Pub Date : 2023-02-01DOI: 10.1017/S1478572222000500
J. Pistorius
Abstract In 2004, Cape Town Opera mounted a production of Beethoven's Fidelio at the former apartheid prison on Robben Island. Sponsored by Den Norske Opera, and endorsed by the South African government, the production was presented as a celebration of the country's tenth year of democracy. This article investigates the vision of democracy performed by Fidelio on Robben Island and asks how it interacts with the founding principles of the new South African political order. Situating the production within the context of contemporaneous debates about cultural identity and representation in a democratic South Africa, I argue that Fidelio on Robben Island performed a legitimizing function designed to endorse the validity of the state and of opera as a democratic cultural form.
2004年，开普敦歌剧院在罗本岛前种族隔离监狱上演了贝多芬的《费德里奥》。该剧由挪威歌剧院(Den Norske Opera)赞助，并得到南非政府的认可，是为了庆祝南非民主10周年。本文探讨费德里奥在罗本岛推行的民主愿景，并探讨它如何与南非新政治秩序的基本原则相互作用。将这部作品置于民主南非的文化认同和表现的同时代辩论的背景下，我认为《罗本岛上的费德里奥》发挥了一种合法化的功能，旨在认可国家和歌剧作为民主文化形式的有效性。
{"title":"A Modern-Day Florestan: Fidelio on Robben Island and South Africa's Early Democratic Project","authors":"J. Pistorius","doi":"10.1017/S1478572222000500","DOIUrl":"https://doi.org/10.1017/S1478572222000500","url":null,"abstract":"Abstract In 2004, Cape Town Opera mounted a production of Beethoven's Fidelio at the former apartheid prison on Robben Island. Sponsored by Den Norske Opera, and endorsed by the South African government, the production was presented as a celebration of the country's tenth year of democracy. This article investigates the vision of democracy performed by Fidelio on Robben Island and asks how it interacts with the founding principles of the new South African political order. Situating the production within the context of contemporaneous debates about cultural identity and representation in a democratic South Africa, I argue that Fidelio on Robben Island performed a legitimizing function designed to endorse the validity of the state and of opera as a democratic cultural form.","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":"46184183","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 : 2023-02-01DOI: 10.1017/S1478572222000494
Daniel Party
Abstract This article is a study of Chilean popular music produced during the 1990s, the first decade following the end of the Pinochet dictatorship. The return of democracy and a period of strong economic growth contributed to a boom in the Chilean music industry. A wealth of music was recorded and the opportunities for listening to live music multiplied. The article's main objectives are to illuminate the ways in which Chilean popular music addressed democracy's inspiring promises and frustrating limits and to consider how Chileans used popular music to foster new post-authoritarian identities. First, it argues that music was used to reclaim national symbols that had been coopted by the dictatorship. Second, it considers the music of two generations of musicians who returned to the country after living in exile. Finally, it focuses on punk and hip-hop, the styles that produced the most significant examples of protest music in the post-authoritarian period.
{"title":"Rethinking Post-Authoritarian Chile through Its Popular Music","authors":"Daniel Party","doi":"10.1017/S1478572222000494","DOIUrl":"https://doi.org/10.1017/S1478572222000494","url":null,"abstract":"Abstract This article is a study of Chilean popular music produced during the 1990s, the first decade following the end of the Pinochet dictatorship. The return of democracy and a period of strong economic growth contributed to a boom in the Chilean music industry. A wealth of music was recorded and the opportunities for listening to live music multiplied. The article's main objectives are to illuminate the ways in which Chilean popular music addressed democracy's inspiring promises and frustrating limits and to consider how Chileans used popular music to foster new post-authoritarian identities. First, it argues that music was used to reclaim national symbols that had been coopted by the dictatorship. Second, it considers the music of two generations of musicians who returned to the country after living in exile. Finally, it focuses on punk and hip-hop, the styles that produced the most significant examples of protest music in the post-authoritarian period.","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":"41630312","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 : 2022-10-01DOI: 10.1017/S1478572222000251
Kate Galloway
Abstract This article explores the strategies employed by user-creators as they listen to, sense, make, and share digital audiovisual memes of musicking non-human animals on social media. Memes, reels, and other forms of audiovisual social media posts are a form of cultural expression that reveals the varied ways humans relate to, connect with, and represent non-human animals – especially their pets – through sound, music, and the moving image. By listening to the plurality of musicking animals circulating on social media platforms and networks, I argue that user-creators conspicuously use music and performance to express alternative ideas of what it means to be musical, to feel closer to and connect with the important animals in their lives, and to explore the ways they can represent non-human animals using sound and music to explore musical concepts. Using a varied selection of viral musicking animal memes shared across social media platforms such as TikTok, Instagram, and Twitter, I frame musicking animal participatory media as a creative space for exploring different approaches to listening, performing with, and scoring sound and music to the behaviour, movement, and acoustic communication of the non-human animal. Non-human animal musicking takes a variety of forms across this particular kind of participatory media making by online user-creators.
{"title":"Sensing, Sharing, and Listening to Musicking Animals across the Sonic Environments of Social Media","authors":"Kate Galloway","doi":"10.1017/S1478572222000251","DOIUrl":"https://doi.org/10.1017/S1478572222000251","url":null,"abstract":"Abstract This article explores the strategies employed by user-creators as they listen to, sense, make, and share digital audiovisual memes of musicking non-human animals on social media. Memes, reels, and other forms of audiovisual social media posts are a form of cultural expression that reveals the varied ways humans relate to, connect with, and represent non-human animals – especially their pets – through sound, music, and the moving image. By listening to the plurality of musicking animals circulating on social media platforms and networks, I argue that user-creators conspicuously use music and performance to express alternative ideas of what it means to be musical, to feel closer to and connect with the important animals in their lives, and to explore the ways they can represent non-human animals using sound and music to explore musical concepts. Using a varied selection of viral musicking animal memes shared across social media platforms such as TikTok, Instagram, and Twitter, I frame musicking animal participatory media as a creative space for exploring different approaches to listening, performing with, and scoring sound and music to the behaviour, movement, and acoustic communication of the non-human animal. Non-human animal musicking takes a variety of forms across this particular kind of participatory media making by online user-creators.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41840115","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 : 2022-10-01DOI: 10.1017/S1478572222000275
Byrd Mcdaniel
Abstract Music podcasts have proliferated as public discourse about popular music. A significant part of the expanding podcast industry, music podcasts include titles such as All Songs Considered, Switched on Pop, Song Exploder, Sound Opinions, New York Times Popcast, and Lost Notes. These podcasts often feature a combination of conversation and musical selections, which highlight aspects of the music for podcast listeners. In this article, I argue that we should think of music podcasts as persuasive demonstrations of music consumption. Music podcasts present music as a subject for discussion and also implicitly model listening techniques, convincing podcast listeners to adopt specific approaches to music recordings. I explore three podcasts: All Songs Considered, Switched on Pop, and Disability Visibility. I examine how these podcasts present music as their subject, while advancing particular theories of listening that can serve or subvert privileged modes of music reception.
音乐播客作为流行音乐的公共话语已经激增。音乐播客是不断扩大的播客行业的重要组成部分，包括《All Songs Considered》、《Switched on Pop》、《Song Exploder》、《Sound Opinions》、《New York Times Popcast》和《Lost Notes》等。这些播客通常结合了对话和音乐选择，为播客听众突出了音乐的各个方面。在这篇文章中，我认为我们应该把音乐播客看作是音乐消费的有说服力的展示。音乐播客将音乐作为一个讨论的主题，同时也隐含地模拟了听力技巧，说服播客听众采用特定的方法来录制音乐。我探索了三个播客:All Songs Considered、switch on Pop和Disability Visibility。我研究了这些播客是如何将音乐作为主题呈现的，同时推进了特定的聆听理论，这些理论可以服务于或颠覆音乐接受的特权模式。
{"title":"All Songs Considered: The Persuasive Listening of Music Podcasts","authors":"Byrd Mcdaniel","doi":"10.1017/S1478572222000275","DOIUrl":"https://doi.org/10.1017/S1478572222000275","url":null,"abstract":"Abstract Music podcasts have proliferated as public discourse about popular music. A significant part of the expanding podcast industry, music podcasts include titles such as All Songs Considered, Switched on Pop, Song Exploder, Sound Opinions, New York Times Popcast, and Lost Notes. These podcasts often feature a combination of conversation and musical selections, which highlight aspects of the music for podcast listeners. In this article, I argue that we should think of music podcasts as persuasive demonstrations of music consumption. Music podcasts present music as a subject for discussion and also implicitly model listening techniques, convincing podcast listeners to adopt specific approaches to music recordings. I explore three podcasts: All Songs Considered, Switched on Pop, and Disability Visibility. I examine how these podcasts present music as their subject, while advancing particular theories of listening that can serve or subvert privileged modes of music reception.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43022330","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 : 2022-10-01DOI: 10.1017/S1478572222000305
Michael Levine
Abstract For many Cubans, the internet remains an inaccessible destination. The residents of repartimiento districts – Black Cuban residents from outlying districts across Havana – manage the situation through custom solutions that bridge gaps of technological precarity. Utilizing USB drives to share content with one another, artists and music fans have constructed a complex, alternative internet that allows for the peer-to-peer trade of movies, music, and other media. Pirate digital networks such as el paquete semanal and Zapya, for instance, circulate music across the island without the need to rely on costly and unreliable internet infrastructure. Utilizing interviews, physical and digital ethnographies, and theories of viral musicking, I argue that Black Cuban artists and music fans, despite internet scarcity, use alternative networks to generate viral events. In particular, Cubans in 2021 joined in a transnational expression of sonic protest through the popularity of the politically subversive song ‘Patria y vida’, a song that circulated widely through underground, USB-based networks. In this article, I discuss the song's construction, circulation, and role in sounding the J-11 Cuban protests to demonstrate how Black Cuban artists and fans share music through USB-based networks not only to solve gaps in technologically precarious situations, but also to generate powerful moments of viral musicking.
{"title":"‘Exchanging Cuba for 1 Million YouTube Views’: Technological Precarity, Offline Virality, and ‘Patria y vida’","authors":"Michael Levine","doi":"10.1017/S1478572222000305","DOIUrl":"https://doi.org/10.1017/S1478572222000305","url":null,"abstract":"Abstract For many Cubans, the internet remains an inaccessible destination. The residents of repartimiento districts – Black Cuban residents from outlying districts across Havana – manage the situation through custom solutions that bridge gaps of technological precarity. Utilizing USB drives to share content with one another, artists and music fans have constructed a complex, alternative internet that allows for the peer-to-peer trade of movies, music, and other media. Pirate digital networks such as el paquete semanal and Zapya, for instance, circulate music across the island without the need to rely on costly and unreliable internet infrastructure. Utilizing interviews, physical and digital ethnographies, and theories of viral musicking, I argue that Black Cuban artists and music fans, despite internet scarcity, use alternative networks to generate viral events. In particular, Cubans in 2021 joined in a transnational expression of sonic protest through the popularity of the politically subversive song ‘Patria y vida’, a song that circulated widely through underground, USB-based networks. In this article, I discuss the song's construction, circulation, and role in sounding the J-11 Cuban protests to demonstrate how Black Cuban artists and fans share music through USB-based networks not only to solve gaps in technologically precarious situations, but also to generate powerful moments of viral musicking.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44341094","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 : 2022-10-01DOI: 10.1017/S1478572222000287
Paula Harper
Abstract In this article, I analyse the implications of autoplaying video as a driver of ‘audile techniques’ in the 2010s digital ecosystem – in particular, techniques that respond to the realities of the separability of image and sound, even in media that contain both elements. I then examine a number of strategies through which this audio/visual split has been negotiated, monetized, and creatively bridged by consumers, creators, and corporate personnel – from the creation of new audiovisual genres and aesthetics, to the rise of particular platform pricing models, to the adoption (and, potentially, exploitation) of accessibility features. Ultimately, I seek to show how negotiations of sound and listening factor deeply into contemporary attempts to harness and monetize ‘attention’ as a commodity in a digital economy of platforms, advertisements, and data.
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Pub Date : 2022-10-01DOI: 10.1017/S1478572222000329
Luis Achondo
Abstract Argentine, Chilean, and Uruguayan hinchas (soccer or football supporters) cheer for their teams primarily through contrafacta of popular music. Until recently, chants were mainly composed in stadiums and other physical spaces of fan socialization. However, the increasing dominance of the messaging app WhatsApp has altered these sociomusical relations. Drawing on ethnographic work, I argue that the messaging app has fostered both sociality and anti-sociality within and between fanbases. Hinchas employ its creative affordances to digitally decentre creativity from individuals through the distribution of inventive tasks between different people. However, WhatsApp also contributes to football violence by intimately spreading hate memes, aggressive chants, and videos of torture, among other forms of violent media. In illustrating that the messaging app can immerse and infect subjects in both productive and destructive relationalities, this article ultimately underscores the social and anti-social potentialities of viral media and digital technologies.
{"title":"Musical Messaging: The Social and Anti-Social Affordances of WhatsApp in the Football Culture of the Latin American Southern Cone","authors":"Luis Achondo","doi":"10.1017/S1478572222000329","DOIUrl":"https://doi.org/10.1017/S1478572222000329","url":null,"abstract":"Abstract Argentine, Chilean, and Uruguayan hinchas (soccer or football supporters) cheer for their teams primarily through contrafacta of popular music. Until recently, chants were mainly composed in stadiums and other physical spaces of fan socialization. However, the increasing dominance of the messaging app WhatsApp has altered these sociomusical relations. Drawing on ethnographic work, I argue that the messaging app has fostered both sociality and anti-sociality within and between fanbases. Hinchas employ its creative affordances to digitally decentre creativity from individuals through the distribution of inventive tasks between different people. However, WhatsApp also contributes to football violence by intimately spreading hate memes, aggressive chants, and videos of torture, among other forms of violent media. In illustrating that the messaging app can immerse and infect subjects in both productive and destructive relationalities, this article ultimately underscores the social and anti-social potentialities of viral media and digital technologies.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41248814","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 : 2022-10-01DOI: 10.1017/S1478572222000299
Anaar DESAI-STEPHENS
Abstract This article analyses the rise of YouTube in India between 2008 and 2018 by focusing on two central themes: first, shifts in digital infrastructure that enabled the widespread consumption of streaming media; and second, the importance of music-media aesthetics in supporting the platform's predominance. Drawing on ethnographic fieldwork and close readings of videos by significant early Indian YouTube performers, I trace how an ‘aesthetics of intimacy’ facilitated the practices of ‘engagement’ that drove YouTube's expansion and monetization. The article thus highlights the infrastructuralizing capacities of musical aesthetics as they have allowed YouTube to become the predominant online platform for the circulation of videos and attention in India and beyond. Ultimately, I suggest that scholars of digital music cultures must attend to the intertwining of aesthetics and infrastructure to gain insight into the corporate industry imaginaries that guide platform expansion in emerging digital markets.
{"title":"The Infrastructure of Engagement: Musical Aesthetics and the Rise of YouTube in India","authors":"Anaar DESAI-STEPHENS","doi":"10.1017/S1478572222000299","DOIUrl":"https://doi.org/10.1017/S1478572222000299","url":null,"abstract":"Abstract This article analyses the rise of YouTube in India between 2008 and 2018 by focusing on two central themes: first, shifts in digital infrastructure that enabled the widespread consumption of streaming media; and second, the importance of music-media aesthetics in supporting the platform's predominance. Drawing on ethnographic fieldwork and close readings of videos by significant early Indian YouTube performers, I trace how an ‘aesthetics of intimacy’ facilitated the practices of ‘engagement’ that drove YouTube's expansion and monetization. The article thus highlights the infrastructuralizing capacities of musical aesthetics as they have allowed YouTube to become the predominant online platform for the circulation of videos and attention in India and beyond. Ultimately, I suggest that scholars of digital music cultures must attend to the intertwining of aesthetics and infrastructure to gain insight into the corporate industry imaginaries that guide platform expansion in emerging digital markets.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45206746","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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