{"title":"《莉西亚的虚无讲座》","authors":"Fred Moten","doi":"10.7916/D8-GJHT-BB46","DOIUrl":null,"url":null,"abstract":"Considering its lugubrious content, it seems odd, more than forty years later, that the music industry and listening public frantically celebrated “nothingness” in this very melodramatic way. The muscular symphonic orchestra rushed to keep pace with the singer who had appeared, seemingly out of nowhere and literally came out of the nowhere that was Puerto Rico to Latin America, the United States, and the world. Licia Fiol-Matta, The Great Woman Singer, 1","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"102 1","pages":"229-233"},"PeriodicalIF":0.0000,"publicationDate":"2018-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Licia’s Lectures on Nothing\",\"authors\":\"Fred Moten\",\"doi\":\"10.7916/D8-GJHT-BB46\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Considering its lugubrious content, it seems odd, more than forty years later, that the music industry and listening public frantically celebrated “nothingness” in this very melodramatic way. The muscular symphonic orchestra rushed to keep pace with the singer who had appeared, seemingly out of nowhere and literally came out of the nowhere that was Puerto Rico to Latin America, the United States, and the world. Licia Fiol-Matta, The Great Woman Singer, 1\",\"PeriodicalId\":34202,\"journal\":{\"name\":\"Current Musicology\",\"volume\":\"102 1\",\"pages\":\"229-233\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-03-22\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Current Musicology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7916/D8-GJHT-BB46\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Current Musicology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7916/D8-GJHT-BB46","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Considering its lugubrious content, it seems odd, more than forty years later, that the music industry and listening public frantically celebrated “nothingness” in this very melodramatic way. The muscular symphonic orchestra rushed to keep pace with the singer who had appeared, seemingly out of nowhere and literally came out of the nowhere that was Puerto Rico to Latin America, the United States, and the world. Licia Fiol-Matta, The Great Woman Singer, 1