Category Archives: Curiosities

Romy Lowdermilk redux

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In the mid-1990s a staff member at the American Folklife Center received a note asking if the Center would be interested in an old LP of a cowboy singer named Romaine Lowdermilk. Not having heard of the singer, she stopped by the office of the director, Alan Jabbour. “Romy Lowdermilk!” he exclaimed, “Who’s got a recording of Romy Lowdermilk?”

Jabbour knew the name only through accounts of the singer (1890–1970), who had written and published several popular cowboy songs (including Goin’ back to Arizona, which Patsy Montana performed as Goin’ back to old Montana). Lowdermilk had stated that he never made a commercial recording; this LP appeared to be a unique record of his singing. The owner generously supplied the disc in 1999 and the Center digitized it, assuming that it was a solitary specimen.

The discovery of an exact copy in 2006 led to a full unraveling of the story. Lowdermilk had recorded several songs in a recording studio in 1951; the studio then had copies pressed on demand for the singer’s clients at Rancho Mañana, the Arizona dude ranch where he worked.

This according to “Long-lost twins: The curious case of the Romaine Lowdermilk discs” by Stephen Winick (Folklife Center news XXXVI/3 [summer 2006] pp. 11–12; RILM Abstracts of Music Literature 2006-10837).

Below, Patsy Montana’s recording of Goin’ back to old Montana. In a letter to John I. White, Lowdermilk wrote “Patsy Montana liked it and wanted to sing it on her road appearances, so I just called it Goin’ back to old Montana and she recorded it for Victor and it was on the juke boxes for quite a spell. You can sing it Back to California or Oklahoma or Wyoming—or any damn place you want to go back to. So I figured it was an all-around western. I got paid for it by WLS, so I didn’t really care where the singer went back to.” (Quoted in Ten thousand goddam cattle: A history of the American cowboy in song, story, and verse [Flagstaff: Northland University, 1975; RILM Abstracts of Music Literature 1978-3562].)

More stories about the American Folklife Center are here.

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Filed under Curiosities, North America, Performers, Popular music

Music for cats

David Teie has composed music for cats, and he has published, along with two colleagues, a report on a scientific study demonstrating this music’s efficacy.

The report presents two examples of Teie’s cat music in counter-balanced order with two examples of human music, and evaluates the behavior and response latencies of cats to each piece.

The cats showed a significant preference for, and interest in, species-appropriate music compared with human music (Median (IQR) 1.5 (0.5-2.0) acts for cat music, 0.25 (0.0-0.5) acts for human music (P<0.002) and responded with significantly shorter latencies (Median (IQR) 110.0 (54-138.75) s for cat music, 171.75 (151-180) s for human music (P<0.001). Younger and older cats were more responsive to cat music than middle-aged acts (cubic trend, r2 = 0.477, P<0.001).

This according to “Cats prefer species-appropriate music” by Teie, Charles T. Snowdon, and Megan Savage (Applied animal behavior science 20 February 2015; RILM Abstracts of Music Literature 2015-1206).

Today is International Cat Day! Below, Teie sketches the background of his music for cats, followed by brief samples.

BONUS: One of our favorite scientific studies of cat behavior is here.

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Filed under Animals, Curiosities, Science

Deciphering de Lauze

The 1623 printing of François de Lauze’s Apologie de la danse et la parfaicte méthode de l’enseigner tant aux cavaliers qu’aux dames was not motivated solely by artistic concerns.

Some of the introductory materials—a letter to the author’s patron the Duke of Buckingham (George Villiers, 1592–1628), three curiously attributed dedicatory poems, and a mythologically inspired frontispiece (above)—appear to contain coded messages referring to the political and amatory activities of Buckingham and others; they may even have been tools of espionage.

This according to “Deciphering de Lauze” by Martha Schwieters (Proceedings: Society of Dance History Scholars [Riverside: Society of Dance History Scholars, 1999] pp. 69–78; RILM Abstracts of Music Literature 1999-35200).

Below, a gavotte of the type described by de Lauze.

More articles about early dance treatises are here.

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Filed under Curiosities, Dance, Visual art

Avian music culture

The vocalizations of the pied butcherbird (Cracticus nigrogularis) include calls (e.g., food begging [above], alarms, cat scolding), calls incorporated into songs, and pure songs. The latter category may include melismas, ostinatos, transpositions, inversions, variations, and rhythmic effects such as additive and divisive patterns.

Cultural manifestations include duets, antiphonal and canonic effects, and unisons. They also mimic other birds and unexpected sources such as dogs, cats, humans, and machines.

This according to “Decoding the song of the pied butcherbird: An initial survey” by Hollis Taylor (TRANS: Revista transcultural de música/Transcultural music review XII [July 2008]; RILM Abstracts of Music Literature 2008-12677).

Below, a pied butcherbird duet followed by a solo.

More articles about birds are here.

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Filed under Animals, Curiosities, Nature

Mozart’s vitamin deficiency

Several hypotheses regarding the cause of Mozart’s death have been advanced, but until now none have noted the likelihood that a very low level of vitamin D in his system contributed to his untimely demise.

Mozart did most of his composing at night, so he must have slept during much of the day, minimizing his exposure to sunlight. Further, at Vienna’s latitude (48°N) it is impossible for the body to make vitamin D from solar ultraviolet-B irradiance for about six months of the year.

The composer died on 5 December 1791, about three months into the Vienna winter; since the half-life of vitamin D in the human body is four to six weeks, his level of the nutrient would have been very low—an important risk factor for infectious diseases.

This according to “Vitamin D deficiency contributed to Mozart’s death” by William B. Grant and Stefan Pilz (Medical problems of performing artists XXVI/2 [June 2011] p.117; RILM Abstracts of Music Literature 2011-3181).

Below, Jerry Hadley discusses solar irradiance in “Si spande al sole in faccia nube talor così” from Mozart’s Il rè pastore.

More articles about Mozart are here.

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Filed under Classic era, Curiosities, Science

Percy Grainger and world music


Today, on Percy Grainger’s 140th birthday, let’s recall his reflections on the two broad stylistic groups he discerned in world music.

Grainger believed that strong musical and human characteristics unite the musical output of the Nordic countries, which include Scandinavia, the Netherlands, Great Britain, Ireland, the United States, Canada, Australia, and several others.

To him, the melodic habits of Nordic music were more like those of China and other Mongolian countries than those of such European countries as France, Italy, Spain, Germany, and Austria. His Mongolian-Nordic musical tradition favored solemn or spiritual unadorned melodies with long sustained notes, gapped scales, and a tendency to underlying polyphonic thought. The Nordic musical mind sought inspiration in nature.

In contrast, the southern or Mohammedan tradition favored nervous, excitable, and florid tunes with quickly fluctuating notes, closely filled-up scales, and a tendency to seek surface complexity in technical passagework rather than in harmony.

This according to Characteristics of Nordic music, a talk broadcast on New York’s WEVD radio on 4 July 1933. Grainger’s talk is reprinted from a typescript held by the Grainger Museum, Melbourne, in Grainger on music (Oxford: Clarendon 1999, 258–266; RILM Abstracts of Music Literature 1999-20329).

Above, Grainger with a radio microphone in 1928; below, some vintage recordings.

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Filed under 20th- and 21st-century music, Curiosities, World music

Synesthesia with trombones

Data from an experiment in which subjects listened to a series of pitches played on various instruments while tasting flavors such as lemon, peppermint, and salt showed significant connections between the sounds of the instruments and flavor perceptions.

For example, the taste of sugar was considered inappropriate for trombones, while it matched well with the piano. Orange-flower went with trombones but not with strings, while coffee failed to correspond with brass instruments but suited woodwinds nicely. “Our results”, the researchers noted cannily, “raise important questions about our representation of tastes and flavors, and could also lead to applications in the marketing of food products.”

This according to “As bitter as a trombone: Synesthetic correspondences in nonsynesthetes between tastes/flavors and musical notes” by Anne-Sylvie Crisinel and Charles Spence (Attention, perception, and psychophysics LXXII/7 [October 2010] 1994–2002; RILM Abstracts of Music Literature 2010-7050).

Below, the picante trombones of Willie Colón’s band, ca. 1969.

More posts about synesthesia are here.

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Filed under Curiosities, Instruments, Science

Cross-cultural chironomia

In Tune thy musicke to thy hart: The art of eloquent singing in England, 15971622 (Buffalo: University of Toronto Press, 1993; RILM Abstracts of Music Literature, 1993-4111) Robert Toft cites John Bulwer’s Chirologia, or, The naturall language of the hand (above, 1644) as a source for rhetorical gesturing that may apply to the performance of English art songs from this period.

“Gesture in the English lute-song” by Rosemary Carlton-Willis (Lute news 94 [August 2010] pp. 8–12; RILM Abstracts of Music Literature, 2010-17302) gives concrete examples of the use of gestures in performing this repertory, and includes a comparison with South Asian ghazal singing, which also has a gestural tradition.

Below, Nusrat Fateh Ali Khan demonstrates South Asian chironomia.

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Filed under Curiosities, Performance practice, Renaissance

Mudrās in Karṇāṭak song texts

A longstanding tradition among Karṇāṭak composers involves weaving hidden meanings into their song texts; generally known as mudrās, such terms may serve to identify the composer through a pseudonym, or they may indicate aspects of the music itself.

The highly revered composer Muttusvāmi Dīkṣitar typically included his signature pseudonym Guruguha somewhere in his song texts. He also often worked in the name of the rāga in which the composition is set, sometimes ingeniously encasing the reference in two adjacent words that, taken together, reveal the rāga mudrā.

This according to Rāga mudrās in Dīkshitar kritis by K. Omanakutty (Thiruvananthapuram: University of Kerala, 2012; RILM Abstracts of Music Literature; RILM Abstracts of Music Literature 2010-50861).

Above, a depiction of Dīkṣitar on a stamp issued by India Post; below, Gayathri Girish sings his Sārasa daḷa nayana, one of the works discussed in the book.

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Filed under Asia, Curiosities

Athanasius Kircher’s global reach

Musical commodities frequently accompanied European explorers, soldiers, merchants, and missionaries who traveled to Asia in the early modern period. During this time, numerous theoretical treatises and musical scores—both printed and manuscript—were disseminated throughout Asia.

One of the most significant of these musical imports was Athanasius Kircher’s Musurgia universalis, which provided far-flung missions with vital information on music theory, history, organology, composition, and performance. An unexpected letter to Kircher from Manila, sent just four years after the treatise’s publication in Rome, provides testimony to its importance:

“I am so obliged to Your Reverence not only for the great kindness with which Your Reverence treated me in Rome, but also for the instruction that Your Reverence gives me all day in these remote parts of the world by means of your books, which are no less esteemed here than [they are] in Europe.”

“Here in Manila I am studying the fourth year of theology, and I see for myself the many marvels that Your Reverence recounts in his books. I have been the first to bring one of these, that is, the Musurgia, to the Indies, and I do not doubt that it will be of great usefulness to the Fathers of the missions, where music is taught publicly. Father Ignatio Monti Germano, Rector of Silang, wants to read it, and I will send it to him shortly.”

This according to “The dissemination and use of European music books in early modern Asia” by David R.M. Irving (Early music history XXVIII [2009] pp. 39–59; RILM Abstracts of Music Literature, 2009-5091).

Today is Kircher’s 420th birthday! Above, the frontispiece to the first volume, engraved after a drawing by Johann Paul Schor; below, Kircher’s celebrated musical cure for a tarantula bite.

Related article: Baroque birdsong

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Filed under Baroque era, Curiosities, Reception