Silvestre Revueltas: sounds of a political passion
"To this day, both at home and beyond Mexico's borders, Silvestre Revueltas (1899-1940) has been systematically portrayed as a nationalist composer. Unknown or ignored, his private and public writings destroy this myth straight out. The then-fashionable musicking of a presumed Mexicanness...
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2023]
|
| Schriftenreihe: | Currents in Latin American and Iberian music
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "To this day, both at home and beyond Mexico's borders, Silvestre Revueltas (1899-1940) has been systematically portrayed as a nationalist composer. Unknown or ignored, his private and public writings destroy this myth straight out. The then-fashionable musicking of a presumed Mexicanness was far from Revueltas' mind. Strongly inspired by the Soviet Revolution, his dream was to find ways to sound the voice of the social people, not only those wandering the Mexican streets but also the gypsy miners in Spain, the black slaves in the U.S. South, and those in Cuba in colonial times. The various soundings of such social actors account for the diversity of aesthetics in his works, explored in this book through a correlation of the musical texts with the composer's writings as well as his political activism: he was not only active at home as a leading member of the League of Revolutionary Writers and Artists, but also significantly as a member of the Mexican delegation visiting Republican Spain in the midst of the war against Franco's fascist troupes. With few exceptions, though, most of his works seek to transcend standards of political art expression, such as program music or scores variously linked to word or image. Significantly, Revueltas' early instrumental works appear to abstract a musical ontology from the time and space of his diverse and multiple social actors through a daringly free use of montage and collage. Avant-garde rebellion and satire are also present in his best-known late works. Revueltas's is a unique and provocative decolonial art that pokes fun at the cosmopolitanistic fantasies of his Eurocentric peers at home as well as exoticizing expectations abroad. Unveiling the sense behind Revueltas's irony and the form political passion takes on in his music is the intention behind Kolb-Neuhaus's hermeneutic approach, which intertwines Revueltian art with his writings and political actions"-- |
| Beschreibung: | xxii, 705 Seiten Illustrationen, Notenbeispiele, Porträts 24,4 cm |
| ISBN: | 9780199751488 |
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| 505 | 8 | |a Part I. Silvestre Revueltas : a political composer. Political being and doing : a social biography ; Political soundings : change through art -- Part II. Targeting western modernity : de-colonial avant-gardism ; Epistemic disobedience : surrealist and Dadaist soundings? ; The lure of the Russian revolution : machinist soundings ; The art of the streets : sounding "the piercing cries of the poor and helpless street vendor" ; Breaking down false consciousness : the musical irony behind Revueltas' "Geometric dance" -- Part III. How (not) to sound the nation. Magueyes and Música de feria (1932) ; Colorines (1932) ; Alcancías (Three pieces for orchestra, 1932) ; .Janitzio (1933/1936) ; 8 x Radio (1933) ; Composing for the people ; Spain in the heart : Revueltas and the civil war in Spain ; Nostalgia of the future : sounding allegories of liberation through poetry and music (co-authored with Susana González-Aktories) ; Aberrant reception yesterday : views from within and without ; Aberrant reception today (and tomorrow?) : "Mayadämmerung" or the chronicle of a fraudulent performance of exotic otherness | |
| 520 | 3 | |a "To this day, both at home and beyond Mexico's borders, Silvestre Revueltas (1899-1940) has been systematically portrayed as a nationalist composer. Unknown or ignored, his private and public writings destroy this myth straight out. The then-fashionable musicking of a presumed Mexicanness was far from Revueltas' mind. Strongly inspired by the Soviet Revolution, his dream was to find ways to sound the voice of the social people, not only those wandering the Mexican streets but also the gypsy miners in Spain, the black slaves in the U.S. South, and those in Cuba in colonial times. The various soundings of such social actors account for the diversity of aesthetics in his works, explored in this book through a correlation of the musical texts with the composer's writings as well as his political activism: he was not only active at home as a leading member of the League of Revolutionary Writers and Artists, but also significantly as a member of the Mexican delegation visiting Republican Spain in the midst of the war against Franco's fascist troupes. With few exceptions, though, most of his works seek to transcend standards of political art expression, such as program music or scores variously linked to word or image. Significantly, Revueltas' early instrumental works appear to abstract a musical ontology from the time and space of his diverse and multiple social actors through a daringly free use of montage and collage. Avant-garde rebellion and satire are also present in his best-known late works. Revueltas's is a unique and provocative decolonial art that pokes fun at the cosmopolitanistic fantasies of his Eurocentric peers at home as well as exoticizing expectations abroad. Unveiling the sense behind Revueltas's irony and the form political passion takes on in his music is the intention behind Kolb-Neuhaus's hermeneutic approach, which intertwines Revueltian art with his writings and political actions"-- | |
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Datensatz im Suchindex
| _version_ | 1804185362804768768 |
|---|---|
| adam_text | Contents Preface Acknowledgments About the Companion Website General Introduction xi xix xxiii 1 Political Being and Doing · Political Soundings · De-colonial Border Composing · Socialist Avant-Gardism · Allegories of Liberation · Aberrant Reception Yesterday and Today · Unraveling the Political in Revueltas’ Music: Theoretical Approaches · What Is Not Contemplated in This Book PART I: SILVESTRE REVUELTAS: A POLITICAL COMPOSER Introduction to Part I 1. Political Being and Doing: A Social Biography 47 Mexican History and Its Aesthetic Appropriations · Eschewing Words to Express Revueltas’ Political Convictions: Between Voluntary and Involuntary Silence · Avant-Gardism to Fight Nationalism and Cosmopolitanistic Art: Revueltas, the Missing Stridentist · Singing Yesterday’s or Tomorrow’s Revolution?: The Paradox of a Marxism, both Institutional and Dissentient · Debating the Role of Art in Post-Revolutionary Culture: Transcending “Bureaucratic Socialism” · The Struggle within the Conservatory: The Efforts to “Dislodge the Bats from the [Colonial] Past” · The Concerts for Workers: High Art to Educate the Masses? · Conducting the Orquesta Sinfónica Nacional: A Truer Encounter with “The People”? · Revueltas, the Art-Worker: Artistic and Political Militancy in the LEAR · Spain: Finally, the Encounter with the Future? · Ihe Aftermath: Struggle between Illusion and Disillusion 2. Political Soundings: Change through Art A Political Family · The Political through Music and Words · The Political through Inter-Art Dialogue · The Political Expressed through Music Alone? · Speaking
“through” or “alongside” the Voices of the People: Defining Agency in Revueltas’ Music · The Voice of the Composer: From Socialist Avant-Gardism to Socialist Realism, and Back · Revueltas, the Creative Philosopher 116
Viii CONTENTS PART II: TARGETING WESTERN MODERNITY: DE-COLONIAL AVANT-GARDISM Introduction to Part II An Alternative Narrative of Life through Music · De-coloniality through Border Composing · Appropriation and Subversion of the Canon: Five Case Studies 3. Epistemic Disobedience: Surrealist and Dadaist Soundings? 167 Three Little Serious Pieces (1930-1931?) Culling Yesterday’s Vermin · The “Authentic” Indians? · A “Universal” Modernity? A Duo for Duck and Canary (1931) Barrera’s Mischievous Side · From England to Mexico · The Duel between Duck and Canary · The Song of the Canary · The Quackings of a Dadaist Duck 4. The Lure of the Russian Revolution: Machinist Soundings 209 Troka, the Powerful (1933) Troka, the Powerful·. Russian Constructivism in Mexico · Troka’s Political Background · “Troka,” the Literary Robot · Troka, the Musical Pantomime · Dialogue with Chávez’s Musical Machinisms? 5. The Art of the Streets: Sounding “The Piercing Cries of the Poor and Helpless Street Vendor” 236 Esquinas(1931/1933) “The Internal Traffic of the Souls”: First Movement · Leaving Behind the “Tormented Anguish of Chained Aspiration”: Second Movement · “Abounding Rebelliousness”: Third Movement 6. Breaking Down False Consciousness: The Musical Irony behind Revueltas’ “Geometric Dance” Pianos (1934) 263 Making a Case for False Obedience to the Canon · “Rhythm and Sonority Reminiscent of Other Rhythms and Sonorities” · Dialectical versus Symbolic Montage · Dialogue with Stravinsky: Russian versus Mexican Drobnost Introduction to Parts III, IV, and V Toward a Non-Appropriating Sounding of
the People · The First National Congress · Opposing Institutionalized Nationalism · Imagined Identities · Folklorist Nationalism · Constructing New Identities · Revueltas, the Truest of Mexicans? · Contexts · Paratexts · Intertexts · Intermediality · (Musical) Texts 294
CONTENTS ІХ PART III: HOW (NOT) TO SOUND THE NATION 7. Magueyes (1931) and Música deferia (1932) 337 Summoning the European Other »... and Summoning the Voice(s) of the Local Other · The First Version of the Quartet: Anti-Folkloristic Irony and Mockery · In Search of “Con-sensus”: The Sharing of the Sensory between the Composer and His Social Subject · Speaking through the Voice of the People · Music from a Fair? The Final Testament of a Transformative Avant-Gardism 8. Colorines (1932) Decolonizing Modernity and Nationalism · Nicolas Slonimsky and His Exotic Birds · Voicing an Opposition to both “Seriousness” and “Authenticity”: The Disruptive Collages Opening and Closing Colorines · Introducing the Voices of “the People of Ranchos and Villages”?: “Allegretto” · Refusing a Happy Ending: “Allegro” Finale 383 9. Alcancías (Three Piecesfor Orchestra) (1932) Revueltas, the Mexican Flâneur: Multiple Space, Time, and Actors · The Emoter: The Soul Is in the Voice · Improvisation as a Creative and Political Precept 409 10. Janitzio (1933/1936) Ultimately Committed to Composing Nationalist Music? · Ihe Musical Rhetoric of a Mexican Albur · Frustrated Expectations · Musical Mockeries · A Simulated Nationalist Pastiche 428 11. 8 x radio (1933) 454 Broadcasting Dialogues with the People · The People over the Composer’s Voice: Reversing Ontologies? · Revueltas as the Exotic Other · And Once Again, No Nationalist Happy Ending · Sounding Alongside the Voice of the People · The Mexican Dadaist Poking Fun at Academia PART IV: SOUNDING UTOPIA: REVUELTAS’ MUSICAL ALLEGORIES OF REVOLUTION 12.
Composing/orthePeople 475 Redes(1934/1935) Teaching the People about the People · Controversy between Silent and Sound Film · The Last Soundings of Redes: Performed, Desired, Lost · Afterword: The “Unforgettable Charm of Dreams” 13. Spain in the Heart: Revueltas and the Civil War in Spain Homenaje a Federico Garcia Lorca (1936), Cinco canciones de niños y dos canciones profanas, Itinerario (1938), the battle songs (1936-1938), and Este era un rey (1940?) 506
X CONTENTS Federico Garcia Lorca in Memoriam: Songs without Words · Revueltas in Spain · The Return from Spain · The Children of Morelia · Itinerario · Songs for the Children of Morelia? · The End of a Political Passion? · Echoes of Spain 14. Nostalgia of the Future: Sounding Allegories of Liberation through Poetry and Music (coauthored with Susana González-Aktories) 561 Sensemayá (1937/1938) Ritual TUrned Verse · Ritual Turned Music · Setting the Stage for Rebellion · Sounding the Snake · Sounding the Victor · Sounding the Battle · Sensemayas Aftermath PARTV: COLONIALIST RECEPTION AND CONTINUED COLONIZING OF REVUELTAS’ MUSIC 15. Aberrant Reception Yesterday: Views from Within and Without 607 Nationalist Reception at Home · The View from Without: Thomson, Cowell, Copland, Bowles · Pending Conversations with Copland, Cowell, Antheil, and North 16. Aberrant Reception Today (and Tomorrow?): “Mayadämmerung” or the Chronicle of a Fraudulent Performance of Exotic Otherness 637 La noche de los mayas (1939/1959) Letter of Introduction: Juggling the European and Peripheral Personas · Musical Genre: Moving the Periphery to the Center · Faking Authoriality · Life Story: Inventing Revueltas · Selling Living Proofs of the Past · Spontaneity and Corporeality: Embodying the Primitive Some Closing Thoughts: Revueltas’ Exile Within Turning His Back on Ruling Discourse, Aesthetic and Political · Feeling without Seeing: Revueltas’ Inner Exile · An Involuntary Anarchist? · Poets and Writers Recall Revueltas References Index 662 677 691
|
| adam_txt |
Contents Preface Acknowledgments About the Companion Website General Introduction xi xix xxiii 1 Political Being and Doing · Political Soundings · De-colonial Border Composing · Socialist Avant-Gardism · Allegories of Liberation · Aberrant Reception Yesterday and Today · Unraveling the Political in Revueltas’ Music: Theoretical Approaches · What Is Not Contemplated in This Book PART I: SILVESTRE REVUELTAS: A POLITICAL COMPOSER Introduction to Part I 1. Political Being and Doing: A Social Biography 47 Mexican History and Its Aesthetic Appropriations · Eschewing Words to Express Revueltas’ Political Convictions: Between Voluntary and Involuntary Silence · Avant-Gardism to Fight Nationalism and Cosmopolitanistic Art: Revueltas, the Missing Stridentist · Singing Yesterday’s or Tomorrow’s Revolution?: The Paradox of a Marxism, both Institutional and Dissentient · Debating the Role of Art in Post-Revolutionary Culture: Transcending “Bureaucratic Socialism” · The Struggle within the Conservatory: The Efforts to “Dislodge the Bats from the [Colonial] Past” · The Concerts for Workers: High Art to Educate the Masses? · Conducting the Orquesta Sinfónica Nacional: A Truer Encounter with “The People”? · Revueltas, the Art-Worker: Artistic and Political Militancy in the LEAR · Spain: Finally, the Encounter with the Future? · Ihe Aftermath: Struggle between Illusion and Disillusion 2. Political Soundings: Change through Art A Political Family · The Political through Music and Words · The Political through Inter-Art Dialogue · The Political Expressed through Music Alone? · Speaking
“through” or “alongside” the Voices of the People: Defining Agency in Revueltas’ Music · The Voice of the Composer: From Socialist Avant-Gardism to Socialist Realism, and Back · Revueltas, the Creative Philosopher 116
Viii CONTENTS PART II: TARGETING WESTERN MODERNITY: DE-COLONIAL AVANT-GARDISM Introduction to Part II An Alternative Narrative of Life through Music · De-coloniality through Border Composing · Appropriation and Subversion of the Canon: Five Case Studies 3. Epistemic Disobedience: Surrealist and Dadaist Soundings? 167 Three Little Serious Pieces (1930-1931?) Culling Yesterday’s Vermin · The “Authentic” Indians? · A “Universal” Modernity? A Duo for Duck and Canary (1931) Barrera’s Mischievous Side · From England to Mexico · The Duel between Duck and Canary · The Song of the Canary · The Quackings of a Dadaist Duck 4. The Lure of the Russian Revolution: Machinist Soundings 209 Troka, the Powerful (1933) Troka, the Powerful·. Russian Constructivism in Mexico · Troka’s Political Background · “Troka,” the Literary Robot · Troka, the Musical Pantomime · Dialogue with Chávez’s Musical Machinisms? 5. The Art of the Streets: Sounding “The Piercing Cries of the Poor and Helpless Street Vendor” 236 Esquinas(1931/1933) “The Internal Traffic of the Souls”: First Movement · Leaving Behind the “Tormented Anguish of Chained Aspiration”: Second Movement · “Abounding Rebelliousness”: Third Movement 6. Breaking Down False Consciousness: The Musical Irony behind Revueltas’ “Geometric Dance” Pianos (1934) 263 ' Making a Case for False Obedience to the Canon · “Rhythm and Sonority Reminiscent of Other Rhythms and Sonorities” · Dialectical versus Symbolic Montage · Dialogue with Stravinsky: Russian versus Mexican Drobnost Introduction to Parts III, IV, and V Toward a Non-Appropriating Sounding of
the People · The First National Congress · Opposing Institutionalized Nationalism · Imagined Identities · Folklorist Nationalism · Constructing New Identities · Revueltas, the Truest of Mexicans? · Contexts · Paratexts · Intertexts · Intermediality · (Musical) Texts 294
CONTENTS ІХ PART III: HOW (NOT) TO SOUND THE NATION 7. Magueyes (1931) and Música deferia (1932) 337 Summoning the European Other ». and Summoning the Voice(s) of the Local Other · The First Version of the Quartet: Anti-Folkloristic Irony and Mockery · In Search of “Con-sensus”: The Sharing of the Sensory between the Composer and His Social Subject · Speaking through the Voice of the People · Music from a Fair? The Final Testament of a Transformative Avant-Gardism 8. Colorines (1932) Decolonizing Modernity and Nationalism · Nicolas Slonimsky and His Exotic Birds · Voicing an Opposition to both “Seriousness” and “Authenticity”: The Disruptive Collages Opening and Closing Colorines · Introducing the Voices of “the People of Ranchos and Villages”?: “Allegretto” · Refusing a Happy Ending: “Allegro” Finale 383 9. Alcancías (Three Piecesfor Orchestra) (1932) Revueltas, the Mexican Flâneur: Multiple Space, Time, and Actors · The Emoter: The Soul Is in the Voice · Improvisation as a Creative and Political Precept 409 10. Janitzio (1933/1936) Ultimately Committed to Composing Nationalist Music? · Ihe Musical Rhetoric of a Mexican Albur · Frustrated Expectations · Musical Mockeries · A Simulated Nationalist Pastiche 428 11. 8 x radio (1933) 454 Broadcasting Dialogues with the People · The People over the Composer’s Voice: Reversing Ontologies? · Revueltas as the Exotic Other · And Once Again, No Nationalist Happy Ending · Sounding Alongside the Voice of the People · The Mexican Dadaist Poking Fun at Academia PART IV: SOUNDING UTOPIA: REVUELTAS’ MUSICAL ALLEGORIES OF REVOLUTION 12.
Composing/orthePeople 475 Redes(1934/1935) Teaching the People about the People · Controversy between Silent and Sound Film · The Last Soundings of Redes: Performed, Desired, Lost · Afterword: The “Unforgettable Charm of Dreams” 13. Spain in the Heart: Revueltas and the Civil War in Spain Homenaje a Federico Garcia Lorca (1936), Cinco canciones de niños y dos canciones profanas, Itinerario (1938), the battle songs (1936-1938), and Este era un rey (1940?) 506
X CONTENTS Federico Garcia Lorca in Memoriam: Songs without Words · Revueltas in Spain · The Return from Spain · The Children of Morelia · Itinerario · Songs for the Children of Morelia? · The End of a Political Passion? · Echoes of Spain 14. Nostalgia of the Future: Sounding Allegories of Liberation through Poetry and Music (coauthored with Susana González-Aktories) 561 Sensemayá (1937/1938) Ritual TUrned Verse · Ritual Turned Music · Setting the Stage for Rebellion · Sounding the Snake · Sounding the Victor · Sounding the Battle · Sensemayas Aftermath PARTV: COLONIALIST RECEPTION AND CONTINUED COLONIZING OF REVUELTAS’ MUSIC 15. Aberrant Reception Yesterday: Views from Within and Without 607 Nationalist Reception at Home · The View from Without: Thomson, Cowell, Copland, Bowles · Pending Conversations with Copland, Cowell, Antheil, and North 16. Aberrant Reception Today (and Tomorrow?): “Mayadämmerung” or the Chronicle of a Fraudulent Performance of Exotic Otherness 637 La noche de los mayas (1939/1959) Letter of Introduction: Juggling the European and Peripheral Personas · Musical Genre: Moving the Periphery to the Center · Faking Authoriality · Life Story: Inventing Revueltas · Selling Living Proofs of the Past · Spontaneity and Corporeality: Embodying the Primitive Some Closing Thoughts: Revueltas’ Exile Within Turning His Back on Ruling Discourse, Aesthetic and Political · Feeling without Seeing: Revueltas’ Inner Exile · An Involuntary Anarchist? · Poets and Writers Recall Revueltas References Index 662 677 691 |
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| contents | Part I. Silvestre Revueltas : a political composer. Political being and doing : a social biography ; Political soundings : change through art -- Part II. Targeting western modernity : de-colonial avant-gardism ; Epistemic disobedience : surrealist and Dadaist soundings? ; The lure of the Russian revolution : machinist soundings ; The art of the streets : sounding "the piercing cries of the poor and helpless street vendor" ; Breaking down false consciousness : the musical irony behind Revueltas' "Geometric dance" -- Part III. How (not) to sound the nation. Magueyes and Música de feria (1932) ; Colorines (1932) ; Alcancías (Three pieces for orchestra, 1932) ; .Janitzio (1933/1936) ; 8 x Radio (1933) ; Composing for the people ; Spain in the heart : Revueltas and the civil war in Spain ; Nostalgia of the future : sounding allegories of liberation through poetry and music (co-authored with Susana González-Aktories) ; Aberrant reception yesterday : views from within and without ; Aberrant reception today (and tomorrow?) : "Mayadämmerung" or the chronicle of a fraudulent performance of exotic otherness |
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| era_facet | Geschichte 1899-1940 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>06233nam a2200817 c 4500</leader><controlfield tag="001">BV049057964</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20230914 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">230719s2023 agcl b||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780199751488</subfield><subfield code="c">hardback</subfield><subfield code="9">978-0-19-975148-8</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1399142402</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV049057964</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">MUS</subfield><subfield code="q">DE-12</subfield><subfield code="2">fid</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">HIST</subfield><subfield code="q">DE-12</subfield><subfield code="2">fid</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Kolb, Roberto</subfield><subfield code="d">1951-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)1301100269</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Silvestre Revueltas</subfield><subfield code="b">sounds of a political passion</subfield><subfield code="c">Roberto Kolb-Neuhaus</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">New York, NY</subfield><subfield code="b">Oxford University Press</subfield><subfield code="c">[2023]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2023</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">xxii, 705 Seiten</subfield><subfield code="b">Illustrationen, Notenbeispiele, Porträts</subfield><subfield code="c">24,4 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="0" ind2=" "><subfield code="a">Currents in Latin American and Iberian music</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Part I. Silvestre Revueltas : a political composer. Political being and doing : a social biography ; Political soundings : change through art -- Part II. Targeting western modernity : de-colonial avant-gardism ; Epistemic disobedience : surrealist and Dadaist soundings? ; The lure of the Russian revolution : machinist soundings ; The art of the streets : sounding "the piercing cries of the poor and helpless street vendor" ; Breaking down false consciousness : the musical irony behind Revueltas' "Geometric dance" -- Part III. How (not) to sound the nation. Magueyes and Música de feria (1932) ; Colorines (1932) ; Alcancías (Three pieces for orchestra, 1932) ; .Janitzio (1933/1936) ; 8 x Radio (1933) ; Composing for the people ; Spain in the heart : Revueltas and the civil war in Spain ; Nostalgia of the future : sounding allegories of liberation through poetry and music (co-authored with Susana González-Aktories) ; Aberrant reception yesterday : views from within and without ; Aberrant reception today (and tomorrow?) : "Mayadämmerung" or the chronicle of a fraudulent performance of exotic otherness</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">"To this day, both at home and beyond Mexico's borders, Silvestre Revueltas (1899-1940) has been systematically portrayed as a nationalist composer. Unknown or ignored, his private and public writings destroy this myth straight out. The then-fashionable musicking of a presumed Mexicanness was far from Revueltas' mind. Strongly inspired by the Soviet Revolution, his dream was to find ways to sound the voice of the social people, not only those wandering the Mexican streets but also the gypsy miners in Spain, the black slaves in the U.S. South, and those in Cuba in colonial times. The various soundings of such social actors account for the diversity of aesthetics in his works, explored in this book through a correlation of the musical texts with the composer's writings as well as his political activism: he was not only active at home as a leading member of the League of Revolutionary Writers and Artists, but also significantly as a member of the Mexican delegation visiting Republican Spain in the midst of the war against Franco's fascist troupes. With few exceptions, though, most of his works seek to transcend standards of political art expression, such as program music or scores variously linked to word or image. Significantly, Revueltas' early instrumental works appear to abstract a musical ontology from the time and space of his diverse and multiple social actors through a daringly free use of montage and collage. Avant-garde rebellion and satire are also present in his best-known late works. Revueltas's is a unique and provocative decolonial art that pokes fun at the cosmopolitanistic fantasies of his Eurocentric peers at home as well as exoticizing expectations abroad. Unveiling the sense behind Revueltas's irony and the form political passion takes on in his music is the intention behind Kolb-Neuhaus's hermeneutic approach, which intertwines Revueltian art with his writings and political actions"--</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Revueltas, Silvestre</subfield><subfield code="d">1899-1940</subfield><subfield code="0">(DE-588)119096757</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 1899-1940</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Musik</subfield><subfield code="0">(DE-588)4040802-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Komposition</subfield><subfield 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| genre | (DE-588)4006804-3 Biografie gnd-content |
| genre_facet | Biografie |
| geographic | Mexiko (DE-588)4039058-5 gnd |
| geographic_facet | Mexiko |
| id | DE-604.BV049057964 |
| illustrated | Illustrated |
| index_date | 2024-07-03T22:23:20Z |
| indexdate | 2024-07-10T09:54:02Z |
| institution | BVB |
| isbn | 9780199751488 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034320163 |
| oclc_num | 1399142402 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | xxii, 705 Seiten Illustrationen, Notenbeispiele, Porträts 24,4 cm |
| psigel | BSB_NED_20230914 |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Oxford University Press |
| record_format | marc |
| series2 | Currents in Latin American and Iberian music |
| spelling | Kolb, Roberto 1951- Verfasser (DE-588)1301100269 aut Silvestre Revueltas sounds of a political passion Roberto Kolb-Neuhaus New York, NY Oxford University Press [2023] © 2023 xxii, 705 Seiten Illustrationen, Notenbeispiele, Porträts 24,4 cm txt rdacontent n rdamedia nc rdacarrier Currents in Latin American and Iberian music Part I. Silvestre Revueltas : a political composer. Political being and doing : a social biography ; Political soundings : change through art -- Part II. Targeting western modernity : de-colonial avant-gardism ; Epistemic disobedience : surrealist and Dadaist soundings? ; The lure of the Russian revolution : machinist soundings ; The art of the streets : sounding "the piercing cries of the poor and helpless street vendor" ; Breaking down false consciousness : the musical irony behind Revueltas' "Geometric dance" -- Part III. How (not) to sound the nation. Magueyes and Música de feria (1932) ; Colorines (1932) ; Alcancías (Three pieces for orchestra, 1932) ; .Janitzio (1933/1936) ; 8 x Radio (1933) ; Composing for the people ; Spain in the heart : Revueltas and the civil war in Spain ; Nostalgia of the future : sounding allegories of liberation through poetry and music (co-authored with Susana González-Aktories) ; Aberrant reception yesterday : views from within and without ; Aberrant reception today (and tomorrow?) : "Mayadämmerung" or the chronicle of a fraudulent performance of exotic otherness "To this day, both at home and beyond Mexico's borders, Silvestre Revueltas (1899-1940) has been systematically portrayed as a nationalist composer. Unknown or ignored, his private and public writings destroy this myth straight out. The then-fashionable musicking of a presumed Mexicanness was far from Revueltas' mind. Strongly inspired by the Soviet Revolution, his dream was to find ways to sound the voice of the social people, not only those wandering the Mexican streets but also the gypsy miners in Spain, the black slaves in the U.S. South, and those in Cuba in colonial times. The various soundings of such social actors account for the diversity of aesthetics in his works, explored in this book through a correlation of the musical texts with the composer's writings as well as his political activism: he was not only active at home as a leading member of the League of Revolutionary Writers and Artists, but also significantly as a member of the Mexican delegation visiting Republican Spain in the midst of the war against Franco's fascist troupes. With few exceptions, though, most of his works seek to transcend standards of political art expression, such as program music or scores variously linked to word or image. Significantly, Revueltas' early instrumental works appear to abstract a musical ontology from the time and space of his diverse and multiple social actors through a daringly free use of montage and collage. Avant-garde rebellion and satire are also present in his best-known late works. Revueltas's is a unique and provocative decolonial art that pokes fun at the cosmopolitanistic fantasies of his Eurocentric peers at home as well as exoticizing expectations abroad. Unveiling the sense behind Revueltas's irony and the form political passion takes on in his music is the intention behind Kolb-Neuhaus's hermeneutic approach, which intertwines Revueltian art with his writings and political actions"-- Revueltas, Silvestre 1899-1940 (DE-588)119096757 gnd rswk-swf Geschichte 1899-1940 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf Komponist (DE-588)4032009-1 gnd rswk-swf Politik (DE-588)4046514-7 gnd rswk-swf Mexiko (DE-588)4039058-5 gnd rswk-swf Revueltas, Silvestre / 1899-1940 Revueltas, Silvestre / 1899-1940 / Criticism and interpretation Revueltas, Silvestre / 1899-1940 / Political activity Composers / Mexico / Biography Music / Mexico / 20th century / History and criticism Music / Political aspects / Mexico / History / 20th century Composers Music Music / Political aspects Political participation Mexico 1900-1999 Biographies Criticism, interpretation, etc History (DE-588)4006804-3 Biografie gnd-content Revueltas, Silvestre 1899-1940 (DE-588)119096757 p Komposition Musik (DE-588)4133320-2 s Politik (DE-588)4046514-7 s DE-604 Mexiko (DE-588)4039058-5 g Komponist (DE-588)4032009-1 s Musik (DE-588)4040802-4 s Geschichte 1899-1940 z Erscheint auch als Online-Ausgabe 9780197628362 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034320163&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Kolb, Roberto 1951- Silvestre Revueltas sounds of a political passion Part I. Silvestre Revueltas : a political composer. Political being and doing : a social biography ; Political soundings : change through art -- Part II. Targeting western modernity : de-colonial avant-gardism ; Epistemic disobedience : surrealist and Dadaist soundings? ; The lure of the Russian revolution : machinist soundings ; The art of the streets : sounding "the piercing cries of the poor and helpless street vendor" ; Breaking down false consciousness : the musical irony behind Revueltas' "Geometric dance" -- Part III. How (not) to sound the nation. Magueyes and Música de feria (1932) ; Colorines (1932) ; Alcancías (Three pieces for orchestra, 1932) ; .Janitzio (1933/1936) ; 8 x Radio (1933) ; Composing for the people ; Spain in the heart : Revueltas and the civil war in Spain ; Nostalgia of the future : sounding allegories of liberation through poetry and music (co-authored with Susana González-Aktories) ; Aberrant reception yesterday : views from within and without ; Aberrant reception today (and tomorrow?) : "Mayadämmerung" or the chronicle of a fraudulent performance of exotic otherness Revueltas, Silvestre 1899-1940 (DE-588)119096757 gnd Musik (DE-588)4040802-4 gnd Komposition Musik (DE-588)4133320-2 gnd Komponist (DE-588)4032009-1 gnd Politik (DE-588)4046514-7 gnd |
| subject_GND | (DE-588)119096757 (DE-588)4040802-4 (DE-588)4133320-2 (DE-588)4032009-1 (DE-588)4046514-7 (DE-588)4039058-5 (DE-588)4006804-3 |
| title | Silvestre Revueltas sounds of a political passion |
| title_auth | Silvestre Revueltas sounds of a political passion |
| title_exact_search | Silvestre Revueltas sounds of a political passion |
| title_exact_search_txtP | Silvestre Revueltas sounds of a political passion |
| title_full | Silvestre Revueltas sounds of a political passion Roberto Kolb-Neuhaus |
| title_fullStr | Silvestre Revueltas sounds of a political passion Roberto Kolb-Neuhaus |
| title_full_unstemmed | Silvestre Revueltas sounds of a political passion Roberto Kolb-Neuhaus |
| title_short | Silvestre Revueltas |
| title_sort | silvestre revueltas sounds of a political passion |
| title_sub | sounds of a political passion |
| topic | Revueltas, Silvestre 1899-1940 (DE-588)119096757 gnd Musik (DE-588)4040802-4 gnd Komposition Musik (DE-588)4133320-2 gnd Komponist (DE-588)4032009-1 gnd Politik (DE-588)4046514-7 gnd |
| topic_facet | Revueltas, Silvestre 1899-1940 Musik Komposition Musik Komponist Politik Mexiko Biografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034320163&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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