Pub Date : 2022-09-14DOI: 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.
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Pub Date : 2022-09-07DOI: 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 This article combines previously unpublished insider information with an original analytical methodology to clarify the working processes of contemporary filmmakers who utilize pre-existing music.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。
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Pub Date : 2022-09-05DOI: 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
{"title":"Nicholas Jones and Richard McGregor, The Music of Peter Maxwell Davies (Woodbridge: Boydell Press, 2020), ISBN: 978-1-78327-483-3 (hb).","authors":"S. Desbruslais","doi":"10.1017/S1478572222000238","DOIUrl":"https://doi.org/10.1017/S1478572222000238","url":null,"abstract":"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","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"548 - 552"},"PeriodicalIF":0.4,"publicationDate":"2022-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46425152","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 : 2022-06-17DOI: 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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Pub Date : 2022-06-01DOI: 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.
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Pub Date : 2022-06-01DOI: 10.1017/S1478572222000068
Abby Anderton, Martha Sprigge
Abstract This collection of articles proposes a theoretical model for understanding and analysing the persistence of music making as a response to urban catastrophe. In the Introduction, the authors present an overview of recent humanistic literature on ruin aesthetics, positioning music as a vital yet overlooked dimension of aesthetic responses to disaster. The forum delves into the moral and ethical complexities of performing in ruins from second-century Jerusalem to contemporary Haiti. By tracing the sound of music in and about ruins, this forum offers a timely reflection on the nature of post-catastrophic music making, proposing new directions for analysing the relationships between music, traumatic memory, and spaces of performance.
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Pub Date : 2022-06-01DOI: 10.1017/S1478572222000093
Emily Richmond Pollock
Abstract The dual theatre complex of the Württembergische Staatstheater in Stuttgart sustained serious damage during the Second World War. While the larger theatre was eventually able to be repaired, the smaller theatre was destroyed, leading to a multi-phased and controversial process to determine how best to replace it. Many of Stuttgart's citizens publicly pleaded that the smaller theatre should be reconstructed according to its original design, in order to restore its historical beauty and its integrity with the complex. The company's Intendant and numerous architects, however, took a more modern approach that manifested in a variety of proposed designs, including that by Hans Volkart, which opened in 1962. Countering the binary represented by ‘faithful reconstruction’ on one end (Vienna, Munich) and by completely modern designs on the other (West Berlin, Cologne), the case of Stuttgart perhaps serves as a better metaphor for the compromises of continuity and change in post-war culture.
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Pub Date : 2022-06-01DOI: 10.1017/S1478572222000056
Richard H. Brown
Sound Studies as a discipline is replete with theories on the relationship between sound and space, and while many point to certain key historical anecdotes to ground far-reaching theories on project-specific examples, few have attempted a historical account of acoustic and auditory spatiality with such specificity and coherence as Gascia Ouzounian. Stereophonica contributes to a growing field of research on this intersection, traversing examples from the nineteenth century to the present day. Using the key concepts of propagation, reflection, and projection, Ouzounian begins with the origins of the ‘binaural listener’. This category of scientific listener explored auditory space through amyriad of technical innovations in stereophonic audition and projection from medical tools such as the stethoscope to military technologies for sound detection. Stereophonica is roughly divided into two parts: the first examining key intersections between technological innovation and sound theory, and the second surveying a number of artistic practices from mediated broadcast to recent sound art and site-specific installation works, weaving what the author describes as ‘the improbable path from studies of auditory space perception in the nineteenth century to the work of contemporary artists who reveal and reorient urban spaces through sound’ (14). As is necessary for a brief survey with such a wide historical lens, Ouzounian picks key historical episodes that transformed the understanding of sound and space, spanning engineering, warfare, theatre, industry, and urban design. Ending with contemporary uses of this established toolkit of theories, Ouzounian positions the modernist attempt to document, map, plan, and rationalize sound against the social, political, and cultural meanings that the title of the study evokes. As was often the central conflict in modernist rationalization of auditory space, the study and application of sound’s effects could never be removed from the discursive social and political understandings of space – one could argue that the modernist attempt to do so in fact created ground for oppositional studies in contemporary practice. In the first half of Stereophonica, Ouzounian walks us through a cabinet of nineteenthand early twentieth-century curiosities in sound audition and reproduction, beginning with binaural listening devices such as the differential stethoscope and aural analogues andmoving on to the stereoscope such as Anton Steinhauser’s Homophone (1879) and Silvanus P. Thompson’s Pseudophone (1879), devices that aided in theorizing binaural perception.
声音研究作为一门学科，充满了关于声音和空间之间关系的理论，虽然许多人指出某些关键的历史轶事，以特定项目的例子为基础，产生深远的理论，但很少有人像Gascia Ouzounian那样，以如此具体和连贯的方式尝试对声学和听觉空间性进行历史描述。从19世纪到现在，《立体声》对这一交叉领域的研究做出了贡献。使用传播、反射和投射的关键概念，Ouzounian从“双耳听者”的起源开始。从听诊器等医疗工具到用于声音探测的军事技术，这类科学听众通过立体声听和投影的大量技术创新来探索听觉空间。《立体声》大致分为两部分:第一部分考察了技术创新和声音理论之间的关键交叉点，第二部分考察了从媒介广播到最近的声音艺术和特定场地的装置作品的许多艺术实践，编织了作者所描述的“从19世纪的听觉空间感知研究到当代艺术家通过声音揭示和重新定位城市空间的作品的不可思议的道路”(14)。为了以如此广泛的历史视角进行简短的调查，Ouzounian挑选了一些关键的历史事件，这些事件改变了人们对声音和空间的理解，涉及工程、战争、戏剧、工业和城市设计。Ouzounian将现代主义者的尝试定位为记录、绘制、规划和合理化声音，反对研究标题所唤起的社会、政治和文化意义。正如现代主义者对听觉空间合理化的核心冲突一样，对声音效果的研究和应用永远无法从对空间的话语性社会和政治理解中移除——有人可能会说，现代主义者这样做的尝试实际上为当代实践中的对立研究创造了基础。在《立体声》的前半部分，Ouzounian带我们参观了19世纪和20世纪早期在听觉和再现方面的奇珍异宝，从双耳听音设备(如差分听诊器和听觉模拟器)开始，再到立体声设备(如Anton Steinhauser的同音器(1879)和Silvanus P. Thompson的假声器(1879))，这些设备有助于将双耳感知理论化。
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Pub Date : 2022-06-01DOI: 10.1017/s1478572222000123
Ruth Hacohen
Abstract A travelogue of an Israeli musicologist, descendant of German Jewish émigrés, her real and imaginary sonic journey roams between ruins and rubble in Germany and Israel/Palestine. She takes ruins as iconic, allegoric, and reverberating; partially resisting the ravages of time, enshrining sounds and memory. She deems rubble as formless, plain, and voiceless, devoid of identity, transient, and forgetful. The destruction of Jerusalem in 70 ce by the Romans is her starting point, and the currently occupied East Jerusalem by Israeli armed forces is where she ends. The imaginary soundscapes she unfolds resonates forlorn heavenly voices, Nazi youth's ditties, Israeli pop songs, operatic voices, and redemptive and subversive German and Israeli oratorios.
{"title":"Rubbled Cities – Sounds and Silence: A Travelogue","authors":"Ruth Hacohen","doi":"10.1017/s1478572222000123","DOIUrl":"https://doi.org/10.1017/s1478572222000123","url":null,"abstract":"Abstract A travelogue of an Israeli musicologist, descendant of German Jewish émigrés, her real and imaginary sonic journey roams between ruins and rubble in Germany and Israel/Palestine. She takes ruins as iconic, allegoric, and reverberating; partially resisting the ravages of time, enshrining sounds and memory. She deems rubble as formless, plain, and voiceless, devoid of identity, transient, and forgetful. The destruction of Jerusalem in 70 ce by the Romans is her starting point, and the currently occupied East Jerusalem by Israeli armed forces is where she ends. The imaginary soundscapes she unfolds resonates forlorn heavenly voices, Nazi youth's ditties, Israeli pop songs, operatic voices, and redemptive and subversive German and Israeli oratorios.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"234 - 243"},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45149218","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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