scholarly journals Centring The Periphery: Local Identity in the Music of Theodore Antoniou and other Twentieth-Century Greek Composers

2014 ◽  
Vol 33 (1) ◽  
pp. 11-34
Author(s):  
Michalis Andronikou ◽  
Friedemann Sallis
Keyword(s):  
Twentieth Century ◽  
Western Culture ◽  
Art Music ◽  
Local Identity ◽  
Fair Treatment ◽  
Gyorgy Ligeti ◽  
History Of Art ◽  
History Of ◽  
Of Greece

This study addresses aspects of local identity in the music of Theodore Antoniou and other Greek contemporary composers. It highlights misapprehensions and obsolete conceptions of historiography and aesthetics embedded in the use of terms such ascentreandperipheryorhigh-andlow-browstyles of music, respectively. An overview of the history of art music in Greece is attempted, for a better understanding of these issues in that context. The parallel reference to significant Western contemporary composers such as György Ligeti, Luigi Nono, and Mauricio Kagel supports the primary argument of the essay, which seeks fair treatment for all places that find themselves peripheral to a given centre. The case of Greece—one of the cradles of Western culture—is a unique example of a problematic approach typical of Western historiographies with regard “centres” and “peripheries” that needs to be corrected.

Twentieth Century Painting: Compass History of Art

Art Education ◽  
1965 ◽  
Vol 18 (8) ◽  
pp. 29
Author(s):  
Francis V. O'Connor ◽  
H. L. C. Jaffe
Keyword(s):  
Twentieth Century ◽  
History Of Art ◽  
History Of

Rewriting or Reaffirming the Canon? Critical Readings of Exhibition History – Editorial

2015 ◽  
Vol 1 ◽  
Author(s):  
Linda Boersma ◽  
Patrick van Rossem
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Public Realm ◽  
The Public ◽  
Artistic Production ◽  
Exhibition History ◽  
History Of Art ◽  
History Of

In 2010, Afterall Publishers launched a series of exhibition histories wholly devoted to the study of landmark exhibitions.[1] The aim was to examine art in the context of its presentation in the public realm. In this way, research into art history shifted from the artistic production of one individual artist to the context of the presentation, and to the position, views, and convictions of the curator. In the introduction to the book, published in 2007 with its contextually pertinent title, Harald Szeemann: Individual Methodology, Florence Derieux stated: “It is now widely accepted that the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions.”[2] Not everyone agrees with this, however. For example, art historian Julian Myers justifiably criticized this statement when he wrote that the history of art and exhibitions are inextricably linked.

The Code of History

Beyond Reason ◽  
2021 ◽  
pp. 87-112
Author(s):  
Sanjay Seth
Keyword(s):  
Art Music ◽  
Modern History ◽  
Simple Application ◽  
History Writing ◽  
The Past ◽  
The Social ◽  
History Of Art ◽  
Core Elements ◽  
History Of ◽  
Meaning And Purpose

Showing that history writing is not the simple application of a method to sources bequeathed to us from the past, but rather a code that constructs “the past” in particular ways, this chapter explicates the elements of the code. Modern history treats past objects and texts as the objectified remains of humans who endowed their world with meaning and purpose, while constrained by the social circumstances characterizing their times; this time of theirs is dead, and it can only be represented, not resurrected; the past is only ever the human past, and it does not include ghosts, gods, spirits, or nature. In outlining these core elements of the code of history, it engages with those forms of history writing—the history of art, music, and science—that do not always share all the elements of the code, but for that very reason illuminate all the more clearly what the discipline presupposes.

Cambridge Introduction to the History of Art: The Twentieth Century

Leonardo ◽  
1984 ◽  
Vol 17 (1) ◽  
pp. 54
Author(s):  
Norman Narotzky ◽  
Rosemary Lambert
Keyword(s):  
Twentieth Century ◽  
History Of Art ◽  
History Of

“An Essential Expression of the People”: Interpretations of Hasidic Song in the Composition and Performance History of Ernest Bloch's Baal Shem

2012 ◽  
Vol 65 (3) ◽  
pp. 777-820 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
Twentieth Century ◽  
Jewish Identity ◽  
Art Music ◽  
Eastern European ◽  
Performance History ◽  
Jewish Communities ◽  
Jewish Music ◽  
The People ◽  
History Of ◽  
And Performance

Abstract This article examines Ernest Bloch's Baal Shem: Three Pictures of Chassidic Life, considering its score, its performance history, and early recordings of the second movement, “Nigun,” by Yehudi Menuhin, Joseph Szigeti, and Mischa Elman, to investigate the idea, promoted by the composer and many of his performers and critics, that the music represented Jewish identity through the evocation of Hasidic song. Bloch's score and Menuhin's performances were described as expressing what was often characterized during the early twentieth century as a self-affirming racial feeling that linked the modern diaspora in America to Eastern European Hasidic Jewish communities. With Baal Shem, Bloch and his performers and listeners participated in a self-conscious effort to construct a modern Jewish identity that they believed could be conveyed in the sounds and structures of art music. Menuhin's lifelong friendship and collaboration with Bloch underscores the crucial roles of Bloch's performers in working with the composer to devise compositional and performance tropes for the representation of Hasidic song, and in creating his broad reputation as a composer of a definitive Jewish music, a reputation Bloch would sometimes embrace and at other times disavow.

scholarly journals The Music Room: Betty Freeman's Musical Soirées

2017 ◽  
Vol 14 (3) ◽  
pp. 391-409
Author(s):  
JAKE JOHNSON
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Art Music ◽  
Avant Garde ◽  
Western Art ◽  
Interaction Rituals ◽  
Salon Culture ◽  
History Of ◽  
Western Art Music

AbstractFor over ten years, Los Angeles arts patron Betty Freeman (1921–2009) welcomed composers, performers, scholars, patrons, and invited guests into her home for a series of monthly musicales that were known as ‘Salotto’. In this article, I analyse Freeman's musicales within a sociological framework of gender and what Randall Collins calls ‘interaction rituals’. I contextualize these events, which took place in a space in her Beverly Hills home known as the Music Room, within a broader history of salon culture in Los Angeles in the twentieth century – a history that shaped the city's relationship with the artistic avant-garde and made Los Angeles an important amplifier for many of the most important voices in contemporary Western art music of the last sixty years.

scholarly journals Estéticas Nômades: Belém, Manaus e o circuito nacional do comércio de arte

2018 ◽  
Vol 4 (6) ◽  
pp. 82
Author(s):  
Moema Alves
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
Rio De Janeiro ◽  
Fine Arts ◽  
New Markets ◽  
The North ◽  
Cultural Life ◽  
History Of Art ◽  
History Of

ResumoNa virada do século XIX para o XX, estados como Pará e Amazonas viveram grandes transformações tanto na vida política quanto cultural. Suas capitais e os costumes de suas gentes buscavam refinamento a partir dos padrões burgueses europeus e a apreciação das chamadas belas artes em muito contribuíram para esse objetivo. Nesse contexto, favorecido pela grande circulação de dinheiro provocada pelo comércio da borracha, os estados em questão se tornaram atrativos para aqueles artistas em busca de novos mercados. O que o presente artigo aborda, portanto, é, através do caso da viagem do pintor fluminense Antônio Parreiras para o Norte, como se dava a articulação entre esses mercados e como circulavam as obras de arte, pensando que esse deslocamento não é só geográfico, mas também de questões que permeiam nossa leitura da história da arte no Brasil. Com isso, entendemos esse trânsito e as trocas provenientes dele, como essenciais para a formação coleções e, com elas, de novas narrativas.AbstractAt the turn from the nineteenth to the twentieth century, states like Pará and Amazonas have undergone great transformations in both political and cultural life. Its capitals and the customs of its people sought refinement from European bourgeois standards and the appreciation of the so-called fine arts contributed greatly to this goal. In this context, favored by the large circulation of money brought on by the rubber trade, the states in question became attractive to those artists in search for new markets. What the present article addresses therefore is, through the case of the trip of Antônio Parreiras, a painter from Rio de Janeiro, to the North, how the articulation between these markets and how the art circulation works, thinking that this displacement is not only geographic, but also of questions that permeate our reading of the history of art in Brazil. With this, we understand this transit and the exchanges coming from it, as essential for the formation of collections and, with them, new narratives.

Modernism and World Art, 1950–72

ARTMargins ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 55-76
Author(s):  
Nikolas Drosos
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
American Art ◽  
Global Perspective ◽  
The Other ◽  
Soviet Bloc ◽  
Universal History ◽  
History Of Art ◽  
History Of ◽  
The One

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

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