Brigid Cohen
Biographic Data
| ID | 3685149 |
|---|---|
| NAME | Brigid Cohen |
| GIVEN NAMES | Brigid |
| FAMILY NAME | Cohen |
| SIGNATURE | COHEN B |
| AFFILIATIONS | Max Planck Institute for the History of Science |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
Michiko Toyama Disrupts the Historiography of Modernism
The Paris-trained, Japanese composer Michiko Toyama (1913–2006) was appointed as the earliest foreign-born visiting composer at the Columbia-Princeton Electronic Music Center (CPEMC), the first institutionally supported studio of its kind in the United States. Yet she remains virtually unknown to scholarship, despite a growing literature on women pioneers in electronic music. Drawing on interviews, archival research, and the interpretive study of…
Musical Migration and Imperial New York: Early Cold War Scenes
Sounds of the Cold War Acropolis: Halim El-Dabh at the Columbia-Princeton Electronic Music Center
Often overlooked in histories of electronic music are the contributions of Egyptian-born composer Halim El-Dabh (1921–2017), who first experimented with wire recorders in Cairo in the late 1940s and extended related projects at the Columbia-Princeton Electronic Music Center (CPEMC) from 1959 to 1962. The CPEMC was founded in 1958 as a vibrant site for cultural diplomacy, supported by a massive Rockefeller Foundation grant. This event testified to…
The Other Said
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Stefan Wolpe and the Avant-Garde Diaspora
Boundary Situations: Translation and Agency in Wolpe's Modernism
Which musics do or do not express subjectivity is a topic sometimes linked with an historiographic desire to seal off one tendency as modern, another as postmodern. In this article, the author asks in what ways can musics be interpreted or intended to question the limits of self-hood all the while they are profoundly self-expressive. Can music enact subjectivities quite alternative to, for example, Cone's model or related narratives of developmen…
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Boundary Situations: Translation and Agency in Wolpe's Modernism
Which musics do or do not express subjectivity is a topic sometimes linked with an historiographic desire to seal off one tendency as modern, another as postmodern. In this article, the author asks in what ways can musics be interpreted or intended to question the limits of self-hood all the while they are profoundly self-expressive. Can music enact subjectivities quite alternative to, for example, Cone's model or related narratives of developmen…
Stefan Wolpe and the Avant-Garde Diaspora
The Other Said
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Sounds of the Cold War Acropolis: Halim El-Dabh at the Columbia-Princeton Electronic Music Center
Often overlooked in histories of electronic music are the contributions of Egyptian-born composer Halim El-Dabh (1921–2017), who first experimented with wire recorders in Cairo in the late 1940s and extended related projects at the Columbia-Princeton Electronic Music Center (CPEMC) from 1959 to 1962. The CPEMC was founded in 1958 as a vibrant site for cultural diplomacy, supported by a massive Rockefeller Foundation grant. This event testified to…
Musical Migration and Imperial New York: Early Cold War Scenes
Michiko Toyama Disrupts the Historiography of Modernism
The Paris-trained, Japanese composer Michiko Toyama (1913–2006) was appointed as the earliest foreign-born visiting composer at the Columbia-Princeton Electronic Music Center (CPEMC), the first institutionally supported studio of its kind in the United States. Yet she remains virtually unknown to scholarship, despite a growing literature on women pioneers in electronic music. Drawing on interviews, archival research, and the interpretive study of…
Art (5 works) · Art history (4 works) · History (4 works) · Music History and Culture (4 works) · Literature (3 works) · Musicology and Musical Analysis (3 works) · Sociology (3 works) · Aesthetics (2 works) · Epistemology (2 works) · Philosophy (2 works)