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’.
{"title":"Reiterating Hierarchy and the Failed Promise of the Global","authors":"CHELSEA BURNS","doi":"10.1017/s147857222300018x","DOIUrl":"https://doi.org/10.1017/s147857222300018x","url":null,"abstract":"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’.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204825","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/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":"41 1","pages":"0"},"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/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.
{"title":"Michiko Toyama Disrupts the Historiography of Modernism","authors":"BRIGID COHEN","doi":"10.1017/s1478572223000191","DOIUrl":"https://doi.org/10.1017/s1478572223000191","url":null,"abstract":"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.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136094170","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/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":"44 1","pages":"0"},"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/s1478572223000154
CHRISTOPHER J. MILLER
Abstract When is it modernism? This article poses this question to traditionally based Indonesian musik kontemporer , as an occasion to examine a distinctive instance of musical modernism, but most importantly to illuminate issues with the question itself. Taking it literally, I identify when musik kontemporer was most clearly modernist, recognizing that modernism, and its conception of history, itself has a history. Scrutinizing the question's more usual goal of drawing a distinction between that which is and is not modernist, I show how the case of Rahayu Supanggah – a musician with a deep and primary commitment to the traditional performing arts, whose work has been shaped by his adoption of modernist ways of thinking without being fully defined by them – defies a simple answer. Ultimately, the article is concerned with what is at stake when invoking modernism, and what this means for the larger project of understanding musical modernism as a global phenomenon.
{"title":"When Is It Modernism? A Lesson from Indonesian Musik Kontemporer","authors":"CHRISTOPHER J. MILLER","doi":"10.1017/s1478572223000154","DOIUrl":"https://doi.org/10.1017/s1478572223000154","url":null,"abstract":"Abstract When is it modernism? This article poses this question to traditionally based Indonesian musik kontemporer , as an occasion to examine a distinctive instance of musical modernism, but most importantly to illuminate issues with the question itself. Taking it literally, I identify when musik kontemporer was most clearly modernist, recognizing that modernism, and its conception of history, itself has a history. Scrutinizing the question's more usual goal of drawing a distinction between that which is and is not modernist, I show how the case of Rahayu Supanggah – a musician with a deep and primary commitment to the traditional performing arts, whose work has been shaped by his adoption of modernist ways of thinking without being fully defined by them – defies a simple answer. Ultimately, the article is concerned with what is at stake when invoking modernism, and what this means for the larger project of understanding musical modernism as a global phenomenon.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135656769","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/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.
{"title":"The Dawn of the Jazz Age in the Caribbean: Dance, Consumer Culture, and the Imperial Shape of Modern Entertainment","authors":"SERGIO OSPINA ROMERO","doi":"10.1017/s1478572223000178","DOIUrl":"https://doi.org/10.1017/s1478572223000178","url":null,"abstract":"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.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136199400","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/s1478572223000208
GAVIN S. K. LEE
Abstract This article argues that through historiography, global musical modernisms decolonize Western musical modernism, expanding and bursting the latter's spatial (geographic), vertical (high–low genres), and temporal boundaries. The unsettling of these various boundaries shows how coloniality is the context of, and thoroughly imbricated with, global musical modernisms – and yet the latter has channelled the self-conscious resistance of global music-makers against the colonial condition that characterizes modernity. Examining global musical modernisms both in the real world and in the inter-disciplines, this article addresses material complexities that are elided in purist dichotomous conceptions of resistance and oppression as inhering in different musics and cultures.
{"title":"Global Musical Modernisms as Decolonial Method","authors":"GAVIN S. K. LEE","doi":"10.1017/s1478572223000208","DOIUrl":"https://doi.org/10.1017/s1478572223000208","url":null,"abstract":"Abstract This article argues that through historiography, global musical modernisms decolonize Western musical modernism, expanding and bursting the latter's spatial (geographic), vertical (high–low genres), and temporal boundaries. The unsettling of these various boundaries shows how coloniality is the context of, and thoroughly imbricated with, global musical modernisms – and yet the latter has channelled the self-conscious resistance of global music-makers against the colonial condition that characterizes modernity. Examining global musical modernisms both in the real world and in the inter-disciplines, this article addresses material complexities that are elided in purist dichotomous conceptions of resistance and oppression as inhering in different musics and cultures.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136054955","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/s147857222300021x
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
此内容的摘要不可用，因此提供了预览。有关如何访问此内容的信息，请使用上面的获取访问链接。
{"title":"Notes on Contributors","authors":"","doi":"10.1017/s147857222300021x","DOIUrl":"https://doi.org/10.1017/s147857222300021x","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136205254","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 : 2023-08-29DOI: 10.1017/s1478572223000130
J. Salem
This article combines historiographic reflections on the open-work concept in serial music with a new philology of Pierre Boulez's Don, the opening piece of Pli selon pli. I begin by presenting challenges in defining the open-work concept. I also deconstruct the dual use of the term ‘serialism’ to define a set of compositional techniques and a musical style. This leads me to a reconsideration of the similarities between the changing compositional strategies of Boulez and John Cage (and their influence on others) during a time of formal and stylistic experimentation in the 1950s. Finally, I segue to Boulez's compositional plans for Don. In doing so, I provide a concrete example of how the techniques of serialism often belie the aesthetic and extramusical connotations at play in works that are serial in style.
本文将对连载音乐中开放作品概念的历史反思与皮埃尔·布列兹的《唐》（Pli selon Pli的开场曲）的新文献学相结合。我首先介绍了在定义开放工作概念方面的挑战。我还解构了“连续主义”一词的双重使用，以定义一套作曲技巧和音乐风格。这让我重新思考了Boulez和John Cage在20世纪50年代的形式和风格实验时期不断变化的作曲策略之间的相似之处（以及他们对他人的影响）。最后，我谈到了Boulez为Don所作的作曲计划。在这样做的过程中，我提供了一个具体的例子，说明在风格上连续的作品中，连续主义的技术往往掩盖了美学和音乐外的内涵。
{"title":"Challenging Historiographic Assumptions: Opening Up Serialism with Pierre Boulez's Don","authors":"J. Salem","doi":"10.1017/s1478572223000130","DOIUrl":"https://doi.org/10.1017/s1478572223000130","url":null,"abstract":"\u0000 This article combines historiographic reflections on the open-work concept in serial music with a new philology of Pierre Boulez's Don, the opening piece of Pli selon pli. I begin by presenting challenges in defining the open-work concept. I also deconstruct the dual use of the term ‘serialism’ to define a set of compositional techniques and a musical style. This leads me to a reconsideration of the similarities between the changing compositional strategies of Boulez and John Cage (and their influence on others) during a time of formal and stylistic experimentation in the 1950s. Finally, I segue to Boulez's compositional plans for Don. In doing so, I provide a concrete example of how the techniques of serialism often belie the aesthetic and extramusical connotations at play in works that are serial in style.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45274495","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 : 2023-08-11DOI: 10.1017/s1478572223000129
Eduardo Sato
During the 1930s, Heitor Villa-Lobos concentrated his efforts on coordinating Brazilian musical education. As such, he changed his compositional style and did not travel to Europe again until 1936. This article examines Villa-Lobos's trip to Europe in 1936, drawing on Florencia Garramuño's call to ‘incorporate avant-garde voyages as founding moments’ for an autochthonous national character in music. During his journey, Villa-Lobos represented Brazil in different settings: as a deputy at the International Congress of Music Education in Prague and as a composer in under-the-radar political negotiations with Nazi Germany in Berlin. Considering the authoritarian Vargas Regime, Brazilian modernism, and the dialectical relation between nationalism and internationalism, I argue that this trip served as a catalyst for a new creative phase, culminating in the series of Bachianas brasileiras, a resignification of J. S. Bach's music and legacy in the context of his interpretation of Brazilian Antropofagia (cultural cannibalism).
在20世纪30年代，Heitor Villa Lobos集中精力协调巴西的音乐教育。因此，他改变了作曲风格，直到1936年才再次前往欧洲。这篇文章考察了Villa Lobos 1936年的欧洲之行，借鉴了Florencia Garramuño的呼吁，即在音乐中“将前卫的航行作为本土民族性格的创始时刻”。在他的旅程中，维拉·洛博斯代表巴西参加了不同的场合：作为布拉格国际音乐教育大会的代表，以及作为作曲家在柏林与纳粹德国进行秘密政治谈判。考虑到威权主义的巴尔加斯政权、巴西现代主义以及民族主义和国际主义之间的辩证关系，我认为这次旅行是一个新的创作阶段的催化剂，最终以巴赫的《巴西音乐》系列而告终，这是在他对巴西Antropofagia（文化自相残杀）的诠释中，对巴赫的音乐和遗产的一种放弃。
{"title":"Cannibalizing Bach: Villa-Lobos in Europe, 1936","authors":"Eduardo Sato","doi":"10.1017/s1478572223000129","DOIUrl":"https://doi.org/10.1017/s1478572223000129","url":null,"abstract":"\u0000 During the 1930s, Heitor Villa-Lobos concentrated his efforts on coordinating Brazilian musical education. As such, he changed his compositional style and did not travel to Europe again until 1936. This article examines Villa-Lobos's trip to Europe in 1936, drawing on Florencia Garramuño's call to ‘incorporate avant-garde voyages as founding moments’ for an autochthonous national character in music. During his journey, Villa-Lobos represented Brazil in different settings: as a deputy at the International Congress of Music Education in Prague and as a composer in under-the-radar political negotiations with Nazi Germany in Berlin. Considering the authoritarian Vargas Regime, Brazilian modernism, and the dialectical relation between nationalism and internationalism, I argue that this trip served as a catalyst for a new creative phase, culminating in the series of Bachianas brasileiras, a resignification of J. S. Bach's music and legacy in the context of his interpretation of Brazilian Antropofagia (cultural cannibalism).","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42519283","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：