Bibliolore

by rilm | April 26, 2019 · 6:00 am

Friedrich Christian Mohrheim, pupil of Bach

A member of Bach’s circle, long known only as Anonymous Vg, was identified early in the 21st century as Friedrich Christian Mohrheim.

From 1733 to 1736 Mohrheim was a documented boarder at the Thomasschule in Leipzig, where he studied with Bach. He later influenced musical life in Gdańsk through his extensive concert activity and his work as Kapellmeister at the Bazylika Mariacka.

This according to “Der Bachschüler Friedrich Christian Samuel Mohrheim (1719–1780) als Danziger Kapellmeister und Konzertveranstalter” by Karla Neschke, an essay included in Vom rechten Thon der Orgeln und anderer Instrumenten: Festschrift Christian Ahrens zum 60. Geburtstag (Bad Köstritz: Forschungs- und Gedenkstätte Heinrich-Schütz-Haus, 2003, pp. 210–21).

Today is Mohrheim’s 300th birthday! Above, the Bazylika Mariacka; below, Mohrheim’s cantata Preise, Jerusalem, den Herrn from 1762.

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Filed under Classic era

Tagged as Birthdays, Classic era, Composers, Friedrich Christian Mohrheim

by rilm | April 22, 2019 · 6:00 am

Bachata and resistance

Bachata, a genre originating in the Dominican Republic, can be considered music of both political and social resistance. From the direct connection between the inception of the genre and the death of the dictator Rafael Leónidas Trujillo to the initial marginalization of the genre by the socially elite—as well as bachata’s relationship with nueva canción, a left-wing political movement—both the origins and rise to popularity of bachata are linked to political and social conflicts.

Today bachata’s wide popularity sets it apart from its humble roots and resistant nature; however, many songs with a strong social message suggest that bachata was and still is a music of the people, and a number of recent novels and films use the genre to portray social messages and to connect the music with the Dominican people.

This according to “Insolent origins and contemporary dilemmas: The bachata genre as a vehicle for social commentary, past and present” by Patricia Reagan, an essay included in Sounds of resistance: The role of music in multicultural activism (Santa Barbara: Praeger, 2013, pp. 373–95).

Above, Juan Luís Guerra, whose 1991 album Bachata rosa (below) was particularly influential in changing the reception of bachata.

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Filed under Politics, Popular music, West Indies

Tagged as Bachata, Dominican Republic, Juan Luís Guerra, Politics, Popular music, West Indies

by rilm | April 18, 2019 · 6:00 am

Norient

Norient: Network for local and global sounds and media culture is an online resource that researches new music from around the globe and mediates it multi-modally via various platforms. The authors discuss current issues critically, from different perspectives, close to musicians and their networks.

Through the Norient online magazine, festivals, performances, books, documentary films, exhibitions, and radio programs, Norient hopes to orient and disorient readers, listeners, and spectators with information about strong, fragile, and challenging artistic positions in today’s fast moving, globalized, digitized and urbanized world. The core team is based in Bern, Berlin, and Milano, and the network of contributors is spread around 50 countries.

Below, the trailer for The African cypher, the subject of a recent article in the magazine.

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

Tagged as 20th- and 21st-century music, Resources, World music

by rilm | April 16, 2019 · 6:00 am

Merce Cunningham’s concept of freedom

The freedom that Merce Cunningham advocated involved the performer becoming independent mentally, facing himself or herself, and reaching the state of mind of nō, true freedom achieved by overcoming ego.

Cunningham attempted to discipline the dancer’s body and mind in order to attain this ideal state of mind of nō at all the phases of his practical activity, by stipulating an environment where the performer must concentrate on his or her own movement—in particular on two elements, the shape of the movement and the energy that serves as its basis.

Cunningham’s concept of freedom did not stay only within the scope of negative concepts, in which freedom and liberty indicate “free from…”, but also connotes a creative and positive meaning, indicated by the Zen word jiyū (free to…).

This according to “Merce Cunningham’s concept of freedom and its philosophical background” by Sako Haruko, an essay included in Proceedings: Society of Dance History Scholars (Stoughton: Society of Dance History Scholars, 2002, pp. 125–28).

Today would have been Cunningham’s 100th birthday! Above, a portrait licensed under CC BY-SA 2.0; below, a collaboration with the video artist Nam June Paik.

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Filed under Dance, Performers

Tagged as Birthdays, Choreographers, Dance, Merce Cunningham, Performers, Philosophy

by rilm | April 11, 2019 · 6:00 am

Sonic control devices

For almost 60 years, media technologies have promised users the ability to create sonic safe spaces for themselves—from bedside white noise machines to Beats by Dre’s Hear what you want ad campaign, in which Colin Kaepernick’s headphones protect him from taunting crowds.

Noise-canceling headphones, tinnitus maskers, LPs that play ocean sounds, nature-sound mobile apps, and in-ear smart technologies illuminate how the true purpose of media is not information transmission, but rather the control of how we engage our environment. These devices give users the freedom to remain unaffected in the changeable and distracting spaces of contemporary capitalism, revealing how racial, gendered, ableist, and class ideologies shape our desire to block unwanted sounds.

In a noisy world of haters, trolls, and information overload, guarded listening can be a necessity for self-care, but our efforts to shield ourselves can also decrease our tolerance for sonic and social difference.

This according to Hush: Media and sonic self-control by Mack Hagood (Durham: Duke University Press, 2019).

Below, the Beats by Dre/Kaepernick commercial.

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Filed under Curiosities

Tagged as Curiosities, Silence, Sound

by rilm | April 9, 2019 · 6:00 am

Musiri’s moustache

The revered Karnatak vocalist Musiri Subramania Iyer only acted in one film: Thukkaram (1938), in which he portrayed the 17th-century Hindu poet and saint Tukaram.

The shooting of the film ran into an unusual problem. The hero had to sport a bushy moustache, and in those days makeup materials were crude and even primitive. Moustaches and beards were stuck to the actor’s face with spirit gum, and when the gum dried the skin would burn and pull, the degree of irritation depending on the sensitivity of one’s skin.

Musiri suffered unbearable irritation, and he threatened that he would walk out if he had to endure the suffering any longer. Left with no choice, the producers permitted him to grow his own moustache. The shooting had to be stopped while Musiri waited for his lip hair to grow to the degree of bushiness required by the script.

This according to “Filmsinger in saint’s clothing: Tuka-ram” by Randor Guy (Sruti 176 [May 1999] pp. 35–38).

Today is Musiri’s 120th birthday! Above, a publicity shot for the film.

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Filed under Curiosities, Film music, Performers

Tagged as Birthdays, Curiosities, Film, Musiri Subramania Iyer, Performers

by rilm | April 6, 2019 · 9:41 am

André Previn, musical polymath

André Previn may well have been the last of the great 20th-century American musical eclectics. He had it all, making a mark on Broadway and in Hollywood, on classical concert stages and in jazz clubs, in pop songs and violin concertos.

He was not a mere dabbler: In every context, he was always plausible, and often inspired. He was also a great popularizer, a figure who, like his idol Leonard Bernstein, suggested that it was possible to know about, and even love, all kinds of music.

When a young Mr. Previn conducted symphony orchestras, he typified the verve and boyish enthusiasm of a pop star; performing lighter fare on television, he carried himself with a rarefied swagger. Even Dizzy Gillespie was a fan. “He has the flow, you know, which a lot of guys don’t have and won’t ever get,” Gillespie said.

This according to “André Previn: Hear the many facets of a musical polymath” by Zachary Woolfe, et al. (The New York times [online only] 1 March 2019).

Today would have been Previn’s 90th birthday! Above, conducting from the piano in 1965; below, performing Jule Styne’s Just in time in 1961.

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Filed under 20th- and 21st-century music, Jazz and blues, Performers

Tagged as 20th- and 21st-century music, André Previn, Birthdays, Composers, Jazz, Performers

by rilm | April 2, 2019 · 6:00 am

Richard Thompson and “Meet on the ledge”

Richard Thompson wrote Meet on the Ledge for Fairport Convention in 1969, while he was still a teenager, shaken by the loss of a close friend.

Already well schooled in traditional ballads, Thompson was aware—consciously or not—that sparing the details would lend a universal appeal to the song, which is at once a memorial and a source of comfort.

“I always believed in an afterlife,” he said in an interview. “Even at the age I wrote that I had that belief and that is reflected in the song in a subtle way. It can be taken in many ways, as fans continually remind me!”

“It’s only because it became kind of anthemic for some people that I revisited the song. I had to drag it out and look at it and think ‘Are there things that I can extract from this song so that I can continue to enjoy it?’ And there are. I can find things in it that still speak for me.”

And it speaks for many others as well—in 2004 Meet on the ledge was voted number 17 in BBC Radio 2’s top 100 songs.

This according to I shot a man in Reno: A history of death by murder, suicide, fire, flood, drugs, disease, and general misadventure, as related in popular song by Graeme Thomson (New York: Continuum, 2008, pp. 170–71).

Today is Richard Thompson’s 70th birthday! Above, around the time the song was written; below, performing it in 2006.

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Filed under Performers, Popular music

Tagged as Birthdays, Performers, Popular music, Richard Thompson

by rilm | March 28, 2019 · 6:00 am

Sad news

The British artist Rod Summers created the audiotape collage Sad news with razor blade, splicing block, and tape in 1979; it alternates between snippets of BBC News reports and a distinguished male voice saying “I’m sad, very sad.”

Summers put the piece in a self-published compilation as part of his cassette underground project VEC Audio Exchange, and sent 63 copies around the world. Copy no. 40 was sent to the Canadian audio artist Dan Lander, who found it “profoundly inspirational” in the way that “it offered such a simple, yet powerful message by stating the obvious and letting the news speak for itself.” He places the work in the same period and category as the Scratch video movement and works by Negativland.

The humor (and sadness) of the piece arises with the surprise of the initial interruption and then continues with a fascination with the subtle applicability of further interruptions, and how repetition itself begins to take on different guises.

This according to “Where does sad news come from?” by Douglas Kahn, an essay included in Cutting across media: Appropriation art, interventionist collage, and copyright law (Durham: Duke University Press, 2011, pp. 94–116).

Below, the piece in question.

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Filed under Curiosities, Humor

Tagged as Curiosities, Humor, Rod Summers, Sound art

by rilm | March 25, 2019 · 6:00 am

Çudamani and postmodernism

Çudamani, a sekaa (a communal club under the auspices of a ward) and a sanggar (a more tightly governed and broader arts organization) in the Balinese village of Pengosekan, is committed to studying and teaching Balinese music and dance; it is also a transnational arts phenomenon.

Çudamani is first a traditional sekaa, in the sense that it is committed to its local community, and one of the main missions of the troupe is to ngayah, or perform voluntary performance service at temple festivals. The original troupe was initiated in the late 1990s; today, the organization includes at least four different sub-groups (including children’s clubs).

The group is postmodern because of the transnational basis, the neotraditionalism, the mixing of new and traditional musics and the play of genre, the fluidity of local and global identities, and the fact that the troupe seems to defy preconceived notions of sekaa or sanggar and to transcend some principles upon which such organizations have been established. While its international notoriety distinguishes this group from most others, Çudamani’s global participation and embrace of neotraditionalism illuminates growing trends within Bali and provides a case study of circulating, 21st-century ideation on cultural representation and the role of the arts.

This according to “Between traditionalism and postmodernism: The Balinese performing arts institution Çudamani” by David D. Harnish, an essay included in Performing arts in postmodern Bali: Changing interpretations, founding traditions (Aaachen: Shaker Verlag, 2013, pp. 257–77).

Below, a performance in 2022.