The journal serves a diverse community of readers and authors, encompassing industry practitioners alongside scholars from disciplinary perspectives including anthropology, computer science, media/game studies, philosophy, psychology, and sociology, as well as musicology. JSMG is the only journal exclusively dedicated to this subject, and provides a meeting point for professionals and academics from any tradition to advance knowledge of music and sound in this important medium.
Capoeira, a Brazilian battle dance and national sport, was brought to Brazil by African slaves and first documented in the late 18th century. The genre has undergone many transformations as it has diffused throughout Brazilian society and beyond, taking on a multiplicity of meanings for those who participate in it and for the societies in which it is practiced.
Three major cultures inspired capoeira—the Congolese (the historic area known today as Congo-Angola), the Yoruban, and the Catholic Portuguese cultures. The evolution of capoeira through successive historical eras can be viewed with a dual perspective, depicting capoeira as it was experienced, observed, and understood by both Europeans and Africans, as well as by their descendants.
This dual perspective uncovers many covert aspects of capoeira that have been repressed by the dominant Brazilian culture. The African origins and meanings of capoeira can be reclaimed while also acknowledging the many ways in which Catholic-Christian culture has contributed to it.
This according to The hidden history of capoeira: A collision of cultures in the Brazilian battle dance by Maya Talmon-Chvaicer (Austin: University of Texas Press, 2008; RILM Abstracts 2008-708).
Above, capoeira performers in São Paulo (photo by Fabio Cequinel licensed under CC BY-NC 2.0); below, capoeira performers in Salvador, Bahia.
Slahal is an Indigenous team-oriented gambling game that involves skill, luck, strategy, supernatural assistance, and a specific song genre. As part of a long tradition of Indigenous gaming in the Pacific Northwest, it has become a popular form of intertribal competition throughout the region.
Song is integral to slahal; the songs, with their catchy melodies and driving frame drum accompaniment, are sung loudly and enthusiastically by the hiding team. Group singing provides opportunities for individual expression through variation of form and rhythmic accompaniment, as well as polyphony and antiphonal singing.
This according to Slahal: More than a game with a song by James Everett Cunningham, a dissertation accepted by the University of Washington, Seattle, in 1998 (RILM Abstracts 1999-22855).
Pietro Metastasio’s popular libretto L’Olimpiade publicized and transmitted a particular ideological and historicized conception of the ancient Olympic Games that would ultimately contribute to the rationalization and legitimization of Pierre de Coubertin’s idiosyncratic Olympic ideology, a philosophical religious doctrine that embraced a noble and honorable conception of sport at the same time as it served discrete class, race, and gendered ends.
The hegemony of the contemporary Olympic Games movement is grounded in part on the appropriation of the classicism and Romanticism transmitted in Metastasio’s work. In narrative, music, and production, L’Olimpiad sustained a particular image of the games, an image that nourished Coubertin’s formulation as it paved the way for further musical representations of the Games that to this day lend authority to a musically transmitted, mythologized, and Hellenized past.
This according to “Music as sport history: The special case of Pietro Metastasio’s L’Olimpiade and the story of the Olympic Games” by Jeffrey O. Seagrave, an essay included in Sporting sounds: Relationships between sport and music (Abingdon: Routledge, 2009, pp. 113–27).
The group New Order’s World in motion, commissioned by the British Football Association to mark the 1990 World Cup soccer finals, “is probably the least likely official football theme song ever recorded: Denying its own status as a football song, introducing elements of subcultural love lyrics, and becoming a gay club hit, but also assuming the burden of combating football’s major peripheral problem, hooliganism, the song is ultimately unheimlich, even despite its closing chorus that speaks of ‘playing for England; playing this song.’”
This according to “Playing for England” by Paul Smith (South Atlantic quarterly 90/4 [fall 1991] pp. 737–752). Smith goes on to note that “both the BBC and the independent television companies forewent the pleasure of having ‘Love’s got the world in motion’ going across the airwaves every night, and the BBC used as their World Cup theme another piece of music that quickly became a number one hit: Luciano Pavarotti singing his version of the Nessun dorma aria from Turandot.”
Today would have been Pavarotti’s 80th birthday! Below, singing Nessun dorma in 1994.
Baseball played an important part in Charles Ives’s life, music, and writings; it was a place where he proved himself as a man, and it provided a framework within which he could build new musical ideas. Ives’s identity as a U.S. composer links him to this game, and a brief chronology of baseball history demonstrates significant changes in the game over the course of his lifetime (1874–1954).
Baseball provided Ives with a vehicle to establish his masculine identity, counterbalancing societal and self views of his musical participation as feminine. His pieces and unfinished sketches about baseball provided a vehicle for him to invent new musical ideas in reference to specific baseball situations that he could use as part of his basic musical language in later pieces.
Analyses of Ives’s baseball-related completed pieces (All the way around and back, Some southpaw pitching, Old home day, The fourth of July) and unfinished sketches (Take-off #3: Rube trying to walk 2 to 3!!, Take-off #7: Mike Donlin–Johnny Evers, and Take-off #8: Willy Keeler at the bat), compared with passages from later works, reveal these associations.
This according to Baseball and the music of Charles Ives: A proving ground by Timothy A. Johnson (Lanham: Scarecrow, 2004).
Today is Ives’s 140th birthday! Above, the Danbury Alerts, ca. 1890; a young Charles Ives is the first seated player from the left. Below, James Sykes plays Study no. 21: Some southpaw pitching.
For 15 seconds a year, Steve Buttleman is the most famous man in America.
On the first Saturday of every May, wearing his famous red jacket and black cap, he marches from the white pagoda behind the Churchill Downs Winner’s Circle, lifts a bugle to his lips, and plays Call to post, cuing the jockeys to lead their horses to the starting gate.
Buttleman plays for the spring and fall meets as well as the Kentucky Derby, often performing Call to post as many as eleven times a day.
The term ice dance was coined for attempts to perform ballroom dances on the ice, and to create ballroom-style dances that could be performed on skates.
The genre was added to the figure skating World Championships in the early 1950s, and it became an Olympic sport in 1976. Ice dancers began to incorporate more and more elements of ballet and theatrical training into their performances, and by the mid-1980s leading dance teams were steadily moving ice dance away from its social-dance origins toward the domain of art dance.
While athleticism remained at the forefront, the lines between sport and art were starting to blur, and in 1992 the International Olympic Committee tightened the rules to steer ice dancing back toward ballroom dancing. It remains to be seen whether ice dancing will continue to be defined narrowly, or whether all forms of expressive skating to music will eventually be considered dance.
This according to What is the “dance” in ice dance? by Ellyn Kestnbaum (Proceedings of the Society for Dance History Scholars 22  pp. 243–248). Below, the Gold Medalists at the 2012 Olympics.
MIDI-Connect4 is a program that composes music from the unfolding of a board game, Hasbro’s Connect 4™.
The system uses evolutionary computation to evolve from scratch a neural network that plays the Connect 4 game. Music is produced when a user plays the game against the system. The system generates music by associating the moves of each player with musical forms (see above).
The program was inspired by a musical event called Reunion, which was conceived by John Cage, Marcel Duchamp, and Teeny Duchamp in 1968, in which sounds were spatially distributed around a concert audience as a chess game unfolded.
In Macedonia the Synaxis of St. John the Baptist on 7 January is celebrated with Vodici, a musical ceremony that involves the high priest throwing a cross into a nearby body of water.
The waters are baptized through this act, but the real attraction is the local youths plunging into the icy water to retrieve the cross. The one who finds it becomes a local hero, and is believed to be blessed for the entire ensuing year.
This according to “Водичарски обреди и водичарско певање у Македонији” (The Vodici ritual and singing in Macedonia) by Rodna Veličkovska in Научни скуп Дани Владе Милошевића: Зборник радова (The conference Dani Vlade Miloševića: Collection of essays; Banja Luka: Akademija Umjetnosti, 2008).
Below, excerpts from the church and waterside ceremonies in Bitola.
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 →
In 1947 Ella Fitzgerald, already an acclaimed singer of jazz standards, toured with Dizzy Gillespie, immersing herself in the new style known as bebop. Like Dizzy, Ella responded to bebop’s complex harmonies with an infallible ear, and easily translated its … Continue reading →
Gertrude “Ma” Rainey’s Prove it on me blues affirms her independence from orthodox norms by boldly celebrating her lesbianism. Rainey’s sexual involvement with women was no secret with both colleagues and audiences. The advertisement for the song (above, click to … Continue reading →
The American traditional song Go tell Aunt Rhody originated as a gavotte composed by Jean-Jacques Rousseau for his opera Le devin du village (1752). An English version of the opera was produced in London in 1766; subsequently the melody attracted … Continue reading →