1857 research outputs found
Sort by
‘Folds of the heart’: performing life-experience, emotion, and empathy in Japanese tango music culture
No full textIn the Argentine tango music culture of Japan, to have undergone many life experiences is considered critical in order to perform the powerful emotions of tango. Narratives by Japanese tango musicians stress ‘each musician’s feelings’ as crucial in shaping a good tango performance, while empathy is considered important in cultivating such feelings. Based on the author’s field research in Japan and Argentina, and by adding a different nuance to Carolyn Pedwell’s notions of transnational ‘affective relations’, this essay examines how Japanese historical narratives, rooted in aesthetic and moral ethos, fabricate discourses of tango authenticity by Japanese musicians. Taking a closer look at the ways in which Japanese musicians discuss tango’s emotion illuminates how Argentine tango’s aesthetics of emotion are given renewed meanings through the channelling of cultural and historical symbols in Japanese contexts. This article argues that Japanese tango musicians create their discourses surrounding tango authenticity at such transnational instances when aesthetics, affect and morality intersect
David Evans 1936–2018: an appreciation
Get PDFDavid Evans MBE (born 28 July 1936, died 8 Dec 2018) was a renowned British harpsichord maker who made a highly significant contribution in the revival of historical keyboard instrument making. He built over 50 instruments, mainly harpsichords and virginals, including a copy of the earliest surviving harpsichord: the late-15th-century upright harpsichord now in the Royal College of Music Museum in London
Excitement and danger: pianist Danny Driver in conversation
No full textPaul Ennis interviews pianist Danny Driver for The WholeNote magazine website
BBC Radio 3 record review: Proms composer: Richard Strauss
No full textWilliam Mival discusses recordings of music by Proms composer Richard Strauss in this programme broadcast on 10 August 2019
Discovering the music of Robert Kahn
No full textThe late romantic Jewish composer Robert Kahn (1865-1951) fled to Britain from the Nazis at the age of 73 and spent the last 12 years of his life in Biddenden, Kent and Ashted, Surrey. **** This article is available as part of the Music, Migration and Mobility online resource at the Official URL given below. ***
Buying and selling music in the (very) long nineteenth century [review article]
No full textThis article reviews the following books: The Idea of Art Music in a Commercial World, 1800 –1930, edited by Christina Bashfordand Roberta Montemorra Marvin, Woodbridge: Boydell & Brewer, 2016, 368 pp., ISBN 9781783270651 (hard cover), and Consuming Music: Individuals, Institutions, Communities, 1730 –1830, edited by Emily H.Green and Catherine Mayes, Eastman Studies in Music, Rochester, NY: University of Rochester Press, 2017. 264 pp., ISBN 9781580465779 (hard cover); 9781782049227 (e-book).
These two collections are a welcome addition to the growing literature which explores how musicians, repertories, practices and ideas have gained their places in the world. The individual essays explore a complex and evolving network of technologies (principally, but not exclusively, print culture), intermediaries (such as publishers) and processes (advertising, marketing and
performance). Emily H. Green and Catherine Mayes’s Consuming Music contains nine studies organized as four short sections: Selling Variety, Edifying Readers, Marketing the Mundane and Cultivating Communities. Some of its topics are of broad interest, while others are extremely specific: eighteenth-century publishers (Green); a Viennese art shop (Rupert Ridgewell); a
music textbook by Telemann (Steven Zohn); eighteenth-century notation and print (Roger Mathew Grant); commercial string chamber music (Marie Sumner Lott); the decline of the Hungarian contredanse (Mayes), gender and celebrity in the early American republic (Glenda Goodman); the Berliner allgemeine musikalische Zeitung in 1824 (Patrick Wood Uribe); and the Paris Opéra between commons and commodity (Peter Mondelli). Christina Bashford and
Roberta Montemorra Marvin’s The Idea of Art Music focuses on the mid-nineteenth and early twentieth centuries. Its 13 essays are organized into five sections: Publishers, Personalities, Instruments, Repertoires and (the somewhat confusingly titled) Settings. The generally more substantial topics include: Rossini’s military marches (Denise Gallo); the publicity campaign
for Puccini’s La bohème (Michaela Ronzani); the publisher Novello (David Wright); the singer Jenny Lind (George Biddlecombe); Wagner’s concealed self-promotion (Nicholas Vazsonyi); the British conductors Julius Benedict and Frederic Cowen (Fiona M. Palmer); the advertising of player pianos in the USA (Catherine Hennessy Wolter); British violin culture (Bashford); ancient Greek music in the USA (Jon Solomon); marketing Verdi in London (Montemorra
Marvin); sacred repertories in nineteenth-century Leipzig (Jeffrey S. Sposato); the music business on the edge of the British Empire (David Gramit); and the music printed in French magazines at the turn of the twentieth century (Jann Pasler)
Thinking across disciplines: audience responses to Clara Schumann’s Dichterliebe at the Wigmore Hall
Get PDFFocusing on a single concert at the Wigmore Hall in February 2016, this paper explores audience responses to historically-informed concert programming from a dual perspective of historical musicology and social science. The concert programme involved the interspersing of a single cyclical work –Robert Schumann’s 1840 song-cycle Dichterliebe Op. 48 with individual numbers from other works, thus breaking up the anticipated sequence in a way typical of 19th-century concert programmes. The small-scale study established the general audience demographic for the concert, and then explored the role of several key factors on their appreciation of the concert, including their age, whether they played a musical instrument/sang, the importance of the venue, artists, repertoire, and finally the effect of the programme order and the historical authority which underpinned it. The writing-up process caused both authors to reflect on the challenges of exploring such phenomena from different epistemological perspectives