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Articles 241 - 270 of 62171
Full-Text Articles in Entire DC Network
Introduction, Ronit Seter, Ralph P. Locke
Introduction, Ronit Seter, Ralph P. Locke
Music & Musical Performance: An International Journal
Richard Taruskin—the single most prominent and influential musicologist of the past half-century—died on July 1, 2022 at age 77. This Colloquy consists of extended versions of papers presented on July 2, 2023, at the annual meeting of the Israeli Musicological Society, and additional essays by scholars who knew Taruskin personally. The essays engage in critical reflections on his personality, ethics, teaching philosophy, methodologies, and massive and skillful literary output. Moreover, they illuminate developments in musicology over the past fifty years, from its positivistic roots and its focus on Western canonical works to challenges from ethnomusicological practices, feminist theory, and anti-racism/colonialism.
Front Matter
Music & Musical Performance: An International Journal
No abstract provided.
Contributors To Issue 5
Music & Musical Performance: An International Journal
No abstract provided.
The Music For “Victory At Sea”: Richard Rodgers, Robert Russell Bennett, And The Making Of A Tv Masterpiece, By George J. Ferencz. Rochester: University Of Rochester Press, 2023 [Review]., Elizabeth A. Wells
Music & Musical Performance: An International Journal
No abstract provided.
Beethoven The European, Edited By Malcolm Miller And William Kinderman. Turnhout: Brepols, 2023 [Review]., Jürgen Thym
Beethoven The European, Edited By Malcolm Miller And William Kinderman. Turnhout: Brepols, 2023 [Review]., Jürgen Thym
Music & Musical Performance: An International Journal
No abstract provided.
Maestro, Directed By Bradley Cooper. 2023., Elizabeth A. Wells
Maestro, Directed By Bradley Cooper. 2023., Elizabeth A. Wells
Music & Musical Performance: An International Journal
No abstract provided.
Orthography, Jeremy Gill
Orthography, Jeremy Gill
Music & Musical Performance: An International Journal
The myth of Pope Gregory I taking melodic dictation from a magical singing bird is the imaginative starting point of Western musicʼs love-hate relationship with the music notation systems it later developed. This essay traces that development through Thomas Tallis and J. S. Bach to the dichotomous modern examples of Brian Ferneyhough and Arvo Pärt. In it, I suggest that Western musicʼs eventual development hinged upon that earliest desire to document and codify melodies, answering Gregoryʼs contemporary Isidore of Seville, who lamented that “unless sounds are held by the memory of man, they perish, because they cannot be written down.”
Metric Expressivity: An Introduction, Felipe Avellar De Aquino
Metric Expressivity: An Introduction, Felipe Avellar De Aquino
Music & Musical Performance: An International Journal
This article discusses how meter and musical impulses can generate distinct character traits in music according to a performer’s interpretation of the metric notation. It is part of an ongoing research project focused on interpretative elements and using analytical as well as auto-ethnographical methods. This article includes analysis and comparisons of historical recordings contiguous to performance-focused analysis. It is based on the study of metric components, organizational structures, and metric-structuring elements and concepts developed by Edward T. Cone (1968), David Epstein (1995a, 1995b), Roy Howat (1995), Mine Doğantan-Dack (2012, 2014), and Nicholas Cook (2001). These writers’ thoughts are placed in …
Mozart’S Jewish Librettist: A Brief History Of A Poorly Kept Secret, Robert L. Marshall
Mozart’S Jewish Librettist: A Brief History Of A Poorly Kept Secret, Robert L. Marshall
Music & Musical Performance: An International Journal
Lorenzo da Ponte, the librettist of Mozart’s three greatest Italian operas, was born a Jew, a fact rumored about during his lifetime but not definitively established until 1900. The treatment (or not) of Da Ponte’s Jewish origins as documented from his time to the present constitutes a history of concealment, rumor, discovery, denigration, and exploitation. Its nadir was reached during the Nazi period, its zenith most recently, as the poet, hitherto a secondary player in the Mozart biographies, has emerged as the colorful protagonist in substantial biographies of his own.
In Praise Of Simplicity: Marie Hinrichs’S Op. 1, Neun Gesänge, Stephen Rodgers
In Praise Of Simplicity: Marie Hinrichs’S Op. 1, Neun Gesänge, Stephen Rodgers
Music & Musical Performance: An International Journal
In a chapter from German Lieder in the Nineteenth Century (1996), Jürgen Thym describes the historiography of the German Lied as “a hike through the high-peak area of a mountain landscape where the trail along the ridge leads from one glorious peak to the next.” Beneath the high peaks of Schubert, Schumann, Brahms, and Wolf, he notes, are smaller peaks not reachable by trail. Thym clears paths through this unexplored landscape by surveying the Lieder of Carl Loewe, Fanny Hensel, Franz Liszt, Robert Franz, Clara Schumann, and Peter Cornelius. My essay extends one of these paths, exploring the songs of …
Indigenous Form, Innovative Harmony, And Ingenious Rhythm In Manuel De Falla’S “Aragonesa”, Richard E. Mueller
Indigenous Form, Innovative Harmony, And Ingenious Rhythm In Manuel De Falla’S “Aragonesa”, Richard E. Mueller
Music & Musical Performance: An International Journal
The literature on the music of Manuel de Falla has called ample attention to the striking stylistic developments in Falla’s music of the 1920s. The familiar sound of Spain was replaced by the acerbic neo-classic idiom identified with the music of Stravinsky. The issue is complex. Falla’s new music continued to draw on Spanish resources and technical aspects of harmony and rhythm reflect continuities that can be traced back to the earliest works of Falla’s maturity, namely, the Cuatro piezas españolas (1909). The first of these pieces “Aragonesa” was composed largely in 1906, and before Falla re-located in Paris and …
Music, A Connected Art/Die Illusion Der Absoluten Musik: A Festschrift For Jürgen Thym On His 80th Birthday, Ed. Ulrich J. Blomann, David B. Levy, Ralph P. Locke, And Frieder Reininghaus. Baden-Baden: Verlag Valentin Koerner, 2023 [Review], Sarah Clemmens Waltz
Music & Musical Performance: An International Journal
No abstract provided.
Contributors To Issue 4
Music & Musical Performance: An International Journal
No abstract provided.
Mr Byrde Affirmes It To Be Truth, Kerry Mccarthy
Mr Byrde Affirmes It To Be Truth, Kerry Mccarthy
Music & Musical Performance: An International Journal
This essay briefly contemplates William Byrd’s 400th anniversary.
Berlioz In Time: From Early Recognition To Lasting Renown, By Peter Bloom. Rochester, Ny: University Of Rochester Press, 2022 [Review]., Matthieu Cailliez
Berlioz In Time: From Early Recognition To Lasting Renown, By Peter Bloom. Rochester, Ny: University Of Rochester Press, 2022 [Review]., Matthieu Cailliez
Music & Musical Performance: An International Journal
No abstract provided.
A Ringing Tone Of Outrage: Luigi Nono‘S Intolleranza 1960, Max Nyffeler
A Ringing Tone Of Outrage: Luigi Nono‘S Intolleranza 1960, Max Nyffeler
Music & Musical Performance: An International Journal
Luigi Nono’s opera Intolleranza 1960, premiered at the Teatro La Fenice in Venice in 1961, defiantly broke with traditional notions of opera at the time. The depiction of physical and institutional violence against people, the expansion of the stage space by slide projections, and sounds coming from loudspeakers as well as a music that expressed constant unrest and protest provoked audiences into taking a stance against oppression and injustice. The work caused a scandal at the time of the premiere, but has since established itself as an opera that articulates, through Nono’s music, a timeless human truth in a ringing …
Berlioz's Mysterious Amélie, Pascal Beyls, Peter Bloom
Berlioz's Mysterious Amélie, Pascal Beyls, Peter Bloom
Music & Musical Performance: An International Journal
In September 1864, in a letter to his long-time confidante, the Princess Carolyne von Sayn-Wittgenstein, Berlioz mentioned the name of the woman with whom, as he had earlier confided to the Princess, he had conducted a brief but passionate affair: “her name was Amélie.” Until now, the Berlioz scholars have been unable properly to identify this mysterious person. From other letters and documents, including Ernest Legouvé’s Soixante ans de souvenirs, we have known the approximate dates of the beginning and ending of the relationship. But only now, on the basis of the birth and death certificates of the woman and …
Revolutionary Alchemy: Incantation And Collage As Magical Methods In Rock Of The Countercultural Era, Jay Keister
Revolutionary Alchemy: Incantation And Collage As Magical Methods In Rock Of The Countercultural Era, Jay Keister
Music & Musical Performance: An International Journal
Magic held a special fascination for the post-war counterculture, a movement that valued music and art as tools of the imagination to counter what Theodore Roszak called the “technocracy” in which science was to blame for cultural disenchantment in the West. At a time when countercultural rhetoric was bolstering a newfound faith in the power of music to generate social change, rock music began to be conceived by many musicians and perceived by audiences as a kind of magic. This article considers music by the Beatles, the Doors, Pink Floyd, Frank Zappa, Captain Beefheart and others to show how musicians …
William Albright's Whistler (1834-1903): Three Nocturnes: "Why The Hell . . . Should Anyone Listen To This?!", R. Douglas Reed
William Albright's Whistler (1834-1903): Three Nocturnes: "Why The Hell . . . Should Anyone Listen To This?!", R. Douglas Reed
Music & Musical Performance: An International Journal
The article explores William Albright's Whistler (1834-1903): Three Nocturnes (1989) through historical context, musical analysis, performance practice, and the composer's essay on the relationship between his composition and Whistler's paintings. Commentary by composer Sydney Hodkinson gives information about the 1960s new music scene in Ann Arbor (the ONCE Group, The Grate Society) composition study with Ross Lee Finney.
Pedro António Avondano: Il Mondo Della Luna. Naxos 660487-88, 2021., Ralph P. Locke
Pedro António Avondano: Il Mondo Della Luna. Naxos 660487-88, 2021., Ralph P. Locke
Music & Musical Performance: An International Journal
The world-premiere recording of Il mondo della luna by Pedro António Avondano consists of a highly skillful and alert performance by Portuguese musicians, including singers well trained in Italian. The recitatives were rehearsed in an unusual way, with the singers first speaking the lines rather than singing them. The experiment will be judged variously by different observers. The reviewer dislikes the frequent clash in pitch between voice and instruments, especially at cadences. But others have hailed the recording unstintingly.
Thomas Schippers In Cincinnati: A Forgotten Episode In The Life Of A Conductor Renowned For Opera, Nancy Spada
Thomas Schippers In Cincinnati: A Forgotten Episode In The Life Of A Conductor Renowned For Opera, Nancy Spada
Music & Musical Performance: An International Journal
Thomas Schippers’s experience as a conductor of symphonic literature, for which he seems to have been quite overlooked and nearly forgotten, is related in this article in some detail. There are interesting facts concerning his work as Music Director of the Cincinnati Symphony Orchestra where he expounds on some of his ideas about conducting such an orchestra and describes certain innovative programs he produced during his tenure there. Several well-known performers who worked with him give their opinion or recount their experiences under his baton. In addition, two of his former conducting students share some fascinating details of what it …
Two Essays On Contemporary Music, Bálint András Varga
Two Essays On Contemporary Music, Bálint András Varga
Music & Musical Performance: An International Journal
Bálint András Varga (1941–2019) was an advocate for and a keen critic of contemporary music, first on radio, and later as an acquisitions editor for both Editio Hungarica and Universal-Edition. He interviewed many musical figures and planned to interview visual artists before he died. His interlocutors were impressed with Varga’s insightful questions and frequently answered them much more comprehensively than they would ones from standard journalists. These two essays were intended to be published in Varga’s third book, From Boulanger to Stockhausen: Interviews and a Memoir. The first, “What to Listen for in Music,” refers to Aaron Copland’s book of …
The Japanese Shakuhachi: Comparing The Ancient Tuning With The Modern One, Nick Bellando, Bruno Deschênes
The Japanese Shakuhachi: Comparing The Ancient Tuning With The Modern One, Nick Bellando, Bruno Deschênes
Music & Musical Performance: An International Journal
The difference between traditional and modern shakuhachi construction and tuning is significant in that it represents a paradigm shift in the psychological aim and embodied techniques employed in association with the instrument. Beginning in Edo-era Japan as an ostensibly religious instrument, the shakuhachi was at first played with a similar technique to its predecessor, the hitoyogiri, using the breath to modify pitch and giving priority to tone color. Coming into the modern era, the shakuhachi came to be used increasingly as a modern musical instrument; the resulting higher priority of pitch-precision brought about changes in construction and playing techniques that …
The Ossianic Maiden Colma In Compassionate View: Ferdinand Hiller’S “Colma’S Klage” (1873) And Vinzenz Lachner’S Die Klage Der Kolma (1874), James W. Porter
The Ossianic Maiden Colma In Compassionate View: Ferdinand Hiller’S “Colma’S Klage” (1873) And Vinzenz Lachner’S Die Klage Der Kolma (1874), James W. Porter
Music & Musical Performance: An International Journal
The widespread, positive reception of Ossianic poems in Germany and Austria inspired many musical settings from Beethoven, Schubert, Mendelssohn, and perhaps also Schumann. Settings of the poetic narrative of Colma, which relates the anguish of a maiden discovering that her brother and her lover have slain each other in mortal combat, were composed by Zumsteeg, Reichardt, Schubert, and Weber. This essay examines two later settings composed in the 1870s by Ferdinand Hiller and Vinzenz Lachner. While the settings are undeniably effective in their use of common idioms of German composition in the third quarter of the nineteenth century, they are …
Unh Graduate Student Union Continues Efforts For Better Conditions, Delaney Nickerson
Unh Graduate Student Union Continues Efforts For Better Conditions, Delaney Nickerson
Digital Edition
No abstract provided.
Unh Earns 'Gold' Military Friendly School Designation For Third Consecutive Year, Unh Communications And Public Affairs
Unh Earns 'Gold' Military Friendly School Designation For Third Consecutive Year, Unh Communications And Public Affairs
UNH Today Archive
No abstract provided.
Romances For Voice And Guitar, Arranged By Hector Berlioz. Atma Classique Acd2 2800, 2020 [Review], Peter Bloom
Romances For Voice And Guitar, Arranged By Hector Berlioz. Atma Classique Acd2 2800, 2020 [Review], Peter Bloom
Music & Musical Performance: An International Journal
No abstract provided.
Defying The Conventional: Musical Performance, Embodied Cognition, And The Reconfiguration Of Institutional Discourse, Dillon Parmer
Defying The Conventional: Musical Performance, Embodied Cognition, And The Reconfiguration Of Institutional Discourse, Dillon Parmer
Music & Musical Performance: An International Journal
This essay confronts the dialectic between theory and practice through a comparison of an idea basic to how we understand music (the notion that pitch moves up and down in vertical space) with how pitch is thought of in actual music-making. The comparison leads to both a new conceptual model for thinking about pitch, what might be called Pitch Horizontality, as well as a proposal for how to bring institutional discourse about music into sync, not with how scholars in other disciplines think about their subject matter, but with the thinking that goes on in contexts of real-world artistic production.
The Other Side Of My Heart: Latina Immigrant’S Oral History In Music, Lorena Guillén
The Other Side Of My Heart: Latina Immigrant’S Oral History In Music, Lorena Guillén
Music & Musical Performance: An International Journal
The author recorded six women from her local community in North Carolina. They shared and reflected about their dreams and fears while also evaluating the things they gained and lost in moving to the US. This work became a song cycle with music by Argentine composer Alejandro Rutty and lyrics based on the interviews, which the author edited from the exact words they expressed in their conversations. Rutty and the author used fragments of these interviews as part of an audio collage played at the beginning of each song.
A “Free Artist Of Color” In Late-Eighteenth-Century Saint-Domingue: The Life And Times Of Minette, Bernard Camier
A “Free Artist Of Color” In Late-Eighteenth-Century Saint-Domingue: The Life And Times Of Minette, Bernard Camier
Music & Musical Performance: An International Journal
This article sets forth, for the first time in detail, the life and career of Minette, who was the main female opera singer in Port-au-Prince at the end of the eighteenth century. The city was the capital of the thriving and wealthy French colony of Saint-Domingue (which, upon gaining independence in 1804, took the name Haïti). Theatrical activity in Port-au-Prince was comparable to what one could find in any large provincial city, and the success that Minette gained was all the more remarkable for her being categorized as colored (mestive). The details of Minette’s origins, life, and career …