Tag Archives: Curiosities

Telemann’s wit

Georg Philipp Telemann’s ability to produce high-quality works at lightning speed is well known; less remembered today is his mischievous sense of humor. He was known among his friends for writing wickedly clever satirical verses and playing musical practical jokes, as he once did with a cantor from a nearby village.

Seeking to aggrandize himself, this cantor determined that he would honor a certain festival day by performing a new sacred work by the local master. He repeatedly requested that Telemann write something for him and his choir, and, knowing that their musicianship was decidedly inferior, the composer repeatedly declined. At last the cantor made such a pest of himself that Telemann told him that he and a few friends would arrive with the new work for a rehearsal before the performance.

On the appointed day the composer handed the new work—a treacherously difficult fugue—to the cantor, whispering to his friends “Now the thieves shall confess their sins.” The singers proceeded to produce a dismal, discordant rendition as they unknowingly made fun of themselves. Telemann had set the line “Wir können nichts wider den Herrn reden” (We cannot speak against the Lord) in such a way that the hapless singers were “confessing” their ineptitude by repeating the words “Wir können nichts” (We cannot)!

The composer laughed heartily. “That certainly won’t do” he said. “Let’s see how we can remedy this.” He then took out a different composition, and he and his friends performed it—both saving the day and humiliating the presumptuous cantor.

This according to “Images of Telemann: Narratives of reception in the composer’s anecdote, 1750–1830” by Steven Zohn (The journal of musicology XXI/4 [2005] 459–486; RILM Abstracts 2004-6402).

Today is Telemann’s 340th birthday! Below, a merry bit of tone-painting—“Postillion” from his Tafelmusik.

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Filed under Baroque era, Curiosities, Humor

Rocking the (Chinese) tradition

 

In December 2015, on the Zhongguo zhi Xing (China Star) television program, a reality-show competition among professional pop singers, the singer Tan Weiwei presented a song collaboration with masters of Huayin laoqiang (a xiqu genre originating from Shuangquan village in Huayin), telling her audience that it represented “the earliest Chinese rock music.”

This broadcast, and a second one at the 2016 CCTV Chunjie Wanhui (Spring Festival Gala), led to considerable controversy regarding the three-way negotiation among Chinese rock music, the “Intangible Cultural Heritage’” represented by traditional Hauyin laoqiang, and the political ideology of the Chinese Communist Party.

The reception of these performances among various groups of viewers–general audience members, rock music fans, musicians, and government officials–illustrates how different interpretations reflect audience members’ differing social ideologies. The process of combining rock music and traditional culture is given different meanings based on the identity and stance of different viewers.

This according to “Rocking the tradition or traditionalizing rock? A music performance on Chinese reality show China star” by Yang Shuo (Sounding board 2017; RILM Abstracts 2017-43941). Above and below, the historic performance.

Happy Chinese New Year!

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Filed under Asia, Curiosities, Popular music

Cacerolazo and social media

 

Cacerolazo, a fixture in Latin American protests for decades, involves a group of people making noise by banging pots, pans, and other utensils in order to call for attention. The first large-scale cacerolazos in Chile accompanied gatherings in 1971 to protest food shortages and other household stresses as the nation’s economy slid towards a severe depression.

Having solidified its presence in the Chilean protest scene by 1973, cacerolazo was a natural part of the weeks-long protests targeting government economic policies in 2019. Protest songs were also an established tradition in Chile, and the two came together in the social justice rapper Ana Tijoux’s politically charged single #Cacerolazo, which became a rallying cry for the dissent.

The hashtag in the song’s title meaningfully connected it to the newer phenomenon of online social media-based participation blending into offline action, and the protesters’ demands infiltrated the sociopolitical fabric at a pace and level that eventually resulted in Chilean leaders conceding to offer the public a chance to vote on replacing the Constitution in 2020.

This according to “Chilean cacerolazo: Pots and pans, song and social media to protest” by Kaitlin E. Thomas (Sounding board 2020; RILM Abstracts 2020-3028).

Currently, cacerolazos are part of the protests of the Myanmar coup d’état. Below, the official video for Tijoux’s song.

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Filed under Curiosities, Politics

Didjeridu playing and sleep apnea

 

Snoring and obstructive sleep apnea syndrome are two highly prevalent sleep disorders caused by collapse of the upper airways. The most effective intervention for these disorders is continuous positive airway pressure therapy, which reduces daytime sleepiness and the risk of cardiovascular morbidity and mortality in the most severely affected patients. For moderately affected patients who complain about snoring and daytime sleepiness, however, continuous positive airway pressure therapy may not be suitable, and other effective interventions are needed.

A didjeridu instructor noticed that he and some of his students experienced reduced daytime sleepiness and snoring after practicing with this instrument for several months. A randomized controlled experiment confirmed that regular didjeridu playing is an effective treatment alternative well accepted by patients with moderate obstructive sleep apnea syndrome.

This according to “Didgeridoo playing as alternative treatment for obstructive sleep apnoea syndrome: Randomised controlled trial” by Milo A. Puhan, et al. (BMJ CCCXXXII [December 2006]; RILM Abstracts 2006-51373). The article won the Ig Nobel Peace Prize in 2017.

Above and below, traditional uses of the didjeridu.

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Filed under Curiosities, Instruments, Science

Tepsijanje—singing by the pan

 

Singing by the pan, a women’s folk tradition known as tepsijanje (“panning”), was documented in Bosnia and Herzegovina during the Ottoman period.

Recent research has shown that tepsijanje is still popular, especially with Muslim and Roman Catholic populations in Bosnia and Herzegovina. It is a rare example of a nonmusical object—in this case, a cooking pan—functioning as a musical instrument.

This according to “Examples of an interesting practice: Singing along the pan” by Jasmina Talam, an essay included in Studia instrumentorum musicae popularis. II (Münster: Monsenstein und Vannerdat, 2011 251–56; RILM Abstracts 2011-49486).

Below, two examples of tepsijanje.

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Filed under Curiosities, Europe, Instruments

“Wooden laughter” in the opera house

 

For much of the 18th century there was a clear divide between the music of the upper and lower classes in Austrian society. However, by the late 1790s, a time when Europe’s ruling classes were under threat in the aftermath of the French Revolution, there is evidence to suggest that folk instruments previously associated with the lower classes—including the hurdy-gurdy, zither, tromba marina, and a peasant xylophone known as the Hölzernes Gelächter, (“wooden laughter”, above)—were played in aristocratic settings.

Austrian Composers wrote operas, concertos, and chamber pieces that included parts for folk instruments; some of these works were even dedicated to the Emperor Franz II and the Empress Marie Therese. The setting of these works, compositional practice, and the design of the instruments themselves enabled the music of the lower classes to be adopted by the upper classes, perhaps to evoke a sense of place and national identity during a period of great political change. These practices paved the way for folk music to influence composers later in the 19th century.

This according to “‘Wooden laughter’ in the opera house: The appearance of folk instruments in Bohemian and Austrian high society at the turn of the nineteenth century” by Sam Girling, a paper included in Studia instrumentorum musicae popularis VI (Berlin: Logos-Verlag, 2019 83–100; RILM Abstracts 2019-12296).

Below, the Hölzernes Gelächter in action!

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K-pop and political activism

 

For those who are new to K-pop fandom, a fancam is a video closeup filmed by an audience member during a live performance by a K-pop idol group. Fancams have been the bane of many Twitter users, however, who often find their own viral threads hijacked by users posting fancams to capitalize upon the thread’s popularity.

Following the murder of George Floyd by members of the Minneapolis police force, K-pop “stans” redirected their energies to posts on Twitter and Instagram made by police departments seeking to identify protestors against police brutality—jamming them instead with videos of K-pop stars. Other strategies used to subvert such efforts, and to promote Black Lives Matter, include hashtag derailment, rickrolling, and weaponizing Disney’s heavy-handed copyright policing.

This according to “How K-pop fans are weaponizing the Internet for Black Lives Matter” by Aja Romano (Vox 22 June 2020; RILM Abstracts 2020-2918).

Below, a brief documentary on K-pop political activism.

Related article: The music of Black Lives Matter

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Filed under Curiosities, Politics, Popular music

The theremin turns 100!

 

 

After the electronic oscillator was invented in 1915, revolutionizing the radio industry, the Russian inventor Léon Thérémin used this technology to develop the first fully functional electronic musical instrument; originally called the etherphone, it became widely known as the theremin.

Without touching the instrument, the player controlled pitch through relative proximity of the right hand to a vertical antenna, and volume through similar movements of the left hand in relation to a horizontal antenna. The instrument employed a heterodyne, or beat frequency system, and boasted a range of three to four octaves.

On the invitation of Lenin, Thérémin travelled throughout Russia, demonstrating his instrument, and toured Europe in 1927, causing excitement in Germany, France, and England. Later that year, Thérémin travelled to the U.S., where he remained until 1938.

In 1929 he sold his patent to the Radio Corporation of America (RCA), which made and sold 500 instruments. Leopold Stokowski collaborated on a fingerboard version, which he used with the Philadelphia Orchestra from 1929 to 1931. Thérémin performed with the New York Philharmonic and Cleveland Orchestra, and presented several coast-to-coast broadcasts. He returned to the USSR in 1938.

This according to The theremin in the emergence of electronic music by Albert Glinsky, a dissertation accepted by New York University in 1992 (RILM Abstracts 1992-424).

The theremin is 100 years old this month! Above and below, the inventor in action.

BONUS: A brief presentation of further historical and technical information.

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Filed under Curiosities, Instruments, Science

Chindon’ya today

 

Chindon’ya (チンドン屋) are companies of street musicians engaged primarily in advertising for shops, stores, cabarets, and game parlors. Their development is closely linked to the economic and cultural development of Japan since the end of the nine­teenth century.

Although once a common sight in urban Japan, the number of chindon’ya has greatly decreased since the late 1960s. Recently, however, some signs of a new interest in this nearly obsolete profession have appeared.

Their profile has changed somewhat; job offers from rural communities are increasing, and engagements as main attractions in large hotels and at festivals have begun to be booked. The music has even influenced some pop music groups, who are taking up the chindon’ya repertory.

This according to “Chindon’ya today: Japanese street performers in commercial advertising” by Ingrid Fritsch (Asian ethnology LX/1 [2001] 49–78; RILM Abstracts 2001-24360).

Above and below, chindon’ya in action.

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Filed under Asia, Curiosities

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 2020-3864).

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

More posts involving concertinas are here.

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