as in the former. keywords: bach; bwv; cantata; der; leipzig; libretto; movements; original; parts; score; thomas; wedding cache: currentmusicology-3722.pdf plain text: currentmusicology-3722.txt item: #76 of 583 id: currentmusicology-3723 author: Harran, Don title: Musical Research in Israel: Its History, Resources, and Institutions date: 2019 words: 3926 flesch: 43 summary: 120 Kestenberg, as far-sighted in his own right as was his teacher Busoni, geared his reform to encompass both the past with its 2,OOO-year-old history of Jewish music and the present with its colorful ethnic practices. The history of Jewish music from the 16th century on has been explored along the following lines of investigation: later developments in the various synagogal traditions; the division of the Ashkenazic line into an eastern and a western European branch; the incorporation of melodically fixed chants=- drawing no little sustenance from the style and content of Gentile music-into the synagogue service (e.g., Kol Nidre, Ma-oz Tsur, Adonai Melech, etc.); the paths of assimilation to or alienation from European art traditions in the synagogal music of western Europe; the institution of reform movements in the same; the popular religious songs (niggunim) of the Hassidim; the zmirot or table chants employed for the singing of grace; art music in the Jewish communities of the Diaspora; the life and works of the internationally- famed Jewish composers of the 19th and 20th centuries (e.g., from Mendels- sohn to Schonberg) ; and art music and its composers in Israel from the time of the first waves of immigration to the founding of the State (1948) and down to the present. keywords: bach; berlin; center; hebrew; history; israel; jerusalem; materials; music; research cache: currentmusicology-3723.pdf plain text: currentmusicology-3723.txt item: #77 of 583 id: currentmusicology-3724 author: Marshall, Robert L. title: Richard Carroll Davis: Self Parody among the Cantatas of Johann Sebastian Bach date: 2019 words: 2983 flesch: 51 summary: Robert L. Marshall Scholars have been fascinated by J. S. Bach's practice of parody almost from the very beginnings of Bach scholarship. But if, for the moment, we share Mr. Davis' assumption that a parody often represented a considerable creative effort, then it puzzles one how often parody compositions are deemed by him to be of inferior quality, or how poor declamation can be put forth as a criterion for establishing that a work is a parody. keywords: bach; bwv; davis; dissertation; parodies; parody; works cache: currentmusicology-3724.pdf plain text: currentmusicology-3724.txt item: #78 of 583 id: currentmusicology-3773 author: Zaslaw, Neal title: Front Matter date: 2019 words: 849 flesch: 0 summary: ADVISOR: Ernest Sanders Copyright © 1969, Department of Music Columbia University, New York Printed in Great Britain CORRESPONDING EDITORS Domestic Raymond, Kelton . Mrs. Ellen T. Winter Harlan D. McConnell David Leese William B. Pepper Robert D. Oursler Lee Patrick Thomas Stoner Warren Spaeth Sterling E. Murray Charles G. Boody Dan Broucek Don Gillespie Vicki Sue Carlson Peter Bloom Norris L. Stephens Priscilla M. Drucker George S. James, III Zenoby Lawryshyn Jean M. Walkinshaw Bellamy Hosler Bostf?n University, Boston, Mass. Brandeis' University, Waltham, Mass . keywords: calif; california; college; england; germany; mrs; n.y; new; university; york cache: currentmusicology-3773.pdf plain text: currentmusicology-3773.txt item: #79 of 583 id: currentmusicology-3791 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 1355 flesch: 54 summary: I University of Laramie, Wyo. Washington,University, St. Louis, Mo. Yale UniverSity, New Haven, Conn. Albert-Ludwig University, Freiburg, Germany Bartok Archives, Budapest, Hungary Bratislava University, Bratislava, Czechoslovakia Cambridge University, Cambridge, England Christian-Albrechts University, Kiel, Germany Georg-August University, Gottingen, Germany Hebrew University, Jerusalem, Israel Humboldt University, Berlin, Germany Johann Wolfgang Goethe University, Frankfurt, Germany Johannes Gutenberg University, Mainz, Germany Karl-Franzens University, Graz, Austria Karl Marx University, Leipzig, Germany Karlova University, Prague, Czechoslovakia Leopold-Franzens University, Innsbruck, Austria Martin Luther University, Halle-Wittenberg, Germany Oxford University, Oxford, England - Phillips University, Marburg, Germany Queens University, Department of Extra-Mural Studies, Belfast, Ireland State University of Utrecht, Utrecht, Holland Svenskt Music History Archives, Stockholm, Sweden University College, Dublin, Ireland University of Birmingham, Birmingham, England University of Copenhagen, Copenhagen, Denmark University of Glasgow, Glasgow, Scotland University of Hamburg, Hamburg, Germany University of Hull, Yorkshire, England University of Liege, Liege, Belgium University of Ljubljana, Ljubljana, Yugoslavia University of London, London, England University of Otago, Dunedin, New Zealand University of Paris, Paris, France University of Paris, Paris, France University of Southampton, Southampton, England University of the Saarland, Saarbrucken, Germany University of Turin, Italy . . Virginia Papper FACULTY ADVISOR: Denis Stevens Copyright © 1969, Department of Music Columbia University, New York Printed in Great Britain '7 fll!lfrld .. kl,.'1 $rDWh. keywords: assistant; associate; century; college; editor; germany; music; n.y; new; university; york cache: currentmusicology-3791.pdf plain text: currentmusicology-3791.txt item: #80 of 583 id: currentmusicology-3792 author: Abraham, Gerald title: 18th-Century Music and the Problems of its History date: 2019 words: 1228 flesch: 52 summary: It was Riemann's discovery of the Mannheimers, followed some years later by Guido Adler's discovery of the Viennese symphonists, which first obliged thinking musicians to recognize that the Baroque wave exhausted itself by mid-century, that a new wave-of Rococo or senti- mentality, two aspects of the same style-was all the while forming itself to mount and break in turn. Of course all 18th-century :church music, like that of other centuries, must be explained in terms of religion itself-in the Protestant field alone, in terms of German pietism, Anglican latitudinarianism, and Anglo-American non- conformist enthusiasm. keywords: century; history; music cache: currentmusicology-3792.pdf plain text: currentmusicology-3792.txt item: #81 of 583 id: currentmusicology-3793 author: Blume, Friedrich title: Musicology in German Universities date: 2019 words: 4891 flesch: 56 summary: that in the German universities, where practical music was just loosely installed, musicology almost superseded and thwarted music, whereas in the American universities, where music teaching is deep-rooted, the intro- duction of the new sphere of musical scholarship at first led to its falling out with the older citizens of the realm. Thus, traditional fields of study such as harmony, counter- 60 point, music history would fall under the term musicology.· keywords: american; german; history; music; musicology; professor; teaching; theory; time; und; universities; university cache: currentmusicology-3793.pdf plain text: currentmusicology-3793.txt item: #82 of 583 id: currentmusicology-3794 author: Cooper, Kenneth title: Il Teatro Alla Moda, or A Safe and Easy Method of Producing Baroque Operas According to Modern Practice date: 2019 words: 3136 flesch: 56 summary: Handel's Susanna is especially rich in this particular subtlety of characterization, but many operas contain these elements inherently if one is sensitive to them. It teatro alta or A Sofe and Easy Method oj Producing Baroque Operas According to Modern Practice Kenneth Cooper It has often been maintained that Baroque opera (whatever that catch-all term may include) is dramatically dull, literarily inane, socially ridiculous, and musically uneven, if not stagnant. keywords: baroque; character; handel; music; opera; susanna cache: currentmusicology-3794.pdf plain text: currentmusicology-3794.txt item: #83 of 583 id: currentmusicology-3795 author: Dean, Winton title: Handel and Kaiser: Further Borrowings date: 2019 words: 1724 flesch: 75 summary: The greater richness of Handel's aria in invention and development emerges with the introduction of contrasted material (and su btler harmony) in the second half of the ritornello, and still more in the aria itself, a superb delineation of Po lines so's envious and vicious character. Handel and Keiser: Further Borrowings Winton Dean Reinhard Keiser's opera Die riimische Unruhe, oder Die edel- miithige Octavia, produced at Hamburg on August 5, 1705, has long been known as a source of Handel borrowings. keywords: act; aria; handel; keiser cache: currentmusicology-3795.pdf plain text: currentmusicology-3795.txt item: #84 of 583 id: currentmusicology-3796 author: Duckles, Vincent title: Thoughts on Writing a Comprehensive History of 18th-Century Music date: 2019 words: 980 flesch: 54 summary: Centuries come and go, and can be measured from any arbitrarily selected date in the calendar. One can applaud Larsen's suggestion that the proper study of the music historian is music, and at the same time insist that, as far as the 18th century is concerned, the ideas that lie behind the music are of great importance. keywords: century; historian; music cache: currentmusicology-3796.pdf plain text: currentmusicology-3796.txt item: #85 of 583 id: currentmusicology-3797 author: Fellows, Otis title: Paul Henry Lang: An Enlightened Critic of the French Enlightenment date: 2019 words: 1294 flesch: 50 summary: Music is now viewed or conceived as a rational discipline with melody as its essence, and Leibnitz's definition is called to mind that music is a hidden mathematical exercise of the spirit unaware of its counting while making music. Professor Lang reminds us that Diderot arrived reasonably late at the conclusion that music is the most violent of all the arts. keywords: enlightenment; lang; music cache: currentmusicology-3797.pdf plain text: currentmusicology-3797.txt item: #86 of 583 id: currentmusicology-3798 author: Grout, Donald Jay title: Some Desiderata and Goals for the Study of 18th-Century Italian Opera date: 2019 words: 1227 flesch: 61 summary: Until such editions are available for at least a few composers beyond Handel, Gluck, and Mozart, we shall be in the position that, whatever general statements we may make about the history of Italian opera in this period, it will be almost literally the case that we don't know what we are talking about. Nevertheless, I shall list them, in the hope that someone who wants to earn the everlasting gratitude of his contemporary and future colleagues in the field of opera history may be moved to undertake one or another, or part of one or another, of the following publications: . keywords: catalogue; century; opera cache: currentmusicology-3798.pdf plain text: currentmusicology-3798.txt item: #87 of 583 id: currentmusicology-3800 author: Heartz, Daniel title: Approaching a History of 18th-Century Music date: 2019 words: 1567 flesch: 62 summary: In his recently published Musical Form and Musical Performance Edward T. Cone compares his tour of musical styles to a walk through a museum. Moreover, it would be necessary, when seeking helpful parallels in other arts, to rely not upon the stratifications of fifty years ago, but upon the latest thinking and upon an international spectrum of it. keywords: bach; century; handel; music cache: currentmusicology-3800.pdf plain text: currentmusicology-3800.txt item: #88 of 583 id: currentmusicology-3801 author: Kenton, Egon title: The Music of the 18th Century: A Retrospective View date: 2019 words: 3198 flesch: 53 summary: In quick succession there appeared program music, descriptive music, realistic and impressionistic music, primitive and futuristic musiC. Over- One aspect of the complexity of Western music is this constant interaction, which must be recognized by the critic before he can form a judgment. keywords: art; century; civilization; history; judgment; music; value cache: currentmusicology-3801.pdf plain text: currentmusicology-3801.txt item: #89 of 583 id: currentmusicology-3802 author: Larsen, Jens Peter title: The Viennese Classical School: A Challenge to Musicology date: 2019 words: 3004 flesch: 57 summary: It might be possible, through some sort of copying procedure (microfilm, microfiche, Xerox, or the like) to organize the distribution of copies to a certain number of leading music collections in the various countries. Musical analysis Compared to the work on source problems, which has really 108 made wonderful progress in the years since the last war, the studies in style problems have not been very conspicuous or revo,. keywords: development; form; haydn; music; period; style cache: currentmusicology-3802.pdf plain text: currentmusicology-3802.txt item: #90 of 583 id: currentmusicology-3803 author: LaRue, Jan title: The Mapping of Musical Classicism, a Little-known and Dangerous Period date: 2019 words: 1556 flesch: 46 summary: Typical of many problems in Classi- cism, the material grows and grows; still worse, some ofit changes like a chameleon: scarcely a week passes that does not produce a fresh problem in attribution. He should begin by producing a cogent theory of what musical Classicism means and how this central idea pervades the various forms of musical expression in the later 18th century. keywords: classicism; source; specialist cache: currentmusicology-3803.pdf plain text: currentmusicology-3803.txt item: #91 of 583 id: currentmusicology-3805 author: Maniates, Maria Rika title: Sonate, Que Me Veux-Tu?: The Enigma of French Musical Aesthetics in the 18th Century date: 2019 words: 9268 flesch: 59 summary: This rather harsh evaluation of instrumental music is typical of l26 the period. Batteux implies, as does Lacombe, that melody or song is superior to instrumental music which possesses only une demie-vie et keywords: aesthetics; arts; boye; century; chabanon; des; emotion; expression; ibid; imitation; language; les; music; musical; musique; nature; paris; passions; qui; rousseau; song; sur; theory; words cache: currentmusicology-3805.pdf plain text: currentmusicology-3805.txt item: #92 of 583 id: currentmusicology-3806 author: Mann, Alfred title: Artist and Teacher date: 2019 words: 1730 flesch: 60 summary: An intensification of the thorough-bass fabric through use of 143 imitation is suggested in the earliest examples, and a later systematic exposition of the technique of imitation and fugue, in turn, presents the unmistakable appearance of a continuation of examples for bass realization. Artist and Teacher Alfred Mann In his imaginative review of Paul Henry Lang's Handel biography (The New 'York Times, September 25, 1966), Gerald Abrahain noted an interesting point of comparison between Handel's career and the author's own: they settled in the countries of their choice at exactly the same age. keywords: bass; examples; handel cache: currentmusicology-3806.pdf plain text: currentmusicology-3806.txt item: #93 of 583 id: currentmusicology-3807 author: Mitchell, William J. title: Giuseppe Sarti and Mozart's Quartet, K. 421 date: 2019 words: 2076 flesch: 69 summary: Should the embellishing D of bars 43-45 have been written as and the entire section, bars 42-45, notated as a D# major chord moving eventually to the aug- mented sixth chord of bar 45? When this is done, it becomes apparent that, whatever significance might be accorded the E [, chord of bar 42, the inclusive plan is the connecting of the mediant chord, previously established as F major, and the A minor-major chord of bars 50 (A minor) to 66 (A major) as in Example 1. keywords: bars; chord; example; sarti cache: currentmusicology-3807.pdf plain text: currentmusicology-3807.txt item: #94 of 583 id: currentmusicology-3808 author: Ratner, Leonard G. title: Approaches to Musical Historiography of the 18th Century date: 2019 words: 1358 flesch: 53 summary: Basic organizing and motivating forces in 18th-century music (and in music of other periods) are sought for, to explain how the subconscious or subliminal expresses itself outwardly. A history of 18th-century music that co-ordinated intensive treatment of all of these facets in proper balance would be a gigantic undertaking, not only because of the 155 immense amount of data involved, but also because many uncertainties exist regarding the arrangement of historical perspectives. keywords: century; history; music cache: currentmusicology-3808.pdf plain text: currentmusicology-3808.txt item: #95 of 583 id: currentmusicology-3809 author: Ringer, Alexander L. title: Mozart and the Josephine Era: Some Socio-Economic Notes on Musical Change date: 2019 words: 3197 flesch: 44 summary: And it was Mozart who, not unlike Beethoven and Schoenberg after him, deeply affected the shape of things human in his time through artistic deeds symbolic aesthetically of the very spirit that animated the far-reaching reforms of Emperor Joseph II and the concomitant changes in the socio- economic foundations of Austrian society. Mozart, on the other hand, who astonished all Europe by his premature talents during infancy, is treated summarily injust three lines, less than half the number devoted to Kozeluch.2 In the nearly 200 years that have elapsed since Burney's dicta were first published much has been said about the stylistic changes that occurred in European music during the lifetimes of Haydn and Mozart. keywords: 18th; century; emperor; haydn; joseph; luxury; mozart; music; new cache: currentmusicology-3809.pdf plain text: currentmusicology-3809.txt item: #96 of 583 id: currentmusicology-3811 author: Stevens, Denis title: Utrecht: Class of '52 date: 2019 words: 1116 flesch: 53 summary: elegance of style were virtues fre- quently lacking in musicological matter; and that sheer weight of learning and bulk of research needed to call on those virtues for support and sustenance, rather than reject them out of hand. Another paper, delivered in heavily-measured, polysyllabic pseudo-English of a type now familiar from doctoral dissertations, left little more than an abstract impression in spite of the fact that the author-reader clearly thought of himself as some latter- day Moses propounding musicological law. keywords: meeting; society; utrecht cache: currentmusicology-3811.pdf plain text: currentmusicology-3811.txt item: #97 of 583 id: currentmusicology-3812 author: Westrup, J. A. title: Aspects of the 18th Century date: 2019 words: 1857 flesch: 68 summary: Burney's opinions are well known: Sebastian Bach .. Sebastian Bach is said, by Mr. Marpurg, to be many great musicians in one: profound in science, fertile in fancy and in taste easy and natural. keywords: bach; century; handel; music cache: currentmusicology-3812.pdf plain text: currentmusicology-3812.txt item: #98 of 583 id: currentmusicology-3821 author: Wiora, Walter; Weiss, Piero title: Bach's Place in the World-view of the Goethe Era date: 2019 words: 1869 flesch: 68 summary: Diese Grundlichkeit ist mit der Grundlichkeit religioser Musik bei Bach verwandt. Man muB nicht Goethe und sein Zeitalter uberspringen, urn Bach zu verstehen. keywords: bach; goethe; hegel; music; works; world cache: currentmusicology-3821.pdf plain text: currentmusicology-3821.txt item: #99 of 583 id: currentmusicology-3823 author: Zaslaw, Neal title: Handel and Leclair date: 2019 words: 2776 flesch: 58 summary: Beziehung •.•. Marpurg stellte Leclair in seinem Traite de laFugue auf eine Stufe mit In such a state of Handel- consciousness, this writer, beginning work on a dissertation on Jean-Marie Leclair l'aine, was intrigued by statements in the literature on Leclair which linked the latter's style to Handel's. keywords: august; french; handel; leclair; london; music; paris; year cache: currentmusicology-3823.pdf plain text: currentmusicology-3823.txt item: #100 of 583 id: currentmusicology-3824 author: Karp, Theodore title: Finn Mathiassen - The Style of the Early Motet (An Investigation of the Old Corpus of the Montpellier Manuscript) date: 2019 words: 2413 flesch: 55 summary: At no point does the author indicate the extent to which these unica are stylistic- ally similar or different from remaining motets preserved in other polyphonic sources, even though his use of unica as examples often seems to raise the question. In a penetrating study of the motets preserved in the Notre Dame MSS, Hans Tischler found that among motets 194 employing different modal patterns for tenor statements, changes from faster to slower rhythms are about as numerous as changes in the opposite direction. keywords: author; motet; study; voice cache: currentmusicology-3824.pdf plain text: currentmusicology-3824.txt item: #101 of 583 id: currentmusicology-3825 author: Smith, Chester Fanning title: Leon Crickmore-C.P.E. Bach: Six Harpsichord Concertos [Wq. 43i], Jane R. Steveris-The Keyboard Concertos of Carl Phillipp Emanuel Bach date: 2019 words: 1439 flesch: 61 summary: Frequently Bach, like Haydn, modulates by bringing the music toa temporary pause and simply starting in the new key. To what extent, then, is C. P. E. Bach, whose father was his only teacher of composi- tion, influenced by the Baroque concerto? keywords: bach; concerto; form cache: currentmusicology-3825.pdf plain text: currentmusicology-3825.txt item: #102 of 583 id: currentmusicology-3827 author: DeVoto, Mark title: Laurence David Berman- The Evolution of Tonal Thinking in the Works of Claude Debussy date: 2019 words: 4350 flesch: 45 summary: From here Dr. Berman proceeds to a microscopic dissection of Le balcon (No.1, though not the first composed, of Debussy's five Baudelaire Dr. Berman points out that the Wagnerian songs in the Baudelaire group, compared with the Ariettes oublices of about the same time, are some- thing of an isolated phenomenon; nevertheless, it cannot be ignored that this encounter with [Wagner's] chromaticism produced Debussy's first mature works. keywords: berman; century; chapter; chord; debussy; degree; harmonic; music; scale cache: currentmusicology-3827.pdf plain text: currentmusicology-3827.txt item: #103 of 583 id: currentmusicology-3828 author: Maddrell, J. E. title: Ernest H. Sanders-Medieval English Polyphony and its Significance for the Continent date: 2019 words: 3127 flesch: 44 summary: Sometimes Dr. Sanders permits himself an aside: It is ext,raordinary how the field of English medieval music particularly is littered with the fractured bones of theorists, who, for the sake of a theory, are presumed to be of limited competence (p. 314,f.n.). J. E. Maddrell The amount of scholarly work on medieval English music published since the 1920's is quite daunting inits sheer bulk, and production in post-war years has increased to such an extent that one can hardly call the subject neglected. keywords: chapter; dissertation; medieval; music; sanders cache: currentmusicology-3828.pdf plain text: currentmusicology-3828.txt item: #104 of 583 id: currentmusicology-3829 author: Wiora, Walter title: Zur Stellung Bachs im Weltbild der Goethezeit date: 2019 words: 2027 flesch: 69 summary: und Hegel von seiner groBartigen ... Genialitat.7) Athanasius Kircher sprach von der harmonia nascientis mundi; Gott habe die Welt als eine monumentale· Weltorgel geschaffen.21 ) Goethe hat keywords: als; auf; bach; das; den; der; die; goethe; hat; mit; musik; nicht; sich; und; von cache: currentmusicology-3829.pdf plain text: currentmusicology-3829.txt item: #105 of 583 id: currentmusicology-3876 author: Zaslaw, Neal title: Table of Contents and Masthead date: 2019 words: 1066 flesch: 50 summary: University, Providence, R.I. Bryn Mawr College, Bryn Mawr, Pa. Carnegie-Mellon University, Pittsburgh, Pa. University of Toronto, Toronto, Ontario, Canada University of Washington, Seattle, Wash. University of Western Ontario, London, Ontario, Canada University of Wisconsin, Madison, Wisc. keywords: california; editors; england; germany; music; n.y; new; state; university; york cache: currentmusicology-3876.pdf plain text: currentmusicology-3876.txt item: #106 of 583 id: currentmusicology-3877 author: Maddrell, J. E. title: Mensura and the Rhythm of Medieval Monodic Song date: 2019 words: 2811 flesch: 57 summary: Gregorian chant is still a living force among us, but what of the vast body of non-liturgical song? fIe has merely to enumerate the various scholarly theories, add some comment, and present the would-be transcriber with a choice between several forms of modal rhythm on one hand, and free rhythm on the other. keywords: grocheo; medieval; mensura; music; non; rhythm; songs cache: currentmusicology-3877.pdf plain text: currentmusicology-3877.txt item: #107 of 583 id: currentmusicology-3878 author: Vanderwerf, Hendrik title: Concerning the Measurability of Medieval Music date: 2019 words: 2528 flesch: 51 summary: They are specific and clear when discussing measurability in modal or mensural notation and in Latin poetry based upon classical quantitative verse feet, but they are vague, circuitous, or even incomprehensible when discussing duration in plainchant and other monophonic music, as well as in polyphonic music predating modal and mensural notation. I am very much intrigued with Maddrell's evaluations of some of the medieval statements in relation to rhythm and meter in medieval music, but 69 keywords: grocheo; maddrell; music; rhythm; treatises cache: currentmusicology-3878.pdf plain text: currentmusicology-3878.txt item: #108 of 583 id: currentmusicology-3880 author: Horwath, Michael title: Tebaldini, Gnecchi, and Strauss date: 2019 words: 4261 flesch: 70 summary: It is known that Gnecchi sent Richard Strauss a score of Cassandra from Turin. Elektra was completed on September 22, 1908, in Garmisch, and received its first performance in Dresden on January 25, 1909; therefore Gnecchi's opera is without a doubt older than that of Richard Strauss. keywords: cassandra; elektra; example; gnecchi; music; nos; opera; richard; strauss; tebaldini; volte; work cache: currentmusicology-3880.pdf plain text: currentmusicology-3880.txt item: #109 of 583 id: currentmusicology-3881 author: Schawran, Henrietta title: Edward Leon Kottick: The Music of the Chansonnier Cordiforme, Paris, Bibliotheque Nationale Rothschild 2973 date: 2019 words: 4795 flesch: 66 summary: In his all-too-brief discussion of pieces in Cordiforme that parody or para- phrase other songs, Kottick fails to note obvious similarities between the melodies of Chiara fontana (No.5) and J'ay pris amours (No. 18), particularly their identical openings. As a matter of fact, other songs in Cordiforme are likewise set to poems attributed to Giustiniani in contemporary literary sources or in modern literary writings: keywords: cordiforme; italian; kottick; music; par; songs; sources; style; text; version cache: currentmusicology-3881.pdf plain text: currentmusicology-3881.txt item: #110 of 583 id: currentmusicology-3884 author: Crawford, David E. title: Thomas Lee Noblitt: The Motetti Missales of the Late 15th Century date: 2019 words: 3447 flesch: 65 summary: Then Lowinsky goes even further, proposing that the 'substitution Masses' contained in the Gafori codices are simply motet cycles adapted by Gafori loco missae to suit his own taste and preference. Therefore, the motetti missales are of special interest, for here are several motet cycles which were used as substitutions at Mass. Chapter I lists the contents of the cycles, their manuscript sources, and concordances. keywords: compere; cycles; elevation; missales; motet; motetti; noblitt; texts cache: currentmusicology-3884.pdf plain text: currentmusicology-3884.txt item: #111 of 583 id: currentmusicology-3886 author: Suttoni, Charles title: Eddie Covington Bass: Thematic Procedures in the Symphonies of Berloiz date: 2019 words: 903 flesch: 48 summary: The heart of the dissertation consists of separate analyses of Berlioz's initial statement of themes and his later development of them. Eddie Covington Bass's Thematic Procedures in the Symphonies of Berlioz is a welcome sign of growing interest in the music, and though its analytical approach is too limited to provide a truly satisfactory account of Berlioz's thematic structure, it does offer a thoroughly documented study of one method of constructing a melody. keywords: bass; berlioz cache: currentmusicology-3886.pdf plain text: currentmusicology-3886.txt item: #112 of 583 id: currentmusicology-3888 author: Kaufman, Charles H. title: Marvin C. Genuchi: The Life and Music of Jacob French (1754-1817), Colonial American Composer. Volume I: Background, Biography, Style Study. Volume II: Music Supplement of Anthems, Psalm Tunes, and Hymn Tunes date: 2019 words: 2546 flesch: 61 summary: French, as a musician and as a man, appears to have existed in a cultural Should Dr. Genuchi consider revision of his text for publication, he would do well to provide a historical framework for French's life similar to the one he provided for French's music in Chapter I. Chapter III presents the General Characteristics of the Anthems, Psalm Tunes, and Hymn Tunes of Jacob French. Dr. Genuchi tells us that French's first composition ... was written for the 1783 publication of Oliver Brownson's Select Harmony (p. 44). keywords: french; genuchi; melody; music cache: currentmusicology-3888.pdf plain text: currentmusicology-3888.txt item: #113 of 583 id: currentmusicology-4034 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 591 flesch: -25 summary: Peste IIi Hans Conradin Ake Berglund M. Witte Ivo Supicic University of Washington, Seattle, Wash. University of Western Ontario, London, Ontario, Canada University of Wisconsin, Madison, Wise. University of Wyoming, Laramie, Wyo. Washington University, St. Louis, Mo. West Virginia University, .l\10rgantown, W. Va. Yale University, New Haven, Conn. Albert-Ludwig University, Freiburg, Germany Bartok Archives, Budapest, Hungary Bratislava University, Bratislava, Czechoslovakia Brussels, Belgium Cambridge University, Cambridge, England Christian-Albrechts University, Kiel, Germany Georg-August University, Giittingen, Germany Hebrew University, Jerusalem, Israel Humboldt University, Berlin, Germany Johann Wolfgang Goethe University, Frankfurt, Germany Johannes Gutenberg University, Mainz, Germany Karl-Franzens University, Graz, Austria Karl Marx University, Leipzig, Germany Karlova University, Prague, Czechoslovakia Leopold-Franzens University, Innsbruck, Austria Martin Luther University, Halle-Wittenberg, Germany Oxford University, Oxford, England Phillips University, Marburg, Germany Queens University, Department of Extra-Mural Studies, Belfast, Ireland State University of Utrecht, Utrecht, Holland Svenskt Music History Archives, Stockholm, Sweden University College, Dublin, Ireland University of Birmingham, Birmingham, England University of Copenhagen, Copenhagen, Denmark University of Glasgow, Glasgow, Scotland University of Hamburg, Hamburg, Germany University of Hull, Yorkshire, England University of Liege, Liege, Belgium University of Ljubljana, Ljubljana, Yugoslavia University of London, London, England University of Otago, Dunedin, New Zealand University of Paris, Paris, France University of Southampton, Southampton, England University of the Saarland, Saarbrucken, Germany University of Turin, Turin, Italy University of Zurich, Zurich, Switzerland Uppsala University, Uppsala, Sweden Westfiilische Wilhelms University, Munster, Germany Institute of Musicology, Zagreb, Yugoslavia Communications to the corresponding editors should be addressed care of the music department of the university unless otherwise noted. Foreign Paul Marks Murray Charters Paul D. Ledvina Edgar J. Lewis Robert J. Nicolosi Andre P. Larson Janet Schmalfeldt Karl-Werner Gumpel Laszl6 Somfai Ladislav Burlas Georges Franck Alan Brown Anna Amalie Abert Reinhard Gerlach Don Harran Reiner Kluge Winfried Kirsch Hubert Unverricht Othmar Wessely Eberhard Klemm Mrs. Olga Mikl6ssy Rita Egger Bernd Baselt J. D. Bergsagel Horst Heussner John C. G. Waterhouse Willem Elders Axel Helmer Se6irse Bodley Josephine M. Mason Niels Martin Jensen Michael keywords: england; germany; music; new; university cache: currentmusicology-4034.pdf plain text: currentmusicology-4034.txt item: #114 of 583 id: currentmusicology-4035 author: Spratt, John F. title: The Speculative Content of Schoenberg's "Harmonielehre" date: 2019 words: 2694 flesch: 54 summary: May we not say that Schoenberg's preoccupation with musical law is another commentary upon Plato? Schoenberg's reverence for natural law is not shared by all philosophers of science. keywords: culture; law; nature; schoenberg; system cache: currentmusicology-4035.pdf plain text: currentmusicology-4035.txt item: #115 of 583 id: currentmusicology-4036 author: Maddrell, J. E. title: Grocheo and "The Measurability of Medieval Music": A Reply to Hendrik Vanderwerf date: 2019 words: 851 flesch: 53 summary: E. Maddrell The pleasure I had in discovering that Dr. Vanderwerf had found my article on Mensura (Current Musicology IO: 64-68) worth replying to was some- what diminished by the realization that he had not recognized its purpose. If by treatises about Musica Dr. Vanderwerf means philosophical treatises in the Boethian tradition of musica speculativa, treatises that were not concerned with practical music, then one can only marvel at the eccentricity of a view which would associate Grocheo, of all theorists, with the speculative tradition-Grocheo, whose avowed intention was to avoid speculative theory and concentrate on the music of Paris as performed in his own day! keywords: grocheo cache: currentmusicology-4036.pdf plain text: currentmusicology-4036.txt item: #116 of 583 id: currentmusicology-4037 author: Obelkevich, Mary Rowen title: The Growth of a Musical Idea-Beethoven's Opus 96 date: 2019 words: 5932 flesch: 70 summary: There are four main manuscript sources which contain Beethoven's progressive work on Opus 96-Beethoven Autograph Ms. 41 of the Gesell- schaft cler Musikfreunde, Vienna; the Petter sketchbook; Ms. 60 of the Conservatoire National, Paris, Collection Malherbe; and the autograph score of the sonata owned by the Pierpont Morgan Library of New York City,! The earliest of these documents, Ms. 41, contains a draft of the melody which Beethoven utilized as the theme of the Finale of Opus 96, as well as sketches for the Chorfantasie, Opus 80, and the beginning of the Goethe song, fXAMPU I .. ,;,- --. .. - . . . keywords: autograph; beethoven; der; movement; opus; score; sketches; sonata; version cache: currentmusicology-4037.pdf plain text: currentmusicology-4037.txt item: #117 of 583 id: currentmusicology-4038 author: Freeman, James D. title: Aubrey S. Garlington-The Concept of the Marvelous in French and German Opera date: 2019 words: 1899 flesch: 51 summary: His nearly complete abstinence from any discussion of Italian opera and its relationship to the North (Idomeneo and Don Giovanni are treated as ex- amples of Mozartean rather than Italian opera) is partly to be expected in a dissertation dealing specifically with France and Germany. Yet Italian opera was still flourishing in Paris, Vienna, Dresden, and Munich and was, thus, an influential part of the operatic scene in both French- and German-speak- ing countries. keywords: garlington; music; opera; sonata; stage; work cache: currentmusicology-4038.pdf plain text: currentmusicology-4038.txt item: #118 of 583 id: currentmusicology-4039 author: Warburton, Thomas title: Roger Jacques Kamien-The Opening Sonata-Allegro Movements in a Randomly Selected Sample of Solo Keyboard Sonatas Published in the Years 1742-1774 date: 2019 words: 1878 flesch: 54 summary: Thomas Warburton Roger Kamien has contributed a valuable service to musicology by showing how one might apply statistical methods to a study of sonata-allegro move- ments. Accompanied sonatas have been eliminated, as have sonatas by Domenico Scarlatti and works which originally appeared only in anthologies. keywords: dominant; kamien; sample; sonata; works cache: currentmusicology-4039.pdf plain text: currentmusicology-4039.txt item: #119 of 583 id: currentmusicology-4040 author: Proctor, Gregory title: Philip Friedheim-Tonality and Structure in the Early Works of Schoenberg date: 2019 words: 4342 flesch: 52 summary: Such devices are: motivic variation and transformation, and the combining of variously transformed motives into highly contrapuntal complexes; characteristic sonorities that give color to a work but do not represent a tonic in any classical sense; and harmonic devices, such as multiple interpretation of chords, including the variety of possible roots by supposition, enharmonic equivalents, and abbreviation of functional progressions by the omission of a typical chord, usually the dominant. 10, for which Friedheim refers to chords that represent momentary harmonic oasis within an atonal desert. keywords: chord; dissertation; friedheim; music; schoenberg; tonality; works cache: currentmusicology-4040.pdf plain text: currentmusicology-4040.txt item: #120 of 583 id: currentmusicology-4078 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 18 flesch: 17 summary: BIBLIOGRAPHICA ROBERT L. FOLSTEIN A Bibliography on Jacques Offenbach 129 Performance Practices Bibliography- Second Supplement 150 Contributors keywords: bibliographica cache: currentmusicology-4078.pdf plain text: currentmusicology-4078.txt item: #121 of 583 id: currentmusicology-4079 author: Friedland, Bea title: Some Reflections on Performance Practice, Musicology, and Aesthetics date: 2019 words: 3194 flesch: 37 summary: In view of this exceptional feature of music, the comparatively recent arrival of performance practice-AziffUhrungspraxis-as a specific research area in musicology is indeed surprising. A synoptic view emerged, consequently, not only of the broad range of current explorations into the history of performance practice, but also of the wide spectrum of theoretical and empirical approaches reflected by the participating lecturers. keywords: century; composer; music; musicology; new; performance; practice; research; today; york cache: currentmusicology-4079.pdf plain text: currentmusicology-4079.txt item: #122 of 583 id: currentmusicology-4080 author: Cantrell, Byron title: Three B's-Three Chaconnes date: 2019 words: 4226 flesch: 69 summary: Variations 41, 42, and 43 feature a dominant pedal (Example 3 provides a partial quotation of Variations 41 and 42), which resolves on a tonic pedal in Variation 44. The accented second beat of the old chaconne style is immediately abandoned after the first variation, but it reappears for Variations 5, and 9 through 15, and makes its final full appearance in Variation 31. keywords: bach; beethoven; brahms; chaconne; example; form; ostinato; variations cache: currentmusicology-4080.pdf plain text: currentmusicology-4080.txt item: #123 of 583 id: currentmusicology-4081 author: Zsako, Julius title: Bibliographical Sandtraps: The "Klavierschule," Pleyel or Dussek? date: 2019 words: 2167 flesch: 59 summary: Bibliographical Sandtraps: The Klavierschule, Pleyel or Dussek? This concerns entry number 816, Pleyel, Ignaz. Klavierschule, 3rd ed. keywords: dussek; edition; hoffmeister; klavierschule; leipzig; pleyel; und; work cache: currentmusicology-4081.pdf plain text: currentmusicology-4081.txt item: #124 of 583 id: currentmusicology-4082 author: Zinar, Ruth title: The Use of Greek Tragedy in the History of Opera date: 2019 words: 6872 flesch: 64 summary: In her study of the use of Alceste as subject matter in opera, Abert states that the Florentines would have thought it impossible to set a complete Greek drama to music.s It appears from Rinuccini's and Striggio's treatments of the Orpheus legend that one reason for the rejection of Greek tragedy as subject matter during a period in which the restoration of the ancient theater was an ideal was that Greek tragedies were, in fact, tragic. This article presents a survey of these changing preferences and prejudices as they pertain to the use of Greek tragedy as subject matter for opera,2 as well as a tentative chronological listing of the operas based on certain themes from Greek tragedy. keywords: alceste; aulide; aulide lfigenia; century; gluck; greek; lfigenia; matter; medea; music; new; oedipus; opera; subject; tragedies; tragedy cache: currentmusicology-4082.pdf plain text: currentmusicology-4082.txt item: #125 of 583 id: currentmusicology-4083 author: Chittum, Donald title: Some Observations on the Row Technique in Webern's Opus 25 date: 2019 words: 1850 flesch: 65 summary: In keeping with other rows used by Webern, it has an internal symmetrical organiza- tion'! This is followed by a statement of 12, which shares certain pitches of the 0 form. keywords: forms; row; song; webern cache: currentmusicology-4083.pdf plain text: currentmusicology-4083.txt item: #126 of 583 id: currentmusicology-4084 author: Murray, Sterling E. title: Earl McLain Owen, Jr.-The Life and Music of Supply Belcher (1751-1836), "Handel of Maine" Volume I: Text, xvii + 152 pp., Volume II: Musical Supplement, vi + 204 pp.: Volume I: Text, xvii + 152 pp., Volume II: Musical Supplement, vi + 204 pp. date: 2019 words: 3417 flesch: 50 summary: Dr. Owen dis- proves this statement, however, by providing in an appendix the membership list of that school, a list which does not include the name of Supply Belcher. Lack of primary biographical source material is a handicap, but, in spite of this limitation, Dr. Owen manages to reconstruct the chronological frame- work of Belcher's life and to paint a vivid picture of the composer's relation- ship to his family and his community. keywords: american; belcher; harmony; maine; music; owen cache: currentmusicology-4084.pdf plain text: currentmusicology-4084.txt item: #127 of 583 id: currentmusicology-4085 author: Roederer, Charlotte title: Terence William Bailey-The Ceremonies and Chants of the Processions of the Western Church: With Particular Attention to the Practice of the Cathedral Church of Salisbury date: 2019 words: 2298 flesch: 58 summary: 211-214 p.316 description of Sarum procedure, translation of some rubrics; transcription of Sarum special antiphons; footnote on relationship of Palm Sunday procession to practice of stational churches; form and constitution of the procession outside of Sarum; woodcut from Sarum processional of the Palm Sunday, Blessing of Branches. A more detailed examination of individual Sarum chants 111 would also have been interesting. keywords: bailey; processional; sarum; study cache: currentmusicology-4085.pdf plain text: currentmusicology-4085.txt item: #128 of 583 id: currentmusicology-4086 author: Hauptman, Fred title: Jay Weldon Wilkey-Certain Aspects of Form in the Vocal Music of Alban Berg date: 2019 words: 1900 flesch: 60 summary: Dr. Wilkey examines all of Berg's published music with voice, including Der Wein and the two operas. Dr. Wilkey hypothesizes that Berg was influenced instead by Franz Schrecker and refers to Berg's piano reduction of Schrecker's Der ferne Klang for Universal Edition, as well as the friendship of the two composers. keywords: berg; dissertation; wilkey cache: currentmusicology-4086.pdf plain text: currentmusicology-4086.txt item: #129 of 583 id: currentmusicology-4248 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 1105 flesch: 10 summary: Mary Ann Grigsby Richard Evidon Sue Vinks Hough Rosalie Schellhous Warren Spaeth Elizabeth Bartlet John H. Hajdu Anne Amerson Sister Bertha Fox Gordon S. Rowley George C. Foreman Lee Patrick Ramona H. Matthews Jack Crawford Sterling E. Murray Janice C. Teisberg Julia Anne Griffin & Dan Broucek Richard Benedum Frank Carey Norris L. Stephens Carol Lee Irwin Robert D. Lynch James Wheat Frederick A. Hall Paul F. Marks Boston University, Boston, Mass. Brandeis University, Waltham, Mass. Brown University, Providence, R.I. Bryn Mawr College, Bryn Mawr, Pa. Carnegie-Mellon University, Pittsburgh, Pa. Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Louisiana State University, Baton Rouge, La. Manhattan School of Music, New York, N.Y. McGill University, Montreal, Quebec, Canada Michigan State University, East Lansing, Mich. New York University, New York, N.Y. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. keywords: calif; california; city; college; editors; music; n.y; new; new york; state; university; york cache: currentmusicology-4248.pdf plain text: currentmusicology-4248.txt item: #130 of 583 id: currentmusicology-4250 author: Musicology, Current title: In Remembrance of Otto Deri (1911-1969) date: 2019 words: 12 flesch: 87 summary: In Remembrance of Otto Deri ( 1911- 1969) Photograph by Peter Vidor 24 keywords: remembrance cache: currentmusicology-4250.pdf plain text: currentmusicology-4250.txt item: #131 of 583 id: currentmusicology-4251 author: Shapiro, Jack M. title: A Memorial Tribute to Otto Deri date: 2019 words: 1318 flesch: 61 summary: A Memorial Tribute to Otto Deri Jack M. Shapiro Otto Deri would have been pleased with this issue of Current Musicology. Four different approaches to commemo- rate Otto Deri were suggested, each symbolizing a vital concern of his professional life. keywords: deri; friends; music; otto; students cache: currentmusicology-4251.pdf plain text: currentmusicology-4251.txt item: #132 of 583 id: currentmusicology-4252 author: Barnett, Elise Braun title: An Annotated Translation of Moriz Rosenthal's "Franz Liszt, Memories and Reflections" date: 2019 words: 4959 flesch: 67 summary: The peculiar autograph was passed on to Liszt, who wrote below the printed name of Rubinstein: et son admira- teur F. Liszt. He studied piano with Karol Mikuli from 1872 to 1874 in Lwow, with Rafael Joseffy from 1874 to 1876 in Vienna, and with Liszt from 1876 to 1878 in Vienna, Rome, and Weimar. keywords: brahms; chopin; composer; liszt; master; new; pianist; piano; rosenthal; time; weimar; york cache: currentmusicology-4252.pdf plain text: currentmusicology-4252.txt item: #133 of 583 id: currentmusicology-4253 author: Drabkin, William title: Some Relationships Between the Autographs of Beethoven's Sonata in C Minor, Opus 111 date: 2019 words: 4690 flesch: 61 summary: Some Relationships Between the Autographs if Beethoven's Sonata in C Minor, Opus 1111 William Drabkin The complete autograph of the Piano Sonata, Opus Ill, is one of the most accessible, in reproduction, of Beethoven's manuscripts. The most significant research on the autographs of Opus III is to be found in Heinrich Schenker's pioneering edition3 and in Hubert Unverricht's critical examination of the autographs, early editions, and correspondence between Beethoven and publishers of the sonata.4 The present essay offers another examination of the autographs, particularly with respect to striking notational similarities and differences.5 I shall first enumerate the sources for the sonata, then make some observations con- cerning the general relationship between the autographs, and finally discuss some textual problems arising from a comparison of the autographs, as well as the significance of such a comparison for the understanding of Beethoven's compositional and copying processes. keywords: autograph; beethoven; berlin; bonn; hand; movement; signature cache: currentmusicology-4253.pdf plain text: currentmusicology-4253.txt item: #134 of 583 id: currentmusicology-4255 author: Freundlich, Irwin title: Random Thoughts on the Preludes of Claude Debussy date: 2019 words: 3349 flesch: 59 summary: The fireworks on Bastille Day (alluded to by the evanescent quote of La Marseillaise at the conclusion of the piece) suggest to Debussy material that splutters or soars. As Deri said, the blurred impressionism in Debussy is by no means a result of confused thinking; rather, as we well know, it is the product of the most precise calculation in the control of musical materials. keywords: activity; debussy; example; motive; music; piece; prelude cache: currentmusicology-4255.pdf plain text: currentmusicology-4255.txt item: #135 of 583 id: currentmusicology-4256 author: Graziano, John title: Serial Procedures in Schoenburg's Opus 23 date: 2019 words: 1802 flesch: 77 summary: The three rows again move simultaneously, and pitches not connected with any of the rows are added only when Schoen- berg finds it absolutely necessary for his purposes. For example, pitch 10 of Row C (shown in parentheses in Ex. 5) is not directly stated as part of that row but rather as pitch 13 of keywords: pitches; row; rows cache: currentmusicology-4256.pdf plain text: currentmusicology-4256.txt item: #136 of 583 id: currentmusicology-4257 author: Lester, Joel title: Problems in the "Neue Bach Ausgabe" of the "E Major Partita for Violin Alone" date: 2019 words: 1288 flesch: 82 summary: Three principal sources were used in the preparation of the NBA edition: a Reinschrift score in Bach's hand (listed as source A), a copy in the hand of Anna Magdalena Bach (source B), and a third copy in an unknown hand (source C). To this end, editorial emendations are sometimes necessary to correct errors in autograph scores. keywords: autograph; slur; source cache: currentmusicology-4257.pdf plain text: currentmusicology-4257.txt item: #137 of 583 id: currentmusicology-4258 author: Persky, Stanley title: A Discussion of Compositional Choices in Webern's "Fünf Sätze für Streichquartett," Op. 5, First Movement date: 2019 words: 3145 flesch: 65 summary: Then the final three pitches of that melody are separated and imitated by all the instru- ments at major third intervals. Among the more common techniques representative of this period and found in this piece are: a formal plan of the 19th century mixed with ideas about variation from Debussy and early Schoenberg; the use of operations from geometry in order to preserve an intervallic succession while providing pitch differentiation; the exploration of pitch intersection between trans- posed collections. keywords: second; tetrachord; trichord cache: currentmusicology-4258.pdf plain text: currentmusicology-4258.txt item: #138 of 583 id: currentmusicology-4259 author: Rochberg, George title: Reflections on the Renewal of Music date: 2019 words: 3691 flesch: 55 summary: But in the mental space carved out by the historical loss of the actual practice of Greek drama there grew a myth of how it was; and out of the myth and the urge to resuscitate Greek tragedy, music renewed itself. The history of music leapfrogs its way across the centuries. keywords: art; history; human; man; music; new; time cache: currentmusicology-4259.pdf plain text: currentmusicology-4259.txt item: #139 of 583 id: currentmusicology-4260 author: Singer, André title: Kaleidoscope and Silly Putty: An Appositive Inquiry date: 2019 words: 3645 flesch: 54 summary: Whatever the degree of influence, however, we must keep in mind that the individual works of art and artifacts themselves are con- siderably richer in expressive meaning and import than any that Kaleido- scopic patterns or Silly Putty shapes might possess. Such symmetry is in- herent in the patterns of the Kaleidoscope and is also prominent (on several levels of organization) in literally thousands of musical compositions. keywords: form; kaleidoscope; music; patterns; putty; symmetry cache: currentmusicology-4260.pdf plain text: currentmusicology-4260.txt item: #140 of 583 id: currentmusicology-4262 author: Deri, Otto; Zaslaw, Neal title: Belá Bartók: A Portrait of His Personality Drawn from His Letters date: 2019 words: 6538 flesch: 69 summary: As this journal went to press, an English translation of Bartok's letters was published: Bela Bartok Letters, ed. The translations from Bartok's letters were made from two collections, where they may easily be located by date: Bartok Bela-Levelek, jel1ykepek, kriziratok, kottdk keywords: bartok; budapest; folk; hungarian; hungary; letters; mother; music; new; time; work; years cache: currentmusicology-4262.pdf plain text: currentmusicology-4262.txt item: #141 of 583 id: currentmusicology-4263 author: Gilbert, Stephen E. title: Robert Barclay Brown - The Early Atonal Music of Anton Webern: Sound Material and Structure date: 2019 words: 925 flesch: 62 summary: In the first, entitled Problems of Analysis in Atonal Music, Dr. Brown places his ideas in their historical context and gives a discerning account of the various approaches to atonal music which preceded his own. For identification purposes, however, Dr. Brown chooses the one which lies within the smallest interval and (if this requirement is not satisfied uniquely) has the larger intervals on the left. keywords: music; set cache: currentmusicology-4263.pdf plain text: currentmusicology-4263.txt item: #142 of 583 id: currentmusicology-4264 author: Brockett, Clyde W. title: Carlton T. Russell - The Southern French Tonary in the Tenth and Eleventh Centuries date: 2019 words: 3521 flesch: 51 summary: In Chapter 2, Dr. Russell compiles impressive statistics to elucidate the limited number of southern French tonaries by comparing their lists of chants with those examples mentioned in the preceding chapter. But whatever the reasons, the fact remains, as Dr. Russell reminds us, that this type of half-theoretical, half- practical plainsong treatise has not commanded the attention of students to the extent one might wish. keywords: chants; chapter; paris; russell; tonaries; tonary cache: currentmusicology-4264.pdf plain text: currentmusicology-4264.txt item: #143 of 583 id: currentmusicology-4265 author: Fisher, Stephen C. title: Joseph P. Ponte - Aureliani Reomensis, "Musica disciplina:" A Revised Text, Translation, and Commentary; Lawrence A. Gushee - The "Musica disciplina" of Aurelian of Réôme: A Critical Text and Commentary date: 2019 words: 2365 flesch: 49 summary: Furthermore, if looked at as just a study in methodology, this dissertation will prove quite illuminating to almost every student who intends to do source work in the history of mUSIC. Unfortunately, there is no direct evidence to support this identification, since no surviving record shows that Archbishop Aurelian had at any time a particular interest in either music or the abbey of Reome, although he was once archdeacon for an adjacent region. keywords: aurelian; gushee; ponte; treatise; work cache: currentmusicology-4265.pdf plain text: currentmusicology-4265.txt item: #144 of 583 id: currentmusicology-4266 author: Troller, Alois; Holloway, Christopher; Holloway, Irmgard title: On the Spiritual in Music date: 2019 words: 7994 flesch: 58 summary: All the knowledge which several or many persons, or even nations, possess in common is objective spirit. The borders between such works of literature and art, which appear as common property, on the one hand, and as objective spirit on the other, are almost impossible to define, but this is hardly necessary for our argument. keywords: creation; individual; mind; music; objective; spirit; spiritual; time; work cache: currentmusicology-4266.pdf plain text: currentmusicology-4266.txt item: #145 of 583 id: currentmusicology-4270 author: Musicology, Current title: Table of Contents, Masthead, and Dedication date: 2019 words: 1212 flesch: 8 summary: Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University ofN ew York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. Manhattan School of Music, New York, N.Y. McGill University, Montreal, Quebec, Canada Michigan State University, East Lansing, Mich. New York University, New York, N.Y. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. Tulane University, Newcomb College, New Orleans, La. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Davis, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Col. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School of Music, Rochester, N.Y. University of Southern California, Los Angeles, Calif. keywords: calif; california; city; college; music; musicology; n.y; new; new york; state; university; york cache: currentmusicology-4270.pdf plain text: currentmusicology-4270.txt item: #146 of 583 id: currentmusicology-4271 author: Rosenstiel, Léonie title: Introduction and Overview date: 2019 words: 1374 flesch: 47 summary: 2 Louis Persinger (1887-1966), from 1930 until his death Master Teacher of violin and chamber music at the Juilliard Graduate School of Music, was, in addition, a concert violinist and pianist as well as an arranger and conductor. Another major trend which manifested itself was a deep concern for the scope and quality of music education, not only as it affects the specialized musician, but also as it helps to form the attitudes and tastes of the general public. keywords: articles; music; musicology cache: currentmusicology-4271.pdf plain text: currentmusicology-4271.txt item: #147 of 583 id: currentmusicology-4272 author: Anderson, Donna K. title: Musicians date: 2019 words: 2011 flesch: 46 summary: In the vast and complex discipline of music, there are, to be sure, many areas of specialization, such as musicology, composition, performance, and music education, all of which require detailed study. To the musicologist, the composer, the performer, and the educator, the enhancement of musical experience and understanding should mean a knowledge of music not as an entity in itself, separated from the broad ebb and flow of culture and history, but as an integral part of the history of man- kind and as an important factor contributing to the evolution of man's ideas and progress. keywords: composer; music; musicians; musicologist cache: currentmusicology-4272.pdf plain text: currentmusicology-4272.txt item: #148 of 583 id: currentmusicology-4273 author: Arlt, Wulf title: Musicology and the Practice of Music: Thoughts from the Work of the Schola Cantorum Basiliensis date: 2019 words: 3287 flesch: 44 summary: i.e., that which is common to all performances, (2) the musical sense, i.e., the aurally and intellectually perceivable relationship among the tones which make up the work, and (3) the aural realization which changes from 89 interpretation to interpretation, belong, themselves, to the essence of the musical work.5 But nowhere does the cooperation of musicology with the practice of music become more indispensable than in the performance of old music in the light of its historical background. Its mission was considered to be the exploration and practical testing of all questions relating to the revival of old music, old being defined as music dating from the Middle Ages through the middle of the 18th century.6 keywords: fact; music; musicology; performance; practice; scholarship; work cache: currentmusicology-4273.pdf plain text: currentmusicology-4273.txt item: #149 of 583 id: currentmusicology-4274 author: Cazeaux, Isabelle title: Musicology and Other Friendly Musical Disciplines date: 2019 words: 2129 flesch: 55 summary: Since they see other musicologists every day, they know about work in progress before it is listed in bibliographies and can tell others concerned with the same subject, so as to avoid unnecessary duplication. I believe that most musicologists and many musicologically-oriented performers strive for as historically valid a performance as can be achieved. keywords: composers; musicologists; musicology; performance; performers cache: currentmusicology-4274.pdf plain text: currentmusicology-4274.txt item: #150 of 583 id: currentmusicology-4275 author: Doris, Hubert title: Music-ology date: 2019 words: 1704 flesch: 67 summary: No one living in the 20th century can be unaware of what has happened in music in the past 400 years if, during his education, he has ever taken even one course in music history. It represents a complete rejection of the concept of a mainstream of music and may be called a denial of history and of the concepts of music in other times as explained to us by historical students of the art. keywords: music; past; performance cache: currentmusicology-4275.pdf plain text: currentmusicology-4275.txt item: #151 of 583 id: currentmusicology-4276 author: Fuchs, Peter Paul title: Interrelations between Musicology and Musical Performance date: 2019 words: 3338 flesch: 60 summary: The second and even more important reason is that certain performance practices of earlier periods, which must have been part and parcel of every musical education in those days, have since quietly disappeared and can be unearthed only through ardent musicological labor. To this question the past hundred years of performance practice have certainly supplied solutions of the most extreme kind in both directions, with a full spectrum of variations 104 in between. keywords: beethoven; conductor; mozart; order; performance; performer cache: currentmusicology-4276.pdf plain text: currentmusicology-4276.txt item: #152 of 583 id: currentmusicology-4283 author: González-Zuleta, Fabio title: Enthnology and Music: A Philosophical Consideration date: 2019 words: 2213 flesch: 46 summary: For Arnold Schoenberg their importance derived more from the culture of the composer than from local ethnic values. Thus, we can understand that musical art consists of the ordering and clarification of its elements, which of course are manifold. keywords: art; case; elements; music; work cache: currentmusicology-4283.pdf plain text: currentmusicology-4283.txt item: #153 of 583 id: currentmusicology-4284 author: Hedges, Anthony title: On the Training of Musicologists and Performers in Great Britain date: 2019 words: 2171 flesch: 51 summary: The cathedral tradition quickly waned, together with the rapid decline of church-going as a mark of social respectability, and musicology became virtually the fundamental constituent of university music courses. I doubt that many British academicians just a few years ago reasoned quite 118 like this, but whatever their motives, or perhaps dissatisfaction with the prevailing abstract state of affairs, the notion began to spread for one reason or another that performance might, after all, be a respectable branch of music study. keywords: language; music; performance; study cache: currentmusicology-4284.pdf plain text: currentmusicology-4284.txt item: #154 of 583 id: currentmusicology-4285 author: Koston, Dina title: Musicology and Performance: The Common Ground date: 2019 words: 1037 flesch: 53 summary: My own schooling in music was in many ways typical for an instru- mentalist. Let me hasten to add, lest it seem that I am promoting my own kind of schooling, that it has nonetheless been my deficiencies in music theory which have proven the most troublesome. keywords: music; sound cache: currentmusicology-4285.pdf plain text: currentmusicology-4285.txt item: #155 of 583 id: currentmusicology-4286 author: Landau, Siegfried title: Do the Findings of Musicology Help the Performer? date: 2019 words: 1644 flesch: 52 summary: As a conductor, I will discuss orchestral scores; let me begin with Mozart's Haffner Serenade, K. 250. The discovery of slight differences between the initial statement of a theme and its reappearance in the recapitulation, variants which a study of contemporary orchestral scores reveals as either erroneous or definitely desirable, is a very useful product of musicological research. keywords: composer; performance; performer; score cache: currentmusicology-4286.pdf plain text: currentmusicology-4286.txt item: #156 of 583 id: currentmusicology-4287 author: Lesure, François title: Toward a Committed Musicology date: 2019 words: 1165 flesch: 47 summary: Here, too, the development of contemporary music and the study of non-European music have made the inadequacy and overly 128 scholastic character of these methods obvious. Traditional musicology has everything to gain from a deeper association with this young discipline, whose method is less entrenched but more dynamic. keywords: discipline; musicology; subject cache: currentmusicology-4287.pdf plain text: currentmusicology-4287.txt item: #157 of 583 id: currentmusicology-4288 author: Little, Meredith Ellis title: What Questions Should a Performer Ask a Musicologist? date: 2019 words: 3423 flesch: 53 summary: The admonition caveat emptor might well be placed on every modern edition of earlier music. Of course there are limits in the personal application of performance practices to a piece of earlier music, and these occur when an interpretation results which was probably not within the range of possibilities envisioned by the composer. keywords: composer; music; musicologist; performance; performer; piece; questions cache: currentmusicology-4288.pdf plain text: currentmusicology-4288.txt item: #158 of 583 id: currentmusicology-4289 author: Loeb, David title: The Composer as a Musicologist date: 2019 words: 1638 flesch: 54 summary: We speak of music printing starting in the early 16th century, but how many of these early editions were in the hands of composers? Despite this interest in the past, a large group of composers wish to reject it, a wish that seems to have been realized, if one judges by the unfamiliar sounds that dominate their works. keywords: composer; musicology; past cache: currentmusicology-4289.pdf plain text: currentmusicology-4289.txt item: #159 of 583 id: currentmusicology-4290 author: Menuhin, Yehudi title: Musicology vs. Performance date: 2019 words: 1080 flesch: 50 summary: Perhaps the musicologists should organize a sit-in on the steps of Carnegie Hall (this time with scythe, skull, and bones), or walk in front of Lincoln Center and carry banners reading Ban Beethoven, Silence to Beethoven, and Let's put Beethoven on ice for 200 years-then we'll make him better than ever before! In reanimating the silent scores of countless ancient libraries, the musi- cologist has restored the elaboration of a figured bass and the ornamentation of a melodic line from the realm of theoretical exercises to that of performing techniques: musicologist and performer have joined on common ground. keywords: beethoven; fact; improvisation; musicologist cache: currentmusicology-4290.pdf plain text: currentmusicology-4290.txt item: #160 of 583 id: currentmusicology-4291 author: Newman, Anthony title: The 20th-Century Performer as Interpreter of the Baroque Tradition date: 2019 words: 2064 flesch: 71 summary: The purpose of this essay is to utilize various of my conclusions concerning Baroque performance practice and to combine them with a linear (Schen- kerian) analysis, in order to arrive at a performance version for the first twenty-one measures of Bach's C Minor Praeludium, S.537, with the areas or notes of rubato indicated in the text. Before proceeding to the written-out version, it would, perhaps, be helpful to present my conclusions about Baroque performance practice and to illustrate these bars with a graph. keywords: baroque; composer; example; notes; performance cache: currentmusicology-4291.pdf plain text: currentmusicology-4291.txt item: #161 of 583 id: currentmusicology-4292 author: Rabin, Michael title: A Performer's Perspective date: 2019 words: 1789 flesch: 53 summary: His deep interest in music education and in the sur- vival of the art of violin playing led him to teach privately, as well as at such colleges as Bowdoin, the University of Arizona, the University of Houston, and Yale. I do not think that the analytical approach to music is basically a musical one, since it tends to be exceedingly dry. keywords: arts; concert; music; performer cache: currentmusicology-4292.pdf plain text: currentmusicology-4292.txt item: #162 of 583 id: currentmusicology-4293 author: Stevens, Denis title: Some Observations on Performance Practice date: 2019 words: 2532 flesch: 53 summary: It is therefore not enough, when performing early music, to state that we do not know how it originally sounded or how it was performed. The presentation of early music in terms of sound brings with it in- numerable problems, but most of these can now be solved by expert minds. keywords: instruments; music; performance; sound; verses; way cache: currentmusicology-4293.pdf plain text: currentmusicology-4293.txt item: #163 of 583 id: currentmusicology-4294 author: Tureck, Rosalyn title: Toward a Unity of Performance and Musicology date: 2019 words: 4387 flesch: 46 summary: I shall devote this article to (1) an examination of this relationship in the light of my own experience and observation of Bach studies and per- formance, (2) a brief analysis of the nature of each activity, and (3) a few remarks on the interaction of the two disciplines. The habit was formed early, therefore, of pursuing these studies as an integral part of my work in Bach performance. keywords: bach; music; performance; performer; performing; studies; study; work cache: currentmusicology-4294.pdf plain text: currentmusicology-4294.txt item: #164 of 583 id: currentmusicology-4298 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 1187 flesch: 7 summary: Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N. Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. Manhattan School of Music, New York, N.Y. McGill University, Montreal, Quebec, Canada Michigan State University, East Lansing, Mich. New York University, New York, N.Y. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. Tulane University, Newcomb College, New Orleans, La. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Davis, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Col. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School of Music, Rochester, N.Y. University of Southern California, Los Angeles, Calif. Foreign James H. Cook Michael Evans Paul F. Marks David Schroeder Paul D. Ledvina Edgar J. Lewis Thom Lipiczky Glenn L. Gore Arsen R. Papakhian George Loomis Laszl6 keywords: calif; california; city; college; germany; music; n.y; new; new york; state; university; york cache: currentmusicology-4298.pdf plain text: currentmusicology-4298.txt item: #165 of 583 id: currentmusicology-4299 author: Musicology, Current title: Announcement date: 2019 words: 123 flesch: 33 summary: Anyone interested in submitting a pro- ject for consideration should contact Frederick Freedman (Chairman, Publications Committee, College Music Society) at the Music Library, Vassar College, Poughkeepsie, N.Y. 12601. The first group of projects planned for publication includes: George Gershwin by Charles Schwartz (Hunter College); Louis Moreau Gottschalk by John G. Doyle (Mansfield State College, Pa.); Charles lues by Frederick Freedman (Vassar College); John Knowles Paine by Kenneth C. Roberts, Jr. (Williams College); and Horatio Parker by William Kearns (University of Colorado). keywords: college cache: currentmusicology-4299.pdf plain text: currentmusicology-4299.txt item: #166 of 583 id: currentmusicology-4300 author: Josephson, David S. title: Percy Grainger: "Country Gardens" and Other Curses date: 2019 words: 4214 flesch: 55 summary: Given this dispersion of materials, Grainger scholars can be thankful for the dupli- cation of some of the major documents: the autobiographical studies at the Library of Congress just cited, for example, are copies of the Grainger Museum originals, while the British Institute of Recorded Sound (London) has copies of the Grainger wax cylinder collection at the Library of Congress. [Ed. Note,' This is the first in a series of writings conceived by the author as an essay in bibliography, seeking to provide the foundation for a thorough and broadly-based study of the life and music of Percy Grainger.] keywords: folk; grainger; library; life; man; music; new; percy; society; song cache: currentmusicology-4300.pdf plain text: currentmusicology-4300.txt item: #167 of 583 id: currentmusicology-4301 author: Záloha, Jiří title: The First Opera Repertoire of the Castle Theater in Český Krumlov date: 2019 words: 3678 flesch: 83 summary: The First Opera Repertoire of the Castle Theater in Ceskj Krumlov ]iN Za10ha The South Bohemian city of Cesky Krumlov was first mentioned in 1253 as an estate of the Lords of Krumlov, a branch of the Vitkovci family. Cesky Krumlov has been declared a historic shrine and has become a center of lively tourism in the southern Sumava mountain range. keywords: castle; krumlov; performance; place; premiere; sign; theater; vienna; vienna performance cache: currentmusicology-4301.pdf plain text: currentmusicology-4301.txt item: #168 of 583 id: currentmusicology-4302 author: Harpster, Richard W. title: Genius in the 18th Century: C. F. D. Schubart's "Vom musikalischen Genie" date: 2019 words: 2343 flesch: 67 summary: 5 InJ. G. Sulzer's opinion Empfindsamkeit was the sole criterion for determining the presence of Genius: [Geniuses are only those who] conceive and feel more sharply and have their ideas and feelings more in their authority than other men .... Genius in the 18th Century: C. F. D. Schubart's Vom musikalischen Genie Richard W. Harpster In the mid-18th century there arose among diverse artists and philoso- phers a fascination with the notion of Genius. keywords: century; genius; heart; nature; schubart cache: currentmusicology-4302.pdf plain text: currentmusicology-4302.txt item: #169 of 583 id: currentmusicology-4304 author: Rosenstiel, Léonie title: Introduction and Overview date: 2019 words: 619 flesch: 34 summary: As a record reviewer, Mrs. Sommer notes with approval the growing trend toward more historically valid performances of early music. Citing early exposure to musicology as a factor in his positive reaction to the field, Mr. Haines describes his own methods for re- searching contemporary Spanish music. keywords: music; musicology cache: currentmusicology-4304.pdf plain text: currentmusicology-4304.txt item: #170 of 583 id: currentmusicology-4305 author: Frager, Malcolm title: The Manuscript of the Schumann Piano Concerto date: 2019 words: 1550 flesch: 69 summary: Has anyone ever noticed, for instance, the unusual metronome marking in the major section of the Schumann Piano Concerto: Andante espressivo (d. = 72)? The Fantasia, i.e., the first movement of the concerto, is in Robert Schumann's hand with the exception of the solo part, which is extremely neat and may have been written out by Clara Schumann. keywords: hand; manuscript; schumann cache: currentmusicology-4305.pdf plain text: currentmusicology-4305.txt item: #171 of 583 id: currentmusicology-4306 author: Haines, Edmund title: A Composer Reacts to Musicologists date: 2019 words: 2042 flesch: 53 summary: Fortunately, just before that era, there was a flowering of musicological research; and by the time I was engaged in what might be called the ad- vanced study of music, some aspects and periods of music history had been better dealt with, and more and more material was being made available in print and on recordings. I could not satisfy this curiosity readily at a distance, since practically nothing pertinent and recent about Spanish music had been written in the English language except for one article by Arthur Custer, in The Musical Quarterly.1 I applied for a grant to go to Spain and lived there for two years while engaged in research. keywords: composers; music; musical; research; spain cache: currentmusicology-4306.pdf plain text: currentmusicology-4306.txt item: #172 of 583 id: currentmusicology-4307 author: Luening, Otto title: Musicology and the Composer date: 2019 words: 1374 flesch: 60 summary: I like libraries and have often used them but offer, as an important innovation that will help composers and perhaps others, a new cataloguing system. It is used to express the scientific study of music in the widest sense. keywords: composer; music; teaching cache: currentmusicology-4307.pdf plain text: currentmusicology-4307.txt item: #173 of 583 id: currentmusicology-4308 author: McAllester, David title: Cerebration or Celebration date: 2019 words: 1398 flesch: 56 summary: When Robert E. Brown joined the Wesleyan faculty, his dedication to non-Western performance formed a true marriage with our own well- established dedication to Western performance. We prefer to think of the Good as the combination, and so far we have found that even the highest levels of attainment in performance skills have not tended to supplant scholarship but have, instead, given it a deeper meaning. keywords: arts; indian; music; performance cache: currentmusicology-4308.pdf plain text: currentmusicology-4308.txt item: #174 of 583 id: currentmusicology-4309 author: Sommer, Susan Thiemann title: How I Felt on 14 March 1972 date: 2019 words: 1160 flesch: 62 summary: There have been audible results from the coopera- tion of sympathetic musicologists and knowledgeable performers in the field of early music in particular. Perhaps it would be kinder, however, to say not enough, because surely musicologists and performers do have something to say to one another. keywords: music; musicologist; performer cache: currentmusicology-4309.pdf plain text: currentmusicology-4309.txt item: #175 of 583 id: currentmusicology-4310 author: Morgan, John title: Michael John Shott - Hugo Wolf's Music Criticisms: Translation and Analysis According to Pepper's Four World Hypotheses date: 2019 words: 3090 flesch: 59 summary: Because copies of the Batka-Werner original are difficult to 10cate,3 and since few institutions are likely to own appropriate numbers ofthe Salonblatt- which was, after all, little more than a fashion sheet-Shott's dissertation takes on major importance as a readily available source for Wolf's significant essays. Objec- tions to Shott's completed translation are of two kinds: errors of judgment and policy in the mechanical process of converting Wolf's ideas from Ger- man into English, and failure to provide the translation with the critical apparatus necessary for utilizing it as a research tool. keywords: composer; criticisms; die; english; shott; translation; wolf cache: currentmusicology-4310.pdf plain text: currentmusicology-4310.txt item: #176 of 583 id: currentmusicology-4327 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 1058 flesch: 11 summary: Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. McGill University, Montreal, Quebec, Canada Memphis State University, Memphis, Tenn. Michigan State University, East Lansing, Mich. New York University, New York, N.Y. Northwestern University, Evanston, Ill. Pennsylvania State University, University Park, Pa. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. Tulane University, Newcomb College, New Orleans, La. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Davis, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School, Rochester, N.Y. keywords: calif; california; city; college; music; n.y; new; new york; state; university; york cache: currentmusicology-4327.pdf plain text: currentmusicology-4327.txt item: #177 of 583 id: currentmusicology-4328 author: Weidensaul, Jane B. title: Early 16th-Century Manuscripts at Piacenza: A Progress Report date: 2019 words: 3185 flesch: 61 summary: Early 16th-Century Manuscripts at Piacenza: A Progress Report Collected and Edited by Jane B. Weidensaul The musical holdings of the Archivio del Duomo at Piacenza, Italy, were fully catalogued by Francesco Bussi in a volume published in 1967.1 Attracted by the early 16th-century items, Prof. Martin Picker obtained microfilms from the library and began a personal investigation of the materia1.2 Most of the pieces of the Piacenza repertory are incomplete owing to the lack of correspondence among the four part-books. keywords: hymns; manuscripts; motets; music; piacenza; pieces; set; willaert; works cache: currentmusicology-4328.pdf plain text: currentmusicology-4328.txt item: #178 of 583 id: currentmusicology-4329 author: Silverman, Faye-Ellen title: Gesualdo: Misguided or Inspired? date: 2019 words: 2373 flesch: 62 summary: Gesualdo's music, however, stems from a pretonal, highly contrapuntal tradition and uses many notes purely as voice-leading dissonances. Faye-Ellen Silverman Gesualdo remains to this day one of the most controversial composers in the history of music. keywords: chords; example; gesualdo; music; note; use cache: currentmusicology-4329.pdf plain text: currentmusicology-4329.txt item: #179 of 583 id: currentmusicology-4330 author: Bailey, Kathryn title: The Evolution of Variation Form in the Music of Webern date: 2019 words: 6451 flesch: 79 summary: [ff 1 H=pp highest com- plexity one one many one many one many one one complete complete over lapping complete overlapping complete complete complete statement statement statements statement statements statement statement statement Again, as in Variation 1, the two sections at either end of the arch are very similar to inner sections 4 and 6. It is difficult to come to terms with variation form in the context of the twelve-tone system, a system which employs to such a high degree variation as a musical procedure. keywords: example; form; motives; movement; opus; section; theme; variation; webern cache: currentmusicology-4330.pdf plain text: currentmusicology-4330.txt item: #180 of 583 id: currentmusicology-4331 author: Cole, Malcolm S. title: A Sonata Offering for the Prince of Tuscany date: 2019 words: 2832 flesch: 64 summary: Although a specific dance term (Giga) appears only in the finale of the first court sonata, it is evident nonetheless that dance models fre- quently furnished the stylistic basis of individual movements. Cyclic relationships between movements are not in evidence. keywords: allo; church; court; example; fanfani; movements; sonata cache: currentmusicology-4331.pdf plain text: currentmusicology-4331.txt item: #181 of 583 id: currentmusicology-4332 author: Josephson, David S. title: Thomas Carl Slattery - The Wind Music of Percy Aldridge Grainger date: 2019 words: 6589 flesch: 64 summary: It contains notable essays on the Free Music by Grainger and by his associate in that project, Burnett Cross, as well as invaluable discographies by Eric Hughes (The Recorded Works of Percy Grainger), A. F. R. Lawrence (Records of Percy Grainger as an Interpreter), and Gerald Stonehill (Piano Rolls Played by Percy Grainger). In the introduction to the volume of Photos of Rose Grainger, printed privately thirty-five years earlier, Grainger dates his departure for Germany as Middle of 1895, and his arrival in Frankfurt as Summer 1895.8 An early letter from his father9 corroborates this date. keywords: band; composer; folk; grainger; life; music; new; percy; settings; slattery; song; wind; works cache: currentmusicology-4332.pdf plain text: currentmusicology-4332.txt item: #182 of 583 id: currentmusicology-4346 author: Musicology, Current title: Table of Contents and Masthead date: 2019 words: 982 flesch: 0 summary: Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College, New York, N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. McGill University, Montreal, Quebec, Canada Memphis State University, Memphis, Tenn. New York University, New York, N.Y. Northwestern University, Evanston, Ill. Pennsylvania State University, University Park, Pa. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Colo. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School, Rochester, N.Y. University of Southern California, Los Angeles, Calif. University of Texas, Austin, Tex. keywords: anne; calif; city; germany; n.y; new; new york; state; university; york cache: currentmusicology-4346.pdf plain text: currentmusicology-4346.txt item: #183 of 583 id: currentmusicology-4347 author: Dill, Heinz J. title: Schoenberg's "George-Lieder:" The Relationship between Text and Music in Light of Some Expressionist Tendencies date: 1974 words: 2520 flesch: 58 summary: The lack of parallelism may well be due to an attempt at redefining the partnership between poetry and music in a situation where new music and traditional verse have to be reconciled to each other. Focusing particularly on the relationship between text and music, my article will deal with some of the aesthetic principles underlying these songs.2 keywords: content; george; music; schoenberg; text cache: currentmusicology-4347.pdf plain text: currentmusicology-4347.txt item: #184 of 583 id: currentmusicology-4348 author: Vertrees, Julie Anne title: Mozart's String Quartet K. 465: The History of a Controversy date: 2019 words: 8592 flesch: 59 summary: Between 1824 and 1832 every article and book mentioning Sarti's :Mozart criticism spoke of the Osserva- zioni and usually quoted the closing line, thus indicating that their probable source was the 1824 communication rather than the manuscript itself. I venture to say that this 110 introduction is not good Mozart, that it has an uncertainty about it-not so much harmonic as aesthetic-that we do not often find in him; that the men of his own day were conscious that it was not good Mozart; and that they were quite justified in saying so. keywords: amz; article; col; fetis; german; haydn; ibid; introduction; kiesewetter; leduc; lichtenthal; mozart; music; passage; quartet; sarti; vol; weber cache: currentmusicology-4348.pdf plain text: currentmusicology-4348.txt item: #185 of 583 id: currentmusicology-4349 author: Forsberg, Suzanne title: Beth Anna Mekota - The Solo and Ensemble Keyboard Works of Johann Christian Bach date: 2019 words: 2752 flesch: 58 summary: Following is a list of Ph.D. dissertations, both completed and in progress: Edward O. D. Downes, The Operas of J. C. Bach as a Reflection of the Dominant Trends in Opera Seria, 1750-1780 (Harvard University, 1958); Marie A. H. Vos, The Liturgical Choral Works of Johann Christian Bach (Washington University, 1969); Joseph A. White, Jr., The Concerted Symphonies of Johann Christian Bach (University of Michigan, 1958); 119 Delores]. Beth Anna Mekota-The Solo and Ensemble Keyboard Works of Johann Christian Bach Ann Arbor: University Microfilms (UM order no. 69-18,059, 1969. keywords: bach; keyboard; mekota; sonata; works cache: currentmusicology-4349.pdf plain text: currentmusicology-4349.txt item: #186 of 583 id: currentmusicology-4350 author: Malinowski, Stanley A. title: Donald George Moe - The St. Mark Passion of Reinhard Keiser: A Practical Edition, with an Account of Its Historical Background date: 2019 words: 3942 flesch: 62 summary: In addition to the edition, Dr. Moe has provided a volume of historical background on Passion composition up to the time of Keiser. Keiser was not embarrassed by such Pietistic poetry; he welcomed it, as evidenced by the praise (quoted by Dr. Moe himself on p. 101) which Keiser lavished upon Brockes for his famous Passion poem Der fur die Sunden der Welt gemarterte und sterbende Jesu. keywords: bach; edition; editor; keiser; mark; moe; passion cache: currentmusicology-4350.pdf plain text: currentmusicology-4350.txt item: #187 of 583 id: currentmusicology-4351 author: Josephson, David S. title: Margaret Hee-Leng Tan - The Free Music of Percy Grainger date: 2019 words: 1974 flesch: 62 summary: Of especial value are long extracts from important writings by Grainger that are not otherwise easily accessible: namely, extracts from the 130 Australian radio lectures of 1934-35 (pp. 11-12; RS, p. 24),3 from a state- ment on Free Music found at the Grainger Museum in Melbourne (pp. 13-14; Percy Aldridge Grainger, Free Music, RS, p. 16), and from a remark on the first Hill-Song in typescript at White Plains (pp. 39-44; RS, pp. 31-33). But the two dissertations that have been examined in the pages of this journal are among the longest essays on his life and work; and dis- appointment in them is only increased by the fear that their sheer size will mark them as central documents in future Grainger scholarship. keywords: grainger; music; tan cache: currentmusicology-4351.pdf plain text: currentmusicology-4351.txt item: #188 of 583 id: currentmusicology-4364 author: Musicology, Current title: Table of Contents and Masthead date: 2020 words: 1078 flesch: 1 summary: Case Western Reserve University, Cleveland, Ohio Catholic University of America, Washington, D.C. City University of New York, New York, N.Y. City University of New York, Brooklyn College, Brooklyn, N.Y. City University of New York, Hunter College,NewYork,N.Y. City University of New York, Queens College, Flushing, N.Y. Columbia University, New York, N.Y. Cornell University, Ithaca, N.Y. Florida State University, Tallahassee, Fla. Harvard University, Cambridge, Mass. Indiana University, Bloomington, Ind. Juilliard School, New York, N.Y. Louisiana State University, Baton Rouge, La. McGill University, Montreal, Quebec, Canada Manhattan School of Music, New York, N.Y. Memphis State University, Memphis, Tenn. New England Conservatory, Boston, Mass. New York University, New York, N.Y. Northwestern University, Evanston, Ill. Pennsylvania State University, University Park, Pa. Princeton University, Princeton, N.J. Rutgers University, New Brunswick, N.J. Stanford University, Stanford, Calif. State University of New York at Buffalo, Buffalo, N.Y. University of Arizona, Tucson, Ariz. University of Arkansas, Fayetteville, Ark. University of California, Berkeley, Calif. University of California, Los Angeles, Calif. University of California, Riverside, Calif. University of California, Santa Barbara, Calif. University of Chicago, Chicago, Ill. University of Colorado, Boulder, Colo. University of Hawaii, Honolulu, Hawaii University of Illinois, Urbana, Ill. University of Iowa, Iowa City, Iowa University of Kansas, Lawrence, Kan. University of Kentucky, Lexington, Ky. University of Maryland, College Park, Md. University of Miami, Coral Gables, Fla. University of Michigan, Ann Arbor, Mich. University of Minnesota, Minneapolis, Minn. University of North Carolina, Chapel Hill, N.C. University of Oregon, Eugene, Ore. University of Pennsylvania, Philadelphia, Pa. University of Pittsburgh, Pittsburgh, Pa. University of Rochester, Eastman School, Rochester, N.Y. keywords: american; calif; city; germany; music; n.y; new; new york; state; university; york cache: currentmusicology-4364.pdf plain text: currentmusicology-4364.txt item: #189 of 583 id: currentmusicology-4365 author: Josephson, David S. title: Percy Grainger - Some Problems and Approaches date: 2020 words: 5882 flesch: 63 summary: Percy Grainger-Some Problems and Approaches David S. Josephson The second, a review of Thomas Carl Slattery's 1967 dissertation on the wind music of Grainger, is in Current Musicology 16 (1973): 79-91. keywords: grainger; kipling; library; music; new; piece; power; rome; song; work; years cache: currentmusicology-4365.pdf plain text: currentmusicology-4365.txt item: #190 of 583 id: currentmusicology-4366 author: Musicology, Current title: In Tribute to Charles Edward Ives on the 100th Anniversary of His Birth date: 2020 words: 136 flesch: 85 summary: Charles Ives, Memos, edited by John Kirkpatrick (New York: W. W. Norton, 1972), p. 132. Once a nice young man ... said to Father, How can you stand it to hear old John Bell (the best stone mason in town) sing? ... keywords: father cache: currentmusicology-4366.pdf plain text: currentmusicology-4366.txt item: #191 of 583 id: currentmusicology-4367 author: Cole, Malcolm S. title: Eric Zeisl's "American" Period date: 2020 words: 3440 flesch: 59 summary: The gracious assistance of the composer's widow, Mrs. Gertrude Zeisl, has been invaluable in the preparation of this article. Viennese by birth, heritage, and training, Zeisl absorbed the legacy of 19th- and early 20th-century Austro-German Romanticism. keywords: america; chorus; fugue; music; new; sonata; song; vienna; work; zeisl cache: currentmusicology-4367.pdf plain text: currentmusicology-4367.txt item: #192 of 583 id: currentmusicology-4368 author: Kaufman, Charles H. title: The Hodges and Newland Collections in the Library of Congress: A Preliminary Report date: 2020 words: 4402 flesch: 64 summary: Dr. Hodges served as music director of the school, but unfortunately the Trinity School During the Lenten season of 1854 Dr. Hodges suffered an attack of paralysis that temporarily disabled his left hand. keywords: church; collection; edward; hodges; manuscripts; music; newland; organist; service; trinity; works; york cache: currentmusicology-4368.pdf plain text: currentmusicology-4368.txt item: #193 of 583 id: currentmusicology-4369 author: Nisbett, Robert F. title: Louis Gruenberg: A Forgotten Figure of American Music date: 2020 words: 2709 flesch: 64 summary: . Gruenberg spent two years of negotiations with O'Neill before finally securing his permission to convert the play into an opera. 1 Gruenberg was one of the first innovators in the use of jazz in serious music. keywords: american; gruenberg; music; new; opera; work; years cache: currentmusicology-4369.pdf plain text: currentmusicology-4369.txt item: #194 of 583 id: currentmusicology-4370 author: Perison, Harry title: The Quarter-Tone System of Charles Ives date: 2020 words: 3506 flesch: 67 summary: He bases his procedure on William Pole's adapta- tion of Helmholtz's theory of relationship between beats of adjacent partials of chord tones and the degree of aural roughncss. His first known effort (dating from as early as 1903 and certainly no later than 19141) was the Chorale for strings in quarter tones, in which his quarter-tone system is already fully developed. keywords: chord; ives; major; pieces; quarter; system; tone cache: currentmusicology-4370.pdf plain text: currentmusicology-4370.txt item: #195 of 583 id: currentmusicology-4448 author: Tick, Judith title: Ragtime andf the Music of Charles Ives date: 2020 words: 2741 flesch: 70 summary: In ragging well-known melodies, I ves was adopting the conventions of popular ragtime. =--f--- Despite the comparative textural simplicity of popular ragtime, it was nevertheless the inspiration for complex rhythmic textures. keywords: example; ives; music; new; piano; ragtime; sonata cache: currentmusicology-4448.pdf plain text: currentmusicology-4448.txt item: #196 of 583 id: currentmusicology-4449 author: Ward, Charles W. title: Charles Ives's Concept of Music date: 2020 words: 2693 flesch: 72 summary: Music is, as Hegel expressed it, the sensuous incarnation of the Idea.14 That Idea was not a property of relational behavior but the substance, a quality which Ives believed to be all important in music. What has sound got to do with music ! keywords: ibid; ives; music; sounds; thoreau cache: currentmusicology-4449.pdf plain text: currentmusicology-4449.txt item: #197 of 583 id: currentmusicology-4450 author: Berlin, Edward title: Robert J. Dietz - The Operatic Style of Marc Blitzstein in the American "Agit-Prop" Era date: 2020 words: 2790 flesch: 58 summary: Edward Berlin As part of an ongoing study of music in the United States between the World Wars, Dr. Dietz focuses in this dissertation upon the period of the Depression and on a single artistic manifestation of that era, as represented by Marc Blitzstein. On p. 262 Dr. Dietz states: With Marc Blitzstein again at the piano-this time in the orchestra pit .... keywords: blitzstein; dietz; music; song cache: currentmusicology-4450.pdf plain text: currentmusicology-4450.txt item: #198 of 583 id: currentmusicology-4800 author: Butler, Melvin L. title: Musical Style and Experience in a Brooklyn Pentecostal Church: An “Insider’s” Perspective date: 2000 words: 11793 flesch: 60 summary: In order to appreciate more fullly how Emmanuel Temple has been able to absorb West Indian musical styles, it may be helpful to locate the MELVIN L. BUTLER 47 church within the broader history of gospel music in America. I think Sanders's no­ tion of exile might also be applied to Mrican American churches con­ taining West Indian minorities-not to mention West Indian churches in the U.S.-where it seems her notion of an exilic existence would be fur­ ther enriched. keywords: american; black; caribbean; church; churches; city; cultural; emmanuel; emmanuel temple; experience; gospel; indian; mrican; music; new; new york; pentecostal; press; study; styles; temple; university; west; worship; york cache: currentmusicology-4800.pdf plain text: currentmusicology-4800.txt item: #199 of 583 id: currentmusicology-4801 author: Gingerich, John title: “To how many shameful deeds must you lend your image”: Schubert’s Pattern of Telescoping and Excision in the Texts of His Latin Masses date: 2000 words: 16651 flesch: 66 summary: It was in the Trinity church that the premiere of the Mass in H took place on October 4, 1829, almost a year after Schubert's death, with Ferdinand Schubert conducting the Alservorstadt Music Society. To how many shameful deeds must you lend your image: Schubert's Pattern of Telescoping and Excision in the Texts of His Latin Masses By John Gingerich I. keywords: agnus; church; credo; current; dei; der; deus; deutsch; die; example; franz; gingerich; gloria; john; latin; life; mass; mass text; masses; miserere; music; musicology; nobis; omissions; passages; pattern; qui; schubert; telescoping; text; text omissions; time; und; vienna; von cache: currentmusicology-4801.pdf plain text: currentmusicology-4801.txt item: #200 of 583 id: currentmusicology-4802 author: Tischler, Hans title: Newly-Discovered Addenda to the Trouvère Repertoire date: 2000 words: 2930 flesch: 88 summary: J J 1)1 J I J I. Puis ke je sui de l'a me rou se loi, 3. Obviously cut from a chansonnier or from a section of a manuscript con­ taining trouvere songs, it was used to bind a codex from the second quar­ ter of the fourteenth century, now located in the Koninklijke Bibliotheek in The Hague and bearing the shelf number 72 J 17. keywords: example; flyleaf; song; trouvere cache: currentmusicology-4802.pdf plain text: currentmusicology-4802.txt item: #201 of 583 id: currentmusicology-4804 author: Haimo, Ethan title: Review of Bryan R. Simms. 2000. The Atonal Music of Arnold Schoenberg, 1908-1923. New York: Oxford University Press date: 2000 words: 4228 flesch: 63 summary: Thus, in some important ways, Simms's book discusses at least parts of all three of Schoenberg's principal compositional approaches: tonal, atonal, and serial. Simms quotes extensively from Schoenberg's writings, coordinates stylistic developments with biographical events, carefully examines Schoenberg's choice of texts, analyzes the meanings of those texts, discusses Schoen­ berg's interactions with his contemporaries, weighs the rationale for his use of a particular stylistic approach, describes the philosophical and aes­ thetic ideas that lay behind specific compositional decisions, and much else besides. keywords: book; discussion; music; pitch; schoenberg; simms; works cache: currentmusicology-4804.pdf plain text: currentmusicology-4804.txt item: #202 of 583 id: currentmusicology-4805 author: Russano Hanning, Barbara title: Review of Thomas F. Heck. 1999. Picturing Performance: The Iconography of the Performing Arts in Concept and Practice. Rochester: University of Rochester Press date: 2000 words: 2560 flesch: 47 summary: Seebass also edits the most important and long-standing (since 1984) journal in the field of music iconography, Imago musicae. Although this originally New York-based world project is now largely under European coordination and auspices, the RIdIM Newsletter-started in 1975 by REVIEWS 127 Professor Barry Brook of The Graduate Center of The City University of New York and published continuously since then-has been transformed by Zdravko Blazekovic into a new international journal for music iconography called Music in Art. keywords: art; book; heck; history; iconography; iconology; music; new cache: currentmusicology-4805.pdf plain text: currentmusicology-4805.txt item: #203 of 583 id: currentmusicology-4806 author: Taylor, Timothy D. title: Review of Derek B. Scott, ed. 2000. Music, Culture, and Society: A Reader. New York: Oxford University Press date: 2000 words: 1737 flesch: 61 summary: Music, Culture, and Society: A Reader. There are entire selections that never address the subject of society or culture at all, confining themselves to music as text, music as structure-for example, most of the excerpts in the section Music and Language, even though language, as Mikhail Bakhtin and others have taught us, is deeply social. keywords: culture; music; musicology; new; press; society cache: currentmusicology-4806.pdf plain text: currentmusicology-4806.txt item: #204 of 583 id: currentmusicology-4807 author: Walsh, Stephen title: Review of Jonathan Cross. 2000. Harrison Birtwistle: Man, Mind, Music. Ithaca: Cornell University Press; and Robert Adlington. 2000. The Music of Harrison Birtwistle. Cambridge: Cambridge University Press date: 2000 words: 3977 flesch: 55 summary: Reviewed by Stephen Walsh The more or less simultaneous appearance of these two substantial books on the music of Harrison Birtwistle by a pair of British academics is clinching evidence-if such a thing were required-of Birtwistle's stand­ ing as a major world figure, at least in the eyes of his British admirers. This is true in the sense that Birtwistle plunders distant epochs for his ritual forms, but untrue in the suggestion that they are culturally alien. keywords: adlington; birtwistle; cross; music; myth; pastoral; sense; stravinsky; subject; time; work cache: currentmusicology-4807.pdf plain text: currentmusicology-4807.txt item: #205 of 583 id: currentmusicology-4808 author: Ito, John title: Review of Eric Chafe. 2000. Analyzing Bach Cantatas. New York: Oxford University Press date: 2000 words: 7997 flesch: 51 summary: Chafe's theory of the harmonic role of hexachords and systems serves as a guide to his discussion of the development of tonal theory and prac­ tice and of the remnants of earlier practice therein. Early tonal theory, on the other hand, tended to be preoccupied with small-scale local issues, as the system of the circle of keys and methods of control of chromatic pitches were still developing. keywords: allegory; analysis; bach; book; cantata; chafe; chapter; chorale; final; melody; music; system; theories; theory cache: currentmusicology-4808.pdf plain text: currentmusicology-4808.txt item: #206 of 583 id: currentmusicology-4809 author: Emoff, Ron title: Review of Thomas Turino. 2000. Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. Chicago: University of Chicago Press date: 2000 words: 2549 flesch: 46 summary: Turino defines musical nationalism, which becomes a prime medium or venue of cosmopolitanism, as the conscious use of any preexisting or newly created music in the service of a political nationalist movement (190). He is critical of a model of musical nationalism based on folk or vernacular elements simply be­ ing incorporated to form cosmopolitan musical styles, a model that does not adequately distinguish between nationalist movements and nationalist sentiment.3 Instead, Turino advocates a focus on musical nationalism in re­ lation to political nationalist movements and state nationalist projects (190).4 In his discussion of nationalism, as elsewhere, Turino draws upon theoretical frameworks commonly outside the scope of much musicologi­ cal writing. keywords: cosmopolitanism; music; nationalism; press; turino; university; world; zimbabwe cache: currentmusicology-4809.pdf plain text: currentmusicology-4809.txt item: #207 of 583 id: currentmusicology-4810 author: Schiff, David title: Review of Wayne Schneider, ed. 1999. The Gershwin Style: New Looks at the Music of George Gershwin. New York: Oxford University Press date: 2000 words: 1054 flesch: 60 summary: The latter task is a particularly challenging lacuna in Gershwin scholarship given the fact that none of Gershwin's shows have proven revivable. The question that C. Andre Barbera addresses in his George Gershwin and Jazz-why are jazz musicians so attracted to Gershwin's tunes-is a seductive red herring. keywords: gershwin; new; university; york cache: currentmusicology-4810.pdf plain text: currentmusicology-4810.txt item: #208 of 583 id: currentmusicology-4811 author: McQuiston, Katherine title: Review of James Buhler, Caryl Flinn, and David Neumeyer, eds. 2000. Music and Cinema. Middletown: Wesleyan University Press date: 2000 words: 3443 flesch: 49 summary: With great foresight, the editors point out the issue of canon formation for films and film music; with the availability of increasingly affordable technology, films can be made and distributed or transmitted quickly and easily, and it is likely that this trend will only grow. Paulin also identifies Wagner as the force behind the debate between those who believe film music should reinforce or sup­ port the image on the screen and those who advocate a so-called contra­ puntal relationship between music and image, a debate that has since broken down into more subtle questions of how sound and image inform each other and contribute to an aggregate effect. keywords: article; cinema; film; film music; flinn; music; new; questions; soundtrack cache: currentmusicology-4811.pdf plain text: currentmusicology-4811.txt item: #209 of 583 id: currentmusicology-4812 author: Fox, Aaron A. title: Review of Georgina Born and David Hesmondhalgh, eds. 2000. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press date: 2000 words: 1754 flesch: 34 summary: Opening outwards from the broad question of how to approach difference (semiotically speaking, an effect of representation) in a non­ representational medium such as music, Born and Hesmondhalgh quickly proceed to narrow the question to several specific genera of musical and cultural alterity with a specific emphasis on social power: Orientalist appropriations of non-Western musics and musical practices in Western musical discourses; the intra- and inter-cultural logics of mu­ sical otherness; the dynamics of power and inequality in the contempo­ rary global era of musical circulation; the mutually contexualizing inter­ play of musical aesthetics and discursive constructions of musical meaning; and the specific disingenuously pluralist lexicon of postmod­ ern musical discourse. Jann Pasler's contribution, Race, Orientalism, and the Distinction in the Wake of the 'Yellow Peril' , complicates the tarring and feathering of nineteenth-century European high culture as uniformly Orientalist in its relations with non-Western music through a comparison of the composers Albert Roussel and Maurice Delage, each of whom appropriated Indian music. keywords: appropriation; music; musicology; volume; western cache: currentmusicology-4812.pdf plain text: currentmusicology-4812.txt item: #210 of 583 id: currentmusicology-4813 author: Hurwitt, Elliott S. title: Review of Carol Oja. 2000. Making Music Modern: New York in the 1920s. New York: Oxford University Press date: 2000 words: 6084 flesch: 64 summary: Next in Oja's chronology comes Edgard Varese (1883-1965), another crucial early modernist, who emigrated to New York in 1915 and spent the balance of his life there. None of this would be relevant to Oja's general argument if she did not, throughout her text, ably describe a nascent avant-garde in New York before the 1920s, one that included a wide variety of both native-born and immigrant talent. keywords: 1920s; american; antheil; book; chapter; composers; copland; figures; music; new; new york; oja; period; time; work; york cache: currentmusicology-4813.pdf plain text: currentmusicology-4813.txt item: #211 of 583 id: currentmusicology-4814 author: Beeson, Jack title: Opera at Columbia University, 1941-1958 date: 2000 words: 5041 flesch: 61 summary: Its purpose is to provide young composers of opera-Moore Fellows-with residence in opera companies that produce new works; to learn the ways of singers, conductors, and stage directors; to experience the pleasures and perils of collaboration; and perhaps to play rehearsals, coach singers, and conduct a bit. Through these changes in leadership, and with the Ditson Fund made available to commission and underwrite the produc­ tion of a new opera each spring, a modus operandi was established which was to continue for about thirteen years, though with several changes of stage director. keywords: assistant; columbia; composer; conductor; cta; department; director; ditson; librettist; music; opera; performances; stage; stage director; workshop cache: currentmusicology-4814.pdf plain text: currentmusicology-4814.txt item: #212 of 583 id: currentmusicology-4816 author: Burford, Mark title: Editor's Preface date: 2001 words: 1357 flesch: 39 summary: Judith H. Blezzard John Caldwell Tim Carter David Charlton Geoffrey A. Chew Nicholas Cook Barry A. R. Cooper Jonathan M. Dunsby Mark Everist Anthony Ford Frederick Hudson Andrew Jones Christopher Kent Nicholas Marston Thomas Messenger Susan K. Rankin Nicholas Sandon Benedict Sarnaker FRANCE Olivier Delaigue Nasreen Hussein University of Birmingham Royal Academy of Music, London University of Liverpool University of Oxford Royal Holloway and Bedford New College, Egham Royal Holloway and Bedford New College, Egham Royal Holloway and Bedford New College, Egham University of Southampton University of Manchester Editor-at-Large, Reading University of Southampton University of Hull University of Newcastle upon Tyne Cambridge University University of Reading University of Oxford University of Surrey, Guildford Cambridge University University of Exeter Goldsmiths' College, London National Conservatory Universite de Paris-Sorbonne GERMANY Jeffery Bossin Albrecht Schneider Herbert Schneider Hubert Unverricht GHANA Technical University, Berlin University of Hamburg University of Heidelberg Katholische Universitat, Eichstatt J. H. Kwabena Nketia International Centre for African Music and Dance HONG KONG Muzykal'naia Zhizn; Moscow Moscow Tchaikovsky Conservatory Government Institute of Theatrical Arts, Moscow Scientific Research Institute of the Arts, Moscow University of Edinburgh University of Edinburgh Winfried Ludemann University of Stellenbosch SWITZERLAND Max Luetolf University of Zurich WALES David R. A. Evans David WynJones University College of North Wales, Bangor University College, Cardiff / Open University, Cardiff Editor's Preface The increased presence of jazz studies at universities and cultural insti­ tutions in the United States and abroad has brought with it a recognition of how diffuse the community of those who research and write about jazz has become. keywords: college; issue; jazz; life; music; new; review; studies; tucker; university cache: currentmusicology-4816.pdf plain text: currentmusicology-4816.txt item: #213 of 583 id: currentmusicology-4817 author: Jackson, Travis A. title: Recollections: Mark Tucker (1954-2000) date: 2001 words: 1099 flesch: 62 summary: Mark Tucker (1954-2000) By Travis A. Jackson Mark Tucker was one of those rare individuals who excelled in all the areas one might invoke in assessing a musical scholar's importance. By situating Ellington in the complex worlds of Washington, D.C. and Harlem up to the 1930s, Mark helped open the door to a more nuanced investigation of jazz, going beyond hagiography or decontextualized musical analysis to render a complex portrait worthy of his subject. keywords: jazz; mark; monk cache: currentmusicology-4817.pdf plain text: currentmusicology-4817.txt item: #214 of 583 id: currentmusicology-4818 author: Tucker, Mark title: Porgy and Miles date: 2001 words: 4019 flesch: 67 summary: Porgy and Miles* By Mark Tucker Miles Davis traced his rising fame in the 1950s to changes taking place in society. 1957; Verve Russ Garcia issued 1959 Miles Davis with orchestra ree. keywords: album; american; baraka; bess; davis; evans; gil; jazz; miles; music; new; porgy; york cache: currentmusicology-4818.pdf plain text: currentmusicology-4818.txt item: #215 of 583 id: currentmusicology-4819 author: Magee, Jeffrey title: “King Porter Stomp” and the Jazz Tradition date: 2001 words: 12388 flesch: 70 summary: Armstrong's trademarks permeate the solo, including the syncopated leaps of a fourth at the opening, characteristic of Armstrong's solos with Henderson three 36 CURRENT MUSICOLOGY Example 2: King Porter Stomp, introduction, trumpet solo by Bobby Stark (Fletcher Henderson and His Orchestra, 1928). four days later- JEFFREY MAGEE 37 Example 3: King Porter Stomp, final strain, beginning (Fletcher Henderson and His Orchestra, 1928) keywords: arrangement; band; dapogny; fletcher; goodman; henderson; jazz; jelly; king; king porter; magee; morton; music; new; orchestra; piece; porter; porter stomp; press; recording; roll; solo; stomp; strain; swing; trio; york cache: currentmusicology-4819.pdf plain text: currentmusicology-4819.txt item: #216 of 583 id: currentmusicology-4820 author: Skea, Dan title: Rudy Van Gelder in Hackensack: Defining the Jazz Sound in the 1950s date: 2001 words: 10601 flesch: 72 summary: Over the next decade, the hundreds of jazz albums Van Gelder recorded for these three labels served as one of the major pathways along which the art form developed and was disseminated. Highly attuned to evolving technology and able to afford the latest innovations as they became available,7 Van Gelder consistently provided his customers with the newest and best microphones, tape recorders, reverberation devices, and other apparatus. keywords: author; blue; classics; engineer; gelder; hackensack; interview; jazz; lion; musicians; new; note; prestige; recording; room; rudy; sound; studio; tape; telephone; time; van; van gelder cache: currentmusicology-4820.pdf plain text: currentmusicology-4820.txt item: #217 of 583 id: currentmusicology-4821 author: Taylor, Jeffrey title: Earl Hines and "Rosetta" date: 2001 words: 8602 flesch: 68 summary: Certainly, Hines must have felt pride in his tune, in addition to 90 CURRENT MUSICOLOGY Example 5: Earl Hines, Rosetta (October 6, 1939), Take 4, AI, mm. 31-32 and A2, mm. 1-2. ~~ r~ r~ r~ ~ ~,H .... ~ .. : '5 ~ _-:i ,'-'I' ~ -=r ~-=r:jf-,d. The slowly descending glissando of Take 4 (perhaps a signifying reversal of the upward sweep with which Hines usually an­ nounced his band's theme song, Deep Forest) obscures both harmony Example 7: Earl Hines, Rosetta (October 6,1939), Takes 3 and 4, compared versions ofmm. 1-4 of original tune. keywords: band; earl; example; hand; hines; jazz; line; melody; performance; piano; recordings; rosetta; solo; taylor; time; tune cache: currentmusicology-4821.pdf plain text: currentmusicology-4821.txt item: #218 of 583 id: currentmusicology-4822 author: Lewis, George E. title: Experimental Music in Black and White: The AACM in New York, 1970-1985 date: 2001 words: 26585 flesch: 59 summary: The transcribed orature of musicians endorsing the importance of explo­ ration, discovery, and experiment is quite vast and easy to access; it spans virtually every era of jazz music, and includes nearly every improvisor of canonical stature before the rise of Wynton Marsalis in the mid-1980s. As early as 1968, the now-landmark series of Delmark and Nessa recordings of AACM music by Abrams, Jarman, Mitchell, and Bowie were becoming known in Europe (James 1968; Cooke 1968, 1968a; Harrison 1969; Press Release, 1969). keywords: aacm; aacm members; aacm musicians; abrams; american; anthony; artists; baraka; black; bowie; braxton; chicago; composers; concert; cultural; culture; current; downtown; ensemble; european; george; giddins; group; jarman; jazz; john; joseph; kitchen; later; leo; lester; lewis; loft; members; mitchell; movement; mrican; muhal; music; musicians; musicology; new york; organization; paris; people; performance; press; richard; roscoe; smith; steve; time; tradition; university; voice; white; work; world cache: currentmusicology-4822.pdf plain text: currentmusicology-4822.txt item: #219 of 583 id: currentmusicology-4823 author: McMillan, Jeffrey S. title: A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s date: 2001 words: 9332 flesch: 71 summary: (Blue Note BLP 1538) on November 4, 1956, followed by Introducing Lee Morgan (Savoy MG 12091) the next day. Liner notes to Lee Morgan Indeed!. keywords: band; city; gillespie; jazz; know; lavoe; lee; lee morgan; mastbaum; morgan; music; musicians; new; note; philadelphia; playing; school; sessions; time; trumpet; workshop; years cache: currentmusicology-4823.pdf plain text: currentmusicology-4823.txt item: #220 of 583 id: currentmusicology-4824 author: Scruggs, T. M. title: Come on in North Side, you're just in time: Musical-Verbal Performance and the Negotiation of Ethnically Segregated Social Space date: 2001 words: 10071 flesch: 62 summary: -Sterling Plumpp Every Monday night in the 1970s and well into the 1980s jazz tenor sax­ ophonist Von Freeman led his quartet, and a later open jam session, at the Enterprise Lounge on Chicago's Mrican American South Side. Thus, too narrow of a focus on the musical text denies the import of the social context that informed the music as well as the full performance of Von Freeman, a 186 CURRENT MUSICOLOGY display that not only encompassed musical skill but verbal skill as well. keywords: american; audience; band; black; chicago; club; community; enterprise; evening; half; jazz; music; musicians; new; performance; place; press; social; time; von; white cache: currentmusicology-4824.pdf plain text: currentmusicology-4824.txt item: #221 of 583 id: currentmusicology-4825 author: Chevan, David title: Musical Literacy and Jazz Musicians in the 1910s and 1920s date: 2001 words: 14883 flesch: 74 summary: The responsibilities of the local pit orchestra included playing music before and after the show as well as ac­ companying movies, vaudeville acts, and other traveling performers. I had been working under the assump­ tion that Marable would have hired New Orleans musicians because of their skills at playing hot solos. keywords: american; arrangements; band; bernhardt; bushell; dance; david; dodds; foster; humphrey; jazz; jazz musicians; king; louis; musicians; new; new orleans; orchestra; orleans; parts; play; playing; press; reading; skills; university; white; york cache: currentmusicology-4825.pdf plain text: currentmusicology-4825.txt item: #222 of 583 id: currentmusicology-4826 author: Givan, Ben title: Discontinuity in the Music of Django Reinhardt date: 2001 words: 9967 flesch: 65 summary: 4 f &1, &J J J J J J J J I R J J 7 Bb 3 Om 3 f &1, J ijJ d n J 4J &J I J nJ ~J j Melody Background PM m f' , e ,# r J J 'r J J ,# 0J. 3£1'_ C7 F Em Am Dm 07 C F. >-~ >- >-~ B. keywords: chorus; example; hodeir; improvisation; j j; jazz; material; melody; music; new; r r; reinhardt; solo cache: currentmusicology-4826.pdf plain text: currentmusicology-4826.txt item: #223 of 583 id: currentmusicology-4827 author: Waters, Keith title: Outside Forces: “Autumn Leaves” in the 1960s date: 2001 words: 9014 flesch: 66 summary: ,----- 3 -----, ,----- 3 -----, ,----- 3 -----, ,----- 3 -----, ,----- 3 -----, ,----- 3 -----, ~ c~ J J J J J IJ J J J J J IJ J J J J J i Example 13h: Reinterpretation, Jarrett mm. 17-24/4. keywords: chorus; composition; example; hancock; harmonic; j j; jarrett; jazz; measure; metric; note; polymeter; section; solo cache: currentmusicology-4827.pdf plain text: currentmusicology-4827.txt item: #224 of 583 id: currentmusicology-4828 author: Bauer, William R. title: Scat Singing: A Timbral and Phonemic Analysis date: 2001 words: 9052 flesch: 71 summary: Studying phonetic transcriptions of scat solos with these sequences in mind, we can observe the ways scat singers can create sudden timbral contrasts or smooth timbral transitions with vowels.9 306 CURRENT MUSICOLOGY Ii! lei leel liyl leyl layl pit pet pat Table 1 Trager-Smith phonemes: short vowel sounds Ipitl Ipetl Ipeetl Igl lehl cut pail Icgtl Ipehl/ Table 2 lui put lohl caught lal pot Trager-Smith phonemes: long vowels and diphthongs beat Ibiytl lyuwl dispute Idispyuwtl luwl boot bait Ibeytl loyl boy Iboyl lowl boat bite Ibaytl leewl bout Iputl Ikohtl Ipatl Ibuwtl Ibowtl Ibeewt! Using phonetic symbols, we can therefore notate the wide palette of vocal timbres available to scat singers and examine in detail how these WILLIAM R. BAUER 305 singers employ their sonic raw materials. keywords: armstrong; bauer; blues; carter; duw; example; j j; jazz; lines; new; scat; singers; solo; sound; timbre; vocables; vowel cache: currentmusicology-4828.pdf plain text: currentmusicology-4828.txt item: #225 of 583 id: currentmusicology-4829 author: Butterfield, Matthew W. title: Music Analysis and the Social Life of Jazz Recordings date: 2001 words: 13585 flesch: 56 summary: Technological ad­ vancements have thus altered the social meaning of jazz performance as it takes place in the recording studio. The recording economy, like analysis, has tended increasingly of late to work against the erotic social potential of jazz performance practice for a variety MATTHEW W. BUTTERFIELD 329 of reasons: it transforms the social relations of jazz music-making activities; it has had a significant impact on the way Americans value jazz and relate to jazz musicians; and it has had far-reaching effects on the social life of jazz performance events. keywords: activities; analysis; butterfield; chicago; community; erotic; events; experience; jazz; jazz musicians; listeners; listening; music; musicians; new; performance; practice; press; radio; recording; social; sound; studies; time; university; way; work; york cache: currentmusicology-4829.pdf plain text: currentmusicology-4829.txt item: #226 of 583 id: currentmusicology-4830 author: DeVeaux, Scott title: Struggling with Jazz date: 2001 words: 10038 flesch: 68 summary: In one of the typically SCOTT DEVEAUX 369 erudite essays that accompany his CDs (published, one must note, before Jazz was broadcast), he exposes its hollow core: I have a built-in wariness towards the term renaissance when ap­ plied to jazz music being played and recorded in recent years. But the real subject of jazz history is jazz itself, and it is essential that jazz seem forever young. keywords: american; armstrong; art; burns; deveaux; episode; film; history; jazz; music; musicology; narrative; new; people; present; swing; time; today; ward; way; years cache: currentmusicology-4830.pdf plain text: currentmusicology-4830.txt item: #227 of 583 id: currentmusicology-4831 author: Tucker, Sherrie title: Big Ears: Listening for Gender in Jazz Studies date: 2001 words: 16517 flesch: 58 summary: What makes it possible to ignore women jazz musicians as his- SHERRIE TUCKER 387 torical subjects when so many women musicians have participated and excelled injazz throughout the music's history? Her own interpretations often surprised me, as did the interpretations of many women jazz musicians I have interviewed, and I imagine these interpretations would surprise other jazz historians. keywords: american; analysis; bands; beat; cultural; culture; current; davis; discourse; dominant; female; gender; history; jazz; jazz discourse; jazz history; jazz musicians; jazz studies; male; masculinity; music; musicians; musicology; new; power; press; race; university; ways; white; women; women musicians; york cache: currentmusicology-4831.pdf plain text: currentmusicology-4831.txt item: #228 of 583 id: currentmusicology-4873 author: Frigyesi, Judit title: In Search of Meaning in Context: Bartok’s Duke Bluebeard’s Castle date: 2000 words: 11900 flesch: 65 summary: Bartok Bela irasai (The Writings of Bela Bartok). Here I am struggling with a question asked by Rose Subotnik in her Developing Variations: what is the meaning of the word and in titles like Bela Bartok and Tum-of the-Century Budapest? keywords: ady; bartok; bluebeard; castle; context; darkness; frigyesi; interpretation; judith; life; lukacs; major; music; opera; second; soul; symbols; theme; time cache: currentmusicology-4873.pdf plain text: currentmusicology-4873.txt item: #229 of 583 id: currentmusicology-4881 author: Washburne, Christopher title: Latin Jazz: The Other Jazz date: 2001 words: 8307 flesch: 61 summary: The Peanut Vendor served to further entrench Latin music in the jazz scene and provided groundwork for what would become known as Latin jazz. Latin Jazz in Today's New York Scene: Prestige and Omission Within the last ten years there has been a growing Latino presence in the New York jazz scene, due in part to a recent influx of Cuban musi­ cians; to the 'prominence of musicians like Panamanian pianist Danilo Perez and Brazilian trumpeter Claudio Roditi, who have attained high re­ gard among the mainstream jazz community; and to the continued inter­ nationalization of the jazz economy, with burgeoning scenes thriving in CHRISTOPHER WASHBURNE 415 Latin American and Caribbean countries. This has re­ sulted in the publication of two Latin jazz histories (Roberts 1999; Delannoy 2001); the release of Calle 54, a documentary film on Latin jazz; and an exhibition constructed by the Smithsonian Institute, Latin Jazz: la combinaci6n perfecta, which will be touring in the United States in the fall of 2002. keywords: african; american; art; canon; caribbean; dance; gillespie; history; jazz; latin; mrican; music; musicians; new; new york; pozo; press; scene; styles; tradition; university; york cache: currentmusicology-4881.pdf plain text: currentmusicology-4881.txt item: #230 of 583 id: currentmusicology-4882 author: Anderson, Paul Allen title: Other Planes of There: Critical Notice of Graham Lock's Blutopia date: 2001 words: 8790 flesch: 47 summary: In earnest conversations with Lock throughout Forces in Motion, Braxton details the particularly frustrating accusation of betraying various overdetermined definitions of black music and jazz. Lock contends that the acknowledgement of the meta-real sets the writing of Mackey and Braxton, among others, apart from the majority of Western commentators on black music (173). keywords: american; anthony; blutopia; braxton; critics; ellington; jazz; lock; mackey; mrican; music; musicians; negro; new; radano; space; sun; swing; work; world; writings cache: currentmusicology-4882.pdf plain text: currentmusicology-4882.txt item: #231 of 583 id: currentmusicology-4884 author: Spring, Evan title: Fan Fare: An Investigation of Recent Jazz Biographies date: 2001 words: 7200 flesch: 64 summary: Santoro also makes the common mistake of assuming jazz musicians approach standards with snickering condescension: Perhaps more jazz biographies should become collaborative efforts, like the music itself. keywords: book; brown; catalano; chamberlain; dahl; jazz; kirk; kruth; marsh; mingus; music; musicians; new; nisenson; notes; rollins; santoro; time; williams cache: currentmusicology-4884.pdf plain text: currentmusicology-4884.txt item: #232 of 583 id: currentmusicology-4885 author: Iyer, Vijay title: Being Home: Jazz Authority and the Politics of Place date: 2001 words: 6743 flesch: 67 summary: Ignoring Kirchner's opening quotation of Bill Evans that 'Jazz is not a 'what,' it's a 'how' (3), Youngren proceeds to dismiss notions of Mrican-derived aesthetic or structural elements in jazz, suggesting instead that jazz's origins lie purely in the what of tonal music. I was deeply dissatisfied with the throwaway fashion in which this issue is relegated to these two chapters, even if they do open the volume; it feels as though Kirchner fails to contend adequately with the sensitive status of race in the authoring of jazz history. keywords: american; artists; book; community; history; jazz; kirchner; mrican; music; musicians; new; new york; oxford; point; press; tapscott; university; university press; work; york cache: currentmusicology-4885.pdf plain text: currentmusicology-4885.txt item: #233 of 583 id: currentmusicology-4888 author: Gabbard, Krin title: Review of Eric Porter. 2002. What Is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press date: 2001 words: 3337 flesch: 60 summary: Perhaps we should read what jazz artists say as skeptically as we read earlier generations of jazz critics. Eric Porter has taken this counterdiscourse ex­ tremely seriously and cast black jazz musicians as central figures in an in­ tellectual history of the music. keywords: american; jazz; lincoln; marsalis; mingus; music; musicians; new; porter cache: currentmusicology-4888.pdf plain text: currentmusicology-4888.txt item: #234 of 583 id: currentmusicology-4890 author: Ogren, Kathy J. title: Phil Pastras. Dead Man Blues: Jelly Roll Morton Way Out West. Berkeley: University of California Press, 2001. xx, 246 pp. date: 2001 words: 3296 flesch: 63 summary: That text is, of course, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and Inventor of Jazz, which Morton recorded with folklorist Alan Lomax at the Library of Congress in 1938 (Lomax Any study of Morton must first contend with the main source of his self­ invention (in addition to his recordings) that Jelly Roll left for posterity. keywords: anita; jazz; jelly; life; man; morton; new; pastras; roll; west cache: currentmusicology-4890.pdf plain text: currentmusicology-4890.txt item: #235 of 583 id: currentmusicology-4892 author: Tirro, Frank title: Review of Alyn Shipton. 2001. A New History of Jazz. London and New York: Continuum date: 2001 words: 4060 flesch: 68 summary: For a jazz history published in the first years of the twenty-first century-and this book is not a monograph on particular phases of jazz history but a general survey-this text suffers a se­ vere distortion of perspective. This problem is compounded by the nature of jazz history itself, for there were, in the beginning, a few jazz musicians and a little jazz music. keywords: band; book; history; jazz; music; musicians; new; press; recordings; shipton; work; york cache: currentmusicology-4892.pdf plain text: currentmusicology-4892.txt item: #236 of 583 id: currentmusicology-4894 author: Priestley, Brian title: Review of Rob van der Bliek, ed. 2001. The Thelonious Monk Reader. New York: Oxford University Press date: 2001 words: 4302 flesch: 59 summary: Indeed, this Martin Williams report for Down Beat maga­ zine, describing Monk's semi-participation in a rehearsal directed by Hall Overton of Overton's large-ensemble arrangements of Monk material, could be positively misleading. Already since the 1960s, when the concept of avant-garde jazz meant so many different things to different people, Monk's combination of surface irregularity with a ruthless inner logic has been consistently influential; in particular, the organic and unstilted use of motivic development in his themes is widely seen as an ideal to aspire to. keywords: bliek; book; der; editor; hodeir; minton; monk; music; new; time; van; williams cache: currentmusicology-4894.pdf plain text: currentmusicology-4894.txt item: #237 of 583 id: currentmusicology-4895 author: Sager, David title: Richard M. Sudhalter. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945. New York: Oxford University Press, 1999. xxii, 890 pp. date: 2001 words: 4019 flesch: 64 summary: This does not, however, nullify Sudhalter's comparison, which calls attention to the fact that black jazz musicians almost exclusively recorded original material in the 1920s. Sudhalter seems to want to show the reader that racial prejudice as it existed in the real world did not live in the world of jazz musicians, at least not to a high degree, perhaps in de­ fiance of social norms of the day. keywords: band; chords; guitar; jazz; mole; musicians; new; paul; style; sudhalter; white; work cache: currentmusicology-4895.pdf plain text: currentmusicology-4895.txt item: #238 of 583 id: currentmusicology-4897 author: Jackson, Jeffrey H. title: Review of Uta G. Poiger. 2000. Jazz, Rock, and Rebels: Cold War Politics and American Culture in a Divided Germany. Berkeley: University of California Press date: 2001 words: 2533 flesch: 65 summary: Jazz scholars may find this book less interesting since the focus is on Germany, not on jazz, and only one chapter really treats jazz itself in detail. Reviewed by Jeffrey H. Jackson Over the last several years, cultural historians have looked to jazz music as a way of talking about national identity. keywords: culture; german; jazz; music; poiger; press; university cache: currentmusicology-4897.pdf plain text: currentmusicology-4897.txt item: #239 of 583 id: currentmusicology-4899 author: Wilson, Dale title: Review of Andrew F. Jones. 2001. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham, NC: Duke University Press date: 2001 words: 3806 flesch: 48 summary: It is an excellent tool for teachers and students of Chinese music studies, and will appeal to scholars of anthro­ pology, cinema studies, cultural studies, Asian studies, gender studies, nationalism, and transnational studies. Jones's central argument is that Chinese popular music in the 1930s must be understood as a musical, technological, financial, linguistic, and racial transaction conducted within the boundaries of the complex colo­ nial hierarchies peculiar to that time and place (7). keywords: american; china; chinese; era; jazz; jones; music; republican; shanghai; shidai cache: currentmusicology-4899.pdf plain text: currentmusicology-4899.txt item: #240 of 583 id: currentmusicology-4900 author: Condry, Ian title: Review of E. Taylor Atkins. 2001. Blue Nippon: Authenticating Jazz in Japan. Durham, N.C.: Duke University Press date: 2001 words: 5751 flesch: 51 summary: The ways in which Japanese jazz musicians moved be­ tween identitying as authentically 'Japanese (more or less) and authenti­ cally 'Jazz (more or less) is precisely the dynamic that gives Atkins's narrative momentum. Despite the democracy and new social freedoms of the postwar years, Japanese jazz musicians were not really free to be 542 CURRENT MUSICOLOGY creative. keywords: american; artists; atkins; authenticity; book; culture; dance; japanese; jazz; music; musicians; new; style; university; ways cache: currentmusicology-4900.pdf plain text: currentmusicology-4900.txt item: #241 of 583 id: currentmusicology-4903 author: Currie, James Robert title: Better the Puppet? date: 2002 words: 17775 flesch: 62 summary: Specifically, my concern had been to show that Mozart's late opera seria, La clemenza di Tito, tries to pass off, by means of the character Vitellia, an ideologically-constructed pejorative view of women as if it were nature, or even myth-at any rate, true. Such concerns were indeed very real in Europe after 1789, since with increasing frequency the crowned heads of Europe were being accused of incompe­ tence and immorality.3 The action of La Clemenza can be understood as motivated by a ten­ sion between Vitellia and the Roman Emperor Titus, whose father had murdered and dethroned Vitellius, Vitellia's father. keywords: aesthetic; art; cambridge; century; che; clemenza; disenchantment; enlightenment; example; fact; james; kind; mozart; music; musicology; nature; new; object; opera; presence; press; puppet; real; sense; subject; surplus; university; vitellia; women; work; world cache: currentmusicology-4903.pdf plain text: currentmusicology-4903.txt item: #242 of 583 id: currentmusicology-4904 author: Beller-McKenna, Daniel title: I Am/Was the Walrus date: 2002 words: 10114 flesch: 70 summary: Other Lennon songs featuring descending bass lines are Lucy in the Sky with Diamonds, Being for the Benefit of Mr. Kite, A Day in the Life, Dear Prudence, Cry Baby Cry (in the bridge), and All You Need is Love. 10. Like many Lennon songs from 1967-68, I am the Walrus dwells on descending (and also in this case ascending) bass lines and chord pro­ gressions.9 keywords: album; beatles; end; epstein; film; god; group; identity; image; john; john lennon; later; lennon; like; new; public; recording; self; song; tour; walrus cache: currentmusicology-4904.pdf plain text: currentmusicology-4904.txt item: #243 of 583 id: currentmusicology-4906 author: Maw, David title: Meter and Word Setting: Revising Machaut's Monophonic Virelais date: 2002 words: 14945 flesch: 71 summary: i J J J J :11 J de VOllS loin teins, J J J II de VOllS pro cheins; after ... i ij! I J J J J keywords: beat; clos; dame; imperfect; j j; ludwig; machaut; meter; modus; music; p p; p r; r r; rhymes; schrade; second; setting; songs; sources; tempus; virelais; word cache: currentmusicology-4906.pdf plain text: currentmusicology-4906.txt item: #244 of 583 id: currentmusicology-4907 author: Berry, David Carson title: The Role of Adele T. Katz in the Early Expansion of the New York "Schenker School" date: 2002 words: 20348 flesch: 65 summary: In short, New York has flourished as something of a capitol city for the American Schenker enterprise, in ways that are probably well known to most present-day Schenkerians.3 However, the precise role of one im­ portant participant in the emergence and development of New York's Schenker School has remained largely unknown, and without an under­ standing of her diverse activities, one has an incomplete picture of the true nature and extent of that School. The Role of Adele T. Katz in the Early Expansion of the New York Schenker School By David Carson Berry In 1927, Heinrich Schenker named New York as the first North American city in which his ideas were spreading, though he was not specific as to the means of transmission. keywords: analysis; approach; article; bach; berry; book; carson; challenge; chord; course; david; der; figure; heinrich; holden; ideas; katz; mannes; music; music school; musical; musicology; new; new york; press; rand; salzer; schenker; schenkerian; school; sme; student; teacher; teaching; theory; time; university; weisse; women; work; years; york cache: currentmusicology-4907.pdf plain text: currentmusicology-4907.txt item: #245 of 583 id: currentmusicology-4908 author: Goehr, Lydia title: Review of Peter Kivy. 2001. New Essays on Musical Understanding. Oxford University Press; and Lawrence Kramer. 2002. Musical Meaning: Toward a Critical History. Berkeley: University of California Press date: 2002 words: 2445 flesch: 56 summary: Essay 1 describes the role of early (medieval) notation in shaping the work-concept (about which I'll say more in a moment); essay 2 treats Arthur Schopenhauer's philosophy of music, interestingly read as looking back to former, eighteenth-century representational theories of music's meaning and forward to romantic theories of music's liberational powers. Both are notable for their author's display of wit, musicianship, and deep commitment to writing seriously about music. keywords: essay; kivy; kramer; music; new cache: currentmusicology-4908.pdf plain text: currentmusicology-4908.txt item: #246 of 583 id: currentmusicology-4910 author: Zak, Albin J. III title: Review of Timothy D. Taylor. 2001. Strange Sounds: Music, Technology, and Culture. New York: Routledge date: 2002 words: 10002 flesch: 60 summary: Taylor's interest in the agency of everyday people and their use of everyday technologies (15), and his interest in pop music, would seem to indicate at least an encounter with the most everyday of 1950s music. It dismayed adults, but the sense of recklessness and bold abandon such behavior embodied became a touch­ stone for pop music thereafter. keywords: aesthetic; age; artists; book; culture; digital; experience; fans; making; music; musicians; new; people; pop; recording; records; rock; roll; sound; space; taylor; technology; use; way; zak cache: currentmusicology-4910.pdf plain text: currentmusicology-4910.txt item: #247 of 583 id: currentmusicology-4911 author: Kramer, Richard title: Review of David Ferris. 2000. Schumann’s Eichendorff “Liederkreis” and the Genre of the Romantic Cycle. Oxford and New York: Oxford University Press date: 2002 words: 4128 flesch: 64 summary: Even if no two of us will agree precisely why that is so, even if Ferris and I (and no doubt others) will disagree strenuously as to the na­ ture of Romantic song cycle, his book opens up new avenues for the pur­ suit of these difficult issues, and in the process, forces us to think freshly upon some very old questions. Schumann's EichendorffLiederkreis and the Genre of the Romantic Cycle. keywords: cycle; eichendorff; ferris; music; order; poems; schumann; songs cache: currentmusicology-4911.pdf plain text: currentmusicology-4911.txt item: #248 of 583 id: currentmusicology-4913 author: Whitesell, Lloyd title: Review of Philip Rupprecht. 2001. Britten’s Musical Language. Cambridge: Cambridge University Press date: 2002 words: 5263 flesch: 52 summary: Refreshingly, Rupprecht's holistic approach to musical utterance also takes in subtleties of timbre and texture. Rupprecht's project is a major contribution to this quest for convergent perspectives. keywords: analysis; approach; britten; model; music; narrative; opera; peter; rupprecht; speech; utterance; voice; words cache: currentmusicology-4913.pdf plain text: currentmusicology-4913.txt item: #249 of 583 id: currentmusicology-4914 author: Araujo, Samuel title: Charles Perrone and Cristopher Dunn, eds .. Brazilian Popular Music and Globalization. Gainesville: University Press of Florida, 2001. xii, 288 pp. date: 2002 words: 1854 flesch: 29 summary: While a useful and detailed reconstruction, this introduction is built on a chronology of the development of national genres that reproduces a number of minor albeit persistent mistakes found in the more readily avail­ able historical sources for Brazilian popular music (for instance, the song Pelo Telefone incorrectly given as the first samba ever recorded). Avelar finds particularly suggestive the emergence of a movement that, in his view, contradicts basic rules of good conduct in Brazilian popular music, which place value on folk roots or tradition, at a moment (ca. 1995) when a full return to democracy, after years of military rule, was being frustrated by the political elites' defense of the status quo. keywords: brazilian; chapter; globalization; music; salvador; styles; veloso cache: currentmusicology-4914.pdf plain text: currentmusicology-4914.txt item: #250 of 583 id: currentmusicology-4915 author: Longobardi, Ruth title: Review of Daniel Albright. 2000. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. Chicago: University of Chicago Press date: 2002 words: 3435 flesch: 47 summary: What Albright does not state explicitly, but what is nevertheless implied, is that the consonance or dissonance of musical figures does not always define the work as mimetic or non-mimetic, as representational or abstract, but rather defines the kind of world-spiritual or non-spiritual, complete or empty-on which the work of art is modeled. Albright's illustration of an analytical method that is not founded on dramatic alignment between music and text is a welcome contribution to the study of music drama, as is the complete and wide-ranging examina­ tion of Parade that the author provides. keywords: albright; chapter; figures; modernism; motives; music; parade; work cache: currentmusicology-4915.pdf plain text: currentmusicology-4915.txt item: #251 of 583 id: currentmusicology-4916 author: Will, Richard title: Review of Simon P. Keefe. 2001. Mozart’s Piano Concertos: Dramatic Dialogue in the Age of Enlightenment. Woodbridge: The Boydell Press date: 2002 words: 4129 flesch: 50 summary: Koch would be perplexed, though, by Keefe's reluctance to discuss what Sulzer called the rendering of passions, whose purported absence from concertos inspired Koch to mount his defense. It is evident above all in first movements: keywords: concertos; dialogue; keefe; koch; movement; mozart; orchestra; piano; press; solo; soloist cache: currentmusicology-4916.pdf plain text: currentmusicology-4916.txt item: #252 of 583 id: currentmusicology-4917 author: Heyer, John Hajdu title: Review of John S. Powell. 2000. Music and Theatre in France, 1600-1680. Oxford: Oxford University Press date: 2002 words: 1841 flesch: 60 summary: Musical examples, which are generously provided in the volume, are happily of a legible size. An excellent concise essay summarizing musical and theatrical aspects of the beginnings of French opera is found at the end of part 2 (293-320); it presents important reading for students of music history who can easily be distracted by the zesty politics of that historical episode. keywords: french; music; new; powell; theater cache: currentmusicology-4917.pdf plain text: currentmusicology-4917.txt item: #253 of 583 id: currentmusicology-4918 author: Hibberd, Sarah title: Review of Marian Smith. 2001. Ballet and Opera in the Age of “Giselle.” Princeton: Princeton University Press date: 2002 words: 4303 flesch: 55 summary: The grow­ ing disenchantment with narrative ballet sparked hostile reviews reminis­ cent of those written about melodramas and vaudevilles. Indeed, ballet was often more popular than opera.2 Tellingly, Meyerbeer's first grand opera, Robert le diable (1831) has been remembered above all for its ballet divertissement in Act 3, in which a group of de­ bauched nuns lure the hero into taking a sacred branch. keywords: audiences; ballet; genres; music; opera; pantomime; scenes; smith; time; works cache: currentmusicology-4918.pdf plain text: currentmusicology-4918.txt item: #254 of 583 id: currentmusicology-4919 author: Rushton, Julian title: Review of David Charlton. 2000. French Opera 1730-1830: Meaning and Media. Aldershot: Ashgate date: 2002 words: 3540 flesch: 62 summary: Grand opera is an arena in which musicologists outside France have been vigorously engaged in recent years.2 I have be­ come aware of at least four recently completed Enghsh-Ianguage disserta­ tions concerning grand opera; the statistical probability is that there must be more. The Romance and its Cognates: Narrative, Irony, and Vraisemblance in Early opera comique (1997) II. keywords: cambridge; century; charlton; comique; eighteenth; essay; music; new; opera; press; university cache: currentmusicology-4919.pdf plain text: currentmusicology-4919.txt item: #255 of 583 id: currentmusicology-4920 author: Speare, Mary Jean title: Review of Hervé Lacombe. 2001. The Keys to French Opera in the Nineteenth Century. Translated by Edward Schneider. Berkeley: University of California Press date: 2002 words: 2175 flesch: 58 summary: This profound difference, of course, helps explain the whole complex system of French opera. Early on, Lacombe argues that nineteenth-cen­ tury French opera was governed by a complex set of codes and practices (1). keywords: century; discussion; french; gounod; lacombe; opera cache: currentmusicology-4920.pdf plain text: currentmusicology-4920.txt item: #256 of 583 id: currentmusicology-4934 author: Stanley, Glenn title: Editor's Preface date: 2003 words: 1798 flesch: 52 summary: H. Kwabena Nketia International Centre for African Music & Dance HONG KONG Greta Olson Chinese University of Hong Kong IRELAND Harry White University College, Dublin ITALY Paul Terse Pontificio Istituto de Musica Sacra, Rome PORTUGAL Manual Carlos de Brito Universidade Nova de Lisboa Salwa EI-Shawan Castelo-Branco Universidade Nova de Lisboa SLOVENIA Svanibor Petan University of Ljubijana SOUTH AFRICA Winfried Ludemann University of Stellenbosch SWITZERLAND Laurenz Lutteken University of Zurich UNITED KINGDOM Stephen D. Banfield University of Bristol Barry A. R. Cooper University of Manchester Jonathan M. Dunsby Editor-at-Large, Reading David R. A. Evans University College of North Wales, Bangor Mark Everist University of Southampton Piers Hellawell Queen's University of Belfast Sarah S. Hill University of Southampton David WynJones Cardiff University Elaine Kelly University of Edinburgh Nicholas Marston King's College, Cambridge University Gerald R. Seaman St. Antony's College, Oxford University Editor's Preface The papers in this Festschrift honor Christopher Hatch in a way that says something crucial about the nature of his contributions to the music de­ partment of Columbia University for more than four decades. Glenn Stanley The University of Connecticut Preface Ernest H. Sanders It is my great good fortune to have known Christopher Hatch since the fall of 1950, when both of us entered Columbia University as graduate stu­ dents of historical musicology. keywords: chris; christopher; columbia; editor; music; opera; quarterly; students; university cache: currentmusicology-4934.pdf plain text: currentmusicology-4934.txt item: #257 of 583 id: currentmusicology-4935 author: Sanders, Ernest H. title: Preface date: 2003 words: 1798 flesch: 52 summary: H. Kwabena Nketia International Centre for African Music & Dance HONG KONG Greta Olson Chinese University of Hong Kong IRELAND Harry White University College, Dublin ITALY Paul Terse Pontificio Istituto de Musica Sacra, Rome PORTUGAL Manual Carlos de Brito Universidade Nova de Lisboa Salwa EI-Shawan Castelo-Branco Universidade Nova de Lisboa SLOVENIA Svanibor Petan University of Ljubijana SOUTH AFRICA Winfried Ludemann University of Stellenbosch SWITZERLAND Laurenz Lutteken University of Zurich UNITED KINGDOM Stephen D. Banfield University of Bristol Barry A. R. Cooper University of Manchester Jonathan M. Dunsby Editor-at-Large, Reading David R. A. Evans University College of North Wales, Bangor Mark Everist University of Southampton Piers Hellawell Queen's University of Belfast Sarah S. Hill University of Southampton David WynJones Cardiff University Elaine Kelly University of Edinburgh Nicholas Marston King's College, Cambridge University Gerald R. Seaman St. Antony's College, Oxford University Editor's Preface The papers in this Festschrift honor Christopher Hatch in a way that says something crucial about the nature of his contributions to the music de­ partment of Columbia University for more than four decades. Glenn Stanley The University of Connecticut Preface Ernest H. Sanders It is my great good fortune to have known Christopher Hatch since the fall of 1950, when both of us entered Columbia University as graduate stu­ dents of historical musicology. keywords: chris; christopher; columbia; editor; music; opera; quarterly; students; university cache: currentmusicology-4935.pdf plain text: currentmusicology-4935.txt item: #258 of 583 id: currentmusicology-4936 author: Perkins, Leeman L. title: Concerning the Ontological Status of the Notated Musical Work in the Fifteenth and Sixteenth Centuries date: 2003 words: 16640 flesch: 56 summary: Strohm emphasizes the leading role of vocal music over the centuries in developing the expressive possibilities that came to be associated with instrumen­ tal music in the eighteenth and nineteenth centuries, observing that, although instrumental music, in the shape of musical works, became more 'emancipated' over the generations, this meant only that it caught up with vocal music in this respect (2000:139). In the Prologue to his treatise on counterpoint (in a passage much quoted because of its histori­ cal implications), he asserts that the preceding forty years had seen a re­ markable change in the quality of music composition. keywords: art; centuries; century; collections; composers; composition; concept; current; der; form; goehr; josquin; leeman; listenius; loesch; music; musicology; new; notated; opus; period; perkins; pieces; practice; s.v; schlagel; sixteenth; sources; terms; texts; time; tinctoris; treatise; use; view; work cache: currentmusicology-4936.pdf plain text: currentmusicology-4936.txt item: #259 of 583 id: currentmusicology-4937 author: Sanders, Ernest H. title: Are My Ears On Wrong?: Hearing Polyphony, ca.1375-ca. 1450 date: 2003 words: 12660 flesch: 60 summary: And, for that matter, theorists of the eighteenth and early nineteenth centuries are not usually not too helpful to a student eager to get inside a Beethoven score. It was this particular aural disposition, which caused English compos­ ers of the later fourteenth and early fifteenth centuries to engage in their extravagant manipulations of the cantus firmus (in the middle voice, mi­ grant, and in various transpositions23), that proves their lack of concern for the perceptions and conceptions mandated by Dahlhaus. keywords: american; bent; cadence; century; chord; composer; composition; contratenor; counterpoint; dahlhaus; dufay; fact; fifteenth; fourth; matter; medieval; music; musicology; new; octave; pitch; polyphony; press; s.v; sachs; sanders; tenor; term; tonality; university; voices cache: currentmusicology-4937.pdf plain text: currentmusicology-4937.txt item: #260 of 583 id: currentmusicology-4938 author: Strainchamps, Edmond title: Five Saliences in Marco da Gagliano's Earliest Madrigals date: 2003 words: 4076 flesch: 76 summary: Gagliano's setting of the poem devotes much attention to these verses; in fact, they take up more than half of the madrigal (thirty measures of the 86 CURRENT MUSICOLOGY Example 5: Marco da Gagliano, Un sguardo, un sguardo no, mm. 9-38. © 2003 by the Trustees of Columbia University in the City of New York 80 CURRENT MUSICOLOGY Example 1: Marco da Gagliano, 0 misera Dorinda, mm. 1-11. keywords: bel; canto; del; gagliano cache: currentmusicology-4938.pdf plain text: currentmusicology-4938.txt item: #261 of 583 id: currentmusicology-4939 author: Schubert, Peter title: Recombinant Melody: Ten Things to Love About Willaert's Music date: 2003 words: 7924 flesch: 72 summary: d J J J J J J J J . If J J J j ,~ o· I la I fa re re f' keywords: example; inganno; j j; melodic; motive; notes; schubert; section; willaert cache: currentmusicology-4939.pdf plain text: currentmusicology-4939.txt item: #262 of 583 id: currentmusicology-4940 author: Lippman, Edward title: Musical Articulation: A Synoptic View of Baroque Form date: 2003 words: 946 flesch: 58 summary: A different kind of relationship of melodic phrases can be called a diagonal relationship. Melodic phrases related in this way, however, can­ not occur in a single voice. keywords: phrase; second cache: currentmusicology-4940.pdf plain text: currentmusicology-4940.txt item: #263 of 583 id: currentmusicology-4941 author: Gibbs, Christopher H. title: Writing Under the Influence? Salieri and Schubert’s Early Opinion of Beethoven date: 2003 words: 12317 flesch: 67 summary: Salieri and Schubert's Early Opinion of Beethoven Christopher H. Gibbs To Ludwig van Beethoven From his worshipper and admirer Franz Schubert In 1822, Schubert dedicated his Variations on a French Theme for Piano Four-Hands, Op. Salieri's letter of recommendation, written in Italian, may not come across as a ringing endorsement, but it was intended simply to convey that after interviewing the candidates he considered Schubert the best among them, and therefore found it unnecessary to administer an examination confirming his musical abilities: I, the undersigned, assert that I support the application of Franz Schubert (Deutsch 1946:54) .17 keywords: beethoven; christopher; composer; composition; der; deutsch; diary; entry; franz; german; gibbs; instruction; italian; life; mozart; music; new; press; salieri; schubert; spaun; time; university; vienna; von; works; years; york cache: currentmusicology-4941.pdf plain text: currentmusicology-4941.txt item: #264 of 583 id: currentmusicology-4942 author: Saslaw, Janna K. title: The Concept of Ausweichungin Music Theory, ca. 1770-1832 date: 2003 words: 7259 flesch: 67 summary: To this end, I shall examine the term Ausweichungas employed by five theorists-Johann Philipp Kirnberger and Johann Sulzer, Heinrich Christoph Koch, Georg Vogler, and Gottfried Weber-over a period spanning 1771 to 1832.1 In the writings of these five authors, A usweichung proves to be an extremely flexible concept, encom­ passing gradations from the briefest references to other keys to complete modulations in the modern sense. Complicating matters further, later in the nineteenth-century Modulation began designating a formal change of tonal center, while A usweichungwas reserved only for passing references to other keys. keywords: ausweichung; der; ear; example; key; keys; kirnberger; koch; major; minor; modulation; new; scale; vogler; weber cache: currentmusicology-4942.pdf plain text: currentmusicology-4942.txt item: #265 of 583 id: currentmusicology-4943 author: Taruskin, Richard title: A Suggestive Detail in Weber's Freischutz date: 2003 words: 1113 flesch: 80 summary: Karl Maria von Weber als Klavierkomponist. Carl Maria von Weber, 2nd ed. keywords: agathe; example; weber cache: currentmusicology-4943.pdf plain text: currentmusicology-4943.txt item: #266 of 583 id: currentmusicology-4944 author: Bernstein, David W. title: “Paths of Harmony” in the First Movement of Brahms’s Cello Sonata in E minor, Op. 38 date: 2003 words: 4302 flesch: 69 summary: 6 6 6 6 6 6 6 6 Example 7: Second theme, mm. 58-65. d r---------------l Example 9: Entrance of second theme as prepared by motive d, mm. 54-57. keywords: dominant; example; motive; schoenberg; theme cache: currentmusicology-4944.pdf plain text: currentmusicology-4944.txt item: #267 of 583 id: currentmusicology-4945 author: Goehring, Edmund J. title: Musical Platonism in Modern Culture date: 2003 words: 7755 flesch: 64 summary: Music, or any other art, conforms to taste, an external standard, not taste to music (1711). Describing music as that which imitates other music holds together two essential but often conflicting requirements of music (or any art): that it have autonomy and that it be coherent.8 An entirely autonomous art with no frame of refer­ ence for its language would be unintelligible. keywords: argument; arts; bottum; example; idea; imitation; instrumental; meaning; mozart; music; passage; passion; poetry; set; text; theory; words cache: currentmusicology-4945.pdf plain text: currentmusicology-4945.txt item: #268 of 583 id: currentmusicology-4946 author: Pyper, Brett title: Meintjes, Louise. 2003. Sound of Africa! Making Music Zulu in a South African Studio. Durham and London: Duke University Press, 335 pp. date: 2003 words: 3644 flesch: 38 summary: Having presented the broad object and setting of the research, the remaining four cuts of the book share a concern for the ways in which discourses about social identities impinge on studio production processes and, in turn, are disseminated through them. Examples of such processes that are revealed seem suggestive: Meintjes makes tanta­ lizing mention of the roles of studio producers in dictating the sartorial personas of their artists, and alludes to the existence of a post-produc­ tion A&R committee charged with setting standards aI!d vetting record­ ings for commercial release. keywords: book; cut; mbaqanga; meintjes; music; social; sound; south; studio cache: currentmusicology-4946.pdf plain text: currentmusicology-4946.txt item: #269 of 583 id: currentmusicology-4947 author: Eisenberg, Andrew title: Review of Kelly Askew. 2002. Performing the Nation: Swahili Music and Cultural Politics in Tanzania. Chicago and London: University of Chicago Press date: 2003 words: 3792 flesch: 52 summary: Askew chooses to focus on the ways the Tanzanian nation has been (and continues to be) imagined through musical performance. Here I am referring to Askew's tendency uncritically to conflate music with performance, as if musical performance is no different than any other type of performance. keywords: askew; music; nation; nationalism; performance; politics; state; swahili; taarab; work cache: currentmusicology-4947.pdf plain text: currentmusicology-4947.txt item: #270 of 583 id: currentmusicology-4948 author: Scherzinger, Martin title: Notes on a Postcolonial Musicology: Kofi Agawu and the Critique of Cultural Difference [Agawu, Kofi. 2003. Representing African Music: Postcolonial Notes, Queries, Positions. New York and London: Routledge, 304 pp.] date: 2003 words: 12110 flesch: 49 summary: Consequently, Agawu is less concerned here with the problem of familiarizing African music by imposing on it Western categories of communication than he is with the problematic desire to persistently defamiliarize it or with the refusal to bring African music into the realm of Western discourse and its distinguished intellectual history and undeniable institutional power. By encouraging the hunt for sameness rather than difference in our approaches to African music, Agawu implies that we may indeed bring traditional European conceptual tools to bear on African music instead of insisting on an a priori incompatibility between traditions (64). keywords: african; agawu; difference; discourse; example; hountondji; ing; invention; meter; mrican; mrican music; music; musicology; new; philosophy; representation; rhythm; studies; terms; way; west; work cache: currentmusicology-4948.pdf plain text: currentmusicology-4948.txt item: #271 of 583 id: currentmusicology-4950 author: Frigyesi, Judit title: In Search of Meaning in Context: Bartok’s Duke Bluebeard’s Castle date: 2000 words: 11900 flesch: 65 summary: Bartok Bela irasai (The Writings of Bela Bartok). Here I am struggling with a question asked by Rose Subotnik in her Developing Variations: what is the meaning of the word and in titles like Bela Bartok and Tum-of the-Century Budapest? keywords: ady; bartok; bluebeard; castle; context; darkness; frigyesi; interpretation; judith; life; lukacs; major; music; opera; second; soul; symbols; theme; time cache: currentmusicology-4950.pdf plain text: currentmusicology-4950.txt item: #272 of 583 id: currentmusicology-5026 author: Dolan, Emily Iuliano title: The Origins of the Orchestra Machine date: 2003 words: 6548 flesch: 60 summary: While other instruments were designed to address issues of tuning, notation, or movement, the goal of these instruments was to cap­ ture orchestral sonority. 1. See Richards (1999), Gerlach (1998), and Sloane (1997).Arthur Ord-Hume has published several texts on mechanical instruments of all sorts. keywords: aesthetics; century; eighteenth; gurk; haydn; hoffmann; instruments; machines; military; music; new; orchestra; orchestrion; organ; sounds; timbre cache: currentmusicology-5026.pdf plain text: currentmusicology-5026.txt item: #273 of 583 id: currentmusicology-5027 author: Steege, Benjamin title: Varèse in Vitro: On Attention, Aurality, and the Laboratory date: 2003 words: 11459 flesch: 53 summary: As Latour has emphasized the unmysterious quality of most lab settings, it is little surprise to find the setting for Varese home laboratory low-key and bourgeois, with a hint of the old downtown charm: Edgar and Louise Varese live on Sullivan Street, near Bleecker Street. Varese in vitro: On Attention, Aurality, and the Laboratory Benjamin Steege 1. keywords: attention; bell; benjamin; composer; distance; fletcher; helmholtz; images; instrument; laboratory; listening; music; musicology; new; perception; research; science; sense; siren; sound; steege; tone; varese; von; work; world; york cache: currentmusicology-5027.pdf plain text: currentmusicology-5027.txt item: #274 of 583 id: currentmusicology-5028 author: Parsons, Ben title: Sets and the City: Serial Analysis, Parisian Reception, and Pierre Boulez's Structures 1a date: 2003 words: 12755 flesch: 60 summary: , Boulez empha­ sized this crucial aspect of his serial experience, more often put into shadow by the famous capital letters in the previous sentence. (Boulez 1952d:1l9)! keywords: american; analysis; boulez; carroll; des; dumur; eventuellement; experience; festival; leibowitz; les; music; musical; musicology; nabokov; new; paris; parsons; pierre; press; sartre; sense; stravinsky; structures; time; war; work cache: currentmusicology-5028.pdf plain text: currentmusicology-5028.txt item: #275 of 583 id: currentmusicology-5029 author: Kim, Youn title: Review of Alexander Rehding. 2003. Hugo Riemann and the Birth of Modern Musical Thought. New York and Cambridge: Cambridge University Press date: 2003 words: 6603 flesch: 52 summary: In addition to identifying the three authorities to which Riemann fre­ quently appealed and establishing an intimate relationship among them, Rehding unearths the element commonly found at these three poles: the notion of as-if;' an idea associated with nineteenth-century German phi­ losopher Hans Vaihinger. Riemann fre­ quently appealed to Nietzsche's authority in order to support his claim for the significance of motives, the smallest building block of musical struc­ ture, and Nietzsche, who was trained in classical philology, in turn gave approbation to Riemann's theory of phrase structure.9 In both the intro­ duction and epilogue, Rehding cites and compares two passages in which Riemann speaks of an analogy between architectural and musical forms, one excerpt from Wie Horen wir Musik? keywords: chapter; der; dualism; harmonic; history; logic; music; music theory; musicology; notion; rehding; riemann; science; theory; thought; tonvorstellungen; undertones cache: currentmusicology-5029.pdf plain text: currentmusicology-5029.txt item: #276 of 583 id: currentmusicology-5030 author: King, Jonathan T. title: Review of Thomas Goldsmith, ed. 2004. The Bluegrass Reader. Urbana: University of Illinois Press date: 2003 words: 3085 flesch: 53 summary: Jonathan T. King In a world of increasingly uncertain American identity, it is hardly surpris­ ing that an interest in bluegrass music, so tied to notions of white America, should be enjoying a revival. As is belied by these subheadings, the editor conceives of bluegrass history as two large revivals of an initial creative impulse. keywords: bill; bluegrass; book; festival; goldsmith; history; monroe; music; notes; piece; reader cache: currentmusicology-5030.pdf plain text: currentmusicology-5030.txt item: #277 of 583 id: currentmusicology-5031 author: Dohoney, Ryan W. title: Review of Sean Gallagher, James Haar, John Nadas, and Timothy Striplin, eds. Western Plainchant in the First Millennium: Studies in the Medieval Liturgy. Burlington, VT: Ashgate, 2004 date: 2003 words: 4588 flesch: 54 summary: Nancy van Deusen, Theodore Karp, and Calvin Bower each explore aspects of the sequence in a particularly illumi­ nating group of essays, while Kenneth Levy, Edward Nowacki, and John Boe explore sources and analytical strategies for Old Roman chant. Kenneth Levy's contribution, Tollite portas: An Ante-Evangelium Re­ claimed? is the first of three articles to explore Old Roman chant. keywords: advent; century; chant; jeffery; levy; mckinnon; music; office; psalm; roman; sequence; singing cache: currentmusicology-5031.pdf plain text: currentmusicology-5031.txt item: #278 of 583 id: currentmusicology-5033 author: Bailey Shea, Matthew title: Beyond the Beethoven Model: Sentence Types and Limits date: 2004 words: 9808 flesch: 61 summary: Put simply, all sentences begin with a presentation (the statement and repetition of a short, basic idea) but presentation alone cannot be equated with sentence form. Each of these examples highlights an important association between sentence types and syntactical function. keywords: beethoven; caplin; continuation; example; form; idea; model; music; phrase; presentation; repetition; schoenberg; sentence; statement; theme cache: currentmusicology-5033.pdf plain text: currentmusicology-5033.txt item: #279 of 583 id: currentmusicology-5034 author: Appia, Adolphe; Cox, Cathy title: Adolphe Appia, Les maîtres chanteurs de Nuremberg: An Introduction and Translation date: 2004 words: 15684 flesch: 54 summary: Adolphe Appia, Les maftres chanteurs de Nuremberg: An Introduction and Translation Translator's Introduction by Cathy Cox The Swiss scenery artist Adolphe Appia, born in Geneva in 1862, is thought by many in the theatrical community to be a forefather of modern theater, particularly for his radical ideas concerning stage lighting. For Appia, stage lighting achieves its expressive power most specifically through the creative shaping and con­ touring of shade and shadow. keywords: act; actor; appia; audience; die; drama; expression; interior; life; lighting; meistersinger; music; order; poet; role; sachs; scene; spectacle; stage; stage production; wagner; way; work cache: currentmusicology-5034.pdf plain text: currentmusicology-5034.txt item: #280 of 583 id: currentmusicology-5035 author: Jenkins, Chadwick title: A View From Death: Ariadne auf Naxos as Failed Totality date: 2004 words: 11400 flesch: 61 summary: Whereas in the 1912 version Hofmannsthal balanced scene i, focused on Ariadne, and scene ii, focused on the commedia, so as to create a sort of unity (the ironic equi­ poise achieved by having both groups interact) in scene iii, in the 1916 revi­ sion the Intermezzo serves as a comic adumbration of the heroic finale dem­ onstrating the ludicrous distance between the contrived nature of infidelity and the transcendental, authentic mode of being embodied by the ever­ faithful Ariadne. The work­ ing friendship of Hofmannsthal and Strauss was often vexed; if Ariadne can in some ways be seen to exemplify the virtues of mutual non-compre­ hension, then nowhere in real life was this virtue better enacted than within their difficult collaboration on this project. keywords: ariadne; bacchus; commedia; composer; death; hofmannsthal; letter; life; love; motive; music; new; opera; past; poet; scene; strauss; totality; transformation; words; work; world; zerbinetta cache: currentmusicology-5035.pdf plain text: currentmusicology-5035.txt item: #281 of 583 id: currentmusicology-5036 author: Wheeldon, Marianne title: Interpreting Discontinuity in the Late Works of Debussy date: 2004 words: 7675 flesch: 54 summary: These ideas may never recur during the course of the composition, and they more often contrast with, rather than connect to, surrounding musical sections. Similarly, Stockhausen's writings of the 1960s describe new musical forms that are remote from the scheme of the finalistic, dramatic forms (1963a: 198).4 These writings, though they are intended to provide theoreti­ cal frameworks for his compositions, outline the same issues confronting Eimert and Boulez: that is, how to counter inherited notions of form, a legacy that Boulez describes as three centuries of architectural music:' keywords: debussy; form; ideas; moment; mortes; music; new; ondine; prelude; repetition; section; stockhausen; succession cache: currentmusicology-5036.pdf plain text: currentmusicology-5036.txt item: #282 of 583 id: currentmusicology-5037 author: Head, Matthew title: Review of Matthew Riley. 2004. Musical Listening in the German Enlightenment: Attention, Wonder and Astonishment. Aldershot, UK and Burlington, VT: Ashgate Publishing date: 2004 words: 1957 flesch: 48 summary: Reviewed by Matthew Head Matthew Riley's impressive contribution to the history of music theory and psychology explores an Enlightenment ideal oflistener attentiveness. Even within the realms of attentiveness in music theory, Riley's focus is highly selective. keywords: attention; attentiveness; listening; music; riley; study cache: currentmusicology-5037.pdf plain text: currentmusicology-5037.txt item: #283 of 583 id: currentmusicology-5038 author: Mathew, Nicholas title: Rumph, Stephen. 2004. Beethoven After Napoleon: Political Romanticism in the Late Works. Berkeley and Los Angeles: University of California Press. date: 2004 words: 5687 flesch: 54 summary: Of course, any periodization is susceptible to revision, but Beethoven scholars would do well to explore the potential of Rumph's paradigm. The uncanny moments of self-awareness so common in late Beethoven-the musical swerves that seem to take place outside of the prevailing narrative space-acquire, in Rumph's narrative, a broadly political significance. keywords: beethoven; discussion; eroica; history; hoffmann; music; new; ninth; politics; press; rumph; style; sublime; symphony cache: currentmusicology-5038.pdf plain text: currentmusicology-5038.txt item: #284 of 583 id: currentmusicology-5039 author: Rice, John A. title: Review of John Spitzer and Neal Zaslaw. 2004. The Birth of the Orchestra: History of an Institution, 1650-1815. New York and Oxford: Oxford University Press date: 2004 words: 4097 flesch: 59 summary: © 2004 by the Trustees of Columbia University in the City of New York 137 138 Current Musicology discusses orchestras active between 1750 and 1815. Taking the metaphor of birth seri­ ously, we cannot escape the implication that orchestras of the seventeenth and eighteenth centuries were babies or children compared to the adult or­ chestras of the nineteenth and twentieth centuries. keywords: authors; birth; book; century; ensemble; music; orchestra; spitzer; zaslaw cache: currentmusicology-5039.pdf plain text: currentmusicology-5039.txt item: #285 of 583 id: currentmusicology-5040 author: Irvine, Thomas title: Review of Daniel Leech-Wilkinson. 2002. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Cambridge: Cambridge University Press date: 2004 words: 4729 flesch: 54 summary: Anachronism is the sin of analyzing historical music without refer­ ence to the music theory of its own historical context, and as Leech­ Wilkinson shows in this chapter, the charge of anachronism is an effective tool for disciplining those who stray beyond the boundaries of contextual correctness (my term) agreed upon by most medievalists. Anyone who studies music history ought to confront this ver­ dict, which I find a bit bleak. keywords: book; chapter; ficker; history; invention; leech; medieval; music; musicology; performance; research; wilkinson cache: currentmusicology-5040.pdf plain text: currentmusicology-5040.txt item: #286 of 583 id: currentmusicology-5041 author: Higgins, Niko title: Review of Daniel Fischlin and Ajay Heblin, eds. 2004. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Middletown, CT: Wesleyan University Press; and Robert O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffith, eds. 2004. date: 2004 words: 5295 flesch: 50 summary: Uptown Conversations and The Other Side of Nowhere continue this trajectory by moving away from jazz as a static object to be stylistically described, explained, and celebrated through the heroic and larger-than-life individual towards an understanding of jazz as a music in continual dialogue with the historical, social, political, racial, and gendered processes governing its creation.2 No article in either collection articulates these goals more clearly than George Lipsitz's essay, Songs of the Unsung: The Darby Hicks History of Jazz, which appears in Uptown Conversations. As Mangin's essay reminds us, other cultures may view jazz as just an­ other form of world music: Jazz for Senegalese becomes an international music that can be appropri­ ated, commodified, and used to express their modern voice among Francophone countries as well as a pan-Mrican imaginary that includes French West Africa, America, and Europe. keywords: american; art; conversations; essay; improvisation; jazz; lewis; music; musicians; new; press; studies; university; uptown cache: currentmusicology-5041.pdf plain text: currentmusicology-5041.txt item: #287 of 583 id: currentmusicology-5042 author: Pieslak, Sabina Pauta title: “Lenin in Swaddling Clothes”: A Critique of the Ideological Conflict Between Socialist State Policy and Christian Music in Cold War Romania date: 2004 words: 9589 flesch: 58 summary: During this period, Romanian Communist leaders attempted to balance their allegiance to the Soviets with the need to legitimize their regime within Romanian culture, and colinde and star songs with their deeply-rooted his­ tory and nationalistic nuances, became an important part of this balancing act. Understanding this historical background helps elucidate why this type of music was chosen for Communist propaganda, and why the Communist Party adapted Romanian Christmas music to their ideology rather than abolish the tradition altogether. keywords: bucharest; christian; christmas; colinde; communist; culture; dawn; day; editura; example; lenin; life; light; music; national; new; party; religion; romanian; songs; star; star songs; state; steaua; world; zit; ziurel cache: currentmusicology-5042.pdf plain text: currentmusicology-5042.txt item: #288 of 583 id: currentmusicology-5043 author: Rosenberg, Ruth Emily title: A Voice Like Thunder: Corsican Women's Lament as Cultural Work date: 2004 words: 9529 flesch: 63 summary: Though many outsiders have depicted Corsican women as pitiful and powerless creatures, traditional Corsican society afforded women access social spaces outside the home and certain other rights that do not fit the stereotypical view of women's roles in Mediterranean societies. Despite the disapproval of some male singers, Corsican women have been participating in and forming polyphony groups. keywords: caninu; century; conflict; context; corsican; death; deceased; funeral; gender; grief; island; lament; male; mourners; music; press; rocchi; singing; sister; song; tradition; viale; voceru; women; world cache: currentmusicology-5043.pdf plain text: currentmusicology-5043.txt item: #289 of 583 id: currentmusicology-5044 author: Raphael, Stuart I. title: Unraveling Narrativity: A Reflexive Paradigm date: 2004 words: 8539 flesch: 58 summary: De­ veloping the idea of musical reflexivity in and of itself necessitates a wider perspective on musical events and presupposes a liberal interpretation of certain spatiotemporal parameters that delineate or influence them. To investigate this possibility, I now turn to a more detailed discussion of musical events, key aspects of time that order or shape musical events, and finally backward causation. keywords: events; haydn; listener; major; music; narrative; quartet; string; time; vertical cache: currentmusicology-5044.pdf plain text: currentmusicology-5044.txt item: #290 of 583 id: currentmusicology-5045 author: Horton, Julian title: Review of Andrew Dell’Antonio, ed. 2004. Beyond Structural Listening? Postmodern Modes of Hearing. Berkeley and Los Angeles: University of California Press date: 2004 words: 5455 flesch: 47 summary: As he sen­ sibly observes, the abandonment of structural analysis in favor of social, cultural, and political investigation cannot of itself guarantee the obviation of concealed ideology that much new-musicological commentary urges. And if the materials of tonality are present in popular music, then they are susceptible to structural analysis. keywords: analysis; analytical; dubiel; form; kind; listening; material; music; musicology; new; press; subotnik; university cache: currentmusicology-5045.pdf plain text: currentmusicology-5045.txt item: #291 of 583 id: currentmusicology-5046 author: Sanjek, David title: Review of Aaron Fox. 2004. Real Country: Music and Language in Working-Class Culture. Durham, NC: Duke University Press date: 2004 words: 3187 flesch: 47 summary: Many of the dialogues Fox transposes take place as guitars are strummed, harmonies ironed out, and precious lyrics recalled from memory as, once again, this circle of peers, parents, and progeny take up the music that amplifies their lives. That conundrum of what distinguishes the true-to-life and the artifi­ cial has plagued the scholarship, as well as the informal social discourse, attached to country music-if not popular music altogether-for quite some time. keywords: ann; class; country; culture; fox; miss; music; real; song cache: currentmusicology-5046.pdf plain text: currentmusicology-5046.txt item: #292 of 583 id: currentmusicology-5048 author: Lewis, George E. title: Review of Mike Heffley. 2005. Northern Sun, Southern Moon: Europe’s Reinvention of Jazz. New Haven: Yale University Press date: 2004 words: 6843 flesch: 60 summary: In particular, the lack of theorizing of the relation between first -generation American free jazz musicians and Ameri­ can black cultural nationalism (except as this is filtered either through Amiri Baraka, or through the work of European writers on jazz) makes it more difficult to see how European free jazz musicians actually drew upon the example of black cultural nationalism, aligning themselves with a comple­ mentary European nativism as part of their identity construction process. (2004:212)lD One of the more interesting aspects of the book concerns the alacrity with which European free jazz musicians asserted the Oedipal regarding their African American influences. keywords: 2004; adorno; american; book; coltrane; culture; european; free; german; heffley; history; improvisation; jazz; music; musicians; new; press; race; time; university; work; york cache: currentmusicology-5048.pdf plain text: currentmusicology-5048.txt item: #293 of 583 id: currentmusicology-5049 author: Josephson, David title: The German Musical Exile and the Course of American Musicology date: 2005 words: 22008 flesch: 65 summary: Perspec­ tives of New Music 5: 142-47. Palisca as well was uncomfortable: Very few American musicologists can have an easy conscience about the subject of American music ... keywords: american; american musicology; ams; art; bach; berlin; cambridge; century; current; david; der; edition; emigres; europe; european; field; generation; german; grove; hans; history; josephson; music; musicological; musicology; new; new york; norton; palisca; press; sachs; schenker; scholars; scholarship; society; students; subotnik; time; university; work; years cache: currentmusicology-5049.pdf plain text: currentmusicology-5049.txt item: #294 of 583 id: currentmusicology-5050 author: Griffel, Michael L. title: Der Tod und die Forelle: New Thoughts on Schubert’s Quintet date: 2005 words: 5605 flesch: 71 summary: In the fall of 1968, Professor Lang selected as his topic for the research seminar (in which I was enrolled) the symphonies of Franz Schubert. An upbeat letter that the twenty-two-year-old Franz Schubert wrote from Steyr to his older brother Ferdinand on July 13, 1819, refers to eight girls, almost all of them pretty, who were in the home where he was lodging, and mentions one pretty girl in particular who played the pianoforte nicely and was going to sing several of his songs.6 keywords: die; fish; major; minor; movement; music; musicology; piano; quintet; schubert; song; trout; und cache: currentmusicology-5050.pdf plain text: currentmusicology-5050.txt item: #295 of 583 id: currentmusicology-5051 author: Clarkson, Austin title: Structures of fantasy and fantasies of structures: Engaging the Aesthetic Self date: 2005 words: 13726 flesch: 69 summary: Born in England and raised in Canada, I was educated on the shores of Lake Ontario-a bachelor's degree in science (with music studies on the side) from the University of Toronto on the north shore, and a master's in music theory from the Eastman School at Rochester to the south. As opposed to therapy, which is so here, it was a chance to explore bodily aspects, musical sound, auditory aspects 91 92 Current Musicology that you don't get to do. keywords: clarkson; earth; energy; exercise; experience; images; imagination; kind; letter; music; musicology; new; painting; participant; process; program; self; sense; sort; sound; thing; time; university; water; wolpe cache: currentmusicology-5051.pdf plain text: currentmusicology-5051.txt item: #296 of 583 id: currentmusicology-5053 author: Griffel, Margaret Ross title: Opera at Columbia: A Shining Legacy date: 2005 words: 14909 flesch: 70 summary: Menotti Medium in Premiere Here: Chamber Opera Presented on Campus at Columbia U. New York Times (May 9): 37. New York City Opera, which was founded in early 1944, shortly after the Columbia Opera Workshop's creation, moved to the New York State Theater at Lincoln Center on January 3, 1966. keywords: acts; assistant; barnard; beeson; brander; brander matthews; bulletin; columbia; columbia opera; columbia university; composer; cta; december; department; ditson; february; fund; hall; january; john; libretto; luening; march; matthews; matthews theatre; mcmillin; miller; miller theatre; music; musical; musicology; new york; november; october; opera; opera workshop; paul; performance; sec; theatre; university; workshop; york city; york performance; york times cache: currentmusicology-5053.pdf plain text: currentmusicology-5053.txt item: #297 of 583 id: currentmusicology-5054 author: Sakakeeny, Matt title: Disciplinary Movements, the Civil Rights Movement, and Charles Keil’s Urban Blues date: 2005 words: 11464 flesch: 53 summary: Traditional yet modern, rooted in oral and aural transmission but often written out in musical notation, labeled popular but comparable in many ways to folk music of non-Western subjects, urban African American music was too exotic for musicologists and not exotic enough for ethnomusicologists. I will explore this pattern further in my conclusion, but I will first offer a limited overview of research on African American music prior to Urban Blues. keywords: african; afro; american; anthropology; black; blues; chicago; culture; herskovits; jazz; keil; music; musicology; negro; new; press; race; studies; study; szwed; university; urban; white; work; york cache: currentmusicology-5054.pdf plain text: currentmusicology-5054.txt item: #298 of 583 id: currentmusicology-5055 author: Jones, Ryan Patrick title: “You Know What I Mean?” The Pedagogical Canon of “Cannonball” Adderley date: 2005 words: 17165 flesch: 63 summary: Equally at home with crowds abroad, Adderley applied a similar self­ effacing humor to reach new audiences in Japan: We're going to playa new tune written by an American musician who's name is Cannonball Adderley. As Sheridan has noted, Fellow musicians were quick to recognize the talent, but many reviewers, unfortunately, never saw past [Adderley's] convenient handle to make the proper distinction between the Bebop that died with Charlie Parker a few months earlier and emerging Hard Bop as represented by Julian Adderley, Horace Silver, Art Blakey, and others (2000:5). keywords: adderley; audience; band; blues; bradley; cannonball; career; coltrane; davis; education; florida; group; high; jazz; jones; julian; lateef; miles; music; musicians; new; patrick; piano; play; playing; professional; records; school; sheridan; teacher; teaching; time; york cache: currentmusicology-5055.pdf plain text: currentmusicology-5055.txt item: #299 of 583 id: currentmusicology-5056 author: Scherzinger, Martin title: Curious Intersections, Uncommon Magic: Steve Reich’s It’s Gonna Rain date: 2005 words: 18748 flesch: 53 summary: Strikingly, Reich's emphasis on the uncommon magic of process music, its mysteries and its ability to put all within listening range into a state of ecstasy (2002:21, 35, 82), though seemingly at odds with the matter-of-fact immediacy of minimalism, also resonates with the moment of illumina­ tion and transcendence Michael Fried identifies in the work of minimalist artworks in 1966. Compare also Fried's juxtaposition of depersonalized directness and transcendence with Reich's description of performances of process music: the pleasure I get from playing is not the pleasure of expressing myself, but of subjugating myself to the music and experiencing the ecstasy that comes from being a part of it (Reich 2002:82). keywords: african; art; canna; composer; context; drumming; essay; example; history; minimalism; music; new; non; phase; phasing; piece; process; rain; reich; tape; taruskin; time; voice; walter; western; words; work cache: currentmusicology-5056.pdf plain text: currentmusicology-5056.txt item: #300 of 583 id: currentmusicology-5057 author: Hung, Eric title: Hearing Emerson, Lake, and Palmer Anew: Progressive Rock as “Music of Attractions” date: 2005 words: 6265 flesch: 65 summary: After all, progressive rock musicians diluted the influence of blues in rock music by incorporat­ ing elements of many other genres. It is, rather, the maintenance of this very tension between these two widely disparate styles that accounts for the compelling aesthetic effect of Close to the Edge; a reconciliation of these forces that would attempt to securely place the piece in either the world of rock music or that of art music would surely weaken the dynamic effect of the song. keywords: art; blues; elp; emerson; movement; music; mussorgsky; new; original; pictures; progressive; rock; section; transcription; work cache: currentmusicology-5057.pdf plain text: currentmusicology-5057.txt item: #301 of 583 id: currentmusicology-5058 author: Painter, Karen title: Review of Walter Frisch. 2005. German Modernism: Music and the Arts. Berkeley and Los Angeles: University of California Press date: 2005 words: 4596 flesch: 58 summary: Frisch proceeds thematically, not chronologically, yet the historical logic is unassailable. As a group, these compositions resonate powerfully with the themes Frisch teases out of a rich historical fabric. keywords: arts; bach; book; chapter; finale; frisch; german; history; mahler; modernism; music; symphony; wagner cache: currentmusicology-5058.pdf plain text: currentmusicology-5058.txt item: #302 of 583 id: currentmusicology-5059 author: Devaney, Johanna title: Review of Eric Clarke and Nicholas Cook, eds. 2004. Empirical Musicology: Methods, Aims, Prospects. Oxford and New York: Oxford University Press date: 2005 words: 5586 flesch: 44 summary: Reviewed by Johanna Devaney Empirical Musicology is a collection of articles exploring the potential for a greater integration of empirical methods into musicology and music theory. More specifically, the stated aims of the book are to systematically document the areas of musicology in which empirical methods may be most useful, discuss issues related to the applications of these methods, cite studies that have already made use of the methods, and consider the theoretical consequences of employing such methods (9). keywords: analysis; chapter; data; empirical; methods; music; musicology; new; press; qualitative; theory; university cache: currentmusicology-5059.pdf plain text: currentmusicology-5059.txt item: #303 of 583 id: currentmusicology-5068 author: Irvine, Thomas title: The Foundations of Mozart Scholarship date: 2006 words: 20733 flesch: 61 summary: Ideally, the formal goal of Mozart research would be interpretation and understanding, but the object of study itself demanded that the primary goal of Mozart scholarship should be the critical attention to and study of these materials. I would argue that one of the purposes of 27 28 Current Musicology this document, and of Plath's position paper and appearance at the congress, was to stimulate new avenues of Mozart research concentrated on primary sources, so that the weakened foundations of Mozart scholarship might be repaired as quickly as possible through falsification of previous research. keywords: bach; cambridge; century; criticism; der; die; dilthey; discussion; facts; german; historian; historicism; history; interpretation; irvine; jahn; kind; methods; mozart; mozart research; mozart scholarship; mozart studies; music; music history; musicology; narrative; new; otto; oxford; performance; plath; popper; position; positivism; practice; press; ranke; research; salzburg; scholarship; sciences; sources; spitta; studies; study; thomas; und; university; von; work; writing; york cache: currentmusicology-5068.pdf plain text: currentmusicology-5068.txt item: #304 of 583 id: currentmusicology-5069 author: Corneilson, Paul title: A Context for Mozart's French Ariettes: The Wendling Family and Friedrich Schiller's Kabale und Liebe date: 2006 words: 8849 flesch: 76 summary: Franziska von Hohenheim, mistress and later wife of Karl Eugen Lorenz Wittleder, assistant to Count Montmartin Johann Baptist Wendling, principal flautist at Mannheim court Dorothea Wendling, wife of J. B., and singer at Mannheim court Elisabeth Augusta Wendling, daughter of J. B. and Dorothea Duke Karl Eugen von Wiirttemberg Ferdinand: Miller, I scarcely remember how I came to your house.-What was the reason? Mozart und Mannheim. keywords: augusta; bach; bauer; corneilson; court; das; daughter; der; des; deutsch; die; dorothea; elector; elisabeth; family; father; hat; ich; ist; mannheim; miller; mistress; mother; mozart; music; nicht; que; riaucour; schiller; sie; tochter; und; von; wendling cache: currentmusicology-5069.pdf plain text: currentmusicology-5069.txt item: #305 of 583 id: currentmusicology-5070 author: Kramer, Elizabeth title: The Idea of Transfiguration in the Early German Reception of Mozart’s Requiem date: 2006 words: 16579 flesch: 60 summary: Raphael und Mozart. Beyde fuhlten die kalte Hand des Todes, die sie schon ergriff; beyde wollten sich erst noch Denkmahler fur die Ewigkeit stiften; Beyde wahlten die Verklarung-Raphael, des Erlosers, Mozart der Erloseten. keywords: allgemeine; anon; auf; authenticity; beethoven; century; church; church music; composer; composition; das; death; dem; den; der; des; die; divine; elizabeth; essay; haydn; hoffmann; ideas; ist; kramer; kunstreligion; marx; mit; mozart; music; musicology; musikalische; new; nicht; press; raphael; reception; requiem; rochlitz; sein; sich; spirit; time; transfiguration; und; university; von; wackenroder; weber; wie; work; world; writings; zeitung cache: currentmusicology-5070.pdf plain text: currentmusicology-5070.txt item: #306 of 583 id: currentmusicology-5071 author: Biba, Otto title: Da Ponte in New York, Mozart in New York date: 2006 words: 6305 flesch: 72 summary: Da Ponte in New York, Mozart in New York Otto Biba One might be surprised to learn that relatively few of Lorenzo da Ponte's letters have been preserved. In one of these, written in New York in 1824 to an unknown recipient, Da Ponte names what he considered to be five of his most important and successful libretti: La cosa rara, L' arbore di Diana, La capricciosa corretta, Le nozze di Figaro, and Don Giovanni. keywords: america; da ponte; haydn; italian; london; lorenzo; mozart; music; new; new york; opera; philadelphia; ponte; york cache: currentmusicology-5071.pdf plain text: currentmusicology-5071.txt item: #307 of 583 id: currentmusicology-5072 author: Frisch, Walter title: Review Essay: Lullaby for Broadway? date: 2006 words: 5368 flesch: 58 summary: Already in 1998, Sondheim, as noted above, announced the dissolution of virtually all the categorical rules of musical theater, a situation which, moreover, he found nice:' That suggests we should not lament the demise of American musical theater; reports of its death may be greatly exaggerated. Having read Grant's chapter, one is struck by how even the best writing on American musical theater may give the composers-great tune writers though they were-too much credit. keywords: american; book; broadway; grant; knapp; musical; new; rodgers; sondheim; song; swayne; theater; university cache: currentmusicology-5072.pdf plain text: currentmusicology-5072.txt item: #308 of 583 id: currentmusicology-5073 author: Graham, Sandra Jean title: Review of Tim Brooks. 2004. Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919. Urbana and Chicago: University of Illinois Press date: 2006 words: 4910 flesch: 55 summary: Black recording artists, 143 144 Current Musicology even if they were recording classical music, would not be admitted to the elite red label. The book addresses a motley group of recording artists, encompassing a street musician performing coon songs, jubilee groups singing folk music, stars from musical theater, monologuists performing comedy and oratory, classical artists, novelty performers, and syncopated orchestras playing early jazz. keywords: black; book; brooks; chapter; fisk; johnson; jubilee; music; recordings; singers; songs; white; williams cache: currentmusicology-5073.pdf plain text: currentmusicology-5073.txt item: #309 of 583 id: currentmusicology-5074 author: Haskins, Rob title: Review of Robert Fink. 2005. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley and Los Angeles: University of California Press date: 2006 words: 3378 flesch: 49 summary: A discussion of a descending long-range linear bass pattern in Reich's Music for Eighteen Musicians explains the dramatic shift of tonality (to F# Minor) that occurs midway through the work and thus elucidates the special kind of teleology that occurs in minimal music (52-55). Minimal music forms only one thread Rob Haskins in this fabric, of course, and the compositional choices of Glass, Reich, and others respond both musically and culturally to other composers of their time as surely as they do to the repetitive culture that Fink considers. keywords: cage; fink; glass; minimalism; music; process; reich; way; work cache: currentmusicology-5074.pdf plain text: currentmusicology-5074.txt item: #310 of 583 id: currentmusicology-5075 author: McQuiston, Kate title: Review of Daniel Goldmark. 2005. Tunes for ‘Toons: Music and the Hollywood Cartoon. Berkeley and Los Angeles: University of California Press date: 2006 words: 3476 flesch: 54 summary: Scott's music, particularly the tune, Powerhouse, which has served as the Cartoon Network's sonic signature since the late 1990s, has arguably become as emblematic of cartoon music as the song Merrily We Roll Along. As cartoon music studies develop, it is likely that investi­ gations of different kinds of viewing behavior will also grow. keywords: audience; cartoon; chapter; goldmark; jazz; music; opera; scott; stalling cache: currentmusicology-5075.pdf plain text: currentmusicology-5075.txt item: #311 of 583 id: currentmusicology-5076 author: Tompkins, David title: Review of David Monod. 2005. Settling Scores: German Music, Denazification, and the Americans, 1945-1953. Chapel Hill: University of North Carolina Press date: 2006 words: 2932 flesch: 37 summary: The Germans took full control of musical life beginning in 1947 and used their control to whitewash the Nazi past, as the primary task of American music officers became the promotion of American culture inside Germany. Although many individual initiatives failed, he maintains that the denazification policies-both those designed to remove Nazis from public life as well as those intended to punish and rehabilitate individual Nazis and sympathizers-indeed implemented core democratic values and that, as a result, German musical life changed for the better. keywords: american; denazification; germans; life; monod; music; officials cache: currentmusicology-5076.pdf plain text: currentmusicology-5076.txt item: #312 of 583 id: currentmusicology-5078 author: Arnone, Augustus title: The Aesthetics of Textural Ambiguity: Brahms and the Changing Piano date: 2006 words: 10274 flesch: 57 summary: Playing Brahms: A Study in 19th-Century Performance. The basic premise that Brahms was writing piano textures designed specifically for lighter pre-modern instruments has dominated approaches to performance practice scholarship for his piano music as well. keywords: accompaniment; ambiguity; brahms; century; example; melody; music; pedal; performance; piano; piano music; register; schmitt; sound; texture cache: currentmusicology-5078.pdf plain text: currentmusicology-5078.txt item: #313 of 583 id: currentmusicology-5079 author: Waltham-Smith, Naomi title: Disruptive Spatiality and the Experience of Recordings of Bach’s Solo Cello Suites date: 2006 words: 12217 flesch: 58 summary: They carry more than vague spatial associations and the listeners' memories of other spaces once filled with the same music. The overwhelming majority of studies focus on issues relating to performance style, whether to questions of historical developments, tempo, or expressivity; work on Bach recordings is no exception. keywords: acoustic; bach; bull; cambridge; cello; church; experience; film; heidegger; listener; listening; music; musicology; new; performance; press; recordings; smith; solo; sound; space; suites; university; world cache: currentmusicology-5079.pdf plain text: currentmusicology-5079.txt item: #314 of 583 id: currentmusicology-5080 author: McMullen, Tracy title: Corpo-Realities: Keepin’ It Real in “Music and Embodiment” Scholarship date: 2006 words: 9326 flesch: 55 summary: 3. Sherrie Tucker's research into gender and sexuality in jazz has unearthed many examples of women jazz musicians depicted as borderline transvestites. A similar claim was made regarding women jazz musicians by a recent online commentator. keywords: body; communities; conant; embodiment; experience; jazz; music; new; orchestra; performance; philharmonic; playing; pleasure; practice; press; scholars; sound; trombone; university; women cache: currentmusicology-5080.pdf plain text: currentmusicology-5080.txt item: #315 of 583 id: currentmusicology-5081 author: Helbig, Adriana title: The Cyberpolitics of Music in Ukraine’s 2004 Orange Revolution date: 2006 words: 8776 flesch: 55 summary: The significant role played by Internet streaming of audio and video in the mediation of political information, activism, and communication during the Orange Revolution can serve as a case study for a broader analysis of the relationship between cyberactivism (Kreimer 2001; McCaughey and Ayers 2003) and what I term cybermusicality: an engagement with Internet music and its surrounding discourses that has meaning in listeners' lives both online and off. Much of the literature has Western biases, however, and neglects the local social and political contexts in which Internet music is situated. keywords: campaign; election; government; internet; kyiv; language; maidan; music; nas; new; november; orange; orange revolution; people; revolution; song; technology; ukraine; ukrainian; university; yanukovych; yushchenko cache: currentmusicology-5081.pdf plain text: currentmusicology-5081.txt item: #316 of 583 id: currentmusicology-5082 author: Raykoff, Ivan title: Review of Peraino, Judith. 2006. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. Berkeley and Los Angeles: University of California Press date: 2006 words: 3099 flesch: 35 summary: Plato's anxieties about music and social order continue to resonate in the present era, as Peraino notes with a nod to Allan Bloom's paroxysm over Mick Jagger's ambiguous sexuality and to the 1997 US Senate hearings on music violence (discussed more extensively later in the book). Peraino's roadmap is inviting: the premise of the book, in part following Adorno, is the idea that music has always opened a space for ambivalence, productively serving the complexities of personal identity and subjectivity; at the same time it has also provoked anxiety, society's frequent response in trying to contain those complexities through categorical hierarchies and ideological superstructures. keywords: chapter; desire; foucault; identity; music; peraino; power; queer; self cache: currentmusicology-5082.pdf plain text: currentmusicology-5082.txt item: #317 of 583 id: currentmusicology-5083 author: Roy, William G. title: Review of Tia DeNora. 2003. After Adorno: Rethinking Music Sociology. Cambridge and New York: Cambridge University Press date: 2006 words: 1485 flesch: 46 summary: In Music in Everyday Life (2000), she reveals through ethnography what people do while they are doing music, from shopping to sex to aerobics to deliberative listening. Most recently, her study After Adorno offers a theoretically grounded program for music sociology. keywords: adorno; denora; music; social cache: currentmusicology-5083.pdf plain text: currentmusicology-5083.txt item: #318 of 583 id: currentmusicology-5084 author: Marshall, Melanie L. title: Review of Kelley Harness. 2006. Echoes of Women’s Voices: Music, Art, and Female Patronage in Early Modern Florence. Chicago and London: University of Chicago Press date: 2006 words: 2471 flesch: 49 summary: The main focus is on Archduchess Maria Magdalena of Austria, widow of Cosimo II Judith is a symbolic conflation of widow-regent Archduchess Maria Magdalena with the embodiment of Florence. keywords: florence; harness; magdalena; maria; music; patronage; women cache: currentmusicology-5084.pdf plain text: currentmusicology-5084.txt item: #319 of 583 id: currentmusicology-5085 author: Harrison, Klisala title: Review of Pisani, Michael V. 2005. Imagining Native America in Music. New Haven, CT, and London: Yale University Press date: 2006 words: 2366 flesch: 39 summary: It stands as an excellent resource for ethnomusicology students studying Native American music, because it maps the roots of current trends in scholarship on First Nations. Ethnographers of Native American music, as well as critics and compos­ ers, held a variety of opinions as to why and how Native song could be used to create distinctly American art music. keywords: american; century; hollywood; indian; music; native; pisani; theater cache: currentmusicology-5085.pdf plain text: currentmusicology-5085.txt item: #320 of 583 id: currentmusicology-5086 author: Lloyd, Rebecca title: Bach: Luther’s Musical Prophet? date: 2007 words: 12962 flesch: 57 summary: Luther studies as a discipline is particularly rich in competing political and religious ideologies, and portraits of Luther have characteristically been shaped by scholars' own confessional views. Within musicology, the problem appears to be that researchers frequently fail to distinguish between two different types of Luther scholarship. keywords: allegory; bach; bible; century; chafe; church; german; god; history; holl; interpretation; luther; lutheran; meaning; music; musicology; new; reformation; scholars; scripture; steiger; testament; text; theologians; theology; time; und; view; world; writings cache: currentmusicology-5086.pdf plain text: currentmusicology-5086.txt item: #321 of 583 id: currentmusicology-5087 author: Treadwell, Nina title: Music of the Gods: Solo Song and effetti meravigliosi in the Interludes for La pellegrina date: 2007 words: 21772 flesch: 59 summary: La potenza ammirativa ne conoscente sia, ne affettuosa, rna da ambedue separata e ad ambedue communicantesi; e che, posta di quelle in suI confino, sia atta a diffondere, e ad infondere, il moto suo tostamente allo 'n su nelle conoscenti, e allo in giu nelle affettuose ... E si puo percio dire la potenza ammirativa essere tra queste due potenze quasi uno Euripo, per 10 quale la marea, dalla ragione agli affetti correndo e ricorrendo (Patrizi 1969,2:361-62). Sia certa V. Eccell., ... che non vidder mai gli occhi miei spettacolo pili nobil di questo, che il veder il Gran Duca Ferdinando senza guardia, con poche genti a cavallo e meno a piede, andarsene tutto fangoso per la citta, facendo quello ufficio che e vero principe. keywords: accounts; archilei; audience; auditor; bardi; cavallino; che; court; della; duke; echo; effects; example; experience; ferdinando; florence; florentine; interludes; intermedi; medici; meraviglia; music; musicology; new; nina; non; passagework; patrizi; pellegrina; performance; peri; pili; power; press; renaissance; rossi; sense; singer; singing; solo; song; sound; spectator; stage; text; theater; time; treadwell; uffizi; university; use; wonder; words cache: currentmusicology-5087.pdf plain text: currentmusicology-5087.txt item: #322 of 583 id: currentmusicology-5088 author: Kawabata, Maiko title: Virtuosity, the Violin, the Devil ... What Really Made Paganini "Demonic"? date: 2007 words: 10697 flesch: 59 summary: According to the most popular legend, Paganini, like Faust, made a pact with Satan to acquire magical powers-enabling him to create effects on the violin beyond the reach of anyone else. Faust, magician, Satan, sadistic villain: the faces of Paganini were interrelated but not equivalent. keywords: bow; courcy; death; demonic; devil; example; faust; figure; goethe; image; instrument; kawabata; london; maiko; music; musicology; new; opera; paganini; paris; performance; press; saussine; university; violin; violinist; woman; york cache: currentmusicology-5088.pdf plain text: currentmusicology-5088.txt item: #323 of 583 id: currentmusicology-5089 author: DeVoto, Mark title: Boris’s Bells, By Way of Schubert and Others date: 2007 words: 5913 flesch: 68 summary: Stravinsky's appraisal of Glinka is perhaps more realistic: His music is minor, of course, but he is not; all music in Russia stems from him (Stravinsky and Craft 1959:48).Ruslan, with no actual bells in the score, gives us the earliest Russian example of bell chords thus far identified, and these are, naturally enough, at a dramatic high point in the poorly conceived libretto of a long and sprawling stage spectacle: the magic moment where Lyudmila, in the midst of a wedding revelry, is abruptly spirited away by the evil magician Chernomor. To wind up this necessarily limited tour of bell chords, we may begin with two examples of simple irregular resolution, by one of the most romantic and visionary harmonists of all. keywords: bell; boris; chords; dominant; example; harmony; major; minor; movement; schubert; seventh; stravinsky cache: currentmusicology-5089.pdf plain text: currentmusicology-5089.txt item: #324 of 583 id: currentmusicology-5090 author: Porcello, Thomas title: Three Contributions to the “Sonic Turn” date: 2007 words: 6080 flesch: 52 summary: Moorefield most closely links to the literature on recording studio practice, Doyle to discussions of both the aural and referential dimensions of particular sonic signatures of popular music recordings, and Anderson to a cultural history of the technologization and industrialization of music pro­ duction and listening practices. (Ill) While few would contest that the producers discussed in the book were key innovators in studio technology use, and that many of them created truly extraordinary recordings by taking advantage, in many cases, of new pos­ sibilities that emerged as recording technologies changed throughout the twentieth century (and working, one might add, most often in conjunction Thomas Porcello with truly talented musicians), that alone cannot account for why these individuals have been lionized when others haven't, nor can it address the complex ways in which technology not only frames but, equally importantly, is framed, by use. keywords: anderson; book; doyle; london; moorefield; music; press; production; recording; sonic; sound; studies; technology; university; university press cache: currentmusicology-5090.pdf plain text: currentmusicology-5090.txt item: #325 of 583 id: currentmusicology-5091 author: Biancorosso, Giorgio title: Review of Phil Powrie and Robynn Stilwell, eds. 2006. Changing Tunes: The Use of Pre-existing Music in Film. Ashgate Popular and Folk Music Series. Aldershot, UK, and Burlington, VT: Ashgate Publishing date: 2007 words: 3362 flesch: 53 summary: We are then treated to chapters on the use of Mascagni in The Godfather III (Lars Franke), the history of Carmen on the big screen (Ann Davies), Mozart as film music (Jeongwon Joe on the film Amadeus), and a close look at three different cinematic uses of Grieg's Peer Gynt (Kristi A. Brown). As Powrie and Stilwell point out in their introduction (xiv), Kubrick's 2001: A Space Odyssey (UK/USA, 1968) was in this respect a watershed moment in film history. keywords: accordion; cinema; essay; film; gorbman; history; kubrick; music; powrie; use cache: currentmusicology-5091.pdf plain text: currentmusicology-5091.txt item: #326 of 583 id: currentmusicology-5092 author: Boynton, Susan title: Review of O’Neill, Mary. 2006. Courtly Love Songs of Medieval France: Transmission and Style in the Trouvère Repertoire. Oxford and New York: Oxford University Press date: 2007 words: 2662 flesch: 53 summary: O'Neill's study may not satisfy all expectations-at 226 pages including bibliography and indices, it is a slim volume for such a vast subject-but the analyses in Courtly Love Songs offer many insights into the structures and forms of trouvere song and provide ample material for further reflection. In the chapter entitled The grand chant of the Trouveres: An Introduction, O'Neill surveys the genre characteristics of trouvere song using a representative example by Gace Brule (a trouvere active at several French courts in the decades around 1200): N'est pas a soi qui aime coral­ ment:' In The Manuscript Tradition: Sources and Notation;' O'Neill divides the manuscripts into two chronological phases based on a taxonomy of their notation, while acknowledging that the phase two sources do not form a single cohesive group (38)-the periodization being necessarily loose because the individual manuscripts are difficult to date with precision (29). keywords: music; o'neill; orality; songs; transmission; trouvere cache: currentmusicology-5092.pdf plain text: currentmusicology-5092.txt item: #327 of 583 id: currentmusicology-5093 author: Parmer, Dillon R. title: Musical Meaning for the Few: Instances of Private Reception in the Music of Brahms date: 2007 words: 10140 flesch: 71 summary: Brahms und Kalbeck: Our answer depends on two issues: first, on how we define this problematic category of program music, and second, on how we view the role of scholarship in this aspect of Brahms reception. keywords: billroth; bozarth; brahms; briefwechsel; century; clara; clues; composer; das; der; die; example; ich; ist; johannes; kalbeck; letter; litzmann; music; musicology; new; parmer; piano; program; public; reception; schumann; sie; sonata; theme; und; von cache: currentmusicology-5093.pdf plain text: currentmusicology-5093.txt item: #328 of 583 id: currentmusicology-5096 author: Watkins, Holly title: The Pastoral After Environmentalism: Nature and Culture in Stephen Albert’s Symphony: RiverRun date: 2007 words: 7240 flesch: 58 summary: In addition to expanding the range of interpretive possibilities, a further advantage of Gifford's approach is that, unlike Marx, he does not draw strict boundaries between popular and high art, a stance that seems important in the case of neo-romantic music which enjoys a broad appeal. Yet the postmodern philosophy of history that Rochberg promulgated-a philosophy which discards the notion of linear evolution in favor of an al­ leged timelessness of musical styles-was a vital factor in the emergence of a genre of music that I will call the neo-romantic pastoraP Combining the romantic and environmentalist impulses of the early 1970s, neo-romantic pastorals, penned by such composers as Stephen Albert, Libby Larsen, and Ellen Taaffe Zwilich, unabashedly adopt (and adapt) the conventional pastoral topoi of the eighteenth and nineteenth centuries. keywords: albert; composers; example; human; marx; movement; music; nature; neo; new; pastoral; press; riverrun; stephen; symphony; university; york cache: currentmusicology-5096.pdf plain text: currentmusicology-5096.txt item: #329 of 583 id: currentmusicology-5097 author: Nedbal, Martin title: Dvořak’s Armida and the Czech Oriental “Self” date: 2007 words: 7709 flesch: 59 summary: HYDRAOT (diva se do sceny, odkud Armida pfichizi) (looking at Amlida as she approaches) ppp Larghetto J = 92-96 P As Tim Carter writes, almost 100 operas and ballets draw upon the love of the Saracen sorceress Armida for the Christian warrior Rinaldo (in French called Armide and Renaud [and in Czech called Armida and Rinald]), with such titles as Armida, Rinaldo, Armida e Rinaldo, Armida abbandonata and Armida al campo d'Egitto. keywords: act; armida; century; christian; crusaders; czech; dvorak; european; example; ismen; march; motive; music; muslims; nedbal; opera; rinald; scene; shield cache: currentmusicology-5097.pdf plain text: currentmusicology-5097.txt item: #330 of 583 id: currentmusicology-5098 author: Gardiner, Michael; Latartara, John title: Analysis, Performance, and Images of Musical Sound: Surfaces, Cyclical Relationships and the Musical Work date: 2007 words: 10453 flesch: 54 summary: As Stock bluntly states, much ethnomusicology is intimately concerned with issues of musical performance; some of it even refers quite explicitly to the Western art music tradition. More recent studies that utilize spectrographs for the analysis of musical performance in both Western and non-Western traditions include Huang (1998a, 1998b), Cogan (1998, 1999), Leech­ Wilkinson (2003), and Latartara (2004,2005). keywords: analysis; bach; image; kempff; models; music; new; opening; performance; press; score; sherman; sound; spectrograph; surface; theory; university; work; york cache: currentmusicology-5098.pdf plain text: currentmusicology-5098.txt item: #331 of 583 id: currentmusicology-5099 author: Gillen, Julia; Young, Susan title: Toward a Revised Understanding of Young Children’s Musical Activities: Reflections from the “Day in the Life” Project date: 2007 words: 7183 flesch: 56 summary: Existing accounts of music for young children and the versions of musi­ cal childhoods that they convey place emphasis on traditional repertoires of children's songs: lullabies, play songs, and ring games. Whereas adults may assume the boundaries to be clear between these changing media, this is less likely to be the case for young children. keywords: activities; activity; childhood; children; culture; early; family; figure; gillen; home; music; new; song; video; young cache: currentmusicology-5099.pdf plain text: currentmusicology-5099.txt item: #332 of 583 id: currentmusicology-5100 author: Goehring, Edmund J. title: Don Giovanni at the Crossroads of Pleasure and Virtue date: 2007 words: 6773 flesch: 56 summary: But this misreading nonetheless gets at a central, legitimate aim of Don Giovanni criticism-to identify an intelligible moral vision in a work of such bewildering moral ambiguity. (The main exception is Ingrid Rowland's discussion of religious ritual and the Don Juan legend before Mozart, Don Giovanni: 'And what communion hath light with darkness? keywords: aesthetic; century; don; don giovanni; don juan; donna; example; giovanni; herwitz; juan; kierkegaard; moment; mozart; music; nineteenth; opera; time; work cache: currentmusicology-5100.pdf plain text: currentmusicology-5100.txt item: #333 of 583 id: currentmusicology-5101 author: Huebner, Steven title: Operatic Texts: Ours, Yours, and Mine date: 2007 words: 4759 flesch: 48 summary: Parker's overarching concern rotates around the connected ideas of musical work( -concept), authenticity, inviolability of text, and the puta­ tively objective establishment of best versions-none of which he is very happy with. Parker also reflects on value judgment in his broader effort to query such notions as work, authenticity, and inviolability of text. keywords: bizet; brook; carmen; history; mozart; music; opera; parker; text; work cache: currentmusicology-5101.pdf plain text: currentmusicology-5101.txt item: #334 of 583 id: currentmusicology-5102 author: Cruz, Gabriela title: How Musical Is Gesture? Review of Mary Ann Smart. 2004. Mimomania: Music and Gesture in Nineteenth-Century Opera. Berkeley and Los Angeles: University of California Press date: 2007 words: 4946 flesch: 53 summary: I did not expect a history of romantic opera rewritten from the viewpoint of gesture to fit so snugly within traditional historical lineages. Opera critics who speak of a material sensibility in French opera do not generally mean it as a compliment. keywords: body; gesture; history; mimomania; movement; music; new; opera; physical; presence; smart; stage; wagner cache: currentmusicology-5102.pdf plain text: currentmusicology-5102.txt item: #335 of 583 id: currentmusicology-5104 author: Cusick, Suzanne G. title: Elisabeth Le Guin. 2006. Boccherini's Body: An Essay in Carnal Musicology. Berkeley and Los Angeles: University of California Press. date: 2007 words: 3710 flesch: 46 summary: Le Guin has used her impressive literary gifts to produce a rich and subtle book that is both a tour de force of embodied, historicist criticism illuminating much of Boccherini's music and a sustained (if sympathetic) critique of musicology's commitment to the disembodied, transhistorical, and scientistic. Moreover, in her insistent embrace of relationships, embodied knowledges, and the responsive, sympathetic ethos of sensibilite, and in her insistent refusal to admit even the possibility of unitary knowledge, Le Guin has written the most formally and methodologically feminist musicology I have yet read-even though neither feminism nor gender are even minimally present in its content. keywords: boccherini; body; book; century; chapter; guin; musicology cache: currentmusicology-5104.pdf plain text: currentmusicology-5104.txt item: #336 of 583 id: currentmusicology-5106 author: Adams, Byron title: Review of Philip Brett. 2006. Music and Sexuality in Britten: Selected Essays, edited by George E. Haggerty. Berkeley and Los Angeles: University of California Press date: 2007 words: 2261 flesch: 41 summary: How can such disparate musicolo­ gists as Robert Fink, Judith Peraino, Elisabeth Le Guin, and Mitchell Morris (to name only a few)-all of whom studied with Brett at the University of California, Berkeley-be pigeonholed as members of a putative School of Philip Brett? Sadly, the collection's author, Philip Brett, died of cancer in 2002, shortly after receiving a Guggenheim Fellowship Award for 2002-3 that would have aided him to complete a book on Britten's life and work. keywords: brett; britten; gay; life; music; work cache: currentmusicology-5106.pdf plain text: currentmusicology-5106.txt item: #337 of 583 id: currentmusicology-5107 author: Zuberi, Nabeel title: Review of Timothy D. Taylor. 2007. Beyond Exoticism: Western Music and the World. Durham, NC, and London: Duke University Press date: 2007 words: 4128 flesch: 43 summary: Taylor contends that working-class blackness operates as the focal point for authenticity in Western world music discourse, dominating and erasing musical genealo­ gies and the understanding of others. But this project has a broader ambit, stretching from the seventeenth century to the present, beginning with the rise of tonality and opera and ending with world music in television advertising. keywords: book; cultural; music; musicology; new; studies; system; taylor; west; world; world music cache: currentmusicology-5107.pdf plain text: currentmusicology-5107.txt item: #338 of 583 id: currentmusicology-5110 author: Steinbeck, Paul title: Review of John Gennari. 2006. Blowin’ Hot and Cool: Jazz and Its Critics. Chicago and London: University of Chicago Press date: 2007 words: 2693 flesch: 45 summary: The fourth chapter of Blowin' Hot and Cool covers the mid-century cohort of jazz critics-Whitney Balliett, Ira Gitler, Ralph Gleason, Nat Hentoff, Gene Lees, Dan Morgenstern, and Martin Williams-who wrote for a variety of mainstream and specialty publications, founded new jazz magazines, taught university courses, and worked for radio, television, record labels, and jazz festivals. Chapter 7 steps outside of the book's principal historical narrative to explore Dial Records founder, jazz critic, and pulp-fiction writer Ross Russell's portrayals of Charlie Parker in his novel The Sound and his Parker biography Bird Lives! keywords: blowin; critics; gennari; jazz; music; musicology; new; studies; university cache: currentmusicology-5110.pdf plain text: currentmusicology-5110.txt item: #339 of 583 id: currentmusicology-5112 author: Schmalenberger, Sarah title: Review of Neil Lerner and Joseph N. Straus, eds. 2006. Sounding Off: Theorizing Disability in Music. London and New York: Routledge date: 2007 words: 2627 flesch: 22 summary: There are numerous topical cross-references throughout the anthology, which seem to be intentional strategies to prevent readers from classifying musical disability along an exact continuum or set of criteria. The authors cite musical styles and genres that narrate these experiences, and the repertoire encompasses popular song (past and present), film music, and classical music. keywords: authors; disability; essays; film; music; new; studies cache: currentmusicology-5112.pdf plain text: currentmusicology-5112.txt item: #340 of 583 id: currentmusicology-5129 author: Gibbons, William title: Debussy as Storyteller: Narrative Expansion in the Trois Chansons de Bilitis date: 2008 words: 9879 flesch: 62 summary: Such an idea is hardly new; indeed, the idea of an unfolding plot or unifying concept (textual or musical) is central to the concept of the song cycle as opposed to a collection of songs, at least after the mid-nineteenth century.l A great deal of musico­ logical literature devoted to song cycles is aimed at demonstrating that they are cohesive wholes, often connected both musically, by means of key relationships, motivic recall, and similar techniques, and textually, by means of the creation of an overarching plot or concept.2 One type of narrative results from a poetic unit being set to music in its complete state, without alteration. This type of song cycle may create its own new narrative, distinct from its literary precursors. keywords: bilitis; chansons; cycle; debussy; example; flute; louys; lykas; music; narrative; pan; pastoral; poems; relationship; song; syrinx; time cache: currentmusicology-5129.pdf plain text: currentmusicology-5129.txt item: #341 of 583 id: currentmusicology-5130 author: Sheinbaum, John J. title: Periods in Progressive Rock and the Problem of Authenticity date: 2008 words: 10371 flesch: 60 summary: Of the numerous tropes surrounding progressive rock bands, some of the most pervasive and persistent concern the perception that these groups' music and public personae are indebted to the classical music tradition. These new industry demands required progressive rock bands to adapt if they were to continue to enjoy the benefits of active promotion from their labels and to command a large audience. keywords: 1970s; album; authenticity; band; chorus; fans; genre; guitar; music; new; period; pop; rock; rush; sheinbaum; song; sound; style; verse; yes; york cache: currentmusicology-5130.pdf plain text: currentmusicology-5130.txt item: #342 of 583 id: currentmusicology-5131 author: Yri, Kirsten title: Medievalism and Exoticism in the Music of Dead Can Dance date: 2008 words: 8715 flesch: 61 summary: 67 68 Current Musicology While it might be said that the interest in medievalism was a short -lived trend in Dead Can Dance's music, the band's treatment of the Middle Ages and the increased number of medieval music ensembles inspired by folk or popular music practices confirms that the boundaries between popular culture and academic practices are permeable, and that knowledge from one can and does inform the other. Both Dead Can Dance's newly composed renditions as well as their performances of medieval music were modeled after historically informed performances and thus drew on the sounds of medieval music as it was constructed in the early music revival of the 1960s and 1970s. keywords: ages; alternative; arab; band; bulgarian; chant; dance; dead; example; gerrard; medieval; middle; music; new; practices; press; rock; song; spiritual; world cache: currentmusicology-5131.pdf plain text: currentmusicology-5131.txt item: #343 of 583 id: currentmusicology-5132 author: Oakes, Jason Lee title: The Filth and the Fury: An Essay on Punk Rock Heavy Metal Karaoke date: 2008 words: 18650 flesch: 60 summary: Drawing on my participation in the event from 2001 to the present, I examine the relationships between abjection, noise, karaoke, gender, and the genre of punk rock at PMK. In terms of Western popular music, this karaoke revolution can be traced back to the beginnings of punk rock and its much-heralded DIY (Do It Yourself) ideology. keywords: abject; abjection; audience; band; body; boundaries; event; female; gaze; gender; horror; karaoke; lauren; lee; male; metal; music; musicology; new; new york; noise; oakes; performance; pmk; press; punk; punk rock; regular; rock; singers; song; terms; time; voice; women; york cache: currentmusicology-5132.pdf plain text: currentmusicology-5132.txt item: #344 of 583 id: currentmusicology-5133 author: Keenan, Elizabeth K. title: Review of Fabian Holt. 2007. Genre in Popular Music. Chicago and London: University of Chicago Press date: 2008 words: 3743 flesch: 50 summary: These individual case studies, from reactions to Elvis Presley in Nashville to a portrait of the lesser­ known Chicago jazz and rock musician Jeff Parker, enable Holt to develop a multifaceted theory of genre that takes into consideration how discourse and practice, local experience and translocal circulation, and industry and individuals all shape popular music genres in the United States. Central to Holt's approach is the idea of genre culture, a concept for the overall identity of the cultural formations in which a genre is constituted (19). keywords: chapter; country; genre; holt; jazz; music; pop; rock; roll cache: currentmusicology-5133.pdf plain text: currentmusicology-5133.txt item: #345 of 583 id: currentmusicology-5134 author: Miller, Kiri title: Review of William T. Dargan. 2006. Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans. Berkeley and Los Angeles: University of California Press date: 2008 words: 3702 flesch: 44 summary: Dargan suggests that Dr. Watts singing has been sidelined or dismissed by music scholars, many African American worship communities, and some prominent black intellectuals (e.g., Zora Neale Hurston) because of a wide­ spread perception that the tradition is not authentically African American and has persisted as a legacy of the enforced illiteracy of the slavery era. Dargan shows how Dr. Watts singing has been regarded as both too black-indeed, so utterly black ... that few middle class or well-educated blacks care to contemplate it for long (238)-and as insufficiently African. keywords: african; american; book; dargan; lining; music; singing; watts cache: currentmusicology-5134.pdf plain text: currentmusicology-5134.txt item: #346 of 583 id: currentmusicology-5135 author: Rosenberg, Ruth Emily title: Review of Caroline Bithell. 2007. Transported by Song: Corsican Voices from Oral Tradition to World Stage. Europea: Ethnomusicologies and Modernities, no. 5 date: 2008 words: 3313 flesch: 43 summary: The Swiss ethnomusicologist Wolfgang Laade was the first to publish a monograph about Corsican traditional music, drawing on material he collected during the 1950s and 1970s. Because the major studies of Corsican music have previously only appeared in German and French, this is a welcome English-language exposition of its characteristic features. keywords: bithell; corsican; island; music; paghjella; singers; singing; tradition cache: currentmusicology-5135.pdf plain text: currentmusicology-5135.txt item: #347 of 583 id: currentmusicology-5136 author: Kane, Brian title: Review of Andy Hamilton. 2007. Aesthetics and Music. London and New York: Continuum date: 2008 words: 4151 flesch: 52 summary: Published as part of Continuum's new series of introductory texts on art and aesthetics, Hamilton's book is more than a student text and less than a specialist's essay. These latter chapters-titled The Concept of Music;' The Sound of Music;' Rhythm and Time;' and Improvisation and Composition -contain the substance of Hamilton's thinking. keywords: adorno; aesthetics; art; hamilton; music; philosophy; rhythm; scruton cache: currentmusicology-5136.pdf plain text: currentmusicology-5136.txt item: #348 of 583 id: currentmusicology-5137 author: Root, Gordon title: Review of Michael Cherlin. 2007. Schoenberg’s Musical Imagination. Cambridge and New York: Cambridge University Press date: 2008 words: 4080 flesch: 47 summary: Perhaps the most striking sonic contrast that Cherlin notes in Pelleas und Melisande is the one that corresponds to the dramatic conflict between Melisande and Golaud. The effect of this ending is indeed suspenseful, and the sense of incompletion that Cherlin notes is quite unexpected and tangible. keywords: analysis; cherlin; conflict; melisande; music; schoenberg; trio; work cache: currentmusicology-5137.pdf plain text: currentmusicology-5137.txt item: #349 of 583 id: currentmusicology-5138 author: Code, David J. title: Review of Heath Lees. 2007. Mallarmé and Wagner: Music and Poetic Language. Aldershot, UK, and Burlington, VT: Ashgate Publishing date: 2008 words: 2295 flesch: 41 summary: Telling points of reference include his ongoing contacts with such leading musical figures as Augusta Holmes and the musical minutiae noted in La Derniere Mode, the magazine about fashion and current events Mallarme himself edited for a short while in 1874. Chapter 4 begins by elaborating further on Baudelaire's transmission of Wagnerian principles-e.g., the leitmotif as the means of fusing feeling with understanding (88) and the new ideal of melody that replaced the four-bar song mould of the 'typical' opera with a continuous performance of musical prose (96)-before introducing Mallarme's close friends Catulle Mendes and Villiers de l'Isle Adam. keywords: book; language; lees; mallarme; music; wagner cache: currentmusicology-5138.pdf plain text: currentmusicology-5138.txt item: #350 of 583 id: currentmusicology-5139 author: Burgess, Geoffrey title: Review of Martha Feldman. 2007. Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy. Chicago and London: University of Chicago Press date: 2008 words: 4068 flesch: 40 summary: While talk of a Verdi opera may seem out of place in a book about opera seria, the reference is apt in light of Feldman's broader argument, as it underscores the distance between eighteenth-century and present-day sensibilities in opera performance. Since she began her work on opera seria in the mid-1990s, she has not been afraid to revise her thinking and fine-tune her arguments, all the while bringing a fresh perspective to the remarkable life of opera in eighteenth-century Italy. keywords: audience; book; century; feldman; ippolito; opera; opera seria; performance; seria; sovereignty cache: currentmusicology-5139.pdf plain text: currentmusicology-5139.txt item: #351 of 583 id: currentmusicology-5140 author: Bick, Sally M. A. title: Eisler’s Notes on Hollywood and the Film Music Project, 1935-42 date: 2008 words: 15969 flesch: 58 summary: He would eventually assist Eisler on the Film Music Project; see letter from Harry Robin to Johannes Gall, New School of Social Research, Archive Files, Folder: Hanns Eisler; and Betz 1982: 172. 29. While Johnson offered Eisler opportunities for teaching at the New School, Eisler continued to explore other possibilities. keywords: adorno; american; book; composer; copland; eisler; film; film music; foundation; hanns; hanns eisler; hollywood; industry; january; johnson; letter; marshall; music; music project; new; press; project; research; rockefeller; score; sound; university; work; york cache: currentmusicology-5140.pdf plain text: currentmusicology-5140.txt item: #352 of 583 id: currentmusicology-5141 author: Vande Moortele, Steven title: Beyond Sonata Deformation: Liszt’s Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form date: 2008 words: 10244 flesch: 56 summary: In a perceptive critique of deformation theory, Julian Horton has pointed out that it is particularly precarious to identify normative sonata form with the Formenlehre model of sonata form established by A. B. Marx and others (Horton 2005:7). As Michael Saffle has considered, the formal organization of Liszt's orchestral compositions is often determined no less by the tradition of sonata form than by the demands of their programs (Saffle 2002:240-42). keywords: century; deformation; exposition; group; hepokoski; introduction; liszt; movement; music; new; nineteenth; organization; sonata cycle; sonata deformation; sonata form; tasso; theme; tonic cache: currentmusicology-5141.pdf plain text: currentmusicology-5141.txt item: #353 of 583 id: currentmusicology-5142 author: Greitzen, Mary Lee title: Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaÿe’s “Obsession” for Solo Violin date: 2008 words: 7037 flesch: 56 summary: Becoming Bach, Blaspheming Bach: Kinesthetic Knowledge and Embodied Music Theory in Ysaye's Obsession for Solo Violin Mary Lee Greitzer This essay explores kinesthetic musical knowledge: what can it tell us about the music, the performer, or the composer? Bach quote. keywords: bach; devil; dies; example; irae; major; music; musicology; obsession; piece; prelude; saye; violin cache: currentmusicology-5142.pdf plain text: currentmusicology-5142.txt item: #354 of 583 id: currentmusicology-5143 author: Farrugia, Rebekah; Swiss, Thom title: Producing Producers: Women and Electronic/Dance Music date: 2008 words: 9785 flesch: 63 summary: As the cultural environment changed and the scene's structure came to more closely resemble that of the mainstream popular music industry, it became even less likely to find women producers. Amber's case is fairly representative: her interest in teaching DJ classes but not producing music puts her in the category of many women who work in jobs that involve helping others or require strong interpersonal skills, such as the public relations departments that have come to be women's places in the music industry (Kruse 2003; Negus 1992). keywords: culture; djs; farrugia; female; girls; industry; music; new; producers; production; record; sound; studio; technology; time; women; work cache: currentmusicology-5143.pdf plain text: currentmusicology-5143.txt item: #355 of 583 id: currentmusicology-5144 author: Silverberg, Laura title: Review of Amy C. Beal. 2006. New Music, New Allies: American Experimental Music in West German from the Zero Hour of Reunification. Berkeley and Los Angeles: University of California Press. date: 2008 words: 4872 flesch: 40 summary: Beyond the fact that this section avoids actually discussing the impact of the Berlin Wall on political-ideological interpretations of American music, the conclusion that American experimental music provided a temporary distraction barely begins to capture the shattering effects that the Wall's construction had on musical and political life in East and West Berlin. © 2008 by the Trustees of Columbia University in the City of New York 101 102 Current Musicology economic, and social conditions, combined with individual efforts to promote experimentalism, made West Germany a context of prolific exile for American experimental music (2). keywords: american; beal; cage; cold; composers; germany; music; new; politics; university; war; west cache: currentmusicology-5144.pdf plain text: currentmusicology-5144.txt item: #356 of 583 id: currentmusicology-5145 author: Walden, Joshua S. title: Review of Fosler-Lussier. 2007. Music Divided: Bartók’s Legacy in Cold War Culture. Berkeley and Los Angeles: University of California Press date: 2008 words: 2604 flesch: 45 summary: Chapter 6 continues this discussion, detailing a critical turn in the Cold War history of Hungarian music: the Party's case against Mihaly. While some Hungarian composers, such as Mihaly, continued to cling to Bart6k's late style as an example for the way Hungarian socialist music should sound, the increasing pressure to follow Soviet standards meant a turn away from Bart6k's influence, as composers were discouraged from modeling their music on Bart6k's. keywords: bartok; fosler; hungarian; lussier; music; reception; war cache: currentmusicology-5145.pdf plain text: currentmusicology-5145.txt item: #357 of 583 id: currentmusicology-5147 author: Burford, Mark title: Review of George Lipsitz. 2007. Footsteps in the Dark: The Hidden Histories of Popular Music. Minneapolis: University of Minnesota Press date: 2008 words: 8709 flesch: 44 summary: © 2008 by the Trustees of Columbia University in the City of New York 125 126 Current Musicology Lipsitz was trained as a historian-his earliest activism and scholarship focused on labor and working-class issues-and popular music history has held prominent place in his work. What popular music can teach us about such issues is his subject in Footsteps in the Dark: The Hidden Histories of Popular Music, a book in which Lipsitz calls for reading popular music as history and interpreting history through popular music (xvi). keywords: american; banda; black; book; chapter; culture; dark; footsteps; hip; history; hop; jazz; lipsitz; merengue; mexican; migration; music; musicians; new; press; puerto; university; york cache: currentmusicology-5147.pdf plain text: currentmusicology-5147.txt item: #358 of 583 id: currentmusicology-5148 author: Kane, Brian title: Review of Peter Szendy. 2008. Listen: A History of Our Ears. Translated by Charlotte Mandell. New York: Fordham University Press date: 2008 words: 4546 flesch: 57 summary: Sadly, we never get the opportunity to listen to Szendy listening. Chapter 2 works through the question of musical works from the perspective of transcription or arrangement. keywords: adorno; arrangement; history; listener; listening; music; szendy; work cache: currentmusicology-5148.pdf plain text: currentmusicology-5148.txt item: #359 of 583 id: currentmusicology-5149 author: Gallope, Michael title: Review of Jean-Luc Nancy. 2007. Listening. Translated by Charlotte Mandell. New York: Fordham University Press date: 2008 words: 4596 flesch: 56 summary: Or: Musical listening seems, then, to be like the permission, the elaboration, and the intensification of the keenest disposition of the 'auditory sense))' (27). Musical listening is not the accurate perception of musical form. keywords: entendre; listening; music; nancy; self; sense; world cache: currentmusicology-5149.pdf plain text: currentmusicology-5149.txt item: #360 of 583 id: currentmusicology-5150 author: Bickford, Tyler title: Review of Susan Boynton and Roe-Min Kok, eds. 2006. Musical Childhoods and the Cultures of Youth. Music/Culture. Middletown, CT: Wesleyan University Press date: 2008 words: 4880 flesch: 39 summary: In the last decade a number of books, articles, and dissertations have begun to argue that music and aesthetics are key elements in children's social practices, in the articulation of childhood identity, and in adult frameworks for understanding their own and others' childhoods, and that children and childhood deserve prominent attention from musicologists. Children are a marginalized group, and it is important to seek out and validate their knowledge and experience as children, and to allow them to speak back to dominant narratives about who children are, what they need, and how they should be addressed (topics that, I have found in my research with schoolchildren in the US, kids attend to closely). keywords: adult; boynton; chapters; childhood; children; cohen; kok; music; new; study; volume; youth cache: currentmusicology-5150.pdf plain text: currentmusicology-5150.txt item: #361 of 583 id: currentmusicology-5152 author: Esse, Melina title: Speaking and Sighing: Bellini’s canto declamato and the Poetics of Restraint date: 2009 words: 13490 flesch: 68 summary: Rossini e Bellini a paragone. Speaking and Sighing: Bellini's canto declamato and the Poetics of Restraint Melina Esse keywords: amina; appoggiatura; arturo; bellini; canto; che; corsets; declamato; delle; esse; example; female; figure; melina; melody; music; musicology; new; non; notes; opera; press; restraint; rousseau; straniera; style; tears; voice; women; words cache: currentmusicology-5152.pdf plain text: currentmusicology-5152.txt item: #362 of 583 id: currentmusicology-5153 author: Binder, Benjamin title: Kundry and the Jewish Voice: Anti-antisemitism and Musical Transcendence in Wagner’s Parsifal date: 2009 words: 36176 flesch: 64 summary: Es sagte wahr; denn nie liigt Kundry, doch sah' sie vielJ. Kundry may never lie, but in order to stay under the radar and get what she wants in Act I and the first half of Act II, she also refrains from disclosing the whole truth about herself and what she has seen. Marc Weiner argues that the exoticism and Oriental overtones (1995:242) that Kundry exudes grant her at disturbing (if, in this case, alluring) Eastern Otherness which Wagner also associated with the Jew in some of his writings (1995:241-47). keywords: abbate; act; act ii; als; amfortas; animal; anti; auf; benjamin; binder; body; character; christ; compassion; das; death; den; der; des; die; end; essay; example; fact; figure; gaze; geck; grail; gurnemanz; human; ihm; iii; jew; judentum; klingsor; knights; kundry; laughter; life; major; melody; minor; mir; mit; moment; montsalvat; mother; motif; music; musicology; new; nicht; opera; orchestra; order; pain; parsifal; passage; point; redemption; richard; scene; sich; sie; singing; sings; stage; suffering; time; voice; von; voss; wagner; way; wie; words; world; wound cache: currentmusicology-5153.pdf plain text: currentmusicology-5153.txt item: #363 of 583 id: currentmusicology-5154 author: Goehr, Lydia title: Aida and the Empire of Emotions (Theodor W. Adorno, Edward Said, and Alexander Kluge) date: 2009 words: 13544 flesch: 69 summary: His work has everything to do with opera and operas like Aida. A third way, which I develop here as the authorial thread of this essay, disrupts the explicit alli­ ances that are set up between opera and nationhood, especially to the extent that these alliances suggest a history of fated nations. keywords: act; adorno; aida; counter; death; die; emotions; fate; kluge; music; new; opera; radames; said; society; sphere; terms; verdi; war; work cache: currentmusicology-5154.pdf plain text: currentmusicology-5154.txt item: #364 of 583 id: currentmusicology-5155 author: Cateforis, Theo title: Rebel Girls and Singing Boys: Performing Music and Gender in the Teen Movie date: 2009 words: 13627 flesch: 58 summary: Specifically, this new wave of teen movies began to portray adolescence in a way that resembles an­ thropologist Victor Turner's description of the liminal journey, a socially defined process marked by rites of passage towards adulthood. As Timothy Shary (2002) has argued, this surge in popularity can be attributed in part to the development and rise of the suburban shopping mall, which not only served as a prominent setting within many early 1980s teen movies, but also provided the site of the new multiplex theaters that attracted teen film audiences in droves. keywords: adolescence; adult; alternative; american; andie; boys; character; female; film; girl; hughes; identity; kat; male; movie; music; new; performance; press; rebel; rock; song; teen; teen movie; time; transformation; william; york cache: currentmusicology-5155.pdf plain text: currentmusicology-5155.txt item: #365 of 583 id: currentmusicology-5156 author: Le Guin, Elisabeth title: Review of Tess Knighton and Álvaro Torrente, eds. 2007. Devotional Music in the Iberian World, 1450-1800: The Villancico and Related Genres. Aldershot, UK, and Burlington, VT: Ashgate Publishing date: 2009 words: 4053 flesch: 44 summary: Bernardo Illari's powerhouse essay, The Popular, the Sacred, the Colonial, and the Local: the Performance of Identities in the Villancicos from Sucre (Bolivia), is also out to demolish a few excessively comfortable assumptions, chief among them the idea that Latin American art is somehow intrinsically different simply by virtue of being Latin American; and the idea that the inclusion of popular idioms and characters in villancicos represents some sort of irruption of folk practices, much less a pure-hearted inclusionary maneuver on the part of the Church. Janet Hathaway's 'Music Charms the Senses ... ': Devotional Music in the Triunfos festivos of San Gines, Madrid, 1656 is very similar in approach to Torrente's essay: another exercise in close reading of a descriptive/prescrip­ tive text in order to build up a picture of villancico practice in a given time and place. keywords: book; essay; genres; iberian; music; musicology; torrente; villancico; works cache: currentmusicology-5156.pdf plain text: currentmusicology-5156.txt item: #366 of 583 id: currentmusicology-5157 author: Tunbridge, Laura title: Review of Nicholas Cook. 2007. The Schenker Project: Culture, Race and Music Theory in Fine-de-siecle Vienna. Oxford and New York: Oxford University Press date: 2009 words: 2028 flesch: 52 summary: Rather, we move Beyond Assimilation (as he entitles his chapter): to the aesthetics of the analytical method itself, specifically the problem of late Schenker-his codification in Der freie Satz of the Urlinie. The challenge in part is that by the time the theory becomes more narrow and schematic, the social dimension of the theory withers away: we end up not with the Schenker project as [Cook has] described it, but rather with what Der freie Satz has traditionally been seen as-a work of music theory, through which are scattered a large number of rather gratuitous remarks pertaining to philosophy, religion, society, or the individual (268). keywords: cook; music; project; schenker; theory cache: currentmusicology-5157.pdf plain text: currentmusicology-5157.txt item: #367 of 583 id: currentmusicology-5158 author: Oderdonk, Julian title: Review of Matthew Gelbart. 2007. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner. Cambridge and New York: Cambridge University Press date: 2009 words: 4735 flesch: 34 summary: This is not to say that folk music is lacking for champions (in an interesting final chapter, Gelbart demonstrates how folk and art music have been grouped together and mutually elevated at the expense of a meretricious commercial popular music since the mid-nineteenth century), only that in general terms it has been placed at a lower level of cultural significance. The focus on the details of folk music-its invention and mediation by outsiders -is another strength of the book. keywords: century; concept; folk; folksong; gelbart; genius; german; music; nature; new cache: currentmusicology-5158.pdf plain text: currentmusicology-5158.txt item: #368 of 583 id: currentmusicology-5159 author: Keller, Marcello Sorce title: Laurent Aubert. 2007. The Music of The Other: New Challenges for Ethnomusicology in a Global Age. Foreword by Anthony Seeger. Translated by Carla Ribeiro. Burlington, VT, and Aldershot, UK: Ashgate Publishing. date: 2009 words: 3855 flesch: 55 summary: But then, as I read the book for the first time, I realized I was reading an articulated narrative showing, from various angles, how musical contacts and exchanges among music cultures are not an idyllic and harmonious process but, on the contrary, rather problematic ones. A little more than fifteen years later, as the French edition of this book signalled in 2001 (drawing upon articles that appeared between 1991 and 2000), it has become essential to consider the opposite situation: what impact world music is having on Western society, what happens to our sense of aesthetics when we listen to musics which were not meant to coexist with each other on a daily basis. keywords: aubert; book; cultures; ethnomusicology; music; new; society; time; today; world cache: currentmusicology-5159.pdf plain text: currentmusicology-5159.txt item: #369 of 583 id: currentmusicology-5160 author: Revuluri, Sindhumathi title: Review of Bennet Zon. 2007. Representing Non-Western Music in Nineteenth-Century Britain. Rochester, NY: University of Rochester Press date: 2009 words: 2012 flesch: 49 summary: Recognizing this connection, Zon argues, allows us to see Myers as an innovator who was willing to hear and treat non-Western musics as counterpoints to European music, rather than the primitive ancestors of contemporary Western musics. Through detailed descriptions and discussions of these sources, Zon shows how discourse around non-Western music in this time and place was shaped by and indebted to broad intellectual trends in anthropology and psychology, as well as musicology and travel literature. keywords: book; music; myers; zon cache: currentmusicology-5160.pdf plain text: currentmusicology-5160.txt item: #370 of 583 id: currentmusicology-5161 author: Solie, Ruth A. title: Review of Christina Bashford. 2007. The Pursuit of High Culture: John Ella and Chamber Music in Victorian London. Woodbridge, UK: Boydell date: 2009 words: 2266 flesch: 42 summary: Eventually it became Ruth A. Solie clear, to the chagrin of many of his contemporaries, that Ella had little use for the work of British composers or, by the end, for contemporary music (with the exception of Wagner). Reviewed by Ruth A. Solie Christina Bashford has titled and subtitled her new book appropriately: although it takes the overt form of a biography of Victorian musical en­ trepreneur John Ella, it is also a much broader project concerning musical life, repertory, and audiences in nineteenth-century Britain. keywords: bashford; ella; london; musical; repertory; union cache: currentmusicology-5161.pdf plain text: currentmusicology-5161.txt item: #371 of 583 id: currentmusicology-5162 author: Sanden, Paul title: Hearing Glenn Gould's Body: Corporeal Liveness in Recorded Music date: 2009 words: 12788 flesch: 58 summary: Perhaps the most effective promotion of this dual image of Gould-one of formidable mind and imperfect body-came from Gould himself.13 Gould repeatedly stated in interviews and in his own writings that for him the most important aspect of any piece of music was its structure. For instance, the first book-length study of Gould, Geoffrey Payzant's Glenn Gould: Music and Mind (1978), announces its bias in its title. keywords: art; body; glenn; glenn gould; gould; liveness; mind; music; musicology; performance; physical; piano; playing; press; recordings; singing; sound; university; variation; voice; western cache: currentmusicology-5162.pdf plain text: currentmusicology-5162.txt item: #372 of 583 id: currentmusicology-5163 author: Kennaway, James title: Degenerate Religion and Masculinity in Parsifal Reception date: 2009 words: 12739 flesch: 56 summary: In a 1919 edition of the German magazine Psychische Studien, Max Seiling described Wagner's occult powers, as recorded by eyewitnesses: After the final production of Parsifal Wagner had gathered his friends and colleagues to him one more time in order to say a few words of farewell to them. His first article on Wagner appeared in the Transactions of the London Lodge of the Theosophical Society under the title Theosophy in the Works of Richard Wagner. keywords: anti; art; bayreuth; catholic; catholicism; century; christian; church; das; degenerate; degeneration; der; die; german; grail; homosexuality; james; kundry; london; music; mysticism; new; nietzsche; occult; opera; parsifal; press; protestant; religion; religiosity; richard; schopenhauer; self; und; university; von; wagner; work cache: currentmusicology-5163.pdf plain text: currentmusicology-5163.txt item: #373 of 583 id: currentmusicology-5164 author: Robertson, Emily title: A Paper Trail: Missa Jouyssance vous donneray, Uncertain Identity, and the National Institutes of Health’s “Bathtub Collection” date: 2009 words: 9775 flesch: 66 summary: This attribution is not particularly reliable, thus M. Jouyssance vous donneray is the only work solidly identified with Johannes Sarton. The music of M. Jouyssance vous donneray is in transposed Dorian mode, just like three of Certon's eight established Masses. keywords: agnus; bathtub; bis; book; century; certon; chanson; collection; donneray; jouyssance; jouyssance vous; layolle; mass; melun; moderne; music; paris; pierre; sarton; voices; vous; vous donneray cache: currentmusicology-5164.pdf plain text: currentmusicology-5164.txt item: #374 of 583 id: currentmusicology-5165 author: Wilbourne, Emily title: Review of Roger Freitas. 2009. Portrait of a Castrato: Politics, Patronage, and Music in the Life of Atto Melani. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press date: 2009 words: 2618 flesch: 48 summary: Freitas discusses an affair between Atto Melani and Carlo II Gonzaga-Nevers, Duke of Mantua, and another between Atto and a young, unnamed Italian nobleman who also seems to have had an affair with the Duke, along with evidence of heterosexual assignations. If chapters 1 and 4 theorize outward from the exemplar of Atto Melani to suggest ways in which the category castrato can be better understood, chapters 2, 3, 5, and 7 deal with the specific biographical circumstances of Atto's life. keywords: atto; castrato; century; freitas; life; music; performance; works cache: currentmusicology-5165.pdf plain text: currentmusicology-5165.txt item: #375 of 583 id: currentmusicology-5166 author: Bryant, Brooke title: Giuseppe Gerbino. 2009. Music and the Myth of Arcadia in Renaissance Italy. New Perspectives in Music History and Criticism. Cambridge and New York: Cambridge University Press. date: 2009 words: 2942 flesch: 46 summary: This book offers the first comprehensive investigation of pastoral music in sixteenth-century Italy, reclaiming it as a complex subject worthy of in-depth exploration. While the concept of Arcadia was an integral component of the cultural fabric of the late sixteenth century, pastoral music has seldom been considered with much seriousness by modern musicologists. keywords: arcadia; cambridge; century; gerbino; music; pastoral; renaissance; theater; university cache: currentmusicology-5166.pdf plain text: currentmusicology-5166.txt item: #376 of 583 id: currentmusicology-5168 author: Seto, Mark title: Review of Jann Pasler. 2009. Composing the Citizen: Music as Public Utility in Third Republic France. Berkeley and Los Angeles: University of California Press. date: 2009 words: 3499 flesch: 52 summary: If anything, its significance has perhaps been overstated in narrative accounts of French music. On the scarcity of narrative histories of French music, see Henson (2008). keywords: book; century; french; music; new; oxford; pasler; press; republic; university cache: currentmusicology-5168.pdf plain text: currentmusicology-5168.txt item: #377 of 583 id: currentmusicology-5169 author: Riggs, Kristy title: Review of Ralph Locke. 2009. Musical Exoticism: Images and Reflections. Cambridge and New York: Cambridge University Press date: 2009 words: 2381 flesch: 56 summary: The overarching goal of Musical Exoticism is to survey the vast and varied repertoire of Western musical works that evoke exotic locales (i). Because of the prevalence of such narrowly focused accounts of musical exoticism, Locke chooses to take a broader, more comprehensive perspective that seeks to examine exoticism throughout Western art music. keywords: book; context; exoticism; locke; music; notes; scholars cache: currentmusicology-5169.pdf plain text: currentmusicology-5169.txt item: #378 of 583 id: currentmusicology-5170 author: Casadei, Delia title: Review of David Levin. 2007. Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky. Chicago and London: University of Chicago Press date: 2009 words: 3685 flesch: 54 summary: Had the author chosen opera on DVD as his specific field of inquiry, this problem would not have arisen: it is the fact that Levin uses the DVD as a substitute for live performance that is troubling. Levin suggests that operatic productions in Europe and the United States have amply paid homage to academic concerns about the production of meaning and other post-modern enthusiasms. keywords: chapter; dvd; levin; opera; performance; production; staging; voice cache: currentmusicology-5170.pdf plain text: currentmusicology-5170.txt item: #379 of 583 id: currentmusicology-5171 author: Belkind, Nili title: A Message for Peace or a Tool for Oppression? Israeli Jewish-Arab duo Achinoam Nini and Mira Awad’s Representation of Israel at Eurovision 2009 date: 2010 words: 13353 flesch: 50 summary: Arab-Jewish Duo Chosen to Represent Israel at Eurovision. Israeli Jewish-Arab duo Achinoam Nini and Mira Awad's Representation of Israel at Eurovision 2009 NiH Belkind Israel's contenders for the 2009 Eurovision Song Contest (known as the ESC or, as here, Eurovision) were the Israeli Jewish-Arab duo Achinoam Nini and Mira Awad. keywords: arab; arabic; article; awad; collaboration; countries; culture; duo; esc; eurovision; following; gaza; hebrew; international; israel; israelis; music; national; nini; online; palestine; palestinian; peace; process; song; state; war cache: currentmusicology-5171.pdf plain text: currentmusicology-5171.txt item: #380 of 583 id: currentmusicology-5172 author: Rodgers, Stephen title: Music Smashed to Pieces: The Destructive Logic of Berlioz’s Roméo au tombeau date: 2010 words: 15647 flesch: 63 summary: Ian Kemp calls Romeo au tombeau the most extraordinary music [Berlioz] ever wrote and ascribes its impact to the precision of Berlioz's musical narrative, linking specific measures of music to specific lines of text throughout (Kemp 1992:76). In what follows, I explore Romeo au tombeau in detail, first situating the movement in the context of Berlioz's ideas about musical representation, then applying those ideas to an analysis of the piece, and finally comparing it with the Scene d'amour. keywords: berlioz; example; imitation; juliet; major; minor; movement; music; new; physical; play; press; program; rodgers; romeo; romeo au; rushton; scene; section; symphony; theme; time; tombeau; university; work cache: currentmusicology-5172.pdf plain text: currentmusicology-5172.txt item: #381 of 583 id: currentmusicology-5173 author: Santa, Charles Richard; Santa, Matthew title: Solving Elgar’s Enigma date: 2010 words: 7020 flesch: 71 summary: First Elgar writes that there is a dark saying involved; and second, he notes that the Theme goes throughout the piece but is not heard. Reed wrote, He (Elgar) was busy orchestrating the two Folk Songs of Eastern Europe (paraphrased by Pietro d'Alba and Edward Elgar) (1939:109). keywords: circle; elgar; enigma; hint; music; penny; powell; santa; solution; theme; variations; work cache: currentmusicology-5173.pdf plain text: currentmusicology-5173.txt item: #382 of 583 id: currentmusicology-5174 author: Newland, Marti title: Review of Susan Thomas. 2009. Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage. Urbana and Chicago: University of Illinois date: 2010 words: 1605 flesch: 49 summary: love and theft theory in order to explain the simultaneous fear of black bodies and desire for black zarzuela characters in this Cuban context (82). Emerging as a well-received genre in Havana theaters during the early twentieth century, Cuban zarzuela incorporates Spanish light opera and Afrocuban musical characteristics into one-act operettas featuring a number of racial and nationalist archetypes endemic in turn-of-the-century Cuba: the mulatta woman, the black man, the white woman, and the white man. keywords: cuban; genre; male; thomas; white; zarzuela cache: currentmusicology-5174.pdf plain text: currentmusicology-5174.txt item: #383 of 583 id: currentmusicology-5175 author: Bothwell, Beau title: Review of Tricia Rose. 2008. The Hip Hop Wars: What We Talk About When We Talk About Hip Hop-And Why It Matters. New York: Basic/Civitas Books date: 2010 words: 3341 flesch: 60 summary: For Rose, the primary effect of an unquestioning defense of commercial hip hop, whether on the grounds of artistic freedom, ghetto authenticity, or anything else, leads to the absence of a constructive, healthy critique, which might allow hip hop to grow into an effective progressive force. In one of the most trenchant chapters, Rose explores what she calls the Mutual Denials in the Hip Hop Wars:' Among these are a willingness to accept homophobia as acceptable or at least unavoidable, a tendency to ignore the role of white consumption in the creation and development of commercial hip hop, and a disregard for the creative content of the music, whether by critics who dismiss it as worthless or supporters whose defense of hip hop extends so far as to require no creative standards at all-a position which she sees as equally dismissive. keywords: black; book; hip; hip hop; hop; music; new; rose cache: currentmusicology-5175.pdf plain text: currentmusicology-5175.txt item: #384 of 583 id: currentmusicology-5176 author: Burrell, Jalylah title: Review of Eileen M. Hayes. 2010. Songs in Black and Lavender: Race, Sexual Politics, and Women’s Music. Urbana and Chicago: University of Illinois Press date: 2010 words: 1811 flesch: 33 summary: Black women, Hayes claims, battle subjugation ... in the discourse of women's music and unfamiliarity in Black expressive culture (45). Her nine relatively short chapters leap from black women's early participation in women's music festivals as performers and patrons (chapter 3, 'After the Golden Age: Negotiating Perspective); to the implementation and impact of idealistic platforms and multicultural prac­ tices at women's music festivals (chapter 5, Ideal Relationships: Women's Music Audiences); and to the alternate spaces provided by black women and black lesbian exclusive festivals (chapter 6, Redistricting: Gay and Black Outdoors). ' keywords: festivals; hayes; lavender; music; songs; women cache: currentmusicology-5176.pdf plain text: currentmusicology-5176.txt item: #385 of 583 id: currentmusicology-5177 author: Coleman, Kwami title: Review of Patrick Burke. 2008. Come In And Hear The Truth: Jazz and Race on 52nd Street. Chicago and London: University of Chicago Press. date: 2010 words: 3356 flesch: 52 summary: Both of these discourses became commodities that jazz musicians came to use to their advantage. For Burke, Smith represents a reworking of the minstrel legacy that set a precedent for jazz musicians of the next generation, especially Dizzy Gillespie: one in which the black performer's cleverness is flaunted in the face of his white audience. keywords: bebop; burke; jazz; musicians; new; second; street; white; york cache: currentmusicology-5177.pdf plain text: currentmusicology-5177.txt item: #386 of 583 id: currentmusicology-5178 author: Haringer, Andrew title: Raymond Monelle. 2006. The Musical Topic: Hunt, Military, and Pastoral. Bloomington and Indianapolis: Indiana University Press. date: 2010 words: 7961 flesch: 55 summary: l However, it is for his groundbreaking work in musical semiotics, and topic theory in particular, for which Dr. Monelle is most likely to be remem­ bered' and here too he deviated from the norm. It was this judicious blend of a solid foundation and an adventurous spirit that ensured glowing reviews of Monelle's first two books by scholars of such different temperaments as Kofi Agawu (1994) and Susan McClary (2001).1t is therefore surprising that his third and, in my estimation, greatest book-The Musical Topic: Hunt, Military, and Pastoral-met with so little fanfare when it appeared four years ago.2 Modern topic theory owes its beginnings to Leonard Ratner's seminal work, Classic Music (1980). keywords: calls; century; example; horn; hunt; hunting; marches; military; monelle; music; new; pastoral; press; sense; signifier; theory; topic; university; world cache: currentmusicology-5178.pdf plain text: currentmusicology-5178.txt item: #387 of 583 id: currentmusicology-5179 author: Garland, Shannon title: Review of Ignacio Corona and Alejandro Madrid, eds. 2008. Postnational Musical Identities: Cultural Production, Distribution, and Consumption in a Globalized Scenario. Lanham: Lexington Books date: 2010 words: 2272 flesch: 37 summary: Lanham: Lexington Books. Reviewed by Shannon Garland In Postnational Musical Identities, Ignacio Corona and Alejandro Madrid bring together twelve scholars working with (primarily) popular music in (primarily) Mexico and Latin America to consider the relationship between music, identity, and globalization. Corona and Madrid layout their frames for thinking about globalization and music (i.e., The Idea of the Postnational, Music Scholarship in Times of Postnationality, and The Collapse of Grand Narratives in Popular Music) in the introductory chapter, The Postnational Turn in Music Scholarship and Music Marketing. keywords: globalization; identity; mexican; mexico; music; rock cache: currentmusicology-5179.pdf plain text: currentmusicology-5179.txt item: #388 of 583 id: currentmusicology-5187 author: de Martelly, Elizabeth title: Signification, Objectification, and the Mimetic Uncanny in Claude Debussy’s “Golliwog’s Cakewalk” date: 2010 words: 11099 flesch: 50 summary: The composer draws upon many ragtime and cakewalk conventions in order to make Golliwog dance. Parisian Cakewalks. keywords: american; black; body; brown; caddy; cakewalk; century; children; chouchou; commodity; dance; debussy; doll; european; golliwog; history; life; lott; minstrel; music; new; slavery; white cache: currentmusicology-5187.pdf plain text: currentmusicology-5187.txt item: #389 of 583 id: currentmusicology-5188 author: Doughter, Sarah title: Sex and Laughter in Women’s Music, 1970-77 date: 2010 words: 9505 flesch: 56 summary: And yet, in popular thinking, there is really only one essential difference between a lesbian and other women: that of sexual orientation-which is to say, when you strip off all the packaging, you must finally realize that the essence of being a woman is to get fucked by men. Together with the development of other institutions such as softball leagues, theaters, bookstores, and clinics, music venues (which were often ephemeral, rented spaces) served as a social hub for women who were looking for other women who shared their lesbian-feminist politics and their sexual interests (Lockard 1886:83). keywords: album; audience; christian; culture; feminist; humor; identity; know; lesbian; mainstream; movement; music; new; olivia; press; records; sexuality; song; women; york cache: currentmusicology-5188.pdf plain text: currentmusicology-5188.txt item: #390 of 583 id: currentmusicology-5189 author: Hoover, Elizabeth title: Variations V: "Escaping Stagnation" Through Movement of Signification date: 2010 words: 8096 flesch: 54 summary: However, multiple collaborators contributed their electronic designs to make performances of Variations V possible. The purpose of this article is to move the discussion of Variations V away from pure descriptive accounts-whether historical or in regards to performance practice-and towards an understanding of its cultural mean­ ing, the importance of which was ascribed by the New York Times critic Allen Hughes only one day after the premiere performance: In a sense Variations V was a monumental symphony of the visual and aural banalities of our age and as such was highly successful (1965). keywords: cage; company; cunningham; dancers; david; images; merce; movement; new; new york; notes; performance; sound; stage; variations; water; york cache: currentmusicology-5189.pdf plain text: currentmusicology-5189.txt item: #391 of 583 id: currentmusicology-5190 author: Keenan, Elizabeth K. title: Review of Tara Rodgers. 2010. Pink Noises: Women on Electronic Music and Sound. Durham and London: Duke University Press date: 2010 words: 3613 flesch: 46 summary: These vastly different styles, contexts, and practices come together in Tara Rodgers's book, a collection of twenty-four interviews with women composers, producers, and practitioners of electronic music. In her interview in Pink Noises, DJ Rekha Malhotra says, Electronic music is such a vast landscape (173). keywords: feminist; interviews; morabito; music; rodgers; sound; women; work cache: currentmusicology-5190.pdf plain text: currentmusicology-5190.txt item: #392 of 583 id: currentmusicology-5191 author: Mueller, Gavin title: Review of Alejandro L. Madrid. 2008. Nor-tec Rifal: Electronic Dance Music from Tijuana to the World. Oxford: Oxford University Press date: 2010 words: 3173 flesch: 46 summary: Nor-tec music has appeared in television commercials, video games, and films. How does Madrid's ethnography of music produced by Latinos, who sample Mexican music, complicate this binary? keywords: class; collective; madrid; music; practices; sampling; tec; tee; tijuana cache: currentmusicology-5191.pdf plain text: currentmusicology-5191.txt item: #393 of 583 id: currentmusicology-5192 author: Marshall, Wayne title: Review of Dave Tompkins. 2010. How to Wreck a Nice Beach. Chicago and Brooklyn: Stop Smiling/Melville House. Steve Goodman. 2010. Sonic Warfare. Cambridge, MA, and London: MIT Press. date: 2010 words: 4809 flesch: 51 summary: Goodman hears and feels the forceful-and often subsonic-projections of sound systems, whether playing dub reggae or funk carioca, as meeting a certain masochistic desire for the active production of dread (27) that he describes as fear activated deliberately to be transduced and enjoyed in a popular musical context (29). But while such subtle linguistic choices may stem from efforts to resist an ocularcentric framework, Goodman's focus on sound as physical force, as something subpolitical and pre-ideological, is intended to needle the more profound bias in music and sound studies toward an overriding emphasis on phenomenology and signification, rather than ontology and affective mobilization. keywords: book; culture; goodman; hip; hop; music; sonic; sound; studies; tompkins; vocoder; warfare cache: currentmusicology-5192.pdf plain text: currentmusicology-5192.txt item: #394 of 583 id: currentmusicology-5193 author: Polymeropoulou, Marilou title: Review of Joanna Demers. 2010. Listening Through the Noise: The Aesthetics of Experimental Electronic Music. Oxford, UK: Oxford University Press. Nick Collins and Julio d’Escriván. 2007. The Cambridge Companion to Electronic Music. Cambridge, UK: Cambridg date: 2010 words: 1841 flesch: 46 summary: Reviewed by Marilou Polymeropoulou Electronic music is the mainstream,begin Nick Collins and Julio d'Escrivan in the Cambridge Companion to Electronic Music (CCTEM), referring to the impact of electronic music and technology on twentieth- and twenty-first century music making (1). The editors of the volume synthesize a history of electronic music based on perspectives by composers and scholars from a variety of disciplines, including communication studies, musicology, visual arts, music technology, psychology of music, and computer science. keywords: chapter; demers; history; music; university cache: currentmusicology-5193.pdf plain text: currentmusicology-5193.txt item: #395 of 583 id: currentmusicology-5194 author: Fishbeck, Luke title: Review of Brandon LaBelle. 2010. Acoustic Territories: Sound Culture and Everyday Life. New York and London: Continuum date: 2010 words: 2687 flesch: 47 summary: In some ways it follows from where LaBelle began in his 2006 historical survey of sound art practices, Background Noise, now juxtaposing case studies and theoretical writing on sound with examples of artistic intervention, intentionally blurring the already vague boundaries between sound culture and sound art, traveling from site to site without historical linearity. (LaBelle 2006:ix) By choosing to elaborate on those relational networks that arise through the act of listening, LaBelle avoids direct overlap with other contemporary investigations into the materiality of sound per se, such as David Toop's Sinister Resonance (2010, also published by Continuum)-which constructs Luke Fischbeck a history of listening, unpacking the literary and artistic use of sound as a metaphor for the intangible and uncanny. keywords: everyday; labelle; life; listening; sound; space; territories cache: currentmusicology-5194.pdf plain text: currentmusicology-5194.txt item: #396 of 583 id: currentmusicology-5195 author: Dayal, Geeta title: Review of Karin Bijsterveld and Jose van Dijck, eds. 2009. Sound Souvenirs: Audio Technologies, Memory and Cultural Practices. Amsterdam: Amsterdam University Press. date: 2010 words: 1973 flesch: 56 summary: Subsequent scholarship also did not explicitly address sound souvenirs as it did other ideas from Schafer's work, such as schizophonia;' or the splitting of a sound from its source (e.g., Feld 1994, Truax, 2001, Sterne 2006). Do they find value, in Pinch and Reinecke's words, in the uniqueness of analog sound, its imprecisions and imperfections, and the noise it produces, which [John, one of the musicians profiled] also thinks evokes human emotion (l65)? keywords: memory; music; sound; souvenirs; technology; wop cache: currentmusicology-5195.pdf plain text: currentmusicology-5195.txt item: #397 of 583 id: currentmusicology-5196 author: Ninoshvili, Lauren title: The 1990s “Kutaisi Wave”: Music and Youth Movement in a Postindustrial Periphery date: 2011 words: 10171 flesch: 52 summary: Westernness per se has never been problematic for Georgian mainstream audiences in the postsocialist period, so it seems that the denigration of Kutaisi popular music can be attributed more to differences of taste and to the implicit, if long-standing, cultural rivalry between Georgia's two largest cities. According to Lasha Gabunia, today Tbilisi residents iden- Lauren Ninoshvili tify Georgian rock, rap, and electronica with Kutaisi, while Kutaisi musicians active in the evolution of these genres regard them as a broadly Georgian cultural development (p.c. December 28, 2010).23 That is, while the loyalty of the latter to their own hometown is fundamental and evident in the fact that almost every ensemble has at least one song about Kutaisi, they regard themselves as Georgian artists first, and only secondarily as Kutaisians. keywords: 1990s; bands; capital; city; culture; gabunia; georgian; government; history; kutaisi; music; musicians; musicology; new; outsider; party; period; place; public; punk; rock; soviet; state; tbilisi; war; wave; youth cache: currentmusicology-5196.pdf plain text: currentmusicology-5196.txt item: #398 of 583 id: currentmusicology-5197 author: Helbig, Adriana title: “On stage, everyone loves a Black”: Afro-Ukrainian Folk Fusion, Migration, and Racial Identity in Ukraine date: 2011 words: 7027 flesch: 50 summary: How might musically reconceptualized ideas of Ukrainian folk music influence public attitudes towards migrants living in Ukraine today? I befriended the members of Alfa­ Alfa, the Kharkiv-based Ugandan group performing Ukrainian folk music with whom Chornobryvtsi had performed in the past. keywords: africans; afro; alfa; chornobryvtsi; folk; folk music; group; kharkiv; language; migrants; music; musicians; reggae; russian; soviet; ukraine; ukrainian cache: currentmusicology-5197.pdf plain text: currentmusicology-5197.txt item: #399 of 583 id: currentmusicology-5198 author: Nanoru, Michal title: Here Be Dogs: Documenting the Visual Culture of the Czech Indie Scene date: 2011 words: 17834 flesch: 60 summary: My focus will be the relationship of members of the 1990s and contemporary Czech independent music scenes to visual presentation of their own and others' musical objects and performances. While the purity of the original subcultural cores and their ability to isolate themselves from the dominant consumer culture must not be overstated and overly romanticized-as subcultures are never isolated from their media environment and the majority of people who frequent any traditional subculture are followers (Thornton 1996; Trowler and Riley 1985:157)-the story of alternative culture's constant struggle to retain its authenticity and opposition towards mainstreaming is here further complicated by the fact that the position on the global cultural periphery means that Czech indie scene is derivative from the start. keywords: 1980s; access; album; alternative; american; art; artists; authenticity; bands; book; context; country; cultural; culture; current; czech; czech republic; dogs; fans; fashion; history; indie; life; london; mainstream; media; michal; music; musicians; musicology; nanoru; new; overstreet; people; performance; prague; presentation; republic; rock; scene; school; stage; style; sunshine; underground; visual; way; work; years; york cache: currentmusicology-5198.pdf plain text: currentmusicology-5198.txt item: #400 of 583 id: currentmusicology-5199 author: MacMillen, Ian title: From the Center in the Middle: Working Tambura Bands and the Construction of the In Between in Croatia and its Intimates date: 2011 words: 16204 flesch: 48 summary: 14 Marko's simplification of the supply and marketing logic of a global music industry in which the Rolling Stones operate reflects, in part, the experiences of Croatian tambura bands such as his own that the Croatian Fraternal Union of North America (hereafter, the CFU) has brought on its annual tour of the United States and Canada. Work in these countries joins Croatian tambura bands and foreign patrons in imagining Croatia as an ethnic and musical center. keywords: bands; brod; center; concert; croatia; ensembles; europe; fans; macmillen; music; musicians; musicology; national; new; osijek; performance; play; skoro; slavonski; songs; state; style; tambura; tambura bands; tambura music; tamburasi; war; work; yugoslavia; zagreb cache: currentmusicology-5199.pdf plain text: currentmusicology-5199.txt item: #401 of 583 id: currentmusicology-5200 author: Heidemann, Kate Ellen title: Pamela Fox. Natural Acts: Gender, Race, and Rusticity in Country Music date: 2011 words: 3713 flesch: 45 summary: Fox presents her readers with a realistically dynamic conception of country authenticity, one that is redefined by practitioners of country music almost as often as it is invoked. Fox thus points future scholars of country music authenticity toward archetypes still in formation. keywords: authenticity; class; country; fox; gender; honky; music; new; tonk; women cache: currentmusicology-5200.pdf plain text: currentmusicology-5200.txt item: #402 of 583 id: currentmusicology-5201 author: Yamagata, Sayo title: Laurie Stas, ed. She’s So Fine: Reflections on Whitness, Femininity, Adolescence, and Class in 1960s Music date: 2011 words: 2968 flesch: 44 summary: The academic and critical devaluation of girl singers, then, has little to do with our failure to acknowledge '60s girl pop and everything to do with a deliberate disempowerment of the teenage girls involved with its creation and reception. As much as there is an enduring fascination with '60s girl pop, scholars concerned with these girls as icons of Otherness run the risk of rearticulating marked and unmarked categories that ultimately defuse the political and creative agency of girl singers and their listeners. keywords: 1960s; 60s; girl; music; pop; rock; singers; stras cache: currentmusicology-5201.pdf plain text: currentmusicology-5201.txt item: #403 of 583 id: currentmusicology-5202 author: Forshaw, Juliet Eleanor title: Review Essay: “Metal in Three Modes of Enmity: Political, Musical, Cosmic.”: Gerd Bayer, ed. Heavy Metal in Britain; Steve Waksman. This Ain’t the Summer of Love: Conflict and Crossover in Heavy Metal and Punk; Nicola Masciandaro, ed. Hideous Gnosis: Black Metal Theory Symposium 1 date: 2011 words: 10065 flesch: 47 summary: And even if black metal musicians are as politically apathetic or amorphous as they claim, not all of their fans are and promoters are: for example, the American label Resistance Records, owned by the white separatist National Alliance, produces and sells black metal along with more overtly neo-Nazi music. The history of black metal is stranger than fiction. keywords: bands; black; book; class; fans; genre; metal; music; musicians; musicology; new; opposition; power; punk; rock; scene; scholarship; self; sense; waksman; women cache: currentmusicology-5202.pdf plain text: currentmusicology-5202.txt item: #404 of 583 id: currentmusicology-5203 author: Calle, Simón title: Deborah Pacini-Hernandez. Oye Como Va! Hybridity and Identity in Latino Popular Music date: 2011 words: 1825 flesch: 48 summary: With Oye Como Va!, Deborah Pacini-Hernandez contributes to the literature on Latino music and culture by blending sophisticated and comprehensive socio-cultural analysis of several music genres performed by Latinos such as rock, salsa, meregue, reggaeton, hip­ hop, and cumbia, along with basic histories of the genres and a tracing of their multiple interconnections. © 2011 by the Trustees of Colum bia University in the City of New York 161 162 Current Musicology musical genre in its immigrant communities, but rather a macroscopic view of Latino music, acknowledging its diversity while unveiling another set of tensions that emerge from the different origins, population size, and visibility of the different Latino communities in the United States. keywords: hernandez; latin; music; states; united cache: currentmusicology-5203.pdf plain text: currentmusicology-5203.txt item: #405 of 583 id: currentmusicology-5204 author: Slaten, Whitney title: Review Essay: “Representing Recording Studios of the Past.”: Andy Bradley and Roger Wood. House of Hits: The Story of Houston’s Gold Star/Sugarhill Recording Studios; John Hartley Fox. King of the Queen City: The Story of King Records; Roben Jones. Memphis Boys: The Story of American Studios date: 2011 words: 7639 flesch: 54 summary: Recording studios are social, electronic, architectural, acoustic, and creative technologies of representa­ tion. These works successfully document the local and national contexts in which these studios produced, as well as many accounts of individuals who were involved in the studios and specific recording sessions; however, these are books in which the representation of recording studios weighs heavily on celebrations of illustrious music makers and the popular music they produce. keywords: american; bass; edit; engineers; fox; jones; king; man; music; musicians; porcello; recording; recording studio; records; sound; story; studios cache: currentmusicology-5204.pdf plain text: currentmusicology-5204.txt item: #406 of 583 id: currentmusicology-5205 author: Gutkin, David title: David Janssen and Edward Whitelock. Apocalypse Jukebox: The End of the the World in American Popular Music date: 2011 words: 4117 flesch: 60 summary: (To invert Michael Eric Dyson's paraphrase of Ernest Becker: The American character David Gutkin may be a vital lie, but it is (still) a lie.);IO and second, the historicity and deeper political motivations of American apocalyptic thought. Throughout the volume, Jannsen and Whitelock attend mostly to rock­ from Elvis to Sleater-Kinney-but also to other genres, energetically tracing the theme of apocalypse through American musics and musicians as diverse as gospel, country, and John Coltrane. keywords: american; apocalypse; authors; character; culture; janssen; music; new; press; whitelock; world; york cache: currentmusicology-5205.pdf plain text: currentmusicology-5205.txt item: #407 of 583 id: currentmusicology-5206 author: Pinson, Heather title: Bethany Klein. As Heard on TV: Popular Music in Advertising date: 2011 words: 2463 flesch: 44 summary: She introduces reception theory as discussed by socio-musicologists Simon Frith, Sound Effects (1981) and Music for Pleasure: Essays in the Sociology of Pop (1988), and Leonard B. Meyer, Emotion and Meaning in Music (1956), who examine the mass appeal of popular music. Through these and other case studies, Klein traces the development of the music industry's use of popular music in advertising which she argues is a way to have music heard, but hardly the ideal way, giving to advertisers a tool for branding through the reinterpretation of songs (136). keywords: advertising; commercial; klein; media; music; song; use cache: currentmusicology-5206.pdf plain text: currentmusicology-5206.txt item: #408 of 583 id: currentmusicology-5207 author: Sroka, Bradley title: Chris McDonald. Rush, Music, and Middleclass: Dreaming in Middletown date: 2011 words: 4725 flesch: 63 summary: Though McDonald does poll and interview Rush fans for his study, a majority of his arguments are supported with his own interpretation of Rush's music and lyrics, and with scholar­ ship concerning middle-class institutions and ideologies. 203 204 Current Musicology McDonald also touches on gender and race as each pertains to Rush and to the middle class: for example, he discusses the feminine coding of acoustic guitar passages in progressive rock (2009:.36), and the masculine cult of musicianship prevalent among Rush fans (2009:171). keywords: band; class; fans; mcdonald; middle; music; press; remasters; rock; rush; world cache: currentmusicology-5207.pdf plain text: currentmusicology-5207.txt item: #409 of 583 id: currentmusicology-5208 author: Chong, Nicholas Junkai title: Music for the Last Supper: The Dramatic Significance of Mozart’s Musical Quotations in the Tafelmusik of Don Giovanni date: 2011 words: 18873 flesch: 68 summary: However, it might also be read as a reference to Bertati's libretto for Gazzaniga's opera, Don Giovanni Tenorio (1787), which contains a character, Lanterna, who is a cook.27 As is well known, Da Ponte's Don Giovanni libretto relied heavily on Bertati's as an exemplar. In Berger's words, women are for him interchangeable occasions rather than persons:'86 Don Giovanni may adopt different tactics in his attempts to conquer different women but ultimately he is not choosy. keywords: act; aria; audience; buffa; cambridge; che; composer; cosa; don giovanni; figaro; heartz; hunter; ibid; leporello; major; martin; mozart; music; new; non; opera; ponte; prague; press; quotation; rara; sarti; scene; tafelmusik; university; vienna; world cache: currentmusicology-5208.pdf plain text: currentmusicology-5208.txt item: #410 of 583 id: currentmusicology-5209 author: Leonard, Kendra Preston title: A Great Desire: Autobiography in Louise Talma’s Three Madrigals date: 2011 words: 8840 flesch: 72 summary: Talma modulates from F minor through A~ major back to E major over the course of two measures, returning to the material of the A section and ending the song with emphatic statements of Farewell, unkist! and an affirmative V IV - V-I cadence in the piano. Talma was born in 1906 to opera singer Alma Cecile Garrigues Talma in Arcachon, France. keywords: alto; beloved; boulanger; lover; narrator; nay; piano; relationship; talma; thou; voices; women; works cache: currentmusicology-5209.pdf plain text: currentmusicology-5209.txt item: #411 of 583 id: currentmusicology-5210 author: Kennaway, George title: Do as Some Said, or as Most Did?-A Foucauldian Experiment with Nineteenth-Century HIP date: 2011 words: 8867 flesch: 57 summary: This paper explores the application ofFoucault's concepts of enonce and discours to musical performance, to the peculiar aspects of older performing styles, and to the reactions they produced in the context of nineteenth­ century annotated editions of chamber music.3 Historically Informed Performance (hereafter referred to as HIP) is supported and sustained by performers and academic researchers. Similarly, Giles Hooper's The Discourse of Music analyzes the study of music as a discourse but does not include musical performances as statements within a discourse-notwithstanding his discussion of different analytical approaches to Mahler's ninth symphony (Hooper 2006). keywords: cello; century; composer; discourse; fingering; foucault; george; joachim; kennaway; music; musicology; nineteenth; performance; performers; performing; portamento; power; servais; university; use; vibrato cache: currentmusicology-5210.pdf plain text: currentmusicology-5210.txt item: #412 of 583 id: currentmusicology-5211 author: Fogg, Thomas title: Review of Benjamin Piekut. 2011. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. Berkeley, Los Angeles, and London: University of California Press date: 2011 words: 3376 flesch: 45 summary: Rather than offering a definition of experimentalism that seeks commonalities between different sorts of experimental music (a task that, referencing Michael Nyman's Experimental Music: Cage and Beyond, Piekut suggests has been the modus operandi for previous histories of experimental music), he asserts that Experimentalism is a grouping, not a group (6). Piekut's is one of those hard-to­ pin-down projects, cutting across the boundaries that separate music history, ethnomusicology, and broader humanistic study. keywords: cage; choice; experimentalism; moorman; music; network; philharmonic; piekut cache: currentmusicology-5211.pdf plain text: currentmusicology-5211.txt item: #413 of 583 id: currentmusicology-5212 author: Hansberry, Benjamin Konrad title: Review of Janet Schmalfeldt. 2011. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. New York: Oxford University Press date: 2011 words: 3585 flesch: 57 summary: Such an analytical method is invaluable, especially in formal analysis, because it allows the analyst some way to express her personal connection to the music in terms other than dry, predetermined, analytical categories (if other formal theories could be caricaturized as such). Further, by basing her analyses on listener/ performer/analyst experience, Schmalfeldt's theory incorporates temporality into formal analysis. keywords: form; hegel; music; process; schmalfeldt; sonata; theory cache: currentmusicology-5212.pdf plain text: currentmusicology-5212.txt item: #414 of 583 id: currentmusicology-5213 author: Cairns, Elliott S. title: Review of Hilary Poriss. 2009. Changing the Score: Arias, Prima Donnas, and the Authority of Performance. Oxford: Oxford University Press date: 2011 words: 2107 flesch: 42 summary: In Changing the Score, Poriss seeks to trace the practice of aria insertion and its role in performances of bel canto operas during the first half of the nineteenth century, the pivotal stage ... during which the practice inched slowly toward extinction (5). It was during this time that singers ofItalian opera had to confront the rise of the work-concept as described by Lydia Goehr (1994), either asserting their own authority in performance by attempting to perpetuate the practice of aria insertion, or surrendering their authority to that of the composer's original vision. keywords: aria; insertion; opera; poriss; singers cache: currentmusicology-5213.pdf plain text: currentmusicology-5213.txt item: #415 of 583 id: currentmusicology-5214 author: Gridley, Mark C. title: Review of Randall Sandke. 2010. Where the Dark and Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz. Lanham, Maryland: The Scarecrow Press date: 2011 words: 4968 flesch: 58 summary: After recounting the history of audi­ ence profiles for jazz Sandke brings us up to date with a quote by Nicholas Payton, a currently prominent African-American jazz trumpeter: Jazz, sad to say, probably has no social significance to most black people's lives (161). Sandke also could have mentioned the influence of twentieth-century European music in African-American pianist-composer Mary Lou Williams' Zodiac Suite and the study of scores by twentieth-century European composers as part of the salon that she conducted for jazz musicians at her apartment in New York City during the 1940s. keywords: african; american; black; blues; history; jazz; music; musicians; new; origins; orleans; sandke; white cache: currentmusicology-5214.pdf plain text: currentmusicology-5214.txt item: #416 of 583 id: currentmusicology-5215 author: Johnson, Aaron Joseph title: Review of Randall Sandke. 2010. Where the Dark and Light Folks Meet: Race and the Mythology, Politics, and Business of Jazz. Lanham, Maryland: The Scarecrow Press date: 2011 words: 6835 flesch: 58 summary: Perhaps as a result, the book has an undercur­ rent of resentment; that, for example, black jazz and black jazz musicians had a virtual monopoly on opportunities to play real jazz. He downplays African rhythmic contributions, plays up the harmonic (that is, European) basis of bebop, and quotes black jazz musicians on their often strained relations with Africa and African audiences. keywords: african; american; black; book; history; jazz; music; musicians; new; press; race; sandke; university; white; work; writers; york cache: currentmusicology-5215.pdf plain text: currentmusicology-5215.txt item: #417 of 583 id: currentmusicology-5216 author: Sollee, Kristen title: Review of Jennifer Milioto Matsue. 2009. Making Music in Japan’s Underground: The Tokyo Hardcore Scene. New York and London: Routledge date: 2011 words: 1710 flesch: 45 summary: Tower Records' infusion of its core local content with international products is analogous to Japanese hardcore in the sense that it inhabits a sonic space located within Japan and the history Kristen Sollee of Japanese music;' but at the same time is part of a global movement of similar hardcore sounds and scenes ... New York and London: Routledge. Reviewed by Kristen Sollee Jennifer Milioto Matsue's ethnographic account of Tokyo hardcore in the late 1990s situates the scene both within the context ofJapanese society and underground music scenes in urban centers around the world. keywords: hardcore; japanese; matsue; music; scene cache: currentmusicology-5216.pdf plain text: currentmusicology-5216.txt item: #418 of 583 id: currentmusicology-5217 author: Kim, Ji Young title: Review of Alexander Rehding. 2009. Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany. Oxford and New York: Oxford University Press date: 2011 words: 6603 flesch: 52 summary: In addition to identifying the three authorities to which Riemann fre­ quently appealed and establishing an intimate relationship among them, Rehding unearths the element commonly found at these three poles: the notion of as-if;' an idea associated with nineteenth-century German phi­ losopher Hans Vaihinger. Riemann fre­ quently appealed to Nietzsche's authority in order to support his claim for the significance of motives, the smallest building block of musical struc­ ture, and Nietzsche, who was trained in classical philology, in turn gave approbation to Riemann's theory of phrase structure.9 In both the intro­ duction and epilogue, Rehding cites and compares two passages in which Riemann speaks of an analogy between architectural and musical forms, one excerpt from Wie Horen wir Musik? keywords: chapter; der; dualism; harmonic; history; logic; music; music theory; musicology; notion; rehding; riemann; science; theory; thought; tonvorstellungen; undertones cache: currentmusicology-5217.pdf plain text: currentmusicology-5217.txt item: #419 of 583 id: currentmusicology-5218 author: Eidsheim, Nina title: Voice as Action: Towards a Model for Analyzing the Dynamic Construction of Racialized Voice date: 2012 words: 10908 flesch: 56 summary: Voice as sound and voice as action, then, are themselves nested definitions of voice; the predominance of one definition or the other depends on the values and preconceptions harbored by individual perceivers (hence the existence of Layer 3). The first two contentions address distinct, but nonetheless intermingling and reinforcing, perceptions of vocal timbre as an indicator of race, bearing in mind the fact that vocal sounds are never experienced in a purely sonorous realm, divorced from contextual information. keywords: action; american; body; choreography; dance; eidsheim; forsythe; material; new; person; race; singing; sound; throat; timbre; university; voice; way; white cache: currentmusicology-5218.pdf plain text: currentmusicology-5218.txt item: #420 of 583 id: currentmusicology-5219 author: Crawley, Ashon title: Harriet Jacobs Gets a Hearing date: 2012 words: 9714 flesch: 67 summary: Thus, I quoted Mackey because the passage is illustrative of the ongoing preoccupation with movement and compression, antiphony and texture, that animated Jacobs’s performance, which vivifies black sonic performance traditions from Spirituals to Gospel, from Blues to Jazz. The screams Jacobs recounts give the gift of withholding relation and relationality, a relationality of antirelationality. keywords: alto; crawlspace; escape; jacobs; life; performance; press; scream; sonic; sound; space; time; voice; withholding cache: currentmusicology-5219.pdf plain text: currentmusicology-5219.txt item: #421 of 583 id: currentmusicology-5220 author: Bradley, Regina title: Contextualizing Hip Hop Sonic Cool Pose in Late Twentieth– and Twenty–first–century Rap Music date: 2012 words: 7300 flesch: 48 summary: Theorizing Hip Hop Sonic Cool Pose While numerous studies of cool pose have relied on visual and (popular) cultural interpretations of black manhood, there is a paucity of scholarship that addresses the sonic implications of black masculinity. Building upon Schur’s definition of hip hop, HHSCP negotiates complexities of black masculinity through presenting sonic signifiers of black manhood, experiences, and coolness. keywords: black; blackness; commercial; cool; hip; hop; jay; manhood; masculinity; music; rap; sound; west cache: currentmusicology-5220.pdf plain text: currentmusicology-5220.txt item: #422 of 583 id: currentmusicology-5221 author: Biareishyk, Siarhei title: Come Out to Show the Split Subject: Steve Reich, Whiteness, and the Avant-Garde date: 2012 words: 9913 flesch: 48 summary: In his article “Steve Reich and Discourse on Non–Western Music” Sumanth Gopinath demonstrates that Reich’s interest in non–Western music was by no means an exception in his social milieu; in fact, other pioneering minimalist composers of the time, such as Glass, Riley, and La Monte Young, showed deep interest in non–Western music. In “Non–Western Music and the Western Composer” (1988) and other articles and interviews, Reich continuously emphasizes that his interest in studying non–Western music does not lead him to absorb a non–Western sound.3 He writes, “I didn’t want to sound Balinese or African, I wanted to think Balinese or African” (Reich 2002b:148). keywords: composer; garde; hamm; music; noise; non; reich; split; subject; subjectivity; whiteness cache: currentmusicology-5221.pdf plain text: currentmusicology-5221.txt item: #423 of 583 id: currentmusicology-5222 author: Carson, Charles title: “Melanin in the Music”: Black Music History in Sound and Image date: 2012 words: 7723 flesch: 58 summary: The impetus behind this project concerns the ways in which important voices in Black music history (and in this article, the United States specifically) have been ignored, overlooked, written out, or silenced in favor of what seem to be more or less widely accepted teleological narratives. But the point is not that the Carolina Chocolate Drops’ version can sound like contemporary R&B. Rather, in this track, the Carolina Chocolate Drops recover some of the possibilities of Black musical expression perhaps lost by the exclusion of roots music from the narrative of Black music history. keywords: african; american; artists; banfield; carolina; chocolate; culture; drops; history; moran; mos; music; musicians; past; pinder; robinson; works cache: currentmusicology-5222.pdf plain text: currentmusicology-5222.txt item: #424 of 583 id: currentmusicology-5223 author: Mulliken, Seth title: Review of Julian Henriques. 2011.Sonic Bodies: Reggae Sound Systems, Performance Techniques, and Ways of Knowing. New York: Continuum. date: 2012 words: 2249 flesch: 61 summary: Henriques willingly engages a perspective that troubles some inquiries in sound studies: the idea of sound as “radical” or subversive in itself. Reviewed by Seth Mulliken The evolution of sound studies over the past decade has been rapid. keywords: bodies; henriques; sound; studies; system cache: currentmusicology-5223.pdf plain text: currentmusicology-5223.txt item: #425 of 583 id: currentmusicology-5224 author: Mattern, Shannon title: Review of Hillel Schwartz. 2011. Making Noise: From Babel to the Big Bang and Beyond. Brooklyn: Zone Books date: 2012 words: 3742 flesch: 59 summary: (843) The ubiquity and utility of pink noise explodes the commonplace notion that noise is simply “unwanted sound.” [Pink noise] seems to be the optimal noise for catalyzing phase transi- tions and rescuing systems out of whack. keywords: bang; book; hearing; history; making; new; noise; pages; schwartz; sound cache: currentmusicology-5224.pdf plain text: currentmusicology-5224.txt item: #426 of 583 id: currentmusicology-5225 author: Feiereisen, Florence title: Review of Barbara Lorenzkowski. 2010. Sounds of Ethnicity. Listening to German North America 1850–1914. Winnipeg: University of Manitoba Press date: 2012 words: 4003 flesch: 52 summary: In the beginning, the German language was the ticket of admission to membership in this community and self–declared gatekeepers of German ethnicity made it their life task to preserve German language and culture. In her second chapter, “Languages of Ethnicity,” Lorenzkowski tells the story of German language instruction at Waterloo County’s schools. keywords: america; chapter; english; ethnicity; german; history; language; lorenzkowski; sound; studies cache: currentmusicology-5225.pdf plain text: currentmusicology-5225.txt item: #427 of 583 id: currentmusicology-5226 author: Lee, Jennifer title: Ulysses Kay Special Collection: Rare Book and Manuscript Library, Columbia University date: 2012 words: 2195 flesch: 56 summary: African–American composer Ulysses Kay (1917–1995) wrote more than one hundred forty compositions in a wide range of forms—five operas, over twenty large orchestral works, more than thirty choral compositions, fifteen chamber works, a ballet, and numerous other compositions for voice, solo instruments, film, and television.1 Born in Tucson, Arizona to a musical family, Kay was encouraged by both his mother and her brother, Joe “King” Oliver, to study piano, violin and saxophone. As stated by Constance Tibbs Hobson and Deborra A. Richardson in Ulysses Kay: A Bio–Bibliography (1994): “Kay’s contribution to America’s cultural life and to its contemporary music scene is outstanding. keywords: columbia; kay; music; new; orchestra; ulysses; university; works cache: currentmusicology-5226.pdf plain text: currentmusicology-5226.txt item: #428 of 583 id: currentmusicology-5233 author: Boynton, Susan title: Troubadour Song as Performance: A Context for Guiraut Riquier’s “Pus sabers no’m val ni sens” date: 2012 words: 11065 flesch: 68 summary: ses ioy del mal b trai- re,- - - & ‹ E ras- ai de mal dos tans, œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Example 2: Musical transcription Susan Boynton 25 & ‹ E Strophe 2 ras- œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Susan Boynton 29 & ‹ Mas Strophe 6 as - sai ar- m'ay est b lans & ‹ Ab lo rey, de sa ber b - pai re- - - & ‹ Pei re- keywords: boynton; di œ; guiraut; half; lines; love; mans.œ œ; medieval; melody; memory; music; musicology; performance; poetry; pus; que; riquier; sabers; song; strophe; structure; text; troubadour; zens?œ œ; zire œ; œ example; œ susan; œ œ cache: currentmusicology-5233.pdf plain text: currentmusicology-5233.txt item: #429 of 583 id: currentmusicology-5234 author: Vurkaç, Mehmet title: A Cross-Cultural Grammar for Temporal Harmony in Afro-Latin Musics: Clave, Partido-Alto and Other Timelines date: 2012 words: 10467 flesch: 61 summary: The relationship between cyclical timelines that act as clave patterns and the specific role they play in their respective traditions is precisely explained here, in a manner that unifies these musical traditions under one regulative concept distilled from traditional practice as taught by cultural authorities and exemplified by recording artists. The present work builds on these earlier efforts to establish an understanding of clave direction that is precise, parsimonious (only two concepts suffice), and widely applicable. keywords: 3–2; african; afro; bossa; clave; clave direction; direction; figure; half; music; note; offbeatness; onsets; pattern; second; sense; son; standard cache: currentmusicology-5234.pdf plain text: currentmusicology-5234.txt item: #430 of 583 id: currentmusicology-5235 author: Ó Cadhla, Seán title: Horses For Discourses? The Transition from Oral to Broadside Narrative in “Skewball” date: 2012 words: 11230 flesch: 64 summary: Despite this wide appeal among the buying public, broadside versions of SB began to disappear as the medium declined in the late nineteenth century. Besides obvious differences, broadside ballads differed significantly from their oral counterparts in two major aspects, one cultural, the other economic. keywords: ballad; broadside; english; gore; grey; horse; library; london; mare; mervin; miss; narrative; race; rider; skewball; verse; versions cache: currentmusicology-5235.pdf plain text: currentmusicology-5235.txt item: #431 of 583 id: currentmusicology-5236 author: Swinkin, Jeffrey title: An Account of Emotional Specificity in Classic-Romantic Music date: 2012 words: 13033 flesch: 52 summary: Some argue this on the basis that musical emotions lack intentional objects: if a piece expresses sadness, for example, this could not consist in the listener feeling sad for the piece gives him nothing to be sad about.2 Others invoke the problematic paradox of negative emotion: if music really made us feel sad, why would we want to listen to it? In the process, I hope to demonstrate that musical emotions need not be of the most general sort, such as joy and sorrow (what Kivy designates “gar- den–variety” emotions) but may at times be subtle, specific, and “cognitively complex.”3 keywords: anger; beethoven; emotion; example; figure; hanslick; kivy; measure; minor; music; press; processes; section; structure; theme; theory; university cache: currentmusicology-5236.pdf plain text: currentmusicology-5236.txt item: #432 of 583 id: currentmusicology-5237 author: Lunberry, Clark title: Suspicious Silence: Walking Out on John Cage date: 2012 words: 5373 flesch: 59 summary: As a result of such thought, such thoughtful listening, instead of these discursive sounds being necessarily “antithetical to Cagean listening” and in “competition with sounds in themselves,” might such sounds have been heard by Cage as vital, constituting components of “sounds themselves”? (10) Nor, one might add, is one required to hear such sounds unthinkingly either, without the interpretive “theoretical” mediations that, for Cage, finally imply a listener’s “response ability” (10), one’s ability to respond at all. keywords: cage; feldman; listening; present; silence; sound; thought cache: currentmusicology-5237.pdf plain text: currentmusicology-5237.txt item: #433 of 583 id: currentmusicology-5239 author: Abramo, Joseph title: Review of Wayne D. Bowman and Ana Lucía Frega, eds. 2012. The Oxford Handbook of Philosophy in Music Education. London and New York: Oxford University Press. date: 2012 words: 5991 flesch: 45 summary: In this review, first I briefly provide the historical progression of music education philosophy over the last forty years in order to situate the ideas and themes for readers outside the field of music education. While philosophers going back to ancient history have recognized that music is implicated, somehow, in a diversity of values, and music education practioners have always promoted music study as serving a great variety of associated benefits, the turn [toward praxial music education] more recently allies music education with strikingly more substantial social issues, and the service of them as being an inherent dimension of music and the proper if not primary source of the aims of music education . . . keywords: chapter; education; education philosophy; educators; music; music education; new; notes; philosophy; practice; students; theory cache: currentmusicology-5239.pdf plain text: currentmusicology-5239.txt item: #434 of 583 id: currentmusicology-5240 author: Gleason, Scott title: Review of Theodore Gracyk and Andrew Kania, eds. 2011. The Routledge Companion to Philosophy and Music. Abingdon, UK, and New York, NY: Routledge. date: 2012 words: 2834 flesch: 47 summary: 50–2, 229–30, and 264–70) All of this suggests certain disciplinary alignments: music theory and cognition seem to align easily with analytic philosophy, whereas ethnomusi- cology and historical musicology seem to align with continental philosophy. Speaking from my own disciplinary position and primary training as a music theorist, although I would argue that, as before, music theory associates easily with analytic philosophy, music theorists are in fact still committed to grand systems, often at the expense of actual musical experiences of listeners or performers. keywords: chapter; companion; music; musicology; philosophy; work cache: currentmusicology-5240.pdf plain text: currentmusicology-5240.txt item: #435 of 583 id: currentmusicology-5242 author: Gutkin, David title: Editor’s Note date: 2013 words: 4738 flesch: 47 summary: This may partly stem from the “conceptual” drift of much music from the last half– century or so, but seminal earlier examples should be recalled: Schumann’s adoption of semi–imaginary personae (with names like Florestan and Eusebius) in his work as a music critic, or Wagner’s voluminous corpus of socio–aesthetic writings. Thus we have the pleasure of learning about an important body of new music through the questions and instigations of an especially perceptive interlocutor. keywords: century; essay; form; issue; language; music; narrative; pieces; style; text; work; writing cache: currentmusicology-5242.pdf plain text: currentmusicology-5242.txt item: #436 of 583 id: currentmusicology-5243 author: Mackey, Nathaniel title: From From a Broken Bottle Traces of Perfume Still Emanate, Volume Five date: 2013 words: 7302 flesch: 72 summary: Ominous undulance had already, to an extent, come into play, a suppositious wave and waft Aunt Nancy picked up on mixing oil and salt. Listening to Djamilaa, Drennette and Aunt Nancy, one heard again and saw again, as though for the first and final time, that sound was the inner skin of things, the other side coming over, inside turning out. keywords: aunt; bow; djamilaa; drennette; flow; hand; lambert; nancy; oil; penguin; rib; time; way cache: currentmusicology-5243.pdf plain text: currentmusicology-5243.txt item: #437 of 583 id: currentmusicology-5275 author: Ouzounian, Gascia; Papalexandri–Alexandri, Marianthi title: Correspondences date: 2013 words: 6383 flesch: 62 summary: organ (n.) fusion of late O.E. organe, and O.Fr. orgene (12c.), both meaning “musical instrument,” both from L. organa, plural of organum “a musical instrument,” from Gk. organon “implement, tool for making or doing; musical instrument; organ of sense, organ of the body,” lit. Untitled I uses prepared acoustic instruments (bass flute, alto and soprano flute head joint) and mechanised sound devices created in collaboration with Pe Lang, which function both as preparations and as independent musical instruments. keywords: instrument; marianthi; music; papalexandri; performer; sound; way; work cache: currentmusicology-5275.pdf plain text: currentmusicology-5275.txt item: #438 of 583 id: currentmusicology-5276 author: Barkin, Elaine R. title: Igor’s Goriest Tune and Selected Text Pieces date: 2013 words: 1774 flesch: 74 summary: Composing music is serious business. fo lk i sh ly t radit ional & mundane, tunesnatches 1983 / rev.1992 75 Writing About Milton Babbitt’s Groupwise Elaine R. Barkin The Collected Essays of Milton Babbitt appeared in 2003 prompting me to take out and listen to Milton’s music on the many LPs and CDs I own, a collection spanning over 35 years . keywords: babbitt; cage; milton; music; new; way cache: currentmusicology-5276.pdf plain text: currentmusicology-5276.txt item: #439 of 583 id: currentmusicology-5277 author: Albright, Daniel title: Nonsense and Unmusic date: 2013 words: 6531 flesch: 70 summary: So aardvark would Current Musicology 80 be word number 10; zymurgy would have a very high number. In other words, the more abolished a text is, the more sublime: the applica- tion of violence necessary to annihilate meaning is the highest form of verbal art. keywords: gods; language; music; new; nonsense; numbers; poetry; sense; sound; things; way; word cache: currentmusicology-5277.pdf plain text: currentmusicology-5277.txt item: #440 of 583 id: currentmusicology-5278 author: Ives, Michael title: Excerpted from The Days and Nights of the Lotus Trio date: 2013 words: 3941 flesch: 75 summary: Said Gibbs, “Sky god Vladimir Putin wrestles, Greco–Roman style, with the Caucasus during the fire eon of his cosmic reign.” “Revenge, Klaus quoted Nietzsche, “is the will’s revulsion against the ‘It was.’ keywords: gibbs; hayes; junk; klaus; look; mark; phlox; plank; putin; sheik; table; vladimir; wahlberg cache: currentmusicology-5278.pdf plain text: currentmusicology-5278.txt item: #441 of 583 id: currentmusicology-5279 author: Demers, Joanna title: Ambient Drone and Apocalypse date: 2013 words: 4689 flesch: 75 summary: Celer’s music, as with so much ambient drone, speaks of the end of time, the end of the world, and all the unresolvable dilemmas that accompany such ends. Where there are actions apart from ends, at least ends that lie in the future, it is the nature of the activities to stand apart from their products. keywords: apocalypse; aristotle; celer; croesus; cyrus; end; happiness; music; time cache: currentmusicology-5279.pdf plain text: currentmusicology-5279.txt item: #442 of 583 id: currentmusicology-5280 author: Czerner, Dorota title: Listening in Poppies date: 2013 words: 1097 flesch: 29 summary: Other than I the voice the voice transcending a horizon of everything that I would take to be “maki...” as is or just so, a cell this here is efflorescence hardened from the sun’s chemistry alive now and under its influence the distinction between the intention and the display of appearances dissolves somehow so able to show, unshow all its loveparts all being one event leaving a centrifugal awareness of speaking, a stem along which chromosounds migrate as I lay there, warming myself in this fire, myself a thread between solutions super~saturated Language to the opposite ends of a figure surfacing: Current Musicology 116 “że maki” “są, że maki” “są maki, że” pre~language, pre~objects for crystals not quite what, to grow around, yet what they may or almost are interpenetrating, branching out, multi~stratal “.........maki są tak.......” sensations now enfolded, twice fastened to the sound in self, within running patterns becoming a succession of Myselves, eating away at becoming, sounding the gum bleeding somewhere between the envelopes of a twofold cloak through everything that spans over the direct me together with sound the feeling, experiencing me dotted sewn through the time~continuum, swarming on to the face of the real now becoming, now language becoming me as speaking is as is identity made own traced in various voicings a flower that swalllows the pleasure of surrendering unpredictable but already involved in a metamorphism from the unknown to familiar, being in/ /out birthed image events encrypted in word events being in, the second figure prefigured in the first encrypted in what/ being out “I am a memory coin, flipped”: word~image, flipped: it~me, being, and at every stage both expressing both the pleasure of watery pulsation being Dorota Czerner 117 birthed from color heard birthed as much as furthering of the sense recollected then transferred “poppies I remember” as my individual signing of being “freckles of the wind” onto the fabric of this, this language, the immanence of sense “a simple vocabulary of movement” roaming off in the arborescence of meaning myself psychedelic elided between “their frail shadows” the folds articulated from there on ~ Origins and chronology: I. October 2003. In parallel with ongoing sessions with Ben’s piano music (but also in response to Ben’s suggestion of my writing a text whose expression would be strictly framed by “thinking, that is, intellectual utterances,” to the exclusion of any conscious usage of a sensual image), I compose a dia–phonic poem “Listening in Poppies”—a personal take on poetic image, voice and its utterance, emergence and articulation of sound, or language identity, within an experience of music. keywords: language; poppies cache: currentmusicology-5280.pdf plain text: currentmusicology-5280.txt item: #443 of 583 id: currentmusicology-5281 author: Tulachan, Binu; Gardiner, Michael; Sakata, Jon title: In Memory, Theory: Concluding Unscientific Postludes date: 2013 words: 11510 flesch: 56 summary: Long-term memory, as proposed by Squire (1992), involves components of explicit/declarative memory (open to intentional retrieval), implicit/nondeclarative memory (performance based, eg. ‘muscle memory’), semantic memory (assumed knowledge of the world), and episodic memory (capacity to remember events). In addition to the cumulative nature of episodic memories, research sug- gests that there is an ‘episodic buf- fer’ which functions like “a screen on which information from a range of sources is displayed” and present- ed for re-arrangement (Baddeley et al., 57). keywords: aggregate; allemande; blancrocher; branle; chaconne; couperin; courante; edge; gaillarde; gigue; images; memory; music; network; order; prelude; press; sarabande; space; term; theory; time; tombeau cache: currentmusicology-5281.pdf plain text: currentmusicology-5281.txt item: #444 of 583 id: currentmusicology-5282 author: Alegant, Brian title: A Picture is Worth a Thousand Words: Road Maps as Analytical Tools date: 2013 words: 3194 flesch: 65 summary: © 2013 by the Trustees of Columbia University in the City of New York A Picture is Worth a Thousand Words: Road Maps as Analytical Tools Brian Alegant I. Initial Considerations My experience with road maps began fifteen years ago, when I was teach- ing an upper–division course on 20th–century music. Over the years my students have created road maps of compositions by Ablinger, Ades, Aperghis, Babbitt, Bartok, Berg, Cage, Carter, Cassidy, Chopin, Crumb, Debussy, Eckhart, Feldman, Ferneyhough, Glass, Gubaidulina, Harbison, Harvey, Hurel, Lang, Messiaen, Merzbow, Reich, Riley, Saunders, Schoenberg, Scelsi, Sciarrino, Stravinsky, Xenakis, Webern, Wolpe, and Yi among others. keywords: alegant; brian; maps; music; musicology; road; stakes; students; work cache: currentmusicology-5282.pdf plain text: currentmusicology-5282.txt item: #445 of 583 id: currentmusicology-5283 author: Varzi, Achille C. title: Cover to Cover date: 2013 words: 6045 flesch: 80 summary: Improvisations may also provide a good context for “quoting” mate- rial from other melodies, including classical music. However, if you think about it, things get messy in classical music, too. keywords: album; ali; baba; cover; jazz; lyrics; melody; music; new; original; performance; piano; song; things; think; way cache: currentmusicology-5283.pdf plain text: currentmusicology-5283.txt item: #446 of 583 id: currentmusicology-5284 author: Randall, J. K. title: To Astonish the Roses: 7 E–mails to Walter Branchi date: 2013 words: 14163 flesch: 73 summary: Intero transcends as Sanctity transcends didn’t begin, has no end, favors no order, enhances all environments (question: is the Pantheon episode of Intero exportable?), is your life’s work 23319 but not Yours (and not an It), doesn’t assert or make demands, doesn’t announce itself or exhibit itself or proclaim itself or solicit attention. Intero transcends as Sanctity transcends didn’t begin, has no end, favors no order, enhances all environments (question: is the Pantheon episode of Intero exportable?), is your life’s work 234 21 ENVIRONMENTAL PROSPECTUS: Bach heeds the resonance it has created. keywords: atcrimr; beethoven; cct; fact; human; intero; jim; listening; music; piece; resonance; roses; sound; space; time; timeflow; way cache: currentmusicology-5284.pdf plain text: currentmusicology-5284.txt item: #447 of 583 id: currentmusicology-5285 author: Gleason, Scott title: Improvising Compose Yourself date: 2013 words: 1861 flesch: 60 summary: A highly experimental document, Compose Yourself includes a kind of poem Current Musicology 248 of coming–into–being; a phenomenological yet didactic reading of a scene from Götterdämmerung; a study of computer generation of phonemes across world languages; a kind of extended memory of a train ride; a discussion of multiple theoretical contexts for a baseball game; and a trippy script for a television show probing the boundaries of music composition’s role in the potential revolution. The notion of there being such a thing as “Princeton Theory,” as distinct from other forms of music theory, has been with us for many decades, for Kerman (1963: 152–4) defined and problematized a “Princeton School”; Blasius (1997, 2) reports Godfrey Winham’s (1934–1975) unfortunately undated response to “a prospective ‘Princeton issue’ of the Journal of Music Theory”; and Kerman’s (1985, 60–112) critique can be read largely as a response to the composer/ theorists working at Princeton—Kerman’s own alma mater. keywords: music; new; randall cache: currentmusicology-5285.pdf plain text: currentmusicology-5285.txt item: #448 of 583 id: currentmusicology-5286 author: Kane, Brian title: Eleven Theses on Sound and Transcendence date: 2013 words: 7322 flesch: 63 summary: In Women’s voices across musical worlds, edited by Jane A. Bernstein. In eighteenth–century aesthetics, the experience of music often prefigured the angelic choir. keywords: essence; experience; listening; music; new; orchestra; physis; press; production; sound; technê; transcendence; truth; university; vibrations; wagner cache: currentmusicology-5286.pdf plain text: currentmusicology-5286.txt item: #449 of 583 id: currentmusicology-5287 author: Bernstein, Charles title: Breathtails: A Song Cycle in 13 Breaths, Written for Anne LeBaron date: 2013 words: 783 flesch: 81 summary: Everything we are the air, the sky that falls into our mouths the passing of day into sobs of night belies the fact in the name of substance, motion, rhythmic erasure, as if the food we eat replaces the fools we are the air, the everything we take as fake, as Charles Bernstein 283 real, gains substance in its absence the air the relocates rhythmic erasure into mouths passing falls, fooled as we are by the care we are, or will become, in the name of sky that falls as if name of night sobs in its absence, the fool belies, or will become, the name of, sobs. Originally appeared in: Charles Berstein, Recalculating (Chicago: University of Chicago Press, 2013) 277 Breathtails: a Song Cycle in 13 Breaths Written for Anne LeBaron Charles Bernstein . . . keywords: breath; charles cache: currentmusicology-5287.pdf plain text: currentmusicology-5287.txt item: #450 of 583 id: currentmusicology-5288 author: LeBaron, Anne title: Composing Breathtails (A Song Cycle in 21 Breaths) date: 2013 words: 10414 flesch: 82 summary: œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ ! ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ ! ? Vc. 51 jœ ˙ jœ# œ# jœ œ ee ee ee jœ# œ# œ œ œ œ œ œ jœ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœb ..œœ J œœ ‰ œ œ œ œ œ œ œ œ œœ ..œœ œœ œœ ‰ œœ œœ œœ 3 & œœ # œœ# J œœ œœ# œœ ..œœ œœ .. keywords: breath; ence œ; f œ; j œ; vln; y œ; œ arco; œ b; œ jœ; œ rœ; œ work; œ œ; œ œb; œ œœ; œn œ; ˙ œ cache: currentmusicology-5288.pdf plain text: currentmusicology-5288.txt item: #451 of 583 id: currentmusicology-5289 author: Bonus, Alexander title: A Timely Musical Discourse, or A Music Treatise from Lost Times, Part I date: 2013 words: 11413 flesch: 70 summary: © 2013 by the Trustees of Columbia University in the City of New York 319 A Timely Musical Discourse, or a Music Treatise from Lost Times, Part I Alexander Bonus Eschewing some serious scholarly reservations, I wish to present a significant portion of a heretofore unknown treatise that concerns the nature of musical time. Yet if we take their discussion as an allegorical representation of a fundamental rift in the understanding of musical time, then the characters seem to function as every–musicians, who offer a variety of arguments in support of fundamentally oppositional stances. keywords: beethoven; clock; co.; composers; london; machine; metronome; movement; music; musical; musicians; new; tempo; time; trans; words; york cache: currentmusicology-5289.pdf plain text: currentmusicology-5289.txt item: #452 of 583 id: currentmusicology-5290 author: Boretz, Benjamin title: “Words for Music, Perhaps”? Texts, 1975-2013 date: 2013 words: 21143 flesch: 36 summary: Composing music, playing music, listening to music, thinking and writing about music: each and all plausible as a person’s possible self-gratifying, self- fulfilling occupation. Composing music, playing music, listening to music, thinking and writing about music: each and all plausible as a person’s possible self-gratifying, self- fulfilling occupation. keywords: benjamin; boretz; discourse; expression; facts; music; politics; public; self; space; time; world cache: currentmusicology-5290.pdf plain text: currentmusicology-5290.txt item: #453 of 583 id: currentmusicology-5291 author: Retallack, Joan title: From Errata 5uite date: 2013 words: 554 flesch: 32 summary: (La cantatrice chèvre) the words once chief fig now obs quasi-trans cog object to variant Germanic*res ras rushing medias race/mess Words’words streaming firth in fifths ers-a-to wander in causal debt errabund erroarious (produces sneezing) rerum, tears to zero Current Musicology 380 readafresh another Roman tic o postromodern time ‘n life a fresh ‘n new new fresh ‘n ergo blubber to this add read moist reeds should read musics AURORA5 & EROTEMA’s hethinks it wasn’t German (Russian Serb Khmer... per se’s apostrophe’s tragik musico philosophicus esophagus or 5th wheel’s cranial nerve in errant interval estate read hail o reads too close sesame leek feet (but not in the music) grosteste or pseudo-grostextuality the best is no music Mozart replide nicked vectors purpledicular alone alone unknown lone dis ordered fragments read erratic demon stranded p.5 on what sad eyes caress they cannot touch or hold or even to appear to interpret this as dawn i.e. to read o tu cara silènzio mia musica for late orts cracks figmenst dis coarse on terror incognita tort thud slipova girl light as 7 pt italic in which she only she appeared to know that he had asses ears (coughs in shrubbery) proverbial never no fortuitous timing the classical reference achieves the force of logic and yet but for theorem read either c or d read the giant transcendental (-ed up up and away) frown corrects the pagination this inter rhetoric is eating out my heaort reads the for every bauhaus dasein I sing choiristica’s bvent wood rocjer 5uite our peridoncal nite reade this liouminouscene ovsession rhubarbed re mark flesh with snakes/or/snacks in roots of speech no single act can find the music in © 2013 by the Trustees of Columbia University in the City of New York from Errata 5uite Joan Retallack We talk about and try to think through these notions—like sounds in music—and we forget what really happens. keywords: errata; music cache: currentmusicology-5291.pdf plain text: currentmusicology-5291.txt item: #454 of 583 id: currentmusicology-5292 author: Marmer, Jake title: Nigun Poems date: 2013 words: 814 flesch: 16 summary: © 2013 by the Trustees of Columbia University in the City of New York 381 Nigun Poems Jake Marmer Preface This set of poems grew out of my experiences of listening and finding myself inside nigunim (pl; singular nigun or nign), Chassidic chants—mystical, usually wordless songs used as accompaniment for rituals—weddings, prayers, candle–lightings—collective beckoning of transcendence. this yontef commemorates what has never happened but the paint the paint rolls like walls stands like sea walls standing mercurially Jake Marmer 385 Nigun Au Rebours this song is not an act but erasure the way other songs reach into you this one retreats, taking with it stuff that seemed nailed to the floor this song is cinematic in its reel you may find yourself humming its residue you may wonder who you’re feeding— through the song’s straw that ascends to the pouting mouth of the vanishing point Current Musicology 386 Root–Note Nigun this nigun is about a stick figure and the wind over canvas that bared it— it’s about a two–bone abstraction, a solitary root note, resounding its stripped chorus no aesthetics beyond instinct— this nigun is about a scratch, a typo, doodle of person—dropped into an impressionist painting amidst the ball of flesh and color and it knows there must be a mistake and mumbles all it ever knows to mumble —“I exist”—“I exist”—“I exist”— a note bent in and out of the question this nigun is about a stick figure imagining it could change its fate by lifting its stick–figure hands heavenward Jake Marmer 387 Cecil’s Scarecrow Nigun for Anthony Coleman this nigun is a scarecrow in your old clothes it looks a little bit like you— a no–thanks–prophecy— the fence: scarecrow’s stage and metalepsis melody lint, limp sleeves and run–on paint everybody here forgets what they came for— newly unknotted, turn into congregants dissipating in their coats the nigun shuckles, rocks alone victorious creaking guardian in the field of pure color Current Musicology 388 Amphibian Nigun needle threads nothingness hunks of it transparent slices of ice  a dress good for running up and down the stairs of the ancestral dream ice quickly goes New York ice always does melting ripples around your face it’s the puddle–waltz— for a minute you remember there’s a world at the bottom of your stomach peopled with memories sad eyes, winking— and when you raise your head and ask for a drink someone shows you to the ocean and says welcome to your new life under the water keywords: nigun; paint; song cache: currentmusicology-5292.pdf plain text: currentmusicology-5292.txt item: #455 of 583 id: currentmusicology-5311 author: Fogg, Thomas title: Editor’s Note date: 2013 words: 651 flesch: 51 summary: In “A Psychological Approach to Musical Form: The Habituation– Fluency Theory of Repetition,” David Huron investigates the psychological experience of musical repetition. Jeremy Coleman provocatively reviews two books dealing with issues of gender and sexuality in Wagner’s operas: Laurence Dreyfus’s Wagner and the Erotic Impulse and a translation from German of Eva Rieger’s Richard Wagner’s Women. keywords: issue; performance; reviews cache: currentmusicology-5311.pdf plain text: currentmusicology-5311.txt item: #456 of 583 id: currentmusicology-5312 author: Huron, David title: A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition date: 2013 words: 12215 flesch: 53 summary: As we have seen, habituation arises more quickly when stimulus repetition occurs in rapid succession. Using the psychological concepts as premises, we will derive a series of repetition strategies that, from a theoretical perspective, successively improve the overall hedonic effect. keywords: effect; exposure; fluency; habituation; huron; listener; music; passage; patterns; pleasure; processing; repetition; research; stimuli; stimulus; strategy; theory; work cache: currentmusicology-5312.pdf plain text: currentmusicology-5312.txt item: #457 of 583 id: currentmusicology-5313 author: Johnson, Lindsay title: Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic date: 2013 words: 12601 flesch: 59 summary: The turn of the seventeenth century, however, was the point at which eroticization of holy bodies and their fluids coexisted in single works of art and music with profound devotion (Miles 2008). To say that one’s soul is melting is to suggest that the now–liquid soul can easily merge with other sacred liquids, such as the blood of Christ or the Virgin Mary’s breast milk, two of the more important liquids in the Christian tradition. keywords: anima; bodies; body; century; divine; erotic; est; example; god; humors; line; liquefacta; liquid; love; mary; mea; melancholy; music; nuns; performance; soul; teresa; text; tressina cache: currentmusicology-5313.pdf plain text: currentmusicology-5313.txt item: #458 of 583 id: currentmusicology-5314 author: Fay, Brendan title: Judging Performance, Performing Judgments: Race and Performance in Weimar Germany date: 2013 words: 11948 flesch: 58 summary: The importance of Germans performing German music was in some cases even more important abroad, where it lay vulnerable not only to “inauthentic” renditions by foreign artists but also to performance in other vernaculars: German performers provide the occasion for a cultural mission of the highest rank not only in Germany, where they understand it must be so, but also in the neutral and even in the enemy countries! (Quoted in Riethmüller 2002: 293) Current Musicology 74 Birthright was often held responsible for the cultural insights that it conferred onto performers of German music. keywords: als; anti; beethoven; breithaupt; critics; culture; das; dem; den; der; des; deutsche; die; eine; flaffith; für; german; gieseking; heuss; ist; jews; music; musical; musicians; musicology; new; performance; performers; pianist; piano; press; race; racial; semitic; sich; und; university; von; war; weimar; york cache: currentmusicology-5314.pdf plain text: currentmusicology-5314.txt item: #459 of 583 id: currentmusicology-5315 author: Thurmaier, David title: “A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing date: 2013 words: 9199 flesch: 59 summary: Though in his writings and music Carter asserted his preferences for originality, progress, and, above all, consistency of musical language in keeping with modernist traits, he could not help being haunted in his compositional choices by his personal connection to Ives and his highly unique and idiosyncratic music. In a fascinating exchange from the documentary Elliott Carter: A Labyrinth of Time, Carter and the cellist Fred Sherry (for whom the piece was written) discuss certain sections of the piece, its inspiration, and how it should be performed (Carter 2006). keywords: borrowing; carter; example; ives; movement; music; new; piece; quartet; quotation; section; sonata; use cache: currentmusicology-5315.pdf plain text: currentmusicology-5315.txt item: #460 of 583 id: currentmusicology-5316 author: Penner, Nina title: Review of Heather Wiebe. 2012. Britten’s Unquiet Pasts: Sound and Memory in Postwar Reconstruction. New York: Cambridge University Press date: 2013 words: 3956 flesch: 51 summary: Although anticipating the Britten centenary by one year, Britten’s Unquiet Pasts is much in keeping with the spirit of other Britten publications to be released this year, not least Paul Kildea’s (2013) biography. Cambridge: Cambridge University Press. Reviewed by Nina Penner Britten as a public figure. keywords: britten; chapter; music; past; purcell; requiem; war; wiebe; works cache: currentmusicology-5316.pdf plain text: currentmusicology-5316.txt item: #461 of 583 id: currentmusicology-5317 author: Coleman, Jeremy title: Review of Eva Rieger. 2011. Richard Wagner’s Women. Translated by Chris Walton; and Laurence Dreyfus. 2010. Wagner and the Erotic Impulse. date: 2013 words: 5541 flesch: 54 summary: Richard Wagner and the Centrality of Love.11 Any simultaneous publication inevitably misses the opportunity for collaboration or cross–fertilization, yet the release of these books in anticipation of the bicentenary would seem to suggest that love, in Wagner studies at least, is Current Musicology 134 in the air: Emslie’s claim for the “centrality of love” in Wagner—however vaguely defined—is one that might unite Dreyfus and Rieger in agreement. Both authors may be commended for placing Wagner’s music center stage, in what is perhaps a welcome corrective against the tendency in Wagner studies toward fashioning Wagner as a fundamentally literary figure contrary to his own claims to be a musician first and fore- most. keywords: book; dreyfus; erotic; love; music; opera; press; richard; rieger; university; wagner; women; works cache: currentmusicology-5317.pdf plain text: currentmusicology-5317.txt item: #462 of 583 id: currentmusicology-5318 author: Sterbenz, Maeve title: Review of Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. date: 2013 words: 2883 flesch: 44 summary: At the same time, Joseph positions Stravinsky as a kind of visionary whose col- laboration with other artists created difficulties in rehearsals when dancers and orchestra alike were left “baffled” by his score (54). In pulling together such a wide range of primary sources and providing an in–depth and comprehensive study of Stravinsky’s ballets, Joseph’s book presents an important resource in Stravinsky scholarship. keywords: ballet; chapter; joseph; music; stravinsky; work cache: currentmusicology-5318.pdf plain text: currentmusicology-5318.txt item: #463 of 583 id: currentmusicology-5320 author: Fogg, Thomas title: Editor’s Note date: 2014 words: 1129 flesch: 55 summary: With an impressive range of reference, Jonathan De Souza, in his “Voice and Instrument at the Origins of Music,” engages histories and philosophies of technology, paleoanthropology, and psychology to revisit perennial speculations surrounding the prehistorical precedence of the voice over the instrument. Three articles—those by Murray Dineen (former editor of this journal; welcome back!), Jonathan De Souza, and Carmel Raz—arrived via this route; however, after a lot of back and forth, only Dineen’s retains its original Cornell title. keywords: editor; music; note; work cache: currentmusicology-5320.pdf plain text: currentmusicology-5320.txt item: #464 of 583 id: currentmusicology-5321 author: Dineen, Murray title: The Historical Soundscape of Monophonic Hi-Fidelity date: 2014 words: 5441 flesch: 60 summary: The act of sound imagination need not necessarily be realized in concrete terms. By analogy, it was never dif- ficult to distinguish fresh from canned in both peas and music: older forms of sound reproduction sound like canned peas taste, “tinny.” keywords: campbell; equipment; fidelity; imagination; listener; music; new; reproduction; sound; soundscape cache: currentmusicology-5321.pdf plain text: currentmusicology-5321.txt item: #465 of 583 id: currentmusicology-5322 author: De Souza, Jonathan title: Voice and Instrument at the Origins of Music date: 2014 words: 6710 flesch: 61 summary: Musical instruments may then be conceived as a supple- ment to bodily musicality. After all, communities of hunter– gatherers today often use found objects as musical instruments (Espi– Sanchis and Bannan 2012). keywords: cambridge; evolution; human; instruments; language; music; new; origin; oxford; press; rousseau; song; stiegler; technics; university; voice cache: currentmusicology-5322.pdf plain text: currentmusicology-5322.txt item: #466 of 583 id: currentmusicology-5323 author: Raz, Carmel title: The Lost Movements of Ernst Toch’s Gesprochene Musik date: 2014 words: 10813 flesch: 70 summary: The work was premiered in 1930 at a Berlin festi- val devoted to new music, in a concert featuring original works for gramo- phone playback by two rising stars of the German contemporary music scene, Toch and Paul Hindemith. [simile] klapp klapp klapp Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó ‰ œ .j œ .j ‰ ‰ œ j œ j ‰ ‰ œ j œ j ‰ Ó œ œ œ œ œ œ œ œ œ j œ .j œ .j œ œ œ j œ j œ j œ œ œ j œ j œ j œ œ œ œ œ œ œ ææœ ææœ ææœ ææœ ææw ææw Ó ‰ œ .j œ .j ‰ ‰ œ j œ j ‰ ‰ œ j œ j ‰ Ó Example 3: “O–a” first theme; SATB, mm. keywords: g o; k œ; la p; o b; o r; p p; r œ; œ j; œ p; œ ó; œ œ; œ œr; œj œ; ≈ œ cache: currentmusicology-5323.pdf plain text: currentmusicology-5323.txt item: #467 of 583 id: currentmusicology-5324 author: Caines, Christopher title: Preface to Gesprochene Musik, 1. “O-a” and 2. “Ta-tam” date: 2014 words: 3562 flesch: 59 summary: As Toch of course well knew, the use of spoken instead of or in addition to sung text has deep roots in German music, especially music for the theater. In the United States, where Toch eventually settled, his major achievements in orchestral, chamber, and operatic music remain less familiar than those of his American and European peers. keywords: composer; ernst; fugue; music; score; suite; tam; toch cache: currentmusicology-5324.pdf plain text: currentmusicology-5324.txt item: #468 of 583 id: currentmusicology-5325 author: Toch, Ernst title: Gesprochene Musik, 1 date: 2014 words: 7490 flesch: 91 summary: b e p p [ C ] g o b u m ∑ - g o b e - g o b u m ∑ - g o ∑ b e g o b u m ∑ - g o b e - g o b u m ∑ - g o p a t a - p a m - p a t a - p a m - / b e t e - k a t e b e t o n — ∑ ∑ ∑ 3 3 / t a m œ j ‰ Œ Ó ∑ p l i t i - p i t i - p i - t i 3 3 / Ó p ‰ q u a t o - p u ∑ œ œ t o - p e - ∑ t a m f œ œ œ p a t a œ ≈ œ - p a t a œ ≈ œ - p a t a œ ≈ œ - p a t a œ ≈ œ p a t a - p a t a - q u a p t o p u ∑ t o - p e - t a m f p a t a - p a t a - p a t a - p a 3 3 - / ∑ p p ‰ g o t o - b o œ . [ C ] 5 ) p ‰ q u a t o - p o œ œ t o - p e - t a œ œ œ œ j ‰ Œ ∑ ∑ ∑ 3 3 ‰ ™ œ . keywords: œ j; œ r; œ œ; ≈ œ cache: currentmusicology-5325.pdf plain text: currentmusicology-5325.txt item: #469 of 583 id: currentmusicology-5326 author: Steingo, Gavin title: The Musical Work Reconsidered, In Hindsight date: 2014 words: 15770 flesch: 59 summary: The term “imaginary” immedi- ately disqualifies one common interpretation of her thinking, namely the assertion that for Goehr works are equivalent to scores.15 The importance of notation and scores notwithstanding, for Goehr musical works are reducible neither to their performances nor their scores (nor, in fact, to anything and everything else). Several scholars of Baroque music have argued that musical works existed in the seventeenth century (although not before) while several scholars of the Renaissance have argued that the musical work emerged during that era (although not earlier).3 Indeed, there have been attempts—although somewhat muted—to locate the advent of the musical work in the Medieval period.4 In particular, the question of whether J. S. Bach composed musical works has received a great deal of attention. keywords: argument; bach; concept; example; goehr; history; material; money; museum; music; performance; point; press; question; time; university; work; yuran cache: currentmusicology-5326.pdf plain text: currentmusicology-5326.txt item: #470 of 583 id: currentmusicology-5327 author: De Munck, Marlies title: Images of Time and Timelessness: A Musical Reading of Death in Venice date: 2014 words: 9513 flesch: 59 summary: © 2014 by the Trustees of Columbia University in the City of New York 113 Images of Time and Timelessness: A Musical Reading of Death in Venice Marlies De Munck This essay is based on an old, well–known question in aesthetics: how to represent time in its fleetingness without halting, appropriating, objectify- ing, or transcending it? 114 Current Musicology In and Out of Time In its play of presence and absence, the experience of time is closely re- lated to the fear of death. keywords: apollonian; aschenbach; death; experience; film; images; life; mann; music; story; time; timelessness; venice; visconti cache: currentmusicology-5327.pdf plain text: currentmusicology-5327.txt item: #471 of 583 id: currentmusicology-5328 author: Harper, Paula title: Review of Carol Vernallis. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. New York: Oxford University Press. date: 2014 words: 2251 flesch: 40 summary: In the third and final section, Vernallis first considers music video aesthetics diachronically, juxtaposing the music video language of A Flock of Seagulls to that of Lady Gaga. Vernallis cares deeply about the material under scrutiny in her book—pop culture artifacts from the “Sneezing Baby Panda” video to Baz Luhrmann’s 2001 Moulin Rouge!—and the thesis of Unruly Media is, in part, that these objects are worthy of seri- ous scholarly attention. keywords: aesthetics; media; music; vernallis; video; youtube cache: currentmusicology-5328.pdf plain text: currentmusicology-5328.txt item: #472 of 583 id: currentmusicology-5329 author: García Molina, Andrés title: Review of David Novak. 2013. Japanoise: Music at the Edge of Circulation. Durham, NC: Duke University Press. date: 2014 words: 1972 flesch: 50 summary: And while Novak’s work pushes towards an approximation to Noise as a potent critique of many things (some of which will be addressed in this review), in Japanoise he manages to investigate generative questions around Noise without merely opposing it to other categories (like music, signal, or information), enacting an all–out critique of a tendency to define objects and subjects too neatly in ethnomusicological and anthropologi- cal research. In Novak’s hands, Noise can refer to an underground genre of music, forms of circulation, a commodity, and everyday techniques of creating and listening. keywords: circulation; japanoise; music; noise; novak cache: currentmusicology-5329.pdf plain text: currentmusicology-5329.txt item: #473 of 583 id: currentmusicology-5330 author: Whyte, Ralph title: Review of Timothy D. Taylor. 2012. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago: University of Chicago Press. date: 2014 words: 2405 flesch: 52 summary: Despite these profuse examples, Taylor steers clear of close readings, preferring to engage with the words of those involved in the world of advertising music. Taylor provocatively proclaims “there is no popu- lar music that is not, to varying degrees, advertising music” (8). keywords: advertisers; advertising; culture; jingle; music; new; taylor cache: currentmusicology-5330.pdf plain text: currentmusicology-5330.txt item: #474 of 583 id: currentmusicology-5331 author: Levitsky, Anne title: Review of Sarah Kay. 2013. Parrots and Nightingales: Troubadour Quotation and the Development of European Poetry. Philadelphia: University of Pennsylvania Press. date: 2014 words: 2922 flesch: 47 summary: Renart’s Rose and the Jeu de St. Agnès reveal that the musical components of troubadour lyric and Occitan texts can be quoted just like their textual counterparts, and that their inclu- sion in textual sources (whether or not musical notation is included) can similarly enter the web of supposed knowledge that is enacted with every quotation of Occitan lyric. Direct quotations of Occitan lyric, labeled the “parrots’ way,” are differentiated from cited instances, labeled the “nightingales’ way” (which emphasize re–creation of the lyric Occitan texts rather than repeating them word–for–word). keywords: kay; knowledge; lyric; quotation; subject cache: currentmusicology-5331.pdf plain text: currentmusicology-5331.txt item: #475 of 583 id: currentmusicology-5332 author: Givan, Benjamin title: “Django’s Tiger”: From Jazz to Jazz Manouche date: 2014 words: 13928 flesch: 62 summary: “By jazz tsigane,” he writes, “we mean jazz music created by musicians of the Gypsy [‘tsigane’] race” (54).29 Jalard’s essentialism persists in scholarship as recent as the American author Michael Dregni’s 2008 book–length chronicle of jazz manouche, though it generally takes a subtler rhetorical form: rather than explicitly invoking race, Dregni traces the music’s transmission through kinship lineages, both literal and metaphoric (Dregni 2008).30 He highlights the contributions of Reinhardt’s guitar–playing sons, Lousson and Babik, grandson David Reinhardt, and great–grandson Dallas Baumgartner, even though, with the exception of the last mentioned, they have been electric 14 Current Musicology guitarists favoring a post–bebop idiom rather than the Quintet’s acoustic interwar style (2008, 213–22, 278–87).31 Dregni’s historical narrative is also replete with rhetorical allusions to essentialized, putatively natural characteristics of Romani culture and music, even at times perpetuating longstanding negative stereotypes.32 Metaphorically, the notion of jazz manouche as a biological inheritance emerges most unambiguously in his “Gypsy Jazz Family Tree.” At the twentieth century’s close, Williams identified five principal factors that contributed to the rise of jazz manouche: a worldwide trend among jazz musicians, in the 1980s and ’90s, toward exploring jazz styles of earlier generations; a small coterie of amateur enthusiasts who began recording and distributing the music, as well as publishing related articles and pedagogical books; a concurrent revival of interest in the musette mu- sic, and “swing–musette,” of the interwar years; the emergence in Europe of “Gypsy festivals” (“festivals ‘tziganes’”) that often presented public concerts of music associated with Romani communities;18 and finally, a late–twen- tieth–century fad for “anything with an ethnic character” (Williams 2000, 417).19 Subsequent research by Siv B. Lie (2012) has found that, since the turn of the millennium, jazz manouche’s popularity has been further fueled 12 Current Musicology by French governmental subsidies that have, rather ambivalently, promoted the music as an emblem of, on the one hand, French national patrimony in general and, on the other, Manouche culture in particular. keywords: american; benjamin; club; django; django reinhardt; france; genre; givan; guitarist; gypsy; history; hot; idiom; jazz; jazz manouche; manouche; moignard; music; musicians; new; players; playing; press; quintet; reinhardt; romani; style; tiger; today; university; williams; york cache: currentmusicology-5332.pdf plain text: currentmusicology-5332.txt item: #476 of 583 id: currentmusicology-5333 author: Vojcic, Aleksandra title: Beat Hierarchy and Beat Patterns—From Aksak to Composite Meter date: 2014 words: 11095 flesch: 58 summary: Another juxtaposition of three–beat and four–beat meters with nine pulses occurs in Sting’s London (2004) and Arom (1991) each wrestle with the issue of metri- cal accents (or the lack thereof) in asymmetrical meters and conclude that no accent is necessary due to the intrinsic differentiation among beats in beat patterns comprising short and long beats. keywords: aksak; beat; composite; duple; example; level; measure; meta; meter; metric; music; pattern; signature; tactus; time; triple cache: currentmusicology-5333.pdf plain text: currentmusicology-5333.txt item: #477 of 583 id: currentmusicology-5334 author: Moisala, Pirkko; Leppänen, Taru; Tiainen, Milla; Väätäinen, Hanna title: Noticing Musical Becomings: Deleuzian and Guattarian Approaches to Ethnographic Studies of Musicking date: 2014 words: 10214 flesch: 54 summary: In order to highlight the utility of Deleuzian and Guattarian thinking, we chose to provide brief examples from our own current studies that are linked to several areas of music research: popular music studies, art music studies, musical performance studies, dance studies, and ethnomusicology. different kinds of things that might be happening, or things that might be happening differently” (Coleman and Ringrose 2013, 4).8 Inspired by Deleuze and Guattari, and as one way of reaching toward new styles of observing, studying, and conceptualizing musickings as profoundly processual, always multiple, relational comings into being—as becomings—we suggest an associated epistemological and ontological shift from knowing music—being able to read its “codes” or pin down its meanings—to noticing musicking in its ever–fuller diversity and variation.9 In music studies, a move away from knowing toward noticing could be explained as a move away from certainty regarding what music(king) is toward a productive uncertainty that leaves room for new imaginings, research encounters, and methodological experimenting. keywords: becomings; bodies; deaf; deleuze; guattari; human; music; musicking; new; non; performance; press; research; signmark; sound; studies; university; ways; women cache: currentmusicology-5334.pdf plain text: currentmusicology-5334.txt item: #478 of 583 id: currentmusicology-5335 author: Dorf, Samuel N. title: Erik Satie’s Socrate (1918), Myths of Marsyas, and un style dépouillé date: 2014 words: 9995 flesch: 69 summary: Satie begins work on Vie de Socrate. Scholars have defined Socrate’s clear, unadorned mu- sical lines as modernist, abstract, and even quasi–socialist and minimalist (see Danuser 2004, 261–62; keywords: aesthetic; cousin; death; french; jankélévitch; les; libretto; marsyas; movement; music; nous; pas; performance; phaedo; plato; press; que; satie; socrate; style; text; translation; university; work cache: currentmusicology-5335.pdf plain text: currentmusicology-5335.txt item: #479 of 583 id: currentmusicology-5336 author: Parkhurst, Bryan title: Morgan, Robert P. 2014. Becoming Heinrich Schenker: Music Theory and Ideology. New York: Cambridge University Press. date: 2014 words: 6226 flesch: 44 summary: While there is plenty to be learned from Becoming Heinrich Schenker, and while everyone who likes to think about Schenker should read it (faute de mieux), I have reservations about how successfully it prosecutes the goals it sets for itself. “Becoming Heinrich Schenker” Curiously, Becoming Heinrich Schenker has little to do with how Heinrich Schenker became Heinrich Schenker. keywords: book; heinrich; ideology; language; morgan; music; schenker; schenkerian; theory; way cache: currentmusicology-5336.pdf plain text: currentmusicology-5336.txt item: #480 of 583 id: currentmusicology-5337 author: Ricketts, Matthew title: Daniel Albright. 2014. Panaesthetics: On the Unity and Diversity of the Arts. New Haven and London: Yale University Press. date: 2014 words: 4386 flesch: 49 summary: Six whole pages are eaten up quoting Leonardo da Vinci in the section on pseudomorphs (“From Painting to Music”), yet da Vinci doesn’t even describe anything related to music but rather ruminates on the superiority of painting as a medium, which grates against the framework of Albright’s discussion of 142 Current Musicology music born of painting. In other words, since clichés in language tend to either ossify mean- ing or distract from the process of signification, semantic codes in music rely on a certain extant currency within a musical community, but as cur- rency they also risk inflation whereby more music is needed to mean as much as was signified earlier. keywords: albright; art; arts; language; medium; music; narrative; panaesthetics; theory cache: currentmusicology-5337.pdf plain text: currentmusicology-5337.txt item: #481 of 583 id: currentmusicology-5338 author: Holt, Kevin title: Helbig, Adriana. 2014. Hip Hop Ukraine: Music, Race, and African Migration. Bloomington, IN: Indiana University Press. date: 2014 words: 2287 flesch: 33 summary: Helbig finds that many of those involved with hip hop in Ukraine assert commonalities between common themes in American hip hop and the lived experiences of dis- placed or socioeconomically marginalized Ukrainians. This is the plat- form on which Ukrainian hip hop developed. keywords: blackness; helbig; hip; hop; ukraine cache: currentmusicology-5338.pdf plain text: currentmusicology-5338.txt item: #482 of 583 id: currentmusicology-5339 author: Pierce, J. Mackenzie title: Davies, J.Q. 2014. Romantic Anatomies of Performance. Berkeley: University Of California Press. date: 2014 words: 2298 flesch: 52 summary: To conclude, Davies brings the discussion of individual voice to reflect on national voice, drawing on the collaboration between Adolphe Nourrit and Joseph Mainzer, in which untrained French voices were to be made capable of singing. Ultimately, for Davies, such attempts only go to show the inherently politicized nature of voice, but it is a politics independent of any inherent or natural relation between bodies and vocal production. keywords: body; davies; hands; music; performance; voice cache: currentmusicology-5339.pdf plain text: currentmusicology-5339.txt item: #483 of 583 id: currentmusicology-5341 author: Kheshti, Roshanak title: Toward A Rupture in the Sensus Communis: On Sound Studies and the Politics of Knowledge Production date: 2017 words: 6155 flesch: 51 summary: But can we also think about a disciplinary sensus communis forming within sound studies, about the disciplining of sound studies knowledges through institution- alization? Kim’s insightful narrative reflection upon the structuring ideologic of proper sonic decorum for not only a deaf child but her immigrant parents is a jumping off point for exploring the problem of theorizing sound in sound studies and the function of what Kant called the sensus communis. keywords: communis; field; hurston; kim; knowledge; new; perception; political; sense; sensus; sound; studies; work cache: currentmusicology-5341.pdf plain text: currentmusicology-5341.txt item: #484 of 583 id: currentmusicology-5342 author: Veal, Michael; Slaten, Whitney title: Ethnography, Sound Studies and the Black Atlantic: A Conversation Between Michael Veal and Whitney Slaten date: 2017 words: 7137 flesch: 64 summary: Drawing from the current research of Veal and Slaten, as well as the recent work in sound studies, this discussion explores the status of the human in black popular music studies. In the wake of oppressive histories that have associated black musical expression to the permanent objectifications of slavery, the dis- course about Fred Moten’s important analysis of Aunt Hester’s scream as the supposed object’s resistance, and sound studies’ new turn to decenter social categories in favor of foregrounding sounds and sonic phenomena as objects, the second section asks the following question: how does post- humanism juxtapose with scholarship on black music? keywords: african; engineers; human; jazz; music; musicians; people; sound; studies; way; work cache: currentmusicology-5342.pdf plain text: currentmusicology-5342.txt item: #485 of 583 id: currentmusicology-5343 author: Redmond, Shana L. title: “Sing About Me”: Social Media Memorial and Inventory Form date: 2017 words: 2589 flesch: 54 summary: Musicians have picked up on and expanded upon the labors of social media, which have turned the changing same of state violence into rallying cries delivered in 140 characters or less, hashtags, and memes. Social media is animated by the local crowd sourcing of its partici- pants, growing attention and information at a pace that outstrips network competition. keywords: black; form; media; music; names; new; song; talmbout; twitter cache: currentmusicology-5343.pdf plain text: currentmusicology-5343.txt item: #486 of 583 id: currentmusicology-5344 author: Steingo, Gavin title: African Afro-futurism: Allegories and Speculations date: 2017 words: 13560 flesch: 62 summary: I would also like to express my appreciation to Shirley Taylor and Jamilla Deria at the Apollo The- ater for inviting me to moderate a panel on South African music—the panel was an excel- lent opportunity to think through some of the issues I write about in the current article. Such is certainly the case in “Ndiredi,” a video produced as a 60 Current Musicology collaboration between Dana and director Andrew Wessels, and whose “basic concept was of African futurism and of creating a futurism based on African principles. keywords: african; afro; aliens; allegory; apartheid; black; credo; dana; eshun; future; futurism; gavin; human; icke; music; mutwa; new; press; song; south; south africa; space; speculation; steingo; university; video; work; zulu cache: currentmusicology-5344.pdf plain text: currentmusicology-5344.txt item: #487 of 583 id: currentmusicology-5345 author: Chude-Sokei, Louis title: Prognosticating Echoes: Race, Sound, and Naturalizing Technology date: 2017 words: 4230 flesch: 59 summary: Where Capek used machines to express deeply troubling racial concerns, here blacks are used to placate deep anxieties about technology to market machines and sustain a racist status quo through technology. “Talking machine” was what phonographs and gramophones were colloquially called in the early days of their display and eventual commodification. keywords: american; black; culture; machine; new; slave; sound; technology; williams cache: currentmusicology-5345.pdf plain text: currentmusicology-5345.txt item: #488 of 583 id: currentmusicology-5346 author: Blue V, Alex title: “Hear What You Want”: Sonic Politics, Blackness, and Racism-Canceling Headphones date: 2017 words: 8860 flesch: 65 summary: In the end, we can take these narratives of resistance and existence to form a useful dialectic with which to investigate black life and black sound. The website also promised consumers the ability to “cancel out the haters,” and implored them to “join the #BeatsArmy,”2 positioning Beats headphones as some sort of subversive, anti-establishment, righteous weapon in a world full of enemy combatants. keywords: athletes; beats; blackness; bose; canceling; dre; headphones; hear; listening; music; noise; people; race; sound; space; technology; white cache: currentmusicology-5346.pdf plain text: currentmusicology-5346.txt item: #489 of 583 id: currentmusicology-5347 author: Weheliye, Alexander G. title: Rhythms of Relation: Black Popular Music and Mobile Technologies date: 2017 words: 9887 flesch: 58 summary: While early mobile ringtones consisted of a particular sequence of tones and did not differ significantly from the functional sounds of a ringing landline, mobile phone ringtones are now largely MP3 clips (usually around 15 seconds in duration) of existing musical recordings. After a brief examination of those aspects of mobile technologies that gesture beyond disembodied communication, I turn to the multifarious manifestations of techno-informational gadgets (especially cellular/mobile telephones) in contemporary R&B, a genre that is acutely concerned, both in content and form, with the conjuring of interiority, emotion, and affect. keywords: blackberry; cell; communication; devices; face; machines; mobile; music; new; phone; press; r&b; rhythm; ring; ringtones; sensation; song; sonic; technologies; technology; text; voice; way cache: currentmusicology-5347.pdf plain text: currentmusicology-5347.txt item: #490 of 583 id: currentmusicology-5348 author: Mulliken, Seth title: “Organic and Beautiful and Imperfect”: An Interview with Queer Pop Musician Be Steadwell date: 2017 words: 5397 flesch: 85 summary: Be’s stated lack of excitement about music technology implies a much more complicated idea: the idea that highly technologized music doesn’t need to follow a single narrative line of its creation. In her interview with the members of the band Le Tigre, the idea of what constitutes “innovation” with music technology is highly gendered. keywords: loop; music; people; song; voice cache: currentmusicology-5348.pdf plain text: currentmusicology-5348.txt item: #491 of 583 id: currentmusicology-5349 author: McMullen, Tracy title: Review of Kajikawa, Loren. 2015. Sounding Race in Rap Songs. Oak-land: University of California Press. date: 2017 words: 5543 flesch: 63 summary: Google “godmother of hip hop” and Sylvia Robinson’s bio and picture will appear at the top of your page. Rap music has remained an overt signifier of blackness, not just lyrically and visually, but sonically. keywords: analysis; black; form; gender; hip; hop; kajikawa; music; new; race; rap; sound; women cache: currentmusicology-5349.pdf plain text: currentmusicology-5349.txt item: #492 of 583 id: currentmusicology-5350 author: Citton, Yves title: Review of Pierrepont, Alexandre. 2015. La Nuée. L’AACM: Un Jeu de Société Musicale. Marseille: Éditions Parenthèses. date: 2017 words: 2297 flesch: 46 summary: After hav- ing worked for several years in organizing concerts and educational events for the Banlieues Bleues and Sons d’hiver festivals in Paris, as well as for the Museum of the Quai Branly, Alexandre Pierrepont, along with a few friends and partners, has launched his own association for the advance- ment of creative musicians, entitled The Bridge. Subtitled A Game-Play of Musical Society, it offers a profound and joyous analysis of the many strata simultaneously developed in Chicago beginning in 1965 by African American musicians who had no alternative but to invent new social relations in order to survive economically and thrive artistically as creators, in a country doubly biased against African Americans and against artistic experimentations and lifestyles. keywords: aacm; book; chicago; history; musicians; pierrepont cache: currentmusicology-5350.pdf plain text: currentmusicology-5350.txt item: #493 of 583 id: currentmusicology-5351 author: Vágnerová, Lucie title: Review of Eidsheim, Nina Sun. 2015. Sensing Sound: Singing and Lis-tening as Vibrational Practice. date: 2017 words: 2261 flesch: 48 summary: Chapter 3, “Music as Action: Singing Happens before Sound,” takes on the place of the signifier in theories of the voice, a topic with a colossal history in and out of music studies. The book speaks to a number of growing areas of music studies, such as literature on music, sound, and violence, work on the body that takes into account questions of pleasure, disability, embodiment, and technol- ogy, and critical histories of vocal pedagogy. keywords: body; eidsheim; music; sound; studies; voice; work cache: currentmusicology-5351.pdf plain text: currentmusicology-5351.txt item: #494 of 583 id: currentmusicology-5352 author: Wetmore, Tom title: Editor’s Note date: 2017 words: 717 flesch: 39 summary: Indeed, by altering the meanings and feelings as- sociated with various urban spaces, these events “embedd[ed] the materi- ality of sound and sonically disciplined bodies into the stone and concrete of urban spaces, thus transforming them and Turkey’s public sphere.” By filling secular urban spaces with sacred sounds, Koymen asserts, these events underline the importance of sound to an “epochal neo-Ottoman shift in Turkish politics.” keywords: article; babbitt; grainger cache: currentmusicology-5352.pdf plain text: currentmusicology-5352.txt item: #495 of 583 id: currentmusicology-5353 author: Kirby, Sarah title: Cosmopolitanism and Race in Percy Grainger’s American “Delius Campaign” date: 2017 words: 12379 flesch: 56 summary: (Delius 1983, 286)1 Composer Frederick Delius (1862–1934) wrote this to Percy Grainger (1882–1961) on January 23, 1924 in acknowledgement of the significance of their friendship and Grainger’s work on his behalf. This same lack of concrete alignment made Delius a par- ticularly suitable vessel through which Percy Grainger could exploit and transplant his own developing racist ideologies, as will be discussed below. keywords: american; campaign; composers; cosmopolitanism; delius; english; example; frederick; grainger; letter; music; new; pear; percy; percy grainger; press; race; sarah; saxon; university; work; york cache: currentmusicology-5353.pdf plain text: currentmusicology-5353.txt item: #496 of 583 id: currentmusicology-5354 author: Maggart, Alison title: Milton Babbitt’s Glosses on American Jewish Identity date: 2017 words: 11499 flesch: 52 summary: “World War II and American Jewish Identity.” Subtitled “Musical Tradition and Creation in the Culture of the Jewish People—East and West,” the Congress was dedicated to detailing the ontology and morphology of Jewish music (Harrán 1979, 20). keywords: american; babbitt; composers; example; glosses; god; history; hollander; identity; jewish; jews; meaning; milton; music; new; princeton; psalm; schoenberg; series; set; text; university cache: currentmusicology-5354.pdf plain text: currentmusicology-5354.txt item: #497 of 583 id: currentmusicology-5355 author: Kibbee, Brendan title: Black Labor and the Deep South in Hurston’s The Great Day and Ellington’s Black, Brown, and Beige date: 2017 words: 6876 flesch: 62 summary: The Great Day, which premiered in 1932, chronicles a day in the life of a group of Florida railroad workers, and much of the first act fea- tured a company of dancers singing work songs while simulating the labor of “lining” and “spiking” railroad tracks. Ellington, in the context of this or- chestral composition, thus combines multiple details of work songs’ body- coordinating capabilities into a single phrase. keywords: american; beige; black; ellington; example; halpert; hurston; labor; music; negro; new; song; work; workers; york cache: currentmusicology-5355.pdf plain text: currentmusicology-5355.txt item: #498 of 583 id: currentmusicology-5356 author: Koymen, Erol title: From Coups that Silence Ezan-s to Ezan-s that Silence Coups!: Sonic Resistance to the 2016 Turkish Military Coup date: 2017 words: 11178 flesch: 60 summary: Moreover, these online platforms themselves become sites at which Turkish citizens revisit coup resistance and continue to construct their individual and collective political subjectivities, a process to which online comments sections give access (Cooley, Meizel, and Syed 2008). Despite the varying degrees of religious fervor they exhibit, these comments indicate the perceived significance of Islamic calls to prayer for coup resistance and the platform that YouTube videos provide for reflection upon and deepening of an emergent, affec- tively embodied collectivity. keywords: calls; coup; coup attempt; coup resistance; erdoğan; ezan; islamic; july; music; nation; new; prayer; press; public; resistance; sela; sound; space; square; turkey; turkish; university; video cache: currentmusicology-5356.pdf plain text: currentmusicology-5356.txt item: #499 of 583 id: currentmusicology-5357 author: Doe, Julia title: Sarah Hibberd and Richard Wrigley, eds. 2014. Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions date: 2021 words: 2144 flesch: 34 summary: In this view, visual artists and playwrights grappled with analogous tensions, as each group negotiated the demands of two current—but foundationally contradictory—paradigms of spectatorship (one based on direct, emotional appeal and another rooted in detached, intellectual analysis). Patricia Smyth argues that the 127 Julia Doe “theatricality” so often identified in Delaroche’s salon paintings stemmed not from commonalities of subject matter (between specific paintings and specific dramatic works) but rather from coinciding methods of interac- tion with the spectator. keywords: art; essays; media; opera; visual; volume cache: currentmusicology-5357.pdf plain text: currentmusicology-5357.txt item: #500 of 583 id: currentmusicology-5358 author: Ivanova, Velia title: Marie Sumner Lott. 2015. The Social Worlds of Nineteenth-Century Chamber Music date: 2017 words: 2872 flesch: 52 summary: As Sumner Lott shows through an examination of the Calculationbucher of publication companies, unlike piano works, where the publication might number a few pages, multiple impressions had to be made to produce chamber works for strings, due to the multiplicity of parts and the (usually) increased length of these works. © 2017 by the Trustees of Columbia University in the City of New York 131 Sumner Lott, Marie. 2015. keywords: century; chamber; lott; music; sumner; works cache: currentmusicology-5358.pdf plain text: currentmusicology-5358.txt item: #501 of 583 id: currentmusicology-5359 author: Patteson, Thomas title: Andrey Smirnov. 2013. Sound in Z: Experiments in Sound and Electronic Music in Early 20th-Century Russia date: 2017 words: 1846 flesch: 44 summary: The book doubles as a compelling intro- duction to early Soviet history, and includes a truly staggering collection of photographs, diagrams, and historical documents, drawn primarily from the archives of the Theremin Center in Moscow, which Smirnov founded and directed from 1992 to 2012. Some recent studies have broadened perspectives on this period, from the uncovering of occult and scientific influences in the work of Luigi Russolo to the hitherto unknown wealth of activity in the domains of early electronic instruments and sonic media in Ger- many and Austria during the 1920s and ‘30s. keywords: book; century; music; smirnov; sound cache: currentmusicology-5359.pdf plain text: currentmusicology-5359.txt item: #502 of 583 id: currentmusicology-5360 author: Still, Jonathan title: Tia DeNora. 2013. Music Asylums: Wellbeing Through Music in Everyday Life date: 2017 words: 2533 flesch: 52 summary: Music Asylums: Wellbeing Through Music in Everyday Life. By contrast, Music Asylums, part of Ashgate’s Music and Change: Ecological Perspectives series, sets out to explore “how, where and when music makes a difference.” keywords: asylums; denora; health; life; music cache: currentmusicology-5360.pdf plain text: currentmusicology-5360.txt item: #503 of 583 id: currentmusicology-5361 author: Messbauer, Sarah title: As Time Goes By: Car Radio and the Travel Experience in Twentieth-Century America date: 2017 words: 7861 flesch: 57 summary: But lingering doubts over the invention’s safety, combined with a moratorium on automobile production during the scrap metal drives of World War II, meant that car radios remained relatively rare until well into the start of the postwar period. Now, nearly a century after these first models were put up for produc- tion, car radios are found in over 95 percent of cars on the road (Fisher 2007, 67). keywords: american; automobile; car; car radio; cars; century; listening; medium; music; new; press; production; radio; sound; space; studies; technologies; time; university; york cache: currentmusicology-5361.pdf plain text: currentmusicology-5361.txt item: #504 of 583 id: currentmusicology-5362 author: Wetmore, Tom title: Editor’s Note: Sounding the Break: Music Studies and the Political date: 2018 words: 1489 flesch: 33 summary: All of them faced gendered genre expectations, changing music industry practices, and a web of political entanglements ranging from Cold War threats of nuclear devastation to contestations over Puerto Rican cultural nationalism. In her article, “Power and Equity in the Academy: Change from Within,” music theorist Ellie M. Hisama focuses on more contemporary concerns. keywords: fiol; matta; music; musicology; power cache: currentmusicology-5362.pdf plain text: currentmusicology-5362.txt item: #505 of 583 id: currentmusicology-5363 author: Levitz, Tamara title: The Musicological Elite date: 2018 words: 33299 flesch: 53 summary: Composition Glen Haydon University of North Carolina Chapel Hill, N.C. Musicology-Theory George Herzog 333 Cedar Street New Haven, Conn. Comparative Musicology, Folk New Music, Anthropology Erich M. von Hornbostel 66 W. 12th Street New York City Musicology, Anthropology, Psychology, Physiology of the senses Charles William Hughes 28 Ralph Avenue White Plains, N.Y. He had also noted up-and-coming developments at Vassar, New York University, and the University of Michigan. keywords: acls; adler; american; ams; amsr; association; avenue; board; box; california; charles; city; committee; comparative; constitution; december; discipline; engel; february; folder; für; goodchild; harvard; history; igmw; international; joseph; june; kinkeldey; leland; letter; levitz; library; list; meeting; members; membership; minutes; mtna; musicological; musicologists; musicology; new; new york; nyms; otto; papers; profession; public; reese; research; roberts; secretary; seeger; societies; society; spivacke; states; street; street new; tamara; time; united; university; west; yasser; year; york cache: currentmusicology-5363.pdf plain text: currentmusicology-5363.txt item: #506 of 583 id: currentmusicology-5365 author: Hisama, Ellie M. title: Power and Equity in the Academy: Change from Within date: 2018 words: 4341 flesch: 54 summary: This is an open access article distributed under the terms of the Creative Commons-Attribution-NonCommercial-NoDerivatives License (CC BY-NC-ND). 81 Power and Equity in the Academy: Change from Within Ellie M. Hisama As an undergraduate music major interested in graduate study in music theory, I asked Joseph Straus, with whom I was taking an independent study in music theory and feminism, if he knew of any published work in feminist music theory. Going on the job market in music theory with a dissertation that en- gages with music outside of the canon using new methods of analysis can be a very stressful process, and being a person of color and a woman in fields that remain stubbornly male-dominated and very white compounds the already challenging experience of a campus interview.3 A recently launched graduate student-led initiative, Project Spectrum, aims to address problems of diversity in music studies, to “explore why many people mar- ginalized by their race/ethnicity, gender, and/or sexuality continue to have difficulty in finishing graduate degrees, attaining gainful employment, and receiving tenure within all fields of music studies” and “to develop concrete tools to inspire systematic change within these fields” through conferences and other activities (Project Spectrum 2018)4. keywords: american; gender; graduate; hisama; music; new; students; studies; theory; university; women; work; york cache: currentmusicology-5365.pdf plain text: currentmusicology-5365.txt item: #507 of 583 id: currentmusicology-5366 author: Vágnerová, Lucie; García Molina, Andrés title: Academic Labor and Music Curricula date: 2018 words: 9543 flesch: 51 summary: 93 Academic Labor and Music Curricula Lucie Vágnerová and Andrés García Molina In this paper we parse recent initiatives rethinking music curricula—in particular, those critiquing the enduring centrality of the Western art music canon—in connection to questions of academic labor and service. Although our disciplines have changed dramat- ically throughout the twentieth and twenty-first centuries, music curricula continue to express old conventional wisdoms of what is considered com- mon knowledge in the humanities and social sciences (Natvig 2002, x–xii). keywords: american; canon; columbia; current; curricula; faculty; gender; history; humanities; labor; music; music curricula; music history; musical; musicology; new; press; service; students; teaching; university; women; work; york cache: currentmusicology-5366.pdf plain text: currentmusicology-5366.txt item: #508 of 583 id: currentmusicology-5367 author: Cheng, William title: Black Noise, White Ears: Resilience, Rap, and the Killing of Jordan Davis date: 2018 words: 33443 flesch: 72 summary: (“Michael Dunn Trial—Cory Strolla—Press Conference,” ~11:00, emphasis added)81 Let’s “keep it clean,” people—meaning, let’s keep the taint of blackness at bay.82 Because it’s a “subculture thug issue” that “doesn’t go to race”—mean- ing, anyone (black or white) can be a thug, and it’s the thug behavior (not the color of thugs) that irked Michael Dunn. Or take bebop, which poet Amiri Baraka exalted for its “willfully harsh, anti-assimila- tionist sound” (2002, 181, emphasis in original) and which jazz scholar Scott DeVeaux characterized as “a rebellion by black musicians against a white-controlled capitalist hegemony” (1997, 4).56 When framed within narratives of overcoming, black music is seemingly never allowed just to be, but must always formidably, laboriously be against. keywords: american; black; brunson; car; case; cheng; closing; court; davis; day; defendant; defense; dunn; dunn trial; durango; figure; florida; johnson; jordan; jordan davis; know; law; letter; life; like; loud; man; matter; mcbath; michael dunn; music; musicology; new; pain; people; police; press; race; racism; rap; rap music; resilience; ron; rouer; sanders; sound; state; stornes; strolla; testimony; thompson; thug; time; trial; university; v. dunn; way; white; william; women; york; youths cache: currentmusicology-5367.pdf plain text: currentmusicology-5367.txt item: #509 of 583 id: currentmusicology-5368 author: Monson, Ingrid title: In Praise of Eclecticism: Relational Thinking and Theoretical Assemblage date: 2018 words: 7422 flesch: 53 summary: Anthropology in the 1980s developed practice theory, which em- phasized the relationship between structure and agency in the unfolding of social life. Practice theory has been central to my own work, especially Freedom Sounds (Monson 2007), in which I deployed the ideas of discourse, prac- tice, and structure to explore how musicians and other participants in the 194 Current Musicology jazz world interacted with and understood the Civil Rights Movement, Black Power, and African Independence. keywords: assemblage; deleuze; ethics; latour; mali; mande; monson; music; new; perspectives; power; practice; press; relational; senufo; social; theory; university; york cache: currentmusicology-5368.pdf plain text: currentmusicology-5368.txt item: #510 of 583 id: currentmusicology-5369 author: Fiol-Matta, Licia title: Introduction: I am Nothing date: 2018 words: 7500 flesch: 57 summary: ”11 Keying into the career of women singers must entail this approach to history for three reasons: Their histories have not been written, nor a general history of a collective subject; it is hard to piece together the actual sources of these histories, necessitating a method that will privilege the question over the answer; although associated with free- dom and play, music careers in given contexts are very tough and often unsuccessful, notwithstanding the existence of talent. As to women singers specifically, they entertained. keywords: book; chapter; history; latin; listening; lucecita; music; performance; pop; press; puerto; rico; singer; song; university; voice; women; world cache: currentmusicology-5369.pdf plain text: currentmusicology-5369.txt item: #511 of 583 id: currentmusicology-5370 author: Halberstam, Jack title: Nothing/Nada date: 2018 words: 1393 flesch: 57 summary: Offering a wealth of biographical detail alongside elaborate performance histories and media archaeologies for each of the figures she explores, Fiol- Matta both refuses and expands our concept of the diva and situates it in an uneasy set of relations to nation, gender, and voice. The case histories to which Fiol-Matta is drawn, always, are those that defy the case and rethink history in the process or at least the way histories are relayed through indi- vidual lives, bodies, examples, and, in her new book, voices. keywords: fiol; matta; voice cache: currentmusicology-5370.pdf plain text: currentmusicology-5370.txt item: #512 of 583 id: currentmusicology-5371 author: Moten, Fred title: Licia’s Lectures on Nothing date: 2018 words: 1781 flesch: 64 summary: It’s like Las Nietas de Nonó literally obliterates the mathematics of a single subject’s relation to nation and the boundaries that structure what it is or is not to be a singer. It makes you want to consider, again, national moral perfectionism and the future (im)perfect—an action that will have been completed at some point toward which we incompletely tend with errant precision. keywords: licia; lucecita; nation; way cache: currentmusicology-5371.pdf plain text: currentmusicology-5371.txt item: #513 of 583 id: currentmusicology-5372 author: Cruz-Malavé, Arnaldo M. title: Awakening the Sensorium in Puerto Rico’s Colonial Modernity date: 2018 words: 1287 flesch: 28 summary: I had migrated to the US in 1969 and completed high school here and was now returning to my island, to my homeland, as an adult, as an out gay young man with an insurrectional Afro and platform shoes seeking to connect, or better yet to reconnect, with my Puerto Rican cohorts and the thrilling, irreverent cul- ture they were forging. Deploying the figure of nada, Fiol-Matta seeks to register first the shocking effacement from the official archives and records of the sonic achievements of these extraordinary and influ- ential Puerto Rican women singers and the attempted appropriations and domestications of their image and sound by the modern colonial Puerto Rican state and the music industries, as well as the no-less-distorting pres- sures on them by supportive left-leaning cultural nationalist intellectuals. keywords: puerto; singer; voice; woman cache: currentmusicology-5372.pdf plain text: currentmusicology-5372.txt item: #514 of 583 id: currentmusicology-5373 author: Vazquez, Alexandra T. title: The Wonder of Delays date: 2018 words: 1431 flesch: 66 summary: 239 The Wonder of Delays Alexandra T. Vazquez There are many things feminist music critics must too often defer by force or by choice. Fiol-Matta tracks and notes all the players, promoters, producers, press agents, and fans that stopped by the musician’s respective careers, and given the decades and publics they did and didn’t share, hurts in its analytic immeasurability. keywords: book; fiol; matta; place cache: currentmusicology-5373.pdf plain text: currentmusicology-5373.txt item: #515 of 583 id: currentmusicology-5374 author: Gopinath, Gayatri title: Seeing and Hearing the Thinking Voice date: 2018 words: 1227 flesch: 58 summary: Fiol-Matta demands that we remember these artists differently, out- side the typically misogynist and homophobic interpretive frames through which they emerge in the historical record. We can read the nothing not as a space of simple erasure or eradication, but rather, as Fiol-Matta puts it, as one of “productive density” (134), a “clear- ing to reconstruct the event of voice in multiple displacements” (171). keywords: book; fiol; matta cache: currentmusicology-5374.pdf plain text: currentmusicology-5374.txt item: #516 of 583 id: currentmusicology-5375 author: Fiol-Matta, Licia title: Archival Nothing date: 2018 words: 2036 flesch: 53 summary: I found very little of jíbaro music reported on in any print venue, of record or gossip. It seems obvious, but bears repeating, that, at the beginning of the twenty-first century, most music writing on Latin America did not engage in a hermeneutic with regards to gender. keywords: diva; music; silva; terms; voice; women cache: currentmusicology-5375.pdf plain text: currentmusicology-5375.txt item: #517 of 583 id: currentmusicology-5376 author: Clark, Emily Hansell title: Steingo, Gavin. 2016. Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa. Chicago: University of Chicago Press date: 2018 words: 3806 flesch: 40 summary: Further, it would show that the ethnomusicological 260 Current Musicology theoretical canon has no particular claims to having figured out the “cor- rect” way to look at musical objects but could instead provide the grounds for interdisciplinary critical thought to encounter sonic objects and aural histories, with underdetermined results that could lead to important new insights. In doing so, Steingo joins a number of other ethnomusicologists since the 1980s who, rather than merely borrowing theory from other disciplines to apply to musical objects, bring humanistic theory and musical ethnography together in ways that contribute uniquely sonic perspectives to interdisciplinary conversations. keywords: ethnomusicology; knowledge; kwaito; music; promise; steingo; theory cache: currentmusicology-5376.pdf plain text: currentmusicology-5376.txt item: #518 of 583 id: currentmusicology-5377 author: Johnson, Thomas title: David Brackett. 2016. Categorizing Sound: Genre and Twentieth-Century Popular Music. Berkeley: University of California Press date: 2018 words: 3765 flesch: 43 summary: To grapple with as slippery and cumbersome a topic as popular music catego- ries, the book deftly moves from sharply focused comparative analyses of songs to grand narratives of popular music history in the United States, in- vestigating the ways musical groupings intertwine with their technological, social, and cultural contexts. Brackett’s book is a nuanced and far-reaching addition to recent musicological publications on genre—including works about genre and gender in popular music (Burns 2000), social mediation of genres and identities (Born 2011), genre in twentieth-century art mu- sics (Drott 2013), metal (Smialek 2015), twenty-first century “new music” scenes (Robin 2016), and recent popular music (James 2017a, 2017b). keywords: book; brackett; categories; country; genre; identity; industry; mainstream; music; race cache: currentmusicology-5377.pdf plain text: currentmusicology-5377.txt item: #519 of 583 id: currentmusicology-5378 author: Forner, Jane title: Mary I. Ingraham, Joseph K. So, and Roy Moodley, eds. 2016. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge date: 2018 words: 3361 flesch: 39 summary: It strikes me as a practical issue as well as a methodologi- cal one: opera scholarship needs a far greater critical mass of studies that offer such “alternative histories,” alongside theoretical and critical work on key concepts such as the multicultural or the colonial, and alongside eth- nographic studies and performance studies. Perhaps new formats are needed for opera scholarship that explicitly seeks to place diverse voices in dialogue. keywords: approaches; book; clarke; opera; studies; volume; work; world cache: currentmusicology-5378.pdf plain text: currentmusicology-5378.txt item: #520 of 583 id: currentmusicology-5379 author: Banerjee-Datta, Nandini Rupa title: Chávez, Alex E. 2017. Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño. Durham, NC: Duke University Press date: 2018 words: 1366 flesch: 44 summary: Chávez argues that huapango arribeño is crucial in meeting everyday needs for intimacy, place, and belonging—“beyond culture, beyond illegality, and irrespec- tive of geography; through it postnational subjectivities are fashioned and necessary, aquí (here), not allá (out there)” (54). Durham, NC: Duke University Press. Reviewed by Nandini Rupa Banerjee-Datta Alex Chávez’s bold and engaging study of huapango arribeño in the every- day lives of Mexican migrants fills a void in anthropological and ethnomu- sicological scholarship. keywords: arribeño; chávez; huapango; mexican cache: currentmusicology-5379.pdf plain text: currentmusicology-5379.txt item: #521 of 583 id: currentmusicology-5380 author: Sewell, Ian title: Editor’s Note date: 2018 words: 205 flesch: 51 summary: Millard’s review includes scholar- ship both on the established classical canon of Western art music, where the current notion of musical narratology first took hold, as well on popu- lar music, film music, and music in video games. The first article of this is- sue is a literature review, addressing itself to a topic of current inter- est in music studies. keywords: music cache: currentmusicology-5380.pdf plain text: currentmusicology-5380.txt item: #522 of 583 id: currentmusicology-5381 author: Millard, Russell title: Telling Tales: A Survey of Narratological Approaches to Music date: 2018 words: 14638 flesch: 49 summary: In a series of articles that since have become classics in the field of musical narrative, Anthony Newcomb (1984; 1987; 1992) adapted Propp’s 8 Current Musicology insights for music by drawing an analogy between functional sequences and plot archetypes in literature, on the one hand, and formal types in music, on the other, explaining that both can be thought of as “a standard series of functional events in a prescribed order” (1987, 165). If one is tempted to speak of musical narrative it is due, not to its intrinsic and immanent content, but because of the effects of syntactic organization of music, the narrative course that orders the music thanks to the games of implications and realizations that [Leonard] Meyer has described so well. keywords: almén; analysis; approaches; discourse; example; ibid; level; mcclary; mccreless; millard; movement; music; musicology; narrative; new; newcomb; press; reyland; story; structure; theory; university; work cache: currentmusicology-5381.pdf plain text: currentmusicology-5381.txt item: #523 of 583 id: currentmusicology-5382 author: Buffington, Adam title: Through the Fabric of My Own: Louise Alenius and Embodied Interrelationality date: 2018 words: 8236 flesch: 46 summary: This amusingly wry remark from Danish composer Louise Alenius, 46 Current Musicology who perpetrated these staged acts of violence upon the performers, not only reflects an unforeseen prolonged aftereffect of the performance itself, but also encapsulates the extreme measures that Alenius, Öhman (or, in another performance, cellist Lea Emilie Brøndal) and violist Mina Fred were willing to enact and endure. Intertwined with this invitation into Alenius’ experience, to in some sense inhabit her skin, is an impulse to deepen performers’ engagement, to “wake them up” and “have them be as into it as I am” (Alenius 2017a), with Alenius expressing: “I almost ‘fall in love’ with the people I work with, but I also hate them in a way, because I have such high expectations, and no one can live up to them” (2017b). keywords: alenius; audience; birkenfeldt; composer; groth; levinas; merleau; music; performance; ponty; porøset; self; space; work cache: currentmusicology-5382.pdf plain text: currentmusicology-5382.txt item: #524 of 583 id: currentmusicology-5383 author: Blaszkiewicz, Jacek title: Writing the City: The Cosmopolitan Realism of Offenbach’s La Vie parisienne date: 2018 words: 11880 flesch: 60 summary: Le soir, les restaurants où ils avaient coutume de diner, les loges et les stalles de spectacle où ils allaient écouter des opéras et des comédies, étaient pris d’assaut par des cohortes de curieux voulant, comme le baron de Gondremarck de La Vie parisienne, s’en fourrer jusqu’au cou.” In addition to publishing their own illustra- tions, Damourette and Meilhac also commissioned issues from other art- 77 Jacek Blaszkiewicz ists and caricaturists for the series, with “Paris”-inspired titles like Les Folies parisiennes and On nous écrit de Paris by the photographer Nadar and Vie d’une parisienne by the illustrator Gustave Janet. keywords: act; brazilian; century; character; city; des; gardefeu; halévy; la vie; les; life; magazine; marcelin; meilhac; métella; new; offenbach; operetta; paris; parisian; parisienne; press; stage; theater; urban; vaudeville; vie; vie parisienne; york cache: currentmusicology-5383.pdf plain text: currentmusicology-5383.txt item: #525 of 583 id: currentmusicology-5384 author: Hudde, Hermann title: Ricardo Lorenz: A Post-Colonial/Modern Latin(o) American Composer date: 2018 words: 10418 flesch: 54 summary: This is an outcome of the implied dialectics in Western art music between periphery and hegemonic center in which Latin American art music composers are positioned outside of the Western art music tradition; because of the exter- nal status of “non-Western” composers, Latin American composers must negotiate their musical identity within a Western-dominated culture—they have had to construct themselves as the Self inside the domain of the Other. In fact, Ernesto Nazareth is an excellent example about how transculturation flows and has impacted European art music composers. keywords: 2000a; american; art; art music; center; composers; cultural; culture; european; history; latin; lorenz; music; musical; musicology; new; press; ricardo; salas; states; united; university; venezuela; vol; work; world cache: currentmusicology-5384.pdf plain text: currentmusicology-5384.txt item: #526 of 583 id: currentmusicology-5385 author: Lavengood, Megan L. title: Fink, Robert, Melinda Latour, and Zachary Wallmark (eds). 2018. The Relentless Pursuit of Tone. New York: Oxford University Press. date: 2018 words: 3917 flesch: 51 summary: One issue that plagues all of timbre studies is the individuation necessary in our methodologies of timbre study. Also in 2018, McGill University hosted an entirely timbre-themed interdisci- plinary conference, titled Timbre Is a Many-Splendored Thing, and another compendium of approaches to timbre analysis, The Oxford Handbook of Timbre, edited by Emily Dolan and Alexander Rehding, is also in the pro- cess of being published.1 All of this evidence shows an enormous uptick in musicologists’ interest in timbre. keywords: analysis; book; chapter; music; production; sound; source; timbre; voice cache: currentmusicology-5385.pdf plain text: currentmusicology-5385.txt item: #527 of 583 id: currentmusicology-5386 author: Rothe, Alexander K. title: Kreuzer, Gundula. 2018. Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera. Oakland, CA: University of California Press. date: 2018 words: 2740 flesch: 48 summary: In summary, Kreuzer draws attention to how Wagner incorporated existing technologies, in many cases from composers and genres that he elsewhere attacked and/or dismissed (e.g., Meyerbeer, grand opéra, Rossini). More specifi- cally, she interprets the Venusburg scenes as a proto-Gesamtkunstwerk, where Wagner first experimented with seamlessly integrating the various media and technologies into a single, all-encompassing experience. keywords: curtain; gong; kreuzer; opera; steam; technologies; wagner cache: currentmusicology-5386.pdf plain text: currentmusicology-5386.txt item: #528 of 583 id: currentmusicology-5387 author: Cressy, Thomas A. title: Yasar, Kerim. 2018. Electrified Voices: How the Telephone, Phonograph, and Radio Shaped Modern Japan, 1868–1945. New York: Columbia University Press. date: 2018 words: 3384 flesch: 42 summary: He treats rhetoric on Japanese sound in the Heian and earlier pe- riods as a continuity of literary and oral practices that were interrupted by an encounter with “sonic alterity” (Western music) and the importation of machinery and technology; he continues that further subjectivity changes in the modernization process can be seen in the phenomenon of Japanese intellectuals’ appreciation of Western classical music. Overall, in the context of a dearth of Anglophone scholarship on Japanese sound between 1868–1945, the complete reliance on limited secondary literature in the early chapters should not take anything away from Yasar’s achievement of an excellent survey applying recent theoretical frameworks to literature previously inaccessible to non-Japanese speakers. keywords: chapter; japanese; language; music; new; sound; tokyo; yasar cache: currentmusicology-5387.pdf plain text: currentmusicology-5387.txt item: #529 of 583 id: currentmusicology-5389 author: Sewell, Ian title: Editor’s Note date: 2019 words: 666 flesch: 45 summary: 5 Editor’s Note This special issue of Current Musicology brings together a number of schol- ars at various stages of their careers to reflect on issues of music pedagogy. The new format, in time, is planned to replace the annual special issue, and each editor will work closely with the author of the lead article to offer a critical perspective on some relevant and ongoing issue or area of musicological interest—in short, on Current Musicology. keywords: article; music; musicology cache: currentmusicology-5389.pdf plain text: currentmusicology-5389.txt item: #530 of 583 id: currentmusicology-5390 author: Spitz, Emily title: From Idea to Institution: The Development and Dissemination of the Orff-Schulwerk from Germany to the United States date: 2019 words: 15750 flesch: 59 summary: Their mission statement reads as follows: to demonstrate the value of Orff Schulwerk and promote its widespread use; to support the professional development of our members; and, to in- spire and advocate for the creative potential of all learners. What is Orff Schulwerk? keywords: american; aosa; children; dance; education; elemental; example; exercises; günther; ibid; keetman; mainz; margaret; movement; murray; music; music education; new; orff; orff schulwerk; school; schott; schott music; schulwerk; students cache: currentmusicology-5390.pdf plain text: currentmusicology-5390.txt item: #531 of 583 id: currentmusicology-5391 author: Wald, Gayle title: “It’s Awfully Important to Listen”: Ella Jenkins and Musical Multiculturalism date: 2019 words: 10030 flesch: 54 summary: It cemented the reputation of Jenkins, then in her early seventies, as the most prolific and influential American children’s musician of the late twentieth century, and spurred the release of a follow-up, More Multicultural Children’s Songs from Ella Jenkins, in 2014. Rhythm was an early preoccupation of Jenkins, pursued through an in- terest in the theatrics of entertainers Danny Kaye and Cab Calloway, the latter of whom she saw perform at Chicago’s Regal Theater, and a passion for table tennis (she beat out a white competitor to win the 1948 women’s Chicagoland championship; see “Ella Jenkins. . .” 1948). keywords: african; album; american; asch; chicago; children; ella; folkways; group; jenkins; liner; music; new; notes; recordings; records; response; school; singing; smithsonian; song; work cache: currentmusicology-5391.pdf plain text: currentmusicology-5391.txt item: #532 of 583 id: currentmusicology-5392 author: S. K. Lee, Gavin title: Dialectics of Debate: Reflections on Three Pedagogical Scenes in Chinese Music History date: 2019 words: 3321 flesch: 44 summary: While there is the difficulty inherent in teaching Chinese music to students who prefer Western music, the problem is exacerbated by the highly conceptual, abstract nature of Chinese philosophy of music, comprising several schools of thought. Video clips demonstrating the magical power of music—even if these clips embody contemporary film scriptwriters’s and composers’s imagination of ancient music (as in Ze Tian Ji)—thus have an important function of illuminating philosophical con- cepts in audiovisual form, which is far more appealing to the students in my class than abstract discussion; Longevity’s use of music to unveil the key in Ze Tian Ji demonstrates music’s magical power in an immediately comprehendible way. keywords: bhabha; chinese; longevity; music; pedagogy; philosophy; students cache: currentmusicology-5392.pdf plain text: currentmusicology-5392.txt item: #533 of 583 id: currentmusicology-5393 author: Chodos, Asher Tobin title: Reflections on Teaching Music 17: Hip Hop date: 2019 words: 3144 flesch: 68 summary: Despite the ambivalence about the institution in Hip Hop studies, such qualifications do exist. Consider the three texts often regarded as foundational to Hip Hop studies: Tricia Rose’s Black Noise (Rose 1994), Jeff Chang’s Can’t Stop Won’t Stop (Chang 2005), and the edited collection That’s the Joint! keywords: course; hip; hip hop; hop; music; sound; students cache: currentmusicology-5393.pdf plain text: currentmusicology-5393.txt item: #534 of 583 id: currentmusicology-5394 author: Frisch, Walter title: On Teaching the History of Nineteenth-Century Music date: 2019 words: 5219 flesch: 60 summary: With this gesture—as with the piece that leads up to it—Brahms seems to be either weakly affirming or subtly undermining so many of the premises on which nineteenth century music was based. In my own history of nineteenth-century music, partly for practical reasons of space and partly to coordinate with adjacent books in the series, I opt for a “short” nineteenth century, which also has plausible musical and historical boundaries. keywords: brahms; century; frisch; history; intermezzo; music; music history; romanticism; schumann; students; time; world cache: currentmusicology-5394.pdf plain text: currentmusicology-5394.txt item: #535 of 583 id: currentmusicology-5395 author: Blackmore, Callum title: Berton’s Ludic Pedagogy and the Subdominant Otherwise: Tension and Compromise in the Early Paris Conservatoire Curriculum date: 2019 words: 15785 flesch: 51 summary: However, this entr’acte goes one step further by foregrounding the tetrachordal divisions of the scale Berton’s axial tonal space entails: not only do various “diatonic quiescenzas” (Gjerdingen 2007, 228) spell out the pitches of the tétrachord authentique, the bass line moving from the subdominant tonicization to the tonic return (via the second-inversion dominant seventh) spells out a tétrachord plagale.39 In light of ongoing debates around so-called “intentional fallacy” in music analysis, some might say that it would be spurious to suggest that Berton deliberately set out to organize these numbers around a decidedly Rameauian conception of harmonic space.40 Berton wrote a great many arias that do not use the subdominant at all, either as modulating key aria or as an individual chord. In his Dictionnaire, Castil-Blaze proclaimed that “Mr Berton has found a very ingenious means of teaching young pupils an introduction to the principal chords of all of the tones,” and in his introduction to game’s second edition, Castil-Blaze declared that 131 Callum Blackmore Berton’s pedagogical method should be “agreeable to all musical amateurs and useful to all young students” (Castil-Blaze 1825, 163; Berton 1842, 1). keywords: berton; cadence; catel; chord; committee; conservatoire; des; harmonic; harmony; key; modulation; music; music theory; musicology; new; press; rameau; scale; section; space; subdominant; system; theory; tonic; traité; university cache: currentmusicology-5395.pdf plain text: currentmusicology-5395.txt item: #536 of 583 id: currentmusicology-5396 author: Ennis, Martin title: Brahms, Autodidacticism, and the Curious Case of the Gavotte date: 2019 words: 17027 flesch: 67 summary: In repurposing his A major Gavotte, Brahms used C meter but dis- pensed with the dance’s traditional metrical arrangement of two quarter- Example 1: Johannes Brahms, Gavotte in A minor, WoO. 3 However, Riemann’s version Example 4: Johannes Brahms, “Immer leiser wird mein Schlummer,” Op. 105 keywords: arrangement; baroque; beats; brahms; century; clara; composer; den; der; die; downbeat; ein; ennis; example; gavotte; jenner; joachim; johannes; johannes brahms; kalbeck; letter; major; martin; marxsen; material; measure; meter; minor; music; musical; musicology; press; riemann; robert; schumann; study; time; und; version; von; work cache: currentmusicology-5396.pdf plain text: currentmusicology-5396.txt item: #537 of 583 id: currentmusicology-5397 author: Gordon, Ted title: Iverson, Jennifer. 2018. Electronic Inspirations: Technologies of the Cold-War Musical Avant Garde. New York: Oxford University Press. date: 2019 words: 3034 flesch: 36 summary: This chapter traces the translation of concepts from information theory into elektronische Musik through the affordances of specific instruments in WDR studio, which WDR composers described as creating “statistical” and “probabilistic” form in their compositions (128–132). For WDR studio musicians, this network extended far beyond Cologne, and included the American musicians John Cage and David Tudor. keywords: composers; iverson; music; new; studio; wdr; work cache: currentmusicology-5397.pdf plain text: currentmusicology-5397.txt item: #538 of 583 id: currentmusicology-5398 author: Ligrani, Jonathan title: Coelho, Victor and Keith Polk. 2016. Instrumentalists and Renaissance Culture, 1420-1600: Players of Function and Fantasy. Cambridge: Cambridge University Press. date: 2019 words: 2380 flesch: 39 summary: Chapter 4 investigates the use of instrumental music at events ranging from public street festivals to chamber music during the private banquets of nobles or accompanying the devotional singing of religious confraternities. As the authors rightfully stress, this tendency is rooted in the Urtext model of compositional finitude which leaves aside the unwritten traditions of instrumental music, presenting a fixed, anachronistic work concept over the fluidity of transcriptions and arrangements (2-3, 212, 292-4). keywords: authors; century; chapter; coelho; instrumentalists; music; polk; renaissance cache: currentmusicology-5398.pdf plain text: currentmusicology-5398.txt item: #539 of 583 id: currentmusicology-5399 author: Dawes, Laina title: Editor's Note date: 2020 words: 297 flesch: 38 summary: 3 Editor’s Note This general issue of Current Musicology begins with a literature review that stresses the importance of ethnographic research within hip-hop scholarship. Similar to our past publications of Current Musicology, this issue is musically and as culturally diverse as our contributors. keywords: hop cache: currentmusicology-5399.pdf plain text: currentmusicology-5399.txt item: #540 of 583 id: currentmusicology-5400 author: Holt, Kevin C. title: Emcee Ethnographies: A Brief Sketch of U.S. Hip-Hop Ethnography date: 2020 words: 6998 flesch: 51 summary: As H. Samy Alim 7 Kevin C. Holt asserts in the epigraph to this article, the omission of diligent ethnography molds the ways in which critical discourse surrounding hip-hop takes shape; in essence, the dominant methodologies reinforce the positional- ity many hip-hop scholars hold academically, politically, and personally in debates surrounding hip-hop. One of the most basic concerns when approaching a sociomusical phenomenon critically is understanding the parameters of the subject one wishes to engage; many hip-hop scholars emphasize the work hip-hop does (or should do) without clearly defining what hip-hop encompasses. keywords: black; community; culture; ethnography; hip; hop; language; music; new; scholars; studies; ways; work; youth cache: currentmusicology-5400.pdf plain text: currentmusicology-5400.txt item: #541 of 583 id: currentmusicology-5401 author: Evans, Christa Pehl title: The Politics of Music: Women’s Music Education in the United States in the late 18th Century date: 2020 words: 10242 flesch: 57 summary: These questions are still central in the debates about music education today. While educational reformers and the general public debated the value of ornamentals for American women at the time, our contemporary ten- dency to undervalue the cultural capital and social values of the ornamen- tals in the 1790s illuminates our perspective on what skills are valuable in our society.5 Succinctly put, we dismiss skills that do not or did not make much money.6 keywords: american; book; education; female; john; ladies; life; music; music education; new; philadelphia; reading; rush; swanwick; time; women; work cache: currentmusicology-5401.pdf plain text: currentmusicology-5401.txt item: #542 of 583 id: currentmusicology-5402 author: Coyle, Jim title: A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex date: 2020 words: 5241 flesch: 67 summary: Here is a clear example of Greatorex modeling the sort of musician Britten would become. 42 A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex Jim Coyle The Authorized Version That the young Benjamin Britten disliked Walter Greatorex, his school mu- sic teacher, is an apparently permanent part of the Britten narrative; speak- ing, as it does, to the idea that the prodigious teenager’s musical persona and compositional output were beyond the comprehension of a provincial and conservative schoolmaster who, in Kildea’s memorable phrase, was “emblematic of English philistinism” (Kildea 2013, 45). keywords: britten; composer; greatorex; gresham; home; kildea; london; music; musician; reid; school cache: currentmusicology-5402.pdf plain text: currentmusicology-5402.txt item: #543 of 583 id: currentmusicology-5403 author: Parr, Sean title: Wagnerian Singing and the Limits of Vocal Pedagogy date: 2020 words: 7505 flesch: 61 summary: Nilsson seems to imply that singing Wagner demands a thicker sound beam than other composers and that the body must be more intensely involved in singing Wagner than with Verdi or Strauss. In attempting to satisfy the desire for clarity of diction, many singers developed a penchant for spitting consonants so intensely (Konsonanten-Spuckerei) that they were condemned for bark- ing instead of singing their vocal lines. keywords: body; breathing; century; high; new; opera; performance; press; singers; singing; sound; technique; tenor; university; voice; wagner; wagnerian cache: currentmusicology-5403.pdf plain text: currentmusicology-5403.txt item: #544 of 583 id: currentmusicology-5404 author: Herbst, Jan-Peter title: Empirical Explorations of Guitar Players’ Attitudes Towards Their Equipment and the Role of Distortion in Rock Music date: 2020 words: 11335 flesch: 62 summary: Instrument The survey included three parts addressing owned gear and preferred equipment, attitudes towards guitar sounds, and person-related data.2 Questions on equipment and personal data had nominal and ordinal an- swer choices plus optional open comments fields. The scale ‘importance of guitar sound’ comprised items addressing the relevance of being able to precisely control one’s sound, a general statement on the importance of a high-quality sound, and about having a clear vision of one’s personal sound. keywords: amplifiers; blues; distortion; equipment; genres; guitar; guitarists; herbst; metal; music; players; playing; rock; sound; styles cache: currentmusicology-5404.pdf plain text: currentmusicology-5404.txt item: #545 of 583 id: currentmusicology-6663 author: Singh, Davindar title: Sykes, Jim. 2018. The Musical Gift: Sonic Generosity in Post-War Sri Lanka. Oxford: Oxford University Press. date: 2021 words: 4060 flesch: 40 summary: It grounds these histories in Sykes’s ethnographic study of Sinhalese Buddhist drummers’ attempts to situate their practice within and beyond discourses of identity. The book also contains ethnographic research on the place of sound, music, and musicians in Sri Lanka’s recent genocidal conflicts, which Sykes sees as the bloody effects of these politics of identity. keywords: contemporary; gift; giving; identity; lanka; music; practices; press; sri; sykes cache: currentmusicology-6663.pdf plain text: currentmusicology-6663.txt item: #546 of 583 id: currentmusicology-6753 author: Woolsey, Morgan title: Hearing and Feeling the Black Vampire: Queer Affects in the Film Soundtrack date: 2020 words: 8579 flesch: 53 summary: Put in slightly less nefarious terms, Anahid Kassabian describes film music as “a lubricant to identification processes, smoothing the transi- tion…into fictional worlds” (Kassabian 2001, 113). The narrowness of the audience address here would classify this type of film music as what televi- sion scholar Jonathan Fiske calls a “readerly text” (Fiske 1987). keywords: audience; blacula; counteridentification; disidentification; film; film music; ganja; hess; horror; mamuwalde; music; page; press; queer; score; soundtrack; spectatorship; tina; vampire cache: currentmusicology-6753.pdf plain text: currentmusicology-6753.txt item: #547 of 583 id: currentmusicology-6757 author: Farrow, David title: Feeling Pain/Making Kin in the Brooklyn Noise Music Scene date: 2020 words: 9859 flesch: 56 summary: DIY community within Brooklyn emerges from the network of DIY venues frequented by artists and art patrons bound together by, as Pelly puts it, “the process of locating a sense of pur- pose around music.” The ability to have these experiences within DIY venues is double-edged, both enabling community formation and rendering DIY communities complicit in gentrification. keywords: artists; brooklyn; collective; communities; community; diy; gentrification; kinship; mosh; music; new; noise; pain; people; performance; queer; scene; silent; spaces; trans; venues cache: currentmusicology-6757.pdf plain text: currentmusicology-6757.txt item: #548 of 583 id: currentmusicology-6759 author: Wilson, Imogen title: Music and Queered Temporality in Slave Play date: 2020 words: 8087 flesch: 58 summary: As Elizabeth Grosz says in The Nick of Time, even though time has no being or presence, “we can think of it only in passing moments, through ruptures, nicks, cuts, in instances of dislocation” (2005, 5). [implying] that our sense of lived time is aligned with the intentional and teleological processes of life” (2005, 174). keywords: audience; body; characters; dream; experience; gary; harris; kaneisha; music; play; queer; slave; song; theatre; time; work cache: currentmusicology-6759.pdf plain text: currentmusicology-6759.txt item: #549 of 583 id: currentmusicology-6760 author: Barriere, Louise title: Barz, Gregory, and Cheng William. 2019. Queering the Field. Sounding Out Ethnomusicology. New York: Oxford University Press. date: 2020 words: 3472 flesch: 47 summary: Contrary to the “unmarked category” of “straight white cis male” ethnomusicologists, whose identity is always- already recognized and visible, queer ethnomusicologists may have to face the cornelian choice to out or cover themselves. Moreover, as queer ethnomusicologists do not often fit the norms of their hometowns and countries they should use their experiences as an invitation to think outside “belonging-not belonging” and structured binaries that are part of the traditional ethnomusicological canon. keywords: barz; chapter; dance; ethnomusicology; field; fieldwork; gender; queer; research cache: currentmusicology-6760.pdf plain text: currentmusicology-6760.txt item: #550 of 583 id: currentmusicology-6761 author: Chevan, Jesse title: Crawley, Ashon. 2020. The Lonely Letters. Durham: Duke University Press. date: 2020 words: 3809 flesch: 42 summary: Ashon Crawley has created a page on his personal website called “Letters to A.” where readers can respond to letters from the book and become further entangled. The web of entanglements extends beyond The Lonely Letters: as Crawley explains in the book’s opening chapter, “and3,” The Lonely Letters intricately relates to Blackpentecostal Breath, Crawley’s 2016 monograph investigating Blackpentecostal practices through the disciplinary lens of performance studies. keywords: book; chapter; crawley; forms; joy; letters; practices; worship cache: currentmusicology-6761.pdf plain text: currentmusicology-6761.txt item: #551 of 583 id: currentmusicology-6763 author: Dawes, Laina title: Editor's Note date: 2020 words: 703 flesch: 46 summary: Steven Moon’s literature review introduces the queering of music stud- ies with an overview of the history of queer studies within ethno/musico- logical (his phrasing) projects and within our courses of study, and queer methods that over time, have prominently appeared in popular music studies, both in relation to the positioning of the writing subject, but also in the merging of identity, performance and politics in our ethnographic work. We wanted to create a collection of writings that acknowledged the transi- tions we have seen within music scholarship within the past four decades, and highlight contemporary scholarship that reflected how queering and quaring scholarship within today’s academic research holds promise in the future of musicology. keywords: queer; scholarship; studies cache: currentmusicology-6763.pdf plain text: currentmusicology-6763.txt item: #552 of 583 id: currentmusicology-6764 author: Black, Blair title: The Queer of Color Sound Economy in Electronic Dance Music date: 2020 words: 6690 flesch: 61 summary: This label is cur- rently home to a roster of queer, queer of color, and women of color artists who would eventually influence the eerily dissonant electronic club music that made its way into mainstream music.38 For example, former label dar- ling Kelela’s popularity illustrates the queer of color sound translatability for pop music.39 As a result of Fade to Mind’s success in promoting the ethnically di- verse sounds from queer dance music scenes, a new vanguard of queer activists, promoters, collectives, and DJs are emerging throughout the city. This was especially the case in the Dutch house music scene where they envisioned dance music scenes as escapist youth culture that “has no messages and gives no comfort. keywords: black; chicago; club; color; communities; dance; djs; edm; house; june; music; new; party; people; politics; queer; scenes; underground cache: currentmusicology-6764.pdf plain text: currentmusicology-6764.txt item: #553 of 583 id: currentmusicology-6768 author: Moon, Steven title: Queer Theory, Ethno/Musicology, and the Disorientation of the Field date: 2020 words: 10850 flesch: 47 summary: By examining the disciplinary conditions that gave rise to queer studies within specific fields and not others, the expansion of ethno- musicological theory and method comes into greater relief. To do queer work is to be queer in a way, and to be queer is worse yet, especially during these periods of development. keywords: body; ethnomusicology; field; gay; gender; identity; lesbian; music; music studies; new; performance; queer; sex; social; studies; theory; trans; women; work cache: currentmusicology-6768.pdf plain text: currentmusicology-6768.txt item: #554 of 583 id: currentmusicology-6770 author: Liu, Runchao title: Fast, Susan and Craig Jennex. 2019. Popular Music and the Politics of Hope: Queer and Feminist Interventions. New York: Routledge. date: 2020 words: 3728 flesch: 43 summary: Reviewed by Runchao Liu Popular Music and the Politics of Hope (2019) weaves together diverse scholarship rooted in the political promise of popular music to envision and construct alternative realities for queer and feminist individuals and allies. The epistemology of critical hope is to see “making and consuming popular music as activities that encourage individuals to imagine and work toward a better, more just world”; in doing so, it is possible to unveil “the diverse ways popular music can contribute to the collective political projects of queerness and feminism” (i). keywords: artists; chapter; gender; music; musicians; new; politics; pop; queer; studies; women cache: currentmusicology-6770.pdf plain text: currentmusicology-6770.txt item: #555 of 583 id: currentmusicology-6771 author: Churchill, Jon title: Knapp. Raymond. 2018. Making Light: Haydn, Musical Camp, and the Long Shadow of German Idealism. Durham: Duke University Press. date: 2020 words: 3064 flesch: 47 summary: Beyond investigating the overlooked camp sensibilities of popular genres, Knapp suggests an intriguing link between art music and popular music, long viewed as discrete entities. Chapter five explores the attempts to rehabilitate such popular music as “authentic,” a process that involved a distancing of vernacular genres from their social roots. keywords: camp; chapter; dynamic; german; haydn; idealism; knapp; music cache: currentmusicology-6771.pdf plain text: currentmusicology-6771.txt item: #556 of 583 id: currentmusicology-6772 author: Jean-Francois, Isaac title: Julius Eastman: The Sonority of Blackness Otherwise date: 2020 words: 11901 flesch: 59 summary: Recent examples of work related to reinterpreting Eastman, like the Otolith Group’s 2017 The Third Part of the Third Measure or Dustin Hurt and Tionna Nekkia McClodden’s 2017 curated show Julius Eastman: [Eastman] told them what a badge of honor it was, but they did not get it, so we didn’t print the titles which caused a bigger ruckus, because then it hit the school newspapers.43 In his Foreword to Gay Guerrilla: Julius Eastman and His Music, Lewis contextualizes the students’ response by noting that the black members of the Northwestern community “were beset with their own issues of campus racism and thus were not quite ready to fully support Eastman’s invocation and exegesis of the word.”44 keywords: american; black; blackness; eastman; gay; george; julius; julius eastman; life; music; new; nigger; northwestern; performance; piece; press; queer; sound; university; work; york cache: currentmusicology-6772.pdf plain text: currentmusicology-6772.txt item: #557 of 583 id: currentmusicology-6886 author: Ford, Mike title: Fischlin, Daniel and Eric Porter (eds). 2020. Playing for Keeps: Improvisation in the Aftermath. Durham: Duke University Press. date: 2021 words: 3799 flesch: 34 summary: Stephanie Vos’s chapter is a tour de force using a film, The Exhibition of Vandalizim (2010), as the starting point; and through elegant argument, she theorizes improvisation through ritual, community, and politics to arrive at the conclusion that musical improvisation reflects non-musical improvisation and 215 the negation of basic recognition of humanity that often necessitates it. The editors Daniel Fischlin and Eric Porter lay the foundation for the collection in the volume’s introduction, emphasizing several points rehearsed above, including the transferability of the tenets of musical improvisation to non-musical domains, the situatedness of improvisatory response, and the potential utility of improvisation during and following crises: “in the aftermath of chaos and trauma, improvisatory modes of being provide generative alternatives based on risk taking and nonconformity rooted in cocreative connections” (2). keywords: aftermaths; chapter; crises; improvisation; music; practices; present; violence; war; ways cache: currentmusicology-6886.pdf plain text: currentmusicology-6886.txt item: #558 of 583 id: currentmusicology-7136 author: Shiflett, Campbell title: The Ninth Symphony of Beethoven, Its Rich History date: 2021 words: 10396 flesch: 51 summary: Though in a reply to van den Toorn, Ruth Solie did briefly return Adrienne Rich to the conversation surrounding McClary’s work: Referencing Rich’s theory of “compulsory heterosexuality” (according to which a woman’s sexuality, under patriarchal rule, can only be thought in terms of her relation to a male partner), she defends McClary’s book from accusations that it reduces gender to sexuality alone.3 Solie’s engagement with Rich’s writings here allows Rich’s voice to come to the aid of McClary’s scholarship more substantially than in the “Beanstalk” essay. With this remarkable comparison, McClary suggests a meaningful difference between her perspective on the symphony and Rich’s, which has subtle but significant implications for her revised text. keywords: beethoven; criticism; essay; feminist; mcclary; music; musicology; poem; rich; symphony; text; violence; work cache: currentmusicology-7136.pdf plain text: currentmusicology-7136.txt item: #559 of 583 id: currentmusicology-7169 author: Duncan, Stewart title: Tunbridge, Laura. 2018. Singing in the Age of Anxiety: Lieder Performances in New York and London Between the World Wars. Chicago: University of Chicago Press. date: 2021 words: 3441 flesch: 49 summary: 147 Reviewed by Stewart Duncan In Singing in the Age of Anxiety, Laura Tunbridge shows how performing, discussing, and listening to German Lieder in the United States and Britain came to carry significant cultural and political meaning during the interwar period. Examining a variety of formats and venues from throughout the interwar period, Tunbridge focuses on the ways in which artists and audiences used Lieder performances for self-definition, commercial gain, or political statement. keywords: culture; german; lieder; music; new; performances; tunbridge; war cache: currentmusicology-7169.pdf plain text: currentmusicology-7169.txt item: #560 of 583 id: currentmusicology-7176 author: Mah, Eileen title: Alternative Facts in Musicology and Vechnaya Pamyat' in Shostakovich's Symphony No. 5 date: 2021 words: 10812 flesch: 53 summary: A number of authors in the 2000s have offered analyses that strike a balance between (or among) the various prominent—and polarized—sides of Shostakovich interpretation. Two notorious examples are the musicological “wars” concerning Tchaikovsky’s Symphony No. 6 and Shostakovich’s Symphony No. 5. keywords: example; facts; interpretation; meaning; motif; movement; music; mvt; note; pamyat; rehearsal; shostakovich; step; symphony; taruskin; vechnaya cache: currentmusicology-7176.pdf plain text: currentmusicology-7176.txt item: #561 of 583 id: currentmusicology-7177 author: Duinker, Ben title: Song Form and the Mainstreaming of Hip-Hop Music date: 2021 words: 16615 flesch: 64 summary: I characterize song sections in hip hop by whether they participate in the core sequence of a song, or function as framing areas to this core. I have established flexible descriptions of four main types of song section in hip-hop music. keywords: beat; chorus; core; corpus; example; form; framing; hip; hip hop; hook; hook sections; hop; hop music; instrumental; jay; lyrics; music; pop; rap; rock; sections; sequence; song; time; university; verse; vocals cache: currentmusicology-7177.pdf plain text: currentmusicology-7177.txt item: #562 of 583 id: currentmusicology-7186 author: Baron, Derek title: Robinson, Dylan. 2020. Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis: University of Minnesota Press. date: 2021 words: 4154 flesch: 33 summary: 145 Music’s affective power, he argues, is often coded to create a sense of resolution and reconciliation that, in the context of intercultural performances involving Indigenous musics or performers, aims to provide the listener with a fantasy of peaceful reconciliation and “settlement” that covers over the ongoing structures of dispossession in the present (229). An alternative to this harmful mystification is proposed in the concept of “empathetic unsettlement,” a rubric for music composition that would refuse the conciliatory engulfment of Indigenous music into settler structures, requiring the listener to dwell in the discomfort of this refusal. keywords: chapter; colonial; listening; music; robinson; settler; song; sound; text; work cache: currentmusicology-7186.pdf plain text: currentmusicology-7186.txt item: #563 of 583 id: currentmusicology-7187 author: Hogg, Aldwyn title: Redmond, Shana. 2020. Everything Man: The Form and Function of Paul Robeson. Durham, NC: Duke University Press date: 2021 words: 2792 flesch: 51 summary: Through his Voice, Robeson was “multiply present, embodied, and accessible beyond his immediate time and space” (19), a potentiality that Beah Richard’s poem, “Paul Robeson Speaks for Me” (1951), convincingly performs. Redmond first takes us to Cardiff, Wales in 2001 to tour the exhibit at the National Museum, Let Paul Robeson Sing! keywords: chapter; paul; play; politics; redmond; robeson; voice cache: currentmusicology-7187.pdf plain text: currentmusicology-7187.txt item: #564 of 583 id: currentmusicology-7188 author: Windleburn, Maurice title: De Assis, Paulo. 2018. Logic of Experimentation: Rethinking Music Performance Through Artistic Research. Leuven: Leuven University Press. date: 2021 words: 5283 flesch: 45 summary: The idea of the experimental system allows Assis to justify his own approach to artistic research, where the strata of musical works are rearranged into novel orders, leading to the construction of new “things” (such as recordings, performances, essays). Assis’s book is pivotal for the field of artistic research in music, containing an in-depth transdisciplinary exploration of numerous complex concepts, avoiding the auto-ethnographic solipsism that artistic research studies risk falling into (given that the artist can be both the subject and object of their own research). keywords: assemblage; assis; music; musicologists; musicology; new; performance; performers; research; things; work cache: currentmusicology-7188.pdf plain text: currentmusicology-7188.txt item: #565 of 583 id: currentmusicology-7195 author: Fitz Gibbon, Elaine title: Beethoven Returns to Bonn: Origins, Belonging and Misuse in Mauricio Kagel’s Ludwig van (1969) date: 2021 words: 13484 flesch: 57 summary: As we approach the man—named Mr. Poll (possessing the maiden name of Beethoven’s grandmother)—the topic of his monologue becomes clear, for he proclaims, “I am the last and only living descendant of Ludwig van Beethoven, and on his mother’s side.” Holding court before the camera crew, Mr. Poll delivers a rambling history of the Beethoven family, during which he asserts their “ancient Flemish lineage” and ascribes to Beethoven’s grandfather an “iron resolve and great energy,” thanks to which “he finally achieved the exceptional position of Kapellmeister” of the Bonn Hofkapelle (2006, 55:50–56:37).35 Soon, however, this recounting of purportedly familial anecdotes transforms into a defensive assertion of his legitimate status as a Beethoven ancestor: I greatly admire Ludwig van Beethoven, I like listening to his records and we have got many documents and papers from his ancestors that prove that I really am the last descendant; all those others who claim to be his descendants are wrong. keywords: beethoven; bonn; century; composer; der; die; discussion; fact; figure; film; frühschoppen; german; history; höfer; ich; international; kagel; ludwig; ludwig van; mauricio; morning; music; nazi; new; poll; press; riezler; scene; und; van; van beethoven; war; west; world; year; york cache: currentmusicology-7195.pdf plain text: currentmusicology-7195.txt item: #566 of 583 id: currentmusicology-7196 author: Stewart, Zachary Lee Nazar title: Fulcher, Jane F. 2018. Renegotiating French Identity: Musical Culture and Creativity in France during Vichy and the German Occupation. Oxford: Oxford University Press date: 2021 words: 3416 flesch: 37 summary: It includes detailed discussions of shifting Vichy politics and ideologies, Vichy cultural institutions, the German administration in Paris, and the possibility of musical resistance, as well as Fulcher’s conception of “French identity,” discussed below. Nonetheless, the chapter does signal Fulcher’s aspiration to provide a systematic foundation for future research, and may prove to be a valuable collection of information for students of Vichy cultural institutions. keywords: france; fulcher; identity; music; occupation; oxford; resistance; vichy cache: currentmusicology-7196.pdf plain text: currentmusicology-7196.txt item: #567 of 583 id: currentmusicology-7204 author: Davila, Richard Cruz title: Stockton, Will and D. Gilson (eds.). 2020. The 33 1/3 B-Sides: New Essays by 33 1/3 Authors on Beloved and Underrated Albums. New York: Bloomsbury date: 2021 words: 3519 flesch: 56 summary: The book is divided into three sections: “Juvenilia,” albums that were in some way formative for the authors in the section; “Marginalia,” albums on the margins of a genre or an artist’s catalog; and “Memorabilia,” albums tangential to an artist’s catalog, such as live albums or film soundtracks (viii). Later, albums rereleased on CD might come in an expanded edition with a second disc titled something like “B-Sides and Rarities.” keywords: album; book; chapter; essays; music; sides; stockton cache: currentmusicology-7204.pdf plain text: currentmusicology-7204.txt item: #568 of 583 id: currentmusicology-7208 author: Reed, Jacob title: Edwards, Brent Hayes. 2017. Epistrophies: Jazz and the Literary Imagination. Cambridge, MA: Harvard University Press date: 2021 words: 2918 flesch: 55 summary: This is a familiar enough idea to listeners of program music (or seekers of “hidden programs” in the correspondence and diaries of composers), but its application to Ellington is original and in the context of the book provides a useful converse to the “language-into-music” directionality of the first two chapters. Certainly, his virtuosic prose, coupled with an ability to provide structure for winding, complex arguments, lends plenty of credence to the reviewers who have 195 compared his work to a sort of jazz performance. keywords: book; chapter; edwards; jazz; music; press; scat; university cache: currentmusicology-7208.pdf plain text: currentmusicology-7208.txt item: #569 of 583 id: currentmusicology-7235 author: Gale, Michael title: Jas, Eric. 2018. Piety and Polyphony in Sixteenth-Century Holland: The Choirbooks of St Peter’s Church, Leiden. Studies in Medieval and Renaissance Music, 18. Woodbridge: The Boydell Press. date: 2021 words: 3280 flesch: 53 summary: In doing so, Jas shows how the getijdencollege at St Peter’s represented one node in a much broader network of similar institutions across the urban centers of the northern Netherlands. Jas then focuses specifically on the getijdencollege at St Peter’s in his second chapter, from its first documentary traces in 1440 up to its dissolution in mid-1572. keywords: century; choirbooks; jas; leiden; music; peter; study cache: currentmusicology-7235.pdf plain text: currentmusicology-7235.txt item: #570 of 583 id: currentmusicology-7268 author: Gatdula, Anna B. title: Our Project date: 2021 words: 2119 flesch: 55 summary: This colloquy attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. Our highest goal is that the project becomes moot—to create a world in which those -isms and -phobias would no longer structure higher education and music academia. keywords: academia; music; pipeline; project; scholars; spectrum cache: currentmusicology-7268.pdf plain text: currentmusicology-7268.txt item: #571 of 583 id: currentmusicology-7799 author: Ritchey, Marianna title: Resisting Usefulness: Music and the Political Imagination date: 2021 words: 11936 flesch: 52 summary: This “autonomous ideal” became one of the foundational values of European and American musicology; and indeed, in many respects, these nineteenth-century ideas became what “art,” including “art music,” is. It is thus no surprise that anarchists tend not to be interested in the kind of “art music” that musicology is often focused on. keywords: adorno; art; arts; collective; difference; example; gautier; individual; means; music; new; people; power; press; society; state; university; value; way; work cache: currentmusicology-7799.pdf plain text: currentmusicology-7799.txt item: #572 of 583 id: currentmusicology-7840 author: Osborn, Brad title: The Subdominant Tritone in Film and Television Music date: 2021 words: 8803 flesch: 70 summary: James Horner 45:50 APT C 1995 Christopher Lennertz 45:00 APT C 2016 The Magnificent Seven A hunter realizes his trade is no longer valid after government stops paying for Crow scalps. keywords: chord; composer; degree; example; film; key; love; lydian; major; music; mvt; nct; scale; scale degree; sdtt; subdominant; sus; television; theme; time; tritone; year cache: currentmusicology-7840.pdf plain text: currentmusicology-7840.txt item: #573 of 583 id: currentmusicology-7841 author: Thomas, Margaret title: Making the Case for Equity Pedagogy date: 2021 words: 2261 flesch: 57 summary: One Scholar’s experience in a theory fundamentals course exposed and personalized the inaccurate and biased assumptions we tend to make of students in music courses, assumptions that exemplify the implicit requirements for becoming a music major. The course instructor did not comprehend the Scholar’s experience, an experience that was no doubt shared by other students. keywords: curriculum; education; equity; music; pedagogy; students cache: currentmusicology-7841.pdf plain text: currentmusicology-7841.txt item: #574 of 583 id: currentmusicology-7842 author: Dell'Antonio, Andrew; Ovalle, Matthew title: Mentoring, Institutional Barriers, Structures of Justice: A Dialogue Across Positions of Privilege and Power date: 2021 words: 2505 flesch: 77 summary: How do we create that for other students? I have certain students who come into my office every week. keywords: accommodations; class; students; university cache: currentmusicology-7842.pdf plain text: currentmusicology-7842.txt item: #575 of 583 id: currentmusicology-7843 author: Hankins, Sarah title: Unfit for Subjection: Mental Illness, Mental Health, and the University Undercommons date: 2021 words: 2222 flesch: 58 summary: What I’m suggesting is that the discourse of mental health in the University—limned by positivist, individualizing rhetorics of “wellness,” “self-care,” “symptom management,” and “adjustment”—gives little actual address to mental illness, which is an experience of psychic and bodily suffering that is always-already structured beyond the individual. 153 Sarah Hankins [content warning: mental illness and references to ableism] I would like to call attention to what can be politely termed “a gap in the discourse” surrounding mental illness in the dominion of professional academia. keywords: discourse; health; illness; moten; self; undercommons; university cache: currentmusicology-7843.pdf plain text: currentmusicology-7843.txt item: #576 of 583 id: currentmusicology-7844 author: Babyak, Tekla title: My Intersecting Quests as a Disabled Independent Scholar date: 2021 words: 2234 flesch: 50 summary: 158 Tekla Babyak My life is shaped by two intersecting quests: advocacy for disabled scholars and advocacy for independent scholars. Moreover, I often contact editors and conference organizers to advocate for the inclusion of independent scholars in activities such as serving on editorial boards, writing book reviews, contributing to edited collections, giving keynotes, and chairing panels. keywords: ableist; conference; faculty; guidelines; kerber; scholars cache: currentmusicology-7844.pdf plain text: currentmusicology-7844.txt item: #577 of 583 id: currentmusicology-7845 author: Blackmore, Callum title: Editor's Note date: 2021 words: 1695 flesch: 48 summary: Finally, Current Musicology is proud to publish a colloquy from Project Spectrum, titled “Strengthening the Pipeline,” on equity and diversity in pathways to music academia. All of these amount to a powerful condemnation of the culture of discrimination in music studies and a clarion call for palpable action on diversity, equity, and inclusion in the academy. keywords: beethoven; issue; music; musicology; pandemic cache: currentmusicology-7845.pdf plain text: currentmusicology-7845.txt item: #578 of 583 id: currentmusicology-7921 author: Oram, Celeste; GoGwilt, Keir title: A Loose Affiliation of Alleluias: Tracing Genealogies of Technique and Power in Creative Practice date: 2021 words: 8123 flesch: 39 summary: In a similar manner, there is an imperative for a modern listener to try to hear in historical music what has been discursively concealed and excluded—what the music itself has been leveraged to filiate and naturalize. Our compositional process and post-hoc reflection for a loose affiliation is one example of a citational approach — though other approaches might not necessarily adapt historical musical sources (as in a loose affiliation) and might necessitate methods other than the text-centric terms of a scholarly bibliography. keywords: adorno; affiliation; century; concerto; culture; knowledge; materials; music; ornamentation; power; practice; spatz; technique; university; violin; work cache: currentmusicology-7921.htm plain text: currentmusicology-7921.txt item: #579 of 583 id: currentmusicology-7925 author: Shepherd, Lauren title: Brown, Rae Linda. 2020. The Heart of a Woman: The Life and Music of Florence B. Price. Champaign: University of Illinois Press. date: 2021 words: 3685 flesch: 52 summary: In Chapter 10 (“Spirituals to Symphonies”), Brown describes the critical reception of Price’s works and emphasizes the fact that Prices was one of very few African American composers to write large-scale classical music forms, such as symphonies and concertos, during this time. Examples include Price orchestrating music for Louis White’s radio broadcasts on WGN radio (110) and the Chicago Symphony Orchestra premiering Price’s First Symphony in E minor. keywords: american; brown; chapter; florence; life; music; price; symphony cache: currentmusicology-7925.pdf plain text: currentmusicology-7925.txt item: #580 of 583 id: currentmusicology-8729 author: Johnson-Williams, Erin title: Valuing Whiteness: The Presumed Innocence of Musical Truth date: 2023 words: 14405 flesch: 46 summary: As Juliett Hess points out, received musical standards are set according to “specific Western constructs for expressing meter, dynamics, and articulations,” so that even when so-called “diverse” examples are added to repertoire lists, “Western music in music education [still] acts as a colonizer” (2015, 337). Without the commodification of the idea of absolutism, absolute music as a concept would not have been so pervasive—and one wonders whether the idea that western music possesses aesthetic values that are above and beyond contextualization (racial, financial or otherwise) would have become so prevalent. keywords: 2020; century; colonial; decolonization; decolonizing; education; history; idea; innocence; land; moves; music; music education; musicology; new; press; race; settler; studies; truth; tuck; university; white; work; yang cache: currentmusicology-8729.pdf plain text: currentmusicology-8729.txt item: #581 of 583 id: currentmusicology-8811 author: Timmermans, Matthew title: Opera, Sound Recording, and Critical Race Theory: Making a Sub-Field Audible date: 2021 words: 10954 flesch: 54 summary: The field-altering work that Mackey and Moten have each executed by way of issuing what amounts to a series of poetically rendered correctives—about, for instance, the presumed “legibility” and tenacious resonances of Black sound—are crucial to any study of modern sonic culture because their work forces us to confront with, among other things, the long historical arc of Black phonic meaning that precedes, rivals, and runs parallel to the characters whose acts are “really happening” in Marcus’s study. [(1992)] have made such dazzling inroads in Black sound studies by altogether pushing the language that we use to talk about the prodigious complexity of Black music, the magnitude of its weight and depth. keywords: american; bess; blackness; bodies; experience; history; listening; met; music; new; opera; performance; porgy; press; race; recording; scholars; sound; spillers; thought; university; work cache: currentmusicology-8811.pdf plain text: currentmusicology-8811.txt item: #582 of 583 id: currentmusicology-8994 author: Nagel-Frazel, Maeve title: Laying Down Tracks: Mapping the Camilla Urso Concert Company on the American Lyceum Circuit, 1873-83 date: 2023 words: 9460 flesch: 56 summary: Even without fare bundling or railroad timetable changes, individual concertgoers frequently used railroad networks to attend Urso concerts on their own volition, underscoring both Urso’s popularity and the growing mobility of nineteenth-century consumers. Laying Down Tracks: Mapping the Camilla Urso Concert Company on the American Lyceum Circuit, 1873-83 Maeve Nagel-Frazel Introduction In 1902, when The Chicago Tribune (January 22, 1902) called the French- American violinist Camilla Urso (1840-1902), “the ablest woman violinist the world has ever known,” Urso reigned as America’s pre-eminent female violinist.i keywords: american; boston; bureau; camilla; camilla urso; century; circuit; company; concert; lecture; lyceum; lyceum bureau; lyceum circuit; musical; railroad; redpath; redpath lyceum; season; ticket; urso; urso concert; violin cache: currentmusicology-8994.pdf plain text: currentmusicology-8994.txt item: #583 of 583 id: currentmusicology-9892 author: Bergman, Åsa title: Emotional Storms, Passion and Melancholy when Symphonic Music is Legitimated as an Emotional Resource date: 2023 words: 8515 flesch: 50 summary: The purpose of the article is to apply a discourse-analytic approach to investigating how symphonic music is constructed and legitimated as an emotional resource, and how concert hall audiences are positioned in relation to ideas about the emotional qualities of music. The relationship between classical music and strong expressions of emotion, as depicted in “Unorthodox,” differs from the usual characterization of conventional audience behavior at classical music performance as well-disciplined and emotionally restrained. keywords: audience; century; concert; description; emotions; feelings; ideal; listener; listening; music; piece; presentation; program; qualities; relation; symphony cache: currentmusicology-9892.pdf plain text: currentmusicology-9892.txt