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.
{"title":"Listening to Radioactive Rubble: Vocal Decay, Gender, and Nuclear Ruination in the Marshall Islands","authors":"Jessica A. Schwartz","doi":"10.1017/S1478572222000081","DOIUrl":"https://doi.org/10.1017/S1478572222000081","url":null,"abstract":"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.","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":"47529771","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 : 2022-04-27DOI: 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":null,"pages":null},"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":null,"pages":null},"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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Pub Date : 2022-02-01DOI: 10.1017/s1478572222000032
G. Barrett
Epidemiology and Infection publishes reports of research and original findings on subjects related to infectious diseases of both man and animals. The requirements of the journal are in accordance with the International Committee of Medical .Journal Editors. Uniform requirements for manuscripts submitted to biomedical journals. BMJ 1991; 302: 338-41 and X Engl J Med 1991: 324: 424-8. Attention is drawn to the sections on prior and duplicate publication and ethics.
{"title":"Notes on Contributors","authors":"G. Barrett","doi":"10.1017/s1478572222000032","DOIUrl":"https://doi.org/10.1017/s1478572222000032","url":null,"abstract":"Epidemiology and Infection publishes reports of research and original findings on subjects related to infectious diseases of both man and animals. The requirements of the journal are in accordance with the International Committee of Medical .Journal Editors. Uniform requirements for manuscripts submitted to biomedical journals. BMJ 1991; 302: 338-41 and X Engl J Med 1991: 324: 424-8. Attention is drawn to the sections on prior and duplicate publication and ethics.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43801583","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/S1478572221000256
Gabriel Jones
Abstract The performance practice of European serial music has long been misunderstood. This article uses Stockhausen's Klavierstück I (1952–3) as a lens through which to view the realities of this practice, drawing on close contextual analysis of the affordances of the score and the now significant corpus of recordings. These findings are used to extend M. J. Grant's view of serial aesthetics and to provide a practical basis for what she calls ‘serial listening’. Three principal styles of performance are identified and attendant modes of listening suggested, relating to the non-thematic principles and hermeneutic contexts of serial music, which include the embodied response of the performer to defamiliarized musical material and the nascent dialectic of instrumental and electronic composition. This investigation – informing serious judgements of value and taste – has broader implications for the development of Stockhausen's notation and temporal theory in the 1950s and for the performance practice of new music.
{"title":"‘Irrational Nuances’: Interpreting Stockhausen's Klavierstück I","authors":"Gabriel Jones","doi":"10.1017/S1478572221000256","DOIUrl":"https://doi.org/10.1017/S1478572221000256","url":null,"abstract":"Abstract The performance practice of European serial music has long been misunderstood. This article uses Stockhausen's Klavierstück I (1952–3) as a lens through which to view the realities of this practice, drawing on close contextual analysis of the affordances of the score and the now significant corpus of recordings. These findings are used to extend M. J. Grant's view of serial aesthetics and to provide a practical basis for what she calls ‘serial listening’. Three principal styles of performance are identified and attendant modes of listening suggested, relating to the non-thematic principles and hermeneutic contexts of serial music, which include the embodied response of the performer to defamiliarized musical material and the nascent dialectic of instrumental and electronic composition. This investigation – informing serious judgements of value and taste – has broader implications for the development of Stockhausen's notation and temporal theory in the 1950s and for the performance practice of new music.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46060710","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/s1478572221000219
Cintia Cristia
Abstract This article examines gender, nation, and identity in the popular song of folk roots ‘Alfonsina y el mar’. Written by Félix Luna and Ariel Ramírez, the song is based on the suicide of feminist poet Alfonsina Storni and achieved worldwide popularity through Mercedes Sosa's 1969 rendition on the album Mujeres argentinas. Using Butler's theory of gender performance, Cusick's proposals for a feminist music theory, and Plesch's concept of dysphoric topics in Argentine nationalist music, this article deconstructs the song's poetic, musical, and visual discourses to critique its underlying cultural signification. It concludes that by infantilizing, romanticizing, and nationalizing Storni's public figure, her legacy was adapted to the patriarchal expectations of decorum and historical narrative about nation pervasive in Argentina in the late 1960s. Storni's white European urban background was adapted to more ‘authentic’ Argentine values through Sosa's performance and public image.
摘要本文考察了民间流行歌曲《Alfonsina y el mar》中的性别、民族和身份。这首歌由费利克斯·卢纳（Félix Luna）和阿里尔·拉米雷斯（Ariel Ramírez。本文运用巴特勒的性别表现理论、库西克提出的女权主义音乐理论以及普莱什对阿根廷民族主义音乐中烦躁主题的概念，解构了这首歌的诗歌、音乐和视觉话语，以批判其潜在的文化意义。它的结论是，通过将斯托尼的公众人物幼稚化、浪漫化和国有化，她的遗产适应了20世纪60年代末阿根廷普遍存在的父权制对礼仪的期望和对国家的历史叙事。通过索萨的表演和公众形象，斯托尼的白色欧洲城市背景适应了更“真实”的阿根廷价值观。
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Pub Date : 2022-01-24DOI: 10.1017/S1478572221000220
S. Wilford
Abstract Postcards played an important role throughout the first half of the twentieth century in French-ruled Algeria, offering a fast and affordable means of communication between North Africa and Europe for French citizens working and travelling in the Maghreb. Alongside depictions of beautiful scenery and highly exoticized subjects, a large body of postcards portrayed musicians, musical instruments, and musical performances. This article considers how these postcards shaped French understanding of Algerian music, and Algerian culture more broadly. Algerian musicians were unlikely to appear on public radio broadcasts in France during this period, and these small, inexpensive, mass-produced images thus provided the way in which much of the French public would encounter Algerian music. The article also examines the ways in which postcards of the time depicted the role of music and sound within Algerian public spaces, and how they shaped the place of public and private sonic realms within colonial Algerian society.
{"title":"‘Seeing’ Music in Early Twentieth Century Colonial Algeria","authors":"S. Wilford","doi":"10.1017/S1478572221000220","DOIUrl":"https://doi.org/10.1017/S1478572221000220","url":null,"abstract":"Abstract Postcards played an important role throughout the first half of the twentieth century in French-ruled Algeria, offering a fast and affordable means of communication between North Africa and Europe for French citizens working and travelling in the Maghreb. Alongside depictions of beautiful scenery and highly exoticized subjects, a large body of postcards portrayed musicians, musical instruments, and musical performances. This article considers how these postcards shaped French understanding of Algerian music, and Algerian culture more broadly. Algerian musicians were unlikely to appear on public radio broadcasts in France during this period, and these small, inexpensive, mass-produced images thus provided the way in which much of the French public would encounter Algerian music. The article also examines the ways in which postcards of the time depicted the role of music and sound within Algerian public spaces, and how they shaped the place of public and private sonic realms within colonial Algerian society.","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41433335","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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