First broadcast in 1937, Renfro Valley Barn Dance was the first American barn dance radio program to be performed and recorded in an actual barn as opposed to a radio studio.
The program’s producer, John Lair, propagated his single-minded reconstruction of an idealized past and his own personal image of authenticity in American folk music. Lair constructed his aesthetic within Appalachian stereotypes and definitions of genre in folk and country music, and his interactions with performers, radio regulators, and advertisers illuminate his careful negotiation of the hillbilly icon and of signifiers of truth, sincerity, and authenticity in early country music.
This according to “Encoding authenticity in radio music: Renfro Valley Barn Dance and Kentucky folk music” by Helen Gubbins (Ethnomusicology Ireland V [July 2017] 15–30; RILM Abstracts 2017-24515).
Above, sheet music for a song that Lair wrote for the show; below, a compilation of radio clips and period photos, featuring Lair himself.
Related article: Happy 90th to the Grand Ole Opry!
The 2005 film U-Carmen eKhayelitsha is a South African adaptation and reconceptualization of Bizet’s Carmen. The change in culture and context affects the interpretation of the character of Carmen, who emerges as a strong black woman striving for autonomy within a patriarchal and sexist postcolonial South African society.
The film involves an interpretation of identity as a social construct dependent on the interaction between character and place within a specific period of time–in this case, Khayelitsha, a township on the outskirts of Cape Town, at the beginning of the 21st century. Its portrayal of the modern Carmen as an emancipated woman within a postcolonial and postmodernist context can be traced by interpreting semiotic signs and specific narrative strategies.
The re-encoding of Carmen’s identity questions intransigent or stereotypical perceptions of Carmen as the iconic femme fatale to which audiences have become accustomed; the indigenized production offers recourse to alternative perceptions of Carmen’s identity. U-Carmen eKhayelitsha does not deny the sensuality and femininity attributed to Carmen in the precursory texts, but it depicts her as an even more complex character than the one in Bizet’s opera.
This according to “The same, yet different: Re-encoding identity in U-Carmen eKhayelitsha” by Santisa Viljoen and Marita Wenzel (Journal of the musical arts in Africa XIII/1–2  53–70; RILM Abstracts 2016-49747).
Below, the trailer for the film.
Launched in 2020 by Lever Press, Open access musicology is a book series that features peer-reviewed, scholarly essays primarily intended to serve students and teachers of music history, ethno/musicology, and music studies.
The constantly evolving collection ensures that recent research and scholarship inspires classroom practice, provides diverse and methodologically transparent models for student research, and introduces different modes of inquiry to inspire classroom discussion and varied assignments.
Addressing a range of histories, methods, voices, and sounds, OAM embraces changes and tensions in the field to help students understand music scholarship as the product of critical inquiry.
Below, Giovanni Gabrieli’s Canzon septimi toni a 8 serves as an example for an article in OAM’s inaugural volume.
Snoring and obstructive sleep apnea syndrome are two highly prevalent sleep disorders caused by collapse of the upper airways. The most effective intervention for these disorders is continuous positive airway pressure therapy, which reduces daytime sleepiness and the risk of cardiovascular morbidity and mortality in the most severely affected patients. For moderately affected patients who complain about snoring and daytime sleepiness, however, continuous positive airway pressure therapy may not be suitable, and other effective interventions are needed.
A didjeridu instructor noticed that he and some of his students experienced reduced daytime sleepiness and snoring after practicing with this instrument for several months. A randomized controlled experiment confirmed that regular didjeridu playing is an effective treatment alternative well accepted by patients with moderate obstructive sleep apnea syndrome.
This according to “Didgeridoo playing as alternative treatment for obstructive sleep apnoea syndrome: Randomised controlled trial” by Milo A. Puhan, et al. (BMJ CCCXXXII [December 2006]; RILM Abstracts 2006-51373). The article won the Ig Nobel Peace Prize in 2017.
Above and below, traditional uses of the didjeridu.
On Christmas Eve in 1920 John Meredith Langstaff was born into a music-filled home where a rousing, wassailing carol party was the peak of his family’s year.
Half a century later, the Christmas Revels was born, a theatrical weaving of traditional song, dance, and drama that has become a beloved institution across the country.
From his years as a star choirboy (and notorious troublemaker) to his early career as a noted recital singer; from a daunting World War II injury to his work as recording artist, TV performer, teacher, and children’s author, Langstaff fused his passions for music, ritual, and community to create the participatory celebration that is the Revels.
This according to The magic maker: A portrait of John Langstaff, creator of the Christmas Revels by Susan Cooper (Somerville: Candlewick Press, 2011; RILM Abstracts 2011-12592).
Today would have been Langstaff’s 100th birthday! Above, Langstaff at the 1998 Revels (photo by Roger Ide); below, highlights from the 2004 Revels.
More Christmas-related posts are here.
In 2019 Le Castor Astral launched A day in the life, a book series directed by Christophe Quillien. Each title evokes a key moment in the great rock saga; beyond the detailed narration of the facts, it traces the day’s consequences, sometimes unexpected, and its influence on rock in general.
The inaugural issue, De rock et de metal: 30 mai 1980, Trust dynamite–Le hard français by Pascal Paillardet (RILM Abstracts 2019-17626), focuses on the evening in 1980 when the band Trust was recording “Antisocial” for its album Répression. This song became the anthem of the group and the spearhead of French hard rock. Through an account of this recording, the author illuminates the emergence of hard rock in France in the 1980s.
Below, the recording in question.
The feature film Kalpana (Imagination) is the only kinetic record of Uday Shankar’s choreographic work. Directed by and starring Shankar himself, it is semi-autobiographical and also stars his wife, Amala Shankar.
The film involved a fair amount of social commentary, and Shankar’s opening statement in it still feels strikingly appropriate:
“I request you all to be very alert while you watch this unusual picture—a Fantasy. Some of the events depicted here will reel off at great speed and if you miss any piece you will really be missing a vital aspect of our country’s life in its Religion, Politics, Education, Society, Art and Culture, Agriculture and Industry.”
“I do not deliberately aim my criticism at any particular group of people or institutions, but if it appears so, it just happens to be so, that is all. It is my duty as an Artist to be fully alive to all conditions of life and thought relating to our country and present it truthfully with all the faults and merits, through the medium of my Art.”
“And I hope that you will be with me in our final purpose to rectify our own shortcomings and become worthy of our cultural heritage and make our motherland once again the greatest in the world.”
This according to “Uday Shankar’s Kalpana” by Sunil Kothari (Sruti 195 [December 2000] 53–57).
Today is Uday Shankar’s 120th birthday! Above and below, excerpts from the film.
Dave Brubeck helped to rekindle jazz’s mainstream popularity in the 1950s and 1960s with recordings like Time out, the first jazz album to sell a million copies, and Take five, the still instantly recognizable hit single that was that album’s centerpiece.
In a long and successful career, Brubeck brought a distinctive mixture of experimentation and accessibility that won over listeners who had been trained to the sonic dimensions of the three-minute pop single. He experimented with time signatures and polytonality and explored musical theater and the oratorio, Baroque compositional devices, and non-Western modes.
Brubeck did not always please the critics, who often described his music as schematic, bombastic, and—a word he particularly disliked—stolid. But his very stubbornness and strangeness—the blockiness of his playing, the oppositional push-and-pull between his piano and Paul Desmond’s alto saxophone—make the Brubeck quartet’s best work still sound original.
This according to “Dave Brubeck 1920–2012: His music gave jazz new pop” by Ben Ratliff (The New York times 6 December A1; RILM Abstracts 2012-10080).
Today is Brubeck’s 100th birthday! Above and below, the composer and pianist in 1964. (Photo licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.)
In 2019 Delatour France launched the book series Art création recherche outils savoirs synesthésie with L’émergence en musique: Dialogue des sciences (RILM Abstracts 2019-14429).
The volume collects papers from the conference L’Émergence en Musique: Dialogue des Sciences, which was held in Plaisir and Versailles in 2016. This conference explored musical examples of how in certain complex systems radically new properties appear unexpectedly and are characteristic of a higher level of organization; these emergent properties are not found in any individual parts of the system, but occur as an effect of the system as a whole.
Below, a work by Horacio Vaggione, one of the composers who contributed to the book and conference.
Singing by the pan, a women’s folk tradition known as tepsijanje (“panning”), was documented in Bosnia and Herzegovina during the Ottoman period.
Recent research has shown that tepsijanje is still popular, especially with Muslim and Roman Catholic populations in Bosnia and Herzegovina. It is a rare example of a nonmusical object—in this case, a cooking pan—functioning as a musical instrument.
This according to “Examples of an interesting practice: Singing along the pan” by Jasmina Talam, an essay included in Studia instrumentorum musicae popularis. II (Münster: Monsenstein und Vannerdat, 2011 251–56; RILM Abstracts 2011-49486).
Below, two examples of tepsijanje.