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.
{"title":"Mimetic Mechanicity: The Iron Foundry and Vernacular Internationalism in the 1930s","authors":"Giles Masters","doi":"10.1017/s1478572222000433","DOIUrl":"https://doi.org/10.1017/s1478572222000433","url":null,"abstract":"\u0000 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.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48514294","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 : 2023-04-27DOI: 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.
{"title":"Forgotten Pasts and Imagined Futures: The First International Webern Festival and the 1962 Seattle World's Fair","authors":"David H. Miller","doi":"10.1017/s1478572223000014","DOIUrl":"https://doi.org/10.1017/s1478572223000014","url":null,"abstract":"\u0000 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.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44072575","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 : 2023-04-19DOI: 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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Pub Date : 2023-03-13DOI: 10.1017/S147857222300004X
Stephen Zank
Jessie Fillerup, who currently teaches at the University of Richmond in Virginia, has published a welcome new book on Maurice Ravel, encouraging us to reconsider his music with regard to the principles of theatrical magic and illusion practised during the decades before and after his life proper (1875–1937). Building upon her previous work on illusion and Ravel, Fillerup offers an even wider, cross-disciplinary, indeed cross-cognitive, study arguing that extra-musical illusionary practices influenced Ravel in as yet unacknowledged ways, that they betray the outlines of an ‘aesthetics of musical illusion’ in which we all participate (to differing degrees) and, hence, that they point towards new ways of re-evaluating our perceptions of the music, the composer, and his legacy. It is a very fine and imaginative study, both analytical and theoretical, complicated in original ways that allude to what has been referred to at least once before, in something of a similar context, as a composer’s ‘pre-compositional’ method. Like most original thought, I think, it is a bit idiosyncratic in concept and organization but (more importantly) derives fairly and creatively from what many others have thought about the author’s chosen topics, over very long times. Thinking anew about Ravel’s music here embraces new complexity, since Fillerup introduces a broad array of research beyond music theory, history, perception, and the Humanities in general to include more recent results from psychologists, philosophers, and newer disciplines, such as disability studies, consortiums studying magic and illusion, and ‘clusters’ of shared research. More specifically, she proposes a threefold re-imagining of Ravel’s methods – ‘musical masonry’ (8), as nicely put – comprising initially 1) the composer’s public image, 2) his fascination with machines, and 3) the compositional craft itself. To link and develop these categories more fully, four others are introduced as ‘Ravelian effects’: 1) illusions of perpetual ascent, 2) transformational ascent, 3) mechanization, and 4) apparent motion and stasis. Much of this draws (newly) upon a large body of ‘theater and media history’ (6) interwoven with the chosen musical examples, figures, illustrations, and interpretations of past and present Ravel research in order to frame the background and
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Pub Date : 2023-03-02DOI: 10.1017/s1478572222000391
María Edurne Zuazu
In Janet Cardiff's The Forty Part Motet (2001, 40Part), ‘a reworking of Thomas Tallis's Spem in alium (c. 1570)’, the forty voice parts of the motet are played back via forty speakers. Visitors walk through and around the encompassing speakers arrayed in eight groups of five. Still in constant demand, 40Part enjoys unparalleled success in the contemporary art scene. This article shows how 40Part became associated with New York City's rituals of remembrance and healing after 9/11 and Hurricane Sandy, and considers the politics of the installation's stagings as part of those commemorations. Here, 40Part took on a specifically comforting function that speaks to larger tendencies in twenty-first-century auditory culture, American cultural responses to trauma, and commemorative uses of music, which are built on white bourgeois sentimental attachments and the techno-social production of imagined spaces and times of privilege.
在Janet Cardiff的《四十部分的汽车》（2001年，第40部分）中，“托马斯·塔利斯（Thomas Tallis）的《阿利姆的斯佩姆》（Spem In alium）（约1570年）的翻版”，汽车的四十个声部通过四十个扬声器播放。游客们穿过环绕的扬声器，扬声器排列成八组，每组五个。40Part仍然供不应求，在当代艺术领域取得了无与伦比的成功。这篇文章展示了40Part是如何在9/11和飓风桑迪之后与纽约市的纪念和治愈仪式联系在一起的，并将装置舞台的政治视为这些纪念活动的一部分。在这里，《40Part》扮演了一个特别令人欣慰的角色，讲述了21世纪听觉文化的更大趋势、美国文化对创伤的反应，以及音乐的纪念用途，这些都建立在白人资产阶级情感依恋和想象中的特权空间和时代的技术社会生产之上。
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Pub Date : 2023-03-01DOI: 10.1017/s1478572222000378
E. Rodríguez
In the song cycle Libro de cantares (1987), Spanish-Cuban composer Julián Orbón (1925–91) entered into a dialogue with the work of two other men who, like him, were displaced under the Franco regime: he re-used Asturian folk songs compiled by Eduardo Martínez Torner in 1920; and he followed compositional models deployed by Manuel de Falla in Siete canciones populares españolas (1914). In this article I argue how, by doing so, Orbón engaged in individual and collective memory-building processes that matched to an extent but also diverged from similar processes that were then underway in Spain in the 1980s (following the end of the Franco regime in 1975) and, particularly, in Orbón's natal region of Asturias. I also argue that Orbón's understandings of memory and modernity are unique within the context of displaced twentieth-century Spanish composers, and as such afford us opportunities to reconsider these crucial categories.
在歌曲周期Libro de cantares（1987）中，西班牙-古巴作曲家朱利安·奥尔本（1925–91）与另外两位像他一样在佛朗哥政权下流离失所的人的作品进行了对话：他重新使用了爱德华多·马丁内斯·托纳于1920年编纂的阿斯图里亚斯民歌；他遵循了曼努埃尔·德·法拉在《西班牙大众音乐节》（1914）中采用的作曲模式。在这篇文章中，我争论了奥尔本是如何通过这样做参与个人和集体记忆构建过程的，这些过程在一定程度上与20世纪80年代（1975年佛朗哥政权结束后）西班牙正在进行的类似过程相匹配，但也与之不同，尤其是在奥尔本出生的阿斯图里亚斯地区。我还认为，在20世纪流离失所的西班牙作曲家的背景下，奥尔本对记忆和现代性的理解是独特的，因此为我们提供了重新考虑这些关键类别的机会。
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Pub Date : 2023-02-28DOI: 10.1017/s1478572222000421
Diego Alonso Tomás
Singled out as one of the finest and most original works by the leading film-music composer Alberto Iglesias, the score for Pedro Almodóvar's The Skin I Live In (2011) stands out for its inclusion of a (neo-baroque) virtuoso part for solo violin with key symbolic functions in the film. This part is largely derived from the composer's post-minimalist string trio Cautiva (c. 1990). The present article analyses Iglesias's reconfiguration of key materials from Cautiva to express the relationship of domination, violence, and desire between the film's villain and the heroine as well as the role played by violin virtuosity in establishing links to the (gothic) horror genre and in the exaltation of the artist's power as creator that Almodóvar ultimately reflects upon in The Skin I Live In. The article adds to recent studies on the centuries-old symbolism of the violin as a topos of the demonic and otherworldly by analysing these meanings in one of the finest contemporary film scores. The study is part of a recent upsurge of critical assessments of Almodóvar–Iglesias's work from cultural and musico-analytical perspectives.
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Pub Date : 2023-02-15DOI: 10.1017/S1478572222000330
D. Zhou
Abstract Musical biography, particularly that which focuses on non-Western performers, has long been marginalized in musicology. This article critically examines the performing career and performance style of China's first recital and recording pianist, Ding Shande, by scrutinizing written documents and analysing recordings. It was found that Ding's performing career was short-lived, peaking in 1935 and ending in the 1950s, and that he tended to play with fast and even tempo, emphasize metrical organizations, and highlight structural divisions through long-range dynamic variation. These findings shed light on how the changing concept of semi-colonialism influenced the career trajectories and performance styles of the earliest Chinese pianists, and hence offer insights into early history of piano performance in China. This article shows that performers’ performances are just as important in biographical writings as is the story of their lives, and that interweaving the two helps develop a more thorough and comprehensive understanding of a performer's biography.
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