This article attends to the conjuncture in the early 1970s of post-Cagean musical practice and poststructuralist theory associated with the journal Musique en jeu and the music department of the Centre universitaire expérimental de Vincennes. Reading the theoretical writing of figures including Daniel Charles and Ivanka Stoïanova alongside the music of Costin Miereanu, the article elaborates the account of the open work that emerges there, before turning to an LP by Miereanu, Luna cinese (1975), which grapples with the aporetic figure of the open record and in so doing takes the ‘openness’ of post-Cagean experimentalism in new directions. In conclusion, I begin to theorize what Miereanu's open record suggests about the listening that records call for and the fixity of records in general.

This article explores the relationship between musical aesthetics and evolving submarine imaginaries in an age of unprecedented threats to the ocean. The discussion is structured around two case studies: Björk's performance of the song ‘Oceania’ at the opening ceremonies of the 2004 Olympics, and John Luther Adams's 2013 Pulitzer Prize-winning Become Ocean for orchestra. In these examples, culturally and historically situated visions of the ocean are modulated by compositional and sonic devices that ground oceanic imaginaries in bodily sensation. Björk and Adams cultivate an oceanic aesthetics: musical sensations that align with the phenomenology of submersion or that address the materiality and ecology of the undersea. Throughout the article the author asks what music and musicology can offer to the interdisciplinary endeavours dubbed the ‘blue humanities’. A turn to music foregrounds listening as a mode of perception and scholarly enquiry less defined by terrestrial categories. Music and sound-based art can be an intellectual resource in cases where visual terms and frameworks have a tough time accounting for the specificity of the oceanic environment.

This article examines the role played by the Maggio Musicale Fiorentino as a kind of cultural laboratory for experiments in operatic staging in 1930s Italy. Founded in 1933, Florence's opera and arts festival was a key testing ground for ‘modern’ approaches both to set and costume design and to opera direction, two areas in which northern Europe (especially Germany) is normally held to have led the way, and through which the Maggio helped to reinvent Italian mise-en-scène as an act of independent, artistic creation. Setting the festival's overall project in the context of 1930s aesthetic, philosophical, and cultural debates about theatre, opera, and cinema, and drawing on a rich archive of as-yet-unexplored primary source materials, the article retraces an intellectual and cultural history of Italian staging c. 1930 that resonates productively with several present-day critical and scholarly concerns: from changing attitudes to the nineteenth-century operatic canon, to the early stirrings of Regietheater, to the intertwining histories of opera and film.

The career of the composer, performer, educator and diplomat Hans-Joachim Koellreutter was exceptionally varied, taking place over three continents. A refugee from Nazi Germany, he is primarily known for introducing serialism to Brazil. However, he not only returned to his native Germany for a short period but also lived and worked in India and Japan, before going back to Brazil. His life and work epitomize the role played by migrants in constructing a global diasporic network, illustrating both the promises and the shortcomings of global musical modernism. The consequences he drew, however, drove him to embrace a form of universalism that was at odds with the increasing ideological polarization of the 1970s and 1980s, notably in a Latin American intellectual climate dominated by dependency theory.

In the aftermath of the First World War, Henri Verbrugghen founded the first Australian branch of the British Music Society. The BMS – a product of post-First World War cultural renewal – was established in London to ‘champion the cause of British composers at home and abroad’. In Sydney, these aspirations extended to promoting music from Australia, and through affiliation with the International Society for Contemporary Music, music of the rest of the world. This article explores the activities of the Sydney BMS, situating these within contemporary discourses of nationalism and internationalism in the construction of interwar Australian cultural identity. It argues that the sometimes conflicting aims of the society reflect a wider political and social ambivalence about Australia's place in the international landscape. While its primary goal was to champion local composers, this was held in uneasy balance with a desire to promote British music ‘proper’.

The Panama Canal was officially opened on 15 August 1914. At this point, the United States had been the builder of a difficult and controversial project for ten years and was to be the operator of the most important link between the Atlantic and the Pacific. To do this, it first helped Panama to independence, immediately annexing the canal zone. Thus, the construction of the canal is a classic lesson in colonial, (inter-)national politics and its interdependencies in the early twentieth century. At the same time, Panama was a fairly widespread topic of US popular music. This article investigates the effects of politics on cultural life, using the example of popular music referring to Panama. Applying a postcolonial approach, it will study the musical ways in which the United States constructed its pseudo-colony Panama as an Other in order to exercise power there and continue to form its own national identity.

This article draws upon archival documents from Mexico's Nationalist Campaign to argue that the rise of radio, advertising, and consumer culture significantly shaped Mexican musical nationalism in the early 1930s. The Nationalist Campaign, led by Rafael Melgar, sought to promote the consumption of national products as a patriotic act to secure the nation's future amid the growing economic dominance of the United States during the interwar period. The campaign utilized radio broadcasts of speeches, slogans, and national music concerts to publicize a unified brand of national identity, aligning with the needs of modernizing the state economy and centralizing political authority through the newly formed PNR (Partido Nacional Revolucionario). This research seeks to explore the role of media, popular music, and consumer culture as an alternative track to Mexican musical nationalism, which has primarily been studied through art music.

This article explores Nikos Skalkottas's engagement with stylistic accessibility after his return to Greece from Germany in 1933. It considers the composer's self-proclaimed efforts to establish a more accessible, tonal musical style in the context of Greek sociopolitical upheaval and the political culture of anti-fascist resistance. Centring on the period between 1947 and 1949, this shift is viewed in terms of the impact of Socialist Realism in Greece for the first time. This article excavates the promulgation of Socialist Realism in Greece amid the anti-fascist resistance and re-evaluates Skalkottas's works and his published and unpublished writings as testifying to these unique political and cultural circumstances. It focuses in particular on Skalkottas's Classical Symphony in A for wind orchestra, two harps, and lower strings composed in 1947; a major work that continues to occupy a peripheral position in existing Greek and Anglophone scholarship on the composer.

In this article I bring Henry James's novella The Turn of the Screw, Benjamin Britten and Myfanwy Piper's opera based on the novella, and elements of the 2011 Glyndebourne production of the opera into interaction with theories of the uncanny to wonder about the act of reading. This novella and opera thematize reading in connection with the uncanny and the ghostly, providing an opportunity to pursue what might be at stake and what might be possible when boundaries blur and meaning is put in motion. I begin to explore uncanny reading as a tool to unsettle binary logics and one-to-one mappings. I consider the uncanny as connective tissue between theoretical makings related to identity, relationships, and the potentialities of fiction. And I put these ideas into interactive practice as I self-consciously read this opera, to connect to and challenge normative and oppressive forces, impulses, and systems, including cultural scripts, social power structures, and ways of knowing and interacting.

In his early serialist composition style, Einojuhani Rautavaara expressed indebtedness to the flexible usage of the twelve-tone system that was adapted by Alban Berg. The trace of Berg's influence becomes dramaturgically reminiscent when investigating the philosophical impact that Berg's opera Wozzeck had on Rautavaara's opera Vincent. This study aims to analyse the symbolic content of the Vincent libretto, with a secondary depiction of parallel attributes found in the libretto of Wozzeck. This examination demonstrates how the operas share a philosophical foundation that is based on an expression of metaphysical temporality inherent within the plots of both operas, which juxtapose the duality of the two temporal planes of empirical reality and metaphysical illusion. The outcome of such a comparison illustrates how Rautavaara's opera can be interpreted in a new framework of understanding that is based on the Finnish composer's mirroring of Berg's operatic and dramatic style as seen in Wozzeck.

‘I couldn't tell who was colored and who was white’, admitted the African American trumpet player Roy Eldridge after being submitted to a so-called blindfold test by the white critic Leonard Feather in 1951. Feather was happy that the blindfold test duped a prominent Black musician, because it proved his point about the fundamental colourblindness of music and listening. Through close reading of the source material, this article provides the full context for this infamous case and shows how the blindfold test was a product of transnational discourses of colourblindness, primitivism, ‘reverse racism’, and technological mediation. Building on current research in racialized practices of listening in musicology and sound studies, and mobilizing interventions from critical race studies, the article contends that acousmatic techniques of listening often promote a colourblind ideology invested in whiteness, which remains hegemonic in music culture.

This study examines Luciano Berio's integration of twentieth-century linguistic and semiotic concepts in his works Sinfonia and Coro, focusing on the interplay between sound, meaning, and structure. It highlights Berio's exploration of the unconscious mind and the idea of ‘universality of experience', suggesting that humans may possess an innate musical ability similar to that of language. The article also discusses the concept of the ‘theatre of the mind', where Berio combines musical and textual elements to evoke images or situations for the audience's interpretation. Through an analysis of the third movement of Sinfonia and Coro, the study illustrates how Berio implicitly develops a system of signification that evokes meaning, showcasing both musical and textual productivity, along with the notion of ‘the infinite use of finite means’. This exploration contributes to understanding how twentieth-century linguistics and semiotics can inform contemporary music and signify meaning within it.

This article argues that in the age of social media, the affective power of music can dare listeners to become complicit with misogyny and right-wing populism. It investigates the weaponization of dubstep in internet trolling strategies by examining the genre's relationship with a type of user-generated content called ‘Major League Gaming [MLG] Montage Parodies’. Mixing musical and audiovisual analysis with digital methods, the article considers the origins of MLG Montage Parodies and then investigates the content's development from 2011 to 2016. As a memetic timbral topic, the dubstep drop was initially deployed in MLG Montage Parodies as a form of pubescent power play to troll young male gamers. But then in 2014, it was redeployed as anti-feminist ammunition amid the toxic masculinity of #GamerGate. Finally, it was weaponized by alt-right trolls during the 2015–2016 ‘Great Meme War’ that accompanied the US Presidential Race. The closing remarks reflect on the ethical, ontological, and disciplinary implications of the research and issue a call for memetic musical literacy.

This article interrogates an overlooked claim made by Mario Bauzá, that the impact of Latin American musics on a fundamental change in the rhythm of twentieth-century music has been written out of history. After presenting four original analytical definitions, a corpus analysis establishes that a transition occurred from swung-quaver, compound-metre, and crotchet ‘monorhythm’ to straight-quaver polyrhythm in US popular music, culminating in early 1960s rock ’n’ roll. Focusing on Paul Anka's ‘Diana’ and the style ‘rock-a-cha-cha’, a combination of music analysis and reception history demonstrates that Afro-Latin musics were the predominant influence on the rhythmic transformation – which was erased by rock historians, influenced by three factors. This impact of Latin American music and migration is theorized in terms of cosmopolitanism. The article concludes that the impact of Latin American music on the United States is not a superficial ‘tinge’: it prompted a paradigm shift in the rhythm of twentieth-century music.

This article reflects on a little-told story of musical and cultural censorship: the Mexican government's 1996 destruction of the Foro Abierto, a 2,000-seater auditorium in the heart of Chapultepec Park in Mexico City. The Foro Abierto was the home of an anarchist theatre group called CLETA, and was an important venue for a number of genre-crossing musicians. This venue was destroyed by the police just before CLETA was to inaugurate it as part of the rebel Zapatista movement. Several days later, a musician from CLETA was assassinated. Responding to the material turn in music studies, this article combines ethnographic and archival research to explore articulations between rubble and censorship. The venue's destruction disempowered and disarticulated CLETA, to the extent that an unsettling silence emerged about this act on the site of the venue itself. Equally, constructive responses to the complexities of censorship may also emerge from acts of material and ideational de-structuration.