Abstract The music of Paolo Papini (d. 1603) has gone almost unnoticed in spite of the existence of over forty liturgical pieces by him, located primarily in five large manuscript choirbooks with a provenance from the Ospedale di Santo Spirito in Sassia, Rome. These choirbooks are otherwise known for their manuscript copies of music by Palestrina. This article examines the sources, provides new biographical information about Papini, and evaluates the function of his music within the Ospedale. It argues that, together with documentary evidence such as inventories and financial records from Santo Spirito, Papini’s music throws new light on our understanding of the reform of liturgical music in the decades following the final session of the Council of Trent in 1563.
This article re-evaluates the late seventeenth-century operatic culture of the Savoy court in Turin through the lens of newly examined archival material, the Avvisi di Torino preserved in the Medici archive in Florence. These handwritten newsletters, covering the years 1688–99, offer unprecedented insights into the musical and theatrical life of the Savoy capital, a court that stood at the crossroads of the Italian and French traditions. Previous scholarship has often overlooked this period or has relied primarily on printed librettos that provide only a partial view of operatic production. By integrating the avvisi with other sources, this study reconstructs the repertory, organization, and sociopolitical function of operatic spectacles under Victor Amadeus II of Savoy.
Much has been written about women as composers, performers, or teachers around the turn of the twentieth century. Less attention has been paid to how women could build portfolio careers by weaving musical practices together. This article focuses on a group of Scottish women who did not make their names solely as art music composers or stellar performers, and for whom piano teaching was only part of their musical work. Four were related to the Scottish music publishers Mozart Allan, James Kerr, and the Logan brothers; the fifth published with Allan and Kerr, and also self-published. All but one made their careers in Scotland. Their lives and achievements reveal the range of musical occupations open to upper working- or lower middle-class women in this era, and also provide insights into musical scenes beyond the English cities more typically the focus of British music histories.
Cullen Maiden was a bass opera singer, poet, actor, composer, and teacher born in Cleveland, Ohio, in 1932. After serving with the US military in Korea and postgraduate study at the Juilliard School, he toured with the Katherine Dunham Dance Company and the Belafonte Folk Singers before travelling to Europe — Stockholm, Rome, London, Munich — for further study and professional engagements in the early and mid-1960s. His move to Europe was motivated by racist barriers in the music industry which, while still inescapably present in Europe, seemed more navigable than those in the United States at the time. 1 Maiden therefore belongs to a multi-generational cohort of African American musicians who made similar moves to German-speaking Europe, as outlined in Kira Thurman’s landmark study Singing like Germans. 2 A successful audition for the Komische Oper in East Berlin led to stable employment in the house’s ensemble, and Maiden later rose to prominence as a popular Porgy in productions of Gershwin’s Porgy and Bess. Maiden lived in West Berlin for over thirty years, regularly crossing the border for work, and he pursued many independent artistic projects there, some in collaboration with political and aid organizations. In the later 1970s and early 1980s, while still living in Berlin, he made a professional return to the United States to give a series of recitals and to perform with the Black-led company Opera/South. By the early 1990s, Maiden was experiencing difficulties singing due to a medical condition, so took on increasing teaching work during his final decade in then-reunified Germany. Maiden and his British wife, Chris Hall-Maiden, moved to London in 2000, from which point he focused his multifaceted creativity on composition. He died in 2011.
It no longer seems eccentric to suggest that the guitar merits a place in any balanced account of British musical life during the nineteenth century. This article concerns three previously unknown manuscript guitar books of that period, discovered serendipitously in bookshops or auction catalogues. None has ever figured in an institutional collection or bibliographical record hitherto. After a succinct introductory account, which surveys the books in relation to aspects of guitar history that are still largely unknown to most modern players of the ‘classical’ guitar (and are usually overlooked by many scholars of nineteenth-century music in general), there is an inventory of all three. Of particular interest is the range of places where these manuscripts were copied or used, which include Trincomalee in Ceylon (Sri Lanka) and Jabalpur in the Indian state of Madhya Pradesh, as well as Kempsey in Worcestershire and Dover in Kent. British guitar history in the nineteenth century has a global context that encompasses distant corners of the Empire.
When the nine-year-old Susan Knell wrote to Leonard Bernstein in March 1962 from her family home in Ossining, New York, she had very little — if any — concept of ‘the archive’. Nor were posterity or history-making remotely in her mind. The second child of highly educated Jewish parents, she had been studying the piano because ‘it was something that kids were expected to [do]’. 2 Exactly how the letter came about she does not recall. Most likely, one of her parents encouraged her to write to him: ‘They were very impressed by […] famous people who were accomplished’, she reflected. ‘And we were Jewish. And so I think there was that connection with Bernstein.’ Armed with a sheet of lined paper, torn from the pad in such a way that one of the five pre-punched holes was left ripped, she penned her missive. The careful formatting reflected her awareness of ‘good etiquette’, but was also at odds with the childish scrawl, an incongruity suggestive of children’s tendency to do things ‘correctly’, up to a point. Once posted, the letter was sooner or later forgotten by Susan — and likewise was the photograph reportedly sent by return, which she has no memory of ever receiving. 3
Ellen Ann Willmott, although known primarily as a horticulturist, was also an amateur musician and the owner of an important library. As well as containing books on botanical subjects, this library was particularly strong in its early modern musical contents, both manuscript and printed. This article examines the early modern music in Ellen Willmott’s library (which featured composers ranging roughly from Thomas Tallis to Henry Purcell), her collecting habits, and her methods of acquisition. It also evaluates what happened to her library after her death, including the circumstances of its dispersal by auction in 1935, charting the disposal of the more significant items to their various winning bidders. In so doing, it offers a window onto the economics of the music trade — a trade driven by an item’s condition and completeness, and stimulated by the early music revival.
Despite the recognized importance of hymn tunes to Vaughan Williams’s music and philosophy, and the prominence of specific tunes written by him, there is currently no accurate works list of his original tunes. The reasons for this are varied and inevitably include the notorious elusiveness of a genre that has undergone constant change throughout its history. This essay reviews previous efforts to tabulate Vaughan Williams’s originals, settling on a six-point criteria to guide the analysis. The method provides consistency in a fluid environment in which early twentieth-century hymnody inevitably collides with ‘hymn-adjacent’ genres like the unison song and carol, and with traditions of school and community music. Recognizing such contingencies helps us better understand Vaughan Williams’s place in Anglican musical culture. Ultimately, the analysis sheds light on the composer’s aesthetics, demonstrating the degree to which this advocate of amateur music was laser-focused on encouraging the musically inexperienced church-goer to sing with confidence.
This article is structured around snapshots of everyday life in reception centres for asylum seekers. These set the tone of the sonic and affective dimensions of the experience of the centre, as narrated by a resident, a music teacher, and through ethnographic reflections. The article devises ‘voice’ as a distinct category of the sonic spectrum, imbued with the significance of testifying to human existence, in a twofold way: first as a theoretical lens that offers new perspectives on the asylum seekers’ paradigm, and second, as a methodological tool to gain insights into aspects of everyday life in a reception centre, and by extension gaining access into ‘other’ social worlds that would otherwise remain concealed.
This article conceptualises voice as a constellation, examining how objects, images, and sounds (or their absence) speak to the lived experiences of displacement. Drawing from a British Academy-funded project with a Syrian artist collective and a women-led social entrepreneurship initiative in Istanbul, we explore the affective assemblages of loss, belonging, and forced displacement through an ethnographic mode of listening. Bringing together a crocheted life jacket, a painting, and a piece of music that cannot be played, we consider how a politics of listening can offer new ways of understanding forced displacement and agency beyond voice as speech or narrative. We advocate for an approach that foregrounds thick solidarity, collective expression, and intersubjective relations of vocality.
This introduction to the round table attempts an overview of the conceptualizations of ‘voice’ and ‘agency’. It maintains a dialogic balance between the novel insights offered by each contribution’s topic and the authors’ distinct angles, and current debates around voice and agency. The introduction interweaves philosophical, anthropological, and, of course, (ethno)musicological approaches to the vocal phenomenon, highlighting its complex dimensions as well as its dense intersubjective meaningfulness. If ‘listening’ is the counterpart of ‘voicing’, integral to its very materialization, ‘vocal agency’ urges us to think beyond the interconnection between the vocalizer and the listener, shifting our focus of attention to the capacity of the voice to offer insights into and through itself.
Abstract Western plainsong studies have typically focused on fully notated manuscripts, which provide the most complete witnesses to the repertories that have interested scholars in the field. Recent work, however, has shown that partially notated manuscripts, fragments, and marginalia can yield different kinds of insights into manuscript culture, as well as the uses and functions of musical notation. This article explores how a partially notated manuscript preserving the Old Hispanic rite, Toledo, Cathedral Archive, MS 35–6 (T6), can expand our knowledge of Old Hispanic chant, its scribal practices, manuscript culture, and notation. We identify the specific palaeographical traits and melodic dialects associated with each scribe. On this basis, we hypothesize that scribes used notation for a variety of reasons: to train in singing and writing, to practise writing, to correct particular melodies and notational forms, to preserve particular versions within a variant melodic tradition, and as an aide-memoire. T6 offers new insights into the various ways that the Old Hispanic oral tradition could be supported by writing.
Who gets to have a voice, and what does it mean? Questions of vocal ontology and ethics are perennial, but in a world where the ability to sample the voices of others or to synthesize new ones in pursuit of both creative and commercial endeavours is available more widely than ever before, the relationship of the voice to the individual body, agency, and rights is invested with a new urgency. Through a discussion ranging from The Little Mermaid to Kanye West, Cathy Berberian to Holly Herndon, this short provocation considers the manifold ways in which we find, have, and borrow voices.
Julianne Grasso (JG): We are reviewing the book The Legend of Zelda: Ocarina of Time by Tim Summers. I’m being joined by Hyeonjin Park and Ariel Grez and we’ll start with our introductions real fast. So, Ariel, take it away.
If Paris was known as the capital of the nineteenth century, recent trends in musicology have encouraged some to turn their eyes away from this position in search of new scholarly frameworks. Many researchers have, on the one hand, moved away from capital-city studies and placed renewed emphasis on excavating the diverse regional cultural environments to fully account for a national musical landscape, in France and beyond. 1 On the other hand, opera scholars in particular have championed a transnational approach to mapping performers’ careers, the circulation of repertoire, and the development of singing and staging practices. 2 Neither approach entirely forsakes the capital, in fact, especially in the case of France. Rather, the highly centralized nature of nineteenth-century French cultural infrastructure has ensured that one of the tantalizing results of shifting the scholarly lens to different geographies is the revelation of new aspects of the significance of the capital’s musical practices when placed in relationship with others, and the parallel interrogation of the scope and source of Paris’s status and influence when inserted within a broader network. 3 In other words, recent directions in French music history, in allowing for a more critical assessment of the place and function of the capital from new perspectives, still ignite rather than dim the lure of the musical context of Paris sui generis. Indeed, the monographs reviewed in this article highlight that this is for good reason. These three nineteenth-century studies unveil a multiplicity of the capital’s musical practices, sites, and figures that, just like new geographies, remain unfamiliar to musicologists despite the ubiquity of the capital in scholars’ eyes, and cast new light on Parisian musical history.
Abstract Sergei Rachmaninoff is widely regarded as one of the great pianists of the twentieth century. In a research project that has stretched over two decades, I have compiled data on Rachmaninoff’s performance career, comprising research in archives as well as published sources in Russian and English languages. The resulting Rachmaninoff Performance Diary has been publicly available online since 2011. A missing link in the data has been the complete programmatic details of over 1,080 solo recitals. In 2006, I discovered research that was apparently unrecognized in its completeness in an archive of the Library of Congress, undertaken and donated by Rachmaninoff’s sister-in-law, Dr Sophia Satina. In this article, I examine the details of the 1924/25 season, which was a critical time for Rachmaninoff: after the collapse of his personal fortune caused by the Russian Revolution, he at last had achieved sufficient success and financial security from his hectic touring to allow him to return to composition the following year, his ‘sabbatical’ break of 1926. From the data, a clearer picture emerges of how Rachmaninoff varied his repertoire in his many concert appearances and recording sessions, showing how frequency of performance and, in instances, apparent self-assessment of his own music, were key factors.
Abstract This article explores creative processes in the many settings of the prosula BENEDICAMUS in laude ihesu, transmitted in a large number of European manuscripts during a period of at least three hundred years. The fourteen different polyphonic elaborations reveal a desire for multi-voiced performance shared across the whole period and geographical area under discussion. Moreover, while many of the compositional techniques are similarly widespread, the individual settings remain insistently discrete, suggesting that it was more common for a community to produce its own version of the chant than to absorb another community’s practices. This study includes a list of all known sources with polyphonic inscriptions of the prosula, highlighting the hitherto unrecognized prominence of BENEDICAMUS in laude ihesu in musical and liturgical traditions of the fourteenth to seventeenth centuries.
Abstract Scholarship on early modern English Catholic music after the reformations tends to focus on the activities of male musicians and male institutions. Despite increased study of English convent culture by scholars of religious, social, and literary history, there remains little specialist examination of music at post-Reformation English convents in exile, and their role in wider musical networks in early modern Europe is markedly under-acknowledged. This article aims to highlight how complex miscellanies with links to English monastic institutions in exile can offer insight into the convents’ otherwise elusive musical world. Using a hitherto unanalysed miscellany – Douai Ms 785 – this article will show how codicological study of manuscripts, combined with study of concordances and unica, can illuminate the role of English convents in early modern musical networks. In doing so, it will demonstrate the need to understand miscellanies like Douai Ms 785 as witness to interacting, overlapping musical and religious ecosystems in early modern Europe.
It is June 2022 and the premiere of R.U.R. Torrent of Light , a multimedia opera, in Toronto is enthralling audiences. Inspired by Karel Čapek’s play that introduced the word ‘robot’ into 20th-century vocabulary, composer Nicole Lizée and librettist and playwright Nicholas Billon have conceived a science-fiction opera for our current fascination with AI (artificial intelligence). The production by Toronto’s Tapestry Opera Theatre is in partnership with the research and creation of new technologies at the Social Body Lab and the Digital Futures Initiatives at Ontario College of Art & Design University. It has been conceived to embed technologies into the scenographic dramaturgy as projections, wearable art and spatialisation of sound and light through the costuming and neologisms in instrumentation to create a ‘unique electronica-classical sound’ of the neo-futurist worlding. After the hiatus of the last two years, this live performance highlights our growing recognition of scenographic vocabularies of programmable performance affecting behaviours, as well as expanded definitions of sound and digital integration as contemporary opera. Such interdisciplinarity has often brought the spectator into fresh relationships with opera in performance, thereby activating the event of spectatorship.
Abstract Thomas Clayton’s opera Arsinoe, Queen of Cyprus (1705), while acknowledged as the first opera in the Italian manner produced in England, is also possibly the most reviled opera of the era, a reputation launched in 1709 by the anonymous author of ‘A Critical Discourse on Opera’s and Musick in England’. The opera’s success during its three-season run is at odds with its present reputation. This article offers a reconsideration of Arsinoe based on examining the historical sources and corrects misconceptions about Clayton’s authorship and attribution of the libretto to Peter Anthony Motteux. Examined are the opera’s recitative, aria forms, melodic style and dramaturgy. It argues that critics have been evaluating Arsinoe according to inappropriate criteria drawn from later eighteenth-century Italian-style operas of Scarlatti, Bononcini, and Handel. After tracing the genesis of the opera, the article examines the recitatives and the structure and melodic style of the arias. The arias do not follow the usual forms of later opera. The melodic style of the short sectional arias is not ‘Italianate’ and is closer to the native multi-sectional English theatre song. Understanding of the opera’s dramaturgy has been hindered by the graphic layout of the 1705 London wordbook. To aid comprehension of the opera and its relation to its Bologna source libretto and to readily assess the work of the librettist, three online supplements to this article present: (1) parallel texts of the London and Bologna librettos (given in translation); (2) a facsimile of the London wordbook indicating text set by Clayton as aria, duet, or chorus; and (3) a reformatted version of the London wordbook. The article argues that Arsinoe should not be seen as a failed Italian-style opera but as an innovative, sui generis realization of the ideal of an all-sung dramatic entertainment that would meet the expectations of a London audience that had not yet become familiar with the operatic style of Bononcini and Scarlatti. One feature added to the London libretto, the Epithalamium musical entertainment, shows the opera’s link to England’s dramatic operatic tradition.
