In 1975, during the transition in Greece from military dictatorship to democracy, the composer Manos Chatzidakis was appointed director of the Third Program of Ellīnikī Radiofonīa and asked the choreographer and director Reggina Kapetanaki to help him create an educational radio show for small children.
The result of this collaboration was Edō Lilipoupolī (“Here is Lilliput”), set in an imaginary world loosely based on Jonathan Swift’s Gulliver’s travels. The show’s locations and characters could often be identified by older listeners as satirical references to Greek places and people, and songs composed for it became popular vehicles of political commentary. Sometimes the satire bit too deeply for the government, which accused the creators of producing Communist propaganda, but Chatzidakis, thanks to his personal prestige, was generally able to protect them. The program ran until 1980.
This according to “Children’s songs as socio-political comment in the Greek radio show Edō Lilipoupoli” by Aikaterinī Giampoura, an essay included in Radio art and music: Culture, aesthetics, politics (Lanham: Lexington Books 2020, 235–54).
The Swahili word mpasho is related to the verb -pasha, “to cause to get”, and it refers to someone “getting the message”.
In the popular genre taarab, mpasho performances involve sending and receiving powerful communications—often competetive and antagonistic in nature—through song texts. The subject may be an individual, an organization, or social group, any of which may respond with their own mpasho performance. The phenomenon arose among women singers, most notably Siti binti Saad (above).
This according to “Hot kabisa! The mpasho phenomenon and taarab in Zanzibar” by Janet Topp Fargion, an essay included in Mashindano! Competitive music performance in East Africa (Dar es Salaam: Mkuki na Nyota, 2000; 39–53). Below, Siti binti Saad’s Wewe paka (You are a cat, 1930) sends a message about unwanted sexual advances that would resonate with today’s #MeToo movement.
Throughout his career in Paris (1658–73), Molière regularly incorporated music and dance into his plays. Account books, bills and receipts, contracts of association, musical scores, and other documents attest to Molière’s employment of professional instrumentalists, singers, dancers, choreographers, and musical directors at the Grande Salle du Petit Bourbon and the Théâtre du Palais Royal.
In 1671, in response to the success of Pierre Perrin’s Académie Royale des Opéras, the Troupe du Roy embarked on a new direction in music theater. The troupe’s renovation of the Palais Royal and their installation of a state-of-the-art transformation stage indicate an increased commitment to large-scale performances involving music, dance, and spectacle. This gives credence to the hypothesis that, before their split, Molière and Lully planned to acquire Perrin’s privilège and move into opera.
This according to “Musical practices in the theater of Molière” by John S. Powell (Revue de musicology LXXXII/1  5–37).
A peer-reviewed English-language, online-only, fee-free, diamond open access journal, M&M is dedicated to the scholarly exploration of the multi-dimensional field introduced by the concepts of music and minorities. It is published by mdwPress.
The journal is inclusive of music, dance, and other sound-based social phenomena. The term minority refers to communities, groups, or individuals that are at risk of discrimination on grounds of ethnicity, race, religion, language, gender, sexual orientation, disability, political opinion, displacement, social or economic deprivation, and their intersections.
Contributions to M&M may address all aspects of music and/or dance in the context of minorities. This may encompass aspects like genres of music and/or dance of certain minorities, societal discourses thereon, relationships between hegemonic and marginalized groups, depictions of minorities and/or their musical expressions in other contexts, or the meanings and values that are attributed to musical and other performing practices.
M&M encourages a diversity of approaches and methods, such as ethnography, theoretical reflection, historiography, or other forms of cultural criticism and social analysis. M&M is a forum for both foundational and engaged/applied research. The journal also welcomes interdisciplinary approaches.
Below, Dawood Sarkhosh, an Afghani singer/songwriter currently living in Vienna, is one of the musicians discussed in the inaugural issue.
The relational and cooperative labor of a corps de ballet illuminates the ways the dancers’ embodied knowledge and decision-making processes constitute a vital part of a production’s impact.
Two key aspects of dancers’ performances as a corps de ballet are collaboration and cooperation, which are components of eusociality, a term used to describe the highest level of organization of sociality, commonly observed in honeybees. Through embodied experiences and dancers’ decision-making, a corps de ballet operates in ways that are similar to democratic decision-making processes in honeybee behaviors.
This according to “Cooperation, communication, and collaboration: The sociality of a corps de ballet” by Kate Mattingly and Laura Kay Young (Dance chronicle XLIII/2  132–44).
Above and below, La royaume des ombres from La bayadèreis widely considered one of the world’s most demanding corps de ballet numbers.
They then constructed two empirical experiments to test whether contemporary listeners could identify the same emotions identified by the analysis, targeted at two groups of subjects: relatively inexperienced popular music students; and musicians, composers, and music academics (including some of the world’s leading Bach scholars).
Results suggest that emotional attributions by low-level experts are led by surface acoustic features, and those by high-expert listeners are led by both acoustic and formal features; that this applied much more to the emotions of sadness and tenderness rather than to anger or fear; and that despite the common confusion between anger and fear in real life, listeners were capable of differentiating these emotions in the music, supporting analytical findings in the score.
This according to “The effects of expert musical training on the perception of emotions in Bach’s sonata for unaccompanied violin no. 1 in G minor (BWV 1001)” by Michael Spitzer and Eduardo Coutinho (Psychomusicology: Music, mind and brain XXIV/1 [March 2014] 35–57).
“They had a studio two streets from us on Broadway. I saw [Jim Henson] at a restaurant one day, and I literally got on my knees. I said, ‘I beg you to let me do some little-girl Muppet voices.’ And I did. I would say, ‘You don’t have to pay me.’ And he said, ‘No, I do. This is a union shop. We have to pay you.’ And then, a number of years later, I went to England to do The Muppet show.”
“You [have to avoid] looking at the Muppeteer, which a lot of people do because it’s a natural instinct to look at the person who’s doing the voice. But I love comedy. This was my idea, by the way: ‘What if I’m trying to be really sexy?’ We had me in a great gown and a long wig, and I looked absolutely smashing. Animal’s last line, after I smash him with the cymbals is ‘That’s my kind of woman!’ And most people don’t hear that because they’re laughing.”
RILM’s founder, Barry S. Brook, spent the summer of 1965 pursuing research in Brussels, Paris, and Vienna; midway he attended the IAML congress in Dijon, held on 1 through 6 July. Among the 14 letters that he sent to his wife Claire back in New York City, the letter of 8 July 1965, which he wrote immediately after his return to Paris, describes his participation in the Dijon congress and his social activities around it. The letter reveals the young Brook, who was still unaccustomed to the attention he received from his older colleagues. Every dinner and every conversation was making an impression on him.
On Saturday 3 July he was particularly busy. At a round table at 11 am he explained his idea about notating music using the ordinary typewriter, known as the Plaine and Easy Code. After lunch he was the principal presenter in a round table from 2 to 5 pm titled Utilisation of data processing techniques in musical documentation. Here he made public for the first time his idea about founding an international bibliography of music literature, which he was already calling RILM. Brook’s emphasis in the session was on the possibilities of using computers for the control of music documentation, and he showed a film about IBM called Once upon a punched card (1964; the film may be viewed at the bottom of this post). In an earlier letter, from 2 July, Brook described how he and Françoise Lesure loaded up the back seat of their car with a carton of IBM brochures in three languages that he obviously distributed in the session.
Finally, on Sunday, 4 July, he presented a paper in the session on tempo in 17th- and 18th-century music, organized by the Société française de Musicologie and presided by Mme la comtese de Chambure, who would be a his key partner in founding the Répertoire International d’Iconographie Musicale (RIdIM) a few years later. This may have been his first meeting with Mme Chambure, since in this otherwise very detailed letter, full of names of people with whom he was working and dining, her name was not mentioned.
His paper was Le Tempo dans l’exécution de la musique instrumentale à la fin du XVIIIe siècle. Other presenters in the session was Mme de Chambure, Denise Launay, Charlese Cudworth, André Verchaly, and Claudie Marcel-Dubois.
A fragment of the letter concerning his engagements during the conference:
The congress, which was originally supposed to be more relaxation and wine gobbling than work and business meetings. turned out to be mad whirl. Many meetings—too many—and the “relaxed” part too filled with official receptions, dull speeches by [Député-]Maire [of Dijon, Chanoine Félix Kir], etc. and guided tours of museums and churches (separated by buses) that each lasted too many hours and too many miles. The food at the Cité Universitaire was cheap but dull and could be eaten only after a long wait in line. Despite all this, the congress itself has been a pleasant affair, which I enjoyed because of the people, the concerts, and small amount of wheeling and dealing, the spotlight which was on me more than anticipated since everyone kept referring to my big speech in later meetings.
Also we would drive into town for meals, even breakfast when the line was too long and that was the pleasantest of all—“we” included François [Lesure], Fritz Noske, Paule Guiomar, Nanna Schiødt from Denmark, Rita Benton, Nanie and Fredric [Bridgman], etc. Fredric has a big international job in Geneva where he lives; he & Nannie get together every weekend whether in Geneva or Paris; he took us out to dinner in a wonderful restaurant in the country 15 km outside Dijon on the way to Beaune, chez Jeanette (François, Nanna S., and me). Paule had to return to Paris to start her vacation with Michel so she couldn’t come). Also had breakfast with André Jurres of Holland who succeeds Fédorov as président [of IAML] & spent time with [John Howard] Davies of the BBC, who is good friend of Herman, [Enrich] Straram of French Radio, Sven Lunn of Denmark, spoke to [Friedrich] Blume at some length about R.I.L.M.
Now to the speeches, which as usual were down to the wire. Despite the complete lack of cooperation from Simone Wallon in charge of arrangements (projections etc.) everything was led smoothly with François [Lesure] & Paule’s [Guiomar] help. The first one on the code was changed by François at my request to 11 am instead of 9 on Saturday so as not to conflict with a round table & a RISM meeting starting then. I demonstrated the code and recent improvements with the aid of slides (made for Dallas) distributing French + German translations (Xeroxed by Elvood’s friend). The interest was very high & it was the best attended business meeting of the congress since other meetings stopped in time for those who wished to attend it.
The Round Table on Automation in Music Documentation was, according to François, the hit of the Congress. (I had missed the 1st while preparing for Code mtg, no.s 3 & 4 were very dull). I spoke for 1 ¼ hours, showed a 10 min IBM film, then followed by a German ([Walter] Reckziegel), Dane (Nanna Schiødt in English) and a Swiss ([Raymond] Maylan in French). It went very well. The Tempo meeting in a cold Abbey [de Fontenay] during a guided tour after a large winery lunch was ill conceived from the beginning and was not a success as a whole. Six speakers! 4 French who mainly spoke too fast and too low to be heard, [Charles] Cudworth who spoke charmingly as usual in English and me who spoke extempore—from careful notes—in French and did very well.
After all the intense work & preparation there was much relief and less letdown than anticipated. As indicated, the after round tables were not good, except for Vincent Duckles who was excellent and except that I was constantly being greeted or asked questions.
The letter continues by informing Claire about his research in Paris, his daily activities, the invitation to Vincent Duckles to use their New York apartment on the way through New York, and asking her to send him $150 to Vienna by special delivery.
Musicians of the Orquestra Barroca da Unirio decided to transform their virtual conversations, which kept them in touch and active during the quarantine, into something more formalized and more broadly accessible. Very soon, a vibrant virtual community of musicians, scholars, researchers, and teachers came together as a diverse editorial collective, and Conversa das antigas was launched.
The periodical showcases a variety of research subjects, works in progress, interpretative insights, manuscript studies, aesthetic issues, and everything and anything related to Baroque music. Its title, which could be rendered as “Old-style chat”, conveys the informal vitality of the journal and its fluid boundaries, equally attuned to rigorous scholarship and experimental brain-storming. They clearly have a lot of conversas up their sleeves.
Choe Seung-hui’s career moved in the reverse of the developmental narrative often associated with non-Western choreographers who study Western dance.
The earliest dance photographs of Choe show her in form-fitting leotards and short tunics, showing off her muscular and flexible body through extended lines, pointed feet, and angular planes, her face expressing seriousness or ecstasy—the epitome what one might envision today as modern dance.
But for her, this style ultimately came to represent imitation and convention rather than innovation and creativity. Whereas those early dances followed in the styles of others and worked in their voices, it was in formulating dances involving traditional Korean models that Choe invented her own style and established something new that would influence others.
For Choe, what looked like modern dance from a Western perspective was less modern than the Korean-style modern choreographies with which she made her mark as a modernist choreographer, dancer, theorist, and pedagogue.
This according to “Locating performance: Choe Seung-Hui, East Asian modernism and the case for area knowledge in dance studies” by Emily E. Wilcox, and essay included in Futures of dance studies (Madison: University of Wisconsin Press, 2020, 505–22; RILM Abstracts of Music Literature no. 202o-14576).
Today is Choe Seung-hui’s 110th birthday! Above, a photo from the 1950s; below, a partial reconstruction of Choe’s choreography.
From 4 to 8 October 2021, The Barry S. Brook Center for Music Research and Documentation hosts the virtual conference Responses in Music to Climate Change. The event brings together scholars, performers, composers, and activists, with the goal of exchanging … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
Near the end of his visit to Rome in 1933, the Hindustani vocalist Omkarnath Thakur (1887–1968) received an invitation to dine with Mussolini; Il Duce had caught wind of Thakur’s theories and experiments regarding the inducement of emotional states by … Continue reading →