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Reiterating Hierarchy and the Failed Promise of the Global 重申等级制度和全球失败的承诺
2区 艺术学
Twentieth-Century Music Pub Date : 2023-10-01 DOI: 10.1017/s147857222300018x
CHELSEA BURNS
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引用次数: 0
TCM volume 20 issue 3 Cover and Back matter 中医第20卷第3期封面和封底
2区 艺术学
Twentieth-Century Music Pub Date : 2023-10-01 DOI: 10.1017/s1478572223000233
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引用次数: 0
Michiko Toyama Disrupts the Historiography of Modernism 富山美智子颠覆现代主义的史学
2区 艺术学
Twentieth-Century Music Pub Date : 2023-10-01 DOI: 10.1017/s1478572223000191
BRIGID COHEN
{"title":"Michiko Toyama Disrupts the Historiography of Modernism","authors":"BRIGID COHEN","doi":"10.1017/s1478572223000191","DOIUrl":"https://doi.org/10.1017/s1478572223000191","url":null,"abstract":"Abstract The Paris-trained, Japanese composer Michiko Toyama (1913–2006) was appointed as the earliest foreign-born visiting composer at the Columbia-Princeton Electronic Music Center (CPEMC), the first institutionally supported studio of its kind in the United States. Yet she remains virtually unknown to scholarship, despite a growing literature on women pioneers in electronic music. Drawing on interviews, archival research, and the interpretive study of music, this article studies the conditions under which Toyama has found little remembrance to date; and it conceptualizes Toyama's own ideas of modernity formulated over the massive cultural and geographical dislocations of her lifetime. Within an intensely lyrical compositional practice, Toyama thematized hallmarks of traditional modernism studies: self-reflexivity, estrangement, exile, and exoticism. Racist criticism during her lifetime dismissed her music as a belated mimicry of Western models. Yet the modernist qualities and themes of her work emerge as a consequence of her life lived in intercultural contact zones of uprooting – the very conditions that make ideas of the ‘modern’ possible.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136094170","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}
引用次数: 0
TCM volume 20 issue 3 Cover and Front matter 《中医》第20卷第3期封面和封面
2区 艺术学
Twentieth-Century Music Pub Date : 2023-10-01 DOI: 10.1017/s1478572223000221
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引用次数: 0
When Is It Modernism? A Lesson from Indonesian Musik Kontemporer 什么时候是现代主义?印尼音乐大师的一个教训
2区 艺术学
Twentieth-Century Music Pub Date : 2023-10-01 DOI: 10.1017/s1478572223000154
CHRISTOPHER J. MILLER
{"title":"When Is It Modernism? A Lesson from Indonesian Musik Kontemporer","authors":"CHRISTOPHER J. MILLER","doi":"10.1017/s1478572223000154","DOIUrl":"https://doi.org/10.1017/s1478572223000154","url":null,"abstract":"Abstract When is it modernism? This article poses this question to traditionally based Indonesian musik kontemporer , as an occasion to examine a distinctive instance of musical modernism, but most importantly to illuminate issues with the question itself. Taking it literally, I identify when musik kontemporer was most clearly modernist, recognizing that modernism, and its conception of history, itself has a history. Scrutinizing the question's more usual goal of drawing a distinction between that which is and is not modernist, I show how the case of Rahayu Supanggah – a musician with a deep and primary commitment to the traditional performing arts, whose work has been shaped by his adoption of modernist ways of thinking without being fully defined by them – defies a simple answer. Ultimately, the article is concerned with what is at stake when invoking modernism, and what this means for the larger project of understanding musical modernism as a global phenomenon.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135656769","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}
引用次数: 0
The Dawn of the Jazz Age in the Caribbean: Dance, Consumer Culture, and the Imperial Shape of Modern Entertainment 加勒比地区爵士时代的黎明:舞蹈、消费文化和现代娱乐的帝国形态
2区 艺术学
Twentieth-Century Music Pub Date : 2023-10-01 DOI: 10.1017/s1478572223000178
SERGIO OSPINA ROMERO
{"title":"The Dawn of the Jazz Age in the Caribbean: Dance, Consumer Culture, and the Imperial Shape of Modern Entertainment","authors":"SERGIO OSPINA ROMERO","doi":"10.1017/s1478572223000178","DOIUrl":"https://doi.org/10.1017/s1478572223000178","url":null,"abstract":"Abstract After 1917 the word ‘jazz’ disseminated rapidly throughout the world attaining, along the way, a multiplicity of meanings, sometimes related to musical practices from the United States, but often associated with a diverse array of things, objects, ideas, and situations in the worlds of music entertainment, dance, leisure, and fashion. In the Caribbean, this process entailed not only the constitution of jazz as a symbol of social modernity but also revealed a long history of exchanges between the United States and the Caribbean – not to mention the Afrodiasporic origins of jazz. By examining jazz as a by-product and an expression of Caribbean modernity, this article disentangles some of the cultural meanings of the word ‘jazz’ in the Caribbean between 1917 and 1920, considering, ultimately, how imagining jazz as Caribbean was inevitably intertwined with imagining it as modern.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136199400","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}
引用次数: 0
Global Musical Modernisms as Decolonial Method 作为非殖民化方法的全球音乐现代主义
2区 艺术学
Twentieth-Century Music Pub Date : 2023-10-01 DOI: 10.1017/s1478572223000208
GAVIN S. K. LEE
{"title":"Global Musical Modernisms as Decolonial Method","authors":"GAVIN S. K. LEE","doi":"10.1017/s1478572223000208","DOIUrl":"https://doi.org/10.1017/s1478572223000208","url":null,"abstract":"Abstract This article argues that through historiography, global musical modernisms decolonize Western musical modernism, expanding and bursting the latter's spatial (geographic), vertical (high–low genres), and temporal boundaries. The unsettling of these various boundaries shows how coloniality is the context of, and thoroughly imbricated with, global musical modernisms – and yet the latter has channelled the self-conscious resistance of global music-makers against the colonial condition that characterizes modernity. Examining global musical modernisms both in the real world and in the inter-disciplines, this article addresses material complexities that are elided in purist dichotomous conceptions of resistance and oppression as inhering in different musics and cultures.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136054955","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}
引用次数: 1
Notes on Contributors 投稿人说明
2区 艺术学
Twentieth-Century Music Pub Date : 2023-10-01 DOI: 10.1017/s147857222300021x
{"title":"Notes on Contributors","authors":"","doi":"10.1017/s147857222300021x","DOIUrl":"https://doi.org/10.1017/s147857222300021x","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136205254","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}
引用次数: 0
Challenging Historiographic Assumptions: Opening Up Serialism with Pierre Boulez's Don 挑战史学假设：用布列兹的《唐》开启系列主义
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-08-29 DOI: 10.1017/s1478572223000130
J. Salem
{"title":"Challenging Historiographic Assumptions: Opening Up Serialism with Pierre Boulez's Don","authors":"J. Salem","doi":"10.1017/s1478572223000130","DOIUrl":"https://doi.org/10.1017/s1478572223000130","url":null,"abstract":"\u0000 This article combines historiographic reflections on the open-work concept in serial music with a new philology of Pierre Boulez's Don, the opening piece of Pli selon pli. I begin by presenting challenges in defining the open-work concept. I also deconstruct the dual use of the term ‘serialism’ to define a set of compositional techniques and a musical style. This leads me to a reconsideration of the similarities between the changing compositional strategies of Boulez and John Cage (and their influence on others) during a time of formal and stylistic experimentation in the 1950s. Finally, I segue to Boulez's compositional plans for Don. In doing so, I provide a concrete example of how the techniques of serialism often belie the aesthetic and extramusical connotations at play in works that are serial in style.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45274495","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}
引用次数: 0
Cannibalizing Bach: Villa-Lobos in Europe, 1936 蚕食巴赫:欧洲的lobos别墅，1936年
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-08-11 DOI: 10.1017/s1478572223000129
Eduardo Sato
{"title":"Cannibalizing Bach: Villa-Lobos in Europe, 1936","authors":"Eduardo Sato","doi":"10.1017/s1478572223000129","DOIUrl":"https://doi.org/10.1017/s1478572223000129","url":null,"abstract":"\u0000 During the 1930s, Heitor Villa-Lobos concentrated his efforts on coordinating Brazilian musical education. As such, he changed his compositional style and did not travel to Europe again until 1936. This article examines Villa-Lobos's trip to Europe in 1936, drawing on Florencia Garramuño's call to ‘incorporate avant-garde voyages as founding moments’ for an autochthonous national character in music. During his journey, Villa-Lobos represented Brazil in different settings: as a deputy at the International Congress of Music Education in Prague and as a composer in under-the-radar political negotiations with Nazi Germany in Berlin. Considering the authoritarian Vargas Regime, Brazilian modernism, and the dialectical relation between nationalism and internationalism, I argue that this trip served as a catalyst for a new creative phase, culminating in the series of Bachianas brasileiras, a resignification of J. S. Bach's music and legacy in the context of his interpretation of Brazilian Antropofagia (cultural cannibalism).","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42519283","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}
引用次数: 0
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