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.
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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/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":"19 1","pages":"194 - 200"},"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/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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Pub Date : 2022-06-01DOI: 10.1017/S1478572222000081
Jessica A. Schwartz
Abstract This article explores how Marshallese radiation songs, written during and after the nuclear testing period as nuclear survivors tried to make sense of their sufferings, yield insight into processes of imperial ruination, rupture, and fragmentation by resounding the powerful impress of radioactive decay in Marshallese lives. In assessing the parameters through which radiation becomes sensible, how, and to whom, it becomes all the clearer how the US nuclear project can be considered in terms of ‘imperial ruination’. US geopolitical accrual has depended on the structural dispossession of Marshallese from their Indigenous agency rooted in and routed through their matrilineal culture. Focusing on women's performances from the Rongelapese community, the presence of radiation – lyrically and affectively – can be traced through vocalized moments of decay that intimate how rubble is embodied and shared in the aftermath of nuclear destruction.
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Pub Date : 2022-04-27DOI: 10.1017/S1478572221000311
Owen Burton
Abstract Einojuhani Rautavaara's international fame rests largely on pieces celebrated for their apparently non-modernist accessibility. Cantus Arcticus – Concerto for Birds and Orchestra (1972) is greeted with suspicion on account of its wide appeal. This article reconsiders this piece in the context of his complicated and original stylistic development and re-evaluates its relation to Finnish nature and culture. By examining the intersections of nationalism, landscape, and modernism in a late twentieth-century piece, this discussion builds upon established research on early twentieth-century Nordic repertoire, applying it to this contemporary context. It also finds a new perspective by supplementing that approach to include more recent scholarship on post-war tonality. As a result, new insights into musical form and a post-serial renewal of tonal thinking emerge, and through its unique synthesis of seemingly diverse elements, Cantus Arcticus can be seen as a milestone work within Rautavaara's stylistic evolution.
{"title":"Rautavaara's Cantus Arcticus: National Exoticism or International Modernism?","authors":"Owen Burton","doi":"10.1017/S1478572221000311","DOIUrl":"https://doi.org/10.1017/S1478572221000311","url":null,"abstract":"Abstract Einojuhani Rautavaara's international fame rests largely on pieces celebrated for their apparently non-modernist accessibility. Cantus Arcticus – Concerto for Birds and Orchestra (1972) is greeted with suspicion on account of its wide appeal. This article reconsiders this piece in the context of his complicated and original stylistic development and re-evaluates its relation to Finnish nature and culture. By examining the intersections of nationalism, landscape, and modernism in a late twentieth-century piece, this discussion builds upon established research on early twentieth-century Nordic repertoire, applying it to this contemporary context. It also finds a new perspective by supplementing that approach to include more recent scholarship on post-war tonality. As a result, new insights into musical form and a post-serial renewal of tonal thinking emerge, and through its unique synthesis of seemingly diverse elements, Cantus Arcticus can be seen as a milestone work within Rautavaara's stylistic evolution.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"251 - 282"},"PeriodicalIF":0.4,"publicationDate":"2022-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46277143","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 : 2022-03-07DOI: 10.1017/S1478572221000323
Lloyd Whitesell
In his new book, John Howland showcases a set of ‘entertainment practices and aesthetics’ (13) geared towards lushness, glamour, and sophistication, and traces their lineage across genres and generations. One of the refreshing aspects of his approach is the way he takes mass enjoyment seriously as a historical phenomenon, bringing it from the overlooked background to the foreground of interest. Many genre and style histories pivot on subcultural or vanguard innovations and give short shrift to the vast middle-of-the-road sonic terrains with which they commingle and cross-fertilize. Howland takes us to the soft, luscious centre. In this, he participates in the recent advancement of scholarship into middlebrow musical taste and discourse. His cross-genre perspective frees him to appreciate hybrids (e.g., ‘jazz-with-strings’, ‘symphonic soul’, ‘jazz-meets-pop’) and fuzzy adjacencies (‘a large family of “jazzy”, syncopated popular musics’, 85), while shining light on some lesser-known entertainment forms (e.g., ‘the big-band venue of movie theater prologue-revue shows’, 93). Far from resulting in a bland porridge, the impure exchanges and mongrelizations he highlights are multiform and vibrant with stylistic collisions. The book fleshes out a historical narrative, covering four distinct eras:
{"title":"John Howland, Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music (Oakland: University of California Press, 2021), ISBN: 978-0-520-30010-1 (hb), 978-0-520-30011-8 (pb).","authors":"Lloyd Whitesell","doi":"10.1017/S1478572221000323","DOIUrl":"https://doi.org/10.1017/S1478572221000323","url":null,"abstract":"In his new book, John Howland showcases a set of ‘entertainment practices and aesthetics’ (13) geared towards lushness, glamour, and sophistication, and traces their lineage across genres and generations. One of the refreshing aspects of his approach is the way he takes mass enjoyment seriously as a historical phenomenon, bringing it from the overlooked background to the foreground of interest. Many genre and style histories pivot on subcultural or vanguard innovations and give short shrift to the vast middle-of-the-road sonic terrains with which they commingle and cross-fertilize. Howland takes us to the soft, luscious centre. In this, he participates in the recent advancement of scholarship into middlebrow musical taste and discourse. His cross-genre perspective frees him to appreciate hybrids (e.g., ‘jazz-with-strings’, ‘symphonic soul’, ‘jazz-meets-pop’) and fuzzy adjacencies (‘a large family of “jazzy”, syncopated popular musics’, 85), while shining light on some lesser-known entertainment forms (e.g., ‘the big-band venue of movie theater prologue-revue shows’, 93). Far from resulting in a bland porridge, the impure exchanges and mongrelizations he highlights are multiform and vibrant with stylistic collisions. The book fleshes out a historical narrative, covering four distinct eras:","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"343 - 347"},"PeriodicalIF":0.4,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43022620","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 : 2022-02-01DOI: 10.1017/S1478572221000244
B. Shelley
Abstract This article grapples with ‘Let It Rain’, the title track of Bishop Paul S. Morton and the Full Gospel Baptist Church Fellowship's 2003 release, which revises Michael Farren's contemporary Christian ballad by braiding it together with Prince's ‘Purple Rain’ and the formal logic of Black gospel tradition. As the Full Gospel version of this song commingles these seemingly discordant components, Morton, choir, and band turn a sung prayer into an assertion of interworldly presence. Building on its received musical materials, this gospel power ballad performs the Black gospel tradition's characteristic inflection – an arresting turn from one level of musicking to a heightened, ecstatic frame. In so doing, this song brings rain near, illuminating the links between performances of musical ecstasy and musical Blackness.
本文以保罗·s·莫顿主教和全福音浸信会团契2003年发行的主打歌《Let It Rain》为例，对迈克尔·法伦的当代基督教民谣进行了修改，将其与王子的《紫雨》和黑人福音传统的形式逻辑编织在一起。当这首歌的全福音版本将这些看似不和谐的成分混合在一起时，莫顿、唱诗班和乐队把一个歌唱的祈祷变成了一个世俗存在的断言。在其收到的音乐材料的基础上，这首福音力量民谣表现了黑人福音传统的特征变化——从一个层次的音乐到一个高度的，狂喜的框架的一个引人注目的转变。这样，这首歌带来了雨水，照亮了音乐的狂喜和音乐的黑暗之间的联系。
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