The idea of global modernisms rests upon freighted power relationships. Far from decolonizing, this concept reinscribes values of Euro- and US-centric discourses. This article addresses the inherent friction of global musical modernisms through Carlos Chávez's 1940 composition La paloma azul, written for concerts at New York's Museum of Modern Art. Tasked with appealing to a US audience, Chávez created work that participates in modernism's hierarchical frame, where Mexico provides exotic fantasy for bourgeois New Yorkers.Chávez was not alone in having been positioned as ‘modernism's shadow’ – the negative counterexample that confirms modernism's progressive image. Global musical modernism suggests that modernism can shed its exclusionary identity and encompass more. But it hides how modernism has always been international, and how composers such as Chávez have been central to its construction. By ignoring modernism's historical realities, global musical modernism shores up existing understandings and maintains the marginal status of whatever is categorized as ‘global’.

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重申等级制度和全球失败的承诺

全球现代主义的理念依赖于沉重的权力关系。这一概念非但非去殖民化，反而重新定义了以欧洲和美国为中心的话语的价值观。本文通过卡洛斯·查韦斯 1940 年的作品探讨了全球音乐现代主义的内在摩擦蓝色帕洛马，为纽约现代艺术博物馆的音乐会而写。查韦斯的任务是吸引美国观众，他创作的作品参与了现代主义的等级框架，墨西哥为资产阶级纽约人提供了异国幻想。查韦斯并不是唯一一个被定位为“现代主义的影子”的人——这是证实现代主义进步形象的负面反例。 。全球音乐现代主义表明，现代主义可以摆脱其排他性身份并包容更多。但它掩盖了现代主义为何一直是国际性的，以及查韦斯等作曲家如何成为现代主义建设的核心。通过忽视现代主义的历史现实，全球音乐现代主义支撑了现有的理解，并维持了任何被归类为“全球”的边缘地位。