E.J. Brill inaugurated its series Balkan studies in 2011 with Staging socialist femininity: Gender politics and folklore performance in Serbia by Ana Hofman. The book examines the negotiation of gendered performances in Serbian rural areas as a result of the socialist gender policy and the creation of a new femininity in the public sphere from the 1970s through the mid-1990s, with particular attention to musical performances.
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Filed under Europe, New series
During his lonely years as a young traveling performer and teacher in northern Germany, Ferruccio Busoni adopted a Newfoundland for companionship; he named the huge black dog Lesko. When he sailed to Helsinki to begin his first steady teaching position in 1888, of course Lesko came along.
Busoni’s lively personality and prodigious performing skills soon attracted a group of artists who gathered regularly at bars and restaurants. Since his dog always attended these meetings, they declared Lesko the honorary convener and dubbed themselves the Leskovites. This group included Jean Sibelius, the writer Adolf Paul, the conductor Armas Järnefelt, and his brother, the painter Eero Järnefelt.
In 1890 Busoni expressed his regard for the Leskovites with his Geharnischte suite, op. 34a; each movement is dedicated to one of “the four friends of Lesko in Helsinki.”
This according to “The friends of Lesko, the dog: Sibelius, Busoni, Armas and Eero Järnefelt, Adolf Paul” by Barbara Blanchard Hong, an essay included in Sibelius in the old and new world: Aspects of his music, its interpretation, and reception (Frankfurt am Main: Peter Lang, 2010, pp. 57–68).
Below, Busoni’s suite dedicated to the Leskovites.
Filed under Animals, Curiosities, Romantic era
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.
Filed under Africa, Ethnomusicology, Resources, World music
In collaboration with the Musikwissenschaftlichen Institut der Universität Basel, Schwabe Verlag inaugurated the series Resonanzen: Basler Publikationen zur Älteren und Neueren Musik in 2011 with Jacques Handschin in Russland: Die neu aufgefundenen Texte.
Edited by Жанна Викторовна Князева (Žanna Viktorovna Knâzeva), the book presents texts, reviews, correspondence, and biographies written by Handschin during his years in St. Petersburg (1909–22).
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Filed under Musicologists, New series
Insects in rock ’n’ roll cover art is an article by Joseph R. Coelho, who teaches in the Biology Program at Quincy University.
The article, which can be read online here, was published in American entomologist (L/3 [fall 2004] pp. 142–151). It is part of a larger project called Insects in rock ’n’ roll music, which also includes lists of insect-related songs, albums, and artist names.
Above, a classic Iron Butterfly album cover. Below, ants dancing to Ant man bee from the legendary Trout mask replica by Captain Beefheart and his Magic Band.
Many thanks to the Improbable Research blog for alerting us about Professor Coelho’s work!
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Filed under Animals, Nature, Popular music, Resources, Science, Visual art
Although there is no record of Washington studying with a dance teacher, and rumors suggest that he was self-taught, the first U.S. President was widely known as a superb dancer.
One anecdote has Washington performing a minuet before French officers who admitted that his dancing could not be improved by any Parisian instructor. Washington’s dancing of a minuet in 1779 with Henry Knox’s wife Lucy inspired the following tribute from The Pennsylvania packet:
“The ball was opened by his Excellency the General. When this man unbends from his station, and its weighty functions, he is even then like a philosopher, who mixes with the amusements of the world, that he may teach it what is right, or turn trifles into instruction.”
This according to George Washington: A biography in social dance by Kate Van Winkle Keller (Sandy Hook: Hendrickson Group, 1998).
Today is Washington’s 280th birthday! Below, a minuet of the type that he would have danced.
Related article: Woodrow Wilson, lyric tenor
Filed under Classic era, Dance, Politics
While the composer of iconic marches is famous for directing the U.S. Marine Band and his own world-famous ensembles, John Philip Sousa’s early life as a violin prodigy is relatively unknown.
A sickly child, Sousa was home-schooled, and from the age of six his studies included lessons with an Italian violin teacher. He showed tremendous promise, and his father, a trombonist in the Marine Band, enlisted him as a Marine apprentice when he was 13; there he studied academics and several instruments.
Sousa went on to play the violin in orchestras and chamber groups, where he developed a taste for cutting-edge art music that he never lost; for example, his band performed excerpts from Wagner’s Die Meistersinger ten years before the opera’s first U.S. production.
This according to “John Philip Sousa’s violin: An American original” by Erin Shrader (Strings XXV/4:187 [November 2010] pp. 53–56). Above, Sousa’s childhood violin before (background) and after it was restored by John Montgomery. Below, Sousa’s Band performs Carl Friedemann’s Slavonic rhapsody.
Related article: Cylinder Preservation and Digitization Project
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Filed under Curiosities, Instruments, Popular music, Romantic era
Musica antiqua: Quarterly early music magazine (ISSN 2049-1514) was launched in January 2012 with this statement from its editor, Claire Bracher:
“Our vision for Musica antiqua is very clear: with both of the founders being active professional early musicians, we feel we have a direct line to those performers and musicologists who are currently at the forefront of early music. Our aim is to provide articles written by the performers and musiciologists themselves.
“We intend also to bring a unique and creative design and layout to the articles in the magazine. Musica antiqua will concentrate on music from the 16th, 17th, and 18th centuries, and on bringing you all the latest news and developments from around the world.”
Filed under Baroque era, New periodicals, Renaissance
On this Valentine’s Day, let’s look at an article that analyzes the 100 most popular songs between 1958 and 1998 for performer demographics and expressions of love.
In the 1990s women and black artists recorded more hits than in earlier periods; over time, references to love in lyrics performed by women artists decreased. References to sex in lyrics peaked between 1976 and 1984, when women used sexual references five times more than men; however, between 1991 and 1998, men used more sexual references.
Later songs and songs performed by white female artists expressed greater selfishness; the quality of love expressed in the lyrics remained the same.
This according to “Expressions of love, sex, and hurt in popular songs: A content analysis of all-time greatest hits” by Richard L. Dukes, et al. (Social science journal XL/4 [2003] pp. 643–650). Below, the Beatles—with a little help from their friends—provide further analysis.
Related article: Sexual attraction by genre
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Filed under Curiosities, Popular music
Astérix le Gaulois, a series of comics written by René Goscinny and illustrated by Albert Uderzo between 1960 and 1999, received much acclaim for the attention to detail in Uderzo’s drawings of ancient civilizations.
Particularly interesting to an organologist are the illustrations of instruments—including carnyx, buccina, lur, bagpipe, harp, lyre, pipes, and drums—used by ancient Romans, Greeks, Egyptians, and Gauls.
In the free online resource Musical instruments of antiquity as illustrated in “The adventures of Asterix the Gaul” Daniel A Russell compares Uderzo’s illustrations to photographs of period instruments and comments on their acoustic qualities, performance techniques, and the roles they played in their respective societies, both in real history and as experienced by Astérix and his friends.
Above, Uderzo’s depiction of a banquet accompanied by a kithara, a double tibia, and a frame drum.
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Filed under Antiquity, Humor, Iconography, Instruments, Resources, Visual art
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