Pre-Pub Announcement: Music and Dictatorship in Europe and Latin America (Brepols Publishers)

MUSIC AND DICTATORSHIP IN EUROPE AND LATIN AMERICA
PRE-PUBLICATION ANNOUNCEMENT
BREPOLS PUBLISHERS

Music and Dictatorship in Europe and Latin America
Edited by Roberto Illiano and Massimiliano Sala
approx. 700 p., 210 x 270 mm, HB, ISBN 978-2-503-52779-6, EUR 125
Special pre-publication price: €105 valid until 31 October 2009
Series: Speculum musicae, vol. 14
Publication date: November 2009

An illustration of Benito Mussolini on the cover of the official hymn of the National Fascist Party, "Giovinezza!" ("Youth!") from 'Music and Dictatorship in Europe and Latin America'

'In this book, edited by Roberto Illiano and Massimiliano Sala, the music is explored as a political phenomenon in fifteenth nations under totalitarian regimes: Argentina, Brazil, Chile, Cuba, France, Greece, Germany, Italy, Mexico, Poland, Portugal, Russia, Serbia, Spain, and Hungary. Historical and aesthetical articles face both individual people (for instance, Chavez, Ligeti, Massarani or Villa-Lobos) as well whole generations of composers operating under dictatorship (for example, in the communist regimes of Poland and Serbia; in France under Vichy; in Franco’s Spain, Salazar’s Portugal, or in Revolutionary Cuba).'

An excerpt of Butterman's essay, '«Ney é gay, não é?» The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) under Dictatorship'

TABLE OF CONTENTS:

EUROPE

France: M. Chimènes, Musique et musiciens en France sous le régime de Vichy (1940-1944) - Greece: K. Romanou, Exchanging «Rings» under Dictatorships - Germany: N. Noeske & M. Tischer, Eine viel zu kurze Geschichte der Musikverhältnisse der DDR - Germany: K. Painter, Musical Aesthetics and National Socialism - Germany: M.-A. Roberge, L’impact des guerres mondiales et de la dictature nazie sur le périodique «Die Musik» - Italy: C. Piccardi, La parabola Renzo Massarani, compositore ebreo nell’ombra del fascismo - Poland: A. Tuchowski, The Impact of the Communist Dictatorship and Its Transformations on the Identity of Polish Music in the Years 1945-1989 - Portugal: T. Cascudo, Art Music in Portugal during the Estado Novo - Russia: C. Flamm, Das Problem sowjetische Musikgeschichte. Gedanken zu einer schwierigen Vergangenheitsbewältigung - Russia: M. Frolova-Walker, The Glib, the Bland, and the Corny: An Aesthetics of Socialist Realism - Serbia: M. Milin: Dictatorship and Serbian Music in the 20th-Century - Spain: G. Perez Zalduondo, Formulación, fracaso y despertar de la conciencia crítica en la música española durante el franquismo (1936-1958) - Hungary: R. Beckles Willson, Memory, Dictatorship, and Trauma: Ligeti at the Hungarian Musicians’ Union 1949-1953

LATIN AMERICA

Argentina: P. Vila, Tiempos difíciles, tiempos creativos: rock y dictadura en Argentina - Brazil: D. Borim, Tropicalist Mutantes: Dada and Kitsch under Dictatorship - Brazil: S. Butterman, «Ney é gay, não é?» The Emergence and Performance of Queer Identities in Brazilian Popular Music (MPB) under Dictatorship - Brazil: R. Duprat & M. A. Volpe, Vanguardas e Posturas de Esquerda na Música Brasileira (1920 a 1970) - Brazil: T. Garcia, Music and the Brazilian Estado Novo: Getúlio Vargas, Heitor Villa-Lobos and a National Music Education System - Brazil: M. Napolitano, O Música Popular Brasileira (MPB) nos anos de chumbo do regime militar (1969/1975) - Cuba: S. Münz, Popular Political Music in Revolutionary Cuba - Chile: D. Perry, Beyond ‘Protest Song’: Popular Music in Pinochet’s Chile (1973-1990) - Mexico: L. Velasco Pufleau, Nacionalismo, autoritarismo y construcción cultural: Carlos Chavez y la creación musical en México (1921-1952)

An excerpt from Garcia's essay 'Music and the Brazilian Estado Novo: Getúlio Vargas, Heitor Villa-Lobos and a National Music Education System'

All images are acknowledged with thanks and used with permission of Brepols Publishers. For further information on this title or others in the Speculum Musicae Series click here. For my £0.02 I think the Speculum Series covers many interesting and neglected areas of musicological research. For example, there are many books which explore Italian musics of Tuscany and Sicily but not so many which cover the centre of Italy. Ciliberti's 'Musica e societa in Umbria tra Medioevo e Rinascimento (Vol. 5 in the series) attempts to put Umbria on the musicological map. Also, this book furthers Illiano's earlier set of essays on 'Italian Music during the Fascist Period' (vol. 10 in the series) by expanding the areas studying fascism's influence into other parts of Europe and also Latin America demonstrating that an ocean can not divide the dissemination of ideas. I for one will be buying this for our library collection.

CFP: State Music and Dictatorship (Paris)

STATE MUSIC AND DICTATORSHIP - INTERNATIONAL CONFERENCE
ECOLE DES HAUTES ETUDES EN SCIENCES SOCIALES, PARIS
14 - 16 MAY 2009
CALL FOR PAPERS

Organisé par le Centre de Recherches sur les Arts et le Langage (CRAL - EHESS / CNRS)
sous la responsabilité d’Esteban Buch, Igor Contreras et Manuel Silva

Under the dictatorships of the twentieth century, music never ceased to sound. Even when they did not impose aesthetic standards, these regimes tended to favour certain kinds of music: occasional works for commemorations or celebrations, patriotic or militant hymns, military marches, etc. They created specific ways to select and promote music production, through prizes or commissions, thus validating or institutionalizing some compositions as the emanation of the State. Also, composers who were more or less close to power often wrote pieces of music on their own initiative to support the political order by way of an aesthetics or a program.

This conference will focus on musical works inspired and promoted by the apparatus of such regimes as Nazi Germany, Fascist Italy, the USSR and its satellites, Franco’s Spain and Salazar’s Portugal, France under Vichy, and Latin-American dictatorships of the 1970s. It will also address theoretical issues long neglected by musicologists and historians who tended to view them simply as propaganda tools. Are there similarities between musical productions in every dictatorship? Which discourses and practices were implemented and how did the listeners react to them? Can we locate any common stylistic features among them, or did they resemble one another chiefly in their contexts and media of circulation? Can we speak confidently about "State music"?

Plus d’informations prochainement sur http://musique.ehess.fr

CFP: Dictatorship and State Music Conference (Paris)

DICTATORSHIP AND "STATE MUSIC"
CRAL/EHESS, PARIS
15 - 16 MAY 2009
CALL FOR PAPERS

Long time considered a propaganda tool, the music of dictatorial regimes might reveal important aspects in the relationship between art and politics. Recent works have underlined the complex ways in which musicians engaged with power under dictatorships, deemed as monolithic. Thus, the description of censorship, allegiance and dissension mechanisms, and of the breaks and continuities produced between regimes, will show the multiplicity of negotiation and consensus-seeking processes. In the absence of political freedom, these processes guaranteed the continuity of an often intense and creative musical life. Even in the darkest hours of 20th century history, music never ceased to sound.

This conference will focus on the works inspired and promoted by dictatorial state apparatuses. Even when not imposing aesthetic standards, dictatorships favoured certain kinds of music: occasional commemorative or celebrative works, patriotic or militant hymns, military marches, etc. In addition, modern dictatorial states have devised and implemented prize-awarding and commissioning policies aimed at consolidating the status of certain genres as institutionalised forms of political and social order.

Leaning on specific case studies, we will also discuss different approaches to this repertoire: can we broadly label it "State music"? Are there any similarities or constants in music production across different dictatorships? What have been the discourses and practices implemented and how did listeners react to them? Can we agree a set of stylistic features, or are they context-contingent?

The conference will encourage multidisciplinary approaches (cultural history, sociology of music, music analysis) and comparative research, and will welcome contributions on diverse historical and geographical locales, particularly Interwar Europe, Eastern bloc and Maoist China, or Latin American dictatorships of the 60s and 70s.

Papers (in French or in English) should last 20 minutes. Abstracts (300 words) and CVs must be submitted by 31 January 2009.

Contacts: Esteban Buch (buch at ehess.fr), Igor Contreras (contrerasigor at gmail.com), Manuel Deniz Silva (manuel_denizsilva at yahoo.fr)

Centre de Recherches sur les Arts et le Langage (CRAL)
96 bd Raspail
75006 Paris