Twentieth-Century Music最新文献

{"title":"Jessie Fillerup, Magician of Sound: Ravel and the Aesthetics of Illusion (Oakland, CA: University of California Press, 2021), ISBN: 978-0-520379-886.","authors":"Stephen Zank","doi":"10.1017/S147857222300004X","DOIUrl":"https://doi.org/10.1017/S147857222300004X","url":null,"abstract":"Jessie Fillerup, who currently teaches at the University of Richmond in Virginia, has published a welcome new book on Maurice Ravel, encouraging us to reconsider his music with regard to the principles of theatrical magic and illusion practised during the decades before and after his life proper (1875–1937). Building upon her previous work on illusion and Ravel, Fillerup offers an even wider, cross-disciplinary, indeed cross-cognitive, study arguing that extra-musical illusionary practices influenced Ravel in as yet unacknowledged ways, that they betray the outlines of an ‘aesthetics of musical illusion’ in which we all participate (to differing degrees) and, hence, that they point towards new ways of re-evaluating our perceptions of the music, the composer, and his legacy. It is a very fine and imaginative study, both analytical and theoretical, complicated in original ways that allude to what has been referred to at least once before, in something of a similar context, as a composer’s ‘pre-compositional’ method. Like most original thought, I think, it is a bit idiosyncratic in concept and organization but (more importantly) derives fairly and creatively from what many others have thought about the author’s chosen topics, over very long times. Thinking anew about Ravel’s music here embraces new complexity, since Fillerup introduces a broad array of research beyond music theory, history, perception, and the Humanities in general to include more recent results from psychologists, philosophers, and newer disciplines, such as disability studies, consortiums studying magic and illusion, and ‘clusters’ of shared research. More specifically, she proposes a threefold re-imagining of Ravel’s methods – ‘musical masonry’ (8), as nicely put – comprising initially 1) the composer’s public image, 2) his fascination with machines, and 3) the compositional craft itself. To link and develop these categories more fully, four others are introduced as ‘Ravelian effects’: 1) illusions of perpetual ascent, 2) transformational ascent, 3) mechanization, and 4) apparent motion and stasis. Much of this draws (newly) upon a large body of ‘theater and media history’ (6) interwoven with the chosen musical examples, figures, illustrations, and interpretations of past and present Ravel research in order to frame the background and","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"261 - 266"},"PeriodicalIF":0.4,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45834022","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 Forty Part Motet in New York City after 9/11","authors":"María Edurne Zuazu","doi":"10.1017/s1478572222000391","DOIUrl":"https://doi.org/10.1017/s1478572222000391","url":null,"abstract":"\u0000 In Janet Cardiff's The Forty Part Motet (2001, 40Part), ‘a reworking of Thomas Tallis's Spem in alium (c. 1570)’, the forty voice parts of the motet are played back via forty speakers. Visitors walk through and around the encompassing speakers arrayed in eight groups of five. Still in constant demand, 40Part enjoys unparalleled success in the contemporary art scene. This article shows how 40Part became associated with New York City's rituals of remembrance and healing after 9/11 and Hurricane Sandy, and considers the politics of the installation's stagings as part of those commemorations. Here, 40Part took on a specifically comforting function that speaks to larger tendencies in twenty-first-century auditory culture, American cultural responses to trauma, and commemorative uses of music, which are built on white bourgeois sentimental attachments and the techno-social production of imagined spaces and times of privilege.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45924340","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":"Exile and Memory in Post-Franco Spain: Julián Orbón's Libro de cantares (1987)","authors":"E. Rodríguez","doi":"10.1017/s1478572222000378","DOIUrl":"https://doi.org/10.1017/s1478572222000378","url":null,"abstract":"\u0000 In the song cycle Libro de cantares (1987), Spanish-Cuban composer Julián Orbón (1925–91) entered into a dialogue with the work of two other men who, like him, were displaced under the Franco regime: he re-used Asturian folk songs compiled by Eduardo Martínez Torner in 1920; and he followed compositional models deployed by Manuel de Falla in Siete canciones populares españolas (1914). In this article I argue how, by doing so, Orbón engaged in individual and collective memory-building processes that matched to an extent but also diverged from similar processes that were then underway in Spain in the 1980s (following the end of the Franco regime in 1975) and, particularly, in Orbón's natal region of Asturias. I also argue that Orbón's understandings of memory and modernity are unique within the context of displaced twentieth-century Spanish composers, and as such afford us opportunities to reconsider these crucial categories.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45282157","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":"Dark Virtuosity: Violin Symbolism in Alberto Iglesias's Score for Pedro Almodóvar's Film The Skin I Live In (2011)","authors":"Diego Alonso Tomás","doi":"10.1017/s1478572222000421","DOIUrl":"https://doi.org/10.1017/s1478572222000421","url":null,"abstract":"\u0000 Singled out as one of the finest and most original works by the leading film-music composer Alberto Iglesias, the score for Pedro Almodóvar's The Skin I Live In (2011) stands out for its inclusion of a (neo-baroque) virtuoso part for solo violin with key symbolic functions in the film. This part is largely derived from the composer's post-minimalist string trio Cautiva (c. 1990). The present article analyses Iglesias's reconfiguration of key materials from Cautiva to express the relationship of domination, violence, and desire between the film's villain and the heroine as well as the role played by violin virtuosity in establishing links to the (gothic) horror genre and in the exaltation of the artist's power as creator that Almodóvar ultimately reflects upon in The Skin I Live In. The article adds to recent studies on the centuries-old symbolism of the violin as a topos of the demonic and otherworldly by analysing these meanings in one of the finest contemporary film scores. The study is part of a recent upsurge of critical assessments of Almodóvar–Iglesias's work from cultural and musico-analytical perspectives.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43045136","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":"China's First Recital and Recording Pianist Ding Shande: A Critical Examination of His Performing Career and Performance Style","authors":"D. Zhou","doi":"10.1017/S1478572222000330","DOIUrl":"https://doi.org/10.1017/S1478572222000330","url":null,"abstract":"Abstract Musical biography, particularly that which focuses on non-Western performers, has long been marginalized in musicology. This article critically examines the performing career and performance style of China's first recital and recording pianist, Ding Shande, by scrutinizing written documents and analysing recordings. It was found that Ding's performing career was short-lived, peaking in 1935 and ending in the 1950s, and that he tended to play with fast and even tempo, emphasize metrical organizations, and highlight structural divisions through long-range dynamic variation. These findings shed light on how the changing concept of semi-colonialism influenced the career trajectories and performance styles of the earliest Chinese pianists, and hence offer insights into early history of piano performance in China. This article shows that performers’ performances are just as important in biographical writings as is the story of their lives, and that interweaving the two helps develop a more thorough and comprehensive understanding of a performer's biography.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"49 3","pages":"187 - 214"},"PeriodicalIF":0.4,"publicationDate":"2023-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41306277","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":"Audiovisual Warfare: Music and International Persuasion in Documentary Films during the Spanish Civil War","authors":"Lidia López Gómez","doi":"10.1017/S147857222200038X","DOIUrl":"https://doi.org/10.1017/S147857222200038X","url":null,"abstract":"Abstract During the Spanish Civil War, cinema became one of the most powerful weapons of propaganda. The music of the films, full of anthems and political references, was an essential tool for displaying the documentary's intentions and for influencing spectators’ reactions. Between 1936 and 1939, there was a surge in the production of documentaries targeting international audiences, as they were an invaluable resource for engaging the European countries that had signed the Non-Intervention Agreement against involvement in the Spanish conflict. The objective of this article is to analyse the music of the documentaries set in Spain that were exhibited internationally during the years of the war. We will study the politically tendentious uses of anthems and popular songs on the soundtracks, as well as the importance of the figure of the composer – for those documentaries with original music – attending to the social and political circumstances surrounding their participation in the production.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"244 - 260"},"PeriodicalIF":0.4,"publicationDate":"2023-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42694196","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":"‘Stockhausenesque’: South African Musical Vanguardism during the ‘Durban Moment’","authors":"W. Froneman","doi":"10.1017/S1478572222000366","DOIUrl":"https://doi.org/10.1017/S1478572222000366","url":null,"abstract":"Abstract This article weaves a story around the scant evidence that survives of the first university-based electroacoustic studio in Africa and the musical experimentalism that developed alongside it at the fledgling music department of what was then the University of Natal. The time is the early 1970s, the setting the eastern seaboard city of Durban, the local political context the ‘Durban moment’ of growing political unrest infused by Steve Biko's Black Consciousness movement and the radical politics of Richard (Rick) Turner, the red herring an ARP-2500 modular synthesizer, and the key figures the German-born experimental composer Ulrich Süsse and South Africa's foremost musicologist at the time Christopher Ballantine. By tracing the genealogy of Ballantine's ideas in post-1968 British counterculture and in musical collaborations with the physics department at the University of Natal – and by juxtaposing and contrasting the Durban New Music Group's activities with Turner's contemporaneous and often seething critique of white liberalism – the article offers perspectives on the globalization of the avant-garde, the expression of musical vanguardism in the problematic and contradictory spaces of twentieth-century white liberal South Africa, and the dialectics between the ‘experimental’ and the ‘avant-garde’ that informed alternative institution-building at what was to become the first department in South Africa to include African music, jazz, and popular music in their curricula in the early 1980s.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"215 - 243"},"PeriodicalIF":0.4,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48295103","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 Songs of Fire (1975): Sonic Narratives of Resistance and Collective Memory","authors":"Anna Papaeti","doi":"10.1017/S1478572222000482","DOIUrl":"https://doi.org/10.1017/S1478572222000482","url":null,"abstract":"Abstract This article focuses on the documentary The Songs of Fire by Nikos Koundouros (1975). Shot immediately after the fall of the military dictatorship (1967–74) in Greece, it exhumes the elation of three public concerts and demonstrations, capturing the enthusiasm for the return to democracy expressed through singing and chanting. The article focuses on the ways in which popular songs became the vehicles of the popular demand for democracy during the early transition to democracy. It shows how the film was crucial in establishing a narrative of resistance in collective memory that was centred on singing and listening, investigating the ways in which this sonic narrative, performed collectively and publicly, also betrays a latent reaction to a brutal regime fought by the few. It argues that collective singing seems to merge in memory with the ‘singing resistance’ performed individually and in secret during the dictatorship. Extended back in time, this sonic narrative registers an unconscious desire to repress the fact that large parts of society had remained silent during the regime's seven-year rule.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"6 - 22"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47564686","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 20 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1478572222000536","DOIUrl":"https://doi.org/10.1017/s1478572222000536","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"b1 - b1"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41715984","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 20 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1478572222000524","DOIUrl":"https://doi.org/10.1017/s1478572222000524","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":"f1 - f3"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49021030","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}