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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Pub Date : 2023-02-01DOI: 10.1017/S1478572222000470
JUNG-MIN Mina Lee
Abstract During South Korea's authoritarian period (1961–87), student activists employed songs to express their anti-government and pro-democratic views. Known as minjung kayo (people's songs), these protest songs can be traced to the modern American folk music embraced by South Korean youth in the 1960s. By the late 1980s, however, minjung kayo carried emphatically anti-American, nationalistic, and socialist tones, echoing the minjung ideals that strove to achieve authentic ‘Koreanness’. This article unravels the complexities underlying the process of minjung kayo's development into an emblem of the pro-democratic movement, which entailed a shift away from its initial reflective and poetic style inspired by American folk music (exemplified in the songs of Kim Min-ki) and a move towards the militant style influenced by the Marxist composer Hanns Eisler. It argues that minjung kayo embodied the complex relationship South Korean activists held with their colonial past and autocratic present, as well as visions of their democratic future.
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Pub Date : 2023-02-01DOI: 10.1017/S1478572222000457
Igor Contreras Zubillaga
Abstract This article examines how musical practices in 1970s Spain formed ways of imagining democracy and how they participated in the wider social struggle to define freedom and equality for the final years of Franco's dictatorship and its immediate aftermath. I shall analyse two case studies: a large-scale experimental art festival held in the streets of Pamplona in 1972 and a grassroots musical collective created in 1973 on the initiative of the composer Llorenç Barber. Drawing on previous studies on the relationship between music and democracy, participatory art and the politics of spectatorship, and the insights of political science and philosophy into democracy, I offer a critical reassessment of the Pamplona festival and explore the relationship between grassroots collaboration and ideas of participatory democracy, and analyse the significance of this relationship in 1970s Spain.
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Pub Date : 2023-02-01DOI: 10.1017/S1478572222000469
E. Kelly
Abstract The opening of the Berlin Wall in November 1989 provided a spectacular climax for Samuel Huntington's third wave of democracy. It represented the triumph not only of a people over their oppressive regime but also, ultimately, of Western economic liberalism; the post-socialist democracy of German reunification was a singular one with consumerism at its core. In the early 1990s, many East German reform socialists resisted this inevitability, and exploited the temporary political and bureaucratic void that emerged in East Berlin as a space in which to imagine alternative democratic futures from the socialist past. In this article I explore the attempts by two very different East Berlin musical communities to incubate anti-capitalist worlds from the legacies – both official and unofficial – of the German Democratic Republic (GDR). First, I reflect on the autonomous musical worlds that were created by members of the GDR's alternative bands in occupied buildings in Prenzlauer Berg and Mitte. Second, I consider the articulation by the ZwischenWelt-Festival, a reincarnation of the GDR's Festival of Political Song, of a more outward-looking future for East Germany, based on the ideals of international solidarity.
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Pub Date : 2023-02-01DOI: 10.1017/S1478572222000445
R. Adlington, Igor Contreras Zubillaga
The so-called ‘third wave of democratisation’, commencing with Portugal’s Carnation Revolution in 1974 and extending to the collapse of the Soviet Bloc in the 1990s, was widely received as marking an inevitable process towards liberty, even (to use the resonant prediction of Frances Fukuyama) ‘the end of history’. Yet historical research has more recently demonstrated that the processes of transition from authoritarianism undergone by countries around the world was troubled and incomplete, and marked by sharp conflicts over what democracy was to look like. In this, they reflected Pierre Rosanvallon’s diagnosis of democracy as representing both a promise and a problem for a society: ‘a promise insofar as democracy reflected the needs of societies founded on the dual imperative of equality and autonomy; and a problem, insofar as these noble ideals were a long way from being realized’. As we prepared this issue for submission to Twentieth-Century Music, Russia – once brandished as the crown jewel within this third wave of democratization – embarked upon an unprovoked military invasion of a neighbouring country and a repressive domestic crack-down on independent media and free speech, confirming a democratic collapse that is now widely regarded as two decades in the making. There could be no clearer symbol of the risks that accompany processes of democratization, and the tendency for new democracies (and indeed old ones that were once new) to retain imbalances of power from previous political arrangements. As political science has shown, democracy is an inherently contestable category. History evidencesmany different ways of imagining ‘rule by the people’, and any particular realization of core democratic principles carries costs as well as benefits, and reflects some interests in preference to others. This contestability is especially apparent in the political context of the transition to democracy after an authoritarian regime, often giving rise to a pronounced struggle between different ideas and practices of democracy. Reflecting this, our special issue of Twentieth-Century Music examines how musical practices in different national contexts formed ways of imagining democracy, and how these practices participated in the wider social struggle to define freedom and equality in the late twentieth century. Taking as a historical premise Samuel Huntington’s notion of the ‘third wave of democratisation’, the issue explores case studies from Greece, Spain, the German Democratic Republic, South Korea, South Africa, and Chile. How did musical practices instantiate ideas of democracy in these contexts? Inversely, how did different ideas of democracy inform musical practice? How
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Pub Date : 2023-02-01DOI: 10.1017/S1478572222000408
Lauren Istvandity
Social media has substantially altered the way communication is carried out within and beyond creative arts scenes. And yet, the impact of social media communication on the process of meaning-making and organization for artforms has received limited critical attention, despite social media dominating the organization, distribution, and promotional facets of creative practice for around ten years at the time of writing. Ellis Jones’s volume is a significant contribution in filling this void, via a thorough examination of the relationship between do-it-yourself (DIY) music scenes and social media. Herein, Jones situates DIY music not in relation to specific genres, but to activities relating to the ‘democratization of culture’, noting also the changing perception of DIY from a niche subculture to its current status as ‘mainstream’ (1–2). Certainly, there is already a great deal of existing writing celebrating and debating DIY culture and music scenes broadly; equally so, the surge in cultural research on social media in the past five to ten years gives Jones much intellectual material on which to draw new arguments. But Jones carries out significant work here in terms of connecting both these dual research areas and the activities in question, engaging deeply with both artistic DIY and social media practice, and carefully traversing the uneasy grounds of each. While we might take for granted the affordances of social media for general use, there is much to unpick about the social nature of DIY music practices and how these play out on social media. Bringing these concepts to life are Jones’s ethnographic case study interviews. Choosing to draw on a single indie-punk DIY scene in Leeds, UK, Jones engages artists in in-depth conversations about how their scene operates within and alongside social media platforms. Jones describes Leeds, the location for this research, as having historical significance given the community’s involvement in post-punk scenes in the 1970s and 1980s (11–12), and as such, aspects of ‘place’ were influential in understanding the current scene via these interviews.
{"title":"Ellis Jones, DIY Music and the Politics of Social Media (London and New York: Bloomsbury Publishing, 2021), ISBN: 978-1-5013-5964-4 (hb), 978-1-5013-5963-7 (pb).","authors":"Lauren Istvandity","doi":"10.1017/S1478572222000408","DOIUrl":"https://doi.org/10.1017/S1478572222000408","url":null,"abstract":"Social media has substantially altered the way communication is carried out within and beyond creative arts scenes. And yet, the impact of social media communication on the process of meaning-making and organization for artforms has received limited critical attention, despite social media dominating the organization, distribution, and promotional facets of creative practice for around ten years at the time of writing. Ellis Jones’s volume is a significant contribution in filling this void, via a thorough examination of the relationship between do-it-yourself (DIY) music scenes and social media. Herein, Jones situates DIY music not in relation to specific genres, but to activities relating to the ‘democratization of culture’, noting also the changing perception of DIY from a niche subculture to its current status as ‘mainstream’ (1–2). Certainly, there is already a great deal of existing writing celebrating and debating DIY culture and music scenes broadly; equally so, the surge in cultural research on social media in the past five to ten years gives Jones much intellectual material on which to draw new arguments. But Jones carries out significant work here in terms of connecting both these dual research areas and the activities in question, engaging deeply with both artistic DIY and social media practice, and carefully traversing the uneasy grounds of each. While we might take for granted the affordances of social media for general use, there is much to unpick about the social nature of DIY music practices and how these play out on social media. Bringing these concepts to life are Jones’s ethnographic case study interviews. Choosing to draw on a single indie-punk DIY scene in Leeds, UK, Jones engages artists in in-depth conversations about how their scene operates within and alongside social media platforms. Jones describes Leeds, the location for this research, as having historical significance given the community’s involvement in post-punk scenes in the 1970s and 1980s (11–12), and as such, aspects of ‘place’ were influential in understanding the current scene via these interviews.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43960734","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}
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