Music Journal Research Articles

Jazz Press in Serbia from 1953 to 1965

The aim of the paper was to introduce the specialized press oriented towards jazz music and its practitioners that was published from 1953 to 1965 on the territory of the Republic of Serbia. The marked period was chosen for consideration since it represents the most fruitful stage in the development of the press of a specific thematic profile, but also because of the significant changes in the entire Yugoslav society. These changes, as it was possible to show, influenced the complex processes that shaped the press of the time, as well as the attitude towards this musical genre and its practitioners. The processes in question include, first of all: certain internal political movements that consistently modeled the cultural policy of the time, within which jazz attempted to obtain a favorable position; integration of the former socialist state into polarized international currents that implied the use of jazz as a means of affirming the foreign policy orientation of Yugoslav society; and the creation of the operational power of artists for self-organization and the acquisition of certain labor and social rights within the Association of Jazz Musicians. The association was founded in 1953 in Belgrade with the aim of advocating for the rights of contemporary musicians, while at the same time initiating the publication of the first newspaper Jazz: Journal of Popular and Jazz Music (Jazz. List za pitanja zabavne i džez muzike). Under this name, the journal was published from 1953 to 1954, and during the publication period from 1957 to 1958 it changed its name to Bulletin of the Association of Jazz Musicians (Bilten Udruženja Jazz muzičara). After that, in Novi Sad, in 1962, Rhythm – Yugoslav Review of Jazz and Popular Music (Ritam – Jugoslovenska revija za džez i zabavnu muziku) began to be publish by NIP Dnevnik, and later changed its name to Rhythm – Yugoslav Review of Popular Music (Ritam – Jugoslovenska revija za zabavnu muziku), under which it continued to be published until it ceased publication in 1965.

Beyond Words

Beyond Words

Schönberg-Rezeption in Japan vor dem Zweiten Weltkrieg: eine Diskursanalyse um Schönbergs Harmonielehre

The compositional reception of the twelve-tone technique started in Japan only around 1950. However, on an aesthetic as well as a literary level, Schönberg’s music and especially his Harmonielehre had been considered in Japan for several decades. This article explores that phase by analyzing Japanese pre-war music journals, demonstrating the aesthetic and theoretical reception of twelve-tone music in Japan before the start of its compositional reception. Schönberg’s Theory of Harmony was received very selectively in the circle of the New Composers’ Society in early 1930s Japan, as the composer Shūkichi Mitsukuri advocated Schönberg’s quartal harmony (and the music of Ravel and Debussy) as a model for a genuinely Japanese harmony, while functional harmonic systems were still dominant at the Tokyo Music Academy, where Klaus Pringsheim taught until 1937.

Screaming, Crying, Writing Up: Literary Music Journalism Books as a Legitimization of Contemporary Fangirl Practices

ABSTRACT In light of the increased commercial awareness of fangirl culture in the last decade, this article critically analyses three books written by prominent woman music and culture journalists: Fangirls by Hannah Ewens (2019), Larger Than Life by Maria Sherman (2020), and Everything I Need I Get From You by Kaitlyn Tiffany (2022). Examining book content as well as promotional author interviews in the music press, I explore themes of legitimacy, emotionality, and academic capital, and consider how authors re-position both fangirls and themselves as “knowledgeable” within participatory music culture.

On the Coverage of Piano Art in Galician Journalism of the 1930s (Purpose, Problematics, Conceptual Author’s Priorities)

The purpose of the article is to reveal the peculiarities of the coverage of piano art by the first Ukrainian professional musicologists in Galician journalism of the 1930s. The methodology of the study is based on the application of special historical (source, comparative and historical-typological), epistemological and generalising methods of analysis. The scientific novelty is that for the first time in Ukrainian musicology an attempt was made to analyse the thematic journalistic work of the first Ukrainian professional musicologists of a certain historical period. They promoted Ukrainian musical culture, explained to the general public the stylistic features of piano composition and the "secrets" of performance. For the first time, the object of attention is studied as a separate typified phenomenon in the context of the development of science in the first third of the twentieth century. Conclusions. The analysis of the publicistic legacy of S. Liudkevych and N. Nyzhankivsky, dedicated to the piano art, has shown that its authors, reacting to events and analysing creativity and performance, showed a greater (the former) or lesser (the latter) breadth of topics (in addition to creativity and performance, S. Liudkevych often touched upon educational problems), different types of presentation of thoughts (analytical and descriptive, respectively), different degrees of coverage of the topic (phenomenon, portrait), different types of expression (calm, attentive to details, principled in critical remarks, or pictorial – expressive, emotionally uplifting), showed different criteria for assessing the phenomenon (from the standpoint of social and artistic utility or personal taste/impression). Thus, they demonstrated the versatility of Ukrainian piano journalism and a new (professionally dictated) level of critical analysis, which has emerged in this period of development of scientific and critical thinking. Keywords: musical journalism, individual creativity, piano art, innovation, genre, style.

Making Beethoven Black: The New Negro Movement, Black Internationalism, and the Rewriting of Music History

AbstractWhile the idea that Beethoven had African ancestry became popular in the 1960s during the Civil Rights struggle in the United States, its conception arose during an earlier moment: the global New Negro movement of the 1920s. Appearing in newspaper columns, music journals, and essays, Black American writings on Beethoven challenged white musicians’ claims to the canon of Bach, Beethoven, and Brahms. This article argues that the project of making Beethoven Black belonged to a greater and more ambitious endeavour to rewrite Western music history. Black musicologists sought to globalize the Western canon, and in so doing, critique its grand narratives. Locating Black musical idioms in eighteenth-century piano sonatas or conducting archival research on Black European figures such as George Bridgetower, their music histories challenged readers to re-examine just who, exactly, had contributed to the project of cultural modernity and on what grounds.

Introduction

In the introduction to this Special Issue of the Journal of Sound and Music in Games, the guest editors outline the history and significance of the Japanese role-playing game Final Fantasy VII. They situate the game within the history of technological developments in both home gaming systems and the World Wide Web, exploring the musical importance of the game. The editors also provide an overview of the Special Issue’s contents and highlight the broader issues that are explored in the contributions contained therein.

“Sissy Style”

For the past decade, queer and trans rappers have been the dominant force in New Orleans bounce, a dance-centric hip hop genre specific to that city. Inspired by the language of bounce rappers themselves, such as Sissy Nobby, who self-identify as gay and reclaim a once pejorative term to openly express their sexual and gender identities through their performances, music journalist Alison Fensterstock coined the term “sissy bounce” to describe this current phenomenon. Since the genre first developed in the early 1990s, dancing, or “shaking” as it is called locally, has gone hand-in-hand with the music. More recently, bounce dance styles, including twerking, have drawn mainstream attention, fueled in part by controversial performances such as those by Miley Cyrus. “Twerking” is now part of the national vocabulary, but is largely misunderstood, especially its distinctly queer iterations. Drawing on interviews and fieldwork conducted in New Orleans, this article illustrates the ways in which gendered shaking styles have been adapted among its queer and trans participants and its role as kinetic community response to trauma inflicted by Hurricane Katrina. It demonstrates that shaking is an example of both a racialized and gendered performance and a performative act in which gender and racial identity are co-constructed. Finally, it considers the implications of twerking’s exposure on a national stage and how New Orleans bounce artists have reacted. Bounce music and dance are interconnected forms of expression; considering them together helps us to better understand the relationship between sound and gesture in hip hop.

The Significance of P. I. Tchaikovsky’s Journalistic Activity in the “Russian Vedomosti”

The article examines the features of the author's style of Pyotr Ilyich Tchaikovsky as a music critic and the impact of his journalistic works on the development of music journalism in Russia. It analyzes in detail his texts contained in the newspapers “Russian Vedomosti”, “Moscow Vedomosti”, “Modern Chronicle” and reviews the assessment of his musical and critical activity provided by the outstanding Russian music critics G. A. Laroche and A. N. Serov. The article concludes that despite his obvious literary talent, Tchaikovsky did not consider music journalism his profession. The composer's work in musical journalism became a bright discovery for his contemporaries as well. The sharpness of his gaze as the music critic caught those details of acting, instrument skills, or composing techniques that an ordinary spectator did not know about, considering all fashionable musical trends from an idealistic perspective, and professional musicians and actors did not want to share, concealing their omissions. Tchaikovsky did not follow the tastes of the high society of Moscow and St. Petersburg and was not afraid to denounce world-famous opera singers, openly pointing out their sometimes lack of talent or undisguised lack of desire to improve their artistry. Complaining about the attacks on his critical activity, Tchaikovsky noted that this work, no matter how difficult it was, not only for him but also for any critic, played a crucial role in leveling up music education, which is the key to the development of music and journalism.

Stereotypes in media representations of boy bands and their fans

Boy bands have long been disparaged in music journalism, in part because of their association with teenage and prepubescent girls who are their primary fans. This study uses media stereotypes of musicians and their fans to see how the interplay of age and gender among these two constituencies is associated with negative stereotyping in music journalism. This study fills a gap in scholarship with a quantitative comparison of how modern boy bands and their fans are stereotypically portrayed compared to non-boy bands and their fanbases in a generalizable way. A content analysis of UK and U.S. music journalism from 2010 to 2015 finds that young women music fans continue to be stereotyped, and that boy bands are diminished through stereotypes that are gendered feminine, most prominently about their age and youth, authenticity of the music, and innocent sexuality. However, the boy bands were not diminished through feminine tropes more closely aligned with women fans, such as with the use of emotional language. Being young and male does not automatically mean marginalization and stereotyping, however – the young men in the non-boy bands were consistently referred to in non-stereotypical ways.

Music and the Sonorous Sublime in European Culture, 1680–1880 Sarah Hibberd and Miranda Stanyon

‘Scholars in other fields have called for a moratorium on studies of the sublime, yet there are remarkably few books dedicated to the sublime and music’ (p. 1). Editors Sarah Hibberd and Miranda Stanyon thus introduce Music and the Sonorous Sublime in European Culture, 1680–1888, suggesting that music scholars have some catching up to do. In fact, books or not, the sublime has become a well-established musicological topic, especially in studies of the style formerly known as Classical. Yet the range and diversity of this new collection adds much to the existing literature, tapping new sources and repertories to explore the grand, lofty, and overwhelming experience of the musical sublime. Refreshingly, the authors do not fixate on the aesthetic-ethical theory of Immanuel Kant’s Critique of Judgment (1790), the privileged source for both postmodern critics and musicologists; they engage closely with pre-Kantian empiricist accounts of the sublime, as well as the sources perhaps closest to practical musicians—libretti and music journals. The interdisciplinary teamwork of Hibberd and Stanyon, respectively a musicologist and literary scholar, is reflected in the close attention to the uneasy translation of the sublime, originally a rhetorical category, into music. And while accounts of the musical sublime have tended to focus on instrumental music, especially the symphony, the present volume devotes generous space to opera and vocal music. With a modish focus on performance and sound, Music and the Sonorous Sublime offers fresh variations on a familiar theme, reconstructing the meaning, experience, and uses of an elusive aesthetic category.

Machine composition of Korean music via topological data analysis and artificial neural network

Common AI music composition algorithms train a machine by feeding a set of music pieces. This approach is a blackbox optimization, i.e. the underlying composition algorithm is, in general, unknown to users. In this paper, we present a method of machine composition that teaches a machine the compositional principles embedded in the music using the concept of overlap matrix. In (Tran Mai Lan, Changbom Park & Jae-Hun Jung (2023) Topological data analysis of Korean music in Jeongganbo: a cycle structure, Journal of Mathematics and Music, DOI: 10.1080/17459737.2022.2164626), a type of Korean music called Dodeuri music has been analysed using topological data analysis (TDA). To apply TDA, the music data is first reconstructed as a graph. Through TDA on the constructed graph, a unique set of cycles is found. The overlap matrix lets us visualize how those cycles are interconnected in music. We explain how we use the overlap matrix for machine composition. The overlap matrix is suitable for algorithmic composition and also provides seed music to train an artificial neural network.

Culturological Aspects of the Music-Critical Press Publications of Nestor Nyzhankivskyi

The scientific topicality. The development of Ukrainian musical art was thoroughly reflected in the various thematic newspaper materials of the composer, social and educational activist, pianist, and critic Nestor Nyzhankivskyi. The cultural, thematic content of the Galician author’s journalism, which revealed the importance of musical influence on the formation of national artistic value orientations, has become especially relevant in our present.
 The purpose of the article is to outline the development of musical culture in the 1930-s at the beginning of the XX century in Eastern Galicia through the prism of the press publications “Paths of the Ukrainian music development (In response to Mr. Anton Rudnytskyi)” and “Our musical pains” by Nestor Nyzhankivskyi, in which a social and educational figure defines a holistic worldview of cultural problems of the specified historical era.
 The methodology. The following methodology was applied when analyzing the mentioned publications of N. Nyzhankivsky: method of analysis and synthesis — for the study of sources from the history of musical art of Eastern Galicia of first third of the XX century; descriptive method — for revealing the content of music-critical materials; classifications and typologies — to characterize the analyzed newspapers publications; the method of systematization was used to generalize the results of the study and make conclusions. The combination of these methods made it possible to investigate the trends in the development of Nyzhankivsky’s music journalism in close connection with the socio-aesthetic paradigms of the time.
 The results. Among the voluminous journalistic heritage of N. Nyzhankivskyi, the press publications “Our musical pains” and “Paths of the Ukrainian music development (In response to Mr. Anton Rudnytskyi)” stand out, which were published in the pages of the magazine “Dilo” in the 1930-s. The content of these newspaper materials, which contain rich, informative material regarding the definition of the educational role of art and the understanding of the high professional level of composer’s work in the musical culture of Eastern Galicia at the beginning of the XX century, determines their cultural significance. It has been established that these socio-cultural press publications have axiological potential, which translates the system of values into the public space of the Ukrainian people.
 The scientific novelty consists in the fact that, for the first time, the content of the journalistic materials of N. Nyzhankivskyi is considered through the prism of sociocultural factors that took place in the artistic life of Lviv in the 1930s of the early XX century.
 Conclusions. Nestor Nyzhankivskyi’s press releases “Our musical pains” and “Paths of the Ukrainian music development (In response to Mr. Anton Rudnytskyi)”, which covered various aspects of musical life, played an essential role in shaping the national worldview in the multi-ethnic environment of Eastern Galicia at the beginning of the XX century. The cultural aspects of the analyzed journalistic works of Nestor Nyzhankivskyi have a significant value for modern science, as they confirm the value of Ukrainian music in the world space and emphasize the importance of human existence in culture.

Cheong Images of Chopin in the People’s Republic of China

Just as Poland capitalises on the worldwide popularity of Chopin’s music to export him as a cultural commodity, the People’s Republic of China (PRC) has embraced Chopin as patriotism personified, a high-profile ‘cultural worker’ in exile who agonised over the crushing of the November Uprising in Poland in 1831. It was likely Fou Ts’ong winning third prize at the Fifth International Chopin Piano Competition in 1955 that triggered the PRC’s strategic promotion of Chopin. Unlike Fou, who had benefitted from the tutelage of Zbigniew Drzewiecki at Warsaw’s State College of Music (the present-day Fryderyk Chopin University of Music), Li Yundi, the first Chinese pianist to be awarded first prize at the International Chopin Piano Competition, in 2000, was trained at Shenzhen Art School. Understandably, this success story could not fail to boost the PRC’s claim on Chopin. The special case of Chopin in the PRC is even more striking when we shift our focus from charismatic performance platforms to Chopin’s treatment within academic circles. Through a critique of selected papers about Chopin published by People’s Music and Music Research, the PRC’s leading music journals, this study reveals how and to what extent Chopin was claimed and promoted above other Western classical composers, arguably to serve, first and foremost, ideological ends. With the onset of the decade-long Sino–US ambassadorial talks in 1958, held in Warsaw’s ‘Chopin Park’, as one main focus, the timeframe of this study is delimited to cover the period from the founding of the PRC in 1949 to c.1979, when the PRC established formal diplomatic relationships with the United States.

Introduction

Introduction| March 01 2023 Introduction: Words from the Editor Jay Needham, MFA Jay Needham, MFA Jay Needham is an artist, musician, and cultural producer who utilizes multiple creative platforms to produce his works. As a hearing-divergent person, Needham explores present and emerging ecologies of the electromagnetic spectrum that often feature the sense of sound and vibration as a component in the interpretation of his works. His sound art, works for radio, visual art, performances, and installations have appeared worldwide at museums, festivals, and on the airwaves. His most recent sound installation is on permanent display in the BioMuseo, designed by Frank Gehry in the Republic of Panama. Needham’s writing appears in the books Hearing Places: Sound, Place, Time, Culture and Moving Sounds: A Cultural History of the Car Radio. His research has been published in Exposure, Soundscape: The Journal of Acoustic Ecology and Leonardo Music Journal. Needham is a professor in the School of Media Arts at Southern Illinois University Carbondale. He received his MFA from the School of Art at California Institute of the Arts. Search for other works by this author on: This Site PubMed Google Scholar Resonance (2023) 4 (1): 1–5. https://doi.org/10.1525/res.2023.4.1.1 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Jay Needham; Introduction: Words from the Editor. Resonance 1 March 2023; 4 (1): 1–5. doi: https://doi.org/10.1525/res.2023.4.1.1 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentResonance Search As I introduce the fourth volume of Resonance, I’m very proud to welcome the newest members of the journal’s editorial board. These sound studies scholars and artists add to the diversity of perspectives as we continue to explore cultural boundaries and expand upon the concept of sound as a living, cultural force. Throughout our fourth volume we will be presenting a new special series, “Queer Politics & Positionalities in Sonic Art.” The series will be guest edited by Charles Eppley (they/he), assistant teaching professor of Interdisciplinary Arts & Performance at Arizona State University and co-editor and research coordinator for the Proclaiming Disability Arts initiative at the NYU Center for Disability Studies. Their work will be assisted by a diverse team of scholars and artists from within the Resonance community. “Queer Politics & Positionalities in Sonic Art” asks vitally important questions such as, Does queer sound exist, and are there... You do not currently have access to this content.

Corrigendum

Correction| January 01 2023 Corrigendum Journal of Sound and Music in Games (2023) 4 (1): 91. https://doi.org/10.1525/jsmg.2023.4.1.91 Connected Content Errata: Kill the Orchestra: On Music, Mods, and Immersion in The Elder Scrolls on the Nexus Mods Platform Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Corrigendum. Journal of Sound and Music in Games 1 January 2023; 4 (1): 91. doi: https://doi.org/10.1525/jsmg.2023.4.1.91 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Sound and Music in Games Search Corrigendum to: Joana Freitas; Kill the Orchestra: On Music, Mods, and Immersion in The Elder Scrolls on the Nexus Mods Platform. Journal of Sound and Music in Games 1 April 2021; 2 (2): 22–41. doi: https://doi.org/10.1525/jsmg.2021.2.2.22 The author would like to make the following addition: This article was made with the support of CESEM – Centro de Estudos de Sociologia e Estética Musical – NOVA FCSH, UIDB/00693/2020 with the financial support of FCT, I.P. through National funds and I'm currently being funded by the Portuguese public agency for science and education Fundação para a Ciência e Tecnologia (FCT) with a PhD Studentship referenced as SFRH/BD/139120/2018. View Original Article You do not currently have access to this content.

Corrigendum

Correction| January 01 2023 Corrigendum Journal of Sound and Music in Games (2023) 4 (1): 92. https://doi.org/10.1525/jsmg.2023.4.1.92 Connected Content Errata: A (Silent) Game of Words: Notes on Jeremy Soule’s Accusations and the Elder Scrolls Online Community Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Corrigendum. Journal of Sound and Music in Games 1 January 2023; 4 (1): 92. doi: https://doi.org/10.1525/jsmg.2023.4.1.92 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Sound and Music in Games Search Corrigendum to: Joana Freitas; A (Silent) Game of Words: Notes on Jeremy Soule's Accusations and the Elder Scrolls Online Community. Journal of Sound and Music in Games 1 January 2022; 3 (1): 50–59. doi: https://doi.org/10.1525/jsmg.2022.3.1.50 The author would like to make the following addition: This article was made with the support of CESEM – Centro de Estudos de Sociologia e Estética Musical – NOVA FCSH, UIDB/00693/2020 with the financial support of FCT, I.P. through National funds and I'm currently being funded by the Portuguese public agency for science and education Fundação para a Ciência e Tecnologia (FCT) with a PhD Studentship referenced as SFRH/BD/139120/2018. View Original Article You do not currently have access to this content.

Tematyka gitarowa na łamach „Poradnika Muzycznego” (1947–1989 ) i „Przeglądu Muzycznego” (1990–1991)

The aim of this article is to present the contents of two music journals, “Poradnik Muzyczny” [“Music Guide”] and “Przegląd Muzyczny” [“Music Review”], published by the Ludowy Instytut Muzyczny [People’s Institute of Music] in Łódź, with a focus on subjects related to classical guitar and guitar music in Poland. For many years, these periodicals, issued on a monthly or bimonthly basis, depending on the period of publication, were the primary platform for exchanging ideas about the guitar in Poland. These journals published historical and methodological articles on the guitar, reports on guitar events, reviews of publications for the instrument, and original compositions and arrangements for guitar solo as well as for ensembles with the guitar.

The Musical Culture of the Russian Province in the Mirror of Prerevolutionary Periodicals

From the positions of systemic analysis, the author of the article determines the role of periodical press as an important source of research of the musical culture of the prerevolutionary Russian province. Against the background of the development of humanitarian knowledge, the studies of the musical provinces actualize the issue of the base of its scholarly field related to source studies. Particularly periodical press contains the basic information about the musical life of the prerevolutionary period of Russian history in all of its diversity. The periodical publications — from the capital cities and the periphery, the general and the specialized varieties — are specified on the basis of an elaborated classification. Emphasis is given to various printed material, different in its indication of genre, devoted to musical life in various cities of the Russian Empire — analytic sketches, survey correspondence, articles on music history, and informational-advertising production. The question is broached of the genre-related and stylistic transformation of musical journalism from descriptive overviews to articles of a problem-based culturological character. The participation of the activists of musical culture from a number of Russian cities in the formation of the areal tradition of musical criticism, the intensification of artistic connections between the provinces and the two Russian capital cities, the evolution of musical life in different cities (for example, in Odessa, Tiflis, Kharkov, etc.) — all of these are disclosed in the article. The musical periodical press of various provincial regions of Russia, represented by materials that are diverse in their genre and territorial affiliation, which has undergone a significant transformation of its content during the course of the entire 19th and the early 20th century, has made a significant contribution to the formation and the development of Russian music criticism and Russian musical culture in general.

Editorial

The Malaysian Journal of Music, Volume 11, Issue 1, comprises nine articles that present current issues in performance, musicology, music technology, practice-based research, and ethnomusicology from Thailand, Malaysia, China, and Indonesia.