On 8 September 2022, the world learned of the passing of Queen Elizabeth II, Britain’s longest ruling monarch. As one of any number of public displays of gratitude to her seven decades of service, communities across the globe, large and small, sang God save the Queen, the first song in the world to serve in the function of a nation’s anthem. A kind of prayer en-masse, the singing of the text is an expression of national devotion.
Christopher (Kit) Kelen, in his article “‘And ever give us cause’: Understanding the investments of the Ur-anthem God save the King/Queen” (National identities: Critical inquiries into nationhood, politics, and culture XVII/1  45–61; RILM Abstracts of Music Literature 2015-86813), explores the kind of work the anthem’s text does to construct a sense of nationalism and national commitment, in a British context and beyond. A glance at the abstract brings the essay’s scope and goals into focus:
This close analytical reading of the lyrics of God save the King/Queen seeks to understand what the functional survival of this song reveals about the rhetorical-affective investments of national devotion in the British sense; it examines the lyrics’ meaning in the context of the general definition of anthem and the generic classification of anthems worldwide. Because of the song’s international distribution, and status as Ur-anthem, it provides insight into the nature of the speech act entailed in the prayer-type of anthem and the nature of anthem quality (defined as that soul-stirring effect which certain combinations of music and lyrics achieve, most typically in the service of national affiliation) more generally. Theories of nation and nationalism serve to frame affective relations between nation, state, and citizenry as implied by, fostered by, and used in anthems.
The three public performances of God save the Queen below vary in terms of setting, historical moment, and function. But each one reveals, in its own way, the anthem effect about which Kelen writes. They produce a sense of national closeness and identity, reverence, and pride, demonstrating how lyrics and music can be combined to stir the soul.
The Iberian double-skinned square frame drum known as the adufe, the pandeiro quadrado (Portuguese), or the pandera cuadrado (Spanish) is played almost exclusively by women, and is a legacy from the medieval period.
While Spanish and Portuguese women play various round-frame drums, the square drum has particular roles in several aspects of secular, religious, and ritual life. The songs women sing while playing the drum reflect their thoughts, concerns, and circumstances.
This according to “‘This drum I play’: Women and square frame drums in Portugal and Spain” by Judith R. Cohen (Ethnomusicology forum XVII/1 [June 2008] 95–124; RILM Abstracts of Music Literature 2008-2708).
Singing by the pan, a women’s folk tradition known as tepsijanje (“panning”), was documented in Bosnia and Herzegovina during the Ottoman period.
Recent research has shown that tepsijanje is still popular, especially with Muslim and Roman Catholic populations in Bosnia and Herzegovina. It is a rare example of a nonmusical object—in this case, a cooking pan—functioning as a musical instrument.
This according to “Examples of an interesting practice: Singing along the pan” by Jasmina Talam, an essay included in Studia instrumentorum musicae popularis. II (Münster: Monsenstein und Vannerdat, 2011 251–56; RILM Abstracts of Music Literature 2011-49486).
Thirty years after the making of his film series on Swiss yodeling, Hugo Zemp returned to his investigation of the particular yodel style—called jüüz—of Muotatal, a small valley in the Swiss Prealps.
Shot in the early 1980s, the earlier films presented the traditional jüüz sung at work or while socializing, in contrast to stage presentations of yodel choirs, which are federated in a national association under the direction of choral conductors.
Wondering how the situation had evolved in the second decade of the 21th century, Zemp went back and found a 37-year-old man whom he had filmed singing with his parents and sisters 30 years earlier. During his adolescence, like many teenagers, Bernhard was enthusiastic about American rock and country music (which he still performs), but when he watched the old films he felt the urge to return to the tradition that he had learned during his childhood. With five friends from his village he founded a traditional group, Natur Pur, to revive casual singing.
Zemp’s new film, Swiss yodelling: 30 years later (Kanopy Streaming, 2015) shows performances in various situations, including singing with women and teaching at a workshop. Informal conversations between the singers, where humor is not absent, treat serious topics around tradition and change.
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