Artistic Research and Music Research

2021 ◽  
pp. 35-50
Author(s):  
Georgina Born
Keyword(s):  
Music Research ◽  
Artistic Research

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

Artistic Research Methodology

2014 ◽  
Author(s):  
Mika Hannula ◽  
Juha Suoranta ◽  
Tere Vadén
Keyword(s):  
Research Methodology ◽  
Artistic Research

Auteurship and Agency In Television Music

2013 ◽  
pp. 525-556
Author(s):  
Ronald Rodman
Keyword(s):  
Music Video ◽  
Distinctive Character ◽  
Music Research ◽  
Analytical Approaches

This chapteroffers a survey of literature and analytical approaches in the study of television music. It explains the distinction between composer-based,auteurist models and agency-oriented models of television music, and describes the distinctive character of music video. It discusses the trend in current television and television music and evaluates the presentstate and prospects for television music research. This chapteralso considers the factors that significantly influenced the evolution of television music, including the advent of DVR technology.

Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles

2020 ◽  
Vol 52 ◽  
pp. 127-146
Author(s):  
KRISTINA F. NIELSEN
Keyword(s):  
United States ◽  
Los Angeles ◽  
Mexican American ◽  
Historical Analysis ◽  
The United States ◽  
First Century ◽  
Ethnographic Fieldwork ◽  
Cultural Frameworks ◽  
Music Research ◽  
Siglo Xx

Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisis histórico, sugiero que los marcos musicales y culturales que alguna vez sirvieron para unir al México pos-revolucionario han adquirido una nuevo significado para contrarrestar la desaparición del legado indígena mexicano en los Estados Unidos.Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as “Aztec music.” In this article, I explore how contemporary musicians in Los Angeles, California, draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models. Pairing ethnographic fieldwork with historical analysis, I suggest that musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.

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