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":"19 1","pages":"472 - 494"},"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":"34 1","pages":"517 - 536"},"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.
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Pub Date : 2022-10-01DOI: 10.1017/S1478572222000317
K. Goldschmitt
Abstract In May 2021, Brazilian pop-funk superstar Anitta released ‘Girl from Rio’. The song was based on the melodic foundation of the bossa nova song ‘The Girl from Ipanema’ that became a huge international hit at the end of the 1960s bossa nova craze. ‘Girl from Rio’ features trap beats on top of the familiar melody with a clear lyrical message that critiques international stereotypes of women from Brazil. When Anitta attempted to capture the US market through TikTok and a high-profile remix, much of her critique disappeared. This article employs the concept of ‘digital fatigue’ to explore how viral musical content loses crucial aspects of its meaning through circulation and endless embodied repetition. By focusing on how the repetition of viral musical media perpetuates stereotypes, it shows how the environment for transnational success requires easy associations to spread.
2021年5月，巴西流行放克巨星anita发行了《Girl from b里约热内卢》。这首歌的旋律基础是巴萨诺瓦歌曲“来自伊帕内玛的女孩”，这首歌在20世纪60年代末的巴萨诺瓦热潮中成为了一个巨大的国际热门歌曲。《来自b里约热内卢的女孩》在熟悉的旋律之上，以陷阱节拍为特色，清晰的抒情信息批判了国际上对巴西女性的刻板印象。当安妮塔试图通过TikTok和一款备受瞩目的混搭来占领美国市场时，她的许多批评都消失了。本文采用“数字疲劳”的概念来探讨病毒式音乐内容是如何通过循环和无休止的重复而失去其意义的关键方面的。通过关注病毒式音乐媒体的重复如何使刻板印象永久化，它展示了跨国成功的环境如何需要简单的联系来传播。
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Pub Date : 2022-10-01DOI: 10.1017/S147857222200024X
Kate Galloway, K. Goldschmitt, Paula Harper
At the end of 2018, a proudmember of the Barbz – obsessive online fans of rapper NickiMinaj who defend her against her critics and naysayers – used the short-form video platformTikTok to promote and circulate a newly released song that would eventually breakmultiplemusic industry records: ‘Old Town Road’. While plentiful critical discourse has focused on the significance of Lil’ Nas X’s breakout viral single for how it shattered genre conventions and troubled music industry institutions, the song’s rapid ascendancy also showed aspiring musical creators a new path for success – by leveraging online musical communities and platform affordances, amateurs and professionals can reap huge rewards. In the years since, onlinemusical formations across social media have become spaces rife with risk and reward, exposing the ways in which digital mediation has transformed and is transforming our relationships with music well beyond the scope of the music industries as previously and traditionally understood. Despite the title of this journal, this special issue is unambiguously situated in the twenty-first century. In the opening decades of the millennium, musical creation, circulation, and community formation have been – like so many aspects of personal and public life – significantly reshaped amid the rise and rapid advancement of digital networks and technologies. Pervasive social media and digital streaming services have effected new modes of authorship; they have also opened new pathways of circulation and engendered new forms and practices of participatory culture. As we have seen in recent years, these new pathways have the side effect of limiting user agency to opt out of some experiences, ranging from audiovisual experiences that automatically play to enabling music surveillance and amplifying chauvinistic undercurrents in various genres and musical communities. The articles in this issue consider strategies for circulatingmusic and sound – abundantly, secretly,meaningfully, profitably – that are negotiated at intersections of individuals and communities, digital devices and platforms, creators and consumers, aesthetics and algorithms, and protocols and behaviours. This special issue expands upon recent publications in music and media studies that examine the intimacy and infrastructure of new digital technologies – expanding not just topically and temporally, but also geographically. The work of our contributing authors
2018年底，饶舌歌手尼基·米娜(NickiMinaj)的一名忠实网络粉丝利用短视频平台tiktok宣传和传播了一首新发行的歌曲《Old Town Road》，这首歌最终打破了音乐行业的记录。虽然大量的评论话语都集中在这首轰动全球的病毒式单曲的重要性上，因为它打破了流派传统，困扰了音乐行业机构，但这首歌的迅速崛起也给有抱负的音乐创作者展示了一条通往成功的新途径——通过利用在线音乐社区和平台，业余爱好者和专业人士都能获得巨大的回报。从那以后的几年里，社交媒体上的在线音乐形式已经成为充满风险和回报的空间，暴露了数字媒介改变和正在改变我们与音乐的关系的方式，远远超出了以前和传统理解的音乐产业的范围。尽管杂志的标题是这样的，但这期特刊毫无疑问是在21世纪。在新千年的头几十年里，音乐创作、传播和社区形成——就像个人和公共生活的许多方面一样——在数字网络和技术的兴起和快速发展中被显著地重塑了。无处不在的社交媒体和数字流媒体服务影响了新的创作模式;它们还开辟了新的流通途径，产生了参与性文化的新形式和新做法。正如我们近年来所看到的，这些新途径的副作用是限制用户选择退出某些体验，从自动播放的视听体验到允许音乐监控和放大各种流派和音乐社区中的沙文主义暗流。本期的文章探讨了在个人与社区、数字设备与平台、创作者与消费者、美学与算法、协议与行为的交叉点上进行协商的音乐和声音传播策略——丰富、秘密、有意义、有利可图。本期特刊扩充了音乐和媒体研究方面的最新出版物，这些出版物考察了新数字技术的亲密关系和基础设施——不仅在主题和时间上进行了扩展，而且在地理上也进行了扩展。我们的特约作者的工作
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Pub Date : 2022-10-01DOI: 10.1017/s1478572222000263
H. Judd
Abstract In 2011, Alex Heitlinger, a senior at New England Conservatory, uploaded the video ‘The Lick’ to YouTube. The 1′34″ compilation excerpted a range of performances that each deployed the same seven-note ‘lick’. This article explores the digital dissemination of videos and memes that feature the Lick, suggesting its function as a mimetic device users can deploy to signal their belonging and individuality within a larger jazz community. The Lick, in its formulaic deployment within these ‘insider’ spaces, moves away from improvisation and becomes a calling card for performers and listeners alike to determine a legitimate participant, on and offline. The Lick's online proliferation becomes a gimmick through its repetition, pointing to its hyper-presence and complaints about the excessive posts of the Lick becoming recycled into over-repeated jokes. I argue the Lick serves as the basis for a study of humour and gimmickry in jazz identity formation.
2011年，新英格兰音乐学院(New England Conservatory)的大四学生亚历克斯·海特林格(Alex Heitlinger)将视频《舔》(the Lick)上传到YouTube。1 ' 34″汇编摘录了一系列表演，每个表演都使用了相同的七个音符“lick”。本文探讨了以Lick为特色的视频和模因的数字传播，表明其作为模仿设备的功能，用户可以在更大的爵士社区中部署，以表明他们的归属感和个性。Lick在这些“内部”空间的公式化部署中，远离了即兴表演，成为表演者和听众都可以确定合法参与者的名片，无论是在线还是离线。The Lick在网络上的扩散通过它的重复变成了一种噱头，指出它的超高存在率和对该网站过多帖子的抱怨被循环使用，变成了过度重复的笑话。我认为《舔》是研究爵士乐身份形成中的幽默和技巧的基础。
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Pub Date : 2022-09-26DOI: 10.1017/S1478572222000202
Simon Warner
Twenty years ago, I remember reading and reviewing, revelling in and even raving about, a then new and rather wonderful musical history by the US academic Bernard Gendron, Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. As I began my present engagement with Ross Cole’s The Folk: Music, Modernity, and the Political Imagination, I felt as if I was encountering a historic summary of similar scale and ambition, even if the material seemed to be almost the antithesis of the earlier Gendron overview: not a critical contemplation of the flashing blade of the fresh and novel and the groundbreaking, rather an analysis of the role of those wielding the solid shield of history, defending the bedrock of the past from the menacing tremors – spiritual and aesthetic, economic and social – of the present. Such extendedmusings on those diametrically different forces at play on the popular music that would become a central pillar in our entertainment, leisure, and pleasure in the twentieth century are both fascinating and vital: those powerful strands woven between, let us say, the rise of Impressionism and the explosion of punk and hip hop a hundred years later. They would feed our understanding of issues of high and low culture, our assessment of the manufactured and authentic, our consideration of mass production and mass consumption, the place of radical art, developing technology and invention, and the vernacular creativity of the grassroots and those fierce debates about authenticity and contrivance that have peppered the well-spiced academic gumbo of the modern and postmodern West. Cole’s book, a developed version of his doctoral submission, considers a focused few decades in Anglo-America – from the 1870s to the 1930s, broadly speaking – and their relationship to folk culture – song and dance, though principally song – and how the meanings of the rustic past in both Britain (particularly parts of England) and the United States were adopted and adapted to suit the political positions of largelymiddle-class and educated thinkers who identified, within the practices of the previous centuries, an inspirational font so powerful and intriguing that they could tap into its waters to feed ideas across the breadth of the political spectrum, a compelling concept at a time when the extreme wings of left and right
记得20年前，我读过一本美国学者伯纳德·詹德龙(Bernard Gendron)写的、相当精彩的新音乐史，并对它津津乐道，甚至赞不绝口。这本书是《蒙马特与马德俱乐部之间:流行音乐与前卫音乐》(Between Montmartre and the Mudd Club)。当我开始阅读罗斯·科尔的《民间:音乐、现代性和政治想象》时，我觉得自己好像遇到了一本规模和雄心相似的历史总结，尽管它的材料似乎几乎与之前Gendron的概述相反:不是对新鲜、新奇和开创性的闪光之刃的批判性思考，而是对那些挥舞着历史之盾的人的角色的分析，他们捍卫着过去的基石，免受现在的精神和美学、经济和社会的威胁。这些对流行音乐中起作用的截然不同的力量的深入思考，将成为20世纪我们娱乐、休闲和享乐的中心支柱，既引人入胜又至关重要:这些强大的纽带交织在印象派的兴起和一百年后朋克和嘻哈的爆发之间。它们将充实我们对高雅和低俗文化问题的理解，我们对制造和真实的评估，我们对大规模生产和大规模消费的考虑，激进艺术的地位，发展中的技术和发明，基层的本土创造力，以及那些关于真实性和发明的激烈辩论，这些争论充斥着现代和后现代西方的精心调味的学术大杂烩。科尔的书是他的博士论文的发展版，主要研究了英美几十年的历史——从19世纪70年代到20世纪30年代——以及它们与民间文化的关系——歌曲和舞蹈，尽管主要是歌曲——以及英国(特别是英格兰部分地区)和美国的乡村过去的含义是如何被采纳和适应的，以适应主要是中产阶级和受过教育的思想家的政治立场，他们认为，在前几个世纪的实践中，一种鼓舞人心的字体如此强大和迷人，以至于他们可以利用它的水来跨越政治光谱的广度，在左翼和右翼的极端派别中，这是一个引人注目的概念
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Pub Date : 2022-09-23DOI: 10.1017/S1478572222000196
G. Cornish
What happened to the Soviet seventies? Conventional wisdom carves the Soviet Union into a series of alternatingly repressive and progressive (or, at the very least, less repressive) regimes. After Lenin’s death in 1924, the utopian underpinnings of the Bolshevik Revolution gave way to the terrors of Stalinism. Coming to power in 1956, Nikita Khrushchev denounced his predecessor’s ‘cult of personality’ and loosened restrictions on domestic and cultural life. Following a period of discontent within the Soviet Central Committee, Leonid Brezhnev spearheaded Khrushchev’s ousting and, in 1964, assumed power; he would lead the Communist Party for nearly twenty years, until his death in November 1982. In a sort of interregnum, the next two general secretaries, Yuri Andropov and Konstantin Chernenko, lasted just over a year each before dying suddenly, at which point Mikhail Gorbachev, the great progressive, came to power and opened the country to those both within and without. For historians of the Soviet Union – and, indeed, music scholars who study the region – much ink has been spilled on the eras of Lenin, Stalin, Khrushchev, and Gorbachev. Yet the tenure of Brezhnev, whose stay in power was second in length only to Stalin’s, has long been overlooked. Much of this has to do with its sobriquet, ‘Stagnation’, which allegedly spoke to the era’s political, economic, and creative malaise. In recent years, however, historians of the Soviet Union have increasingly called these notions into question. Were the Soviet seventies really stagnant? Did the vibrant cultural life of the Thaw just disappear? And how did we get from the Thaw to Gorbachev’s reforms? Upon closer inspection, the Stagnation was not particularly stagnant – and, indeed, as scholars such as Christine Evans, Gulnaz Sharafutdinova, Neringa Klumbytė, and Juliane Fürst have argued, it was a period of great experimentation and innovation. Music studies still has some catching up to do in this area, but Peter Schmelz’s excellent book Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR is an exciting and pathbreaking look into the Soviet seventies. Through close study of biography, published materials, critical reception, and scores, Schmelz both revisits the
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