Scholars have long known that Wagner had a deep and lasting interest in Buddhism; less known are the specific insights garnered from Buddhism that are manifested in Parsifal. The key to understanding this connection is the enigmatic figure of Kundry.
Contrary to the common interpretation of Kundry as the incarnation of the will, and in light of Wagner’s admiration for Schopenhauer, she may be seen as the personification of desire. Desiring, which is different from wanting, is a fundamental aspect of Buddhism. As Buddha explained in his very first sermon, desire is the cause of suffering (dukkha). Buddhist teaching holds that suffering can only be overcome when desire is vanquished.
Kundry appears in three forms in Parsifal; these correspond to the three forms of desire in Buddhism. This interpretation aligns the work’s Christian, pagan, and Buddhist symbolism as an expression of the inner way that is shared by all who tread the path of religious mysticism. Through extensive study of Buddhism, Wagner came to understand the deeper side of all religions, a universal truth that all mediators of religious traditions come to understand.
This according to “Kundry: The personification of the role of desire in the holy life” by Pandit Bhikkhu (Cittasamvaro) (Wagnerspectrum III/2  pp. 97–114; RILM Abstracts of Music Literature 2007-20593).
In canonical French Orientalist discourse of the 19th century, the Orient is cast as effeminate, weak, and in need of rehabilitation by Western civilization. However, the dramatic arts of late 16th- and early 17th-century France constructed a different picture, one in which the Orient as temptress was a deadly threat to the West.
During the late Valois and early Bourbon monarchies, the queen regents Catherine de Médicis (1519–89), Marie de Médicis (1575–1642), and Anne d’Autriche (1601–66) were associated with political turmoil and civil war that threatened to destroy the kingdom. Within this troubled political context, fatal women of the Orient sought to entice their prey on the French stage. Most deadly among them was Cleopatra, embodiment of Egypt, incarnation of women’s malignant sexual seduction, exposed in her subjugation of Marcus Antonius, the fallen, conquered, and emasculated Roman.
With the rise of Louis XIV (1638–1715) and his imposition of a purportedly indomitable and masculine monarchy, women were to be vanquished outright. Reigning women, including those in the tragedies of Philippe Quinault (1635–88), were the victims of self-destructive passions ending in defeat, death, or abandonment by the heroes whom they sought to enslave. An emblematic example of such a crushed woman is the sorceress Armide in the tragédie en musique by Jean-Baptiste Lully (1632–87), the libretto of which is by Quinault.
This according to “Regnorum ruina: Cleopatra and the Oriental menace in early French tragedy” by Desmond Hosford, an essay included in French Orientalism: Culture, politics, and the imagined Other (Newcastle upon Tyne: Cambridge Scholars, 2010, 23–47; RILM Abstracts of Music Literature 2010-6408).
To celebrate Enrico Caruso’s 150th birthday, we are delighted to provide documentary evidence seldom found elsewhere—the full text of his own words on his gastronomic predilections! Alas, we have been unable to find the name of the translator, but the English version originally appeared in The monthly musical record, which published it along with Caruso’s technical observations on singing in its May, June, and July 1913 issues. It was republished as “Talks on singing: Signor Enrico Caruso. I” in The choral journal XIV/4 (December 1973) 31–33 (RILM Abstracts of Music Literature 1973-17498).
As regards eating — a rather important item, by the way — I have kept to the light “Continental” breakfast, which I do not take too early; then a rather substantial luncheon towards 2 o’clock. My native macaroni, specially prepared by my chef, who is engaged particularly for his ability in this way, is often a feature in this midday meal. I incline towards the simpler and more nourishing food, though my tastes are broad in the matter, but I lay particular stress on the excellence of the cooking, for one cannot afford to risk one’s health on indifferently cooked food, no matter what its quality.
On the nights when I sing I take nothing after luncheon, except perhaps a sandwich and a glass of Chianti, until after the performance, when I have a supper of whatever I fancy within reasonable bounds. Being blessed with a good digestion, I have not been obliged to take the extraordinary precautions about what I eat that some singers do. Still, I am careful never to indulge to excess in the pleasures of the table, for the condition of our alimentary apparatus and that of the vocal cords are very closely related, and the unhealthy state of the one immediately reacts on the other.
My reason for abstaining from food for so long before singing may be inquired. It is simply that when the large space required by the diaphragm in expanding to take in breath is partly occupied by one’s dinner the result is that one cannot take as deep a breath as one would like, and consequently the tone suffers, and the all-important ease of breathing is interfered with. In addition, a certain amount of bodily energy is used in the process of digestion which would otherwise be entirely given to the production of the voice.
These facts, seemingly so simple, are very vital ones to a singer, particularly on an opening night. A singer’s life is such an active one, with rehearsals and performances, that not much opportunity is given for exercise, and the time to do this must, of course, be governed by individual needs. I find a few simple physical exercises in the morning after rising, somewhat similar to those practiced in the army, or the use for a few minutes of a pair of light dumb-bells, very beneficial. Otherwise I must content myself with an occasional automobile ride. One must not forget, however, that the exercise of singing, with its constant deep inhalation (and acting in itself is considerable exercise also), tends much to keep one from acquiring an oversupply of embonpoint.
A proper moderation in eating, however, as I have already said, will contribute as much to the maintenance of correct proportion in one’s figure as any amount of voluntary exercise which one only goes through with on principle.
On the subject of whether one should or should not drink intoxicants, you may inquire what practice is, in my opinion, most in consonance with a singer’s well-being. Here again, of course, customs vary with the individual. In Italy, we habitually drink the light wines of the country with our meals, and surely are never the worse for it. I have retained my fondness for my native chianti, which I have even made on my own Italian estate, but believe and carry out the belief that moderation is the only possible course. I am inclined to condemn the use of spirits, whisky in particular, which is so prevalent in the Anglo-Saxon countries, for it is sure to inflame the delicate little ribbons of tissue which produce the singing tone, and then — addio to a clear and ringing high C!
Though I indulge occasionally in a cigarette, I advise all singers, particularly young singers, against this practice, which can certainly not fail to have a bad effect on the delicate lining of the throat, the vocal cords, and the lungs.
You will see by all foregoing that even the gift of a good breath is not to be abused or treated lightly, and that the “goose with the golden egg” must be most carefully nurtured.
With a professional career spanning over four decades, Allan was a researcher, teacher, performer, academic officer, and mentor. Directly after receiving a Ph.D. in musicology from New York University in 1971 with the dissertation Rome, Biblioteca Apostolica Vaticana, Cappella Giulia XIII.27 and the dissemination of the Franco-Netherlandish chanson in Italy, ca. 1460-ca. 1530, he began teaching at Brooklyn College, a post he continued to hold after joining the faculty of the CUNY Graduate Center in fall of 1974. He would go on to serve as the Executive Officer for The Graduate Center’s Ph.D.-D.M.A. programs in music for much of his time there. Additionally, in 1998 he founded the Center for the Study of Free-Reed Instruments within the Barry S. Brook Center for Music Research and Documentation, which he led until 2014. In 1998, The Graduate Center bestowed on him the title Distinguished Professor of Music. From 1999, he also was editor of The free-reed journal: A publication by the Center for the Study of Free-Reed Instruments.
These accomplishments and responsibilities hardly encapsulate Allan’s range of talents as a scholar and teacher. He was just as generous with his ideas on music, which have been published in many prestigious sources, as he was with his guidance. At The Graduate Center, his Introduction to Music course taught budding musicologists in the music program to gather, organize, and edit research; stay current with trends in the discipline; prepare a critical edition; become familiar with the canon of founding musicologists; and evaluate and analyze historic texts. The course challenged and inspired, and many of his students will still have his patented emails in comic sans etched in their memories.
His knowledge seemed boundless: from Italian Renaissance music, to Puccini’s La Fanciulla del West, to the music of Ralph Vaughn Williams, to Requiem Masses in the last 1000 years or so, to the concertina (which he plays), to Robert Moses. And this merely scratches the surface. The bibliography below is a selection of some of Allan’s contributions to music research. However inchoate, it is hoped to inspire further research, archive just a small snippet of his production, and reveal aspects of trends in the discipline.
Allan remains an active scholar and orienting guide (dare we say an “atlas”?) in musicology, who has not yet finished sharing his valuable perspectives. Throughout all the changes in musicology over the years, he was always diligently aware of research trends, as well as the field’s limitations and possibilities. This was partially a result of his close relationship with RILM and its staff. Allan was consistently a strong advocate for RILM throughout his tenure at the Music Department of The Graduate Center, unceasingly arguing for RILM’s significance for global music research within the university administration. Whenever Allan would come to teach classes at The Graduate Center, he would stop by the shelf of publications that had just arrived at the RILM office to learn what was new in musicological research. These moments were opportunities for beneficial conversations about a variety of topics, and we always knew that Allan’s opinions were important. He could be relied upon to train his eagle editorial and musicological eye on RILM’s database when he was using it for his own scholarship, letting us know if he saw areas for improvement, correction, or enhancement.
In more official capacities, Allan served as RILM’s Area Editor for publications on Renaissance music during the 1980s and early 1990s and was a member of both the RILM Commission Mixte (1997-2000) and the Board of Directors (2000-16).
Thank you, and happy birthday, Allan. Here’s to many more.
– Introduction by Michael Lupo, Assistant Editor/Marketing & Media, RILM and Zdravko Blažeković, Executive Editor, RILM. Compiled by Lupo
Atlas, Allan W. “La provenienza del manoscritto Berlin 78.C.28: Firenze o Napoli?”, Rivista italiana di musicologia: Organo della Società Italiana di Musicologia 13/1 (1978) 10–29. [RILM Abstracts of Music Literature with Full Text, 1978-320]
Abstract: Considers the question of the provenance of the chansonnier Berlin, Kupferstichkabinett, MS 78.C.28. Takes issue with Reidemeister’s claim that, on the grounds that it contains the arms of two Florentine families and a miniature which can be associated with a Florentine workshop, the manuscript originated in Florence (see RILM 1975-607). Argues instead that it was compiled at Naples—this on the grounds of its “internal” relationship with other Neapolitan sources—and was only later removed to Florence. Evidence for such a transfer and break in the compilation of the source is supported by certain of its physical features.
_____. “Mimì’s death: Mourning in Puccini and Leoncavallo”, The journal of musicology: A quarterly review of music history, criticism, analysis, and performance practice 14/1 (winter 1996) 52–79. [RILM Abstracts of Music Literature, 1996-190]
Abstract: Seeks to answer the following question: Why do people cry at the end of Puccini’s La bohème but not at the end of Leoncavallo’s? Puccini spends the entire opera leading up to the moment where tears can be shed, while Leoncavallo miscalculates—musically and dramatically (he fashioned his own libretto)—at virtually every turn. The issues of voice/person/agent, psychic/aesthetic distance, and pacing/timing just before the final curtain are also discussed.
_____. “Multivalence, ambiguity and non-ambiguity: Puccini and the polemicists”, Journal of the Royal Musical Association 118/1 (1993) 74–93,  [RILM Abstracts of Music Literature with Full Text, 1993-10663]
Abstract: Takes issue with recent articles that polemically link the idea of multivalency in opera with ambiguity and disjunction, privilege the latter over unity and coherence, and write off large-scale tonal relationships as meaningful vehicles of overall coherence. A more open-minded approach is called for; polemics simply substitute one brand of dogmatic orthodoxy for another. Puccini’s Manon Lescaut and La fanciulla del West are analyzed to show that a multivalent approach will uncover instances of both ambiguity and nonambiguity and that the two ideas can coexist. There is in fact a continuum of approaches, each of which has its own contribution to make.
_____. Music at the Aragonese court of Naples (Cambridge: Cambridge University Press, 1985). [RILM Abstracts of Music Literature, 1985-1259]
Abstract: When Alfonso V of Aragon defeated René I of Anjou in 1442 and thereby established the kingdom of Naples as part of that of Aragon, he revived Neapolitan cultural life and made his court one of the leading centers of humanism. A survey of the historical-cultural background precedes discussions of the royal chapel and its musicians, the chapel composers and other musical worthies, secular music, sources, and repertoire. Musicians mentioned include Pietro Oriola, Joan Cornago, Johannes Vincenet, Johannes Tinctoris, Bernard Ycart, Franchino Gaffori, Serafino Dall’Aquila, Fiorenzo De’ Fasoli, Josquin Des Prez, and Alexander Agricola. An edition of musical works representative of the repertoire concludes the volume.
_____., ed. Music in the Classic period: Essays in honor of Barry S. Brook (New York: Pendragon Press, 1985). [RILM Abstracts of Music Literature, 1985-664]
_____. “On the reception of Vaughan Williams’s symphonies in New York, 1920/1–2014/15”, The Royal Musical Association research chronicle 47/1 (2016) 24–86. [RILM Abstracts of Music Literature, 2016-37340]
Abstract: Considers the reception of Ralph Vaughan Williams’s nine symphonies (and a few non-symphonic works) in New York City (and, occasionally, its suburban environs), from the American premiere of on December 30th, 1920 to a performance of symphony no. 6 on December 10th, 2014. The reception rolls out across five distinct periods: (1) 1920/1–1922/3: the New York premieres of A London symphony, A sea symphony, and A pastoral symphony (in that order), all to greetings that were lukewarm at best; (2) 1923/4–1934/5: Vaughan Williams’s reputation grew meteorically, and A London symphony became something of a staple; during this period Olin Downes of The New York times became Vaughan Williams’s most ardent champion among New York’s music critics; (3) 1935/6–1944/5: symphonies 4 and 5 made their New York debuts, and a rift opened between the pro-Vaughan Williams and the negative criticism of the New York herald tribune, one that would follow Vaughan Williams to the grave and beyond; (4) 1945/6–1958/9: premieres of symphonies 6, 8 and 9, as Vaughan Williams’s reputation in New York reached its honors- and awards-filled zenith; and (5) the long period from 1959/60 to the present day, which can be described as 20 years of decline (1960s–1970s), another 20 in which his reputation reached rock bottom (1980s–1990s) and, since the beginning of the new millennium, something of a reassessment, one that is seemingly unencumbered by the ideologically driven criticism of the past. Finally, Appendix I provides a chronological inventory of all New York Philharmonic programs (along with those of the New York Symphony prior to the two orchestras’ merger in 1928) that include any music (not just the symphonies) by Vaughan Williams. Appendix II then reorganizes the information of the chronological list according to work, conductor, venue, and premieres.
_____. “Ralph Vaughan Williams’s The house of life: Four levels of cyclic coherence”, Acta musicologica 85/2 (2013) 199–225. [RILM Abstracts of Music Literature, 2013-12048]
Abstract: Explores aspects such as motive, recitative, tonality, and proportion, which develop the coherence of the song cycle by Vaughan Williams setting the poetry of Rossetti.
_____. Renaissance music: Music in Western Europe (1400-1600). Norton introduction to music history (New York: W.W. Norton, 1998). [RILM Abstracts of Music Literature, 1998-4334]
Abstract: Renaissance music, a textbook for today’s classroom, focuses first and foremost on the music, then on the social, political, and economic forces that combined to produce it. Readers are immediately drawn into the subject through Professor Atlas’s vivid, energetic writing. Atlas addresses the student directly, in language that is clear and understandable even when it treats complex topics such as isorhythm and hexachords. Renaissance Music is sensibly organized, avoiding the great composer approach. Most chapters are devoted to musical genres; others center on specific geographical areas or on categories such as patronage, music theory, and music printing. Like all the books in Norton’s introduction to music history series, this text includes bibliographies and incorporates the latest scholarship in the field. A Spanish translation is cited as RILM 2002-20881; a French translation is cited as RILM 2011-18309.
_____. The Wheatstone English concertina in Victorian England (Oxford: Clarendon Press, 1996). [RILM Abstracts of Music Literature, 1996-3066]
Abstract: A comprehensive survey of the career of the so-called English concertina from its invention by the English physicist Charles Wheatstone, Jr. in the late 1820s to its use in the early 20th c. by Ives and Grainger. Attention is given to its changing social status (from upper-crust to working-class), art-music repertoire (concertos, sonatas, and character pieces by George Alexander Macfarren, Bernhard Molique, Julius Benedict, John Barnett), virtuoso performers and their works (Giulio Regondi and Richard M. Blagrove), and critical reception. Two chapters explain the concertina’s technical capabilities and certain problems of concertina-specific performance practice. An appendix contains five works for concertina by Joseph Warren, George Alexander Macfarren, Giulio Regondi, Richard M. Blagrove, and John Charles Ward.
_____., ed. Victorian music for the English concertina. Recent researches in the music of the nineteenth and early twentieth centuries (Middleton: A-R Editions, 2009). [RILM Abstracts of Music Literature, 2009-47579]
Abstract: Developed by the physicist Charles Wheatstone around 1830, the English concertina was extremely popular in art-music circles of Victorian England until late in the 19th century. This edition includes 15 works that present a cross section of the instrument’s concert and salon repertories, and includes music by the “mainstream” composers George Alexander Macfarren, Julius Benedict, and Bernhard Molique, as well as original compositions by such concertina virtuosos as Giulio Regondi and Richard Blagrove. There are also pieces by two little-known women composers and arrangers, Hannah Rampton Binfield and Rosina King (the instrument was particularly popular with women), and an arrangement by George Case of a well-known hymn tune, which shows how the baritone concertina was used in small parish churches. Finally, there are two works for concertina ensembles, a duo for treble and baritone concertina by Blagrove and a transcription by Regondi for concertina quartet of the final movement of Mozart’s Prague symphony.
Pergolesi, Giovanni Battista. Salve Regina, ed. by Allan W. Atlas. Giovanni Battista Pergolesi: Complete works/Opere complete 15 (Stuyvesant: Pendragon Press; Milano: Ricordi, 1994). [RILM Abstracts of Music Literature, 1994-15656]
On 27 November 1890 Milan’s Corriere della sera broke the news that Giuseppi Verdi, then 77 years old, had already composed more than half of a comic opera drawn from Shakespeare, to be called Falstaff. The revelation took Italy by storm, and newspapers throughout the country immediately amplified the story.
“[Verdi] said that Boito’s libretto is beautiful,” La perseveranza gushed, “so comic that even while composing it he has to break off work from time to time to burst into laughter.”
This was amazing news, since Verdi’s name was universally linked with a brilliant succession of tragic operas over a span of more than 40 years, and it was widely assumed that his serious temperament was unsuited to comedy.
Verdi and Boito worked together closely, modifying Shakespeare’s work to make it more suitable for operatic treatment. They were particularly concerned about focusing the dramatic interest of the third act, and Verdi suggested several specific lines and passages from Shakespeare as promising anchors for musical treatment.
“I’m amusing myself by writing fugues!” Verdi wrote to him at one point. “Yes, sir; a fugue…and a comic fugue, which would be in place in Falstaff!” He may well have been referring to the opera’s finale—meaning that he composed its music before he received its text!
For the work’s premiere (pictured above), La Scala’s ticket prices were 30 times higher than usual, and royalty, aristocracy, and critics from around the world attended. The performance was hugely successful; numbers were encored, and at the end the applause for the composer and the cast lasted an hour.
This according to Giuseppe Verdi: Falstaff by James A. Hepokoski (Cambridge: Cambridge University Press, 1983; RILM Abstracts of Music Literature 1983-2848).
Today is the 130th anniversary of Falstaff’s premiere!
In the final act of Donizetti’s Lucia di Lammermoor Lucia is forced to marry Arturo, murders him, and promptly goes insane. In the modern tradition, as exemplified by Joan Sutherland and Maria Callas (above), the mad Lucia sings a cadenza accompanied by a flute, in which the instrument takes on the mantle of a ghostly Doppelgänger. Donizetti’s original written cadenza, however, is little more than a short ornament to be sung in one breath on the dominant chord.
The first Lucia, Fanny Tacchinardi-Persiani, probably improvised her own version in performance using the skeletal guide provided by the composer, and developed a cadenza to be sung in two breaths instead of one.
At some point during the second half of the 19th century a new way of executing this cadenza appeared: with obbligato flute. This practice must have drawn upon the composer’s use of an obbligato flute that faithfully follows the soprano in thirds and sixths during the moments leading up to the cadenza. Donizetti had originally indicated the eerie sound of the glass harmonica here, but he had to recast the line for flute following a dispute between the theater and the intended glass harmonica player.
The earliest surviving Lucia/flute cadenza has been attributed to Mathilde Marchesi, who composed a version for her protégé Nellie Melba; when Melba performed Lucia for the first time at the Paris Opéra in 1889 the flutist in the orchestra was Paul Taffanel, who may have assisted in the cadenza’s composition. However, there were at least three singers who executed their own voice/flute cadenzas earlier: Christina Nilsson, Ilma de Murska, and Emma Albani; Nilsson’s cadenza was composed by Luigi Arditi.
The flute-accompanied cadenza marked an important shift in the performance practice of the Lucia role. Being a duet, it could no longer serve as a spontaneous display of the soprano’s vocal virtuosity—it became a preconceived and well-rehearsed collaboration in a more complex form.
This according to “Manacled freedom: Nineteenth-century vocal improvisation and the flute-accompanied cadenza in Gaetano Donizetti’s Lucia di Lammermoor” by Naomi Matsumoto, an essay included in Beyond notes: Improvisation in Western music of the eighteenth and nineteenth centuries (Turnhout: Brepols 2011, 295–316; RILM Abstracts of Music Literature 2011-15429).
Below, some historical versions of Lucia’s cadenza.
Gay’s skillful transformations of well-known songs contained many witty references to the originals, adding a rich subtext that his audience would have understood fully.
His audience would also have appreciated his caricatures of grand opera, which included references to recent London productions—particularly Händel’s Floridante (1721) and Alessandro (1726)—and to the highly public rivalry of the local operatic sopranos Francesca Cuzzoni (1696–1778) and Faustina Bordoni (1697–1781).
Gay’s facility as a writer was also a factor; he created clever, well-wrought lyrics and dialogue, vivid characters, and an irresistible ironic tone. An accomplished musician, Gay was certainly the musical arranger—not Pepusch, as some have argued.
This according to “The beggar’s opera” by Bertrand Harris Bronson, an essay included in Studies in the comic (Berkely: University of California Press, 1941, pp. 197–231).
November marks National Native American Heritage Month in the United States, honoring the first Americans’ contributions to the establishment and growth of the country. Exhibits and collections, song and dance recordings, visual art and imagery, poetry and storytelling, and teaching materials dedicated to National Native American Heritage are available through the portal https://nativeamericanheritagemonth.gov/.
This bibliography reflects the diverse musical expressions and musical life of Native Americans over nearly three centuries, ranging from engagement with Christianity to cope with Colonial-era displacement, to Navajo heavy metal and Indigenous sound studies in the present. It comprises a wide range of document types, including monographs, collections, journal articles, and sound recordings.
Native Americans are both active and represented in traditional, popular, and classical music; music education; radio; and record production. The ways in which Native American music has been colonized and appropriated may be contrasted with the way in which it has been used by its practitioners as a means of cultural and spiritual agency and survival. Finally, although this bibliography centers on indigeneity in the United States, many of its ideas, traditions, and struggles find parallels in the experiences of Indigenous communities worldwide, and it is hoped that the research below may resonate with the musical-cultural experiences of those groups as well.
Cahill, Cathleen D. “Urban Indians, Native networks, and the creation of modern regional identity in the American Southwest”, American Indian culture and research journal XLII/3 (2018) 71–92. [RILM Abstracts of Music Literature, 2018-95806]
Abstract: The careers and political activism of Native opera singers in the Southwest of the 1920s are explored. A number of talented Native artists recognized that engaging their audiences directly in live performances provided opportunities for public education in addition to their economic benefits. Partnering with regional boosters, they built careers performing in multiple pageants and events sponsored by municipalities across the Southwest. Live performance with its direct access to audiences also facilitated their political agendas of publicizing Indigenous histories. Their careers highlight the mobility of Indigenous people, demonstrating how they helped create modern urban spaces across the American Southwest.
Diamond, Beverley. “Affect, ontology, and indigenous protocol: Encounters in Canada”, Ethnomusicology matters: Influencing social and political realities, ed. by Ursula Hemetek, Hande Sağlam, and Marko Kölbl (Wien: Böhlau Verlag, 2019) 117–134. [RILM Abstracts of Music Literature, 2019-12878]
Abstract: Ethnomusicologists have, thus far, written extensively about Indigenous ontologies but less about the ways divergent ontologies shape intercultural diplomacy. This article attempts to think through several such spaces of intercultural encounter. It considers how Indigenous protocol plays a role in promoting respectful relations. But it also reﬂects on situations where a failure to consider the affect of protocol-related performances may be disrespectful and counter-productive. There is a need, then, for intercultural dialogue about the clashes of perspectives, and the affect of performances that surround difﬁcult moments of meetings, when one way of being in the world (i.e., ontology, simply deﬁned) meets another and seems utterly incomprehensible. Sometimes such incommensurability is rooted in language: that song or story are “law” for many Indigenous groups in North America (and elsewhere), for instance, is often a confusing notion for Euroamericans. This formulation is already stimulating action-oriented discussions about access to archives, and appropriations of Indigenous song. At other times, forms of relationality are at stake. For instance, many Indigenous expressive cultures assume kinship with non-humans, spirits, and other life-forms in a broad ecological system that differs fundamentally from, e.g., those who see the earth’s resources as economic investments, or those promoting “creative city” initiatives that see the arts as a vehicle for prosperity while disregarding human relations with other life forms. The affect of performances that assert presence and sovereignty on the one hand or guesthood on another is an important consideration when divergent viewpoints are at issue. In some cases, a focus on “affect” may help to reduce misunderstanding, while in other cases it may encourage respect for the performers who assert their values, understandings, and sovereign rights.
Fox, Aaron A. “Repatriation as reanimation through reciprocity”, The Cambridge history of world music, ed. by Philip V. Bohlman and Martin Stokes (Cambridge: Cambridge University Press, 2013) 522–554. [RILM Abstracts of Music Literature, 2013-17019]
Abstract: Describes the process by which the Laura Boulton Collection of Traditional and Liturgical Music came to be housed at Columbia University, a process that began in 1962. The Boulton Collection’s history includes disputes between the collector and various institutions, and among and within those institutions as well, about the extent and nature of its contents. The collection is an assemblage of sound recordings made or acquired by the mid–20th-century music collector Laura Boulton (1899–1980) in a series of expeditions to dozens of countries over nearly 40 years. This essay examines her work as a particularly vivid example of the ironies inherent in ethnomusicology’s broader racist and colonialist legacy, a legacy embedded in the structure of the broader archive-building mindset upon which the discipline was constructed. Doing so allows us to think critically about that legacy and about how to address it and heal its lingering and still caustic effects on our discipline and its relations with its publics and constituents. Recovering, through repatriation, the cultural and scholarly value of archives like Boulton’s suggests ways to move ethnomusicology forward as an ethical as well as scholarly enterprise, by confronting the moral obligations the discipline has incurred, but not always honored, in the past.
Garrett-Davis, Josh. “American Indian Soundchiefs: Cutting records in Indigenous sonic networks”, Resonance: The journal of sound and culture I/4 (winter 2020) 394–411. [RILM Abstracts of Music Literature, 2020-54119]
Abstract: American Indian Soundchiefs, an independent record label founded by the Rev. Linn Pauahty (Kiowa) in the 1940s, developed a remarkable model of Indigenous sound media that combined home recording, dubbing, and small-scale mass production. Alongside other Native American media producers of the same era, Soundchiefs built on earlier engagements with ethnographic and commercial recording to produce Native citizens’ media a generation prior to the Red Power era of the 1960s and 1970s. This soundwork provided Native music to Native listeners first, while also seeking to preserve a “rich store of folk-lore” sometimes in danger of being lost under ongoing colonial pressures. Pauahty’s label found ways to market commercial recordings while operating within what music and legal scholar Trevor Reed (Hopi) calls Indigenous sonic networks, fields of obligation and responsibility.
Goodman, Glenda. “Joseph Johnson’s lost gamuts: Native hymnody, materials of exchange, and the colonialist archive”, Journal of the Society for American Music XIII/4 (November 2019) 482–507. [RILM Abstracts of Music Literature, 2019-11405]
Abstract: In the winter of 1772–73, Joseph Johnson (Mohegan/Brothertown) copied musical notation into eight books for Christian Native Americans in Farmington, Connecticut, a town established by English settler colonists on the land known as Tunxis Sepus. Johnson did so because, as he wrote in his diary, “The indians are all desireous of haveing Gamuts”. Johnson’s gamuts have not survived, but their erstwhile existence reveals hymnody’s important role within the Native community in Farmington as well as cross-culturally with the English settler colonists. In order to reconstruct the missing music books and assess their sociocultural significance, a surrogate bibliography is proposed, gathering a constellation of sources among which Johnson’s books would have circulated and gained meaning for Native American Christians and English colonists (including other printed and manuscript music, wampum, and legal documents pertaining to land transfer). By bringing together this multi-modal network of materials, redress is sought for the material and epistemological effects of a colonialist archive. On one level, this case study focuses on a short period of time in order to document the impact on sacred music of conversion, literacy, shifting intercultural relations, and a drive to preserve sovereignty. On another, a methodological intervention is presented for dealing with lost materials and colonialist archives without recourse to discourses of recovery or discovery, the latter of which is considered through the framework of archival orientalism.
_____. “Sounds heard, meaning deferred: Music transcription as imperial technology”, Eighteenth-century studies LII/1 (fall 2018) 39–45. [RILM Abstracts of Music Literature, 2018-95884]
Abstract: How notations of the traditional musics of Indigenous peoples by colonists in the 18th century came to be regarded as evidence in the mapping of global trade are examined, focusing on the example of a transcription by William Beresford, published in A voyage round the world; but more particularly to the north-west coast of America (London: Geo. Goulding, 1789). The book, an account of the fur trading voyage of the ship Queen Charlotte in 1786–88 consists almost entirely of material written by Beresford, the ship’s supercargo. Beresford’s transcription of an Indigenous (likely Tlingit) song from Norfolk Sound (now Sitka Sound, Alaska) included a description of the customary pre-trade ceremonies as a guide for future traders. The transcription itself reflects multiple performances, by different groups, as Beresford re-encountered this ceremonial song along the coast; it should be viewed as an invention as much as a documentation.
Gray, Robin. “Repatriation and decolonization: Thoughts on ownership, access, and control”, The Oxford handbook of musical repatriation, ed. by Frank D. Gunderson, Robert C. Lancefield, and Bret D. Woods. Oxford handbooks (New York: Oxford University Press, 2018) 723–737. [RILM Abstracts of Music Literature, 2018-11972]
Abstract: Focuses on the efforts of Ts’msyen from Lax Kw’alaams to repatriate songs and associated knowledge products from the Laura Boulton Collection of Traditional and Liturgical Music. It provides an overview of the sociopolitical context that created the conditions for the songs to be taken from the community, including an analysis of the contributing role of Western property frameworks in the dispossession of Ts’msyen knowledge, heritage, and rights. Based on a community-based participatory action research project with, by, and for Ts’msyen, this chapter offers decolonial considerations on the topics of ownership, access, and control from the vantage of Ts’msyen laws, ethics, and protocols.
Hauptman, Laurence M. “The musical odyssey of Cleo Hewitt, Cattaraugus Seneca, 1889–1987”, New York history C/2 (winter 1999) 246–268. [RILM Abstracts of Music Literature, 2019-32487]
Abstract: Caroline Glennora Cleopatra (Cleo) Hewitt (1889–1987), a Hodinöhsö:ni’ elder, was for four decades a music teacher at the Thomas Indian School and other schools for Native Americans in western New York State, as well as a piano teacher. Hewitt was also a violinist, but was blocked from a performing career due to her race. While Hewitt faced formidable obstacles as a Native American and a woman, her life story both confirms and contradicts the assimilationist narrative of Native boarding schools.
Levine, Victoria Lindsay and Dylan Robinson, eds. Music and modernity among First Peoples of North America. Music/culture (Middletown: Wesleyan University Press, 2019). [RILM Abstracts of Music Literature, 2019-2103]
Abstract: A collaboration between Indigenous and settler scholars from Canada and the U.S., exploring the intersections between music, modernity, and indigeneity in essays addressing topics that range from hip hop to powwow, and television soundtracks of Native Classical and experimental music. Working from the shared premise that multiple modernities exist for Indigenous peoples, the authors seek to understand contemporary musical expression from Native perspectives and to decolonize the study of Native American/First Nations music. The essays coalesce around four main themes: innovative technology, identity formation and self-representation, political activism, and translocal musical exchange. Closely related topics include cosmopolitanism, hybridity, alliance studies, code-switching, and ontologies of sound.
Moling, Martin. “’Anarchy on the Rez’: The blues, popular culture, and survival in Sherman Alexie’s Reservation blues“, American Indian culture and research journal XL/3 (2016) 1–22. [RILM Abstracts of Music Literature, 2016-56019]
Abstract: The ingenious ways in which Sherman Alexie appropriates the blues as a vessel for Native Americans to creatively express their predicament and a subversive instrument in their struggle to resist colonial cooption are explored. In Reservation blues (1995), Alexie’s writing itself creates a Native American version of the blues that appropriates such blues staples as the AAB stanza, improvisation, and syncopation. The multiple references in the novel to mainstream popular culture are in contrast to the role of the blues, which arguably serves as the music of choice for Alexie’s principal project: the survival of Native America.
Moylan, Katie and Sheila Nanaeto. “‘Indigenous for days’: Indigenous internationalism in Native American music radio”, The global South, XV/2 (spring 2022) 176–192. [RILM Abstracts of Music Literature, 2022-7727].
Abstract: Community building in Indigenous music radio is identified and explored, drawing on music programming examples and practitioner insights from two Indigenous radio stations: KPRI FM (Rez Radio) and KSUT FM. Multifaceted music programming across the two stations embodies the concept of grounded normativity (Coulthard and Betasamosake Simpson) and expands capacities for tribal community building on-air, in turn reinforcing a cultural Indigenous internationalism. In particular, Rez dub reggae and Songs of the Southwest at KPRI and the Tribal radio morning show at KSUT enable and encourage Indigenous community building through place-based practices of music radio production which in turn embody possibilities for Indigenous resurgence (Corntassel).
Perea, John-Carlos. Intertribal Native American music in the United States: Experiencing music, expressing culture. Global music (New York: Oxford University Press, 2013). [RILM Abstracts of Music Literature, 2013-52557]
Abstract: Over time many Native American tribes have developed a shared musical culture that is prominently audible on local, national, and international stages. Northern and Southern Plains pow wow practices represent a singular performance encompassing disparate stories and sounds. Traditional sounds, such as pow-wow and Native American flute songs, have developed in tandem with increasingly recognizable forms like Native jazz and rock.
Peters, Gretchen. “Unlocking the songs: Marcie Rendon’s indigenous critique of Frances Densmore’s Native music collecting”, American Indian culture and research journal XXXIX/4 (2015) 79–92. [RILM Abstracts of Music Literature, 2015-89340]
Abstract: Criticisms of the work of Frances Densmore in Marcie Rendon’s play SongCatcher are identified and contextualized within Densmore’s own writings. The integration of physical and spiritual realities, as well as contemporary and historic settings, denies the common assertion that Densmore preserved large repertoires. Numerous musical performances remain intact within their broader context and call into question the value of the isolated and distorted recordings and transcriptions by Densmore. While Densmore’s analytical working method marginalized the Native individual experience and perspective, SongCatcher examines Densmore’s work through its impact on Native individuals and communities in the past and present.
Poirier, Lisa. “Makes me feel glad that I’m not dead: Jim Pepper and music of the Native American Church”, Journal of religion and popular culture XXX/2 (summer 2018) 120–130. [RILM Abstracts of Music Literature, 2018-95883]
Abstract: Jim Pepper’s 1971 jazz hit Witchi tai to is a contact zone in which cultures (Native and non-Native) collide. In the song, Native powwow culture and Native identities are reclaimed and reinterpreted within a jazz idiom. While Native supratribal identities are celebrated within this popular culture artefact, the song retains an opacity that resists absorption and cooptation by non-Natives. Witchi tai to is a song of Native religious reorientation within a context of modernity, and its legacy reverberates in at least two genres of contemporary Native popular music: Native American Church songs and Native American electronic dance music.
Prest, Anita and J. Scott Goble. “Language, music, and revitalizing indigeneity: Effecting cultural restoration and ecological balance via music education”, Philosophy of music education review XXIX/1 (spring 2021) 24–46. [RILM Abstracts of Music Literature, 2021-98113]
Abstract: Challenges are explored in conveying the culturally constructed meanings of local Indigenous musics and the worldviews they manifest to students in K–12 school music classes, when foundational aspects of the English language, historical and current discourse, and English language habits function to thwart the transmission of those meanings. In settler colonial societies in North America, speakers of the dominant English language have historically misrepresented, discredited, and obscured cultural meanings that inhere in local Indigenous musics. Three ways in which the use of English has distorted the cultural meanings of those musics are examined. How historical discourses in English have intentionally undervalued or discredited the values intrinsic to those musics are explained, also describing how some current music education discourse in English might work against the embedding of Indigenous meanings in school music education settings. Additional factors distinguishing Indigenous languages from European languages (especially English) are considered to show how a people’s language habits influence their perception of and thus their relationship with their natural environment. The role of music education in revitalizing local Indigenous languages and musics and advancing the cultural values of their originating communities is considered.
Przybylski, Liz. “Indigenizing the mainstream: Music festivals and indigenous popular music authors”, IASPM@Journal XI/2 (2021) 5–21. [RILM Abstracts of Music Literature, 2021-13635]
Abstract: First Nations, Métis, and Inuit music and dance practices have enacted Indigenous survivance since colonization began. Contemporary Indigenous performers within and beyond present-day Canadian borders continue this performative intervention through popular music, building sonic sovereignty. Rooted in dialogue with Indigenous music industry professionals and musicians, this article draws on ethnographic work with Indigenous music festivals, especially the sākihiwēfestival in Winnipeg, Canada where musicians from many Nations share stages. In response to music industry barriers, Indigenous media professionals created performance spaces for First Nations, Métis, Inuit, and international Indigenous musicians. With the imposition of performance restrictions due to COVID, musicians faced new limitations. On the heels of ongoing political changes, Indigenous music professionals navigated multilayered challenges for the 2020 festival season. As uncertainty continues around music festivals in the future, how decolonial possibilities are shifting around cultural and political change through music festival performance is addressed.
Reed, Trevor. “Sonic sovereignty: Performing Hopi authority in Öngtupqa”, Journal of the Society for American Music XIII/4 (November 2019) 508–530. [RILM Abstracts of Music Literature, 2019-11407]
Abstract: Explores the ways in which territorial authority or sovereignty emerges from within a particular mode of indigenous creativity—the creation and performance of Hopi taatawi (traditional songs)—despite the appropriation of Hopi traditional lands by the American settler-state. Hopi territories within Öngtupqa (Grand Canyon) are just a sample of the many places where indigenous authority, as expressed through sound-based performances, continues to resonate despite the imposition of settler-colonial structures that have either silenced Indigenous performances of authority or severed these places from Indigenous territories. Hopi musical composition and performance are deeply intertwined with Hopi political philosophy and governance, resulting in a form of sovereignty that is inherently sonic rather than strictly literary or textual in nature. Recognizing that this interconnection between territorial authority and sound production is common across many indigenous communities, listening to contemporary indigenous creativity should be considered both as an aesthetic form, and more importantly, as a source of sonic sovereignty.
Robinson, Dylan. Hungry listening: Resonant theory for Indigenous sound studies. Indigenous Americas (Minneapolis: University of Minnesota Press, 2020). [RILM Abstracts of Music Literature, 2020-4582]
Abstract: Listening is considered from both Indigenous and settler colonial perspectives. In a critical response to what has been called the “whiteness of sound studies”, how decolonial practices of listening emerge from increasing awareness of our listening positionality are evaluated. This involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear” that renders silent the epistemic foundations of Indigenous song as history, law, and medicine. With case studies on Indigenous participation in classical music, musicals, and popular music, structures of inclusion that reinforce Western musical values are examined. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, examples of “doing sovereignty” in Indigenous performance art, museum exhibitions, and gatherings that support an Indigenous listening resurgence are offered. It is shown how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, a reorientation is demanded toward the act of reading as a way of listening. Indigenous relationships to the life of song are sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.
Samuels, David W. Putting a song on top of it: Expression and identity on the San Carlos Apache Reservation (Tuscon: University of Arizona Press, 2004). [RILM Abstracts of Music Literature, 2004-16236]
Abstract: As in many Native American communities, people on the San Carlos Apache reservation in southeastern Arizona have for centuries been exposed to contradictory pressures. One set of expectations is about conversion and modernization—spiritual, linguistic, cultural, technological. Another is about steadfast perseverance in the face of this cultural onslaught. Within this contradictory context lies the question of what validates a sense of Apache identity. For many people on the San Carlos reservation, both the traditional calls of the Mountain Spirits and the hard edge of a country, rock, or reggae song can evoke the feeling of being Apache. Using insights gained from both linguistic and musical practices in the community—as well as from his own experience playing in an Apache country band—the author explores the complex expressive lives of these people to offer new ways of thinking about cultural identity. He analyzes how people on the reservation make productive use of popular culture forms to create and transform contemporary expressions of Apache cultural identity. Some popular songs—such as those by Bob Marley—are reminiscent of history and bring about an alignment of past and present for the Apache listener. Thinking about Geronimo, for instance, might mean one thing, but “putting a song on top of it” results in a richer meaning. He also proposes that the concept of the pun, as both a cultural practice and a means of analysis, helps us understand the ways in which San Carlos Apaches are able to make cultural symbols point in multiple directions at once. Through these punning, layered expressions, people on the reservation express identities that resonate with the complicated social and political history of the Apache community. This richly detailed study challenges essentialist notions of Native American tribal and ethnic identity by revealing the turbulent complexity of everyday life on the reservation. It is a multifaceted exploration of the complexities of sound, of language, and of the process of constructing and articulating identity in the 21st century.
Soltani Stone, Ashkan. Rez metal. DVD (Leomark Studios, 2022). [RILM Abstracts of Music Literature, 2022-7725]
Abstract: The remarkable journey of Kyle Felter and the Navajo heavy metal band I Dont Konform is traced, from the band’s early days to the recording of their debut album Sagebrush rejects with Flemming Rasmussen, the Grammy-award winning producer of Metallica, while telling the story of the thriving heavy metal scene on the Navajo reservations. A companion monograph is abstracted as RILM 2020-69069.
Soltani Stone, Ashkan and Natale A. Zappia. Rez metal: Inside the Navajo Nation heavy metal scene (Lincoln: University of Nebraska Press, 2020). [RILM Abstracts of Music Literature, 2020-69069]
Abstract: Bridging communities from disparate corners of Indian Country and across generations, heavy metal has touched a collective nerve on the Navajo Reservation in Arizona in particular. Many cultural leaders—including former Navajo president Russell Begaye—have begun to recognize heavy metal’s ability to inspire Navajo communities facing chronic challenges such as poverty, depression, and addiction. Heavy metal music speaks to the frustrations, fears, trials, and hopes of living in Indian Country. A seminal moment in Indigenous heavy metal occurred when Kyle Felter, lead singer of the Navajo heavy metal band I Dont Konform, sent a demo tape to Flemming Rasmussen, the Grammy Award–winning producer of several Metallica albums. A few months later, Rasmussen, captivated by the music, flew from Denmark to Window Rock, Arizona, to meet the band. Through a series of vivid images and interviews focused on the venues, bands, and fans of the Navajo Nation metal scene, a window is provided into this fascinating world. A companion documentary film is abstracted as RILM 2022-7725.
Veerbeek, Vincent. “A dissonant education: Marching bands and Indigenous musical traditions at Sherman Institute, 1901–1940”, American Indian culture and research journal XLIV/4 (2020) 41–58. [RILM Abstracts of Music Literature, 2020-69045]
Abstract: At the end of the 19th century, the U.S. government established a system of off-reservation boarding schools in an effort to assimilate Indigenous youth into the American nation-state. Music emerged as one of the most enduring strategies that these schools employed to reshape the cultural sensibilities of young Native Americans. A lively music culture could be found, for instance, at Sherman Institute in Riverside, California, which was home to a marching band and dozens of other music groups throughout its history. Although school officials created these institutions for the purposes of assimilation and cultural genocide, this music program often had a more ambiguous place in the lives of students. To understand the role of music within Sherman Institute during the early 20th century, the school’s marching band and the place of Indigenous cultural expression are examined. While the school had students march to the beat of civilization, young Native Americans found various strategies to combat assimilation using the same instruments. At the same time, they also used the cultures of their communities to navigate life in an environment that the government created to destroy those very cultures.
Wheeler, Rachel and Sarah Eyerly. “Singing Box 331: Re-sounding eighteenth-century Mohican hymns from the Moravian Archives”, William and Mary quarterly LXXVI/4 (October 2019) 649–696. [RILM Abstracts of Music Literature, 2019-32488]
Abstract: A single Mohican-language hymn verse, Jesu paschgon kia, from the Moravian Mission collection at the Moravian Archives in Bethlehem, Pennsylvania, is the focus of a collaboration between a historian, a musicologist, members of Stockbridge-Munsee Band of Mohican Indians, a scholar in linguistics, recording professionals, and students, as well as with the professional Mohican musician Bill Miller and the composer Brent Michael Davids. Applying what might be called a nanohistorical approach to the verse’s four lines of text, the history of the creation of Mohican-language hymns is traced at a number of different communities affiliated with the Moravian Church in New York and Pennsylvania in the mid-18th century. Building upon this historical research, Jesu paschgon kia is rendered as a living, multidimensional sounded text by creating three recordings, each of which highlights very different aspects of the collaborative work. These musical renderings of the verse stand as aural shorthand for the diverse meanings and interpretations of historical sources generated by varied relationships with and perspectives on those sources, speaking to recent calls for methodological innovation in the fields of history, musicology, and Native American and Indigenous studies.
Wigginton, Caroline. “Hymncraft: Joseph Johnson, Thomas Commuck, and the composition of song and community from the Native North American Northeast to Brothertown”, NAIS: Journal of the Native American and Indigenous Studies Association VIII/1 (spring 2021) 19–55. [RILM Abstracts of Music Literature, 2021-10146]
Abstract: Hymncraft is the composition of a material text with songs of praise and veneration for the sacred relationships between communities, place, and beings, human and nonhuman. For Mohegan Joseph Johnson in the 1770s and Brothertown Narragansett Thomas Commuck in the 1840s, hymncraft was an instrument for choreographing new visions of community in order to counter colonization’s destructive fragmentation of their peoples and homelands in the North American Northeast. Their intergenerational tale begins with Johnson’s creation of now-lost manuscript music instruction books he called gamuts and continues with Commuck’s publication of his tunebook Indian melodies 70 years later. Their hymncraft extends and adapts their region’s multicentury custom whereby craft combines with sacred song to forge, arrange, and maintain relations among peoples. Rebinding communities first through scribal publication and then through print, they produced objects with diplomatic valences that enfold ancient and new technologies to serve their people’s pasts, presents, and futures.
Comments Off on National Native American Heritage Month: An annotated bibliography
The desire to voice the artistic revelation of the truth of a precarious, multifaceted, yet integrated self lies behind much of Karol Szymanowski’s work.
This self is projected through the voices of deities who speak languages of love. The unifying figure is Eros, who may be embodied as Dionysus, Christ, Narcissus, or Orpheus, and the gospel he proclaims tells of the resurrection and freedom of the desiring subject.
In Król Roger Szymanowski used the unifying Christ/Eros figure as a means of indicating that the King might be transformed from an anguished despot to a loving expressive subject; this is demonstrated in the encounters of King Roger with the voices of Narcissus, the Siren, and Dionysus. Throughout, the composer fused Slavonic and Middle-Eastern mythological inspirations to fulfill a utopian vision of a pan-European culture bound together by the spirit of Eros.
This according to Szymanowski, eroticism, and the voices of mythology by Stephen C. Downes (London: Royal Musical Association, 2003; RILM Abstracts of Music Literature 2003-4450).
Today is Szymanowski’s 140th birthday! Above, a portrait by Stanisław Witkacy. Below, the ending of Roksana’s aria from Król Roger.
Bugs Bunny has been recuperated as a queer cultural icon, a parodic diva whose campy excesses and canny games are profoundly though tacitly indebted to the African American rhetorical tradition of signifyin(g).
Interrogation of Bugs Bunny’s characteristic strategies of trickstering demonstrates the connections, both theoretical and material, between the queer camp of gender bending and the slippery strategies of resistance, the semiotic play of signifying as back-talk.
The rabbit of Seville (1950, directed by Chuck Jones and scored by Carl Stalling) presents specific situations of parody and allusion, illustrating the ways in which transvestic performance, inflected through camp, participates in a highly queer mode of phallic divestiture.
This according to “The signifying rabbit” by Eric Savoy (Narrative 2 [May 1995] 188–209; RILM Abstracts of Music Literature 1996-12504).
Below, excerpts from the cartoon classic in question, with live accompaniment!
The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s … Continue reading →
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →