Twentieth-Century Music最新文献

{"title":"Graham Griffiths, ed., Stravinsky in Context (Cambridge: Cambridge University Press, 2021), ISBN: 978-1-108-42219-2 (hb).","authors":"Daniel Elphick","doi":"10.1017/S1478572221000232","DOIUrl":"https://doi.org/10.1017/S1478572221000232","url":null,"abstract":"The 6th of April 2021 marked the 50th anniversary of Igor Stravinsky’s death. The BBC planned a ‘Stravinsky Day’ on Radio 3 to mark the occasion, with over five hours of programming and features on the Saturday after the anniversary. In the event, the programming was delayed for two weeks as the news came in of the death of HRH The Duke of Edinburgh. All BBC schedules were turned over to playing solemn music and identical news reports, a move which attracted the largest number of complaints the BBC has ever received. There is some faint poetry to discern in the parallels between the death and funerals of the Duke of Edinburgh and the death of Stravinsky back in 1971. Both occasions elicited very public outpourings of grief and various commentators marking the ‘end of an era’; on Stravinsky’s death, musicians, composers, and even politicians made press releases to express their sympathies, including the White House. Both deaths invited reflections on the direction and very existence of their respective spheres: contemporary composition and the monarchy. With the Stravinsky quinquagenary falling this year, it is perhaps inevitable that we would see several new publications released to coincide. One of these, Stravinsky in Context, edited by GrahamGriffiths, is a remarkable taking of the pulse of Stravinsky Studies over the last few years. There has been no shortage of books on Stravinsky, of course: there is perhaps no other twentieth-century composer who has received more scholarly attention. Edited essay volumes have been plentiful in recent years, including Stravinsky and His World; the 2013 anniversary of The Rite of Spring brought about at least two essay collections dedicated to that infamous piece alone. Unlike most other edited collections, however, Stravinsky in Context contains many essays: thirty-five, to be exact. Such a quantity might instantly make one think of large tomes along the lines of Routledge Companions, but that is not the case here; indeed, Stravinsky in Context barely tips over 300 pages. Instead, each contribution is a micro-essay, barely numbering 10 pages or so. For some authors, this clearly provides remarkable freedom while for others it evidently means limitations.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48959885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dylan Robinson, \u0000 Hungry Listening: Resonant Theory for Indigenous Sound Studies\u0000 (Minneapolis: University of Minnesota Press, 2020), ISBN: 978-1-5179-0768-6 (hc); ISBN: 978-1-5179-0769-3 (pb).","authors":"Jessica Bissett Perea","doi":"10.1017/S147857222100027X","DOIUrl":"https://doi.org/10.1017/S147857222100027X","url":null,"abstract":"Yagheli du. Jessica Bissett Perea sh’iyi qilan. Dena’ina eshlan shida. K’enaht’ana eshlan shida. K’enakatnu shgu shqayek qilanda. Sh’eldinna Dghelay Teht’ana eshlan shida. Shqizdlan Dgheyaytnu, shunkda shtukda ała Niteh shgu koht’an ghat’na gheluda. Xučyun, Chochenyo Ohlone Ełnena, shgu yesduda. Putah-toi, Patwin Ełnena, k’a shgu yesduda. Chin’an hech’ qeshnash hu. Dena’inaq’ dudeldih shit. Greetings, I am thankful if I can write to you this way; I am learning the Dena’ina language. My name is Jessica Bissett Perea and I am Upper Tikahtnu (Cook Inlet) Dena’ina and an enrolled member of the Knik Tribe from southcentral Alaska. I was born in Dgheyaytnu, or what is currently known as Anchorage, and raised on my ancestral homelands. I currently live on Chochenyo Ohlone lands or Xučyun (currently known as Berkeley, California). I currently work on Patwin lands or Putah-toi (currently known as Davis, California). In academic contexts, I identify as an interdisciplinary musician-scholar. I am a double bassist and vocalist with earned degrees in Music Education (BME from Central Washington University), Music History (MA from the University of Nevada), and Musicology (PhD from the University of California, Los Angeles). I am currently an Associate Professor and Graduate Advisor in Native American Studies at the University of California, Davis, and my three core areas of research expertise include: (1) Indigenous-led research methodologies and theories, including writing and editorial praxes; (2) Indigeneitycentred approaches to performance, improvisation, media, and sensory studies; and (3) arts and activism in North Pacific and Circumpolar Arctic communities specifically, and between Indigenous, Black, and Peoples of Colour communities more broadly. To contextualize this review of Dylan Robinson’s Hungry Listening: Resonant Theory for Indigenous Sound Studies (2020), it is important that I begin with the preceding explanations of (some of) the relationalities I bring to this work. In theorizing ‘a range of encounters between Indigenous song and Western art music (also called classical music or concert music)’ (1) more broadly, or Native North American song and European art music more specifically, Hungry Listening traces a multitude of encounters that require new forms of attention to better account for ‘aesthetic and structural encounters that take place within music composition and performance; listening encounters that take place between the listening","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42840051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"TCM volume 18 issue 3 Cover and Front matter","authors":"","doi":"10.1017/s1478572221000281","DOIUrl":"https://doi.org/10.1017/s1478572221000281","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43388501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Notes on Contributors","authors":"Alison Babeu","doi":"10.1017/s147857222100030x","DOIUrl":"https://doi.org/10.1017/s147857222100030x","url":null,"abstract":"Alison Babeu has served as the Digital Librarian and Research Coordinator for the Perseus Project since 2004. During her time at Perseus she has worked on a variety of diverse projects, from research into historical newspaper digitization to the development of cyberinfrastructure for digital classics as well as helping to manage the metadata for its flagship Greek and Latin collections. Before coming to Perseus, she worked as a librarian at both the Harvard Business School and the Boston Public Library. She has a BA in History from Mount Holyoke College and an MLS from Simmons College. Her current projects include the ongoing development of and support for the Perseus Catalog and helping manage the work of the Open Greek and Latin Project. Her current research interests include digital libraries and digital humanities; metadata creation and cataloging; and new roles for librarians in supporting the complex world of digital scholarship.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48250163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Christophe Levaux, We Have Always Been Minimalist: The Construction and Triumph of a Musical Style, trans. Rose Vekony (Oakland: University of California Press, 2020), ISBN: 978-0-520-29527-8 (pb). - Michael Maizels, In and Out of Phase: An Episodic History of Art and Music in the 1960s (Ann Arbor: University of Michigan Press, 2020), ISBN: 978-0-472-13193-8 (hb).","authors":"Pwyll ap Siôn","doi":"10.1017/s1478572221000141","DOIUrl":"https://doi.org/10.1017/s1478572221000141","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138536295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"TCM volume 18 issue 3 Cover and Back matter","authors":"","doi":"10.1017/s1478572221000293","DOIUrl":"https://doi.org/10.1017/s1478572221000293","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46473867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour","authors":"Bess Xintong Liu","doi":"10.1017/S1478572221000189","DOIUrl":"https://doi.org/10.1017/S1478572221000189","url":null,"abstract":"Abstract This article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43039346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora","authors":"H. Chang","doi":"10.1017/S1478572221000207","DOIUrl":"https://doi.org/10.1017/S1478572221000207","url":null,"abstract":"Abstract Protestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45644783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Colonialism, Cosmopolitanism, and Nationalism: The Performativity of Western Music Endeavours in Interwar Shanghai","authors":"H. Yang","doi":"10.1017/S1478572221000177","DOIUrl":"https://doi.org/10.1017/S1478572221000177","url":null,"abstract":"Abstract This article examines the meaning of Western music performances in interwar Shanghai through the theoretical framework of performativity that originated in John Austin's speech act and Judith Butler's notion of identity as performed. The early concerts of the Shanghai Municipal Orchestra (SMO), I suggest, were an assertion of settler sovereignty in a treaty port such as Shanghai. Therefore, Chinese musicians performing Western music – propagated through the establishment of the National Conservatory of Music by Chinese elites in Shanghai's French Settlement in 1927 – was the embodiment of three contradictory ideals: colonialism, nationalism, and cosmopolitanism. Zooming in on four SMO concerts that featured Chinese musicians in 1929, I argue that they were sites of identity and power negotiation, the SMO and the Chinese musicians asserting quite distinct performative utterances. On the one hand, the performing Chinese body enacted the cosmopolitan outlook that the Municipal Council was eager to project, not only for the sake of ideology but also to increase SMO's concert revenue by appealing to the increasing number of Chinese concert attendees. On the other hand, it meant national glory to Chinese residents in Shanghai, marking Chinese musicians participating in a global musical network. Lastly, this study draws attention to the diverse geographies of Western music in the twentieth century and its coeval development beyond the West, testifying to the timely need for a global music history in which the musicking of Western music in so many Asian cities should be interwoven into its narrative.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44685408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction to the Special Issue on Musics of Coeval East Asia","authors":"H. Chang","doi":"10.1017/S1478572221000153","DOIUrl":"https://doi.org/10.1017/S1478572221000153","url":null,"abstract":"A number of scholars in critical Asian Studies have pointed out the persistent construction of East Asia as the Other across Anglophone humanities. 1 They have cited ideologies that have continued to motivate the essentialist construction of East Asia as static, archaic, and separate from the West – from orientalism, a hallmark of European and US imperialisms, to post-war Boasian culturalism, which emerged as a kind of critique of cultural standardization brought on by Western imperialisms. 2 It would be an exaggeration to say that current Anglophone scholarship on the music of East Asia overtly partakes in the othering practices of the past. However, the legacies nevertheless continue to shape the epistemic ground of this scholarship in subtle ways. This is seen, for example, in the ways in which knowledge is organized and presented in reference books, textbooks, and syllabi. ‘ Chinese ’ , ‘ Japanese ’ , and ‘ Korean ’ music is depicted first and foremost as a range of traditional musics; Western, popular, or other hybrid forms of music do make an appearance but are given secondary or supplementary status. 3 This structure of knowledge reinforces a ‘ United Nations ’ model where nations are represented by traditional music and exist within nationally bounded space and time. It is difficult to paint in broad strokes the rapidly changing terrain of recent research; however, it is possible to locate a constructivist strain, which, despite its critical work, still maps music onto notions of national or ethnic identity. In this constructivist frame, there is a productive recognition that the traditional in twentieth-century music is reconstructed through the identity discourses of nationalism and globalization. 4 However, what lies outside this reconstructed soundscape remains underexplored, and thus music remains tethered to a ‘ nation-bound, identity-driven hermeneutics ’ . 5","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47630043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}