Twentieth-Century Music最新文献

{"title":"‘Exchanging Cuba for 1 Million YouTube Views’: Technological Precarity, Offline Virality, and ‘Patria y vida’","authors":"Michael Levine","doi":"10.1017/S1478572222000305","DOIUrl":"https://doi.org/10.1017/S1478572222000305","url":null,"abstract":"Abstract For many Cubans, the internet remains an inaccessible destination. The residents of repartimiento districts – Black Cuban residents from outlying districts across Havana – manage the situation through custom solutions that bridge gaps of technological precarity. Utilizing USB drives to share content with one another, artists and music fans have constructed a complex, alternative internet that allows for the peer-to-peer trade of movies, music, and other media. Pirate digital networks such as el paquete semanal and Zapya, for instance, circulate music across the island without the need to rely on costly and unreliable internet infrastructure. Utilizing interviews, physical and digital ethnographies, and theories of viral musicking, I argue that Black Cuban artists and music fans, despite internet scarcity, use alternative networks to generate viral events. In particular, Cubans in 2021 joined in a transnational expression of sonic protest through the popularity of the politically subversive song ‘Patria y vida’, a song that circulated widely through underground, USB-based networks. In this article, I discuss the song's construction, circulation, and role in sounding the J-11 Cuban protests to demonstrate how Black Cuban artists and fans share music through USB-based networks not only to solve gaps in technologically precarious situations, but also to generate powerful moments of viral musicking.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"472 - 494"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44341094","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":"Autoplaying, Unmuting, Attending: (Re)formatting the Twenty-First-Century Digital Sensorium","authors":"Paula Harper","doi":"10.1017/S1478572222000287","DOIUrl":"https://doi.org/10.1017/S1478572222000287","url":null,"abstract":"Abstract In this article, I analyse the implications of autoplaying video as a driver of ‘audile techniques’ in the 2010s digital ecosystem – in particular, techniques that respond to the realities of the separability of image and sound, even in media that contain both elements. I then examine a number of strategies through which this audio/visual split has been negotiated, monetized, and creatively bridged by consumers, creators, and corporate personnel – from the creation of new audiovisual genres and aesthetics, to the rise of particular platform pricing models, to the adoption (and, potentially, exploitation) of accessibility features. Ultimately, I seek to show how negotiations of sound and listening factor deeply into contemporary attempts to harness and monetize ‘attention’ as a commodity in a digital economy of platforms, advertisements, and data.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"427 - 443"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44351155","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":"Musical Messaging: The Social and Anti-Social Affordances of WhatsApp in the Football Culture of the Latin American Southern Cone","authors":"Luis Achondo","doi":"10.1017/S1478572222000329","DOIUrl":"https://doi.org/10.1017/S1478572222000329","url":null,"abstract":"Abstract Argentine, Chilean, and Uruguayan hinchas (soccer or football supporters) cheer for their teams primarily through contrafacta of popular music. Until recently, chants were mainly composed in stadiums and other physical spaces of fan socialization. However, the increasing dominance of the messaging app WhatsApp has altered these sociomusical relations. Drawing on ethnographic work, I argue that the messaging app has fostered both sociality and anti-sociality within and between fanbases. Hinchas employ its creative affordances to digitally decentre creativity from individuals through the distribution of inventive tasks between different people. However, WhatsApp also contributes to football violence by intimately spreading hate memes, aggressive chants, and videos of torture, among other forms of violent media. In illustrating that the messaging app can immerse and infect subjects in both productive and destructive relationalities, this article ultimately underscores the social and anti-social potentialities of viral media and digital technologies.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"34 1","pages":"517 - 536"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41248814","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 19 issue 3 Cover and Back matter","authors":"","doi":"10.1017/s1478572222000354","DOIUrl":"https://doi.org/10.1017/s1478572222000354","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"b1 - b1"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44856029","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 Infrastructure of Engagement: Musical Aesthetics and the Rise of YouTube in India","authors":"Anaar DESAI-STEPHENS","doi":"10.1017/S1478572222000299","DOIUrl":"https://doi.org/10.1017/S1478572222000299","url":null,"abstract":"Abstract This article analyses the rise of YouTube in India between 2008 and 2018 by focusing on two central themes: first, shifts in digital infrastructure that enabled the widespread consumption of streaming media; and second, the importance of music-media aesthetics in supporting the platform's predominance. Drawing on ethnographic fieldwork and close readings of videos by significant early Indian YouTube performers, I trace how an ‘aesthetics of intimacy’ facilitated the practices of ‘engagement’ that drove YouTube's expansion and monetization. The article thus highlights the infrastructuralizing capacities of musical aesthetics as they have allowed YouTube to become the predominant online platform for the circulation of videos and attention in India and beyond. Ultimately, I suggest that scholars of digital music cultures must attend to the intertwining of aesthetics and infrastructure to gain insight into the corporate industry imaginaries that guide platform expansion in emerging digital markets.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"444 - 471"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45206746","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":"Anitta's ‘Girl from Rio’, Digital Fatigue, and Stereotype","authors":"K. Goldschmitt","doi":"10.1017/S1478572222000317","DOIUrl":"https://doi.org/10.1017/S1478572222000317","url":null,"abstract":"Abstract In May 2021, Brazilian pop-funk superstar Anitta released ‘Girl from Rio’. The song was based on the melodic foundation of the bossa nova song ‘The Girl from Ipanema’ that became a huge international hit at the end of the 1960s bossa nova craze. ‘Girl from Rio’ features trap beats on top of the familiar melody with a clear lyrical message that critiques international stereotypes of women from Brazil. When Anitta attempted to capture the US market through TikTok and a high-profile remix, much of her critique disappeared. This article employs the concept of ‘digital fatigue’ to explore how viral musical content loses crucial aspects of its meaning through circulation and endless embodied repetition. By focusing on how the repetition of viral musical media perpetuates stereotypes, it shows how the environment for transnational success requires easy associations to spread.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"495 - 516"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42453259","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 Listening In: Musical Digital Communities in Public and Private","authors":"Kate Galloway, K. Goldschmitt, Paula Harper","doi":"10.1017/S147857222200024X","DOIUrl":"https://doi.org/10.1017/S147857222200024X","url":null,"abstract":"At the end of 2018, a proudmember of the Barbz – obsessive online fans of rapper NickiMinaj who defend her against her critics and naysayers – used the short-form video platformTikTok to promote and circulate a newly released song that would eventually breakmultiplemusic industry records: ‘Old Town Road’. While plentiful critical discourse has focused on the significance of Lil’ Nas X’s breakout viral single for how it shattered genre conventions and troubled music industry institutions, the song’s rapid ascendancy also showed aspiring musical creators a new path for success – by leveraging online musical communities and platform affordances, amateurs and professionals can reap huge rewards. In the years since, onlinemusical formations across social media have become spaces rife with risk and reward, exposing the ways in which digital mediation has transformed and is transforming our relationships with music well beyond the scope of the music industries as previously and traditionally understood. Despite the title of this journal, this special issue is unambiguously situated in the twenty-first century. In the opening decades of the millennium, musical creation, circulation, and community formation have been – like so many aspects of personal and public life – significantly reshaped amid the rise and rapid advancement of digital networks and technologies. Pervasive social media and digital streaming services have effected new modes of authorship; they have also opened new pathways of circulation and engendered new forms and practices of participatory culture. As we have seen in recent years, these new pathways have the side effect of limiting user agency to opt out of some experiences, ranging from audiovisual experiences that automatically play to enabling music surveillance and amplifying chauvinistic undercurrents in various genres and musical communities. The articles in this issue consider strategies for circulatingmusic and sound – abundantly, secretly,meaningfully, profitably – that are negotiated at intersections of individuals and communities, digital devices and platforms, creators and consumers, aesthetics and algorithms, and protocols and behaviours. This special issue expands upon recent publications in music and media studies that examine the intimacy and infrastructure of new digital technologies – expanding not just topically and temporally, but also geographically. The work of our contributing authors","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"363 - 368"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43782717","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":"Virals, Memes, and the Lick's Circulation through Online Jazz Communities","authors":"H. Judd","doi":"10.1017/s1478572222000263","DOIUrl":"https://doi.org/10.1017/s1478572222000263","url":null,"abstract":"Abstract In 2011, Alex Heitlinger, a senior at New England Conservatory, uploaded the video ‘The Lick’ to YouTube. The 1′34″ compilation excerpted a range of performances that each deployed the same seven-note ‘lick’. This article explores the digital dissemination of videos and memes that feature the Lick, suggesting its function as a mimetic device users can deploy to signal their belonging and individuality within a larger jazz community. The Lick, in its formulaic deployment within these ‘insider’ spaces, moves away from improvisation and becomes a calling card for performers and listeners alike to determine a legitimate participant, on and offline. The Lick's online proliferation becomes a gimmick through its repetition, pointing to its hyper-presence and complaints about the excessive posts of the Lick becoming recycled into over-repeated jokes. I argue the Lick serves as the basis for a study of humour and gimmickry in jazz identity formation.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"393 - 410"},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45528007","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":"Ross Cole, The Folk: Music, Modernity, and the Political Imagination (Oakland, CA: University of California Press, 2021), ISBN: 978-0-52038-373-9 (cloth).","authors":"Simon Warner","doi":"10.1017/S1478572222000202","DOIUrl":"https://doi.org/10.1017/S1478572222000202","url":null,"abstract":"Twenty years ago, I remember reading and reviewing, revelling in and even raving about, a then new and rather wonderful musical history by the US academic Bernard Gendron, Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. As I began my present engagement with Ross Cole’s The Folk: Music, Modernity, and the Political Imagination, I felt as if I was encountering a historic summary of similar scale and ambition, even if the material seemed to be almost the antithesis of the earlier Gendron overview: not a critical contemplation of the flashing blade of the fresh and novel and the groundbreaking, rather an analysis of the role of those wielding the solid shield of history, defending the bedrock of the past from the menacing tremors – spiritual and aesthetic, economic and social – of the present. Such extendedmusings on those diametrically different forces at play on the popular music that would become a central pillar in our entertainment, leisure, and pleasure in the twentieth century are both fascinating and vital: those powerful strands woven between, let us say, the rise of Impressionism and the explosion of punk and hip hop a hundred years later. They would feed our understanding of issues of high and low culture, our assessment of the manufactured and authentic, our consideration of mass production and mass consumption, the place of radical art, developing technology and invention, and the vernacular creativity of the grassroots and those fierce debates about authenticity and contrivance that have peppered the well-spiced academic gumbo of the modern and postmodern West. Cole’s book, a developed version of his doctoral submission, considers a focused few decades in Anglo-America – from the 1870s to the 1930s, broadly speaking – and their relationship to folk culture – song and dance, though principally song – and how the meanings of the rustic past in both Britain (particularly parts of England) and the United States were adopted and adapted to suit the political positions of largelymiddle-class and educated thinkers who identified, within the practices of the previous centuries, an inspirational font so powerful and intriguing that they could tap into its waters to feed ideas across the breadth of the political spectrum, a compelling concept at a time when the extreme wings of left and right","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"542 - 547"},"PeriodicalIF":0.4,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42969203","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":"Peter Schmelz, Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR (New York: Oxford University Press, 2021), ISBN: 978-0-19754-125-8 (hb).","authors":"G. Cornish","doi":"10.1017/S1478572222000196","DOIUrl":"https://doi.org/10.1017/S1478572222000196","url":null,"abstract":"What happened to the Soviet seventies? Conventional wisdom carves the Soviet Union into a series of alternatingly repressive and progressive (or, at the very least, less repressive) regimes. After Lenin’s death in 1924, the utopian underpinnings of the Bolshevik Revolution gave way to the terrors of Stalinism. Coming to power in 1956, Nikita Khrushchev denounced his predecessor’s ‘cult of personality’ and loosened restrictions on domestic and cultural life. Following a period of discontent within the Soviet Central Committee, Leonid Brezhnev spearheaded Khrushchev’s ousting and, in 1964, assumed power; he would lead the Communist Party for nearly twenty years, until his death in November 1982. In a sort of interregnum, the next two general secretaries, Yuri Andropov and Konstantin Chernenko, lasted just over a year each before dying suddenly, at which point Mikhail Gorbachev, the great progressive, came to power and opened the country to those both within and without. For historians of the Soviet Union – and, indeed, music scholars who study the region – much ink has been spilled on the eras of Lenin, Stalin, Khrushchev, and Gorbachev. Yet the tenure of Brezhnev, whose stay in power was second in length only to Stalin’s, has long been overlooked. Much of this has to do with its sobriquet, ‘Stagnation’, which allegedly spoke to the era’s political, economic, and creative malaise. In recent years, however, historians of the Soviet Union have increasingly called these notions into question. Were the Soviet seventies really stagnant? Did the vibrant cultural life of the Thaw just disappear? And how did we get from the Thaw to Gorbachev’s reforms? Upon closer inspection, the Stagnation was not particularly stagnant – and, indeed, as scholars such as Christine Evans, Gulnaz Sharafutdinova, Neringa Klumbytė, and Juliane Fürst have argued, it was a period of great experimentation and innovation. Music studies still has some catching up to do in this area, but Peter Schmelz’s excellent book Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR is an exciting and pathbreaking look into the Soviet seventies. Through close study of biography, published materials, critical reception, and scores, Schmelz both revisits the","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"537 - 541"},"PeriodicalIF":0.4,"publicationDate":"2022-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46661753","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}