Twentieth-Century Music最新文献_第7页

Anitta's ‘Girl from Rio’, Digital Fatigue, and Stereotype 安妮塔的《来自里约的女孩》、数码疲劳和刻板印象

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-10-01 DOI: 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。

引用次数: 0

Introduction to the Special Issue on Listening In: Musical Digital Communities in Public and Private 《倾听:公共和私人的音乐数字社区》特刊简介

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-10-01 DOI: 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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引用次数: 0

Virals, Memes, and the Lick's Circulation through Online Jazz Communities 通过在线爵士社区传播病毒、模因和Lick的发行量

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-10-01 DOI: 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。

引用次数: 2

Ross Cole, The Folk: Music, Modernity, and the Political Imagination (Oakland, CA: University of California Press, 2021), ISBN: 978-0-52038-373-9 (cloth). 罗斯·科尔，《民间：音乐、现代性和政治想象》（加利福尼亚州奥克兰：加州大学出版社，2021），ISBN:978-0-52038-373-9（布）。

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-09-26 DOI: 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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引用次数: 0

Peter Schmelz, Sonic Overload: Alfred Schnittke, Valentin Silvestrov, and Polystylism in the Late USSR (New York: Oxford University Press, 2021), ISBN: 978-0-19754-125-8 (hb). Peter Schmelz，《声波过载：阿尔弗雷德·施尼特克、瓦伦丁·西尔维斯特罗夫和苏联晚期的多体主义》（纽约：牛津大学出版社，2021），ISBN:978-0-19754-125-8（hb）。

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-09-23 DOI: 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

苏联70年代发生了什么？传统智慧将苏联塑造成一系列交替的专制和进步（或者，至少，不那么专制）政权。1924年列宁去世后，布尔什维克革命的乌托邦基础被斯大林主义的恐怖所取代。1956年上台后，尼基塔·赫鲁晓夫谴责了前任的“个人崇拜”，并放松了对家庭和文化生活的限制。在苏联中央委员会内部不满一段时间后，列昂尼德·布列日涅夫带头推翻赫鲁晓夫，并于1964年掌权；他将领导共产党近20年，直到1982年11月去世。在某种程度上，接下来的两位总书记，尤里·安德罗波夫和康斯坦丁·切尔年科，任期仅一年多，然后突然去世。此时，伟大的进步主义者米哈伊尔·戈尔巴乔夫上台，向内外开放了国家。对于苏联历史学家——事实上，对于研究该地区的音乐学者来说——列宁、斯大林、赫鲁晓夫和戈尔巴乔夫的时代已经被泼墨了很多。然而，勃列日涅夫的任期一直被忽视，他的执政时间仅次于斯大林。这在很大程度上与它的绰号“停滞”有关，据称它反映了这个时代的政治、经济和创造力问题。然而，近年来，苏联历史学家越来越多地对这些概念提出质疑。苏联70年代真的停滞不前吗？Thaw充满活力的文化生活消失了吗？我们是如何从泰国过渡到戈尔巴乔夫的改革的？仔细观察，停滞期并不是特别停滞——事实上，正如克里斯汀·埃文斯、古尔纳兹·沙拉夫季诺娃、内林加·克伦比特和朱莉安·福斯特等学者所说，这是一个伟大的实验和创新时期。音乐研究在这一领域仍有一些工作要做，但彼得·施梅尔茨的优秀著作《声波过载：阿尔弗雷德·施尼特克、瓦伦丁·西尔维斯特罗夫和苏联后期的多体主义》是对苏联70年代的一次令人兴奋和开拓性的探索。通过对传记、出版材料、评论接受度和分数的仔细研究，Schmelz都重新审视了

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引用次数: 0

‘A Collation of Badly Disguised, Well-Known Themes’: Shostakovich Symphonies in the Parisian Press, 1936–1946 “严重伪装，众所周知的主题整理”:肖斯塔科维奇交响曲在巴黎出版社，1936年至1946年

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-09-14 DOI: 10.1017/S1478572222000226

M. Roycroft

Abstract This article examines the reception of Shostakovich's symphonies in the Parisian press, from the late interwar period to the years immediately following the Second World War. In doing so, it continues the conversation around international responses to Shostakovich's music in the twentieth century, adding a consideration of the composer's symphonies in France from 1936 to 1946 to the existing literature on Shostakovich reception in the United States, Britain, and Germany. By interrogating the commentary of Parisian critics and music writers during this period, the article reveals how the reception of Shostakovich's symphonies in Paris reflects the rising and falling influence of the French Communist Party, and offers a novel way to view the shifts in Franco-Soviet relations either side of the Second World War.

本文考察了肖斯塔科维奇的交响曲在两次世界大战后期至第二次世界大战后的巴黎新闻界的接受情况。在此过程中，它继续围绕二十世纪肖斯塔科维奇音乐的国际反应进行讨论，增加了对作曲家1936年至1946年在法国创作的交响曲的考虑，以及对肖斯塔科维奇在美国，英国和德国接受的现有文献。通过对这一时期巴黎评论家和音乐作家的评论，本文揭示了肖斯塔科维奇交响曲在巴黎的接受如何反映了法国共产党影响力的上升和下降，并提供了一种新的方式来观察第二次世界大战前后法苏关系的变化。

引用次数: 0

The Musical Idea Work Group: Production and Reception of Pre-existing Music in Film 音乐创意工作组：电影中已有音乐的制作与接受

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-09-07 DOI: 10.1017/S1478572222000214

Pascal Rudolph

Abstract How do filmmakers work with pre-existing music? To answer this question, I conducted interviews with the musicians, composers, editors, sound designers, and music researchers for Lars von Trier's films. This article combines previously unpublished insider information with an original analytical methodology to clarify the working processes of contemporary filmmakers who utilize pre-existing music. I build on Ian Macdonald's production-situated conception of the ‘Screen Idea Work Group’ to posit the ‘Musical Idea Work Group’, a notional framework emerging from the teams who develop film-musical ideas. While previous film music research tends to analyse artists (persons) or music (products), here I focus on contrasting descriptions of highly collaborative working processes with the prescriptive mechanisms of film reception. In this way, I demonstrate a more holistic understanding of filmic authorship while accounting for previous constructions of Trier as an ‘auteur mélomane’ based on critical perceptions of how he utilizes music.

摘要电影制作人如何处理已有的音乐？为了回答这个问题，我采访了拉尔斯·冯·提尔电影的音乐家、作曲家、编辑、声音设计师和音乐研究人员。这篇文章结合了以前未公开的内幕信息和原始的分析方法，以澄清当代电影制作人利用已有音乐的工作过程。我在Ian Macdonald关于“银幕创意工作组”的制作情境概念的基础上，提出了“音乐创意工作组（Musical Idea Work Group）”，这是一个从开发电影音乐创意的团队中产生的概念框架。虽然之前的电影音乐研究倾向于分析艺术家（人）或音乐（产品），但在这里，我专注于将高度协作的工作过程与电影接收的规定机制进行对比描述。通过这种方式，我展示了对电影作者身份的更全面的理解，同时基于对特里尔如何利用音乐的批判性看法，解释了他之前作为“导演”的构造。

引用次数: 1

Nicholas Jones and Richard McGregor, The Music of Peter Maxwell Davies (Woodbridge: Boydell Press, 2020), ISBN: 978-1-78327-483-3 (hb). 尼古拉斯·琼斯和理查德·麦格雷戈，彼得·麦克斯韦尔·戴维斯的音乐(伍德布里奇:博伊德尔出版社，2020)，ISBN: 978-1-78327-483-3 (hb)。

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-09-05 DOI: 10.1017/S1478572222000238

S. Desbruslais

Any account of recent British musical history is inconceivable without the towering legacy of Peter Maxwell Davies (1934–2016). A handful of iconic works – Eight Songs for a Mad King, Vesalii Icones and the opera Taverner – dominate accounts, although one does not need to scratch far beneath the surface to unearth a tremendous wealth of creative endeavour, from string quartets, to symphonies, concertos, choral works, and music for amateurs. Davies, the irreplaceable British modernist, left his mark on every major musical genre. Throughout his prolific musical career, Davies attracted scholarly interest – particularly in the field of music analysis. Indeed, the high complexity of many of Davies’s compositions invites analytical reading alongside the substantial and tantalizing sketches, which afford abundant insights into the compositional process. He enjoyed dedicated studies from early career scholars as far back as 1972 (a study of his choral music by M. C. Preheim was completed when Davies was still in his thirties) and a wealth of doctoral dissertations, some of which were to launch distinguished academic careers. The ability to grapple with Davies and his musical contexts is highly valued. Recent years have witnessed the publication of Perspectives on Peter Maxwell Davies (2000), Peter Maxwell Davies: A Source Book (2002), Peter Maxwell Davies Studies (2009), and British Musical Modernism (2015), which complement older biographies of Davies by Griffiths (1982), Seabrook (1994), and Smith (1995). The scholarly field more generally is dominated by articles and book chapters: Davies’s music has been paid particular attention in the journals Tempo and TheMusical Times. It is surprising, though, that recent book-length analytical

如果没有彼得·马克斯韦尔·戴维斯（1934–2016）的卓越遗产，任何关于英国近代音乐史的描述都是不可思议的。少数标志性作品——《疯狂国王的八首歌》、《Vesalii Icones》和歌剧《Taverner》——占据了主导地位，尽管人们不需要深入挖掘表面，就可以发掘出巨大的创造性成果，从弦乐四重奏到交响乐、协奏曲、合唱作品，以及业余爱好者的音乐。戴维斯，这位无可替代的英国现代主义者，在每一个主要的音乐流派中都留下了自己的印记。在他多产的音乐生涯中，戴维斯吸引了学术界的兴趣，尤其是在音乐分析领域。事实上，戴维斯的许多作品的高度复杂性吸引了人们在阅读大量引人入胜的草图的同时进行分析，这些草图为创作过程提供了丰富的见解。早在1972年，他就受到了早期职业学者的潜心研究（M.C.Preheim在戴维斯三十多岁时完成了对他的合唱音乐的研究），并获得了大量博士学位论文，其中一些论文旨在开创杰出的学术生涯。与戴维斯及其音乐背景打交道的能力受到高度重视。近年来，出版了《彼得·马克斯韦尔·戴维斯的视角》（2000年）、《彼得·马克斯·韦尔·戴维斯：源书》（2002年）、“彼得·马克斯韦尔·戴维斯研究”（2009年）和《英国音乐现代主义》（2015年），这些书补充了格里菲斯（1982年）、西布鲁克（1994年）和史密斯（1995年）的戴维斯传记。学术领域通常以文章和书籍章节为主：戴维斯的音乐在《Tempo》和《音乐时报》杂志上受到了特别关注。然而，令人惊讶的是，最近一本书的篇幅分析

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引用次数: 0

Philip Ross Bullock and Daniel M. Grimley (eds.) Music's Nordic Breakthrough: Aesthetics, Modernity, and Cultural Exchange, 1890–1930 (Woodbridge: Boydell Press, 2021), ISBN: 978-1-78327-568-7 (hb). 菲利普·罗斯·布洛克和丹尼尔·格里姆利合编。《北欧音乐的突破:美学、现代性与文化交流》，1890 - 1930(伍德布里奇:Boydell出版社，2021)，ISBN: 978-1-78327-568-7 (hb)。

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-06-17 DOI: 10.1017/S1478572222000159

Tim Howell

A book by the Danish critic and theorist Georg Brandes (1842–1927), known in English as Men of the Modern Breakthrough (1883), is the starting point for this volume. Described here as a ‘provocative survey of recent trends in Scandinavian literature and an impassioned call for its aesthetic renewal’ (1), Brandes was critical of its insular and backwards-looking nature, promoting a model found in the younger literary generation of the time. The current editors note the controversial nature of Brandes’s work, especially ‘its stubborn commitment to a curiously anachronistic “great male”model of authorship’(1), but rightly consider it to be a groundbreaking and significant study. Applying Brandes’s concepts to Music is the main thrust ofMusic’s Nordic Breakthrough, while removing any gender imbalance would be a natural part of any publication today. However, when you look at the chapter titles here and note the highlighted case studies, two issues emerge. The ten figures listed (in order) are: Gustav Vigeland, Einer Jónsson, Sergei Diaghilev, Konstantin Korovin, Wilhelm Peterson-Berger, Jean Sibelius, Hugo von Hofmannsthal, Ture Rangström, Fartein Valen, and Jāzeps Vītols. Their artistic diversity, as painters, sculptors, playwrights, dramatists, poets, and composers, is striking. So too is their gender: they are all male. It seems that a ‘commitment to a curiously anachronistic “great male”model of authorship’ is alive and well, as far as the current editors are concerned. The reader may wonder if there were any female Nordic composers at this time (1890– 1930). You bet there were! A series of articles for Finnish Music Quarterly by Susanna Välimäki and Nuppu Koivisto, derived from their book project titled Sävelten tyttäret: Säveltävät naiset Suomen historiassa 1700-luvun lopulta 1900-luvun alkuun (Daughters of Music: Finnish Women Composers, from the late 18th to the early 20th centuries), discusses the lives and music of historical women composers in Finland. Neglect due to gender bias emerges as a strong theme in this survey and Brandes’s attitude in 1883 was typical of that time; but it is hard to fathom the rationale behind current editorial thinking. Moreover, with Finland being the first European country to grant equal voting rights to women (1906), the artistic ramifications of this political breakthrough should surely merit some discussion in a book such as this. There is something worryingly selective about this

丹麦评论家和理论家乔治·布兰德斯(1842-1927)的一本书，在英语中被称为现代突破的人(1883)，是本卷的起点。这本书被描述为“对斯堪的纳维亚文学近期趋势的挑衅调查，以及对其审美更新的热情呼吁”(1)，布兰德斯对其狭隘和向后看的本质持批评态度，提倡一种在当时年轻一代文学中发现的模式。当前的编辑们注意到布兰德斯作品的争议性，特别是“它固执地坚持一种奇怪的过时的‘伟大的男性’作者模式”(1)，但正确地认为这是一项开创性的、有意义的研究。将Brandes的概念应用于音乐是《音乐的北欧突破》的主旨，而消除任何性别失衡将是当今任何出版物的自然组成部分。但是，当您查看这里的章节标题并注意突出的案例研究时，会出现两个问题。列出的十位人物(按顺序排列)是:古斯塔夫·维格兰、艾纳Jónsson、谢尔盖·迪亚基列夫、康斯坦丁·科罗文、威廉·彼得森-伯杰、让·西贝柳斯、雨果·冯·霍夫曼斯塔尔、Ture Rangström、法泰因·瓦伦和Jāzeps v·托尔斯。他们的艺术多样性，如画家、雕塑家、剧作家、戏剧家、诗人和作曲家，是惊人的。他们的性别也是如此:他们都是男性。就目前的编辑而言，“对一种奇怪的过时的‘伟大男性’作者模式的承诺”似乎还活着，而且很好。读者可能想知道在这个时期(1890 - 1930)是否有北欧女性作曲家。当然有!Susanna Välimäki和Nuppu Koivisto在《芬兰音乐季刊》上发表的一系列文章，源自她们的著作Sävelten tyttäret: Säveltävät naiset Suomen historiassa 1700-luvun lopulta 1900-luvun alkuun(音乐的女儿:18世纪末至20世纪初的芬兰女作曲家)，讨论了芬兰历史上女作曲家的生活和音乐。性别偏见导致的忽视在这次调查中成为一个强烈的主题，布兰德斯在1883年的态度是当时的典型;但很难理解当前编辑思维背后的基本原理。此外，芬兰是第一个给予女性平等投票权的欧洲国家(1906年)，这一政治突破的艺术影响肯定值得在这样一本书中进行讨论。这其中有一些令人担忧的选择性

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引用次数: 0

The Repercussions of George Rochberg's Rubble Rhetoric 乔治·罗奇伯格的碎石修辞的影响

IF 0.4 2区艺术学 Q2 Arts and Humanities

Twentieth-Century Music

Pub Date : 2022-06-01 DOI: 10.1017/S147857222200010X

Amy Lynn Wlodarski

Abstract During the Second World War, the American composer George Rochberg served as an infantryman with the US Army in Europe. There, he witnessed first hand the aftermath caused by massive firebombing of the French countryside by both Allied and Axis bombers, an image that would remain with him for the remainder of his life. In his post-war writings, the rubbled city of Saint-Lô soon became a metaphor for the precarious state of Western culture, which he believed had suffered a grave injury. This article considers how Rochberg reconstructed his wartime sketches – short miniatures composed during the European campaign – into material for his Sixth Symphony (1986). I argue that Rochberg clearly conceived of musical reconstruction as a means by which to symbolically confront the modernist forces he believed accountable for the decline of Western culture that he increasingly perceived towards the end of his life. The article ends with a cautionary epilogue to this time-worn narrative of rubble, reconstruction, and redemption that challenges Rochberg's false sense of moral superiority and the motivations of ‘rubble narratives’ more generally.

第二次世界大战期间，美国作曲家乔治·罗奇伯格在欧洲担任美军步兵。在他战后的作品中，废墟城市Saint-Lô很快成为西方文化岌岌可危状态的隐喻，他认为西方文化遭受了严重的伤害。这篇文章探讨了罗奇伯格是如何将他的战时素描——在欧洲战役期间创作的短小的微缩画——重建为他的《第六交响曲》(1986)的素材。我认为，罗奇伯格清楚地将音乐重建视为一种象征性地对抗现代主义力量的手段，他认为现代主义力量是西方文化衰落的原因，他在生命的最后时刻越来越意识到这一点。文章以一个警示性的结语结束了这个关于废墟、重建和救赎的陈腐叙事，挑战了Rochberg错误的道德优越感和更普遍的“废墟叙事”的动机。

引用次数: 0