The pianist, composer, and bandleader Reginald Foresythe occupied a critical location as a black British musician within Anglo-American jazz culture and the African diaspora. Foresythe warrants attention for his highly influential yet neglected contribution to 1930s jazz during a crucial period in which the rapid proliferation and commodification of recorded jazz meant that it increasingly became the focus of searching critique.
In this respect, he stands at a fascinating conjunction of three intersecting critical discourses. First, Foresythe offers an opportunity to reconsider modernist concerns about the form and functions of jazz in social relations as expounded by Theodor Adorno. Second, Foresythe offers an opportunity to develop broader transnational perspectives of jazz’s modernity, derived from his position within the spaces of movement that Paul Gilroy called the Black Atlantic. Third, the double consciousness suggested by such a figuring is further complicated by Foresythe’s sexualized performance as a decidedly camp figure in this arena.
The resulting interplay of such triple consciousness in the person of Foresythe offers an illuminating new way to reflect on how Adorno and Gilroy understood jazz’s role in modernity.
This according to “Camping it up: Jazz’s modernity, Reginald Foresythe, Theodor Adorno and the Black Atlantic” by George Burrows, an essay included in Black British jazz: Routes, ownership and performance (Farnham: Ashgate, 2014, pp. 173-198).
Today is Foresythe’s 110th birthday! Above, entertaining members of No. 325 Wing RAF in Setif, Algeria, ca. 1941; below, The Duke insists from 1934.
HipHop Academy Hamburg’s rappers, dancers, and beatboxers use hip hop as a platform of integration, shaping feelings of belonging and perceptions of dual identities.
The Academy’s 2013 production DISTORTION examined migrant descendants’ places in Germany and provoked audiences to contemplate the new faces of the nation. This symbiosis of hip-hop and contemporary dance performed macro- and micro-political integration, illuminating how the boundaries of German national identity are disrupted by the presence of interculturality.
This according to “Ich fühle mich Deutsche: Migrant descendants’ performance of integration through the Hamburg HipHop Academy” by Emily Joy Rothchild, an essay included in Transglobal sounds: Music, youth and migration (New York: Bloomsbury, 2016, pp. 155–76).
Above and below, excerpts from DISTORTION.
Bibliolore now has over 300 followers! Sure, plenty of music blogs have more, but we have staked out such a tiny niche that we are truly honored. Many thanks to all of our followers and friends!
Below, we celebrate by watching someone turn 300 napkins into something resembling wooden tiles.
Filed under RILM, RILM news
In 2016 Svenskt Visarkiv launched Puls: Musik- och dansetnologisk tidskrift/Journal for ethnomusicology and ethnochoreology, an open-access, peer-reviewed online journal (EISSN 2002-2972).
While the main focus of the journal is ethnomusicology and ethnochoreology, it also embraces adjacent disciplines, such as other aspects of musicology and choreology, folklore, literature, and related studies of traditional and popular culture. The journal focuses on discussion of the expressions, roles, and functions of music and dancing in society. Articles are published in Scandinavian languages or in English.
Below, Frode Fjellheim’s Eatnemen vuelie as heard in Disney’s Frozen, the subject of a discussion in the inaugural issue.
In Frances Densmore’s broad sweep through Native American communities, practicing what is now considered salvage anthropology, she worked with more Native American cultures than any anthropologist of her time.
After Densmore’s passing in 1957, others found it difficult to assess the results of her decades of work or to fit them into histories of various types. She had participated actively in communities of musicologists, anthropologists, and other professional women, as well as with Native communities as she pursued her social science. These communities were historically imbricated.
Densmore saw her work as the single focus of a lifetime. That work, over time, became but one part of a larger cultural context within which musicologists and anthropologists as a whole, as well as women anthropologists in particular and Native American writers, examined her work.
This according to “Gone but not quite forgotten” by Joan M. Jensen, an essay included in Travels with Frances Densmore: Her life, work, and legacy in Native American studies (Lincoln: University of Nebraska Press, 2015, pp. 242–83).
Today is Densmore’s 150th birthday! Above, with Susan Windgrow (Maka Waste’ Win/Good Earth Woman), ca. 1930; below, Sitting Bull’s favorite song, recorded by Densmore from a man who had learned it by hearing it sung repeatedly by Sitting Bull himself.
The power of Harry Smith’s Anthology of American folk music, which turns 65 this year, lies squarely in its use of collage.
Smith’s decisions in sequencing and juxtaposing the 84 songs encouraged a play of sounds and lyrical content that calls attention to similarities and differences, opening multiple meanings and allowing for many possible interpretations.
By privileging collage over narrative, Smith created a complex and nuanced work of social commentary. Through collage, the Anthology captures the ongoing negotiation of the various voices—past and present, black and white—taking part in the reconstruction of U.S. history. These voices remain audible today.
This according to “Collage, politics, and narrative approaches to Harry Smith’s Anthology of American folk music” by Dan Blim, an essay included in Harry Smith’s Anthology of American folk music: America changed through music (Abington: Routledge, 2017, pp. 82–99).
Above, Smith ca. 1965; below, selections from volume II of the six-volume set.
Helen May Butler’s career provides a welcome counternarrative to the men’s professional bands—such as John Philip Sousa’s—that were the rage in the late 19th and early 20th centuries.
Butler had the professional and musical clout to attract the top female talent needed to form a first-rate professional ensemble. Her Ladies’ Military Band rose to prominence during a time when being a professional woman required sacrifice, in terms of both family life and customary female identity. Butler’s perseverance and tenacity in creating an accomplished ensemble of women in a male-dominated field is an important and inspirational addition to the history of both U.S. concert bands and the women’s movement of her time.
This according to “Helen May Butler and her Ladies’ Military Band: Being professional during the golden age of bands” by Brian D. Meyers, an essay included in Women’s bands in America: Performing music and gender (Lanham: Rowman & Littlefield, 2017, pp. 15–49).
Today is Butler’s 150th birthday! Below, an undated photograph of her Ladies’ Brass Band, which toured between 1901 and 1912 (click to enlarge).
Claudio Monteverdi’s seconda pratica was a return to basic verbal expression (listening, recognition, and revelation from emotional vocal accentuation).
Monteverdi’s art agrees with poetic expression as defined in Plato’s three forms expounded in the third book of Republic and Aristotle’s Poetics. For Monteverdi, musical language is music and the synthesis of text, harmony, and rhythm; the phonetic exposition of continuous thought becomes poetry.
This according to Preparazione alla interpretazione della poiesis Monteverdiana by Nella Anfuso and Annibale Gianuario (Firenze: Centro Studi e Rinascimento Musicale, 1971).
Today is the 450th anniversary of Monteverdi’s baptism! Above, a portrait from ca. 1630 by Bernardo Strozzi; below, the madrigal Cruda Amarilli, an especially clear example of Monteverdi’s seconda pratica.
Central among Lou Harrison’s pioneering East-West fusions, his works for gamelan and Western instruments are frequently cited either as exemplars of the composer’s Californian, postmodern musical sensibility, or as noteworthy instances of cultural hybridity. However, close examination of Main bersama-sama (1978) and Bubaran Robert (1976/1981) shows that these pieces can and should be understood for what they tell us about Harrison’s deep engagement with melody.
Harrison has mistakenly been regarded as a West Coast musical dabbler, writing tuneful pieces that lack the complexity that characterizes the work of his East Coast contemporaries. Yet analysis of the pitch structure of these pieces reveals intricate compositional games similar to the pre-compositional strategies of composers more typically associated with algorithmic compositional methods. Because these intricacies lie beneath the melodic surface of the music they have largely been unheard and unappreciated in Harrison’s work.
The melodic nature of these games challenges the widely accepted depiction of Harrison as a mere tunesmith, showing how he explored the ability of melody—as opposed to large-scale tonal or harmonic schemes—to create form and serve a central generative function in his music.
This according to “Unheard complexities in Lou Harrison’s Main bersama-sama and Bubaran Robert” by Rachel Chacko (Journal of the Society for American Music VII/3 [August 2013] pp. 265–94).
Today is Harrison’s 100th birthday! Below, the two pieces in question.
Benga, a Kenyan dance music, first emerged within the Luo community during the late 1960s. The genre has provided many Kenyans with a malleable platform that connects with the traditional ethnic poetic and musical sensibilities that have been resilient in both rural and urban Luo life.
Despite criticism that it was unpolished and parochial, benga’s development shows a clear movement towards sophistication and compositional experimentation. Ultimately benga musicians succeeded in creating a style distinct from its regional counterparts using traditional Luo melodic rhythmic structures and accompaniment cycles.
This according to “Continuities and innovation in Luo song style: Creating the benga beat in Kenya 1960 to 1995” by Ian Eagleson (African music IX/4  pp. 91–122).
Above and below, Okatch Biggy, a pioneer of 1990s benga.