Blues magazines like Living blues, Real blues, and Blues revue attest to the continuing vitality of a genre that dates at least back to the 1910s, when the first blues songs were published. Unlike the recording companies that capitalized on the “blues craze” of the Roaring Twenties, these magazines are interested in all forms of African American roots music—including sacred and other secular traditions—and their modern counterparts, including zydeco, gospel, and so on, fostering a thriving community of enthusiasts.
Record album covers comprise a genre of music iconography that shows how musicians wish to be perceived—or how their producers wish them to be perceived. This type of iconography makes no claim to objectivity; rather, it explicitly presents images meant to arouse specific associations with the recorded music inside.
For example, the cover of Fela Anikulapo-Kuti’s 1977 album Zombie shows him brightly dressed, singing and gesturing defiantly, facing images of Nigerian soldiers: the zombies of the scathing title song, which satirizes these enforcers of the military government. The singer appears as a vibrant, strong leader, while the soldiers are depicted in a jagged, grey collage—as dehumanized and sinister as the zombies of horror fiction.
Below, Sahr Ngaujah and the cast of Fela! perform Zombie on Broadway.
These visual depictions of rāgas involve the various extramusical associations that theorists have assigned to them; for example, this visualization of the Hindustani rāg bhairavī from about 1610 depicts women worshiping at a shrine to Śiva, embodying the rāga’s association with both Śiva and feminine energy, and evoking the colors of its traditional early-morning context.
Below, the śahnāī player Bismillāh Khān (1915–2006) renders rāg bhairavī.
The magazine provides insight into the Serbian world music scene through interviews and profiles of members of Serbian bands and reviews of recordings, events, and publications, as well as regular features on Serbian traditional music.
Its editor, Oliver Đorđević, defines it as a periodical for “theory, history, aesthetics, and criticism of world music, with the aim of promoting and advancing Serbian world music.” Etnoumlje also collects information for a future Web-based register of Serbian world music bands and artists.
Comments Off on Etnoumlje: Srpski world music magazine
Postage stamps are singular sources for music iconography. Since these images comprise officially sanctioned national and international recognition, they provide windows on what governments and constituencies in various cultures and at various times have deemed worthy of celebration.
For example, the South Indian magazine Sruti regularly features philatelic reports on stamps issued by the Indian Department of Posts; these include an impressive number of commemorations of composers and performers from India’s classical Karnatak and Hindustani traditions. The stamp pictured above was issued to honor the śahnāī player Bismillāh Khān (1915–2006) on 21 August 2008.
Below, the music of Ghanaian postal workers canceling stamps.
International journal of community music (ISSN 1752-6299) is a refereed journal that publishes research, practical discussions, reviews, readers’ notes, and special issues concerning all aspects of community music. To define its scope, the editors—David Elliott, Lee Higgins, and Kari Veblen—write: “Just as music and community are situated, contested, contingent, and hard to pin down, so too are concepts of community music as practice and as scholarship. In short, community music is a complex, multidimensional, and continuously evolving human endeavor.” The journal was launched in 2008.
Comments Off on International journal of community music
Sruti: India’s premier magazine for the performing arts (ISSN 0970-7816) is a Chennai-based magazine. While its primary focus is the South Indian Karnatak music world and its related dance traditions, most issues include at least one article devoted to the North Indian Hindustani tradition; it also carries occasional features on Indian folk traditions. Sruti tends to concentrate on events in recent musical life and profiles of current—and occasionally past—performers. RILM focuses on covering the latter, including the former only when sufficient historical interest is indicated.
Research-based contributions from the independent scholar Sriram Venkatakrishnan (writing under the name Sriram V) are often included, providing notes on important persons or places in the history of the Karnatak tradition. Another regular contributor, S. Sankaranarayanan, writes philatelic reports on Indian stamps depicting musical subjects—a type of music iconography.
The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s … Continue reading →
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … 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 →
