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.
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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.
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Pub Date : 2023-10-01DOI: 10.1017/s147857222300021x
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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。
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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。
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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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