Twentieth-Century Music最新文献

{"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}

{"title":"‘A Collation of Badly Disguised, Well-Known Themes’: Shostakovich Symphonies in the Parisian Press, 1936–1946","authors":"M. Roycroft","doi":"10.1017/S1478572222000226","DOIUrl":"https://doi.org/10.1017/S1478572222000226","url":null,"abstract":"Abstract This article examines the reception of Shostakovich's symphonies in the Parisian press, from the late interwar period to the years immediately following the Second World War. In doing so, it continues the conversation around international responses to Shostakovich's music in the twentieth century, adding a consideration of the composer's symphonies in France from 1936 to 1946 to the existing literature on Shostakovich reception in the United States, Britain, and Germany. By interrogating the commentary of Parisian critics and music writers during this period, the article reveals how the reception of Shostakovich's symphonies in Paris reflects the rising and falling influence of the French Communist Party, and offers a novel way to view the shifts in Franco-Soviet relations either side of the Second World War.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43361957","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 Musical Idea Work Group: Production and Reception of Pre-existing Music in Film","authors":"Pascal Rudolph","doi":"10.1017/S1478572222000214","DOIUrl":"https://doi.org/10.1017/S1478572222000214","url":null,"abstract":"Abstract How do filmmakers work with pre-existing music? To answer this question, I conducted interviews with the musicians, composers, editors, sound designers, and music researchers for Lars von Trier's films. This article combines previously unpublished insider information with an original analytical methodology to clarify the working processes of contemporary filmmakers who utilize pre-existing music. I build on Ian Macdonald's production-situated conception of the ‘Screen Idea Work Group’ to posit the ‘Musical Idea Work Group’, a notional framework emerging from the teams who develop film-musical ideas. While previous film music research tends to analyse artists (persons) or music (products), here I focus on contrasting descriptions of highly collaborative working processes with the prescriptive mechanisms of film reception. In this way, I demonstrate a more holistic understanding of filmic authorship while accounting for previous constructions of Trier as an ‘auteur mélomane’ based on critical perceptions of how he utilizes music.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42657399","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":"Nicholas Jones and Richard McGregor, The Music of Peter Maxwell Davies (Woodbridge: Boydell Press, 2020), ISBN: 978-1-78327-483-3 (hb).","authors":"S. Desbruslais","doi":"10.1017/S1478572222000238","DOIUrl":"https://doi.org/10.1017/S1478572222000238","url":null,"abstract":"Any account of recent British musical history is inconceivable without the towering legacy of Peter Maxwell Davies (1934–2016). A handful of iconic works – Eight Songs for a Mad King, Vesalii Icones and the opera Taverner – dominate accounts, although one does not need to scratch far beneath the surface to unearth a tremendous wealth of creative endeavour, from string quartets, to symphonies, concertos, choral works, and music for amateurs. Davies, the irreplaceable British modernist, left his mark on every major musical genre. Throughout his prolific musical career, Davies attracted scholarly interest – particularly in the field of music analysis. Indeed, the high complexity of many of Davies’s compositions invites analytical reading alongside the substantial and tantalizing sketches, which afford abundant insights into the compositional process. He enjoyed dedicated studies from early career scholars as far back as 1972 (a study of his choral music by M. C. Preheim was completed when Davies was still in his thirties) and a wealth of doctoral dissertations, some of which were to launch distinguished academic careers. The ability to grapple with Davies and his musical contexts is highly valued. Recent years have witnessed the publication of Perspectives on Peter Maxwell Davies (2000), Peter Maxwell Davies: A Source Book (2002), Peter Maxwell Davies Studies (2009), and British Musical Modernism (2015), which complement older biographies of Davies by Griffiths (1982), Seabrook (1994), and Smith (1995). The scholarly field more generally is dominated by articles and book chapters: Davies’s music has been paid particular attention in the journals Tempo and TheMusical Times. It is surprising, though, that recent book-length analytical","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46425152","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":"Philip Ross Bullock and Daniel M. Grimley (eds.) Music's Nordic Breakthrough: Aesthetics, Modernity, and Cultural Exchange, 1890–1930 (Woodbridge: Boydell Press, 2021), ISBN: 978-1-78327-568-7 (hb).","authors":"Tim Howell","doi":"10.1017/S1478572222000159","DOIUrl":"https://doi.org/10.1017/S1478572222000159","url":null,"abstract":"A book by the Danish critic and theorist Georg Brandes (1842–1927), known in English as Men of the Modern Breakthrough (1883), is the starting point for this volume. Described here as a ‘provocative survey of recent trends in Scandinavian literature and an impassioned call for its aesthetic renewal’ (1), Brandes was critical of its insular and backwards-looking nature, promoting a model found in the younger literary generation of the time. The current editors note the controversial nature of Brandes’s work, especially ‘its stubborn commitment to a curiously anachronistic “great male”model of authorship’(1), but rightly consider it to be a groundbreaking and significant study. Applying Brandes’s concepts to Music is the main thrust ofMusic’s Nordic Breakthrough, while removing any gender imbalance would be a natural part of any publication today. However, when you look at the chapter titles here and note the highlighted case studies, two issues emerge. The ten figures listed (in order) are: Gustav Vigeland, Einer Jónsson, Sergei Diaghilev, Konstantin Korovin, Wilhelm Peterson-Berger, Jean Sibelius, Hugo von Hofmannsthal, Ture Rangström, Fartein Valen, and Jāzeps Vītols. Their artistic diversity, as painters, sculptors, playwrights, dramatists, poets, and composers, is striking. So too is their gender: they are all male. It seems that a ‘commitment to a curiously anachronistic “great male”model of authorship’ is alive and well, as far as the current editors are concerned. The reader may wonder if there were any female Nordic composers at this time (1890– 1930). You bet there were! A series of articles for Finnish Music Quarterly by Susanna Välimäki and Nuppu Koivisto, derived from their book project titled Sävelten tyttäret: Säveltävät naiset Suomen historiassa 1700-luvun lopulta 1900-luvun alkuun (Daughters of Music: Finnish Women Composers, from the late 18th to the early 20th centuries), discusses the lives and music of historical women composers in Finland. Neglect due to gender bias emerges as a strong theme in this survey and Brandes’s attitude in 1883 was typical of that time; but it is hard to fathom the rationale behind current editorial thinking. Moreover, with Finland being the first European country to grant equal voting rights to women (1906), the artistic ramifications of this political breakthrough should surely merit some discussion in a book such as this. There is something worryingly selective about this","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43627418","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 Repercussions of George Rochberg's Rubble Rhetoric","authors":"Amy Lynn Wlodarski","doi":"10.1017/S147857222200010X","DOIUrl":"https://doi.org/10.1017/S147857222200010X","url":null,"abstract":"Abstract During the Second World War, the American composer George Rochberg served as an infantryman with the US Army in Europe. There, he witnessed first hand the aftermath caused by massive firebombing of the French countryside by both Allied and Axis bombers, an image that would remain with him for the remainder of his life. In his post-war writings, the rubbled city of Saint-Lô soon became a metaphor for the precarious state of Western culture, which he believed had suffered a grave injury. This article considers how Rochberg reconstructed his wartime sketches – short miniatures composed during the European campaign – into material for his Sixth Symphony (1986). I argue that Rochberg clearly conceived of musical reconstruction as a means by which to symbolically confront the modernist forces he believed accountable for the decline of Western culture that he increasingly perceived towards the end of his life. The article ends with a cautionary epilogue to this time-worn narrative of rubble, reconstruction, and redemption that challenges Rochberg's false sense of moral superiority and the motivations of ‘rubble narratives’ more generally.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48088986","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}