从零散的档案中重建“特殊关系”:美国、英国、欧洲和ISCM,1922–45

IF 0.2 2区 艺术学 0 MUSIC Journal of the Royal Musical Association Pub Date : 2022-11-01 DOI:10.1017/rma.2022.29
Kate Bowan
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引用次数: 0

摘要

在1946年英国广播公司播出的国际当代音乐协会(ISCM)的早期历史中,ISCM主席爱德华·登特(Edward Dent)讲述了1922年在萨尔茨堡举行的第一次会议上,伦敦被提议作为该协会最初总部的“两个主要原因”。首先,他坚持认为,“它远离欧洲大陆的所有争吵和嫉妒”,其次,也是本文最重要的目的,他概述了一种三角关系:“(伦敦)被视为连接欧洲和美国的纽带。”“美国音乐,”他接着说,“在那些日子里确实需要这种联系;欧洲音乐家的普遍感觉是,他们会提供音乐,而英国会出钱。但随后(再次将“大陆”和“欧洲”交替使用),他发出了一个深刻转变的信号:“今天,情况发生了变化。现在是欧洲需要与美国建立联系,因为美国已经成为一个伟大的音乐生产国,而欧洲大陆需要一些时间来恢复它的创造力。虽然登特提到的“联系”可能很诱人,但要弄清楚这些跨大西洋的联系是什么,以及它们是如何运作的,却很难。263 .通过检索国家限定的档案收藏来讲述国际和跨国历史,在方法上提出了某些挑战然而,在与他们相遇的过程中,我们发现了一些有趣的线索,这些线索反过来又为一个经常从欧洲中心视角讲述的故事提供了另一个维度;正如本圆桌会议的编辑们已经指出的那样,其一是以奥日耳曼现代主义传统为中心的此外,邓特的跨大西洋音乐国际主义框架将英国、欧洲和美国作为三个不同的实体,形成了一系列不同的、流动的音乐关系和角色,这一框架在今天有着明显的共鸣,因为英国、美国和欧洲在快速变化的世界秩序中再次努力重新阐明各自的立场。
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Reconstructing a ‘Special Relationship’ from Scattered Archives: America, Britain, Europe and the ISCM, 1922–45
In an account of the early history of the International Society for Contemporary Music (ISCM) for a 1946 BBC broadcast, president of the ISCM Edward Dent recounted the ‘two main reasons’ why London was proposed as the society’s initial headquarters at that first meeting in 1922 in Salzburg. Firstly, he maintained, ‘it stood apart from all the quarrels and jealousies of the Continent’, and secondly, and most importantly for the purposes of this article, he outlined a triangulated relationship: ‘[London] was regarded as a link between Europe and America.’ ‘American music’, he continued, ‘really needed that link in those days; and the general feeling of the European musicians was that they would provide the music and England the money to pay for it.’ But then (again using ‘the Continent’ and ‘Europe’ interchangeably) he signalled a profound shift: ‘Today the situation has changed. It is Europe now which needs the link with America, for America has become a great music-producing country, while it will take the Continent some little time to recover its creative energy.’262 Tantalizing though Dent’s references to ‘links’ may be, obtaining clarity on what these transatlantic connections were and how they operated has proved elusive. The telling of an international and transnational history by way of searches of nationally bounded archival collections has raised certain methodological challenges.263 Rising to meet them, however, has uncovered some interesting threads which in turn offer an alternative dimension to a story that is often told from a Eurocentric perspective; one, as already noted by the editors of this round table, which places the Austro-Germanic modernist tradition at its centre.264 Moreover, Dent’s framework of a transatlantic musical internationalism that triangulated England, Europe and America as three distinct entities with a set of different and fluid musical relationships and roles has obvious resonances today as Britain, the USA and Europe are once again struggling to rearticulate their positions in respect of each other in a rapidly shifting world order.
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来源期刊
CiteScore
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发文量
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期刊介绍: The Journal of the Royal Musical Association was established in 1986 (replacing the Association"s Proceedings) and is now one of the major international refereed journals in its field. Its editorial policy is to publish outstanding articles in fields ranging from historical and critical musicology to theory and analysis, ethnomusicology, and popular music studies. The journal works to disseminate knowledge across the discipline and communicate specialist perspectives to a broad readership, while maintaining the highest scholarly standards.
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