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
{"title":"Jessie Fillerup, Magician of Sound: Ravel and the Aesthetics of Illusion (Oakland, CA: University of California Press, 2021), ISBN: 978-0-520379-886.","authors":"Stephen Zank","doi":"10.1017/S147857222300004X","DOIUrl":"https://doi.org/10.1017/S147857222300004X","url":null,"abstract":"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","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"20 1","pages":"261 - 266"},"PeriodicalIF":0.4,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45834022","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 : 2023-03-02DOI: 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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Pub Date : 2023-02-14DOI: 10.1017/S147857222200038X
Lidia López Gómez
Abstract During the Spanish Civil War, cinema became one of the most powerful weapons of propaganda. The music of the films, full of anthems and political references, was an essential tool for displaying the documentary's intentions and for influencing spectators’ reactions. Between 1936 and 1939, there was a surge in the production of documentaries targeting international audiences, as they were an invaluable resource for engaging the European countries that had signed the Non-Intervention Agreement against involvement in the Spanish conflict. The objective of this article is to analyse the music of the documentaries set in Spain that were exhibited internationally during the years of the war. We will study the politically tendentious uses of anthems and popular songs on the soundtracks, as well as the importance of the figure of the composer – for those documentaries with original music – attending to the social and political circumstances surrounding their participation in the production.
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Pub Date : 2023-02-02DOI: 10.1017/S1478572222000366
W. Froneman
Abstract This article weaves a story around the scant evidence that survives of the first university-based electroacoustic studio in Africa and the musical experimentalism that developed alongside it at the fledgling music department of what was then the University of Natal. The time is the early 1970s, the setting the eastern seaboard city of Durban, the local political context the ‘Durban moment’ of growing political unrest infused by Steve Biko's Black Consciousness movement and the radical politics of Richard (Rick) Turner, the red herring an ARP-2500 modular synthesizer, and the key figures the German-born experimental composer Ulrich Süsse and South Africa's foremost musicologist at the time Christopher Ballantine. By tracing the genealogy of Ballantine's ideas in post-1968 British counterculture and in musical collaborations with the physics department at the University of Natal – and by juxtaposing and contrasting the Durban New Music Group's activities with Turner's contemporaneous and often seething critique of white liberalism – the article offers perspectives on the globalization of the avant-garde, the expression of musical vanguardism in the problematic and contradictory spaces of twentieth-century white liberal South Africa, and the dialectics between the ‘experimental’ and the ‘avant-garde’ that informed alternative institution-building at what was to become the first department in South Africa to include African music, jazz, and popular music in their curricula in the early 1980s.
这篇文章围绕着非洲第一个基于大学的电声工作室幸存下来的证据，以及在当时的纳塔尔大学(University of Natal)刚刚起步的音乐系与之一起发展起来的音乐实验主义，编织了一个故事。时间是20世纪70年代初，背景是东部沿海城市德班，当地的政治背景是政治动荡加剧的“德班时刻”，由史蒂夫·比科(Steve Biko)的黑人意识运动和理查德(里克)特纳(Richard (Rick) Turner)的激进政治，ARP-2500模组合成器的“转移注意力”，以及德国出生的实验作曲家乌尔里希·ssse和当时南非最重要的音乐学家克里斯托弗·巴伦廷(Christopher Ballantine)。通过追溯百龄坛在1968年后的英国反主流文化和与纳塔尔大学物理系的音乐合作中的思想谱系，并将德班新音乐团体的活动与特纳当时对白人自由主义的激烈批评并置对比，文章提供了前卫全球化的观点。音乐先锋主义在20世纪白人自由主义南非充满问题和矛盾的空间中的表达，以及“实验”和“前卫”之间的辩证法，这些辩证法在20世纪80年代早期成为南非第一个将非洲音乐，爵士乐和流行音乐纳入课程的部门。
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Pub Date : 2023-02-01DOI: 10.1017/S1478572222000482
Anna Papaeti
Abstract This article focuses on the documentary The Songs of Fire by Nikos Koundouros (1975). Shot immediately after the fall of the military dictatorship (1967–74) in Greece, it exhumes the elation of three public concerts and demonstrations, capturing the enthusiasm for the return to democracy expressed through singing and chanting. The article focuses on the ways in which popular songs became the vehicles of the popular demand for democracy during the early transition to democracy. It shows how the film was crucial in establishing a narrative of resistance in collective memory that was centred on singing and listening, investigating the ways in which this sonic narrative, performed collectively and publicly, also betrays a latent reaction to a brutal regime fought by the few. It argues that collective singing seems to merge in memory with the ‘singing resistance’ performed individually and in secret during the dictatorship. Extended back in time, this sonic narrative registers an unconscious desire to repress the fact that large parts of society had remained silent during the regime's seven-year rule.
摘要本文聚焦于尼科斯·昆杜罗斯（Nikos Koundouros，1975）的纪录片《火之歌》（the Songs of Fire）。该片拍摄于希腊军事独裁政权（1967–74）垮台后，挖掘了三场公开音乐会和示威活动的喜悦，捕捉到了通过唱歌和吟唱表达的回归民主的热情。这篇文章的重点是流行歌曲在向民主过渡的早期如何成为民众对民主需求的载体。它展示了这部电影是如何在集体记忆中建立一种以唱歌和倾听为中心的抵抗叙事的，并调查了这种集体和公开表演的声音叙事如何也暴露出对少数人反抗的残酷政权的潜在反应。它认为，集体演唱似乎与独裁时期单独和秘密表演的“歌唱抵抗”在记忆中融合在一起。追溯到过去，这种声音叙事记录了一种无意识的欲望，即压制社会大部分人在政权七年统治期间保持沉默的事实。
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