Baseball played an important part in Charles Ives’s life, music, and writings; it was a place where he proved himself as a man, and it provided a framework within which he could build new musical ideas. Ives’s identity as a U.S. composer links him to this game, and a brief chronology of baseball history demonstrates significant changes in the game over the course of his lifetime (1874–1954).
Baseball provided Ives with a vehicle to establish his masculine identity, counterbalancing societal and self views of his musical participation as feminine. His pieces and unfinished sketches about baseball provided a vehicle for him to invent new musical ideas in reference to specific baseball situations that he could use as part of his basic musical language in later pieces.
Analyses of Ives’s baseball-related completed pieces (All the way around and back, Some southpaw pitching, Old home day, The fourth of July) and unfinished sketches (Take-off #3: Rube trying to walk 2 to 3!!, Take-off #7: Mike Donlin–Johnny Evers, and Take-off #8: Willy Keeler at the bat), compared with passages from later works, reveal these associations.
This according to Baseball and the music of Charles Ives: A proving ground by Timothy A. Johnson (Lanham: Scarecrow, 2004).
Today is Ives’s 140th birthday! Above, the Danbury Alerts, ca. 1890; a young Charles Ives is the first seated player from the left. Below, James Sykes plays Study no. 21: Some southpaw pitching.
In 2013 a new scholarly journal, Құрманғазы Атындағы Қазақ Ұлттық Консерваториясының Хабаршысы/Вестник Казахской Национальной Консерватории им. Курмангазы/The Bulletin of the Kazakh National Conservatory of the Name of Kurmangazy (ISSN 2310-3337), was launched by the Kazakh National Kurmangazy Conservatory in Almaty.
This quarterly is published in Kazakh, Russian, and English. Its goal is to present a broad spectrum of research in arts, musicology, and contemporary music education, as well as in social studies, humanities, culture, criticism, and journalism. The full text of the first issue is available here.
Below, Kyz Žibek by Evgenij Grigor’evič Brusilovskij, a Kazakh opera discussed in the inaugural issue.
Johannes Kreidler’s 2009 conceptual performance piece Fremdarbeit (Outsourcing) was composed, as the title suggests, by means of hiring foreigners. Kreidler payed a composer in China and a computer programmer in India to study his previous work and produce a chamber composition in his style.
This according to “Fremdarbeit: Kompositionsaktion für Ensemble, Sampler und Moderator–Ein Gespräch” by Carolin Naujocks (Positionen: Texte zur aktuellen Musik 93 [November 2012] pp. 26–29).
Above, the composer with the performance artist Leowee Polyester in 2007; below, a documentary about Fremdarbeit with English subtitles.
Throughout much of his career, Peter Maxwell Davies has had a preoccupation with sonata form. He has exploited the tension between this form and his other conflicting musical preoccupations, such as a penchant for continuous development and an abhorrence of exact repetition.
In his earlier works, Davies at times referred to the presence of a “ghost” of sonata form, whereas more recently he directly states that some of his pieces are in this form. Throughout its evolution the salient elements of sonata form have been contrast, conflict, and resolution, all three of which apply in an examination of Davies’s use of it.
In his second Taverner fantasia, the first movement appears on the surface to be in sonata form, but is actually driven by other principles such as recurring chordal material. The opening movement of the first symphony has the general outline of a sonata form without adhering to its contrasting thematic implications. The more recent third quartet combines the formal and harmonic implications of a pre-Beethovenian, essentially binary, sonata form, with a highly complex and idiosyncratic serial technique derived from magic squares.
This according to “The ghost in the machine: Sonata form in the music of Peter Maxwell Davies” by Rodney Lister, an essay included in Peter Maxwell Davies studies (Cambridge: Cambridge University Press, 2009) pp. 106–28).
Today is Sir Peter’s 80th birthday! Below, Davies conducts the BBC Philharmonic in his first symphony.
BONUS: How to pronounce the composer’s last name.
In a 1922 interview in New York City, Darius Milhaud described how jazz had recently taken the French musical scene by storm, to the delight of young composers like himself.
“Jazz interests us tremendously. We are fascinated and intrigued by the jazz rhythms and are devoting serious study to it. There are new elements of clarity and rhythmic power that were a real shock to us when we heard jazz for the first time.”
“It was in 1919, immediately after the war, that the first jazz band was heard in Paris. To us it was a musical event of genuine import. Music had long been under the domination of the impressionist school. Poetry was the predominating element. Jazz came to us as a good shock—like a cold shower when you have been half asleep with ennui.”
This according to “Jazz, says Darius Milhaud, is the most significant thing in music today” (The musical observer XXIII [March 1923] p. 23; reprinted in Jazz in print 1856–1929: An anthology of selected early readings in jazz history [Hillsdale: Pendragon press, 2002] p. 235).
Today is Milhaud’s 120th birthday! Above, with Dave Brubeck at Mills College; below, La création du monde from 1923.
Cambridge Scholars launched the series The Arizona Center for Judaic Studies publication in 2014 with The Jewish experience in classical music: Shostakovich and Asia, edited by Alexander Tentser.
The book’s juxtaposition of two highly dissimilar composers allows an exploration of the breadth of influence of traditional Jewish culture on Western classical music in the 20th century and beyond. The first part focuses on the humane qualities of Dmitrij Šostakovič’s personality—his honesty and courage, which enabled him in difficult times to express Jewish torment and suffering under both the Soviet and Nazi regimes through his works; the second part is dedicated to the music of Daniel Asia and to his philosophical and religious identification with Judaism.
Below, Šostakovič and Nina Dorliak perform one of his settings of traditional Jewish songs, and Jonathan Shames performs Asia’s Why (?) Jacob.
When the Count Basie Orchestra first achieved prominence in 1936 it was using a basic antiphonal style and repertoire borrowed from other performance groups.
In those days, the originality of Basie’s orchestra lay in its rhythm section and in the abilities of its several outstanding soloists. In effect, Basie brought a version of the Kansas City backroom jam session onto the bandstand.
When he re-formed his orchestra in 1950–51, after over a year of leading a sextet, Basie depended on mass effects, orchestral precision, adventurous voicings, and a new repertoire.
During this time he relied on the talents of composer-orchestrators Frank Foster, composer of Shiny stockings, Neal Hefti (Cute), Thad Jones (Speaking of sounds), and others. Basie’s new sound slightly echoed that of the Jimmie Lunceford Orchestra of the 1930s, but was otherwise without precedent in jazz history.
This according to “Horses in midstream: Count Basie in the 1950s” by Martin T. Williams (Annual review of jazz studies II  pp. 1–6).
Today is Basie’s 110th birthday! Above and below, the Count Basie Orchestra in 1951 (pictured above with Ethel Waters).
In 2005 Pat Metheny was alarmed by shortening attention spans and bite-sized media blips.
“The new form now is ringtones!” he exclaimed in an interview. “It went from a symphony to an album, then to singles, then edit your single, then four-bar loops, and now it’s down to one or two seconds.
In response Metheny created The way up, a CD comprising a single work that lasts over an hour. The guitarist described it as “a protest in the purest sense of the word—it offers an alternative, not just a shrill polemic…[the album] “is a reaction to a world where things are getting shorter, dumber, less interesting, less detailed, more predictable.”
“If you look at the whole history of the group, we’ve been totally interested in expansion in terms of form… It seemed like now was the time to go all the way and attempt to use the CD itself as a platform.”
This according to “The advancing guitarist” by David L. Adler (JazzTimes XXXV/2 [March 2005] pp. 36–42).
Today is Metheny’s 60th birthday! Below, the group plays the full work live in April 2005.
Pendragon Press launched the series Music in media in 2013 with A dimension of sound: Music in “The twilight zone” by Reba Wissner.
Wissner explores the Twilight zone series and offers multiple readings of the ways in which it used music, offering an understanding of the ways in which music—both original and stock—can be used in an anthology television show.
The book focuses both on the ways in which newly composed scores and stock music were used in the series and on how the music enhances and interacts with what we see and hear onscreen.
Below, an abridged version of The invaders (1961), one of Rod Serling’s favorite episodes; no words are spoken until the final scene.
John Cage’s 18 microtonal rāgas are found in Solo for voice 58 from Song books (1970).
To perform them, the dhrupad and experimental music specialist Amelia Cuni decided to apply experimental procedures to dhrupad vocalism and to elaborate her Indian music background in a new music context. She also wanted to explore an influential contemporary composer’s take on rāgas and step back from her personal involvement with the tradition and observe it from another perspective.
In collaboration with the Berliner Festspiele and several other contemporary music venues, Cuni’s interpretation of Solo for voice 58 was premiered in Berlin in 2006 and has been performed since then at several European and U.S. festivals.
This according to Cuni’s “Chance generated ragas in Solo for voice 58: A dhrupad singer performs John Cage” (Journal of the Indian Musicological Society XLI [2011–12] pp. 127–54).
Above, the tabla notation for the performance; below, a studio recording of Cuni’s realization. More about the work and Cuni’s version is here; a full live performance can be viewed here (the performance starts at 10:00).