Author Archives: RILM

Amy Beach: Grand Mass in E-flat Major, Opus 5

 

In 2018 A-R Editions issued a new critical edition of Amy Beach’s Grand Mass in E-flat Major, the first large-scale choral and orchestral work to be premiered in the United States by an American woman composer.

Despite a successful premiere in 1892, the piece was never published and has been relegated to obscurity save for a small number of performances since the 1980s. Its performance materials have been housed in the New England Conservatory of Music and exist in manuscripts that are difficult to use in performance. This critical edition is the first to establish in print the corrections Beach made for the 1892 premiere and to correct errors that are present in the original source materials.

Below, an excerpt from the work.

Related article: Amy Beach’s Gaelic symphony

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Filed under New editions, Romantic era

Dance video games and media ecology

 

What happens when machines teach humans to dance?

Dance video games transform players’ experiences of popular music, invite experimentation with gendered and racialized movement styles, and present new possibilities for teaching, learning, and archiving choreography.

Dance games are part of a media ecology that includes the larger game industry, viral music videos, reality TV competitions, marketing campaigns, and emerging surveillance technologies. The circulation of dance gameplay and related body projects across media platforms illuminates how dance games function as intimate media, configuring new relationships among humans, interfaces, music and dance repertoires, and social media practices.

This according to Playable bodies: Dance games and intimate media by Kiri Miller (New York: Oxford University Press, 2017).

Above, a Just dance session; below, a Dance central session. Both game series serve as case studies in the book, which draws on five years of research with players, game designers, and choreographers.

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Filed under Curiosities, Dance, Popular music

“Scrubs” musical fantasies

Despite its hackneyed premise—a group of medical students trying to get ahead in the competitive hospital environment—the television series Scrubs had something special: a judicious selection of accompanying music.

Sometimes the choice was linked to the musical biographies of the prominent figures, and other times the lyrics referred directly or indirectly to the development of the plot, to particular events, or to important characters. The frequent fantasies involving the main character, Dr. John Dorian, are riddled with emblematic musical references to the pop–rock music of the last 60 years, offering a rich and representative sample of what the last three generations were listening to.

This according to “La inserción del número musical en las series de televisión: El papel de la música en Scrubs” by Judith Helvia García Martín (Cuadernos de etnomusicología 3 [marzo 2003] pp. 204–19).

Above and below, a fantasy sequence involving James Brown’s The payback.

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Filed under Humor, Mass media, Popular music

From virginal to Tangentenflügel

 

A small polygonal virginal built by Franciscus Bonafinis in 1585 was ingeniously converted to a tangent piano in 1717; this was accomplished simply by replacing its jacks with shorter slips of wood and moving its strings so that they lie directly over the jack slots, producing an instrument with struck rather than plucked strings whose sound varies in loudness with the force applied to the keys. The instrument is now at the Metropolitan Museum.

Instruments employing this principle were well-known in the eighteenth century—the trend culminated in the Späth & Schmahl Tangentenflügel.

This according to “En route to the piano: A converted virginal” by Edwin M. Ripin (Metropolitan Museum journal XIII [1978] pp. 79–86).

Above, the Museum’s depiction of the instrument; below, Aleksej Borisovič Lûbimov performs on a tangent piano.

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Filed under Curiosities, Instruments

Bhad Bhabie arrives

 

In 2017 a Florida teenager went from a notorious segment on the Dr. Phil show to signing a major-label record deal as a rapper.

A September 2016 episode of the daytime talk show featured a segment called “I want to give up my car-stealing, knife-wielding, twerking 13-year-old daughter who tried to frame me for a crime!” with Danielle Bregoli and her exasperated mother. Soon after airing, a clip from the episode went viral on social media. In it Bregoli dared audience members to “cash me outside, howbowdah?” (catch me outside, how about that?) The phrase—part Florida, part Brooklyn, part misconceived black vernacular English—entered the pop culture lexicon.

Having achieved her 15 minutes of fame, Bregoli was written off by most as yet another fly-by-night social media star, but music executive Adam Kluger saw something more. A pioneer in dealmaking between artists and brands, he was known for negotiating deals where pop stars were paid for endorsing clothing, dating apps, porn sites, and psychic hotlines, through product placements and other sponsored content in song lyrics and music videos.

After a string of high-profile successes, Kluger became estranged from the music industry after a deal gone bad. Following an extended vacation, he plotted his return and his revenge: “I’m going to find something that’s just so obscure, and I’m going to make it popular…I’m going to pull every trick I’ve ever pulled with brands and make someone into a walking, talking brand to prove my worth.”

Setting his sights on Danielle Bregoli, a rap music career was chosen as the best avenue for a more lasting and more remunerative form of celebrity. With her proven talent for turning a memorable phrase and her passion for rap music, the Bhad Bhabie persona (pronounced “bad baby”) was born.

This according to “The big business of becoming Bhad Bhabie” by Jamie Lauren Keiles (The New York times magazine 8 July 2018, pp. 38 ff.).

Above and below, These heaux, Bregoli’s first single, which made her the youngest rapper to have a single debut on the Billboard Hot 100.

BONUS: The clip from Dr. Phil.

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Filed under Curiosities, Performers, Popular music

Cuba’s corneta china

 

As one of the four main ethnic groups in Cuba, the Chinese people have made notable cultural contributions. Among the most significant of these is the corneta china, a shawm derived from the Chinese suona.

The instrument is no longer played by Chinese Cubans; rather, the corneta china has been appropriated by other ethnic groups—particularly in the eastern region of the island, where it is played almost exclusively by performers of African descent. Despite a short-lived attempt to reintroduce the instrument in Cuban performances of the Chinese Lion Dance in the 1980s and early 1990s, the corneta china and its originators have followed separate paths.

This according to “The Chinese community and the corneta china: Two divergent paths in Cuba” by Rolando Antonio Pérez Fernández (Yearbook for traditional music XLVI [2014] pp. 62–88).

Above and below, the corneta china in action.

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Filed under Curiosities, Instruments, West Indies

Studia musicologica Labacensia

In 2017 Založba Univerze na Primorskem inaugurated the series Studia musicologica Labacensia (ISSN 2536-2445) with Glasbene migracije: Stičišče evropske glasbene raznolikosti/Musical migrations: Crossroads of European music diversity.

The collection focuses on a wide range of questions about the causes of musical migrations and their role and importance for musical cultures. Particular emphasis is placed on migrations in central Europe that have also left a decisive mark on musical culture in Slovenia.

Below, a work by Roberto Gerhard, the subject of one of the articles in the book.

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Filed under New series

Joan Tower’s “Made in America”

In 2005 and 2006 Joan Tower’s Made in America embarked on a tour of all 50 American states, featured on programs by some 65 orchestras. In an interview just after the work’s premiere, the composer looked ahead to the experience:

“I’m very curious as to the way they view me as a living composer, because I’m a litmus test. I’m very curious as to how they’ll negotiate my piece. Now, I know some of them are much better than others; there are all levels. But I’m curious whether the piece is strong enough to make them want to work harder and what the level of passion is that’s going to be in there. Part of that depends on the piece and part of that depends on the nature of their community orchestra and the people in their orchestra.”

“If my piece has some impact, and draws the players in a little bit, or a lot, and draws the audience in a little bit or a lot, then it has some reverberation. I’m putting the entire burden of this thing on me, because the music is the center of everything no matter what anybody’s telling you. Whatever the PR, marketing, historical value, blah, blah, blah, that’s going on around it, you still have this living entity in front of you that has to do its work, whatever that is.”

Quoted in “Joan Tower: Made in America” by Frank J. Oteri (NewMusicBox 1 October 2005).

Today is Tower’s 80th birthday! Below, a performance from 2012.

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Filed under 20th- and 21st-century music

African pianism and musicology

 

The African pianism developed by the Nigerian composer Akin Euba (above) is not well-suited to the research style of traditional musicology, and the limitations of conventional musicological perspectives and analytical models for research on this cultural phenomenon are obvious.

Ethnomusicology and other disciplines such as cultural anthropology may provide approaches and viewpoints that can be adopted in musicological research on African pianism.

This according to “My understanding of African pianism/我对非洲钢琴艺术研究的一些认识” by Li Xin, an essay included in Dialogues in music: Africa meets Asia/亚非相遇: 中非音乐对话 (Richmond: MRI, 2011, pp. 59–68, 345–353).

Below, Kingsley Otoijamun performs an excerpt from Euba’s Scenes from traditional life.

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Filed under 20th- and 21st-century music, Africa, Curiosities

T.N. Rajarathnam Pillai, film star

 

The legendary nāgasvaram player T.N. Rajarathnam Pillai performed in two films—once just in a cameo as himself, but once as the star!

In 1940 Rajarathnam Pillai appeared in Kalamegam, portraying the 15th-century Tamil poet Kavi Kalamegam. The film’s director, Ellis R. Dungan, recalled working with him:

“When Rajarathnam was sober, he was fine and took direction well with interest. But when he was lit, he could not be controlled and proved a nuisance and a pest on the set. Of course, when he became sober, he would apologize for his unruly conduct. People treated him like some kind of god because he was a big gun…I also found that he was very fond of women! But then who is not?”

The role required Rajarathnam Pillai to sing, which he did beautifully—but unfortunately his many fans only wanted to hear him play the nāgasvaram, and the film failed at the box office. No prints remain; only a handful of stills and recordings attest to Rajarathnam’s single appearance as a film star.

This according to “Foray into films” by Randor Guy (Sruti CLXXI [December 1998] pp. 39–42).

Today is Rajarathnam Pillai’s 120th birthday! Above and below, rare artefacts of the film.

BONUS: Rajarathnam Pillai plays the nāgasvaram!

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Filed under Asia, Performers