Florida Folklife from the WPA Collections

Florida Folklife from the WPA Collections is a multiformat ethnographic field collection documenting traditional cultures throughout Florida in the late 1930s and early 1940s. This free online resource is part of the Library of Congress American Memory series.

Undertaken in conjunction with the Florida Federal Writers’ Project, the Florida Music Project, and the Joint Committee on Folk Arts of the Work Projects Administration, the collection features folk songs and folktales in many languages, including blues and work songs from fishing boats, railroad gangs, and turpentine camps; children’s songs, dance music, and religious music of many cultures; and oral histories.

The website provides access to 376 sound recordings and 106 accompanying materials, including recording logs, transcriptions, correspondence between Florida WPA workers and Library of Congress personnel, and an essay on Florida folklife by Zora Neale Hurston (inset). A new essay by Stetson Kennedy reflects on the labor and the legacy of the WPA in Florida, and an extensive bibliography, a list of related Web sites, and a guide to the ethnic and language groups of Florida add further context to the New Deal era and to Florida culture.

Above, construction workers gathered around the stove in the craftsmen’s barracks at Camp Blanding, Florida, in 1940.

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Filed under North America, Resources

Biblioteca Digitale

The Biblioteca Digitale of the Conservatorio di Milano was founded in 2007 through the efforts of then-President Francesco Saverio Borrelli, who envisioned the creation of a digital repository of images of the conservatory’s historical documents, searchable and viewable via the online catalog of Servizio Bibliotecario Nazionale, Lombardy.

As of 10 November 2011 the Biblioteca Digitale occupies an area of ​​about 5.1 terabytes for a total of 832 papers and 110,419 images

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Filed under Resources, Source studies

The mad mad Madras music season

The Tamil month of Mārkazhi (mid-December to mid-January) has been associated with Krishna since ancient times, and historical connections between that month and devotional music abound.

Against this traditional backdrop, in 1930 the newly founded Music Academy in Chennai (formerly Madras) began sponsoring an annual music and dance festival during that month. Over the years the festival has grown steadily in size; some music lovers call this winter whirlwind of activity “the mad mad Madras music season”.

This according to “The Madras music season: Its genesis” by Sriram Venkatakrishnan (writing under the pen name Sriram V; Sruti 225 [December 2005] pp. 19–24). For decades Sruti has published detailed reports on the season, providing a rich accumulation of data on its history and development. In addition, Venkatakrishnan has written retrospective reports for the magazine on the season in selected historical years.

Below, the Hyderabad Brothers perform during the 2019 music season.

 

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Filed under Asia, Dance

Sorabji resource site

Devoted to the English composer, pianist, writer, and critic Kaikhosru Shapurji Sorabji (1892–1988), Sorabji resource site is a complementary resource for the forthcoming critical biography by Marc-André Roberge.

The menu bar offers broad categories (Biography, People, Writings, Sources, Works, Performances, and Miscellaneous) that lead to some 85 pages, each with a search box,  presenting resources including lists, compilations, tables, and analytical charts related to various aspects of Sorabji’s life and works. A printed version of the entire site would produce a 350-page book.

Below, John Carey performs Sorabji’s Fantaisie espagnole.

Related article: Sorabji’s marathon premiere

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

George Breed’s electrified guitar

On 2 September 1890 U.S. Navy officer George Breed (1864–1939) was granted a patent for a design for an electrified guitar (Method of and apparatus for producing musical sounds by electricity, patent no. 435,679); it appears to be the first application of electricity to a fretted string instrument.

Like the modern electric guitar and other similar instruments, Breed’s patent was based on a vibrating string in an electromagnetic field; but his design worked on very different musical and electrical principles (in particular the Lorentz force), resulting in a small but extremely heavy guitar with an unconventional playing technique that produced an exceptionally unusual and unguitarlike, continuously sustained sound.

Breed is now almost completely unknown as a musical instrument maker and designer; the significance of this instrument has largely remained underappreciated, and the circuitry unexamined.

This according to “George Breed and his electrified guitar of 1890” by Matthew Hill (The Galpin Society journal LXI [April 2008] pp. 193–203). Below, Dr. Hill discusses his research.

Related article: Ken Butler’s anxious objects

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Filed under Curiosities, Instruments, Science

New Haydn journal

Launched in 2011 by the Haydn Society of North America and based at the Rochester Institute of Technology, Haydn (ISSN 2163-2723) is dedicated to the dissemination of all areas and methodologies of research and performance considerations regarding the music, culture, life, and times of Joseph Haydn and his circle.

Each semiannual issue will include large and small articles, reviews, reactions to previous articles, and other new and pertinent information. The journal’s Web-based format is intended to take full advantage of current and emerging electronic media.

Related articles:

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Filed under Classic era, New periodicals

The Nawāb’s musical bed

In 1882 Sadiq Muhammad Khan Abbasi IV, Nawāb of Bahawalpur, anonymously commissioned a bed in rosewood covered with about a third of a ton of chased and engraved sterling silver from La Maison Christofle in Paris. The bedposts were four life-size automatons, nude (though bewigged) female figures representing European types, powered by four crank-wound spring mechanisms in their pedestals.

Wires ran from these springs to a music box under the bed. Downward pressure on the center of the mattress activated the music box and caused the bedpost-women to begin shifting their eyes and fanning and whisking in time to the music (an unidentified excerpt from Gounod’s Faust). The performance lasted 30 minutes. A watercolor and several photos taken in 1882 for the Christofle firm are the only evidence of the bed, whose present whereabouts are unknown.

This according to “Asleep with painted ladies” by Carl A. Skoggard (Nest X [2000] pp. 100–105). Below, “Oh Dieu! Que de bijoux” (Jewel song), an aptly themed candidate for the Faust excerpt in question.

Related article: The Sultan’s pipe organ

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Filed under Curiosities, Romantic era, Visual art

Clamor: Colección Digital de Música Española

Launched by the Fundación Juan March in 2011, Clamor: Colección Digital de Música Española presents open-access documentation of performances of over 800 Spanish works—mostly from the 20th or 21st century—at over 130 concerts presented by the Foundation since its inception in 1975.

In addition to the concert recordings, this resource presents pre-concert talks given by composers or specialists, program notes, scores, photographs, and over 230 composer biographies and works lists.

Below, Suzana Stefanović performs Jesús Rueda’s Love song nº 3 at the Foundation in October 2011.

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

Jimmie Rodgers and semiotics

 

Jimmie Rodgers’s recordings present nearly all of the yodel types used by hillbilly singers, including nonsense-syllable strands, breaking voice registers while singing words, and brief falsetto grace-note descents into his natural voice. His yodels contain influences from both African American (falsetto upward leap at the end of words) and European (word-breaking) traditions.

Home tropes evoke themes of home, family, regret, return, or nostalgia; subdominant tropes represent carefree cheerfulness; blues tropes conjure masculine braggadocio themes.

Rodgers applies grace notes according to the pathos of the lyrics, and his hummed or moaned yodels are toned down for mainstream appeal. He was a carrier of tradition—his yodels connect to ragtime and blues, as well as to nineteenth-century European yodels, song types, and decorative devices.

This according to “Jimmie Rodgers and the semiosis of the hillbilly yodel” by Timothy Wise (The musical quarterly XCIII/1 [spring 2010] pp. 6–44).

Below, the Yodeling Brakeman offers a semiotic exegesis on the letter T.

Related article: Romy Lowdermilk redux

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Filed under Performance practice, Popular music

Bach Cantatas Website

Bach Cantatas Website is a comprehensive open-access resource covering all aspects of  Bach’s cantatas and his other vocal works, including discussions and detailed discographies of each cantata and other vocal works, performers, and general topics.

The website also provides texts and translations, scores, musical examples, articles and interviews, and over 8,000 short biographies of performers of Bach’s vocal works and players of his keyboard and lute works, as well as of poets and composers associated with Bach.

Also included are relevant resources such as the Lutheran church year, a  database of chorale texts and melodies and their authors, detailed discographies and discussions of many Bach’s instrumental works—including solo keyboard and lute works as well as Die Kunst der Fuge and Musikalisches Opfer—and their performers, reviews, and transcriptions.

Further resources include lists of books and films on Bach, terms and abbreviations, concerts of Bach’s vocal works, Bach festivals, and cantata series; as well as a guide to Bach, a discussion of Bach in arts and memorabilia, and thousands of links to other relevant resources.

More posts about J.S. Bach are here.

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Filed under Baroque era, Resources