In The voice of the silence (1889), Helena Blavatsky (above) designated the pitch F as the keynote of nature. Blavatsky’s authority was Benjamin Silliman, a Professor of chemistry at Harvard; his source was probably The music of nature (1832) by William Gardiner. Beethoven’s sixth symphony had already established F as the favored “pastoral” key.
Blavatsky’s prestige perpetuated the designation among Theosophists, and it remains a popular New Age concept, though some maintain that the correct note is F sharp. Several musicologists have suggested ingenious rationales for the idea that F is a fundamental keynote.
This according to “Is there a keynote of nature?” by Joscelyn Godwin, an essay included in Esotericism, religion, and nature (East Lansing: Association for the Study of Esotericism, 2009, pp. 53–71).
Below, another endorsement of the natural power of F.
In 2019 A-R Editions published Michele Pesenti: Complete works, a critical edition produced by an editorial team including a musicologist, a linguist, and a musicologist-performer.
While earlier musicologists assumed continuities between frottola and madrigal, more recent scholarship has refuted this idea: they were two different genres, cultivated in different centers of patronage, by different composers, and for different audiences.
Pesenti, however, composed in both genres thanks to changing professional circumstances. He composed frottole while working in Ferrara, and later, when he secured an appointment at the court of Pope Leo X, he (or someone acting for him) refashioned several of his frottole as madrigals: Textless lower instrumental lines are provided with text, converting a composition for a vocalist with instrumental accompaniment into one for an ensemble of four vocalists.
This pioneering edition of Pesenti’s complete works offers parallel editions of compositions existing in both these forms, as well as compositions for solo voice and instrumental consort that were later arranged for voice and lute. It further seeks to clarify the procedures used in expanding the abbreviated presentation of the frottola’s texts and music into readily performable forms.
Above, a page from an early edition of Pesenti’s Dal lecto me levava; below, a recording of the work.
La Maldita Vecindad y los Hijos del Quinto Patio (usually referred to as Maldita Vecindad, or La Maldita, for short) produces music that is frequently categorized as fusion, due to its blending of rock, ska, reggae, and punk with traditional Mexican styles like danzón and bolero.
Deeply rooted in the working class, Maldita Vecindad is a pioneer of the rock en español movement, and its easily recognizable fusion rock—as well as the pachuco fashions favored by the members—have helped it to become one of the most influential groups of contemporary Mexican rock music.
From the group’s beginnings in the wake of the 1985 earthquake that devastated Mexico City, Maldita Vecindad’s members have drawn on their fame to make their fans more aware of leftist ideas and social causes, including the need for actively participating in relief efforts following the 1985 quake, political campaigns, and raising consciousness about HIV and AIDS. The group’s motto is paz y baile (peace and dance), a perfect combination of social message with ritual.
This according to “Maldita Vecindad, ritual, and memory: Paz y baile” by Lori Oxford, an essay included in Sounds of resistance: The role of music in multicultural activism (Santa Barbara: Praeger, 2013, pp. 355–72).
Below, Maldita Vecindad performs in 2014.
On Sunday 5 November 1967 The New York times published “Who’s writing about music and where”, a review of the first quarterly volume of RILM Abstracts of Music Literature. The volume had been published in August of that year.
The reviewer, Raymond Ericson, noted that the volume “looks, hopefully, like the first permanent attempt to describe regularly what is being written about in the world’s significant literature on music” and that it “obviously fills a great need in musicological circles.” He also included summaries of six of the volume’s 497 entries.
Below, something else that happened a couple of days later.
In an interview, the Hindustani vocalist Girija Devi recalled how some performers of khayāl—the dominant North Indian classical tradition—looked down on ṭhumrī, which was considered a light-classical tradition.
“The new khayāl establishment appeared to create a climate of opinion in which the ṭhumrī and its allied genres were regarded as either easy to master, or otherwise inferior.”
“This bothered me immensely, so I decided to match the competence of khayāl vocalists on their home turf, and challenge them to match me on mine. I worked very hard on my khayāl, and performed it more widely and consistently than any other Benares vocalist in recent times. I make it a point to perform a khayal at every concert, and it consumes almost half of the duration of my recital. After that, I perform a few semi-classical pieces.”
“In the khayāl we get to the root of the raga’s melodic personality, and elaborate upon it according to the established presentation format. In the ṭhumrī we get into the emotional depth of the poetry, and express it as musically as we can. I was brought up in a family with a very deep involvement with literature, particularly poetry, so I handle poetry in ṭhumrī with sensitivity.”
Quoted in “Girija Devi: The queen of Benares” by Deepak S. Raja (Sruti 250 [July 2005] pp. 41–50).
Today would have been Girija Devi’s 90th birthday! Above, performing in 2015; below, performing the ṭhumrī Babul mora in 2014.
Filed under Asia, Performers
Created between 1960 and 1961, Escorting Lady Jing a thousand li (千里送京娘) is a kunqu masterpiece that continuously entertains audiences and stimulates discussions on Chinese opera, gender, and politics.
A mid-twentieth century dramatization of a traditional story, the opera narrates a journey in which the young Zhao Kuangyin, the future founder of the Northern Song empire, escorts the beautiful Lady Jing home, falls in love with her along the way, leaves her to realize his heroic dreams, and vows to return to marry her in the future. Theatrically, the opera makes Chinese men and women ask how they should choose between desire and duty, realizing their personally, socially, and politically enforced gendered roles and values.
Having been performed over five decades, the opera and its performance practices and meanings have evolved, generating changing discussions and interpretations. Its recent performances, for example, underscore sustainability issues of kunqu as a genre of Intangible Cultural Heritage, thereby opening audiences’ ears, eyes, and minds to their Chinese cultures, identities, and politics.
This according to “Escorting Lady Jing home: A journey of Chinese opera, gender, and politics” by Joseph Sui Ching Lam (Yearbook for traditional music XLVI  pp. 114–39). Above the original 1961 production; below, an excerpt from a more recent televised version.
Pete Seeger essentially created the folk revival movement in the United States—carrying on the work of Woody Guthrie and helping to spawn the careers of Bob Dylan and Joan Baez, among others—while also linking this movement to political protest and iconoclasm.
As a result of his anti-war crusading and open Communist leanings, Seeger was a central target of the infamous HUAC witch hunts, and was widely blacklisted and condemned. In the process, however, he ended up inventing the college circuit and becoming the cornerstone of the 1960s folk revolution.
Galvanized by the 1998 tribute album Where have all the flowers gone?, the late 1990s and 2000s saw a reawakening of interest in Seeger’s music and cultural legacy, which included Bruce Springsteen’s album-length We shall overcome: The Seeger sessions.
This according to “Voice of America” by Phil Sutcliffe (Mojo February 2007).
Today would have been Seeger’s 100th birthday! Below, his iconic 1968 broadcast of Waist deep in the Big Muddy; the antiwar song was censored by CBS when he taped it for The Smothers Brothers Comedy Hour in 1967, but the following year the network caved to pressure from the show’s hosts and allowed it to be aired.
The Kominas is a Pakistani-American Desi punk band known for its iconic role within the punk-inspired, Muslim-affiliated music culture self-labeled as taqwacore.
Since its national tour in 2006 the group has been creating a radically translocal social geography comprised of musicians, listeners, artists, filmmakers, and bloggers on- and off-line. The Kominas concocts a transnational sound, combining elements of Punjabi and punk music, while on social media the band members contemplate their troubled sense of national belonging and build a diasporic space that is digitally produced and unified by minoritarian politics.
This according to “Mapping The Kominas’ sociomusical transnation: Punk, diaspora, and digital media” by Wendy F. Hsu, an essay included in 2nd Inter-Asia Popular Music Studies Conference (Asian journal of communication XXIII/4  pp. 386–402).
Below, live in Morocco in 2017.
A member of Bach’s circle, long known only as Anonymous Vg, was identified early in the 21st century as Friedrich Christian Mohrheim.
From 1733 to 1736 Mohrheim was a documented boarder at the Thomasschule in Leipzig, where he studied with Bach. He later influenced musical life in Gdańsk through his extensive concert activity and his work as Kapellmeister at the Bazylika Mariacka.
This according to “Der Bachschüler Friedrich Christian Samuel Mohrheim (1719–1780) als Danziger Kapellmeister und Konzertveranstalter” by Karla Neschke, an essay included in Vom rechten Thon der Orgeln und anderer Instrumenten: Festschrift Christian Ahrens zum 60. Geburtstag (Bad Köstritz: Forschungs- und Gedenkstätte Heinrich-Schütz-Haus, 2003, pp. 210–21).
Today is Mohrheim’s 300th birthday! Above, the Bazylika Mariacka; below, Mohrheim’s cantata Preise, Jerusalem, den Herrn from 1762.
Bachata, a genre originating in the Dominican Republic, can be considered music of both political and social resistance. From the direct connection between the inception of the genre and the death of the dictator Rafael Leónidas Trujillo to the initial marginalization of the genre by the socially elite—as well as bachata’s relationship with nueva canción, a left-wing political movement—both the origins and rise to popularity of bachata are linked to political and social conflicts.
Today bachata’s wide popularity sets it apart from its humble roots and resistant nature; however, many songs with a strong social message suggest that bachata was and still is a music of the people, and a number of recent novels and films use the genre to portray social messages and to connect the music with the Dominican people.
This according to “Insolent origins and contemporary dilemmas: The bachata genre as a vehicle for social commentary, past and present” by Patricia Reagan, an essay included in Sounds of resistance: The role of music in multicultural activism (Santa Barbara: Praeger, 2013, pp. 373–95).
Above, Juan Luís Guerra, whose 1991 album Bachata rosa (below) was particularly influential in changing the reception of bachata.