Ellis Marsalis first learned to play the clarinet and saxophone but the piano later became his main instrument. From 1951 to 1955, he completed a bachelor’s degree in music education at Dillard University in New Orleans while receiving informal jazz lessons from saxophonist Harold Battiste. Together with Battiste, Marsalis performed as a pianist in the American Jazz Quintet, which also included clarinetist Alvin Batiste and drummer Ed Blackwell. The ensemble’s first recordings were made in 1956 in Cosimo Matassa’s recording studio in New Orleans, and during his subsequent military service in the United States Marine Corps, Marsalis performed with a show band as part of the CBS television show Dress blues and the radio show Leatherneck songbook. Among the guest musicians were the already well-known drummer Chico Hamilton and bass clarinetist Eric Dolphy. After completing military service in 1959, Marsalis returned to New Orleans and married Dolores Ferdinand, with whom he had six sons; four of them achieved successful careers as jazz musicians: the saxophonist Branford, trumpeter Wynton, trombonist Delfeayo, and drummer Jason.
Marsalis played regularly in various local New Orleans clubs and recorded the 1962 album In the bag with the trumpeter Nat Adderley, alto saxophonist Julian “Cannonball” Adderley, tenor saxophonist Nat Perriliat, bassist Sam Jones, and drummer James Black. In 1966, Marsalis appeared as a soloist with the New Orleans Symphony Orchestra performing his own compositions. Throughout the 1960s and 1970s he worked with several ensembles in New Orleans, including from 1967 to 1970 with the band of trumpeter Al Hirt. In 1978, Marsalis released his first album as a solo pianist and accepted an engagement at the Hyatt Regency Hotel in New Orleans, which lasted until 1980. Ellis Marsalis can be heard as a guest musician on the recording of a concert by his son Wynton with drummer Art Blakey’s band. The album Fathers & sons, recorded in New York in 1982, features Ellis together with Wynton and Branford—the first of several collaborations with his sons.
Besides working as a musician, Ellis Marsalis also was the director of the jazz studies program at the University of New Orleans. He also taught at Xavier University, Loyola University, and the New Orleans Center for Creative Arts. In 2007, he spoke about why New Orleans has provided a unique musical space for jazz to flourish. According to Marsalis, “I think that New Orleans is the best learning town in the country, if not the world, as far as jazz is concerned. The nature of the economy here, as well as the laws that have been established over many years, make it conducive for musicians to work. Anyplace where you have the legal means to party to excess, the opportunities for certain types of musicians increase. Now, we don’t have Carnegie Hall; we don’t have Lincoln Center; we don’t have Alice Tully; the Metropolitan is not here–all those things which attract huge orchestras. You see, we as a city cater to people who come in with a slightly different kind of budget . . . People who want food and music and a good time will come to New Orleans because it’s rather difficult to find what you can find here if you go to Little Rock, Arkansas, or Jackson, Mississippi.”
From 1990 onwards Marsalis increasingly began to release albums under his own name on major labels with a wide international reach including Blue Note, Columbia, and Verve. He also produced recordings as a solo pianist and bandleader and took part in various productions as an ensemble member or guest musician. As part of his regular appearances at the New Orleans Jazz and Heritage Festival, Marsalis played with his sons and a host of established guest musicians.
Read the feature on Ellis Marsalis in MGG Online.
Below, Ellis Marsalis performs with his sons in New Orleans in 2001 and performs “Twelves it” in 2018.
Last year, I visited New Orleans, the birthplace of jazz music and the legendary Louis Armstrong (1901-1971). Known as the “Father of Jazz,” Armstrong began his musical journey in New Orleans and later moved to Chicago and New York. Through his tours, Armstrong also brought jazz music to audiences worldwide.
Upon returning to New York, I discovered that the Louis Armstrong House was in the nearby Corona neighborhood in the borough of Queens. Coincidentally, an extension of the House, the Louis Armstrong Center had just opened, so I decided to explore it.
Corona is a working-class community, and it’s quite unusual for a celebrity like Louis Armstrong to have lived there. It’s worth noting that by that time, Armstrong had already achieved a high social status, so his residence in Corona was somewhat unique. I learned from the guide that Armstrong’s wife, Lucille, grew up in Corona and had purchased the house before they got married. Lucille had initially planned to move to a different house after their marriage, but Armstrong had a special affection for this place. He liked it because it wasn’t as formal as upscale neighborhoods, and at the same time, it offered him a good amount of privacy.
The Armstrong couple lived here for over twenty years, right up until Louis Armstrong passed away in 1971. Influenced by Armstrong, another renowned jazz musician, Dizzy Gillespie, later moved to this community as well.
Today, the Louis Armstrong House continues to contribute to the cultural life of the community. There are regular outdoor concerts in the yard during the summer, and across from the residence, inside the Louis Armstrong Center, there is a performance space where concerts will be held after summer.
Armstrong rose to fame in his early years as a trumpet player, but later became a renowned jazz singer with his distinctive gravelly voice, even winning the Grammy Award for Best Male Vocal Performance in 1965. Armstrong had a famous song called What a wonderful world, and he mentioned in an interview that he often felt this way while living in hisj Corona home.
Coincidentally, he had a Chinese painting in his home depicting four musicians playing the xiao, pipa, guqin, and sheng, along with a dancer. The accompanying poem reads, “A fairyland on earth exists; why search for Penglai (a place in Chinese mythology where immortals live)?” The sentiment of this artwork aligns with the message of What a wonderful world. Armstrong never visited mainland China, but he did visit Hong Kong, and it is possible that he acquired this painting during this visit in 1963.
Research on Armstrong is abundant, but it seems there has not been much study on this Chinese painting in his possession. If Chinese scholars are interested in researching Armstrong, this painting could serve as an excellent starting point. However, before embarking on this study, it’s advisable to consult existing literature. Below are ten English books about Louis Armstrong that are included in Répertoire International de Littérature Musicale (RILM) Abstracts for reference.
–Written and compiled by Mu Qian, Editor, RILM.
Armstrong, Louis. Swing that music (New York: Da Capo, 1993). [RILM Abstracts of Music Literature, 1993-3006]
Abstract: English: Originally published in 1936 (London: Longmans; New York: Green), this is Louis Armstrong’s first autobiography and the first autobiography by a jazz musician in history. Armstrong’s life living in the South Side of Chicago with “King” Oliver, his marriage to Lil Hardin, moving to New York in 1929, forming his own band, European tours, and the success he achieved internationally are chronicled.
Armstrong, Louis. Satchmo: My life in New Orleans (New York: Prentice-Hall, 1954). [RILM Abstracts of Music Literature, 1954-00411].
Abstract: “In all my whole career the Brick House was one of the toughest joints I ever played in. It was the honky-tonk where levee workers would congregate every Saturday night and trade with the gals who’d stroll up and down the floor and the bar. Those guys would drink and fight one another like circle saws. Bottles would come flying over the bandstand like crazy, and there was lots of just plain common shooting and cutting. But somehow all that jive didn’t faze me at all, I was so happy to have some place to blow my horn”. So says Louis Armstrong, a tough kid who just happened to be a musical genius, about one of the places where he performed and grew up. This raucous, rich tale of his early days concludes with his departure to Chicago in August 1922 to play with his boyhood idol King Oliver. Armstrong was a man of minimal formal education who was born on a dirt street in the poorest section of New Oreleans, very close to the House of Detention. From the age of five until his departure for Chicago he lived mostly at Liberty and Perdido in the heart of the black vice district–a world of pimps, hustlers, prostitutes, saloons, and gambling joints. His unique mix of personal attributes–toughness, sensitivity, drive, and strength of character–helped make possible a truly inspiring rags-to-riches story told by a discerning critic of human nature.
Cogswell, Michael. Louis Armstrong: The offstage story of Satchmo (Portland: Collectors, 2003). [RILM Abstracts of Music Literature, 2003-03459].
Abstract: A pictorial biography of the jazz musician, much of which is drawn from the Louis Armstrong House and and the associated archives at Queens College (Flushing, New York).
Willems, Jos. All of me: The complete discography of Louis Armstrong (Lanham: Scarecrow Press, 2006). [RILM Abstracts of Music Literature, 2006-01901].
Abstract: Listing of all known recordings, both studio and live performances of the jazz musician. Entries include a complete description of the recording session, the date, its location, the personnel involved, titles of tunes, and lists of commercial releases in various formats.
Collier, James Lincoln. Louis Armstrong: An American genius (New York: Oxford University Press, 1983). [RILM Abstracts of Music Literature, 1983-01371].
Abstract: To millions of fans, Louis Armstrong (“Satchmo”) was just a great entertainer. But to jazz aficionados, he was one of the most important musicians of our times–not only a key figure in the history of jazz but a formative influence on all of 20th-century popular music. Set against the backdrop of New Orleans, Chicago, and New York during the Jazz Age, the saga of an old-fashioned black man making it in a white world is re-created. Armstrong’s rise as a musician is chronicled, along with scrapes with the law, his relationships with four wives, and frequent relationships with fellow musicians including Fletcher Henderson, Earl Hines, and Zutty Singleton. Light is also shed on Armstrong’s endless need for approval, his streak of jealousy, and perhaps most important, what some consider his betrayal of his gift as he opted for commercial success and stardom.
Riccardi, Ricky. Heart full of rhythm: The big band years of Louis Armstrong (New York: Oxford University Press, 2020). [RILM Abstracts of Music Literature, 1983-01371].
Abstract: Nearly 50 years after his death, Louis Armstrong remains one of the 20th century’s most iconic figures. Popular fans still appreciate his later hits such as <Hello, Dolly!> and <What a wonderful world>, while in the jazz community, he remains venerated for his groundbreaking innovations in the 1920s. The achievements of Armstrong’s middle years, however, possess some of the trumpeter’s most scintillating and career-defining stories. But the story of this crucial time has never been told in depth, until now. Between 1929 and 1947, Armstrong transformed himself from a little-known trumpeter in Chicago to an internationally renowned pop star, setting in motion the innovations of the swing era and bebop. He had a similar effect on the art of American pop singing, waxing some of his most identifiable hits such as <Jeepers creepers> and <When you’re smiling>. However, as this book shows, this transformative era wasn’t without its problems, from racist performance reviews and being held up at gunpoint by gangsters to struggling with an overworked embouchure and getting arrested for marijuana possession. Utilizing a prodigious amount of new research, the author traces Armstrong’s mid-career fall from grace and dramatic resurgence. Featuring never-before-published photographs and stories culled from Armstrong’s personal archives, the book tells the story of how the man called “Pops” became the first “King of Pop”. An excerpt is cited as RILM 2020-61930.
Riccardi, Ricky. What a wonderful world: The magic of Louis Armstrong’s later years (New York: Pantheon, 2011). [RILM Abstracts of Music Literature, 2011-04068].
Abstract: A comprehensive account of the final 25 years of the life and art of one of America’s greatest and most beloved musical icons. Much has been written about Louis Armstrong, but the majority of it focuses on the early and middle stages of his long career. This in-depth look at the years in which Armstrong was often dismissed as a buffoonish, if popular, entertainer, demonstrates instead the inventiveness and depth of expression that his music evinced during this time. These are the years (from after World War II until his death in 1971) when Armstrong entertained crowds around the world and recorded his highest-charting hits, including <Mack the knife> and <Hello, Dolly!>; years when he collaborated with, among others, Ella Fitzgerald, Duke Ellington, and Dave Brubeck; years when he recorded with strings and big bands, and, of course, with the All Stars, his primary recording ensemble for more than two decades. During this period, Armstrong both burnished and enhanced his legacy as one of jazz’s most influential figures.
Armstrong, Louis. Louis Armstrong in his own words: Selected writings (New York: Oxford University Press, 1999). [RILM Abstracts of Music Literature, 1999-05124].
Abstract: Drawn from the archives of the master trumpeter, band leader, and entertainer, a collection of ARMSTRONG’s own writings presents his life as a musician, entertainer, civil rights activist, and cultural icon. These writings, many of which were previously unpublished, include some of his earliest letters, personal correspondence with one of his first biographers during 1943 and 1944, autobiographical writings, magazine articles, and essays. This work presents the jazz musician’s own thoughts on his life and career–from poverty in New Orleans to playing in the famous cafes, cabarets, and saloons of Storyville; from his big break in 1922 with the King Oliver band to his storming of New York; from his breaking of color barriers in Hollywood to the infamous King of the Zulus incident in 1949; and finally, to his last days in Queens, New York. In his writings ARMSTRONG recorded revealing portraits of his times and offered candid, often controversial, opinions about racism, marijuana, bebop, and other jazz artists such as Jelly Roll Morton and Coleman Hawkins.
Berrett, Joshua. The Louis Armstrong companion: Eight decades of commentary (New York: G. Schirmer). [RILM Abstracts of Music Literature, 1999-05125].
Abstract: An anthology compiled using the rich resources of the Armstrong Archives, including Armstrong’s autobiographical writings from the 1920s, letters to friends and family, interviews with others about Armstrong, and more, many of which have never been published. The reprints articles, interviews, and reviews stem from 1927 to 1999.
Meckna, Michael. Satchmo: The Louis Armstrong encyclopedia (Westport: Greenwood, 2004). [RILM Abstracts of Music Literature, 2004-07292].
Abstract: Details every aspect of Armstrong’s life and music, along with a discography, chronology, film listings, a guide to online resources, a bibliography about Armstrong, and more.
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Ahmad Jamal’s laid-back, accessible style of jazz featuring dense chords, a wide dynamic range, and use of silence initially drew criticism from the jazz press early in his career. This style, however, soon became ingrained in the jazz soundscape. The critic Stanley Crouch wrote that bebop’s founding father, Charlie Parker, was the only musician “more important to the development of fresh form in jazz than Ahmad Jamal”. Miles Davis declared, “[Jamal] knocked me out with his concept of space, his lightness of touch, his understatement, and the way he [phrased] notes and chords and passages.” Jamal’s unmistakable style consisting of an economical and relaxed manner of playing encompassing pauses, distinctive rhythmic accents, a distinctive sense of melody, and a soft intonation. It befitted the intimate instrumentation of the piano trio, which formed the focus of his work. Clint Eastwood borrowed two tracks from the album At the Pershing for his 1995 romance film The Bridges of Madison County. Jamal also inspired hip hop musicians, including Nas, De La Soul, Gang Starr, and Common, all of whom sampled his 1970s work.
Jamal began playing piano when he was three years old and began piano study with Mary Cardwell Dawson at the age of seven. He competed successfully in piano competitions by the time he was eleven and performed publicly in recitals. In his early years, Jamal listened not only to jazz, which he referred to as “American classical music”, but also to Western music. “We didn’t separate the two schools,” he told The New York Times in 2001. “We studied Bach and Ellington, Mozart and Art Tatum.”
In the early 1950s, he converted to the Islamic faith, changed his name to Ahmad Jamal, and used that name for his trio. Jamal recorded extensively, toured widely in the United States, Europe, Central, and South America, and played long residencies in nightclubs of New York and Chicago, among other cities. He also was active in television and films and played on film soundtracks, including the M*A*S*H soundtrack (1969). He also toured as a soloist, and is best-known for his album But Not for Me. He played in the avant-garde style and exerted wide influence upon trios of the 1960s and 1970s.
Ahmad Jamal passed away on 16 April 2023.
Read more about Ahmad Jamal’s life and jazz career in the Biographical dictionary of Afro-American and African musicians (1982). Find it in RILM Music Encyclopedias (RME). Also find the obituary on Jamal in MGG Online.
Below is a performance by Ahmad Jamal in 2012 also featuring Yusuf Lateef.
Ryūichi Sakamoto was one of Japan’s most internationally influential musicians. Sakamoto’s career began in electronic pop music as a keyboardist with the band Yellow Magic Orchestra, which he co-founded in 1978, and which triggered a boom for this genre in Japan. At the same time he released his first solo album Thousand Knives. His understanding of music, which transcended genres, became evident on numerous other albums combining pop music, ambient, jazz, and electro-acoustic music, ranging to early forms of house and techno. His works in addition include the operas Life (1999) and Time (2021). Sakamoto studied composition and ethnomusicology at the Tokyo National University of Fine Arts and Music from 1970 onward, where he first came into contact with synthesizers.
He is also known for his music for films by Nagisa Ōshima (Merry Christmas, Mr. Lawrence, 1983), Bernardo Bertolucci (The Last Emperor, 1987; The Sheltering Sky, 1990; Little Buddha, 1993), Pedro Almodóvar (High Heels, 1991), and Alejandro G. Iñárritu (The Revenant, 2015), as well as for his music for the opening ceremony of the Olympic Games in Barcelona in 1992. Sakamoto’s final studio album 12–comprising 12 miniatures for piano accompanied by synthesizer sounds–was released in January 2023. He died in Tokyo on 28 March 2023 at the age of 71.
Look out for a full article on Ryūichi Sakamoto’s life and musical activities coming soon to MGG online (www.mgg-online.com).
Below is a video of Sakamota performing his composition Blu with the Tokyo Philharmonic Orchestra.
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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
As the largest minority in the United States, the Latino/a/x population has spawned a diverse array of cultural and musical expressions, many of which have impacted American popular culture. From the Latino/a/x groups historically affected by border expansions, to today’s immigrants, these communities express their experiences, political struggles, and lives in oral traditions, music, dance, and sound.
This bibliography reflects the diversity of musical and dance expressions of these communities. Beyond the dominant sonic imaginaries towards mariachi music, or the ideas of correspondence between geographic region and musical style, the selected texts reflect a complex reading of how cultural practices challenge ideas on race, gender, sexuality, experiences of dislocation, belonging, and identity. This bibliography references practices on the Mexican-American border region, the Appalachian region, Puerto Rico, and New York, and spans multiple genres, from son jarocho and salsa, to Latin jazz and reggaetón.
Written and compiled by Beatriz Goubert, Editor and Product Development Coordinator, RILM
Alvarado, Lorena and Frances R. Aparicio. “Dissonant love: Music in Latina/o diaspora weddings”, Music in the American diasporic wedding, ed. by Inna Naroditskaya (Bloomington: Indiana University Press, 2019) 70–86. [RILM Abstracts of Music Literature, 2019-5492]
Abstract: Deploying Deborah Vargas’s critical concept of dissonance as a disruption of the heteronormative and cultural nationalist limits, this essay examines the heterogeneous musical repertoires featured in U.S. Latina/o weddings that trouble or “disrupt” the dominant sonic imaginaries—the Mexican mariachi—that conflate national identity with musical traditions. Tracing the musical repertoires in U.S. Latino weddings, the essay juxtaposes a survey conducted by the authors with 11 couples and four Latino grooms and their own readings of weddings in films (including the Latino film Mi familia [My family]), novels, and poetry. In order to weave a broad picture of music in Latino weddings, the essay weaves textual and ethnographic approaches as an intervention that can only begin to suggest new ways of thinking about the social meanings of musical repertoires in these weddings. Tensions between tradition and modernity, between national and global sounds, generation-informed musical taste and predilections, and gendered norms, surfaced in the film and literary texts studied as well as in the surveys completed by young Latina/o couples.
Chávez, Xóchitl Consuelo. “La creación de Oaxacalifornia mediante tradiciones culturales entre jóvenes oaxaqueños de Los Ángeles, California”, Desacatos Revista de Ciencias Sociales 62 (enero–abril 2020) 172–181. [RILM Abstracts of Music Literature, 2020-69173]
Abstract: The Guelaguetza and the philharmonic bands are community practices of the Oaxacan migrant communities in the United States—from Santa Cruz to Los Angeles—and in the places of origin in Oaxaca, Mexico. These cultural productions cross the border between Mexico and the United States and survive in the region called Oaxacalifornia. As part of the traditions and forms of cultural expression, music and dance help to recover a community identity, despite economic instability and political conflict, and overcome the difficult processes of transnational migration. Oaxacalifornia is a microcosm, a migration route of human bodies, ideas, languages, and identities. Young people create a bicultural identity that claims and constitutes their indigenous cultural citizenship in Oaxaca and California.
Colón Montijo, César. “Carimbo: Raza, farmacolonialidad y conjuro en la espectropolítica salsera de Ismael ‘Maelo’ Rivera”, Del archivo a la playlist: Historias, nostalgias, tecnologías, ed. by Darío Tejeda (http://iaspmal.com/index.php/2021/07/07/del-archivo-a-la-playlist-actas/, 2021) 286–292. [RILM Abstracts of Music Literature, 2021-5920]
Abstract: The song Carimbo, by Afro-Puerto Rican singer Ismael “Maelo” Rivera, tells the story of Carimbo, an enslaved man who talks to the sonero about the infamous mark that slavery left on his voice. Carimbo’s spectral voice can be thought in relation to the precarious contemporaneity of the 1970s in which Maelo recorded it. Maelo’s Carimbo is not only the subject of the times of slavery, he is also that contemporary subject who struggles with the infamous mark of pharmacolonial violence. The incantation that Carimbo and Maelo vocalize as a survival tactic allows us to rethink the concatenation of their voices as an entry point to theorize a spectropolitics of listening. The incantation tells us much about the politics of life and death in contemporary Puerto Rico.
Enriquez, Sophia M. “‘Penned against the wall’: Migration narratives, cultural resonances, and Latinx experiences in Appalachian music”, Journal of popular music studies 32/2 (June 2020) 63–76. [RILM Abstracts of Music Literature, 2020-14803]
Abstract: Although the Appalachian region has long been associated with white racial identity, Latinx people remain the region’s largest and fastest-growing minority. What perspectives and experiences are revealed when such narratives of whiteness are challenged by the visibility of Latinx migrants? What does music tell us about ongoing discourses of migration and border-crossings? This essay analyzes Latinx immigration narratives in Appalachian music and offers the possibility of a Latinx-Appalachian musical and cultural resonances. I take up the music of artists who claim hybrid Latinx-Appalachian cultural and musical identities. Namely, this essay focuses on Che Apalache—a four-piece band based in Buenos Aires that plays Latingrass—and the Lua Project—a five-piece band based in Charlottesville, Virginia, that plays Mexilachian music. Using field recordings and ethnographic interviews with both groups, this essay analyzes references to U.S.-Mexico border politics, acts of border crossing, and Latin American-Appalachian geographic similarities. I engage U.S.-based Latinx studies and Appalachian studies to establish relationships of Appalachian and Latinx cultures and incorporate analyses of both Spanish and English lyrics. Ultimately, this essay suggests that listening for Latinx migration narratives in Appalachian music challenges assumptions of belonging in the shifting U.S. cultural landscape.
Fernández L’Hoeste, Héctor and Pablo Vila, eds. Sound, image, and national imaginary in the construction of Latin/o American identities. Music, culture, and identity in Latin America (Lanham: Lexington Books, 2018). [RILM Abstracts of Music Literature, 2018-64488]
Abstract: Addresses a gap in the many narratives discussing the cultural histories of Latin American nations, particularly in terms of the birth, configuration, and perpetuation of national identities. It argues that these processes were not as gradual or constrained as traditionally conceived. The actual circumstances dictating the adoption of particular technologies for the representation of national ideas shifted and varied according to many factors including local circumstances, political singularities, economic disparities, and highly individualized cultural transitions. This book proposes a model of chronology that is valid not only for nations that underwent strong processes of nationalism during the early or mid-20th century, but also for those that experienced highly idiosyncratic cultural, economic, and political development into the early 21st century.
Hernández-León, Rubén. “How did son jarocho become a music for the immigrant rights movement?”, Ethnic and racial studies 42/2 (2019) 975–993. [RILM Abstracts of Music Literature, 2019-25678]
Abstract: Chicana/o activists and artists in Greater Los Angeles have turned son jarocho, a traditional music genre from southeastern Mexico, into an organizing resource and a means to express the plight of immigrants. Building on a movement that started in Mexico to reestablish the communal celebration of the fandango as the center of the son jarocho tradition, these Chicana/o activists have reinterpreted fandangos as the enactment of community. They have also repurposed son jarocho and its lyrical content to articulate demands for the rights of undocumented immigrants and other social justice causes. These endeavors take place in community and cultural centers founded and led by a mix of immigrant generations: veterans of the Chicana/o civil rights movement of the 1970s, first generation immigrants and their adult children and grandchildren. These actors embrace fandangos as a metaphor and blueprint for community participation as they write new lyrics to demand justice for immigrants.
Loza, Steven, ed. Barrio harmonics: Essays on Chicano/Latino music (Los Angeles: UCLA Chicano Studies Research Center press, 2019). [RILM Abstracts of Music Literature, 2019-14233]
Abstract: Explores Chicano, Mexican, and Cuban musical forms and styles and their transformation in the United States. Employing musical, historical, and sociocultural analyses, Loza addresses issues such as marginality, identity, intercultural conflict and aesthetics, reinterpretation, postnationalism, and mestizaje—the mixing of race and culture—in the production and reception of Chicano/Latino music.
Miller, Sue. “Pacheco and charanga: Imitation, innovation, and cultural appropriation in the típico tradition of New York City”, Latin American music review/Revista de música latinoamericana 41/1 (spring–summer 2020) 1–26. [RILM Abstracts of Music Literature, 2020-2944]
Abstract: Explores the performance practice and aesthetics of Cuban dance music in the U.S. in relation to the concept of sabor. This multifaceted term encompasses a range of meanings and includes, among other elements, a dance imperative, melodic call-and-response-style inspiraciones, and a clave feel. A case study of Dominican-born Johnny Pacheco, a charanga flute player and the cocreator of the term salsa, allows for exploration of a specific New York-based sabor as well as consideration of issues such as imitation, innovation, and cultural appropriation in the context of charanga típica performance in mid-20th-century New York. Pacheco’s musical contributions, critiqued by Juan Flores as “traditionalist” and by John Storm Roberts as “revivalist”, have often been overshadowed by his considerable entrepreneurial activities. Rather than examine his work as a record producer and entrepreneur, Pacheco’s earlier recordings made as a charanga flute improviser are examined to demonstrate that, pace Roberts and Flores, his improvisational style illustrates a particular New York performance aesthetic rooted in clave aesthetics and the rich musical culture of the Bronx—an aesthetic that is related to, but distinct from, that of earlier Cuban role models.
Power-Sotomayor, Jade. “Moving borders and dancing in place: Son jarocho’s speaking bodies at the Fandango Fronterizo”, TDR: The drama review 64/4 (winter 2020) 84–107 [RILM Abstracts of Music Literature, 2020-12392]
Abstract: The annual Fandango Fronterizo is a binational performance gathering where the U.S.-Mexico border meets the ocean. Fandanguerxs, gathering on both sides of the border wall in Tijuana and San Diego, enact a performative, political gesture that interrupts the discursive racialized and gendered logic of the two nation-states, refusing to be eternally desterrados by the violence of the border.
Ramos-Kittrell, Jesús A., ed. Decentering the nation: Music, mexicanidad, and globalization. Music, culture, and identity in Latin America (Lanham: Lexington Books, 2020). [RILM Abstracts of Music Literature, 2020-8323]
Abstract: Decentering the nation: Music, mexicanidad, and globalization considers how neoliberal capitalism has upset the symbolic economy of “Mexican” cultural discourse, and how this phenomenon touches on a broader crisis of representation affecting the nation-state in globalization. This book argues that, while mexicanidad emerged in the early 20th century as a cultural trope about national origins, culture, and history, it was, nonetheless, a trope steeped in otherization and used by nation-states (Mexico and the United States) to legitimize narratives of cultural and socioeconomic development stemming out of nationalist political projects that are now under strain. Using music as a phenomenological platform of inquiry, contributors to this book focus on a critique of mexicanidad in terms of the cultural processes through which people contest ideas about race, gender, and sexuality; reframe ideas of memory, history, and belonging; and negotiate the experiences of dislocation that affect them. The volume urges readers to find points of resonance in its chapters, and thus, interrogate the asymmetrical ways in which power traverses their own historical experience. In light of the crisis in representation that currently affects the nation-state as a political unit in globalization, such resonance is critical to make culture an arena of social collusion, where alliances can restore the fiber of civil society and contest the pressures that have made disenfranchisement one of the most alarming features characterizing the complex relationships between the state and the neoliberal corporate system that seeks to regulate it. Scholars of history, international relations, cultural anthropology, Latin American studies, queer and gender studies, music, and cultural studies will find this book particularly useful.
Rivera-Rideau, Petra R. and Jericko Torres-Leschnik. “The colors and flavors of my Puerto Rico: Mapping Despacito‘s crossovers”, Journal of popular music studies 31/1 (March 2019) 87–108. [RILM Abstracts of Music Literature, 2019-3436]
Abstract: Luis Fonsi and Daddy Yankee’s song Despacito shattered records to become one of the most successful Spanish-language songs in U.S. pop music history. Declared 2017’s Song of the Summer, the remix version featuring Justin Bieber prompted discussions about the racial dynamics of crossover for Latin music and Latina/o artists. However, little attention was paid to the ways that the song’s success in the Latin music market demonstrated similar racial dynamics within Latin music, especially in the song’s engagement with reggaetón, a genre originally associated with Black and working-class communities. This paper examines the racial politics that surround the success of Despacito in both the Latin mainstream and the U.S. mainstream. We argue that Despacito reinforces stereotypes of blackness in the Latin mainstream in ways that facilitate reggaetón’s crossover. In turn, Fonsi himself becomes attributed with similar stereotypes, especially around hypersexuality, that represent him as a tropical Latina/o racialized other in the United States. Through close readings of media coverage of Despacito alongside the song’s music video, we argue that it is critical to look at its success in both the Latin mainstream and the U.S. mainstream in order to examine the complex and contradictory process of crossing over.
Ruiz Vega, Omar. “Representando al caserío: Narcocultura y el diario vivir en los videos musicales de reggaetón”, Latin American music review/Revista de música latinoamericana 39/2 (fall–winter 2018) 229–265. [RILM Abstracts of Music Literature, 2018-44684]
Abstract: Reggaetón music videos frequently portray representations of narco culture and Puerto Rican marginalized communities. Existing literature explains these representations as an expressive vehicle that reflects the life and problems in the barrios and housing projects. However, the analysis of 14 reggaetón music videos provides a critical perspective of the narco-related messages. Reggaetón’s narco references help strengthening the stereotypes prevailing in Puerto Rican society toward marginalized communities, promoting a problematic identity through narco-aesthetics messages.
Sánchez Rivera, Rachell. “Reggaetón, trap y masculinidades: Dinámicas sociales al ritmo del perreo combativo en Puerto Rico”, Taller de letras número especial (2020) 42–55. [RILM Abstracts of Music Literature, 2020-64456]
Abstract: Examines the Puertorican reggaetón imagination based on the perreo combativo, a combative reggaetón dance that was part of the 2019 social protest against Governor Ricky Rosselló. The analysis of the intersections between gender, race, class, and identity overcome the unitary view of Puertorican identity embedded in machismo.
Schreil, Cristina. “Eunice Aparicio: Slow and steady”, Acoustic guitar 28/4:298 (October 2017) 48–49. [RILM Abstracts of Music Literature, 2017-55454]
Abstract: Flor de Toloache’s guitarist, Eunice Aparicio, shares her mariachi playing tips. Formed in 2008, the Latin Grammy winning Flor de Toloache are New York City’s first all-female mariachi group. Today its members hail from diverse locales such as Mexico, Cuba, Puerto Rico, Dominican Republic, Colombia, Australia, Italy, Germany, and the U.S.
Washburne, Christopher. Latin jazz: The other jazz. Currents in Latin American and Iberian music (New York: Oxford University Press, 2020) [RILM Abstracts of Music Literature, 2020-10628]
Abstract: Jazz has always been a genre built on the blending of disparate musical cultures. Latin jazz illustrates this perhaps better than any other style in this rich tradition, yet its cultural heritage has been all but erased from narratives of jazz history. Told from the perspective of a long-time jazz insider, this book corrects the record, providing a historical account that embraces the genre’s international nature and explores the dynamic interplay of economics, race, ethnicity, and nationalism that shaped it.
Williamson, Emily J. “Reclaiming the tarima and remaking spaces: Examining women’s leadership in the son jarocho community of New York City”, Transatlantic malagueñas and zapateados in music, song and dance: Spaniards, natives, Africans, Roma, ed. by K. Meira Goldberg, Walter Aaron Clark, and Antoni Pizà (Newcastle upon Tyne: Cambridge Scholars Publishing, 2019) 406–413. [RILM Abstracts of Music Literature, 2019-6519]
Abstract: If the tarima is the corazón of the fandango, is the zapateado its heartbeat? Then, is the bailadora the life that flows through this heart? The tarima and zapateado are often described in romantic and powerful metaphors. However, few scholars have examined women’s relationship to the performance and practice of son jarocho. In this paper, I build upon Martha González’s theory of “rhythmic intention,” and argue that women in the recently formed Mexican fandango revival or “jaranero” community across the five boroughs of New York City are not only moving and executing sounds of zapateado on the tarima with rhythmic purpose, but also outside of the fandango. The jaraneras of New York City are creating distinctly feminine spaces for music as well as leadership. Their leadership is present in their organizational work that maintains and cultivates the son jarocho community and in their musical practices—at fandangos, in professional stage performances, and in music workshops. This paper presentation will provide ethnographic examples that demonstrate the ways in which women are making and articulating space for jaraneras by sounding their fandango-centered practice on and off of the tarima.
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The story of jazz in China spans a century, encompassing the introduction of jazz in the early 1920s, its interruption under Mao in 1949, and its rejuvenation in the early 1980s with China’s opening to the world under Deng Xiaoping.
As a highly democratic form of music characterized by improvisation and individual freedom of expression, in the 1920s jazz embodied the antithesis of thousands of years of Chinese cultural history. A hundred years later, Chinese jazz is engaged in a balancing act between consumerism, political ideology, and censorship.
This according to Jazz in China: From dance hall music to individual freedom of expression by Eugene Marlow (Jackson: University Press of Mississippi, 2018; RILM Abstracts of Music Literature 2018-7991).
Above and below, Li Gaoyang, one of the musicians discussed in the book.
In the mid-1950s Charles Mingus embraced the collective improvisation of early New Orleans jazz and the ecstatic worship and singing rituals of the Black Pentecostal church— two historical African-derived approaches that emphasized group expression.
Mingus used these two approaches to advance both musical expression and political and spiritual ideas, charting a trajectory toward group oneness. His recordings from the mid-1950s to the early 1960s progressed from short sections of collective interplay and group improvisation reminiscent of early jazz to longer forms of ecstatic ritual. This latter practice—in the form of solos, band, and audience participation—was a direct invocation of the spiritual communion or Holy Spirit possession that he had witnessed in Pentecostal church services as a youth.
This according to “Mingus in the workshop: Leading the improvisation from New Orleans to Pentecostal trance” by Jennifer Griffith (Black music research journal XXV/1 [spring 2015] 71–96; RILM Abstracts of Music Literature, 2015-87883).
Today is Mingus’s 100th birthday! Below, Wednesday night prayer meeting (1959), one of the recordings discussed in the article.
Distinguished for his achievements in both the jazz and classical worlds, Joe Wilder performed as lead trumpet and soloist with Lionel Hampton, Jimmy Lunceford, Dizzy Gillespie, and Count Basie.
He was also a pioneer who broke down racial barriers. Wilder was a founding member of the Symphony of the New World, the first racially integrated orchestra in the U.S., where he played first trumpet; the first African American to hold a principal chair in a Broadway show orchestra; and one of the first African Americans to join a major network studio orchestra
Wilder’s modesty and ability to perform in many musical genres may have prevented him from achieving popular recognition, but his legacy and contributions to music and culture are far-reaching.
This according to Softly, with feeling: Joe Wilder and the breaking of barriers in American music by Edward Berger (Philadelphia: Temple University Press, 2014).
Today is Wilder’s 100th birthday! Above, performing in 2006 (photo by Professor Bop, licensed under CC BY 2.0); below, playing the jazz standard Cherokee in 1956.
Jon Hendricks was not the first jazz singer to practice the art of vocalese—crafting lyrics to jazz instrumental compositions and solos—but was widely considered its standard-setting grand master.
After hearing King Pleasure’s 1952 record of “Moody’s mood for love” with lyrics by Eddie Jefferson, Hendricks was inspired to write his own verses to jazz instrumentals. “It opened up a whole world for me” he said in a 1982 interview. “I was mesmerized. I’d been writing rhythm-and-blues songs, mostly for Louis Jordan. But I thought ‘Moody’s mood for love’ was so hip. You didn’t have to stop at 32 bars. You could keep going.”
Dubbed “the James Joyce of jive” by Time magazine, Hendricks gained international fame as part of the trio Lambert, Hendricks, and Ross, which often featured his vocalese creations.
This according to “Jon Hendricks, vocalese pioneer, dies at 96” by Allen Morrison (DownBeat LXXXV/2 [February 2018] 25; RILM Abstracts of Music Literature 2018-1066).
Today would have been Jon Hendrick’s 100th birthday! Below, LH&R perform his Cloudburst.
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