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

Billie Holiday’s first session

 

In a 1956 interview, Billie Holiday recalled her first recording session, with Benny Goodman’s band in 1933:

“I got there, and I was afraid to sing in the mike…I was scared to death of it.”

The pianist, Buck Washington, leveraged the fact that the two of them were black, while most of the band members were white: “You’re not going to let these people think you’re a square, are you? Come on, sing it!”

When asked what she thinks of that recording now, she replied “I get a big bang out of Your mother’s son-in-law. It sounds like I’m doing comedy—my voice sounds so high and funny!”

This radio interview is transcribed as “The Willis Conover interview” in The Billie Holiday companion: Seven decades of commentary (New York: G. Schirmer. 1997, pp. 62–70).

Today is Holiday’s 100th birthday! Below, that first recording.

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Filed under Jazz and blues

BOSS

boss

 

Launched in 2014, BOSS: The biannual online-journal of Springsteen studies publishes scholarly peer-reviewed essays pertaining to Bruce Springsteen.

This open-access journal seeks to encourage consideration of Springsteen’s body of work primarily through the political, economic, and sociocultural factors that have influenced his music and shaped its reception.

BOSS welcomes broad interdisciplinary and cross-disciplinary approaches to Springsteen’s songwriting and performance. The journal aims to secure a place for Springsteen Studies in the contemporary academy.

Below, Born in the USA, the subject of the first article in the first issue.

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Filed under New periodicals, Popular music

Crunching ballads

punch cards

In the 1940s Bertrand Harris Bronson became one of the first scholars to use computers for musicological analysis.

For one of his projects he encoded melodic characteristics of hundreds of tunes collected for the traditional ballad Barbara Allen on punch cards, so a computer could ferret out similarities. His project resulted in four groups of tunes, members of which came from both sides of the Atlantic with varying frequency.

This according to “All this for a song?” an essay by Bronson reprinted in his collection The ballad as song (Berkeley: University of California Press, 1969, pp. 224–242).

Above, an illustration from the article (click to enlarge); below, the classic recording of the song by Jean Ritchie, a singer Bronson deeply admired.

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Filed under Curiosities, Ethnomusicology

Alpert and altruism

alpert-obama

The Herb Alpert Foundation has made major grants to the UCLA School of Music and California Institute of the Arts.

In a 2010 interview, Alpert discussed his philanthropic goals, especially that of supporting educational programs that move beyond a focused concentration on the technical aspects of the musical art.

“There’s two ways to approach jazz,” he said, “you can approach it from the outside point of view where you have chords that are a little remote from the actual melody, or you can stay within the context of the song and play it from that angle. I don’t try to force any notes or rely on techniques that I’ve learned through the years. I try to just let it happen as it happens—which is the only way to approach jazz.”

This according to  “In the name of imagination” by Don Heckman (Jazz education guide 2009–2010, pp. 20–26).

Today is Herb Alpert’s 80th birthday! Above, receiving the National Medal of Arts from President Obama in 2013; below, back in the day.

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Filed under Jazz and blues, Popular music

Una colección de patrimonio musical español

Paciendo el rebaño

The Fons de Música Tradicional at the Institució Milà i Fontanals (CSIC-IMF) in Barcelona has more than 20.000 melodies, copied on paper, collected between 1944 and 1960 throughout Spain; most of them were compiled through the 65 folkloric missions and 62 notebooks presented to competitions organized by the Folklore Section of the former Instituto Español de Musicología of the CSIC, in which 47 researchers participated.

Launched in 2015, Una colección de patrimonio musical español/Una col·lecció de patrimoni musical/A Spanish collection of traditional music heritage is an open-access database comprising digitized materials of the music collected in the competitions and missions of Andalusia, Balearic Islands, Castile-La Mancha, the Castile and León region, Catalunya, Galicia, the Murcia region, and the Valencian community; more materials from these and other Spanish regions will be incorporated later.

The site can be navigated in Spanish, Catalan, or English; searches may be organized by source, location, researcher, informant, genre, or title. Audio files of the melodies will eventually be added.

Above, notation for the instrumental tune Paciendo el rebaño; the full record, which includes other visual materials, is here.

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Boulez goes electroacoustic

Répons

Répons (1981–84), the first major work to arise from Pierre Boulez’s involvement with IRCAM, is underpinned by a collection of five chords. Surface details interact with the compositional scheme but achieve a certain independence and spontaneity.

Nevertheless, the density of the music, which is sometimes enhanced by computer-facilitated transformation, at times veers towards a phantasmagoric, seamless web that threatens to undermine the articulation of space generated by the configurations of blocks and individual moments. Boulez’s spatial dialogue of system and idea is illuminated by Adorno’s theoretical attempts to turn systematic thought towards the particular.

This according to “Répons: Phantasmagoria or the articulation of space?” by Alastair Williams, an essay included in Theory, analysis and meaning in music (Cambridge: Cambridge University Press, 1994, pp. 195–210).

Today is Boulez’s 90th birthday! Above, part of the score of Répons; below, the composer conducts a performance of the work in a film by Robert Cahen.

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Filed under 20th- and 21st-century music

Music for abusers

Istedgade

For some decades the back entrance of the Hovedbanegård (Central Station) in København served as a shelter and meeting place for alcoholics, drug abusers, and drug dealers, because this part of the station faces Istedgade Kvarteret (Isted Street Quarter, above), a part of the city that accommodates prostitution and pornography shops and cinemas. When narcotics entered the milieu of prostitution, this part of the city also became the home of junkies and drug dealers.

After a major restoration of the station in the 1990s the management wanted to get rid of the abusers in the back entrance. So did many travelers. And as the police did not succeed, they adopted a concept that had proved its efficiency at the central station in Hamburg. By playing music from the Romantic period through a loudspeaker, they stressed the abusers so much that, after a few days of persistence, they left the entrance hall.

Most of the junkies and alcoholics are not familiar with nor attracted to classical Romanticism, and popular music has been a vital part of their lifestyle. Therefore they feel uncomfortable when smoking, fixing, or dealing accompanied by strange classical music. For the travelers, however, Romantic-era music is a preferred genre compared to, for example, medieval music, atonal music, bebop, or modern jazz, and they are not bothered by it during the half minute it takes to pass through the entrance.

This according to “Musik for misbrugere” by Olav Harsløf (Antropologi LIV [2006–2007] pp. 87–98). Below, an excerpt from Berlioz’s opium-themed Symphonie fantastique, a Romantic-era work suitable for the station’s loudspeaker.

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Filed under Curiosities, Reception, Romantic era

Bach or the Devil

Devil_Plays_His_Organ

During his life, Bach was primarily known as a dazzling organist with virtuoso improvising abilities. Not surprisingly, his prowess gave rise to a number of urban legends.

One such legend had him traveling incognito, dressed as a village schoolmaster, going from church to church to try out the organs—prompting one local organist to cry out, “I don’t know who’s playing, but it’s either Bach or the Devil!”

This according to “Tod und Teufel” by Frieder Reininghaus, an essay included in Bach-ABC (Sinzig: Studio-Verlag, 2007, pp. 91–93).

Today is Bach’s 330th birthday! Below, the tocatta and fugue in D minor, BWV 565, which always seems to surface around Halloween.

More posts about J.S. Bach are here.

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Filed under Baroque era, Curiosities, Humor

Svâtoslav Rihter’s spontaneous recitals

sviatoslav-richter-kiev-1958

In a 1997 interview, Svâtoslav Rihter spoke about his love of unscheduled performing.

“I now know from experience that things planned too far in advance always end up being aborted. Always! Either you fall ill, or you’re prevented from appearing for some other reason, whereas if you improvise—“The day after tomorrow? Of course, why not?” or, if the worst comes to the worst, “Next week?”—everything passes off smoothly. I may be on form today, but who can tell what I’ll feel like on such-and-such a date in the more-or-less distant future?”

“And so, when I arrive in a country I prefer to open a map and show my impresarios the places that have certain associations for me or that excite my curiosity and, if possible, that I’ve not yet had a chance to visit. We then set off by car, followed by the pianos, avoiding motorways like the plague. And then I may play in a theater or chapel or in a school playground at Roanne, Montluçon, or in some remote corner of Provence. All that matters is that people come not out of snobbery but to listen to the music.”

This from Sviatoslav Richter: Notebooks and conversations (Princeton: Princeton University Press, 2001, pp. 110, 114).

Today is Rihter’s 100th birthday! Above, in Kiev in 1958; below, a 1964 performance of Prokof’ev’s second piano sonata.

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Filed under 20th- and 21st-century music, Curiosities