Pub Date : 2023-05-25DOI: 10.1017/s1478572223000026
Eduardo Herrera
Iannis Xenakis visited Argentina as a professor of the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Torcuato Di Tella Institute in 1966 where he discussed his interdisciplinary interests – mathematics, architecture, and computer-aided composition. Using archival resources and oral history, this article explores three aspects of Xenakis's trip to Argentina. First, the way the media framed the visit of the European composer and the reception of the events organized around it under a modernist discourse. Second, the direct impact that this visit had on some of the composers at CLAEM, particularly Graciela Paraskevaídis. Finally, the exchanges that Xenakis had with engineer Fernando von Reichenbach, who had been working on transforming graphic material into sound, something that crystallized with the development of Reichenbach's Convertidor Gráfico Analógico (1969), and Xenakis's Unité Polyagogique Informatique CEMAMu (UPIC 1977).
Iannis Xenakis于1966年作为Torcuato Di Tella研究所拉丁美洲音乐研究中心（CLEM）的教授访问了阿根廷，在那里他讨论了自己的跨学科兴趣——数学、建筑和计算机辅助构图。本文利用档案资料和口述历史，从三个方面探讨了谢纳基斯阿根廷之行。首先，媒体对这位欧洲作曲家的访问以及在现代主义话语下对围绕其组织的活动的接待的方式。其次，这次访问对CLAEM的一些作曲家产生了直接影响，尤其是Graciela Paraskevaídis。最后，Xenakis与工程师Fernando von Reichenbach的交流，后者一直致力于将图形材料转化为声音，这一点随着Reichenbach's Convertidor Gráfico Analógico（1969）和Xenakis's UnitéPolyagogique Informatique CEAMu（UPIC 1977）的发展而具体化。
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Pub Date : 2023-05-11DOI: 10.1017/s1478572223000099
IGOR CONTRERAS ZUBILLAGA
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Pub Date : 2023-05-05DOI: 10.1017/s1478572222000512
Susan C. Bay
This article reinterprets the tension between sound and music in Pierre Schaeffer's 1966 Treatise on Musical Objects. Schaeffer famously insisted that the Treatise did not address music or composition; scholars have therefore engaged with it primarily as a theoretical text on sound and listening. In this article, however, I argue that the denial and deferral of music throughout the Treatise should be considered a discrete and key part of its theoretical contributions. By the early 1960s, Schaeffer's aesthetic frustration with the practice of musique concrète had blossomed into something of an ethical imperative and paradox. He saw it necessary to suspend all musical activity in the present, so as to salvage music's future. This dynamic is key to understanding Schaeffer's controversial and influential calls for the deferral of cultural responses to sound in the Treatise, as illustrated by the practices of ‘deconditioning’ and ‘reconditioning’.
本文重新诠释了Pierre Schaeffer 1966年的《论音乐对象》(Treatise on Musical Objects)中声音与音乐之间的张力。著名的是，谢弗坚持认为《人性论》不涉及音乐或作曲;因此，学者们主要将其作为关于声音和听力的理论文本。然而，在这篇文章中，我认为在《人性论》中对音乐的否定和推迟应该被视为其理论贡献的一个离散和关键部分。到20世纪60年代初，谢弗对具体音乐实践的审美挫折已经发展成为一种道德上的要求和悖论。他认为有必要暂时停止一切音乐活动，以挽救音乐的未来。这种动态是理解Schaeffer在《人学论》中有争议和有影响力的呼吁，即延迟文化对声音的反应的关键，正如“去条件化”和“再条件化”的实践所说明的那样。
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Pub Date : 2023-05-03DOI: 10.1017/s1478572223000075
Carlos VAN TONGEREN
While it is often assumed that flamenco is strongly oriented towards the past, thus far, few scholars have explored the roles of flamenco in voicing memories of the Franco dictatorship (1939–75). During the second half of the dictatorship, a series of natural disasters, combined with new economic and political developments, led to the forced displacement of a number of flamenco artists and their wider communities in various Spanish cities. This article will explore how memories of this episode have impacted the flamenco dance repertoire associated with the Triana neighbourhood in Seville, focusing on three interrelated case studies: the performance and documentary film Triana pura y pura, and recent productions by the flamenco dancers Pastora Galván and Israel Galván. By analysing these performances alongside their historical, social, and institutional contexts, this article conceptualizes the intersections between dance, nostalgia, and festivity as a meaningful scenario of embodied memory in post-Franco Spain.
虽然人们通常认为弗拉门戈强烈地指向过去，但到目前为止，很少有学者探索弗拉门戈在表达对佛朗哥独裁统治(1939-75)的记忆中的作用。在独裁统治的后半期，一系列自然灾害，加上新的经济和政治发展，导致许多弗拉门戈艺术家和他们在西班牙各个城市的更广泛的社区被迫流离失所。本文将探讨这一事件的记忆如何影响与塞维利亚特里亚纳社区相关的弗拉门戈舞蹈曲目，重点关注三个相互关联的案例研究:表演和纪录片《特里亚纳pura y pura》，以及弗拉门戈舞者帕斯托拉Galván和以色列Galván的最新作品。通过分析这些表演及其历史、社会和制度背景，本文将舞蹈、怀旧和节日之间的交叉点概念化为后佛朗哥西班牙具体化记忆的有意义的场景。
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Pub Date : 2023-04-27DOI: 10.1017/s1478572222000433
Giles Masters
In the 1930s, the Iron Foundry, a short orchestral piece by the Soviet composer Aleksandr Mosolov, became hugely popular with audiences across Europe, North America, and beyond. Reassembling the fragmented archives of its performance and reception histories, this article sets out to follow the work on the circuitous routes that ensued. Addressing issues including programmaticism, the reception of Soviet music, and the history of comedy, I show how Mosolov's composition became a lightning rod for larger debates about concert music's relationships with modernity, politics, and mass entertainment. The case of the Iron Foundry, I suggest, illustrates how the pleasures of machine aesthetics – and, more specifically, a stylized idiom of mechanized gesture distinctive to the period – became widely assimilated into what we might call the vernacular internationalism of the interwar middle classes.
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Pub Date : 2023-04-27DOI: 10.1017/s1478572223000014
David H. Miller
In an April 1962 article previewing the First International Webern Festival, Hans Moldenhauer promised that Anton Webern's music would one day be known as ‘the music of the space age’. Moldenhauer chose his words carefully. The Webern Festival was set to take place in Seattle at the same time as the World's Fair (an event also known as the ‘Century 21 Exposition’ and ‘America's Space Age World's Fair’) and its opening night concert would be held on the grounds of the World's Fair. Yet the two ‘W.F.s’ made for an awkward pairing. Far from space-age music, the lush textures and sweeping gestures of the Webern's Festival's posthumous premieres revealed a young Webern rooted in nineteenth-century Romanticism. Critics and scholars’ responses to these premieres reveal much about the contested place of Webern's music – and modernist music more generally – within mid-century mainstream culture.
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Pub Date : 2023-04-19DOI: 10.1017/s1478572223000038
Russell C. Rodríguez
Utilizing the ideas of convivencia (convivial interaction) and Barbara Tomlinson and George Lipsitz's framework of ‘accompaniment’, I suggest that the ‘modern-urban’ mariachi, often characterized as an expression of standardization and commodification, has established a capacity for facilitating culture that contributes to the development of convivial communal spaces. In the midst of marginalization and systemic oppression, migrant and aggrieved communities throughout Greater Mexico engage in cultural practices and actions to reaffirm a sense of belonging, to which mariachi musicians have contributed and at times served as cultural bearers. I examine mariachi practices of apprenticeship learning and chambas (contractual gigs), the emergence of the Misa Panamericana (the mariachi mass) in Cuernavaca, and the integration of Mexican cultural expressions in San José, California to illuminate the convergence of political, cultural, and religious action and how the mariachi expression has played a role in these intersections.
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Pub Date : 2023-03-22DOI: 10.1017/S1478572223000051
Kate Guthrie
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