Contemporary Music Review最新文献_第9页

Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae 异种之歌与生态政治:鲸鱼之歌与Crumb的Balaenae之声

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-01-02 DOI: 10.1080/07494467.2022.2033568

R. Cook

{"title":"Heterospecific Song and Ecological Politics: Whale Song and Crumb's Vox Balaenae","authors":"R. Cook","doi":"10.1080/07494467.2022.2033568","DOIUrl":"https://doi.org/10.1080/07494467.2022.2033568","url":null,"abstract":"What does it mean to say that a whale has a voice, that a whale sings? Why is it important to human beings to say that whales sing? On the one hand, the use of musical terms to describe cetacean vocalisation is a matter of convenience. On the other hand, the history of human reception of these sounds shows that the usage is a trace of a determination and a desire: a determination to portray cetaceans as intelligent, articulate creatures; a desire to know of what they sing, and perhaps to sing with them. In this paper, I interpret George Crumb’s Vox Balaenae as both a response to the voices of whales and as an elegy of sorts that acknowledges the incommensurability of cetacean and human voices. My interpretation is both historical and music-analytical, and begins by exploring the subtle and occasionally not-so-subtle campaign in the late 1960s and early 1970s by Scott McVay, Roger Payne, and others to marshal public support for a whaling ban and conservation, an effort that included supplying composers, Crumb among them, with tapes of humpback whale vocalizations. With this context in place, I show how—as in much of Crumb’s music—shifting referential pitch-class collections articulate the gulf between the cetacean song we hear but cannot sing, and human music to which we do not—and likely never will—know if whales are listening.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"41 1","pages":"4 - 29"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43391017","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

George Crumb's Black Angels and the Vietnam War 乔治·克拉姆的《黑天使》与越南战争

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-01-02 DOI: 10.1080/07494467.2022.2033571

Abigail Shupe

引用次数: 0

Temporality and Texture in the Performance of George Crumb’s Music for a Summer Evening 乔治·克拉姆《夏夜音乐》演奏中的时间性与织体

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-01-02 DOI: 10.1080/07494467.2022.2033573

P. Lalitte

{"title":"Temporality and Texture in the Performance of George Crumb’s Music for a Summer Evening","authors":"P. Lalitte","doi":"10.1080/07494467.2022.2033573","DOIUrl":"https://doi.org/10.1080/07494467.2022.2033573","url":null,"abstract":"Music for a Summer Evening (Makrokosmos III, 1974) for two amplified pianos and percussion by George Crumb is one of the first works written after 1945 to use the same ensemble inaugurated by Béla Bartók in his Sonata for Two Pianos and Percussion. The aim of this article is to examine the relationship between temporality and texture in the performance of Music for a Summer Evening. The highly diversified textures in terms of colour and density, as well as the tempo palette offer performers a high degree of freedom in their interpretation. Seven recorded performances of the work, covering a period of more than forty years (1975–2017) are compared according to the methods I developed during previous studies (Lalitte, Philippe. 2015. Analyser l’interprétation de la musique du XXe siècle. Une analyse d’interprétations enregistrées des Dix pièces pour quintette à vent de György Ligeti. Paris: Hermann; Lalitte, Philippe. 2018. “L’interprétation de Sopiana pour flûte, piano et bande de François-Bernard Mâche.” In François-Bernard Mâche: Le poète et le savant face à l’univers sonore, edited by Geneviève Mathon and Marta Grabocz, 299–318. Paris: Hermann; Lalitte, Philippe, and Vincent Grepel. 2017. “Prêt-à-porter ou coupe sur mesure? Liberté et contraintes dans l’interprétation de la Sequenza III de Berio.” Filigrane 22.). The article sheds light on issues such as the fidelity to the score, the singularity of some interpretations, the impact of texture on the temporality of performance, and the potential effect of the number of musicians in the ensemble.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"41 1","pages":"86 - 107"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45465957","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

Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb 乔治·克拉姆作品中的尺度歧义与韵律手势

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-01-02 DOI: 10.1080/07494467.2022.2033569

Kristina L. Knowles

{"title":"Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb","authors":"Kristina L. Knowles","doi":"10.1080/07494467.2022.2033569","DOIUrl":"https://doi.org/10.1080/07494467.2022.2033569","url":null,"abstract":"Despite a growing body of theoretical work on the music of George Crumb, surprisingly little has been said about his use of rhythm and metre, elements which are often more aurally accessible than complex pitch structures and which constitute a recognisable aspect of Crumb’s style. Much of Crumb’s output is characterised by a unique combination of metric ambiguity with clear and often recurrent rhythmic gestures whose use and juxtaposition creates varying levels of metricity. A significant portion of his music can then be situated in the middle of a spectrum that ranges from completely non-metrical to clearly metrical. The result is a unique rhythmic language that stringently avoids large-scale metrical structures but makes frequent use of localised metrical gestures and brief moments of metrical emergence. These rhythmic and metric structures are then used in different ways to create a range of temporal and formal effects. This paper focuses on the rhythmic and metric characteristics of motives from several pieces by George Crumb. Emphasis will be placed on a particularly interesting case in the final movement from Crumb’s Vox Balaenae, where the repetition and shifting musical context of a small set of rhythmic motives results in a process of metrical emergence and dissolution that contributes to the arch form of the piece.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"41 1","pages":"30 - 54"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45803893","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

Interviews with George Crumb 2013–2018 乔治·克拉姆访谈2013-2018

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-01-02 DOI: 10.1080/07494467.2022.2033574

Yati Durant

引用次数: 0

How Did the Archaic Become the Avant-Garde? The Case of Ljubica Marić (1909–2003) Through the Prism of Contemporary Sources 古代人是如何成为先锋的？从当代资料的棱镜看卢比卡·马里奇（1909-2003）案

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022895

Nikola Komatović

引用次数: 0

The Cage Effect from a Serbian Perspective 塞尔维亚视角下的笼效应

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022891

I. Prica

{"title":"The Cage Effect from a Serbian Perspective","authors":"I. Prica","doi":"10.1080/07494467.2021.2022891","DOIUrl":"https://doi.org/10.1080/07494467.2021.2022891","url":null,"abstract":"John Cage, a key figure and leading exponent of the experimental paradigm in twentieth century music, and in the performing and visual arts, was a reference point for testing the cultural openness of socialist countries during the Cold War. His influence appeared in various forms in Serbian music and art, primarily in the field of extended media, performance art, and musical minimalism. This paper discusses the reception of John Cage’s works in Serbia from the 1970s to the present day, ranging from transpositions and re-mediations of his aesthetic positions and poetic moves, to identification with them. Particular attention is paid to the appropriation of Cage’s concepts of silence, indeterminism, and chance operations, as phenomena highlighting the maturing of receptive views of Cage in Serbian music, in relation to the oeuvres of the composers in the group Opus 4 (Miroslav Savić, Milimir Drašković, Miodrag Lazarov Pashu, and Vladimir Tošić) and Katarina Miljković. Also, Cage’s appearance with the Merce Cunningham Troupe at the Sixth Belgrade International Theatre Festival in 1972 is considered in the context of both cultural connections and the resonances of his impact on the Serbian and Yugoslav art scene.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"40 1","pages":"595 - 625"},"PeriodicalIF":0.4,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42729551","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

INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction 塞尔维亚二十世纪和二十一世纪音乐先锋花园简介

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022884

Laura Emmery

{"title":"INTRODUCTION Serbian Twentieth- and Twenty-First-Century Musical Avant-Gardes: An Introduction","authors":"Laura Emmery","doi":"10.1080/07494467.2021.2022884","DOIUrl":"https://doi.org/10.1080/07494467.2021.2022884","url":null,"abstract":"During the course of the twentiethand twenty-first centuries, Serbia underwent several major political and socio-economic reorderings, which had a tremendous impact on its cultural and musical life. The beginning of the twentieth century marks a significant development in all spheres of Serbian cultural life: the founding of cultural institutions (theatres, concert halls, and opera houses), the formation of professional orchestras and ensembles, and the establishment of music schools. Serbian composers during this period continued the romantic tradition. As Sonja Marinković observes, the development of Serbian music can be examined through three stages of romanticism: preromantic (1830s– 1880s), romantic (1880s–1914), and late-romantic, paving the road for modernism (until the 1950s) (Marinković 2008, 71). The most notable first-generation (romantic) composers were Josif Marinković (1851–1931) and Stevan Mokranjac (1856–1914), who among his other achievements recorded Serbian Orthodox church chants,Octoechos (or eight tones) in staff notation in 1908. The second generation of Serbian composers, who continued writing in the romantic tradition, included the ‘Belgrade School’ composers––Stanislav Binički (1872–1942), Petar Krstić (1877–1957), Milenko Paunović (1889–1924), and Vladimir D̵orde̵vić (1869–1938)––who honed their compositional skills at the leading music centres in Europe at the time, such as Munich, Prague, and Vienna. Right before the First World War, the works of three ‘giants’ of Serbian music––Petar Konjović (1883–1970), Stevan Hristić (1885–1958), and Miloje Milojević (1884– 1946)––started to appear. However, the impeding wars between 1912 and 1918 in which Serbia engaged, disrupted and abolished musical life in the country. Serbian cultural life flourished during the interwar period––Belgrade, the Yugoslav capital, became the cultural centre of the country, with the formation of a Contemporary Music Review, 2021 Vol. 40, Nos. 5–6, 471–481, https://doi.org/10.1080/07494467.2021.2022884","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":"40 1","pages":"471 - 481"},"PeriodicalIF":0.4,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44322309","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: 2

Music in Vladan Radovanović’s ‘Art Synthesis’ Works 弗拉丹·拉多瓦诺维奇“艺术合成”作品中的音乐

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022887

Melita Milin

引用次数: 1

The Role of the Third Program of Radio Belgrade in the Presentation, Promotion, and Expansion of Serbian Avant-Garde Music in the 1960s and 1970s 贝尔格莱德广播电台第三节目在20世纪60年代和70年代塞尔维亚前卫音乐的呈现、推广和扩展中的作用

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2021-11-02 DOI: 10.1080/07494467.2021.2022885

I. Medić

引用次数: 2