Pub Date : 2024-02-01DOI: 10.1017/s147857222400001x
G. D. Barrett
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Pub Date : 2024-01-19DOI: 10.1017/s1478572223000269
HANNAH C. J. McLAUGHLIN
Valentin Kruchinin was the first major ‘Soviet sci-fi’ composer, writing the music for Yakov Protazanov's silent film Aelita: Queen of Mars in 1924. While his score is regrettably lost, evidence of Kruchinin's musical vision for Aelita remains, including a two-page piano piece, ‘Aelita’, seemingly designed to promote the film. Lacking any ‘space-age’ musical tropes, this brief work instead showcases Kruchinin's affection for ‘eccentric dance’. Resembling a slow foxtrot, Kruchinin's piece brings Aelita's cinematic world into contact with ‘light-genre’ popular fare, much of it borrowed from American jazz and maligned by critics for its ‘bourgeois’, ‘Western’ connotations. Within the context of Protazanov's anti-New Economic Policy film, Valentin Kruchinin's ‘Aelita’ comments on both the imperial past and the decadent allure of the Western present.
{"title":"Valentin Kruchinin and the Queen of Mars: Early Musical Traces of Soviet Sci-Fi","authors":"HANNAH C. J. McLAUGHLIN","doi":"10.1017/s1478572223000269","DOIUrl":"https://doi.org/10.1017/s1478572223000269","url":null,"abstract":"<p>Valentin Kruchinin was the first major ‘Soviet sci-fi’ composer, writing the music for Yakov Protazanov's silent film <span>Aelita: Queen of Mars</span> in 1924. While his score is regrettably lost, evidence of Kruchinin's musical vision for <span>Aelita</span> remains, including a two-page piano piece, ‘Aelita’, seemingly designed to promote the film. Lacking any ‘space-age’ musical tropes, this brief work instead showcases Kruchinin's affection for ‘eccentric dance’. Resembling a slow foxtrot, Kruchinin's piece brings <span>Aelita</span>'s cinematic world into contact with ‘light-genre’ popular fare, much of it borrowed from American jazz and maligned by critics for its ‘bourgeois’, ‘Western’ connotations. Within the context of Protazanov's anti-New Economic Policy film, Valentin Kruchinin's ‘Aelita’ comments on both the imperial past and the decadent allure of the Western present.</p>","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2024-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139517831","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 : 2023-12-13DOI: 10.1017/s1478572223000245
SAM RIDOUT
This article attends to the conjuncture in the early 1970s of post-Cagean musical practice and poststructuralist theory associated with the journal Musique en jeu and the music department of the Centre universitaire expérimental de Vincennes. Reading the theoretical writing of figures including Daniel Charles and Ivanka Stoïanova alongside the music of Costin Miereanu, the article elaborates the account of the open work that emerges there, before turning to an LP by Miereanu, Luna cinese (1975), which grapples with the aporetic figure of the open record and in so doing takes the ‘openness’ of post-Cagean experimentalism in new directions. In conclusion, I begin to theorize what Miereanu's open record suggests about the listening that records call for and the fixity of records in general.
本文关注20世纪70年代早期后加吉恩音乐实践和后结构主义理论与《欧洲音乐》杂志和文森实验中心大学音乐系的联系。阅读Daniel Charles和Ivanka Stoïanova等人物的理论写作以及Costin Miereanu的音乐，文章详细阐述了在那里出现的开放作品，然后转向Miereanu的LP, Luna chinese(1975)，它与开放唱片的apoapotic人物作了努力，这样做将后凯格实验主义的“开放性”带到了新的方向。最后，我开始理论化Miereanu的公开记录所暗示的关于录音所需要的倾听和一般记录的固定性。
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Pub Date : 2023-10-01DOI: 10.1017/s1478572223000142
GAVIN S. K. LEE, CHRISTOPHER J. MILLER
Global Musical Modernisms – the formulation heralds expansion into new arenas of music research. 1 For while certain pairings of the component terms are familiar enough, the concatenation of all three is novel. In music studies, the most notable trend is the flurry of activity around global music history, with study groups in two societies historically focused on Western musics, and one focused on ethnomusicology. 2 Global music history derives strength and in turn strengthens movement towards disciplinary convergence, or at least greater interaction – an important precondition for the study of global musical modernisms. 3 There has also been renewed interest in musical modernism, though not so much, at least at first glance, in the direction of the global, and with less interdisciplinary synergy. By contrast, the global figures very prominently in what has been termed the ‘new modernist studies’, a field that coalesced in the late 1990s. 4 As one indication, its global turn had gathered enough momentum for Oxford University Press to publish a handbook on ‘Global Modernisms’ in 2013, just three years after its handbook on ‘Modernisms’. 5 Despite aspirations to coverage of modernism in all its forms, the field is populated predominantly by literary scholars, with minimal attention to music.
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Pub Date : 2023-10-01DOI: 10.1017/s147857222300018x
CHELSEA BURNS
Abstract The idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul , written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers. Chávez was not alone in having been positioned as ‘modernism's shadow’ – the negative counterexample that confirms modernism's progressive image. Global musical modernism suggests that modernism can shed its exclusionary identity and encompass more. But it hides how modernism has always been international, and how composers such as Chávez have been central to its construction. By ignoring modernism's historical realities, global musical modernism shores up existing understandings and maintains the marginal status of whatever is categorized as ‘global’.
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Pub Date : 2023-10-01DOI: 10.1017/s1478572223000233
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
{"title":"TCM volume 20 issue 3 Cover and Back matter","authors":"","doi":"10.1017/s1478572223000233","DOIUrl":"https://doi.org/10.1017/s1478572223000233","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206464","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 : 2023-10-01DOI: 10.1017/s1478572223000166
KIRA THURMAN
Abstract While the idea that Beethoven had African ancestry became popular in the 1960s during the Civil Rights struggle in the United States, its conception arose during an earlier moment: the global New Negro movement of the 1920s. Appearing in newspaper columns, music journals, and essays, Black American writings on Beethoven challenged white musicians’ claims to the canon of Bach, Beethoven, and Brahms. This article argues that the project of making Beethoven Black belonged to a greater and more ambitious endeavour to rewrite Western music history. Black musicologists sought to globalize the Western canon, and in so doing, critique its grand narratives. Locating Black musical idioms in eighteenth-century piano sonatas or conducting archival research on Black European figures such as George Bridgetower, their music histories challenged readers to re-examine just who, exactly, had contributed to the project of cultural modernity and on what grounds.
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Pub Date : 2023-10-01DOI: 10.1017/s1478572223000221
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
{"title":"TCM volume 20 issue 3 Cover and Front matter","authors":"","doi":"10.1017/s1478572223000221","DOIUrl":"https://doi.org/10.1017/s1478572223000221","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206475","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 : 2023-10-01DOI: 10.1017/s1478572223000191
BRIGID COHEN
Abstract The Paris-trained, Japanese composer Michiko Toyama (1913–2006) was appointed as the earliest foreign-born visiting composer at the Columbia-Princeton Electronic Music Center (CPEMC), the first institutionally supported studio of its kind in the United States. Yet she remains virtually unknown to scholarship, despite a growing literature on women pioneers in electronic music. Drawing on interviews, archival research, and the interpretive study of music, this article studies the conditions under which Toyama has found little remembrance to date; and it conceptualizes Toyama's own ideas of modernity formulated over the massive cultural and geographical dislocations of her lifetime. Within an intensely lyrical compositional practice, Toyama thematized hallmarks of traditional modernism studies: self-reflexivity, estrangement, exile, and exoticism. Racist criticism during her lifetime dismissed her music as a belated mimicry of Western models. Yet the modernist qualities and themes of her work emerge as a consequence of her life lived in intercultural contact zones of uprooting – the very conditions that make ideas of the ‘modern’ possible.
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Pub Date : 2023-10-01DOI: 10.1017/s1478572223000178
SERGIO OSPINA ROMERO
Abstract After 1917 the word ‘jazz’ disseminated rapidly throughout the world attaining, along the way, a multiplicity of meanings, sometimes related to musical practices from the United States, but often associated with a diverse array of things, objects, ideas, and situations in the worlds of music entertainment, dance, leisure, and fashion. In the Caribbean, this process entailed not only the constitution of jazz as a symbol of social modernity but also revealed a long history of exchanges between the United States and the Caribbean – not to mention the Afrodiasporic origins of jazz. By examining jazz as a by-product and an expression of Caribbean modernity, this article disentangles some of the cultural meanings of the word ‘jazz’ in the Caribbean between 1917 and 1920, considering, ultimately, how imagining jazz as Caribbean was inevitably intertwined with imagining it as modern.
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