Pub Date : 2021-10-01DOI: 10.1017/S1478572221000189
Bess Xintong Liu
Abstract This article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).
{"title":"‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour","authors":"Bess Xintong Liu","doi":"10.1017/S1478572221000189","DOIUrl":"https://doi.org/10.1017/S1478572221000189","url":null,"abstract":"Abstract This article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"18 1","pages":"395 - 418"},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43039346","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}
Pub Date : 2021-10-01DOI: 10.1017/S1478572221000207
H. Chang
Abstract Protestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.
{"title":"Transcending the Past: Singing and the Lingering Cold War in the Korean Christian Diaspora","authors":"H. Chang","doi":"10.1017/S1478572221000207","DOIUrl":"https://doi.org/10.1017/S1478572221000207","url":null,"abstract":"Abstract Protestant music in South Korea has received little attention in ethnomusicology despite the fact that Protestant Christianity was one of the most popular religions in twentieth-century Korea. This has meant a missed opportunity to consider the musical impact of a religious institution that mediated translocal experiences between South Korea and the United States during the Cold War period (1950s–1980s). This article explores the politics of music style in South Korean diasporic churches through an ethnography of a church choir in California. I document these singers’ preference for European-style choral music over neotraditional pieces that incorporate the aesthetics of suffering from certain Korean traditional genres. I argue that their musical judgement must be understood in the context of their lived and remembered experience of power inequalities between the United States and South Korea. Based on my interviews with the singers, I show that they understand hymns and related Euro-American genres as healing practices that helped them overcome a difficult past and hear traditional vocal music as sonic icons of Korea's sad past. The article outlines a pervasive South Korean/Korean diasporic historical consciousness that challenges easy conceptions of identity and agency in music studies.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"18 1","pages":"447 - 467"},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45644783","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}
Pub Date : 2021-10-01DOI: 10.1017/S1478572221000177
H. Yang
Abstract This article examines the meaning of Western music performances in interwar Shanghai through the theoretical framework of performativity that originated in John Austin's speech act and Judith Butler's notion of identity as performed. The early concerts of the Shanghai Municipal Orchestra (SMO), I suggest, were an assertion of settler sovereignty in a treaty port such as Shanghai. Therefore, Chinese musicians performing Western music – propagated through the establishment of the National Conservatory of Music by Chinese elites in Shanghai's French Settlement in 1927 – was the embodiment of three contradictory ideals: colonialism, nationalism, and cosmopolitanism. Zooming in on four SMO concerts that featured Chinese musicians in 1929, I argue that they were sites of identity and power negotiation, the SMO and the Chinese musicians asserting quite distinct performative utterances. On the one hand, the performing Chinese body enacted the cosmopolitan outlook that the Municipal Council was eager to project, not only for the sake of ideology but also to increase SMO's concert revenue by appealing to the increasing number of Chinese concert attendees. On the other hand, it meant national glory to Chinese residents in Shanghai, marking Chinese musicians participating in a global musical network. Lastly, this study draws attention to the diverse geographies of Western music in the twentieth century and its coeval development beyond the West, testifying to the timely need for a global music history in which the musicking of Western music in so many Asian cities should be interwoven into its narrative.
{"title":"Colonialism, Cosmopolitanism, and Nationalism: The Performativity of Western Music Endeavours in Interwar Shanghai","authors":"H. Yang","doi":"10.1017/S1478572221000177","DOIUrl":"https://doi.org/10.1017/S1478572221000177","url":null,"abstract":"Abstract This article examines the meaning of Western music performances in interwar Shanghai through the theoretical framework of performativity that originated in John Austin's speech act and Judith Butler's notion of identity as performed. The early concerts of the Shanghai Municipal Orchestra (SMO), I suggest, were an assertion of settler sovereignty in a treaty port such as Shanghai. Therefore, Chinese musicians performing Western music – propagated through the establishment of the National Conservatory of Music by Chinese elites in Shanghai's French Settlement in 1927 – was the embodiment of three contradictory ideals: colonialism, nationalism, and cosmopolitanism. Zooming in on four SMO concerts that featured Chinese musicians in 1929, I argue that they were sites of identity and power negotiation, the SMO and the Chinese musicians asserting quite distinct performative utterances. On the one hand, the performing Chinese body enacted the cosmopolitan outlook that the Municipal Council was eager to project, not only for the sake of ideology but also to increase SMO's concert revenue by appealing to the increasing number of Chinese concert attendees. On the other hand, it meant national glory to Chinese residents in Shanghai, marking Chinese musicians participating in a global musical network. Lastly, this study draws attention to the diverse geographies of Western music in the twentieth century and its coeval development beyond the West, testifying to the timely need for a global music history in which the musicking of Western music in so many Asian cities should be interwoven into its narrative.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"18 1","pages":"363 - 393"},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44685408","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}
Pub Date : 2021-10-01DOI: 10.1017/S1478572221000153
H. Chang
A number of scholars in critical Asian Studies have pointed out the persistent construction of East Asia as the Other across Anglophone humanities. 1 They have cited ideologies that have continued to motivate the essentialist construction of East Asia as static, archaic, and separate from the West – from orientalism, a hallmark of European and US imperialisms, to post-war Boasian culturalism, which emerged as a kind of critique of cultural standardization brought on by Western imperialisms. 2 It would be an exaggeration to say that current Anglophone scholarship on the music of East Asia overtly partakes in the othering practices of the past. However, the legacies nevertheless continue to shape the epistemic ground of this scholarship in subtle ways. This is seen, for example, in the ways in which knowledge is organized and presented in reference books, textbooks, and syllabi. ‘ Chinese ’ , ‘ Japanese ’ , and ‘ Korean ’ music is depicted first and foremost as a range of traditional musics; Western, popular, or other hybrid forms of music do make an appearance but are given secondary or supplementary status. 3 This structure of knowledge reinforces a ‘ United Nations ’ model where nations are represented by traditional music and exist within nationally bounded space and time. It is difficult to paint in broad strokes the rapidly changing terrain of recent research; however, it is possible to locate a constructivist strain, which, despite its critical work, still maps music onto notions of national or ethnic identity. In this constructivist frame, there is a productive recognition that the traditional in twentieth-century music is reconstructed through the identity discourses of nationalism and globalization. 4 However, what lies outside this reconstructed soundscape remains underexplored, and thus music remains tethered to a ‘ nation-bound, identity-driven hermeneutics ’ . 5
{"title":"Introduction to the Special Issue on Musics of Coeval East Asia","authors":"H. Chang","doi":"10.1017/S1478572221000153","DOIUrl":"https://doi.org/10.1017/S1478572221000153","url":null,"abstract":"A number of scholars in critical Asian Studies have pointed out the persistent construction of East Asia as the Other across Anglophone humanities. 1 They have cited ideologies that have continued to motivate the essentialist construction of East Asia as static, archaic, and separate from the West – from orientalism, a hallmark of European and US imperialisms, to post-war Boasian culturalism, which emerged as a kind of critique of cultural standardization brought on by Western imperialisms. 2 It would be an exaggeration to say that current Anglophone scholarship on the music of East Asia overtly partakes in the othering practices of the past. However, the legacies nevertheless continue to shape the epistemic ground of this scholarship in subtle ways. This is seen, for example, in the ways in which knowledge is organized and presented in reference books, textbooks, and syllabi. ‘ Chinese ’ , ‘ Japanese ’ , and ‘ Korean ’ music is depicted first and foremost as a range of traditional musics; Western, popular, or other hybrid forms of music do make an appearance but are given secondary or supplementary status. 3 This structure of knowledge reinforces a ‘ United Nations ’ model where nations are represented by traditional music and exist within nationally bounded space and time. It is difficult to paint in broad strokes the rapidly changing terrain of recent research; however, it is possible to locate a constructivist strain, which, despite its critical work, still maps music onto notions of national or ethnic identity. In this constructivist frame, there is a productive recognition that the traditional in twentieth-century music is reconstructed through the identity discourses of nationalism and globalization. 4 However, what lies outside this reconstructed soundscape remains underexplored, and thus music remains tethered to a ‘ nation-bound, identity-driven hermeneutics ’ . 5","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"18 1","pages":"333 - 340"},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47630043","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}
Pub Date : 2021-10-01DOI: 10.1017/S1478572221000190
Stephen Johnson
Abstract Kim Jong Il considered the 1971 premiere of the opera Sea of Blood a watershed moment in opera history. He lauded its innovative use of chŏlga (‘stanzaic song’) rather than aria and recitative. By Western analytical standards, however, chŏlga is simple and predictable, so scholars have thus far glossed over its conventions and their signification. This article instead argues that chŏlga conventions exhibit cultural hybridity and that Kim leveraged such hybridity to advocate a modern, popular, and national sound for North Korea. I begin by outlining hybrid characteristics of colonial-era popular music that chŏlga inherited. I then explore Kim's engagement with such trends in his speeches on chŏlga and demonstrate that cultural hybridity was central to his understanding of sonic modernity. Finally, I analyse a scene from Sea of Blood that pits chŏlga against other music genres, leading to a symbolic victory for the form and for the Korean nation.
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Pub Date : 2021-10-01DOI: 10.1017/S1478572221000165
Se-Hwa Yang
Abstract After Cage and Tudor visited Japan in 1962, the term ‘Cage Shock’ circulated widely among the Japanese public. My interviews with Japanese composers suggest that the term ‘Cage Shock’ oversimplifies the reception of Cage's debut in Japan. Composer Yūji Takahashi stated that Cage would have met Japanese audiences well prepared for his visit by musical trends present in Japan as early as the late 1940s. Building on the statement that the Japanese avant-garde was thriving before Cage visited Japan in 1962, this article aims to deconstruct the term ‘Cage Shock’ by restoring the complexity of the reception of Cage in Japan and by analysing the reasons why critics adopted the term ‘Cage Shock’. I argue that ‘Cage Shock’ has functioned more as a media buzzword that sensationalizes the story of Cage's impact on Japan than as an objective description of Japanese reaction to Cage.
{"title":"Against ‘John Cage Shock’: Rethinking John Cage and the Post-war Avant-garde in Japan","authors":"Se-Hwa Yang","doi":"10.1017/S1478572221000165","DOIUrl":"https://doi.org/10.1017/S1478572221000165","url":null,"abstract":"Abstract After Cage and Tudor visited Japan in 1962, the term ‘Cage Shock’ circulated widely among the Japanese public. My interviews with Japanese composers suggest that the term ‘Cage Shock’ oversimplifies the reception of Cage's debut in Japan. Composer Yūji Takahashi stated that Cage would have met Japanese audiences well prepared for his visit by musical trends present in Japan as early as the late 1940s. Building on the statement that the Japanese avant-garde was thriving before Cage visited Japan in 1962, this article aims to deconstruct the term ‘Cage Shock’ by restoring the complexity of the reception of Cage in Japan and by analysing the reasons why critics adopted the term ‘Cage Shock’. I argue that ‘Cage Shock’ has functioned more as a media buzzword that sensationalizes the story of Cage's impact on Japan than as an objective description of Japanese reaction to Cage.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"18 1","pages":"341 - 362"},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46170645","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}
Pub Date : 2021-07-21DOI: 10.1017/S147857222100013X
Laura Hamer
Nadia Boulanger and Her World, edited by Jeanice Brooks, is the first book within the prestigious ‘X and Their World’ series, published each year to tie in with the annual Bard Music Festival, to be dedicated to a woman musician. The series was established in 1990, with a festival and companion volume celebrating Brahms and his world. The ‘Nadia Boulanger and Her World Festival’, which had initially been planned for the summer of 2020, would have marked the thirtieth anniversary. Due to Covid-19 restrictions, however, the 2020 Bard Music Festival had to be postponed. The ‘Nadia Boulanger and Her World’ Bard Music Festival is rescheduled for August 2021 instead. The decision to choose Boulanger as the festival subject for the 2020 anniversary year was significant. Not only is she the first woman but also the first festival subject who is not principally known as a composer. The essays within this important new collection reflect this. Nadia Boulanger and Her World’s focus upon Boulanger’s wider work in music follows a recent trend in contemporary feminist musicology that seeks to move away from a concentration upon composers and compositions and towards a broader consideration of what encompasses musical work, inclusive of performing, teaching, and patronage. This approach is much more open to capturing the many ways through which women musicians have contributed to musical cultures. Focusing upon Boulanger’s wider musical work also follows the example that Brooks set in her authoritative 2013 monograph, The Musical Work of Nadia Boulanger: Performing Past and Future Between the Wars, of considering Boulanger’s ‘musical work rather than her works of music’. As a leading authority on Boulanger, Brooks was an obvious choice to edit this volume. Her pioneering work, which shed new light upon how we view Boulanger as a teacher, performer, critic, and writer on music, dates back to the groundbreaking articles that she published on Boulanger’s work as a conductor in the 1990s. This was consolidated and significantly
{"title":"Jeanice Brooks, ed., Nadia Boulanger and Her World (Chicago: University of Chicago Press, 2020), ISBN: 978-0-22675-068-2 (hb), ISBN: 978-0-22675-071-2 (pb).","authors":"Laura Hamer","doi":"10.1017/S147857222100013X","DOIUrl":"https://doi.org/10.1017/S147857222100013X","url":null,"abstract":"Nadia Boulanger and Her World, edited by Jeanice Brooks, is the first book within the prestigious ‘X and Their World’ series, published each year to tie in with the annual Bard Music Festival, to be dedicated to a woman musician. The series was established in 1990, with a festival and companion volume celebrating Brahms and his world. The ‘Nadia Boulanger and Her World Festival’, which had initially been planned for the summer of 2020, would have marked the thirtieth anniversary. Due to Covid-19 restrictions, however, the 2020 Bard Music Festival had to be postponed. The ‘Nadia Boulanger and Her World’ Bard Music Festival is rescheduled for August 2021 instead. The decision to choose Boulanger as the festival subject for the 2020 anniversary year was significant. Not only is she the first woman but also the first festival subject who is not principally known as a composer. The essays within this important new collection reflect this. Nadia Boulanger and Her World’s focus upon Boulanger’s wider work in music follows a recent trend in contemporary feminist musicology that seeks to move away from a concentration upon composers and compositions and towards a broader consideration of what encompasses musical work, inclusive of performing, teaching, and patronage. This approach is much more open to capturing the many ways through which women musicians have contributed to musical cultures. Focusing upon Boulanger’s wider musical work also follows the example that Brooks set in her authoritative 2013 monograph, The Musical Work of Nadia Boulanger: Performing Past and Future Between the Wars, of considering Boulanger’s ‘musical work rather than her works of music’. As a leading authority on Boulanger, Brooks was an obvious choice to edit this volume. Her pioneering work, which shed new light upon how we view Boulanger as a teacher, performer, critic, and writer on music, dates back to the groundbreaking articles that she published on Boulanger’s work as a conductor in the 1990s. This was consolidated and significantly","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"159 - 165"},"PeriodicalIF":0.4,"publicationDate":"2021-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S147857222100013X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48187905","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}
Pub Date : 2021-07-21DOI: 10.1017/s1478572221000116
Sarah L. Hickmott
{"title":"Julian Johnson, After Debussy: Music, Language, and the Margins of Philosophy (New York: Oxford University Press, 2020), ISBN: 978-0-190-06682-6 (hb)","authors":"Sarah L. Hickmott","doi":"10.1017/s1478572221000116","DOIUrl":"https://doi.org/10.1017/s1478572221000116","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s1478572221000116","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46646953","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}
Pub Date : 2021-07-21DOI: 10.1017/S1478572221000128
Jennifer Milioto Matsue
{"title":"Lorraine Plourde, Tokyo Listening: Sound and Sense in a Contemporary City (Middletown, CT: Wesleyan University Press, 2019), ISBN: 978-0-8195-7883-9 (hb), ISBN: 978-0-8195-7884-6 (pb), and ISBN: 978-0-8195-7885-3 (ebook).","authors":"Jennifer Milioto Matsue","doi":"10.1017/S1478572221000128","DOIUrl":"https://doi.org/10.1017/S1478572221000128","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"18 1","pages":"475 - 480"},"PeriodicalIF":0.4,"publicationDate":"2021-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S1478572221000128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48726277","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}
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