As one of the four main ethnic groups in Cuba, the Chinese people have made notable cultural contributions. Among the most significant of these is the corneta china, a shawm derived from the Chinese suona.
The instrument is no longer played by Chinese Cubans; rather, the corneta china has been appropriated by other ethnic groups—particularly in the eastern region of the island, where it is played almost exclusively by performers of African descent. Despite a short-lived attempt to reintroduce the instrument in Cuban performances of the Chinese Lion Dance in the 1980s and early 1990s, the corneta china and its originators have followed separate paths.
This according to “The Chinese community and the corneta china: Two divergent paths in Cuba” by Rolando Antonio Pérez Fernández (Yearbook for traditional music XLVI  pp. 62–88).
Above and below, the corneta china in action.
In 2017 Založba Univerze na Primorskem inaugurated the series Studia musicologica Labacensia (ISSN 2536-2445) with Glasbene migracije: Stičišče evropske glasbene raznolikosti/Musical migrations: Crossroads of European music diversity.
The collection focuses on a wide range of questions about the causes of musical migrations and their role and importance for musical cultures. Particular emphasis is placed on migrations in central Europe that have also left a decisive mark on musical culture in Slovenia.
Below, a work by Roberto Gerhard, the subject of one of the articles in the book.
In 2005 and 2006 Joan Tower’s Made in America embarked on a tour of all 50 American states, featured on programs by some 65 orchestras. In an interview just after the work’s premiere, the composer looked ahead to the experience:
“I’m very curious as to the way they view me as a living composer, because I’m a litmus test. I’m very curious as to how they’ll negotiate my piece. Now, I know some of them are much better than others; there are all levels. But I’m curious whether the piece is strong enough to make them want to work harder and what the level of passion is that’s going to be in there. Part of that depends on the piece and part of that depends on the nature of their community orchestra and the people in their orchestra.”
“If my piece has some impact, and draws the players in a little bit, or a lot, and draws the audience in a little bit or a lot, then it has some reverberation. I’m putting the entire burden of this thing on me, because the music is the center of everything no matter what anybody’s telling you. Whatever the PR, marketing, historical value, blah, blah, blah, that’s going on around it, you still have this living entity in front of you that has to do its work, whatever that is.”
Quoted in “Joan Tower: Made in America” by Frank J. Oteri (NewMusicBox 1 October 2005).
Today is Tower’s 80th birthday! Below, a performance from 2012.
The African pianism developed by the Nigerian composer Akin Euba (above) is not well-suited to the research style of traditional musicology, and the limitations of conventional musicological perspectives and analytical models for research on this cultural phenomenon are obvious.
Ethnomusicology and other disciplines such as cultural anthropology may provide approaches and viewpoints that can be adopted in musicological research on African pianism.
This according to “My understanding of African pianism/我对非洲钢琴艺术研究的一些认识” by Li Xin, an essay included in Dialogues in music: Africa meets Asia/亚非相遇： 中非音乐对话 (Richmond: MRI, 2011, pp. 59–68, 345–353).
Below, Kingsley Otoijamun performs an excerpt from Euba’s Scenes from traditional life.
The complexity and range of Meshell Ndegeocello’s hip-hop works extend largely from her willingness to push boundaries—but in pushing sexual and gender boundaries, Ndegeocello declines to traffic in singular dimensions. Danyel Smith has described her as “an African American, woman, lesbian, musician, and mother” who thrives on “pondering the riddles that accompany all her selves.”
In Berry farms Ndegeocello addresses a female lover: “Can you love me without shame?” Giving way to the bass groove, she aggressively concludes: “Yeah, you like to mess around!” She goes on to suggest that her girlfriend prohibits them from sharing honest, enduring love for fear of public scorn because they are lesbians and because she desires the material things her “boy” can give her.
“You know how we like material things,” she observes, reminding us of the dominant perception that most black women effortlessly and willingly sacrifice substantive self-fulfillment for social approval and material gratification. The discursive modes of many of the tracks on Cookie: The anthropological mixtape strike an unambiguously combative chord with this perception by elaborating the tensions of same-sex female desire, fulfillment, and repression.
This according to “‘You sell your soul like you sell a piece of ass’: Rhythms of black female sexuality and subjectvity in Meshell Ndegeocello’s Cookie: The anthropological mixtape” by Nghana Lewis (Black music research journal XXVI/1 [spring 2006] pp. 111–30).
Today is Ndegeocello’s 50th birthday! Below, the song in question.
The legendary nāgasvaram player T.N. Rajarathnam Pillai performed in two films—once just in a cameo as himself, but once as the star!
In 1940 Rajarathnam Pillai appeared in Kalamegam, portraying the 15th-century Tamil poet Kavi Kalamegam. The film’s director, Ellis R. Dungan, recalled working with him:
“When Rajarathnam was sober, he was fine and took direction well with interest. But when he was lit, he could not be controlled and proved a nuisance and a pest on the set. Of course, when he became sober, he would apologize for his unruly conduct. People treated him like some kind of god because he was a big gun…I also found that he was very fond of women! But then who is not?”
The role required Rajarathnam Pillai to sing, which he did beautifully—but unfortunately his many fans only wanted to hear him play the nāgasvaram, and the film failed at the box office. No prints remain; only a handful of stills and recordings attest to Rajarathnam’s single appearance as a film star.
This according to “Foray into films” by Randor Guy (Sruti CLXXI [December 1998] pp. 39–42).
Today is Rajarathnam Pillai’s 120th birthday! Above and below, rare artefacts of the film.
BONUS: Rajarathnam Pillai plays the nāgasvaram!
Filed under Asia, Performers
Karlheinz Stockhausen’s Telemusik represents an effort to create universally valid music.
In an analogy to Le Corbusier’s modulor concept, Telemusik is based on a proportional framework constructed on the Fibonacci series, through which so-called Klangobjekte—both found sounds and electronically modulated ones of the most diverse ethnic provenance—acquire musical form.
Still, the limits of the universalism sought by Stockhausen are seen in conspicuous traces of Western compositional practice.
This according to “Universalismus und Exotik in Karlheinz Stockhausens Telemusik” by Peter W. Schatt (Musica: Zweimonatsschrift XLIII/4 [Juli-August 1989] pp. 315–20).
Today would have been Stockhausen’s 90th birthday! Above, the composer around the time of Telemusik; below, the work in question.
In 2017 A-R Editions issued Walter Porter: Collected works; the volume brings together, for the first time in a critical edition, the complete works of the English composer Walter Porter.
One of a small number of English composers in the first half of the 17th century who embraced progressive Italianate methods of composition, Porter is further worthy of mention in histories of music for two reasons: he was the composer of the last book of English madrigals, and he claimed to have been the pupil of Claudio Monteverdi.
Porter’s works survive primarily in two printed collections: Madrigales and ayres (1632) and Mottets of two voyces (1657). Six of the 1657 Mottets also appear in York Minster Library, MS M. 5/1–3(S). One strophic song and three catches that may also be attributed to Walter Porter are included in an appendix. The collection is edited by Jonathan P. Wainwright.
Below, one of the works included in Madrigales and ayres.
One of Kathleen Battle’s signature achievements has been live and recorded performances of American spirituals. Her recital at the Metropolitan Opera in 2016—Underground railroad: A spiritual journey—was her first performance at the house in more than twenty years.
One of Battle’s best spiritual performances is her 1983 version of His eye is on the sparrow. She seems to be the songbird herself: sparrows really do seem to sing for no other reason than because they’re happy, and they turn their heads upward at the very last millisecond of a long bubbling trill. The rendition is a vivid display of her connection with the words of faith, certainty, and hope.
This according to “Dazzling” by Jennifer Melick (Opera news LXXXI/5 [November 2016] pp. 20–21).
Today is Battle’s 70th birthday! Above, the 2016 performance; below, the 1983 performance.