Sound Stage Screen

SOUND STAGE SCREEN 1/ 1 Spring 2021 Sound Stage Screen (SSS) is a biannual peer-reviewed journal devoted to historical and theo- retical research into the relations between music, performance, and media. An open-access journal published in English by the University of Milan (Italy), SSS addresses a wide range of phenomena, practices, and objects pertaining to sound and music in light of the interconnections between performing traditions and media archaeologies. Editors Editorial Board Giorgio Biancorosso (Hong Kong) Giacomo Albert (Torino) Emilio Sala (Milano) Alessandra Campana (Boston) Managing Editor Alessandro Cecchi (Pisa) Carlo Lanfossi (Milano) Carlo Cenciarelli (Cardi ) Maurizio Corbella (Milano) Graphics & Layout Angela Ida De Benedictis (Basel) Cecilia Malatesta (Milano) Piersandra Di Matteo (Venezia) Multimedia & Website Nina Eidsheim (Los Angeles) Davide Stefani (Milano) Meri Kytö (Tampere) Communication & Development Christopher Morris (Maynooth) Biagio Scuderi (Milano) Gail Priest (Sydney) Cover: A moment from the performance of Christopher Cerrone’s Invisible Cities ( e Industry, Los Angeles Union Station, October 2013) - Photo credit: Dana Ross. Open Access Policy is journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. Open Access Policy is based on rules of Budapest Open Access Initiative (BOAI) http://www.budapestopenaccessinitiative.org/. SSS articles are licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0). You are free to share (copy and redistribute the material in any medium or format), adapt (remix, transform, and build upon the material) for any purpose, even commercially, under the following terms: attribution (you must give appropriate credit, provide a link to the license, and indicate if changes were made) and no additional restrictions (you may not apply legal terms or technological measures that legally restrict others from doing anything the license permits). Article Processing and Submission Charge You can publish free of charge: no payments are required from the authors, as the journal does not have article submission charges nor article processing charges (APCs). Sound Stage Screen does not have article submission charges nor article processing charges (APCs). https://riviste.unimi.it/index.php/sss/ Contents EDITORIAL Five Keywords and a Welcome ARTICLES Excavating French Melodrama of the First Empire Katherine Astbury, Sarah Burdett, Diane Tisdall Translating Music: Dubbing and Musical Strategies in Italian Cinema of the Early Sound Period Luca Battioni Experiencing Notational Artifacts in Music-Making: Towards A eoretical Framework Giovanni Cestino e Operatic Ear: Mediating Aurality Megan Steigerwald Ille REFLECTIONS Event or Ephemeron? Music’s Sound, Performance, and Media: A Critical Reection on the ought of Carolyn Abbate Martin Scherzinger FORUM Dramaturg, Today edited by Piersandra Di Matteo, with responses by Nedjma Hadj Benchelabi, Eva-Maria Bertschy, Antonio Cuenca Ruiz, André Lepecki, Florian Malzacher INTERVIEW Performance/Media/Documentation… inking Beyond Dichotomies Philip Auslander interviewed by Alessandro Cecchi REVIEWS Books Circuit Listening. Chinese Popular Music in the Global s (Andrew F. Jones) Timmy Chen Chih-Ting Performances Sweet Land, a New Opera by e Industry Jelena Novak EDITORIAL Five Keywords and a Welcome • e proliferation of new methodologies and areas of research has opened up enormous opportunities for the study of music and increas- ingly also sound. We participate in this movement towards expansion as it reects music’s gregarious nature and uid identity. As its disciplinary boundaries expand, music also seemingly dissolves. SSS seizes upon this moment to rethink and align musical scholarship with a wide range of the- oretical reections, historical reconstructions, and practical interventions from across the humanities and social sciences. • Sound not only expands but also seeps through various media and environments, giving rise to multifaceted situations that call for a redenition of musical expertise. We propose the “stage” and the “screen” as both literal and metaphorical loci where such an eort may be- gin and eventually ourish. • Koreans and Filipinos communicate in English, as do Indians from dierent states, ais with Australians, or Swedes with Brazilians. We welcome the role of English not only as a global but also a trans-local language, notwithstanding its status as a legacy of the former British Empire or the reach of American military, commercial, and cultural inuence. e choice of the English language will, we trust, encourage the participation from scholars and practitioners from around the globe, irre- spective of their native language: in uno, plures. / • As artists seek to share their experiences and knowledge in an academic setting, scholars continue to explore opportunities to take part in the curatorial and creative process in a variety of contexts—the concert hall, gallery, theater, lm, and all manner of newly emerging platforms. To buttress this convergence, SSS will function as a forum where people of dierent persuasions can meet and work together.rough the multimedia apparatus on its website, the journal will also provide a record of their encounters. 6 EDITORIAL • Our project is borne out of a desire to embrace new branches of knowledge but also a concern over the viability of musicology as an academic discipline. Is an institutional reset in order? Can we apply our knowledge to a new range of tasks and pair up with new professional gures? Rather than reimagining the study of music solely across disciplinary lines, then, we wish to open up a space in which people with dierent interests and specialities meet and over time give way to new protocols of collaboration. We champion the rapprochement between historians, theorists, and practitioners because we believe this to be the foundation of new musicological practices. *** We are delighted to welcome you to the rst issue of SSS. We owe a big “thank you” to our authors, anonymous reviewers, and board members for making this publication possible and helping us formulate the motives underpin- ning this enterprise (as expressed in the ve keywords above). If this journal is to function as an open space for new practices, it goes without saying that we need to nurture critical perspectives but also encourage practical interventions. ough we now live suspended in time, as soon as this incredible pandemic ends we will organize meetings, performances, and workshops that will bring to fruition some of the principles that inform this editorial. Se son rose oriranno (If it’s meant to be, it will be). Hong Kong-Milan, March Giorgio Biancorosso and Emilio Sala, editors SOUND STAGE SCREEN 2021/1 ARTICLES Excavating French Melodrama of the First Empire Katherine Astbury, Sarah Burdett, Diane Tisdall French melodrama of the Napoleonic era was a form of total theater with text, music, and gesture inextricably linked in the creation of eect for the post-Revolutionary audience. eater scholarship in France has long been dominated by textual analysis and, as a result, the interconnections between these elements of melodrama performance have been underexplored, al- though attempts “to ‘sonorize’ the study of melodrama” are becoming more widespread. Even the groundbreaking volumes of René-Charles Guilbert de Pixerécourt’s theater being produced currently perpetuate the subser- vience of music to text in that the play texts receive full critical apparatus whereas the scores do not. e creative possibilities of practice as research as a way of moving beyond the study of words on the page is well established in the UK but has only recently begun to gather pace in France and this is leading to an im- portant rapprochement between theory and practice with conférences-spec- tacles, séminaires-ateliers and historically informed performances by com- Katherine Hambridge and Jonathan Hicks, “e Melodramatic Moment,” in e Melo- dramatic Moment: Music and eatrical Culture, –, ed. Hambridge and Hicks (Chi- cago: University of Chicago Press, ), , a volume that challenges “the binaries that have come to characterize melodrama scholarship,” . For years, Emilio Sala was a lone voice in examining the scores of early nineteenth-century French melodrama, most notably in L’opera senza canto: il mélo romantico e l’invenzione della colonna sonora (Venice: Marsilio, ), but now there are a number of musicologists studying French melodrama scores, most notably Jens Hesselager, Sarah Hibberd, and Jacqueline Waeber. Nevertheless, scholarly interest in melodrama has not seen the level of interest that characterizes the eld of English melodrama. See for instance e Cambridge Companion to English Melodrama, ed. Carolyn Williams (Cambridge: Cambridge University Press, ). René-Charles Guilbert de Pixerécourt, Mélodrames, ed. Roxane Martin, vols. (Paris: Classiques Garnier, –). Sound Stage Screen, Vol. , Issue (Spring ), pp. –. is work is licensed under a Creative Commons Attribution . International License. DOI: ./sss. 8 EXCAVATING FRENCH MELODRAMA OF THE FIRST EMPIRE panies such as éâtre à la Source. is article oers a case study of how public performances of two early nineteenth-century French melodramas can further interdisciplinary dialogue and question conventionally as- sumed beliefs about melodrama of the period. e blending of scholarship

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