by | September 10, 2020 · 6:00 am

Rosie Flores and “Working girl’s guitar”

In an interview, Rosie Flores discussed the title cut of her 2012 album Working girl’s guitar:

There’s a friend of mine who does, well, everything. He does bodywork, he’s written books on rolfing, how to play the banjo, and how to play the upright bass. His name is Ritchie Mintz.

I went to him a couple years ago and said, “You know, I’ve got too many guitars, and I need to come up with some money. Are you interested in maybe getting one of my Taylors?” I brought it over, he looked at it, turned it over and said, “Man, this is a working girl’s guitar! Look at all the scars on it. This has been on some airplanes and trucks and cars, hasn’t it?” “Yep, it’s been around!” I said.

And so that night he bought the guitar. He called me up the next day and said, “Rosie, you’re not going to believe this, but your guitar wrote a song for you.” I said, “For me? My guitar wrote a song for me?” And he went, “Yep!” So I came over and listened to it, and was just blown away. I said, “That is such a cool song, Ritchie!” So I just turned up the distortion and the overdrive pedal and went to town on that riff and just had a great time with that.

Quoted in “Guitar girl’d: Interview with Rosie Flores on the release of Working girl’s guitar” by Laura B. Whitmore (Guitar world 25 October 2012; RILM Abstracts of Music Literature 2012-45948).

Today is Flores’s 70th birthday! Above, Flores at the 67th Annual Peabody Awards in 2008; below, a live performance of the song.

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by | September 7, 2020 · 6:00 am

Sonny Rollins and thematic improvisation

Sonny Rollins’s extensive use of improvised thematic development in his 1956 recording of Blue 7 marked a new level of musical evolution for jazz.

Jazz improvisatory procedures may be divided into two broad and sometimes overlapping categories: paraphrase and chorus improvisation. The former consists mostly of an embellishment or ornamentation technique, while the latter suggests that the soloist has departed completely from a given theme or melody and is improvising freely on nothing but a chord structure.

Most improvisation in the modern jazz era belongs to the second category, and Rollins’s recording is a landmark for maintaining thematic and structural unity in this type of playing.

This according to “Sonny Rollins and the challenge of thematic improvisation” by Gunther Schuller; this foundational work of jazz analysis from 1958 is reprinted in Keeping time: Readings in jazz history (New York: Oxford University Press 2015 193–202; RILM Abstracts of Music Literature 2015-155).

Today is Rollins’s 90th birthday! Above, the artist around the time of the recording; below, the recording itself.

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by | September 3, 2020 · 6:00 am

Schubert’s feminine voices

Schubert’s early female characterizations stem from the tradition of the poets whose works he set.

Matthisson’s Die Betende and An Laura evoke Petrarch’s Laura, an idealized, unattainable woman who combines chaste purity with erotic beauty, like some of Raphael’s religious figures; Schubert’s settings mix hymnlike elements with irregular phrasing and expressive chromatic features, intertwining spiritual and sensuous emotions.

Another archetype–the lament of a suffering woman whose only salvation lies in transforming sorrow into beautiful song–underlies Schiller’s Des Mädchens Klage, which Schubert dramatizes with an agitated D-minor section that pivots through the relative major into a final epiphany in C major.

While Goethe’s Gretchen is a more profound character than either of these two archetypes, she is related to both in some ways. In Gretchen am Spinnrade she alternates between sorrowful lament and ecstatic reverie, and Schubert’s setting again juxtaposes D minor and C major, but this time the minor key expresses stability and the major key intrudes as a disruptive force. The song’s climaxes convey erotic power in both text and music, underscoring the link between love and death.

This according to “Feminine voices in Schubert’s early laments” by David P. Schroeder (The music review LV/3 [August 1994] 183–201; RILM Abstracts of Music Literature 1996-16685).

Above, Gustav Klimt’s Schubert at the piano (detail); below, Kiri Te Kanawa sings Gretchen am Spinnrade.

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by | September 1, 2020 · 6:00 am

A 3D-printed concertina

In an interview, Edward Jay described his invention:

“My concertina is almost entirely fabricated on a 3D printer, meaning that it’s made of mostly plastic. In the prototype, only the reeds and bellows are made in the traditional way, though I am quite close to fabricating these on a 3D printer too.”

“3D printing has been around for a while actually, but only recently has it become more accessible and affordable. For example, the printers I am using now cost £800 each. But 3D printers aren’t exactly quick; to give you some idea of speed, each part on my instrument can take between 1 and 12 hours each to print. So having a farm of printers beavering away can speed things up significantly.”

“That said, it takes just 2 days for 3 printers to print all the parts for a single instrument, which I think still is a significant edge on the time required to fabricate all the parts using traditional methods. Actually, I understand it takes something close to 3 months to make a new traditional concertina—as long as my entire prototype development period.”

“Interestingly, I’ve somehow managed to create a concertina sound, I believe, due to my material choice, because 3D plastic is hollow! If you didn’t know, early concertina insides were made of balsa wood, or similar woods, woods that were chosen rather for their lightness than their integrity, which I believe in part gave traditional concertinas their signature sound.”

“This is not a toy at all. Every part of it is engineered properly; the stresses and strains, the tension forces, and so on, everything has been accounted for. So it won’t break. This concertina is very solid.”

Quoted in “Concertone Instruments: Interview with Edward Jay” by Kait Gray (Concertina world 480 [January 2020] 37–45; RILM Abstracts of Music Literature 2020-3864).

Below, Jay demonstrates his concertina; his website for Concertone Instruments is here.

More posts involving concertinas are here.

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by | August 29, 2020 · 6:00 am

“Parker’s mood” redux

Charlie Parker’s three improvisatory choruses in Parker’s mood (1948) can be viewed as one statement; the first is introductory, the second climactic, and the third provides a summary by repeating previous material.

Analyzed as a Schenkerian series of layers, the piece progresses in complexity from the background to the foreground. Parker’s palette of resources includes the blues scale, stock blues melodic figures, bebop-style scale runs, arpeggiated figures derived from substitute progressions, idiosyncratic articulation, and a historic tradition of improvisation.

This according to “Parker’s mood revisited” by Kwatei Jones-Quartey (Annual review of jazz studies X [1999] 221–35; RILM Abstracts of Music Literature 1999-13483.

Today is Charlier Parker’s 100th birthday! Below, the recording in question.

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by | August 24, 2020 · 6:00 am

Jazzomat

The Jazzomat Research Project takes up the challenge of jazz research in the age of digitalization, opening up a new field of analytical exploration by providing computational tools as well as a comprehensive corpus of improvisations with MeloSpyGUI and the Weimar Jazz Database.

The volume Inside the Jazzomat: New perspectives for jazz research (Mainz: Schott, 2017; RILM Abstracts of Music Literature 2017-48411) presents the main concepts and approaches of the ongoing project, and includes several case studies that demonstrate how these approaches can be included in jazz analysis in various ways.

Above, a graphic related to Jazzomat’s DTL Pattern Similarity Search; below, Don Byas’s recording of Body and soul, one of the book’s case studies.

More posts about jazz are here.

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by | August 20, 2020 · 6:00 am

Musimid: Revista brasileira de estudos em música e mídia

 

In 2020 the Centro de Estudos em Música e Mídia launched Musimid: Revista brasileira de estudos em música e mídia (ISSN 2675-3944), a peer-reviewed journal published every four months. Musimid focuses on interdisciplinary texts on music with an emphasis on musical semiotics, along with topics in musicology, history, and criticism.

Among the topics of interest to the journal, issues related to performance and its models stand out: relationships with the body and its different layers of mediation throughout history; the role of technology and media platforms in the processes of poetic communication; the conception of a musical instrument and its interpolation with various devices, existing or obsolete (microphones, amplification, high-fidelity), and media platforms; variations in listening patterns, taste, and aesthetic sensitivity, through the introduction of different sound media; soundscapes and changes in sensitivity; the interfaces of the musical language with other artistic languages; issues related to contemporaneity, globalization, identity, belonging, and affective bond, through music; cultural, musical and media memory; and the constitution of stable values ​​in the ephemeral era.

Below, a music-forward excerpt from Back to the future, the subject of an article in the inaugural issue.

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by | August 18, 2020 · 6:00 am

Salieri’s wit

Unlike the troubled fictional character of stage and screen, the real Antonio Salieri was described by Lorenzo Da Ponte, the master librettist of Mozart’s operas, as “a most cultivated and intelligent man…whom I loved and esteemed both out of gratitude and by inclination…more than a friend, a brother to me.” He also had a nimble wit and enjoyed jokes at his own expense.

Salieri wrote a memoir that is now lost, but some quotations from it have survived. In one particularly winning anecdote, Salieri is recounting the première, in 1770, of his second opera, Le donne letterate. The applause is vigorous, and the young composer follows the audience out into the street, hoping to soak up more praise. He overhears a group of operagoers:

“The opera is not bad” said one. “It pleased me right well” said a second (that man I could have kissed). “For a pair of beginners, it is no small thing” said the third. “For my part” said the fourth, “I found it very tedious.” At these words, I struck off into another street for fear of hearing something still worse.

This according to “Salieri’s revenge:  He was falsely cast as music’s sorest loser, and he’s now getting a fresh hearing” by Alex Ross (The New Yorker XCV/15 [3 June 2019] 26–31; RILM Abstracts of Music Literature 2019-6047).

Today is Salieri’s 270th birthday! Above, a portrait by Joseph Willibrord Mähler; below, excerpts from Axur, re d’Ormus, one of Salieri’s collaborations with Da Ponte.

BONUS: The finale of Axur as depicted in the film Amadeus.

Related article: Telemann’s wit

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by | August 13, 2020 · 6:00 am

Sopranos and intelligibility

Many English-speaking people attending concerts sung in English readily state that they cannot understand the words being sung.

In a study, 21 subjects (15 women, 6 men), all Western classically trained performers as well as teachers of classical singing, sang 11 words—“beat, bait, Bob, boat, boot,” representing the most frequently occurring vowels in practice, and “bit, bet, bat, bought, but, book,” representing the other six vowels that occur less frequently—arranged in six random orders, singing on two pitches a musical fifth apart.

The sung words were cropped to isolate the vowels, and listening tapes were created. Two listening groups, four singing teachers and five speech-language pathologists, were asked to identify the vowels intended by the singers. In general, vowel intelligibility was lower with the higher pitch, and vowels sung by the women were less intelligible than those sung by the men.

This according to “Vowel intelligibility in classical singing” by Jean Westerman Gregg and Ronald C. Scherer (Journal of voice XX/2 [June 2006] 198–210; RILM Abstracts of Music Literature 2006-8289).

Many thanks to Improbable research for bringing this article to our attention! Above, an illustration from the study; below, Jason Eckardt’s Dithyramb).

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by | August 10, 2020 · 6:00 am

Bhatkhande’s vision

The four all-India music conferences that were organized between 1916 and 1925 by Vishnu Narayan Bhatkhande were seminal events in the formation of a nationally based urban middle class and a predominantly Hindu-oriented music culture that encompassed performers, patrons, and audiences.

The conferences were the first modern gatherings on a national scale to combine discussion and analysis of musical practice and theory with a showcase of musical performance. A close examination of the reports generated by the conferences offers an opportunity to examine the conflicting social and political ideologies that were shaping north Indian classical music over a critical decade, as the aristocratic music of the courts was transformed into a national music.

Bhatkhande believed that music had to be taken over by the Western-educated, nationally conscious middle class, and that the patronage of the wealthy princes formerly given to support their private music establishments should be transferred to national institutions supporting music. Through the medium of the conferences he took the initiative of bringing together these disparate groups: traditional musicians, traditional patrons, and the new, primarily Hindu intelligentsia.

A number of topics recur through all four conferences: discussion of śrutis and rāga variations; a call for adoption of a uniform, systematic notation for Indian music; and a proposal for the creation of a national academy of music. The extent to which agreement and action on these proposals proved elusive can be read as indicating the degree of cross-cultural conflict that underlay the conferences, and gives a sense of the extent to which Bhatkhande’s vision resonated with the broader concerns of his day.

This according to “The All-India Music Conferences of 1916–1925: Cultural transformation and colonial ideology” by David Trasoff, an essay included in Hindustani music: Thirteenth to twentieth centuries (Nai Delli: Manohar, 2010 331–56; RILM Abstracts of Music Literature 2010-15196).

Today is Bhatkhande’s 160th birthday! Below, a documentary on the Music Institute that he established.

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