Rethinking Difference in Music Scholarship
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Rethinking Difference in Music Scholarship Two decades after the publication of several landmark scholarly collections on music and difference, musicology has largely accepted difference-based scholarship. This collection of essays by distin- guished scholars is a major contribution to this field, covering the key issues and offering an array of individual case studies and methodologies. It also grapples with the changed intellectual land- scape since the 1990s. Criticism of difference-based knowledge has emerged from within and outside the discipline, and musicology has had to confront new configurations of difference in a changing world. This book addresses these and other such challenges in a wide- ranging theoretical introduction that situates difference within broader debates over recognition and explores alternative frame- works, such as redistribution and freedom. Voicing a range of perspectives on these issues, this collection reveals why differences and similarities among people matter for music and musical thought. olivia bloechl is Associate Professor in the Department of Musicology at the University of California, Los Angeles. She is the author of Native American Song at the Frontiers of Early Modern Music (Cambridge, 2008) and is writing a book on Opera and Politics in Old Regime France, which has been supported by an ACLS Charles A. Ryskamp Research Fellowship. melanie lowe is Associate Professor of Musicology at the Blair School of Music at Vanderbilt University. The author of Pleasure and Meaning in the Classical Symphony (2007), she is widely published on Haydn and other eighteenth-century subjects, topic theory, music in American media, teen-pop culture, and music history pedagogy. jeffrey kallberg is Professor of Music History and Associate Dean for Arts and Letters at the University of Pennsylvania. The author of Chopin at the Boundaries: Sex, History, and Musical Genre (1996), he has also published on Verdi, Sibelius, and on the intersections between music and the history of sexuality. He has served as Vice President of the American Musicological Society, and earned National Endowment for the Humanities and Guggenheim Fellowships. Rethinking Difference in Music Scholarship Edited by olivia bloechl University of California, Los Angeles melanie lowe Vanderbilt University jeffrey kallberg University of Pennsylvania University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107026674 © Cambridge University Press 2015 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2015 Printing in the United Kingdom by TJ International Ltd. Padstow Cornwall A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Rethinking difference in music scholarship / edited by Olivia Bloechl, University of California, Los Angeles; Melanie Lowe, Vanderbilt University; Jeffrey Kallberg, University of Pennsylvania. pages cm Includes bibliographical references and index. ISBN 978-1-107-02667-4 (Hardback) 1. Difference (Philosophy) in music. 2. Music–Social aspects. 3. Music–Philosophy and aesthetics. 4. Gender identity in music. 5. Music and race. I. Bloechl, Olivia Ashley, 1975– editor. II. Lowe, Melanie Diane, 1969– editor. III. Kallberg, Jeffrey, 1954– editor. ML3916.R49 2014 780.7–dc23 2014020423 ISBN 978-1-107-02667-4 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. For Ruth Solie Contents List of figures [page ix] Notes on contributors [xi] Acknowledgments [xvi] 1 Introduction: rethinking difference [1] olivia bloechl, with melanie lowe 2 He said, she said? Men hearing women in Medicean Florence [53] suzanne g. cusick 3 Race, empire, and early music [77] olivia bloechl 4 What Mr. Jefferson didn’t hear [108] bonnie gordon 5 Difference and Enlightenment in Haydn’s instrumental music [133] melanie lowe 6 Different masculinities: androgyny, effeminacy, and sentiment in Rossini’s La donna del lago [170] heather hadlock 7 Composing racial difference in Madama Butterfly: tonal language and the power of Cio-Cio-San [214] judy tsou 8 Maurice Ravel’s Chants populaires and the exotic within [238] sindhumathi revuluri 9 “Diving into the earth”: the musical worlds of Julius Eastman [260] ellie m. hisama 10 Synthesizing difference: the queer circuits of early synthpop [287] judith a. peraino vii viii contents 11 “Pranksta rap”: humor as difference in hip hop [315] charles hiroshi garrett 12 Race and the aesthetics of vocal timbre [338] nina sun eidsheim 13 Beneath difference; or, humanistic evolutionism [366] gary tomlinson 14 Difference unthought [382] jairo moreno Index [422] Figures 3.1 Jean Berain, Costume de “Mauresse,” Paris, Musée de Louvre, Collection Rothschild. [90] 3.2 Louis-René Boquet, Africaine et Africain, Paris, Bibliothèque de l’Opéra. [92] 3.3 Louis-René Boquet, Africaine, for the Prologue of Jean-Philippe Rameau, Naïs (1764 revival), Paris, Bibliothèque Nationale, Cabinet des Estampes. [94] 3.4 After Louis-René Boquet, Didon, Stockholm, Kungliga biblioteket. [96] 3.5 After Louis-René Boquet, Africaine, Stockholm, Kungliga biblioteket. [97] 9.1 Unidentified friend of the Eastman family, Julius, Frances, and Gerry Eastman. Undated; no photographer identified. Reproduced by permission of the Estate of Julius Eastman. [265] 9.2 Morton Feldman seated at piano surrounded by Creative Associates (Julius Eastman, Jan Williams, William Appleby, David Del Tredici) (1972); no photographer identified. Courtesy of University at Buffalo, Music Library. [268] 9.3 Julius Eastman (November 1989). No photographer identified. Reproduced by permission of the Estate of Julius Eastman. [271] 9.4 Julius Eastman, Evil Nigger, 0:00–1:50. Reproduced by permission of the Estate of Julius Eastman. [275] 9.5 Eastman, Crazy Nigger, 0:00–9:00. Reproduced by permission of the Estate of Julius Eastman. [278] 9.6 Pitch structure in Crazy Nigger, 37:00–47:30. Reproduced by permission of the Estate of Julius Eastman. [279] 9.7 Eastman, Gay Guerrilla, 0:00–2:45. Reproduced by permission of the Estate of Julius Eastman. [281] 9.8 Eastman, Gay Guerrilla, 18:30–23:00. Reproduced by permission of the Estate of Julius Eastman. [283] 10.1 Gary Numan, The Pleasure Principle (1979). Licensed courtesy of Beggars Banquet Records Ltd. By arrangement with Beggars Group Media Limited. www.beggars.com [291] ix x list of figures 10.2 Walter Carlos (1968). GAB Archive/Getty Images. [299] 10.3 Karl Dallas, “Human Synthesizer Changes Sex,” Melody Maker (June 16, 1979). Copyright Karl Dallas, http://houstonmedia.tv [300] 10.4 The Human League, Reproduction (1979). Licensed courtesy of EMI Records Ltd. [308] 10.5 Yazoo (also Yaz), Upstairs at Eric’s (1982). Licensed courtesy of EMI Records Ltd./ Rhino Entertainment Company/Joe Lyons. [312] 12.1 From Lilli Lehmann and Richard Aldrich, How to Sing, new and rev. edn. (New York: The Macmillan Company, [1902] 1921), 19. [350] 12.2 From Lehmann and Aldrich, How to Sing, 43. [351] 12.3 From Lehmann and Aldrich, How to Sing, 99. [351] 12.4 “The Family Group of the Katarrhinen,” © The British Library Board. Artist unknown in E. Haeckel, Die Natürliche Schöpfungsgeschichte (Berlin, 1902). [352] 12.5 A panoptical schema of evolutionary progress. © The British Library Board. J. C. Nott and G. Gliddon, Types of Mankind (Philadelphia: Lippincott, Gramb and Co., 1854), 458. [353] Contributors olivia bloechl, Associate Professor of Musicology at UCLA, is a critical historian of early modern music, with broad expertise in baroque opera, postcolonialism, and ethics and politics of music. She is the author of Native American Song at the Frontiers of Early Modern Music (Cambridge University Press, 2008) and is writing a book on Opera and Politics in Old Regime France, which has been supported by an ACLS Charles A. Ryskamp Research Fellowship. suzanne g. cusick, Professor of Music on the Faculty of Arts and Science at New York University, has published extensively on gender and sexuality in relation to the musical cultures of early modern Italy and of contemporary North America. Her current book project explores the relationship among the erotic, the sonic, and the political in early modern Florence, through a retelling of one of the city’s most notorious sex-and-singing-nun scandals. nina sun eidsheim is on the faculty of the UCLA Department of Musicology. As a scholar and singer, she investigates the multisensory and performative aspects of the production, perception, and reception of vocal timbre in twentieth- and twenty-first-century music. She is currently working on two books, entitled Sensing Sound: Singing and Listening as Vibrational Practice and Measuring Race: Listening to Vocal Timbre and Vocality in African-American Popular Music. She is also co-editing the Oxford Handbook of Voice Studies and a special issue on voice and materiality for the