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.
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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.
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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.
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Pub Date : 2022-01-18DOI: 10.1017/S1478572221000232
Daniel Elphick
The 6th of April 2021 marked the 50th anniversary of Igor Stravinsky’s death. The BBC planned a ‘Stravinsky Day’ on Radio 3 to mark the occasion, with over five hours of programming and features on the Saturday after the anniversary. In the event, the programming was delayed for two weeks as the news came in of the death of HRH The Duke of Edinburgh. All BBC schedules were turned over to playing solemn music and identical news reports, a move which attracted the largest number of complaints the BBC has ever received. There is some faint poetry to discern in the parallels between the death and funerals of the Duke of Edinburgh and the death of Stravinsky back in 1971. Both occasions elicited very public outpourings of grief and various commentators marking the ‘end of an era’; on Stravinsky’s death, musicians, composers, and even politicians made press releases to express their sympathies, including the White House. Both deaths invited reflections on the direction and very existence of their respective spheres: contemporary composition and the monarchy. With the Stravinsky quinquagenary falling this year, it is perhaps inevitable that we would see several new publications released to coincide. One of these, Stravinsky in Context, edited by GrahamGriffiths, is a remarkable taking of the pulse of Stravinsky Studies over the last few years. There has been no shortage of books on Stravinsky, of course: there is perhaps no other twentieth-century composer who has received more scholarly attention. Edited essay volumes have been plentiful in recent years, including Stravinsky and His World; the 2013 anniversary of The Rite of Spring brought about at least two essay collections dedicated to that infamous piece alone. Unlike most other edited collections, however, Stravinsky in Context contains many essays: thirty-five, to be exact. Such a quantity might instantly make one think of large tomes along the lines of Routledge Companions, but that is not the case here; indeed, Stravinsky in Context barely tips over 300 pages. Instead, each contribution is a micro-essay, barely numbering 10 pages or so. For some authors, this clearly provides remarkable freedom while for others it evidently means limitations.
2021年4月6日是伊戈尔·斯特拉文斯基逝世50周年。英国广播公司计划在第三广播电台举办一个“斯特拉文斯基日”来纪念这一时刻，在周年纪念日后的周六播出五个多小时的节目和特写。在活动中，由于爱丁堡公爵殿下去世的消息传出，节目被推迟了两周。英国广播公司的所有节目表都改为播放庄严的音乐和相同的新闻报道，这是英国广播公司有史以来收到的投诉最多的一次。爱丁堡公爵的去世和葬礼与1971年斯特拉文斯基的去世之间有一些微妙的相似之处。这两次事件都引发了公众的悲痛，各种评论家都在标志着“一个时代的结束”；斯特拉文斯基去世后，音乐家、作曲家，甚至政治家都发布了新闻稿来表达他们的同情，包括白宫。这两次死亡都引发了对各自领域的方向和存在的思考：当代构成和君主制。随着斯特拉文斯基五年刊今年的停刊，我们可能不可避免地会看到几本新出版物同时发行。其中一本由GrahamGriffiths编辑的《Stravinsky in Context》是对过去几年Stravinsky研究脉搏的一次非凡解读。当然，关于斯特拉文斯基的书并不缺乏：也许没有其他二十世纪的作曲家受到过更学术的关注。近年来，编辑的散文卷很多，包括《斯特拉文斯基和他的世界》；2013年的《春之祭》周年纪念日，仅就为这篇臭名昭著的文章就带来了至少两本散文集。然而，与大多数其他编辑集不同的是，《语境中的斯特拉文斯基》包含了许多散文：准确地说是35篇。这样的数量可能会立刻让人想起《劳特利奇伴侣》中的大部头著作，但这里的情况并非如此；事实上，《语境》中的斯特拉文斯基几乎没有超过300页的提示。相反，每一篇文章都是一篇微文章，只有10页左右。对一些作者来说，这显然提供了非凡的自由，而对另一些作者来说这显然意味着限制。
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Pub Date : 2022-01-18DOI: 10.1017/S147857222100027X
Jessica Bissett Perea
Yagheli du. Jessica Bissett Perea sh’iyi qilan. Dena’ina eshlan shida. K’enaht’ana eshlan shida. K’enakatnu shgu shqayek qilanda. Sh’eldinna Dghelay Teht’ana eshlan shida. Shqizdlan Dgheyaytnu, shunkda shtukda ała Niteh shgu koht’an ghat’na gheluda. Xučyun, Chochenyo Ohlone Ełnena, shgu yesduda. Putah-toi, Patwin Ełnena, k’a shgu yesduda. Chin’an hech’ qeshnash hu. Dena’inaq’ dudeldih shit. Greetings, I am thankful if I can write to you this way; I am learning the Dena’ina language. My name is Jessica Bissett Perea and I am Upper Tikahtnu (Cook Inlet) Dena’ina and an enrolled member of the Knik Tribe from southcentral Alaska. I was born in Dgheyaytnu, or what is currently known as Anchorage, and raised on my ancestral homelands. I currently live on Chochenyo Ohlone lands or Xučyun (currently known as Berkeley, California). I currently work on Patwin lands or Putah-toi (currently known as Davis, California). In academic contexts, I identify as an interdisciplinary musician-scholar. I am a double bassist and vocalist with earned degrees in Music Education (BME from Central Washington University), Music History (MA from the University of Nevada), and Musicology (PhD from the University of California, Los Angeles). I am currently an Associate Professor and Graduate Advisor in Native American Studies at the University of California, Davis, and my three core areas of research expertise include: (1) Indigenous-led research methodologies and theories, including writing and editorial praxes; (2) Indigeneitycentred approaches to performance, improvisation, media, and sensory studies; and (3) arts and activism in North Pacific and Circumpolar Arctic communities specifically, and between Indigenous, Black, and Peoples of Colour communities more broadly. To contextualize this review of Dylan Robinson’s Hungry Listening: Resonant Theory for Indigenous Sound Studies (2020), it is important that I begin with the preceding explanations of (some of) the relationalities I bring to this work. In theorizing ‘a range of encounters between Indigenous song and Western art music (also called classical music or concert music)’ (1) more broadly, or Native North American song and European art music more specifically, Hungry Listening traces a multitude of encounters that require new forms of attention to better account for ‘aesthetic and structural encounters that take place within music composition and performance; listening encounters that take place between the listening
{"title":"Dylan Robinson, \u0000 Hungry Listening: Resonant Theory for Indigenous Sound Studies\u0000 (Minneapolis: University of Minnesota Press, 2020), ISBN: 978-1-5179-0768-6 (hc); ISBN: 978-1-5179-0769-3 (pb).","authors":"Jessica Bissett Perea","doi":"10.1017/S147857222100027X","DOIUrl":"https://doi.org/10.1017/S147857222100027X","url":null,"abstract":"Yagheli du. Jessica Bissett Perea sh’iyi qilan. Dena’ina eshlan shida. K’enaht’ana eshlan shida. K’enakatnu shgu shqayek qilanda. Sh’eldinna Dghelay Teht’ana eshlan shida. Shqizdlan Dgheyaytnu, shunkda shtukda ała Niteh shgu koht’an ghat’na gheluda. Xučyun, Chochenyo Ohlone Ełnena, shgu yesduda. Putah-toi, Patwin Ełnena, k’a shgu yesduda. Chin’an hech’ qeshnash hu. Dena’inaq’ dudeldih shit. Greetings, I am thankful if I can write to you this way; I am learning the Dena’ina language. My name is Jessica Bissett Perea and I am Upper Tikahtnu (Cook Inlet) Dena’ina and an enrolled member of the Knik Tribe from southcentral Alaska. I was born in Dgheyaytnu, or what is currently known as Anchorage, and raised on my ancestral homelands. I currently live on Chochenyo Ohlone lands or Xučyun (currently known as Berkeley, California). I currently work on Patwin lands or Putah-toi (currently known as Davis, California). In academic contexts, I identify as an interdisciplinary musician-scholar. I am a double bassist and vocalist with earned degrees in Music Education (BME from Central Washington University), Music History (MA from the University of Nevada), and Musicology (PhD from the University of California, Los Angeles). I am currently an Associate Professor and Graduate Advisor in Native American Studies at the University of California, Davis, and my three core areas of research expertise include: (1) Indigenous-led research methodologies and theories, including writing and editorial praxes; (2) Indigeneitycentred approaches to performance, improvisation, media, and sensory studies; and (3) arts and activism in North Pacific and Circumpolar Arctic communities specifically, and between Indigenous, Black, and Peoples of Colour communities more broadly. To contextualize this review of Dylan Robinson’s Hungry Listening: Resonant Theory for Indigenous Sound Studies (2020), it is important that I begin with the preceding explanations of (some of) the relationalities I bring to this work. In theorizing ‘a range of encounters between Indigenous song and Western art music (also called classical music or concert music)’ (1) more broadly, or Native North American song and European art music more specifically, Hungry Listening traces a multitude of encounters that require new forms of attention to better account for ‘aesthetic and structural encounters that take place within music composition and performance; listening encounters that take place between the listening","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"19 1","pages":"173 - 181"},"PeriodicalIF":0.4,"publicationDate":"2022-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42840051","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 : 2021-10-01DOI: 10.1017/s1478572221000141
Pwyll ap Siôn
{"title":"Christophe Levaux, We Have Always Been Minimalist: The Construction and Triumph of a Musical Style, trans. Rose Vekony (Oakland: University of California Press, 2020), ISBN: 978-0-520-29527-8 (pb). - Michael Maizels, In and Out of Phase: An Episodic History of Art and Music in the 1960s (Ann Arbor: University of Michigan Press, 2020), ISBN: 978-0-472-13193-8 (hb).","authors":"Pwyll ap Siôn","doi":"10.1017/s1478572221000141","DOIUrl":"https://doi.org/10.1017/s1478572221000141","url":null,"abstract":"","PeriodicalId":43259,"journal":{"name":"Twentieth-Century Music","volume":"18 1","pages":"481-487"},"PeriodicalIF":0.4,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138536295","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 : 2021-10-01DOI: 10.1017/s147857222100030x
Alison Babeu
Alison Babeu has served as the Digital Librarian and Research Coordinator for the Perseus Project since 2004. During her time at Perseus she has worked on a variety of diverse projects, from research into historical newspaper digitization to the development of cyberinfrastructure for digital classics as well as helping to manage the metadata for its flagship Greek and Latin collections. Before coming to Perseus, she worked as a librarian at both the Harvard Business School and the Boston Public Library. She has a BA in History from Mount Holyoke College and an MLS from Simmons College. Her current projects include the ongoing development of and support for the Perseus Catalog and helping manage the work of the Open Greek and Latin Project. Her current research interests include digital libraries and digital humanities; metadata creation and cataloging; and new roles for librarians in supporting the complex world of digital scholarship.
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