Category Archives: World music

Folkways in Wonderland

Frishkopf fig. 1

Folkways in Wonderland (FiW) is a cyberworld for musical discovery with social interaction, allowing avatar-represented users to explore selections from the Smithsonian Folkways world music collection while communicating through text and audio channels. FiW is built on Open Wonderland, a framework for creating collaborative 3D virtual worlds.

FiW is populated with track samples from Folkways Recordings. Since acquiring the label in 1987, Smithsonian Folkways has expanded and digitized the Folkways collection while enhancing and organizing its metadata, all of which are now available electronically.

FiW is collaborative: multiple avatars can enter the space, audition track samples, contribute their own sounds (speech or other) to the soundscape, and also communicate through text chat. Nearby users can hear music together, as well as hear and see each other. Wonderland also provides in-world collaborative applications, such as a shared web browser or whiteboard. Thus users are provided with a real-time, immersive, audiovisual representation of the virtual sociomusical environment, together with multiple means of communicating within it.

This according to “Folkways in Wonderland” by Rasika Ranaweera, Michael Frishkopf, and Michael Cohen (Sound matters 3 March 2015).

Above, a screenshot of a typical session (click to enlarge); below, a brief demonstration.

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Filed under Resources, World music

A lullaby for world music

 

The term world music arose among academics in the 1960s as a way to promote interest in the study of diverse musics. By the 1980s, world music was a marketing category whose success was propelled by the interest and involvement of popular music stars; by the 1990s, it had become a booming commercial enterprise on its own. Critical and scholarly responses to this development involve two types of narrative: the anxious and the celebratory.

Creative responses have included examples like the inclusion of Hugo Zemp’s field recording of the song Rorogwela, available on the CD Solomon Islands: Fateleka and Baegu Music from Malaita (UNESCO/Audivis, 1990), as Sweet lullaby on the worldbeat CD Deep forest (Sony Music, 1992), where it was given drum machine and synthesizer accompaniment and backing vocals.

The marketing of tropes like green enviroprimitivism and spiritual new age avant-garde romanticism has created a situation where a “sweet lullaby” is a fitting metaphor for the soothing multicultural aura surrounding the industrialized globalization of music.

This according to “A sweet lullaby for world music” by Steven Feld (Public culture XII/1 [2000] pp. 145–171). Above, the 2012 WOMAD festival; below, the official Sweet lullaby music video.

Related article: Telek, Bridie, and schismogenesis

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Filed under Ethnomusicology, Popular music, World music

Doc Watson’s oral memoir

When David Holt asked Doc Watson to write an autobiography, he declined. Holt then said “What if you just tell your stories? I can ask you questions and we can record it and you can tell your stories yourself.”

Watson agreed, and in 2002 they released Legacy, a three-CD set that comprises an oral memoir by the country music legend; it won the Grammy for Best Traditional Folk Album the next year.

This according to “Doc Watson and David Holt” by Carol Mallet Rifkin (Acoustic guitar XXII/6:228 [December 2011; online only]).

Today would have been Doc Watson’s 90th birthday! Below, Watson and Holt perform together in 2007.

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Filed under North America, World music

Folk lexicon

weavers

Folk lexicon: Lexicon of the modern folk fan was published by Caffè Lena in 2013.

This free online resource provides information on the folk music scene as it has evolved (mainly in North America) since the 1950s. Categories include awards, folk festivals, instruments, musical styles, publications, radio shows, and record companies, along with discussions of terminology and corny nicknames.

Above, the Weavers were influential founders of the contemporary scene. Below, the group’s 1980 reunion at Carnegie Hall.

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Filed under Resources, World music

Lloyd Miller and Oriental jazz

A multi-instrumentalist and multi-linguist who has lived and performed in Tehran, Paris, Geneva, Brussels, Stockholm, and Frankfurt, Dr. Lloyd Miller has been fusing jazz and world music since the early 1960s.

The California native finds that the modal music of Asia is completely compatible with the African American tradition. “It is all the same musical system,” he says. “The same spirit, the same feeling, the same notes, and some of the same melodic patterns and repetitive and mirroring phrases.”

Long documented only by rare recordings, Miller’s music can now be heard in the compilation A lifetime of Oriental jazz (Jazzman JMANCD 208).

This according to “Jazz in an unfamiliar key: The wanderings of Lloyd Miller” by Francis Gooding (The IAJRC Journal XLIV/2 [June 2011] pp. 9–13]). Below, a compilation of Miller’s broadcasts.

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Filed under Jazz and blues, World music

Jazz and globalization

 

The music of the South Korean vocalist Na Yun-seon may be understood as challenging which sounds may be classified as jazz, and who may be included in its audiences.

Na may also be seen as negotiating the increasing freedom of jazz that stems from the proliferation of media globalization to imagine new interrelations between the political and economic hierarchies that influence the flow of such media objects. She thereby addresses a tension fundamental to the dynamics of globalization.

This according to “Jazz at large: Scapes and the imagination in the performances of Moses Molelekwa and Nah Youn-Sun” by  Jan Harm Schutte (Jazz research journal IV/1 [May 2010] pp. 43–56). Below, Na’s Calypso blues exemplifies some of the challenges that she proposes.

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Filed under Jazz and blues, World music

Digital Library of Appalachia

Produced by the Appalachian College Association, the Digital Library of Appalachia provides online access to archival and historical materials related to the culture of the southern and central Appalachian region. The database’s contents are drawn from special collections of Appalachian College Association member libraries.

Above, the Bog Trotters Band in Galax, Virginia, in 1937. Below, the legendary Roscoe Holcomb at home in Kentucky.

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Filed under North America, Resources, World music

World & traditional music

Part of the British Library’s Sounds project, World & traditional music features tens of thousands of recordings by ethnomusicologists and collectors, including those of the pioneering Africanists Peter Cooke (b.1930), Kenneth Gourlay (1919–95), Hans-Joachim Heinz (1917–2000), Arthur Morris Jones (1889–1980), David Rycroft (1924–97), and Klaus Wachsmann (1907–84).

This online resource is available free of charge for noncommercial research, study, and private enjoyment.

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Filed under Africa, Ethnomusicology, Resources, World music

Le fonds Brăiloiu

Established in 2009 by the Archives Internationales de Musique Populaire at the Musée d’Ethnographie in Geneva, Le fonds Brăiloiu is an open-access collection of 3028 recordings by the Romanian ethnomusicologist Constantin Brăiloiu (1893–1958) and his colleagues. The collection has also been issued by VDE-Gallo as Collection universelle de musique populaire/The world collection of folk music: Archives Constantin Brăiloiu, 1913–1953, a set of four CDs.

Above, Brăiloiu records Gheorge Musuleac in Romania in 1928. Below, one of Brăiloiu’s 1941 recordings of the Serbian flute player Milan Trandafir.

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Filed under Ethnomusicology, Europe, World music

Charles Seeger and folkness

The folk revival movement is the result of the common folkness of the folk and the supposedly non-folk surfacing in cities. In the meantime the folk has been doing what it has always done: appropriating all of the non-folkness it could.

Perhaps non-folkness is that which tries not to be folkness, while folkness is that which has not discovered more non-folkness than it could assimilate. The two categories may not be mutually exclusive; they may be two aspects of the same entity.

This according to “The folkness of the non-folk vs. the non-folkness of the folk” by Charles Seeger, an essay included in Folklore and society: Essays in honor of Benj. A. Botkin (Hatboro: Folklore Associates, 1966, pp. 1–9).

Above, Charles plays the harmonium for a family musicale in 1921, with his son Pete on his lap. Below, Pete’s half-sister Peggy Seeger performs The foolish frog, a traditional song with a story that Charles made up to entertain his children.

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Filed under Curiosities, Ethnomusicology, Humor, World music