Project MUSE®: Journal of the Royal Musical Association - Latest Articles
https://muse.jhu.edu/journal/305
Project MUSE®: Latest articles in Journal of the Royal Musical Association.daily12026-05-18T00:00:00-05:00text/htmlen-USVol. 130 (2005) through Vol 133 (2008)Latest Articles: Journal of the Royal Musical AssociationTWOProject MUSE®Journal of the Royal Musical Association1471-69330269-0403Latest articles in Journal of the Royal Musical Association. Feed provided by Project MUSE®The Articulation of Virginity in the Medieval Chanson de nonne
https://muse.jhu.edu/article/256287
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It was commonplace for a woman to be described in medieval literature from the perspective of her sexual or marital status: as virgin, widow or wife. The sexuality of women was considered a natural, yet potentially dangerous, element of their physicality; as descendants of Eve, women's bodies carried the memory of original sin via their childbearing and menstruation, but were also measured against the unattainable standard of the Virgin Mary's intactness. Medieval lyrics, such as the English carol cited above, frequently portrayed women (Mary, saints, secular women, mythological women) in these terms, most often through the eyes and authorial voice of a man, emphasizing the paradox of Eve and Mary as exemplars of
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Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/305/image/coversmallThe Articulation of Virginity in the Medieval Chanson de nonne2008-12-31text/htmlen-USThe Articulation of Virginity in the Medieval Chanson de nonne2008-12-312008TWOProject MUSE®1714612026-05-18T00:00:00-05:002008-12-31Opera for Sale: Folksong, Sentimentality and the Market
https://muse.jhu.edu/article/256288
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Erich Wolfgang Korngold's move from Vienna to Hollywood in the 1930s has drawn attention, understandably, to his involvement with mass culture. The polished sheen of his earlier operas and operetta arrangements fits, as Peter Franklin has shown, into an alternative history of opera that leads from Italian operatic verismo to the Hollywood sound-film.1 His operas also prefigure an important aspect of film music's alleged emotional manipulation, in their deployment of overwhelming masses of consonant, pleasurable sound at strategic moments. Korngold's music converged with the spectacular 'pantomimes' of his fellow Austrian émigré and contemporary Max Reinhardt, in what Franklin describes as 'high culture at its most
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Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/305/image/coversmallOpera for Sale: Folksong, Sentimentality and the Market2008-12-31text/htmlen-USOpera for Sale: Folksong, Sentimentality and the Market2008-12-312008TWOProject MUSE®1297052026-05-18T00:00:00-05:002008-12-31On Ballet at the Opéra, 1909–14, and La fête chez Thérèse
https://muse.jhu.edu/article/256289
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History has not looked kindly on the Paris Opéra's early twentieth-century ballets. Of the 13 works created between 1900 and August 1914, when the Opéra closed temporarily (until December the following year), only one has entered even the periphery of the repertory; none has been commercially recorded. The works staged between 1909 and 1914 have, it seems, fared worst. Eclipsed on arrival by the contemporary productions of Diaghilev's Ballets Russes, these ballets have long been overlooked, scholars preferring to maintain a steady focus on the Russian company. Indeed, with the exception of Lynn Garafola's seminal monograph on Diaghilev's troupe, which draws informed – if infrequent – comparisons between Russian and
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Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/305/image/coversmallOn Ballet at the Opéra, 1909–14, and La fête chez Thérèse2008-12-31text/htmlen-USOn Ballet at the Opéra, 1909–14, and La fête chez Thérèse2008-12-312008TWOProject MUSE®2034092026-05-18T00:00:00-05:002008-12-31'Parisomania'?: Jack Hylton and the French Connection
https://muse.jhu.edu/article/256290
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It's that Jack Hylton [. . .] has caught 'Parisomania'. This terrible illness does not cause bleeding but we've tried to sweeten it for him with the violet lozenge that he wears in his button-hole. [. . .] Hope Hampton and Jack Hylton are Officiers de l'Instruction Publique! This is absolutely justified . . . and very Parisian.1In 1930, at what will become the mid-point of an extended story, the French State first honoured the extraordinary achievements of Jack Hylton (1892–1965), christened John Greenhalgh Hilton, a British dance bandleader born near Bolton in Lancashire. This article aims to reconstruct Hylton's rich and varied French activities across the 1920s and 1930s, and, in so doing, probes two sets of
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Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/305/image/coversmall'Parisomania'?: Jack Hylton and the French Connection2008-12-31text/htmlen-US'Parisomania'?: Jack Hylton and the French Connection2008-12-312008TWOProject MUSE®2969762026-05-18T00:00:00-05:002008-12-31Representing Sonatas
https://muse.jhu.edu/article/256291
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Defining 'definition', the New Shorter Oxford English Dictionary (1993 edition) proposes 'a precise statement of the nature, properties, scope, or essential qualities of a thing; an explanation of a concept etc.'. There is no overt acknowledgement of the probability that most if not all such statements, in aiming to be both precise and concise, will, when thought about, tend to provoke doubts and questions, therefore pointing up the likelihood that, as 'explanation' proceeds, qualifications of the initial, would-be definitive, statement will proliferate.The same dictionary's definition of 'sonata form' – 'the musical form of a sonata; spec. A type of composition in three main sections (exposition, development, and
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Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/305/image/coversmallRepresenting Sonatas2008-12-31text/htmlen-USRepresenting Sonatas2008-12-312008TWOProject MUSE®561372026-05-18T00:00:00-05:002008-12-31When did German Music Lose its Innocence?
https://muse.jhu.edu/article/256303
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Stephen Rumph is mad at E. T. A. Hoffmann. And not just Hoffmann alone – he also has a beef with (in alphabetical order): Adorno, counterpoint, historicism, longing, lyricism, medievalism, modernism, mysticism and Romanticism. What could possibly bind together such a motley group of suspects? In Rumph's eyes, they are all implicated in either the creation or the continued sponsorship of a conservative world-view manifested in Beethoven's late compositions. Hoffmann is under the gun because his famous – and famously influential – promotion of a musical kingdom 'not of this world' fundamentally misrepresents Beethoven's political resonance, and helps obfuscate what Rumph sees as the composer's abandonment of his own
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Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/305/image/coversmallWhen did German Music Lose its Innocence?2008-12-31text/htmlen-USWhen did German Music Lose its Innocence?2008-12-312008TWOProject MUSE®993862026-05-18T00:00:00-05:002008-12-31