Oliver “Tuku” Mtukudzi left a vast and rich body of music produced over a long and illustrious career. Through his skillful use of traditional Shona proverbs, textured idiomatic expressions, metaphor, and ingenious word play, he was able to teach while simultaneously entertaining his audience.
Through its dialogic nature, Mtukudzi’s music positioned itself at the service of both instruction and reconstruction in ways that differed markedly from those offered by Western formal education.
These pedagogical and reconstructive potentials are located in traditional forms of knowledge generation and knowledge transfer. Mtukudzi’s music must be viewed as a reconstructive pedagogy that raises the social consciousness of its listeners. Framed against current trends in Africa and other formerly colonized spaces for the decolonization of ways of learning and teaching, Mtukudzi’s music articulates reconstructive ways of thinking about knowledge, knowledge generation, knowledge transfer, and the archiving of lived experiences in Africa.
This according to “Music as pedagogy: The life, times, and music of Oliver Mtukudzi” by Gibson Ncube and Yemurai Gwatirisa, an essay included in The life and music of Oliver Mtukudzi: Reconstruction and identity (Cham: Palgrave Macmillan, 2022, 39–50; RILM Abstracts of Music Literature 2022-407).
Today would have been Oliver Mtukudzi’s 70th birthday!
Below, Mtukudzi’s Todii (What shall we do?) evokes the world of traditional proverbs to convey new messages of social commentary.
BONUS: In a collaboration with Ladysmith Black Mambazo, Mtukudzi’s Neria raises vital themes involving women, family relations, and politics.
A performance that occurred almost daily in a public square in Marrakech in the early 1980s traded on ethnic identity for fun and profit.
The performance began with an Arab duo singing in Arabic; as a crowd began to gather around them, a Berber—a member of a rival ethnic group—leaped into the circle with a song in Tashlit. After a few moments of cacaphony a shouting match began, with the Berber and one of the Arabs trading insults while the other Arab took one side and then the other, upping the ante.
“Monkey, block-headed windbag, long-fingernailed King Kong, hick, salt stealer, son of a whore!” Each string of insults was preceded by an ethnic designator, and audience members were encouraged to contribute money to the aggrieved party to demonstrate their own ethnic pride. Occasionally fisticuffs between audience members ensued.
The high point of the performance came when the monetarily losing antagonist was figuratively turned into a donkey and the winner climbed onto his back and called for his instrument; victory, however temporary, meant both being on top and singing one’s own song there.
This according to “Saints, prostitutes, and rotten sardines: The musical construction of place and ethnicity in a Moroccan insult contest” by Philip D. Schuyler, an essay included in Ethnomusicological encounters with music and musicians: Essays in honor of Robert Garfias (Farnham: Ashgate, 2011, pp. 249–259; RILM Abstracts of Music Literature 2011-5436).
Above and below, examples of street music in Marrakech.
Reviews serve many valuable functions in music scholarship, from sparking critical discourse, to revealing topics of interest at a particular historical moment, to providing summaries and assessments for further inquiries, to shining a light on superlative (or, in some cases, substandard) research. Reviews collect and constitute interpretive communities, which arguably play a role in constructing the very meaning of a text.
In recognition of the importance of reviews, RILM inaugurates its Instant Classics series—a collection of the ten most-reviewed monographs indexed in the extensive international holdings of RILM Abstracts of Music Literature. The current list of books spans the two-year period from 2017 to 2019 and is ordered from least to most reviewed. Since it takes some time for texts to be assessed and reviews to be released, going back a few years provides a fuller and more accurate picture of a book in review.
This list is inherently limited, dynamic, and subject to continuous revision as more reviews potentially accrue for these and other texts. What we offer here is merely an inchoate snapshot, one that reflects the biases and areas of interest in music research at a specific time and place in history. With that in mind, it is also more than simply another “Top Ten” list, as it may hold a degree of historiographic value.
And finally, an important reminder: We need your help! RILM always welcomes your reviews or reviews of your publications. Notice an omission? Help us fill in our gaps by submitting your review.
– Compiled and edited by Michael Lupo, Assistant Editor and Marketing Coordinator, RILM
#10. Wheeler, Barbara L., Donna W. Polen, and Carol L. Shultis. Clinical training guide for the student music therapist (2nd ed., rev.; Dallas: Barcelona, 2017). [RILM Abstracts of Music Literature, 2017-43779]
Abstract: Covers planning, assessment, goals and objectives, improvisation, composing, listening, individual and group work, documentation, and self-assessment.
#9. Borge, Jason R. Tropical riffs: Latin America and the politics of jazz (Durham: Duke University Press, 2018). [RILM Abstracts of Music Literature, 2018-1970]
Abstract: This book traces how jazz helped forge modern identities and national imaginaries in Latin America during the mid-20th century. Across Latin America jazz functioned as a conduit through which debates about race, sexuality, nation, technology, and modernity raged in newspapers, magazines, literature, and film. For Latin American audiences, critics, and intellectuals—who often understood jazz to stem from social conditions similar to their own—the profound penetration into the fabric of everyday life of musicians like Duke Ellington, Dizzy Gillespie, and Charlie Parker represented the promises of modernity while simultaneously posing a threat to local and national identities. Brazilian anti-jazz rhetoric branded jazz as a problematic challenge to samba and emblematic of Americanization. In Argentina, jazz catalyzed discussions about musical authenticity, race, and national culture, especially in relation to tango. And in Cuba, the widespread popularity of Chano Pozo and Dámaso Pérez Prado challenged the United States’s monopoly on jazz. Outlining these hemispheric flows of ideas, bodies, and music, this book elucidates how the art form was, and remains, a transnational project and a collective idea.
#8. Chua, Daniel K.L. Beethoven & freedom (New York: Oxford University Press, 2017) [RILM Abstracts of Music Literature, 2017-28046]
Abstract: Over the last two centuries, Beethoven’s music has been synonymous with the idea of freedom, in particular a freedom embodied in the heroic figure of Prometheus. This image arises from a relatively small circle of heroic works from the composer’s middle period, most notably the Eroica symphony. However, the freedom associated with the Promethean hero has also come under considerable critique by philosophers, theologians, and political theorists; its promise of autonomy easily inverts into various forms of authoritarianism, and the sovereign will it champions is not merely a liberating force but a discriminatory one. Beethoven’s freedom, then, appears to be increasingly problematic; yet his music is still employed today to mark political events from the fall of the Berlin Wall to the attacks of 9/11. Even more problematic, perhaps, is the fact that this freedom has shaped the reception of Beethoven’s music to such an extent that we forget that there is another kind of music in his oeuvre that is not heroic, a music that opens the possibility of a freedom yet to be articulated or defined. By exploring the musical philosophy of Theodor W. Adorno through a wide range of the composer’s music, this book arrives at a markedly different vision of freedom. The author suggests that a more human and fragile concept of freedom can be found in the music that has less to do with the autonomy of the will and its stoical corollary than with questions of human relation, donation, and a yielding to radical alterity. This work makes a major and controversial statement by challenging the current image of Beethoven, and by suggesting an alterior freedom that can speak ethically to the 21st century.
#7. Talle, Andrew. Beyond Bach: Music and everyday life in the eighteenth century (Urbana: University of Illinois Press, 2017). [RILM Abstracts of Music Literature, 2017-24136]
Abstract: Reverence for J.S. Bach’s music and its towering presence in our cultural memory have long affected how people hear his works. In his own time, however, Bach stood as just another figure among a number of composers, many of them more popular with the music-loving public. Eschewing the great composer style of music history, the book takes us on a journey that looks at how ordinary people made music in Bach’s Germany. The author focuses in particular on the culture of keyboard playing as lived in public and private. Ranging through a wealth of documents, instruments, diaries, account ledgers, and works of art, he brings a fascinating cast of characters to life. These individuals—amateur and professional performers, patrons, instrument builders, and listeners—inhabited a lost world, and this book teases out the diverse roles music played in their lives and in their relationships with one another. At the same time, the author’s nuanced recreation of keyboard playing’s social milieu illuminates the era’s reception of Bach’s immortal works. An excerpt is abstracted as RILM 2018-7846.
#6. Watt, Paul. Ernest Newman: A critical biography. Music in Britain, 1600–2000 (Woodbridge: Boydell Press, 2017). [RILM Abstracts of Music Literature, 2017-24973]
Abstract: Ernest Newman (1868–1959) left an indelible mark on British musical criticism in a career spanning more than 70 years. His magisterial (a reprint of which is cited as RILM 1976-2951), published in four volumes between 1933 and 1946, is regarded as his crowning achievement, but Newman wrote many other influential books and essays on a variety of subjects ranging from early music to Schoenberg. In this book, the geneses of Newman’s major publications are examined in the context of prevailing intellectual trends in history, criticism, and biography. Newman’s career as a writer is traced across a wide range of subjects including English and French literature; evolutionary theory and biographical method; and French, German, and Russian music. Underpinning many of these works is Newman’s preoccupation with rationalism and historical method. By examining particular sets of writings such as composer-biographies and essays from leading newspapers such as the and the Manchester guardian and the Sunday times, this book illustrates the ways in which Newman’s work was grounded in late–19th-century intellectual paradigms that made him a unique and at times controversial figure.
#5. García, David F. Listening for Africa: Freedom, modernity, and the logic of Black music’s African origins (Durham: Duke University Press, 2017) [RILM Abstracts of Music Literature, 2017-38670]
Abstract: Explores how a diverse group of musicians, dancers, academics, and activists engaged with the idea of Black music and dance’s African origins between the 1930s and 1950s. The author examines the work of figures ranging from Melville J. Herskovits, Katherine Dunham, and Asadata Dafora to Duke Ellington, Dámaso Pérez Prado, and others who believed that linking Black music and dance with Africa and nature would help realize modernity’s promises of freedom in the face of fascism and racism in Europe and the Americas, colonialism in Africa, and the nuclear threat at the start of the Cold War. In analyzing their work, the author traces how such attempts to link Black music and dance to Africa unintentionally reinforced the binary relationships between the West and Africa, white and black, the modern and the primitive, science and magic, and rural and urban. Counter to the movement’s goals, it was modernity’s determinations of unraced, heteronormative, and productive bodies, and of scientific truth, that helped defer the realization of individual and political freedom in the world.
#4. Tunbridge, Laura. Singing in the age of anxiety: Lieder performances in New York and London between the World Wars (Chicago: University of Chicago Press, 2018). [RILM Abstracts of Music Literature, 2018-4190]
Abstract: In New York and London during World War I, the performance of lieder was roundly prohibited, representing as they did the music and language of the enemy. But as German musicians returned to the transatlantic circuit in the 1920s, so too did the lieder of Schubert, Wolf, and Strauss. Lieder were encountered in a variety of venues and media—at luxury hotels and on ocean liners, in vaudeville productions and at Carnegie Hall, and on gramophone recordings, radio broadcasts, and films. The renewed vitality of this refugee musical form between the World Wars is examined here, offering a fresh perspective on a period that was pervaded by anxieties of displacement. Through richly varied case studies, it traces how lieder were circulated, presented, and consumed in metropolitan contexts, shedding new light on how music facilitated unlikely crossings of nationalist and internationalist ideologies during the interwar period.
#3. Eidsheim, Nina Sun. The race of sound: Listening, timbre, and vocality in African American music. Refiguring American music (Durham: Duke University Press, 2019). [RILM Abstracts of Music Literature, 2019-7187]
Abstract: Traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. The author illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. The author examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, the author untangles the relationship between race, gender, vocal technique, and timbre while addressing an under-theorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way.
#2. Kreuzer, Gundula. Curtain, gong, steam: Wagnerian technologies of nineteenth-century opera (Oakland: University of California Press, 2018). [RILM Abstracts of Music Literature, 2018-5417]
Abstract: Argues for the foundational role of technologies in the conception, production, and study of 19th-century opera. The author shows how composers increasingly incorporated novel audiovisual effects in their works and how the uses and meanings of the required apparatuses changed through the 20th century, sometimes still resonating in stagings, performance art, and popular culture today. Focusing on devices (which she dubs “Wagnerian technologies”) intended to amalgamate opera’s various media while veiling their mechanics, the author offers a practical counternarrative to Wagner’s idealist theories of total illusionism. At the same time, the book’s multifaceted exploration of the three titular technologies repositions Wagner as catalyst more than inventor in the history of operatic production. With its broad chronological and geographical scope, this book deepens our understanding of the material and mechanical conditions of historical operatic practice as well as of individual works, both well known and obscure.
#1. Iverson, Jennifer. Electronic inspirations: Technologies of the Cold War musical avant-garde. New cultural history of music (New York: Oxford University Press, 2019). [RILM Abstracts of Music Literature, 2019-1204]
Abstract: For a decimated post-War West Germany, the electronic music studio at the WDR radio station in Cologne was a beacon of hope. This book traces the reclamation and repurposing of wartime machines, spaces, and discourses into the new sounds of the mid-century studio. In the 1950s, when technologies were plentiful and the need for reconstruction was great, West Germany began to rebuild its cultural prestige via aesthetic and technical advances. The studio’s composers, collaborating with scientists and technicians, coaxed music from sine-tone oscillators, noise generators, band-pass filters, and magnetic tape. Together, they applied core tenets from information theory and phonetics, reclaiming military communication technologies as well as fascist propaganda broadcasting spaces. The electronic studio nurtured a revolutionary synthesis of science, technology, politics, and aesthetics. Its esoteric sounds transformed mid-century music and continue to reverberate today. Electronic music—echoing both cultural anxiety and promise—is a quintessential Cold War innovation.
Over 150 countries around the world celebrate Labor Day, or International Workers’ Day, on 1 May. With origins in the mid–19th-century eight-hour workday movement, this date (May Day) was established in 1889 by the first congress of the Second International to commemorate the 1886 Haymarket affair in Chicago. Today, the holiday functions largely to recognize the struggle and achievements of laborers everywhere. The criteria by which music making is judged as work, the power of collectives to safeguard the rights of music workers, and the determination of appropriate remuneration for musical services are constantly being negotiated by musicians and institutions. Simon Frith’s article “Are workers musicians?” (cited below)—an exploration of how UK musicians’ unions have been shaped by the conceptual division of the musician as laborer-craftsperson, or professional—ends with a familiar opposition: music as work versus music as play. Frith elaborates:
The belief that music—making music—is in itself, fun, a pleasurable activity that shouldn’t be thought of as work is embedded in our culture. Music is something humans do; we are all musicians—hence the vast number of amateur musicians, people who play for love. Such love of music is, of course, why people are willing to pay for musical labour in the first place, but it also means, perhaps, that they don’t really regard or music as work. Its value is precisely as non-work. Musicians may, then, be workers, but they shouldn’t be!
Aside from the reductive tone of this quote’s opening sentence (one might rightly question, “Whose ‘cultures’?” and “In which contexts?”), the musician as non-laborer (or player, rather than worker), is a common trope encouraged by the music industry, fans, journalists, and even pop musicians themselves. To cite just one examples of the latter, Lou Reed, in an interview for the documentary Rock & Roll, recounts the conditions that led to his place in The Velvet Underground. He recalls, “I had a real problem with authority. Always have. I had a real problem with being able to hold a job, a normal job. I only had, I think, three in my life. Some lasted a half hour and some half a day. I had often thought, like, ‘What are you going to do, for a job? You can’t do anything’. And I fell into the band thing.” The positioning of popular music making as a desirable alternative to the repressive power structures foisted upon those with “normal” jobs facilitates the notion that pop offers a high (or relatively high) degree of autonomy to its practitioners. Reed’s experimental—some would say, and did at the time, “unlistenable”—1975 album Metal machine music would serve as just one of innumerable sonic examples of musicians complicating this putative autonomy. Whether resulting from an interest in drones, noise, minimalism, and the postwar avant-garde, or a defiant gesture to RCA Records, pop audience expectation, and genre boundaries (or some, all, or none of these), it made a statement on the (perceived or real) options available to a pop musician.
Frith’s remarks on music’s pleasurability and Reed’s appeal to autonomy are tenacious elements of discourses surrounding popular music making that have at times led to pop musicians being denied the status of worker. This denial is worthy of inspection and holds implications for other forms of music-related activities, but it is also glaringly limited. A more complete picture of a topic as complex, wide-ranging, and wide-reaching as music and labor would include numerous genres (traditional, art, and pop musics), activities (composition, performance, editing, recording), organizations (unions, libraries, private companies, state institutions), and functions (entertainment, ritual, edification). And of course, in the spirit of the holiday, it is worth remembering that music may be mobilized to serve the struggle for workers’ rights more broadly, through protests and activist movements that operationalize the emotionality embedded in chants, songs, and melodic speech. People sound defiance, and that too does work.
The following bibliography presents a selection of texts taken from RILM Abstracts of Music Literature that may advance our knowledge and awareness of specific aspects of music and labor. It comprises publications that are international in scope and that detail varying perspectives, genres, collective activities, and economies. It is hoped that they will serve as a spark for further research. But perhaps leave that for tomorrow and take today off.
Written and compiled by Michael Lupo, Assistant Editor/Marketing Manager, RILM
Absher, Amy. “Traveling jazz musicians and debt peonage”, American music: A quarterly journal devoted to all aspects of American music and music in America 37/2 (summer 2019) 172–196. [RILM Abstracts of Music Literature with Full Text, 2019-18326]
Abstract: The story of three brothers—Charles, Chester, and Morgan Jones—and their lives as itinerant jazz musicians in the 1930s reveals the ways in which Black musicians were still effectively enslaved by white club owners and law enforcement. In 1937, they were jailed as a result of debt peonage, wherein an employer, Dewey Helms, withheld pay supposedly in the service of debt owed by the musicians. Rarely does jazz scholarship document this system of debt peonage, and in this case, the documentation relies heavily on records of the FBI, who interviewed the brothers, Helms, and others as part of an FBI investigation. The kind of coerced labor involved in this story is well-documented in histories of the Reconstruction through World War II. Stories of Black musicians during this period, however, are often colored with a romanticized illusion of freedom rooted in the creative nature of their work. The difficulties in studying musicians such as the Jones brothers without access to oral histories, accounts of their performances, or memoirs are explored. One of the only ways to examine a story such as this is through the lens of slavery and labor culture.
Alisch, Stefanie. “‘I opened the door to develop kuduro at Jupson’: Music studios as spaces of collective creativity in the context of electronic dance music in Angola”, Contemporary music review 39/6 (December 2020) 663–683. [RILM Abstracts of Music Literature, 2020-61691]
Abstract: Demonstrates how studios producing the Angolan electronic dance music (EDM) kuduro (hard arse) in the capital Luanda are usefully investigated as social spaces of collective creativity. Interviews, observations, close listening, and ethnographic participation are triangulated. Researchers often portray kuduro and other EDM styles in the Global South using what I name the–scarcity-resilience narrative. This narrative gives short shrift to the rich cultural resources that feed into EDM styles. It perpetuates problematic stereotypes about African people and occludes the deliberate labor that kuduro practitioners (kuduristas) invest in their craft. As kuduristas routinely affirm that sociability drives their interpersonal creative processes, kuduro studios are portrayed as social spaces and kuduro’s collective creativity is construed through extended mind theory (EMT). In the analysis, first kuduro studios in Luanda are introduced broadly and then the focus is on two influential kuduro studios: JUPSON and Guetto Produções. It is shown how kuduristas mobilize their collective creativity inside the studio by tapping into aesthetic strategies and conventions of the rich popular culture that surrounds them. Via EMT, aesthetic dueling is portrayed through puto-kota (elder-younger) relationships, call-and-response, and urban vocal strategies as collectively maintained social institutions. Inside the studio, kuduristas translate these rich resources into the sonic materiality of kuduro tracks which, in turn, are designed to achieve maximum audience response through mobilizing the social institutions when radiating out into the world. The scarcity-resilience narrative of Global South EDM is de-centered by focusing on collective creativity and, as such, a fresh epistemological position is offered on the study of music studios, Global South EDM, and popular music in Angola.
Ayer, Julie. More than meets the ear: How symphony musicians made labor history (Minneapolis: Syren Book Co., 2005). [RILM Abstracts of Music Literature, 2005-7672]
Abstract: A history of the grassroots movement that transformed labor relations and the professional lives of U.S. and Canadian symphony musicians. The struggles and accomplishments experienced by many visionary leaders of the 1950s to 1970s offer inspiration to new generations of musicians, students, teachers, music lovers, labor historians, and orchestra administrators. Minnesota Orchestra case history documents the growth of a major American orchestra in dramatic detail and anecdotes, showing the profound effect the musician’s labor movement has had on the profession.
Abstract: What is the ultimate song to celebrate Workers’ Day? Many will suggest “The Internationale” which had its roots as a poem written in the aftermath of the Paris Commune in 1871 by Eugène Pottier, a transport worker. Set to music a few years later, it became the anthem for the wider progressive movement. But I would argue that trumpeter Hugh Masekela’s iconic and internationally popular song “Stimela”—the coal train—is perhaps a more appropriate anthem for Workers’ Day in southern and Central Africa. The song speaks about local history and the migrant labour system on the mines. “Stimela” reminds everyone that South Africa’s wealth and infrastructure was built on the back of labour from all over Africa. They were the force that modernized the country. But the song is also internationalist in focus. Later recordings of the song typically begin with bass rhythms and percussion mimicking the sound of a train on its tracks.
Dedić, Nikola. “Muzika između proizvodnog i neproizvodnog rada”, Challenges in contemporary musicology: Essays in honor of prof. dr. Mirjana Veselinović-Hofman/Izazovi savremene muzikologije: Eseji u čast prof. dr Mirjane Veselinović-Hofman, ed. by Sonja Marinković, Vesna Mikić, Ivana B. Perković, et. al. Muzikološke studije: Monografije. (Beograd: Univerzitet Umetnosti, 2018) 472–484. [RILM Abstracts of Music Literature, 2018-11468]
Abstract: Identifies three models through which music is connected with the economy. Autonomy of art is shown as utterly relative autonomy, while the labor in art (music) is treated as a socially and economically determined labor. Those three models are: art (1) as a simple commodity exchange that rests on the law of simple supply and demand, then art as (2) redistribution of income through the intervention of modern state that carries with it a certain social division of labor (productive and non-productive classes) and finally, (3) it is art as a social practice of forming a monopoly rent. In our contemporary, capitalist society all three models coexist. However, in the history of Western art this was not always the case, and that is why our three-part system can be applied historically: the first model, we call it premodern, is characteristic of most precapitalist societies (at a time when there was no art, only techne, and when there was no idea of the autonomy of art which is obviously a consequence of a very specific social division of labor); the second model, we call it modern, appears with the administrative, bureaucratic state; the third model arises with the evolution of capitalist forms of production that, at one point, through art markets and the culture industry, begin to co-opt and commodify cultural products. The second and third models are, therefore, historically extremely specific and occur exclusively in bourgeois, capitalist societies.
Dreyfus, Kay. “The foreigner, the Musicians’ Union, and the state in 1920s Australia: A nexus of conflict”, Music and politics 3/1 (winter 2019) 1–16. [RILM Abstracts of Music Literature with Full Text, 2009-3759]
Abstract: In September 1929, the general secretary of the Musicians’ Union of Australia (MUA) announced in the official journal, “there are no orchestras of any foreign nationality here now…the fight is over”, an extraordinary statement given that the nonindigenous musical traditions of this former British colony are entirely transplanted. The proximity of the date to the advent of sound films suggests a causal relationship, but the facts are more complex. The issue of foreign musicians became the site of a struggle for control of the labor market, a struggle rooted in the institutionalized racism of the Immigration Restriction Act of 1901 (the infamous so-called White Australia Policy), legitimized by the distinctive structures of the arbitration system and sanctioned by legal recognition of trade union autonomy with regard to membership regulation. The evolution and consequences of the MUA’s policy on foreign labor through the 1920s and its efforts to mobilize legislative support by appeals to popular concerns are examined.
Frith, Simon. “Are musicians workers?”, Popular music 36/1 (January 2017) 111–115. [RILM Abstracts of Music Literature, 2016-20901]
Abstract: Discusses working musicians in light of being considered laborers versus being considered professionals, and the historical role played by musicians’ labor unions.
Hildbrand, Sebastián Mauricio. “‘Todos unidos triunfaremos…’: La música para los gremios en el Teatro Colón durante el primer peronismo”, Recorridos: Diez estudios sobre música culta argentina de los siglos XX y XXI, ed. by Omar Corrado and Jorge Dubatti (Buenos Aires: Editorial de la Facultad de Filosofía y Letras UBA, 2019) 273–309. [RILM Abstracts of Music Literature, 2019-27072]
Abstract: In 1946, Colonel Juan Domingo Perón came to power legitimately through the efforts of various sectors of society that promoted his presidential candidacy; among them the fundamental support of an as yet dispersed and inorganic labor movement. From then until the coup that ended his first period in office in 1955, he served as an effective channel for union demands on the state, as is well known; less familiar are his efforts on behalf of labor rights for the musicians’ union, in particular at the Teatro Colón in Buenos Aires, which constitutes a significant chapter in the reconstruction not only of the history of the opera house, but of musical life during those first Perón years.
Kahn, Si. Habits of resistance: Cultural work and community organizing (Songspeech) (Ph.D. diss., Union Institute, Cincinnati, 1994). [RILM Abstracts of Music Literature, 1994-4550]
Abstract: Songspeech is a communication mode that is useful in multicultural communication and consciousness-raising. It draws on a number of traditional cultural forms, such as oral poetry, southern storytelling, midrash, theater, preaching, and unaccompanied song. Songspeech is located at the crossroads of cultural work, community organizing, and power, where multicultural communication forms an integral part of social change organizing. At the heart of this work are issues related to race, gender, class, and the complex interplay between them. Three southern contexts are discussed: black studies (emphasizing the 1960s civil rights movement), women’s studies, and labor studies. Examples are drawn from popular culture, multicultural studies, and social change theory and practice, including oral history, poetry, storytelling, and musical performance styles. Additional examples of the use of songspeech include the Dutch resistance to the Nazis, occupational stress, the relationship between social work and social change, the relationship between culture and community, and the need to develop habits of resistance to injustice.
Karmy, Eileen. “Musical mutualism in Valparaiso during the rise of the labor movement (1893–1931)”, Popular music and society 40/5 (December 2017) 539–555. [RILM Abstracts of Music Literature, 2017-28773]
Abstract: The Musicians’ Mutual Aid Society of Valparaíso was active from 1893 to well into the 20th century in what was then Chile’s main port city. I examine the characteristics of this social organization of Chilean musicians during the late 19th and early 20th centuries, and its relationship to the rising labor movement. Moreover, I report some relevant findings based on a range of archival material. To conclude, I discuss the role of the Mutual Aid Society of Valparaíso as a forerunner to the creation of the country’s first Musicians’ Union in 1931.
Milohnić, Aldo. “Performing labour relations in the age of austerity”, Performance research: A journal of the performing arts 17/6 (December 2012) 72–79. [RILM Abstracts of Music Literature, 2012-15379]
Abstract: Discusses labor in relation to the performance projects Call cutta (2005) and Call cutta in a box (2008) by the collective of theater directors Helgard Haug, Stefan Kaegi, and Daniel Wetzel, know as Rimini Protokoll.
Scherzinger, Martin. “Music, labor, and technologies of desire”, Sound and affect: Voice, music, world, ed. by Judith Lochhead, Eduardo Mendieta, and Stephen Decatur Smith (Chicago: University of Chicago Press, 2021) 197–223. [RILM Abstracts of Music Literature, 2021-3926]
Abstract: Speculatively and critically diagnoses new forms of labor, affect, and technology that have taken shape in recent decades, arguing that musical practices are at once historical precursors of current mutations across these domains, key players in the crystallization of their new contemporary forms, and sites where their new shapes may be discerned and critiqued today. In particular, the ways are critiques in which the indeterminacy of affect, along with the kinds of connection that such open affective experience can facilitate, might now fall prey to new forms of harvesting, extraction, and exploitation, which were unforeseen in earlier affect theory and in some musicological literature that valorized affective and emotional experience. Writing with an eye to recent developments at intersections of machine learning, advertising, and cognitive science, it is cautioned that affective arousal could be colonized by militarized adaptation in the same way that interactive instincts could be colonized by industrial interpellation.
Schinasi, Michael. “Zarzuela and the rise of the labour movement in Spain”, Popular entertainment studies 8/2 (2017) 20–37. [RILM Abstracts of Music Literature, 2017-26626]
Abstract: Zarzuela—Spanish lyric theatre—traces its extraordinary popularity on the Iberian Peninsula to the reign of Isabel II (1844–68). Thereafter it never lost its public appeal. In the 19th century cultural commentators debated its debt to 17th-century antecedents. Notwithstanding differing opinions on this, clearly its modern form emerged from Spanish musicians’ attempts to found a new national opera. When they failed to popularize a genre entirely in music, what remained was the zarzuela, which has both singing and spoken dialogue. This article focuses on the social nature of musicians’ hopes for a national opera, the way this arises from their difficult material situation in the face of competition from foreign music and artists, and the politics of early Spanish liberalism. After documenting the depth of artists’ concern with material life and the social language of their plan for action it suggests that we view the rise of the mature zarzuela in the light of Spain’s incipient labor movement. By doing so we in turn gain insight into an important aesthetic feature of zarzuela.
Schwab, Heinrich W. “Das Lied des Berufsvereine: Ihr Beitrag zur ‘Volkskunst’ im 19. Jahrhundrets”, Zeitschrift für Volkskunde 63 (1967) 1–16. [RILM Abstracts of Music Literature, 1968-2481]
Abstract: Investigation of the song repertoire of the labor organizations from the standpoint of the history of the genre and in its sociological and qualitative aspects. Describes the various organizational song books (chemists, post and telegraph assistants, railway workers, surveyors) and interprets the textual and musical symbolism of the special club” or “class” songs.
Stahl, Matt. Unfree masters: Recording artists and the politics of work. Refiguring American music (Durham: Duke University Press, 2013). [RILM Abstracts of Music Literature, 2013-9073]
Abstract: Examines recording artists’ labor in the music industry as a form of creative work. It is argued that the widespread perception of singers and musicians as free individuals doing enjoyable and fulfilling work obscures the realities of their occupation. Stahl begins by considering the television show American idol and the rockumentary Dig! (2004), tracing how narratives of popular music making in contemporary America highlight musicians’ negotiations of the limits of autonomy and mobility in creative cultural-industrial work. Turning to struggles between recording artists and record companies over the laws that govern their contractual relationships, Stahl reveals other tensions and contradictions in this form of work. He contends that contract and copyright disputes between musicians and music industry executives, as well as media narratives of music making, contribute to American socioeconomic discourse and expose basic tensions between the democratic principles of individual autonomy and responsibility and the power of employers to control labor and appropriate its products. Attention to labor and property issues in relation to musicians and the music industry can stimulate insights about the political, economic, and imaginative challenges currently facing all working people.
Toynbee, Jason. “The labour that dare not speak its name: Musical creativity, labour process and the materials of music”, Distributed creativity: Collaboration and improvisation in contemporary music, ed. by Eric F. Clarke and Mark Doffman. Studies in musical performance as creative practice (New York: Oxford University Press, 2017) 37–51. [RILM Abstracts of Music Literature, 2017-34150]
Abstract: Explicitly offers a predominantly macro-social account, with musical creativity approached through the lens of labor. The author presents a broadly Marxist critique of the traditional romantic ideology of creativity (IOC), pointing out some of the contradictions of a capitalist system that presents all labor as alienated while regarding creative production as no kind of labor at all. As a consequence, creativity is conceived of and presented as entirely individualist and psychic, despite its organization in terms of an industrial labor market (the cultural industries). This organization of labor is manifestly a system of distributed creativity, which nonetheless clings to the radical individualism of the IOC. Through an analysis of the creative labor processes in diverse musical genres (the symphony orchestra, singer-songwriters, rock bands), the author points out the ways in which musical production, though thoroughly assimilated into contemporary capitalism, demonstrates outlier, or eccentric, tendencies, in which the primary creative agents operate with a high degree of autonomy, and in which artisanal forms of working are perpetuated. From this macro analysis of the contradictorily distributed nature of musical creativity, the essay moves to material production, making extensive use of the idea of coded voices. He points to both the abstract (schematic) and the concrete character of the coded voice, and he identifies translation (intercultural borrowing) and intensification (intercultural development) as the two primary generative processes that act upon them.
Woolhouse, Matthew and Jotthi Bansal. “Work, rest and (press) play: Music consumption as an indicator of human economic development”, Journal of interdisciplinary music studies/Disiplinlerarası müzik araştırmaları dergisi 7/1–2 (spring–fall 2013) 45–71. [RILM Abstracts of Music Literature with Full Text, 2013-39541]
Abstract: Human development is addressed with respect to the United Nation’s Human Development Index (HDI), a composite statistic ranging from 0 (undeveloped) to 1 (highly developed). Rather than merely industrial output, the HDI expresses the level of human wellbeing within a country (and is therefore arguably better suited to the study of music downloading than a purely monetary indicator such as Gross Domestic Product). HDI depends on three main factors: life expectancy, educational opportunity, and standard of living. We explore relationships between music consumption, human development, work and leisure, and unemployment levels in 27 geographically and economically diverse countries. We hypothesize (1) that countries with high HDI values will have increased download variability between periods of work and non-work, due to elevated levels of consumption-based leisure, and (2) that countries with high levels of unemployment will have decreased download variability between periods of work and non-work, due to a decrease in the population for whom there is a clear distinction between work and non-work. A music database, consisting of over 180 million mobile-phone downloads, is used to investigate our hypotheses. We discuss our findings in respect of HDI, the European Sovereign Debt Crisis, literature on paid and unpaid work, and the types of leisure enjoyed by people in different countries.
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The toyi-toyi is a high-kneed, foot-stomping dance, rhythmically punctuated by chants and call and response. It can be observed at almost any kind of protest in South Africa and Zimbabwe today.
Many people associate it with the South African township protests of the 1980s, when young men toyi-toyied as they confronted police or attended political funerals and protests. But its origins are in fact much further away, and they tell us about a much longer, global history of political and military struggle. This story played out across Africa, moving from north to south, all the way from Algeria to South Africa, with stops in Tanzania, Zambia, Angola, and Zimbabwe along the way.
Moutya, created by slaves of African descent in the Seychelles in the late 18th century, is a combination of song, drumming, and dance. The genre’s current form originated in conjunction with the construction of Seychellois Creole cultural identity after the coup d’état in 1977.
Performances of moutya that have been adapted or revived—mainly in staged performances for official events, for tourists, or as part of the local music industry—demonstrate the creolization processes, revealing the relationship between moutya and other local and regional cultural phenomena, and underlining the need for an expanded and multilayered conceptual approach to the genre.
This according to Le moutya à l’épreuve de la modernité seychelloise: Pratiquer un genre musical emblématique dans les Seychelles d’aujourd’hui (Océan Indien) by Marie-Christine Parent, a dissertation accepted by the Université de Montréal in 2018.
Above and below, a 2020 performance in downtown Victoria.
The discourse surrounding contemporary concert dance in Africa is complex. Writings on the practice suggest that it could be considered both a neocolonial imposition and a contributor to processes of decolonization.
The growth of contemporary dance in Africa was stimulated by the establishment of an inter-Africa dance competition in 1995 by a French-sponsored dance biennale, which at the time was called the Choreographic Encounters of Africa and the Indian Ocean, and has since been renamed Danse l’Afrique danse!
A major controversy about contemporary dance was caused by the departure from the organization soon after its first event of one of its key instigators, the Ivorian choreographer Alphonse Tierou, in protest against the imposition of French artistic criteria by competition judges.
Tierou’s philosophical tenets for contemporary dance in Africa, which had guided the artistic activities leading up to the launch of the competition, were sidelined by the organizers, who set rules that insisted that entrants present new forms of dance that should not be associated with ideas of African tradition, but which still retain motifs or signifiers which a Western audience would perceive as being African. Both African choreographers and scholars feared the competition was a form of cultural neocolonialism.
While these justifiable concerns persist, there is an emerging academic discourse that promotes the ownership of contemporary dance by African choreographers and dance artists. Observing developments in contemporary dance in Nigeria, Chukwuma Okoye suggested that contemporary dance is undergoing a process of indigenization, arguing that when a foreign dance form is absorbed into a society on the terms of the people in that society the resulting practices cannot be considered a mere copy of the form that was appropriated.
This according to “James Mweu & Kunja Dance Theatre: Contemporary dance as African cultural production” by ‘Funmi Adewole (African theatre XVII  3–22; RILM Abstracts of Music Literature 2018-60720).
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 of Music Literature 2016-49747).
In Ghana, hip hop music and culture have morphed over two decades into a whole new genre called hiplife—not merely an imitation or adaptation of hip hop, but a revision of Ghana’s own century-old popular music called highlife.
Local hiplife artists have evolved an indigenization process that has facilitated a dynamic youth agency that is transforming Ghanaian society. These social shifts, facilitated by hiplife, have occurred within Ghana’s corporate recolonization, serving as another example of how neoliberalism’s global free-market agenda has become a new form of colonialism. While hiplife artists are complicit with these socioeconomic forces, they also create counter-hegemonic projects that challenge this context while also pushing aesthetic limits.
This according to The hiplife in Ghana: The West African indigenization of hip hop by Halifu Osumare (Basingstoke: Palgrave Macmillan, 2012).
The Field Band Foundation
(FBF) is a South African national nonprofit organization that has reached more
than 40,000 youth since its inception in 1997. Modeled initially on the
American-style marching band, the FBF’s performance style, choreography,
rehearsal techniques, and uniforms draw on local traditions and practices
resulting in a uniquely South African musical phenomenon.
As local musicking, FBF rehearsals support the locally defined values of discipline and empathy. The distinctions that FBF members and leaders make between local or global processes or qualities are discernible in the military associations and echoes of local cultural expressions manifested in rehearsal management techniques, uniforms, and choreography. The localizations of musical processes and products and the meanings and values to which these link contribute to the achievement to the FBF’s goals, which the organization aims to articulate in terms of local values.
This according to “Rehearsing values: Processes of
distinction in the Field Band Foundation of South Africa” by Laryssa
Whittaker, an essay included in The Routledge companion to the study of
local musicking (New York: Routledge, 2018, pp. 251–63).
Above and below, FBF groups in action.
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