Project MUSE®: Acta Musicologica - Latest Articles
https://muse.jhu.edu/journal/731
Project MUSE®: Latest articles in Acta Musicologica.daily12026-05-14T00:00:00-05:00text/htmlen-USVol. 88 (2016) through current issueLatest Articles: Acta MusicologicaTWOProject MUSE®Acta Musicologica2296-43390001-6241Latest articles in Acta Musicologica. Feed provided by Project MUSE®Sinfonismo galante en Cataluña: las sinfonías y oberturas de Josep Fàbrega (fl. 1758–91) en contexto
https://muse.jhu.edu/article/976713
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Durante las últimas décadas, la investigación musicológica no solo ha recuperado numerosas sinfonías u oberturas compuestas en España durante la segunda mitad del siglo XVIII y primeras décadas del XIX, sino que también se ha preocupado por contextualizar estas composiciones, analizando cuestiones como la terminología utilizada para referirse a este tipo de obras, los espacios en los que se integraban y las funciones que cumplían, la difusión que adquirieron, las influencias estilísticas que recibieron, además de identificar a varios de los músicos que cultivaron este género1.La producción sinfónica de los dos principales músicos italianos activos en España durante el último cuarto del siglo XVIII –Gaetano Brunetti
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/731/image/coversmallSinfonismo galante en Cataluña: las sinfonías y oberturas de Josep Fàbrega (fl. 1758–91) en contexto2025-12-11text/htmlen-USSinfonismo galante en Cataluña: las sinfonías y oberturas de Josep Fàbrega (fl. 1758–91) en contexto2025-12-112025TWOProject MUSE®1650732026-05-14T00:00:00-05:002025-12-11Diplomatic, Aesthetic, and Economic Dimensions of the Anglo-German Musical Landscape from Postwar to Cold War: Perspectives on the Early Careers of the Amadeus Quartet and Dietrich Fischer-Dieskau
https://muse.jhu.edu/article/976714
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Founded in 1951 under the auspices of the Western Allied forces, the Berliner Festwochen built a cultural showcase to the "free world." Its initial logo explicitly displayed the support of the occupying powers for the event: within the letters ff were included the bear of the state flag for the city of Berlin, the tricolore of France, the Union Jack of the UK, the Stars and Stripes of the USA, and Schwarz-Rot-Gold of Germany (figure 1). The following year, the logo was reduced in size and the flags accordingly de-emphasized (figure 2). By 1953, when the Festwochen were consolidated as a festival of the city of West Berlin, it settled on a design that superimposed the logo over a drawing of the Brandenburg Gate
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/731/image/coversmallDiplomatic, Aesthetic, and Economic Dimensions of the Anglo-German Musical Landscape from Postwar to Cold War: Perspectives on the Early Careers of the Amadeus Quartet and Dietrich Fischer-Dieskau2025-12-11text/htmlen-USDiplomatic, Aesthetic, and Economic Dimensions of the Anglo-German Musical Landscape from Postwar to Cold War: Perspectives on the Early Careers of the Amadeus Quartet and Dietrich Fischer-Dieskau2025-12-112025TWOProject MUSE®1249542026-05-14T00:00:00-05:002025-12-11Do "Malandro Guitarrista" ao "Maestro Mesquita" – um ensaio sobre representação racial na iconografia musical de Rafael Bordalo Pinheiro (1875–78)
https://muse.jhu.edu/article/976715
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Objetivo principal deste estudo é realizar reflexões sobre a representação dos afrodescendentes nas caricaturas e ilustrações do artista português Rafael Bordalo Pinheiro1. Tem como foco o período em que ele trabalhou no Rio de Janeiro, entre 1875 e 18792, dentro de um contexto que englobava a crescente presença de músicos negros na cena musical daquela cidade, o desenvolvimento de uma música urbana afro-brasileira e intensos debates sobre abolicionismo e identidade nacional.Para tanto, o suporte teórico utilizado terá como base os três níveis de análise iconográfica formulados por Erwin Panofsky (pré-iconográfico, iconográfico e iconológico)3. Contudo, esses níveis de análise adquirem um sentido particular quando
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/731/image/coversmallDo "Malandro Guitarrista" ao "Maestro Mesquita" – um ensaio sobre representação racial na iconografia musical de Rafael Bordalo Pinheiro (1875–78)2025-12-11text/htmlen-USDo "Malandro Guitarrista" ao "Maestro Mesquita" – um ensaio sobre representação racial na iconografia musical de Rafael Bordalo Pinheiro (1875–78)2025-12-112025TWOProject MUSE®708812026-05-14T00:00:00-05:002025-12-11Gendering the Sublime: Understanding Carl Maria von Weber's Paired Missae Sanctae (1818–19) as Marriage Pendant Portraits
https://muse.jhu.edu/article/976716
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On 16 October 1818, not long after completing his first mature setting of the Mass Ordinary, Carl Maria von Weber wrote to his friend Friedrich Rochlitz about his intentions for a second Mass, which he would likewise compose for the court at Dresden.1 He wrote: "With the first Mass I yielded wholly to conviction and a deep sense of the magnitude of the subject: this time I shall imagine a cheerful, happy throng, childishly pleading and joyfully praying to the Lord."2 Two months later, on 14 December, in a letter to his acquaintance Friederike Koch, he described the difference between his two Masses in gendered terms: "I still hope to complete a new Mass this month. The 1st one is the man, this 2nd one the woman."3
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/731/image/coversmallGendering the Sublime: Understanding Carl Maria von Weber's Paired Missae Sanctae (1818–19) as Marriage Pendant Portraits2025-12-11text/htmlen-USGendering the Sublime: Understanding Carl Maria von Weber's Paired Missae Sanctae (1818–19) as Marriage Pendant Portraits2025-12-112025TWOProject MUSE®1054362026-05-14T00:00:00-05:002025-12-11