International journal of interdisciplinary and multidisciplinary studies (ISSN 2348-0343) is an open-access, international, monthly, bilingual (English and Bengali), peer reviewed, indexed, online journal.
IJIMS publishes original research articles, review articles, short communications, and case studies. A team of reputed academics from different disciplines tackles the review work and publication process.
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Filed under New periodicals
In 1823 Louis Spohr’s article “Aufruf an deutsche Komponisten” appeared in Allgemeine Musikalische Zeitung. He wrote it to encourage young German composers to contribute to the genre of German opera, but he may have had other intentions as well.
Spohr was determined to promote his latest opera, Jessonda, which he mentioned as a model for his ideas of German opera—but a closer look at that work reveals that Spohr did not think along nationalist lines. In a way its dramaturgy depicts Kant’s definition of Enlightenment and aims at a united and enlightened mankind; so did the composer in his personal life.
Indeed, Spohr’s liberal and enlightened ideas are so prominent in his operas that they became increasingly neglected in the 1870s, when chauvinistic tendencies became more widespread. This development culminated in the 1940s, when the Nazis banned Jessonda from the German stage. As Spohr’s original resisted attempts to align it with the Nazi idea of German opera, the Reichsstelle für Musikbearbeitungen commissioned an amended version; the end of World War II curtailed this effort.
This according to “Zwischen nationalem Anspruch und lokalpolitischen Zwangen: Entstehungs- und Rezeptionsbedingungen der Kasseler Opern Louis Spohrs” by Wolfram Boder (Studia musicologica LII/1–4 [March 2011] pp. 311–321).
Today is Spohr’s 230th birthday! Above, the composer’s self-portrait; below, some excerpts from Jessonda.
Filed under Reception, Romantic era
Snowball, a male sulphur-crested cockatoo, was brought to the rescue shelter Bird Lovers Only in 2007; his caregiver had gone off to college, and the family was having trouble managing him.
The family gave a CD to Irena Schulz, the shelter’s director, and told her to play it and watch Snowball. She was amazed to see the cockatoo dance to the music, accurately keeping time with his head, shoulders, legs, and claws!
A video that Schulz made of Snowball ended up on YouTube, where it went viral; he went on to appear in several television shows and ads.
The video was brought to the attention of Annirudh D. Patel and John R. Iversen, two researchers interested in connections between animal behavior and music; they were astonished, and Schulz allowed them to conduct experiments to verify that Snowball was actually listening to the music and responding with physical rhythmic mimicry. Their vindicating study, “Experimental evidence for synchronization to a musical beat in a nonhuman animal” (Current biology XIX/10 [26 May 2009] pp. 827–830) carries a byline for Schulz along with Patel, Iversen, and Micah R. Bregman.
Below, a brief video about Schulz and Snowball, followed by more videos of Snowball in action.
Related article: A sea lion in Boogie Wonderland
A week-long festival centered on stories about the deity Kṛṣṇa is held in the hamlet of Naluna, Garhwal district, Northern India; this practice (known as a saptāh) is primarily a product of an elite Hindu community of the North Indian Plain.
Two loci of power are salient: the village deity representing local authority, and the text-as-artifact of the Bhāgavata purāṇa, the metonymy of the authority of the recently imported cultural practice.
The local community comprises modern subjects and empowered agents, accounting for the nature of the interaction between the village deity and the sacred text, and the new cultural synthesis that emerges.
This according to “Village deity and sacred text: Power relations and cultural synthesis as an oral performance of the Bhāgavatapurāṇa in a Garhwal community” by McComas Taylor (Asian ethnology LXX [2011] pp. 197–221).
Above and below, the saptāh in Naluna.
Filed under Asia, Literature
Following a wrenchingly poor childhood and a hard-won scholarship, Tracy Chapman was hit by stardom right after graduating from college, when her 1988 self-titled debut album sold 10 million copies.
She had only recently overcome her fear of playing for coffeehouse-sized audiences, and suddenly the machinery of celebrity was bolted around her. Despite her success, she recalled in 2000 that “they weren’t particularly happy times.”
Periods of seclusion followed, but in 1995 she restarted her career on her own terms. “You have to pay attention to the moment and make it the best it can be for you,” she said. “Make it count. I’ve been trying to do that. It’s really made a major difference for me—I’m a happier person.”
This according to “Telling her stories” by Christopher John Farley (Time CLV/8 [28 February 2000] p. 92).
Today is Chapman’s 50th birthday! Above, the singer-songwriter in Bruges in 2009; below, performing one of the songs from her debut album at the Nelson Mandela 70th Birthday Tribute in 1988, effectively jump-starting the first leg of her career.
Filed under Popular music
Aided by her extraordinary voice, technical proficiency, and mastery at adopting multiple performing personas, Sarah Vaughan obscured conventional divisions between jazz and pop, masculinity and femininity, and blackness and whiteness. By transcending these binary oppositions, she crafted a vocal identity that was commercially viable, artistically satisfying, and which undermined racial stereotypes. In so doing, she reconfigured how American audiences understood the black female voice.
In American jazz criticism of the 1940s and 1950s, discourses on vocal timbre became a means to maintain boundaries between style, race, and gender, and anxiety was expressed by critics when a voice did not match the expectations created by the body that produced it or vice versa. Given that Vaughan’s voice was constructed as neither distinctly black nor white, and neither distinctly jazz or pop, this provides some explanation for her dramatic transformation, including plastic surgery, to create a physical appearance appropriate for her voice.
The roles of recording technology, the suburban home, and the contrasting domain of the nightclub all must be considered in terms of the politics of crossover in Vaughan’s career.
This according to To bebop or to be pop: Sarah Vaughan and the politics of crossover by Elaine M. Hayes, a dissertation accepted by the University of Pennsylvania in 2004.
Today is Vaughan’s 90th birthday! Above, the singer in 1946; below, in 1958.
Related article: Happy birthday Sarah VaughanFiled under Jazz and blues, Popular music
The 1972 film Lady sings the blues, starring Diana Ross as the legendary jazz singer Billie Holiday, merits close analysis as a historical marker.
Sidney J. Furie’s film is a crossover text, created to win the sympathies of both white and African American audiences. In its effort to provide for all possible viewer positions, the film negotiates racial, gender, generational, and political issues.
This according to “Strange fruit?: Lady sings the blues as a crossover film” by Gary Storhoff (Journal of popular film and television XXX/2 [summer 2002] pp. 105–113).
Today is Diana Ross’s 70th birthday! Below, her portrayal of Lady Day.
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Filed under Jazz and blues
Samuel Coleridge-Taylor began his only symphony when he was a student of Charles Villiers Stanford, as his major project for the 1895–96 season.
A new edition by John L. Snyder of Coleridge-Taylor’s symphony in A minor, op. 8, includes the finale later added in 1900, as well as the two surviving discarded finales from 1896 and the revision of the slow movement issued in 1901 as Idyll, op. 44 (Middleton: A-R Editions, 2013).
The edition of the symphony is based on the autograph MSS, including autograph parts, now in the Royal College of Music Library and in the British Library. The extensive critical notes document the changes made by the composer, both in the score and in the process of copying parts. Coleridge-Taylor was concerned to make his symphony cyclic and struggled with how to accomplish that most effectively, as evidenced by the three finales.
The Idyll is edited on the basis of a copyist’s score formerly in the Novello rental library and now in the Fleisher Collection of the Free Library of Philadelphia.
Above, Coleridge-Taylor around the time he wrote the symphony; below, a brief tribute to the composer, narrated by his daughter, Avril Coleridge-Taylor.
Filed under New editions, Romantic era
Male humpback whales (Megaptera novaeangeliae) sing long, complex songs in tropical waters during the breeding season.
At any one time all the whales in a population sing the same song, which differs significantly from songs of other populations. The song of each population evolves continuously, progressively, and so rapidly that nonreversing changes can be measured month to month in a singing season.
Such changes, which affect the songs at all levels, seem to arise through improvisation and imitation rather than through accident or as conveyors of information. The greatest amount of change appears when singing is most pervasive and the effort of each singer is most intense.
Rhymelike structures occur in songs that contain much thematic material, perhaps serving as a mnemonic device in the context of a rapidly changing oral culture. Sexual selection may be the driving evolutionary force behind song changing.
This according to “The progressively changing songs of humpback whales: A window on the creative process in a wild animal” by Katharine Payne, an essay included in The origins of music (Cambridge: MIT Press, 2000). Below, underwater recordings of humpback whale songs.
More posts about animals and music are here.
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Goth belly dance or raqs gothique—a term coined from the Arabic raqs sharqi (dance of the East)—fuses the already Westernized interpretative dance style of the Middle East with Goth subculture.
This new experimental dance involves different musics (from goth rock to world music), altered costuming, and new performance settings. Although rooted in belly dance and its ties to colonialism, Goth belly dance transforms Orientalism and embodies decolonization as process and product.
This according to “Raqs gothique: Decolonizing belly dance” by Tina Frühauf (TDR: The drama review LIII/3 [fall 2009] pp. 117-138). Above, Maiiah with her snake, Maharet (photo by Pryor Dodge; click to enlarge); below, the late JeniViva Mia performs.
Related article: Subversive belly dancing
Filed under Curiosities, Dance
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