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/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。
{"title":"Gascia Ouzounian, Stereophonica: Sound and Space in Science, Technology, and the Arts (Cambridge and London: MIT Press, 2020), ISBN: 978-0-262-04478-3 (hb).","authors":"Richard H. Brown","doi":"10.1017/S1478572222000056","DOIUrl":"https://doi.org/10.1017/S1478572222000056","url":null,"abstract":"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.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47452180","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 : 2022-06-01DOI: 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/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":null,"pages":null},"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}
Pub Date : 2022-06-01DOI: 10.1017/S1478572222000147
T. Nelson
Abstract Part of the United Kingdom's national reconstruction following the Second World War was reforming its self-image as a global power in light of imperial decline. This recasting took place across political and cultural spheres and emphasized the Commonwealth, idealized as a friendly collection of current and former colonies linked by British culture. In this article, I demonstrate how music broadcasting functioned as a site of diplomacy, using white, middle-class taste for light entertainment to reinforce British values at the Empire's twilight. I focus on musical depictions of the Commonwealth on the BBC radio programme Commonwealth of Song. Using archival records, I reconstruct debates concerning Commonwealth representation and its importance to British citizens. I argue that Commonwealth of Song was a site of testing and reformulating new sonic constructions of globally minded ‘Britishness’ in the 1950s, yet conflicting messaging about what musics and people should represent the Commonwealth led to a lukewarm reception.
{"title":"Hearing Global Britishness on the BBC's Commonwealth of Song (1953–1961)","authors":"T. Nelson","doi":"10.1017/S1478572222000147","DOIUrl":"https://doi.org/10.1017/S1478572222000147","url":null,"abstract":"Abstract Part of the United Kingdom's national reconstruction following the Second World War was reforming its self-image as a global power in light of imperial decline. This recasting took place across political and cultural spheres and emphasized the Commonwealth, idealized as a friendly collection of current and former colonies linked by British culture. In this article, I demonstrate how music broadcasting functioned as a site of diplomacy, using white, middle-class taste for light entertainment to reinforce British values at the Empire's twilight. I focus on musical depictions of the Commonwealth on the BBC radio programme Commonwealth of Song. Using archival records, I reconstruct debates concerning Commonwealth representation and its importance to British citizens. I argue that Commonwealth of Song was a site of testing and reformulating new sonic constructions of globally minded ‘Britishness’ in the 1950s, yet conflicting messaging about what musics and people should represent the Commonwealth led to a lukewarm reception.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44636365","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 : 2022-06-01DOI: 10.1017/s147857222200007x
Lauren Eldridge Stewart
Abstract The sonic aftershocks of the 2010 earthquake in Haiti continue to reverberate throughout the cultural landscape, particularly within the relatively small but long-standing mizik klasik community. In this article, I analyse the sometimes divergent performances of a composition that commemorates that tragedy. Haitian-American composer Sydney Guillaume wrote ‘N'ap Debat’ (‘We're Hangin’ On’) from Los Angeles shortly after the earthquake. One performance of this work takes place far from the site of ruin, voiced by distant observers. The other performance happens in Haiti, sung by its survivors. Both performances transform rubble into ruin.
{"title":"Singing on Solid Ground: Music Education in Post-Earthquake Haiti","authors":"Lauren Eldridge Stewart","doi":"10.1017/s147857222200007x","DOIUrl":"https://doi.org/10.1017/s147857222200007x","url":null,"abstract":"Abstract The sonic aftershocks of the 2010 earthquake in Haiti continue to reverberate throughout the cultural landscape, particularly within the relatively small but long-standing mizik klasik community. In this article, I analyse the sometimes divergent performances of a composition that commemorates that tragedy. Haitian-American composer Sydney Guillaume wrote ‘N'ap Debat’ (‘We're Hangin’ On’) from Los Angeles shortly after the earthquake. One performance of this work takes place far from the site of ruin, voiced by distant observers. The other performance happens in Haiti, sung by its survivors. Both performances transform rubble into ruin.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45513122","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 : 2022-06-01DOI: 10.1017/S1478572222000111
Ariana Phillips-Hutton
Abstract The transformation of rubble into aestheticized ruins turns on the relation of aesthetics, politics, and power alongside questions of memory, imagination, and embodiment. Working outward from this suggestive confluence, I investigate contemporary practices of commemorative composition that resituate elements of the historical archive, and so turn sonic rubble into ruin. Using Mary Kouyoumdjian's 2014 composition Bombs of Beirut as an example, I consider how the composer uses witness testimony and archival recordings of wartime sounds from the Lebanese Civil War (1975–90) to first construct, and then destroy, a version of the city of Beirut. In so doing, she engages in what Marianne Hirsch would call a ‘postmemorial act’ that reconfigures the relationships between physical, mental, and social spaces. The resulting palimpsest of meanings not only offers an important contemplative space for approaching the past but also suggests intriguing futures for the musical art of the ruin.
摘要瓦砾向美学废墟的转变，开启了美学、政治和权力的关系，以及记忆、想象和化身的问题。从这种暗示性的融合中向外看，我调查了当代纪念作品的做法，这些作品重塑了历史档案的元素，从而将声波碎石变成了废墟。以玛丽·库尤姆坚（Mary Kouyoumdjian）2014年的作品《贝鲁特的炸弹》（Bombs of Beirut）为例，我思考了作曲家如何利用证人证词和黎巴嫩内战（1975–90）战时声音的档案录音，首先构建，然后摧毁贝鲁特市的一个版本。在这样做的过程中，她参与了玛丽安·赫希所说的“纪念后行为”，重新配置了身体、心理和社交空间之间的关系。由此产生的意义重写不仅为接近过去提供了一个重要的沉思空间，而且为废墟中的音乐艺术提供了有趣的未来。
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Pub Date : 2022-06-01DOI: 10.1017/S1478572221000268
Jonathan Godsall
Abstract The 2014 film Whiplash depicts successful jazz drumming as an athletic exhibition of speed and endurance, in a manner that reflects its protagonist's idolization of Buddy Rich (1917–87). The crowd-pleasing virtuosity of Rich and Whiplash has drawn critics’ ire, but this article interrogates the ideas of musical authenticity that underpin their complaints, and offers a more productive analysis of the film's drum kit performances and their inspiration, informed by a range of jazz, film, and performance scholarship. Specific attention is drawn to the performances’ visual attractions. Whiplash's fast editing style and shots of exertion – grimacing, sweat, blood – give non-expert viewers a sense of drumming's physical and mental demands, and much the same is true of Rich's exaggerated movements and expressions, whether seen live or (as is commonly the case) amplified by a screen's mediation.
2014年的电影《爆裂鼓手》(Whiplash)将成功的爵士击鼓描绘成一种速度和耐力的运动展示，以一种反映主人公对Buddy Rich(1917-87)的崇拜的方式。《Rich and Whiplash》的精湛技艺吸引了评论家的愤怒，但本文质疑了支撑他们抱怨的音乐真实性的想法，并提供了一个更有成效的分析，通过一系列爵士乐，电影和表演奖学金来了解电影的鼓组表演和他们的灵感。特别注意的是表演的视觉吸引力。《爆裂鼓手》的快速剪辑风格和用力的镜头——鬼脸、汗水、鲜血——让非专业观众感受到打鼓的身体和精神需求，里奇夸张的动作和表情也同样如此，无论是现场观看还是(通常情况下)被屏幕放大。
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