{"title":"西尔维斯特·雷韦尔塔斯的《色彩之旅》-à-vis美国音乐现代主义:聋人的对话?","authors":"Roberto Kolb-Neuhaus","doi":"10.7560/LAMR36203","DOIUrl":null,"url":null,"abstract":"This article contrasts cultural hybridity in Colorines (1932), a musical collage by composer Silvestre Revueltas, with the exoticist or modernistic expectations implied or explicitly formulated in four articles about the Mexican composer by contemporary US composers Henry Cowell, Aaron Copland, Paul Bowles, and Virgil Thomson. Deeply ironic, Revueltas’s collage contests such expectations by musically embodying an ontological position of no-place regarding both essentialist discourses and precepts of modernity current in Mexico and the United States at the time.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"36 1","pages":"194 - 230"},"PeriodicalIF":0.1000,"publicationDate":"2015-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Silvestre Revueltas’s Colorines vis-à-vis US Musical Modernisms: A Dialogue of the Deaf?\",\"authors\":\"Roberto Kolb-Neuhaus\",\"doi\":\"10.7560/LAMR36203\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article contrasts cultural hybridity in Colorines (1932), a musical collage by composer Silvestre Revueltas, with the exoticist or modernistic expectations implied or explicitly formulated in four articles about the Mexican composer by contemporary US composers Henry Cowell, Aaron Copland, Paul Bowles, and Virgil Thomson. Deeply ironic, Revueltas’s collage contests such expectations by musically embodying an ontological position of no-place regarding both essentialist discourses and precepts of modernity current in Mexico and the United States at the time.\",\"PeriodicalId\":41979,\"journal\":{\"name\":\"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA\",\"volume\":\"36 1\",\"pages\":\"194 - 230\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2015-11-11\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7560/LAMR36203\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7560/LAMR36203","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Silvestre Revueltas’s Colorines vis-à-vis US Musical Modernisms: A Dialogue of the Deaf?
This article contrasts cultural hybridity in Colorines (1932), a musical collage by composer Silvestre Revueltas, with the exoticist or modernistic expectations implied or explicitly formulated in four articles about the Mexican composer by contemporary US composers Henry Cowell, Aaron Copland, Paul Bowles, and Virgil Thomson. Deeply ironic, Revueltas’s collage contests such expectations by musically embodying an ontological position of no-place regarding both essentialist discourses and precepts of modernity current in Mexico and the United States at the time.
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