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Iannis Xenakis in Argentina: Reception, Dialogues, and Exchanges Iannis Xenakis在阿根廷：接待、对话与交流
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-05-25 DOI: 10.1017/s1478572223000026
Eduardo Herrera
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引用次数: 0
Experimenting Musically with Democracy in Late Francoist and Post-Francoist Spain – EXPRESSION OF CONCERN 在佛朗哥晚期和后佛朗哥时期的西班牙，用音乐试验民主——表达关切
2区 艺术学
Twentieth-Century Music Pub Date : 2023-05-11 DOI: 10.1017/s1478572223000099
IGOR CONTRERAS ZUBILLAGA
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引用次数: 0
Music Deferred: A Reappraisal of the Legacy of Pierre Schaeffer's Treatise on Musical Objects (1966) 推迟的音乐:重新评价皮埃尔·谢弗的《音乐对象论》(1966)的遗产
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-05-05 DOI: 10.1017/s1478572222000512
Susan C. Bay
{"title":"Music Deferred: A Reappraisal of the Legacy of Pierre Schaeffer's Treatise on Musical Objects (1966)","authors":"Susan C. Bay","doi":"10.1017/s1478572222000512","DOIUrl":"https://doi.org/10.1017/s1478572222000512","url":null,"abstract":"\u0000 This article reinterprets the tension between sound and music in Pierre Schaeffer's 1966 Treatise on Musical Objects. Schaeffer famously insisted that the Treatise did not address music or composition; scholars have therefore engaged with it primarily as a theoretical text on sound and listening. In this article, however, I argue that the denial and deferral of music throughout the Treatise should be considered a discrete and key part of its theoretical contributions. By the early 1960s, Schaeffer's aesthetic frustration with the practice of musique concrète had blossomed into something of an ethical imperative and paradox. He saw it necessary to suspend all musical activity in the present, so as to salvage music's future. This dynamic is key to understanding Schaeffer's controversial and influential calls for the deferral of cultural responses to sound in the Treatise, as illustrated by the practices of ‘deconditioning’ and ‘reconditioning’.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48493406","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 2 Cover and Front matter 《中医》第20卷第2期封面和封面
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-05-04 DOI: 10.1017/s1478572223000105
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引用次数: 0
TCM volume 20 issue 2 Cover and Back matter TCM第20卷第2期封面和封底
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-05-04 DOI: 10.1017/s1478572223000117
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引用次数: 0
Francoism, Urban Displacement, and Nostalgia in Flamenco Dance from Seville 塞维利亚弗拉门戈舞中的法语主义、城市流离失所与怀旧
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-05-03 DOI: 10.1017/s1478572223000075
Carlos VAN TONGEREN
{"title":"Francoism, Urban Displacement, and Nostalgia in Flamenco Dance from Seville","authors":"Carlos VAN TONGEREN","doi":"10.1017/s1478572223000075","DOIUrl":"https://doi.org/10.1017/s1478572223000075","url":null,"abstract":"\u0000 While it is often assumed that flamenco is strongly oriented towards the past, thus far, few scholars have explored the roles of flamenco in voicing memories of the Franco dictatorship (1939–75). During the second half of the dictatorship, a series of natural disasters, combined with new economic and political developments, led to the forced displacement of a number of flamenco artists and their wider communities in various Spanish cities. This article will explore how memories of this episode have impacted the flamenco dance repertoire associated with the Triana neighbourhood in Seville, focusing on three interrelated case studies: the performance and documentary film Triana pura y pura, and recent productions by the flamenco dancers Pastora Galván and Israel Galván. By analysing these performances alongside their historical, social, and institutional contexts, this article conceptualizes the intersections between dance, nostalgia, and festivity as a meaningful scenario of embodied memory in post-Franco Spain.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46445819","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
Mimetic Mechanicity: The Iron Foundry and Vernacular Internationalism in the 1930s 模拟力学：20世纪30年代的铸铁厂与乡土国际主义
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-04-27 DOI: 10.1017/s1478572222000433
Giles Masters
{"title":"Mimetic Mechanicity: The Iron Foundry and Vernacular Internationalism in the 1930s","authors":"Giles Masters","doi":"10.1017/s1478572222000433","DOIUrl":"https://doi.org/10.1017/s1478572222000433","url":null,"abstract":"\u0000 In the 1930s, the Iron Foundry, a short orchestral piece by the Soviet composer Aleksandr Mosolov, became hugely popular with audiences across Europe, North America, and beyond. Reassembling the fragmented archives of its performance and reception histories, this article sets out to follow the work on the circuitous routes that ensued. Addressing issues including programmaticism, the reception of Soviet music, and the history of comedy, I show how Mosolov's composition became a lightning rod for larger debates about concert music's relationships with modernity, politics, and mass entertainment. The case of the Iron Foundry, I suggest, illustrates how the pleasures of machine aesthetics – and, more specifically, a stylized idiom of mechanized gesture distinctive to the period – became widely assimilated into what we might call the vernacular internationalism of the interwar middle classes.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48514294","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
Forgotten Pasts and Imagined Futures: The First International Webern Festival and the 1962 Seattle World's Fair 被遗忘的过去和想象的未来:第一届国际网络节和1962年西雅图世界博览会
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-04-27 DOI: 10.1017/s1478572223000014
David H. Miller
{"title":"Forgotten Pasts and Imagined Futures: The First International Webern Festival and the 1962 Seattle World's Fair","authors":"David H. Miller","doi":"10.1017/s1478572223000014","DOIUrl":"https://doi.org/10.1017/s1478572223000014","url":null,"abstract":"\u0000 In an April 1962 article previewing the First International Webern Festival, Hans Moldenhauer promised that Anton Webern's music would one day be known as ‘the music of the space age’. Moldenhauer chose his words carefully. The Webern Festival was set to take place in Seattle at the same time as the World's Fair (an event also known as the ‘Century 21 Exposition’ and ‘America's Space Age World's Fair’) and its opening night concert would be held on the grounds of the World's Fair. Yet the two ‘W.F.s’ made for an awkward pairing. Far from space-age music, the lush textures and sweeping gestures of the Webern's Festival's posthumous premieres revealed a young Webern rooted in nineteenth-century Romanticism. Critics and scholars’ responses to these premieres reveal much about the contested place of Webern's music – and modernist music more generally – within mid-century mainstream culture.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44072575","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
Mariachi Accompaniment: Cultural Bearers for Communal Conviviality Mariachi伴奏：共同欢乐的文化载体
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-04-19 DOI: 10.1017/s1478572223000038
Russell C. Rodríguez
{"title":"Mariachi Accompaniment: Cultural Bearers for Communal Conviviality","authors":"Russell C. Rodríguez","doi":"10.1017/s1478572223000038","DOIUrl":"https://doi.org/10.1017/s1478572223000038","url":null,"abstract":"\u0000 Utilizing the ideas of convivencia (convivial interaction) and Barbara Tomlinson and George Lipsitz's framework of ‘accompaniment’, I suggest that the ‘modern-urban’ mariachi, often characterized as an expression of standardization and commodification, has established a capacity for facilitating culture that contributes to the development of convivial communal spaces. In the midst of marginalization and systemic oppression, migrant and aggrieved communities throughout Greater Mexico engage in cultural practices and actions to reaffirm a sense of belonging, to which mariachi musicians have contributed and at times served as cultural bearers. I examine mariachi practices of apprenticeship learning and chambas (contractual gigs), the emergence of the Misa Panamericana (the mariachi mass) in Cuernavaca, and the integration of Mexican cultural expressions in San José, California to illuminate the convergence of political, cultural, and religious action and how the mariachi expression has played a role in these intersections.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41596660","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
Michael Guida, Listening to British Nature: Wartime, Radio & Modern Life, 1914–1945 (New York: Oxford University Press, 2021), ISBN: 978-0-19008-553-7 (hb). 迈克尔·圭达，听英国自然:战时，广播和现代生活，1914-1945(纽约:牛津大学出版社，2021)，ISBN: 978-0-19008-553-7 (hb)。
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2023-03-22 DOI: 10.1017/S1478572223000051
Kate Guthrie
{"title":"Michael Guida, Listening to British Nature: Wartime, Radio & Modern Life, 1914–1945 (New York: Oxford University Press, 2021), ISBN: 978-0-19008-553-7 (hb).","authors":"Kate Guthrie","doi":"10.1017/S1478572223000051","DOIUrl":"https://doi.org/10.1017/S1478572223000051","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"267 - 271"},"PeriodicalIF":0.4,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48221019","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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