Twentieth-Century Music最新文献

{"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":"20 1","pages":"157 - 186"},"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 This article combines previously unpublished insider information with an original analytical methodology to clarify the working processes of contemporary filmmakers who utilize pre-existing music.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":"20 1","pages":"136 - 156"},"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":"19 1","pages":"548 - 552"},"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":"20 1","pages":"126 - 131"},"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":"19 1","pages":"219 - 227"},"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}

{"title":"Hearing the Musical Resonances of Catastrophe","authors":"Abby Anderton, Martha Sprigge","doi":"10.1017/S1478572222000068","DOIUrl":"https://doi.org/10.1017/S1478572222000068","url":null,"abstract":"Abstract This collection of articles proposes a theoretical model for understanding and analysing the persistence of music making as a response to urban catastrophe. In the Introduction, the authors present an overview of recent humanistic literature on ruin aesthetics, positioning music as a vital yet overlooked dimension of aesthetic responses to disaster. The forum delves into the moral and ethical complexities of performing in ruins from second-century Jerusalem to contemporary Haiti. By tracing the sound of music in and about ruins, this forum offers a timely reflection on the nature of post-catastrophic music making, proposing new directions for analysing the relationships between music, traumatic memory, and spaces of performance.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"185 - 193"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48212968","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":"Damage and Renewal at the Württembergische Staatstheater, Stuttgart","authors":"Emily Richmond Pollock","doi":"10.1017/S1478572222000093","DOIUrl":"https://doi.org/10.1017/S1478572222000093","url":null,"abstract":"Abstract The dual theatre complex of the Württembergische Staatstheater in Stuttgart sustained serious damage during the Second World War. While the larger theatre was eventually able to be repaired, the smaller theatre was destroyed, leading to a multi-phased and controversial process to determine how best to replace it. Many of Stuttgart's citizens publicly pleaded that the smaller theatre should be reconstructed according to its original design, in order to restore its historical beauty and its integrity with the complex. The company's Intendant and numerous architects, however, took a more modern approach that manifested in a variety of proposed designs, including that by Hans Volkart, which opened in 1962. Countering the binary represented by ‘faithful reconstruction’ on one end (Vienna, Munich) and by completely modern designs on the other (West Berlin, Cologne), the case of Stuttgart perhaps serves as a better metaphor for the compromises of continuity and change in post-war culture.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"208 - 219"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43969325","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 2 Cover and Front matter","authors":"","doi":"10.1017/s1478572222000160","DOIUrl":"https://doi.org/10.1017/s1478572222000160","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":"f1 - f3"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43902300","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":"Gascia Ouzounian, Stereophonica: Sound and Space in Science, Technology, and the Arts (Cambridge and London: MIT Press, 2020), ISBN: 978-0-262-04478-3 (hb).","authors":"Richard H. Brown","doi":"10.1017/S1478572222000056","DOIUrl":"https://doi.org/10.1017/S1478572222000056","url":null,"abstract":"Sound Studies as a discipline is replete with theories on the relationship between sound and space, and while many point to certain key historical anecdotes to ground far-reaching theories on project-specific examples, few have attempted a historical account of acoustic and auditory spatiality with such specificity and coherence as Gascia Ouzounian. Stereophonica contributes to a growing field of research on this intersection, traversing examples from the nineteenth century to the present day. Using the key concepts of propagation, reflection, and projection, Ouzounian begins with the origins of the ‘binaural listener’. This category of scientific listener explored auditory space through amyriad of technical innovations in stereophonic audition and projection from medical tools such as the stethoscope to military technologies for sound detection. Stereophonica is roughly divided into two parts: the first examining key intersections between technological innovation and sound theory, and the second surveying a number of artistic practices from mediated broadcast to recent sound art and site-specific installation works, weaving what the author describes as ‘the improbable path from studies of auditory space perception in the nineteenth century to the work of contemporary artists who reveal and reorient urban spaces through sound’ (14). As is necessary for a brief survey with such a wide historical lens, Ouzounian picks key historical episodes that transformed the understanding of sound and space, spanning engineering, warfare, theatre, industry, and urban design. Ending with contemporary uses of this established toolkit of theories, Ouzounian positions the modernist attempt to document, map, plan, and rationalize sound against the social, political, and cultural meanings that the title of the study evokes. As was often the central conflict in modernist rationalization of auditory space, the study and application of sound’s effects could never be removed from the discursive social and political understandings of space – one could argue that the modernist attempt to do so in fact created ground for oppositional studies in contemporary practice. In the first half of Stereophonica, Ouzounian walks us through a cabinet of nineteenthand early twentieth-century curiosities in sound audition and reproduction, beginning with binaural listening devices such as the differential stethoscope and aural analogues andmoving on to the stereoscope such as Anton Steinhauser’s Homophone (1879) and Silvanus P. Thompson’s Pseudophone (1879), devices that aided in theorizing binaural perception.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"355 - 359"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47452180","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":"Rubbled Cities – Sounds and Silence: A Travelogue","authors":"Ruth Hacohen","doi":"10.1017/s1478572222000123","DOIUrl":"https://doi.org/10.1017/s1478572222000123","url":null,"abstract":"Abstract A travelogue of an Israeli musicologist, descendant of German Jewish émigrés, her real and imaginary sonic journey roams between ruins and rubble in Germany and Israel/Palestine. She takes ruins as iconic, allegoric, and reverberating; partially resisting the ravages of time, enshrining sounds and memory. She deems rubble as formless, plain, and voiceless, devoid of identity, transient, and forgetful. The destruction of Jerusalem in 70 ce by the Romans is her starting point, and the currently occupied East Jerusalem by Israeli armed forces is where she ends. The imaginary soundscapes she unfolds resonates forlorn heavenly voices, Nazi youth's ditties, Israeli pop songs, operatic voices, and redemptive and subversive German and Israeli oratorios.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"234 - 243"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45149218","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}