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Listening to Radioactive Rubble: Vocal Decay, Gender, and Nuclear Ruination in the Marshall Islands 听放射性碎石:马绍尔群岛的声衰、性别和核毁灭
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-06-01 DOI: 10.1017/S1478572222000081
Jessica A. Schwartz
{"title":"Listening to Radioactive Rubble: Vocal Decay, Gender, and Nuclear Ruination in the Marshall Islands","authors":"Jessica A. Schwartz","doi":"10.1017/S1478572222000081","DOIUrl":"https://doi.org/10.1017/S1478572222000081","url":null,"abstract":"Abstract This article explores how Marshallese radiation songs, written during and after the nuclear testing period as nuclear survivors tried to make sense of their sufferings, yield insight into processes of imperial ruination, rupture, and fragmentation by resounding the powerful impress of radioactive decay in Marshallese lives. In assessing the parameters through which radiation becomes sensible, how, and to whom, it becomes all the clearer how the US nuclear project can be considered in terms of ‘imperial ruination’. US geopolitical accrual has depended on the structural dispossession of Marshallese from their Indigenous agency rooted in and routed through their matrilineal culture. Focusing on women's performances from the Rongelapese community, the presence of radiation – lyrically and affectively – can be traced through vocalized moments of decay that intimate how rubble is embodied and shared in the aftermath of nuclear destruction.","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":"47529771","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
Rautavaara's Cantus Arcticus: National Exoticism or International Modernism? 罗塔瓦拉的Arcticus:民族异国主义还是国际现代主义?
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-04-27 DOI: 10.1017/S1478572221000311
Owen Burton
{"title":"Rautavaara's Cantus Arcticus: National Exoticism or International Modernism?","authors":"Owen Burton","doi":"10.1017/S1478572221000311","DOIUrl":"https://doi.org/10.1017/S1478572221000311","url":null,"abstract":"Abstract Einojuhani Rautavaara's international fame rests largely on pieces celebrated for their apparently non-modernist accessibility. Cantus Arcticus – Concerto for Birds and Orchestra (1972) is greeted with suspicion on account of its wide appeal. This article reconsiders this piece in the context of his complicated and original stylistic development and re-evaluates its relation to Finnish nature and culture. By examining the intersections of nationalism, landscape, and modernism in a late twentieth-century piece, this discussion builds upon established research on early twentieth-century Nordic repertoire, applying it to this contemporary context. It also finds a new perspective by supplementing that approach to include more recent scholarship on post-war tonality. As a result, new insights into musical form and a post-serial renewal of tonal thinking emerge, and through its unique synthesis of seemingly diverse elements, Cantus Arcticus can be seen as a milestone work within Rautavaara's stylistic evolution.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46277143","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
John Howland, Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music (Oakland: University of California Press, 2021), ISBN: 978-0-520-30010-1 (hb), 978-0-520-30011-8 (pb). 约翰·豪兰德，听到华丽的流行:美化，魅力，和美国流行音乐的中流(奥克兰:加州大学出版社，2021)，ISBN: 978-0-520-30010-1 (hb)， 978-0-520-30011-8 (pb)。
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-03-07 DOI: 10.1017/S1478572221000323
Lloyd Whitesell
{"title":"John Howland, Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music (Oakland: University of California Press, 2021), ISBN: 978-0-520-30010-1 (hb), 978-0-520-30011-8 (pb).","authors":"Lloyd Whitesell","doi":"10.1017/S1478572221000323","DOIUrl":"https://doi.org/10.1017/S1478572221000323","url":null,"abstract":"In his new book, John Howland showcases a set of ‘entertainment practices and aesthetics’ (13) geared towards lushness, glamour, and sophistication, and traces their lineage across genres and generations. One of the refreshing aspects of his approach is the way he takes mass enjoyment seriously as a historical phenomenon, bringing it from the overlooked background to the foreground of interest. Many genre and style histories pivot on subcultural or vanguard innovations and give short shrift to the vast middle-of-the-road sonic terrains with which they commingle and cross-fertilize. Howland takes us to the soft, luscious centre. In this, he participates in the recent advancement of scholarship into middlebrow musical taste and discourse. His cross-genre perspective frees him to appreciate hybrids (e.g., ‘jazz-with-strings’, ‘symphonic soul’, ‘jazz-meets-pop’) and fuzzy adjacencies (‘a large family of “jazzy”, syncopated popular musics’, 85), while shining light on some lesser-known entertainment forms (e.g., ‘the big-band venue of movie theater prologue-revue shows’, 93). Far from resulting in a bland porridge, the impure exchanges and mongrelizations he highlights are multiform and vibrant with stylistic collisions. The book fleshes out a historical narrative, covering four distinct eras:","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43022620","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
‘Play the Rain Down’: Prince, Paul Morton, and the Idea of Black Ecstasy 《Play the Rain Down》:Prince, Paul Morton和Black Ecstasy的想法
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-02-01 DOI: 10.1017/S1478572221000244
B. Shelley
{"title":"‘Play the Rain Down’: Prince, Paul Morton, and the Idea of Black Ecstasy","authors":"B. Shelley","doi":"10.1017/S1478572221000244","DOIUrl":"https://doi.org/10.1017/S1478572221000244","url":null,"abstract":"Abstract This article grapples with ‘Let It Rain’, the title track of Bishop Paul S. Morton and the Full Gospel Baptist Church Fellowship's 2003 release, which revises Michael Farren's contemporary Christian ballad by braiding it together with Prince's ‘Purple Rain’ and the formal logic of Black gospel tradition. As the Full Gospel version of this song commingles these seemingly discordant components, Morton, choir, and band turn a sung prayer into an assertion of interworldly presence. Building on its received musical materials, this gospel power ballad performs the Black gospel tradition's characteristic inflection – an arresting turn from one level of musicking to a heightened, ecstatic frame. In so doing, this song brings rain near, illuminating the links between performances of musical ecstasy and musical Blackness.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57036095","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 19 issue 1 Cover and Front matter 《中医》第19卷第1期封面和封面
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-02-01 DOI: 10.1017/s1478572222000019
{"title":"TCM volume 19 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1478572222000019","DOIUrl":"https://doi.org/10.1017/s1478572222000019","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46159073","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
Notes on Contributors 投稿人说明
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-02-01 DOI: 10.1017/s1478572222000032
G. Barrett
{"title":"Notes on Contributors","authors":"G. Barrett","doi":"10.1017/s1478572222000032","DOIUrl":"https://doi.org/10.1017/s1478572222000032","url":null,"abstract":"Epidemiology and Infection publishes reports of research and original findings on subjects related to infectious diseases of both man and animals. The requirements of the journal are in accordance with the International Committee of Medical .Journal Editors. Uniform requirements for manuscripts submitted to biomedical journals. BMJ 1991; 302: 338-41 and X Engl J Med 1991: 324: 424-8. Attention is drawn to the sections on prior and duplicate publication and ethics.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43801583","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
‘Irrational Nuances’: Interpreting Stockhausen's Klavierstück I “非理性的裸体”——解读斯托克豪森的钢琴作品I
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-02-01 DOI: 10.1017/S1478572221000256
Gabriel Jones
{"title":"‘Irrational Nuances’: Interpreting Stockhausen's Klavierstück I","authors":"Gabriel Jones","doi":"10.1017/S1478572221000256","DOIUrl":"https://doi.org/10.1017/S1478572221000256","url":null,"abstract":"Abstract The performance practice of European serial music has long been misunderstood. This article uses Stockhausen's Klavierstück I (1952–3) as a lens through which to view the realities of this practice, drawing on close contextual analysis of the affordances of the score and the now significant corpus of recordings. These findings are used to extend M. J. Grant's view of serial aesthetics and to provide a practical basis for what she calls ‘serial listening’. Three principal styles of performance are identified and attendant modes of listening suggested, relating to the non-thematic principles and hermeneutic contexts of serial music, which include the embodied response of the performer to defamiliarized musical material and the nascent dialectic of instrumental and electronic composition. This investigation – informing serious judgements of value and taste – has broader implications for the development of Stockhausen's notation and temporal theory in the 1950s and for the performance practice of new music.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46060710","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: 1
(De)constructing Argentine Women: Gender, Nation, and Identity in ‘Alfonsina y el mar’ 建构阿根廷女性:性别、民族与身份——《阿方西娜与埃尔玛》
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-02-01 DOI: 10.1017/s1478572221000219
Cintia Cristia
{"title":"(De)constructing Argentine Women: Gender, Nation, and Identity in ‘Alfonsina y el mar’","authors":"Cintia Cristia","doi":"10.1017/s1478572221000219","DOIUrl":"https://doi.org/10.1017/s1478572221000219","url":null,"abstract":"Abstract This article examines gender, nation, and identity in the popular song of folk roots ‘Alfonsina y el mar’. Written by Félix Luna and Ariel Ramírez, the song is based on the suicide of feminist poet Alfonsina Storni and achieved worldwide popularity through Mercedes Sosa's 1969 rendition on the album Mujeres argentinas. Using Butler's theory of gender performance, Cusick's proposals for a feminist music theory, and Plesch's concept of dysphoric topics in Argentine nationalist music, this article deconstructs the song's poetic, musical, and visual discourses to critique its underlying cultural signification. It concludes that by infantilizing, romanticizing, and nationalizing Storni's public figure, her legacy was adapted to the patriarchal expectations of decorum and historical narrative about nation pervasive in Argentina in the late 1960s. Storni's white European urban background was adapted to more ‘authentic’ Argentine values through Sosa's performance and public image.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46881892","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 19 issue 1 Cover and Back matter 中医第19卷第1期封底
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-02-01 DOI: 10.1017/s1478572222000020
{"title":"TCM volume 19 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1478572222000020","DOIUrl":"https://doi.org/10.1017/s1478572222000020","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47025639","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
‘Seeing’ Music in Early Twentieth Century Colonial Algeria 20世纪早期阿尔及利亚殖民时期的音乐
IF 0.4 2区 艺术学
Twentieth-Century Music Pub Date : 2022-01-24 DOI: 10.1017/S1478572221000220
S. Wilford
{"title":"‘Seeing’ Music in Early Twentieth Century Colonial Algeria","authors":"S. Wilford","doi":"10.1017/S1478572221000220","DOIUrl":"https://doi.org/10.1017/S1478572221000220","url":null,"abstract":"Abstract Postcards played an important role throughout the first half of the twentieth century in French-ruled Algeria, offering a fast and affordable means of communication between North Africa and Europe for French citizens working and travelling in the Maghreb. Alongside depictions of beautiful scenery and highly exoticized subjects, a large body of postcards portrayed musicians, musical instruments, and musical performances. This article considers how these postcards shaped French understanding of Algerian music, and Algerian culture more broadly. Algerian musicians were unlikely to appear on public radio broadcasts in France during this period, and these small, inexpensive, mass-produced images thus provided the way in which much of the French public would encounter Algerian music. The article also examines the ways in which postcards of the time depicted the role of music and sound within Algerian public spaces, and how they shaped the place of public and private sonic realms within colonial Algerian society.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41433335","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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