New York. — January 17, 2023 — Répertoire International de Littérature Musicale (RILM) has entered a three-year collaboration with the Institut du Monde Arabe in Paris (IMA, Arab World Institute) that aims to increase public engagement, advance global cultural understanding, and connect diverse communities by highlighting and sharing the Institute library’s holdings on music from the Arab world. RILM, which documents and disseminates music research worldwide, supports this initiative by drawing on its comprehensive digital resources to create blog posts about a selection of Arabic music literature. Each post is enhanced with an expertly curated bibliography.
The bibliographic references stem from one of the richest and most exhaustive resources of global music research,RILM Abstracts of Music Literature™, which contains 1.5 million bibliographic records from relevant writings on music published from the early 19th century to the present in over 170 countries and in more than 140 languages.
Répertoire International de Littérature Musicale (RILM), New York: RILM is committed to the comprehensive and accurate representation of music scholarship in all countries and languages, and across all disciplinary and cultural boundaries. It publishes a suite of digital resources aimed at facilitating and disseminating music research. Its flagship publication is RILM Abstracts of Music Literature, the international bibliography of writings on music covering publications from the early 19th century to the present, now available in an enhanced version that includes the full text content of over 260 music journals. RILM Abstracts is available on the EBSCOhost platform along with RILM Music Encyclopedias, a full-text repository of a wide-ranging and growing list of music reference works, and the Index to Printed Music, a finding aid for searching specific musical works contained in printed collections, sets, and series. Distributed worldwide on RILM’s own platform are the continually updated music encyclopedia MGG Online, RILM Music Encyclopedias, and the Dizionario Enciclopedico Universale della Musica e dei Musicisti (coming in mid-2023). RILM is a joint project of the International Association of Music Libraries, Archives, and Documentation Centres (IAML); International Council for Traditional Music (ICTM); the International Musicological Society (IMS); and the International Association for the Study of Popular Music (IASPM). www.rilm.org
Institut du Monde Arabe, Paris: The Institut du Monde Arabe was founded to create strong and durable cultural ties while cultivating constructive dialogue between the Arab world, France, and Europe. This cross-discipline space is the central place for the development of cultural projects, in collaboration with institutions, creators and thinkers from the Arab world. The Institut du Monde Arabe is fully anchored in the present. It aims to reflect the Arab world’s current dynamics. It intends to make a distinctive contribution to the institutional cultural landscape. No other organization in the world offers such a wide range of events in connection with the Arab world. Debates, colloquia, seminars, conferences, dance shows, concerts, films, books, meetings, language and culture courses, and large exhibitions all contribute to raising awareness of this unique and vibrant world. https://www.imarabe.org
For more information, please contact:
Michael Lupo Marketing & Media Répertoire International de Littérature Musicale 365 Fifth Avenue, Suite 3108 • New York, NY 10016-4309 email@example.com • Phone 1 212 817 1992 • www.rilm.org
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The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s angular, august facade reflects light beams that seem lightyears away from the intransigent, transgressive spirit, the championing of misfits, the sardonic humor that the exhibit captures and that Reed’s music embodies. Is there a psychogeographic contradiction between the outside buildings’ shimmering, safe, highbrow sheen and the sounds and images purveyed by the avant-garde prince (or pauper?) of New York proto-punk? If so, it is an incongruity to revel in.
Reed’s music and poetry disrupted reductive divisions between the cultivated and vernacular, the concert hall and the streets, and the transcendent and ephemeral. His sounds rejected the colorful and optimistic 1960s utopian collective, the normative middle-class assumptions that homogenized gender distinctions and human sexuality, and the blind eye cast towards a drug-fueled urban underclass. This rebellious spirit runs through his creative work and the eclectic literary and sonic sources on which he drew to craft his own sound(scapes). One finds this eclecticism refracted everywhere in the ethnic mosaic of New York City, whether on the Upper West Side in 2022, or the Lower East Side in the 1960s and 1970s. The NYC mosaic—a metaphor that’s preferable to “melting pot”, which fails to grasp the historical resonance of ethnically similar people living together in specific neighborhoods—is captured in the form of the exhibit. It eschews strict narrative construction of Reed’s life, offering instead a constellated, interconnected network of images, recordings, friendships, interests, collaborators, writings, and technologies. The visitor is invited to take a free (as in gratis) journey that may nourish the inquisitive iconoclast within.
Lou Reed is indexed in over 280 records across RILM Abstracts of Music Literature and RILM Abstracts of Music Literature with Full Text—the sources from which the bibliography below is taken—and has two entries in RILM Music Encyclopedias(in Das Gothic- und Dark Wave-Lexikon: Das Lexikon der schwarzen Szene and the Algemene muziek encyclopedie). Additionally, information on Reed, his collaborators, and related topics (such as literature, poetry, the NYC downtown scene, visual arts, film, recording techniques, and more) can be found in several reference texts in RME, as well as in MGG Online. Links to some of these sources have been embedded into this introduction. But in the end, this bibliography is by necessity a superficial treatment of what can be said and has been said on Reed and his career, as well as on what can be found in RILM’s resources.
What follows below more or less replicates the organizing structure of the exhibit, beginning with Reed’s work in The Velvet Underground and his collaboration with Cale and Warhol, followed by emphasis on his literary interests and poetry, which then leads into his solo productions of the 1970s (especially Metal machine music) and beyond, and ends with Reed as a subject (e.g., an interviewee, a listener with a wide range of interests, a human with a sense of humor). The reader, then, may use this blog entry to supplement and elaborate the experience of attending the exhibit (open until 4 March 2023) in person.
Reed’s music has attracted attention from musicologists (e.g., a 2016 special issue on The Velvet Underground published in Rock music studies), music theorists, music journalists (most notoriously Lester Bangs), theologians, literary theorists, and many others working in other music and music-adjacent fields, and this is reflected in some of the sources you’ll find in this bibliography. The writers of these texts are themselves a motley crew in all the best possible ways, and they reveal the enormous impact that Reed continues to make on musicians, researchers, teachers, and explorer-outcasts of all stripes around the world.
– Written and compiled by Michael Lupo, Assistant Editor/Marketing & Media, RILM
The exhibit begins with what is perhaps the most famous context for Reed’s production: his time as co-founder, songwriter, vocalist, and guitarist of The Velvet Underground.
Bockris, Victor and Gerard Malanga. Up-tight: The Velvet Underground story (New York: Quill, 1983). [RILM Abstracts of Music Literature, 1983-7587]
Abstract: Presents an in-depth history of the Velvet Underground from the pre-VU activities of band members up through the Exploding Plastic Inevitable tour and the four seminal albums. Although the band was an outright commercial failure at the time, they are now recognized as one of the key catalysts in the development of rock music, especially as progenitors of punk rock and postpunk. Substantial portions of the book reproduce interviews with the four founding members of the Velvet Underground (Lou Reed, John Cale, Maureen Tucker, and Sterling Morrison) and with key associates such as Nico, Andy Warhol, and members of the Factory.
Bouchard, Marie-Ève. “Andy Warhol et le Velvet Underground: Réalité ou reconstruction de la réalité?”, Les cahiers de la Société Québécoise de Recherche en Musique III/1–2 (septembre 1999) 51–62. [RILM Abstracts of Music Literature with Full Text, 1999-38064]
Abstract: Describes how reality is expressed in the New York underground scene in the 1960s, as epitomized by Andy Warhol’s Factory. The world of the Factory is detailed, and the relationship between Andy Warhol and The Velvet Underground is explored. The Velvet Underground incorporated elements of the Warhol Factory in their music, and in the song I’m waiting for the man composed by Lou Reed, in particular. An analysis of the song’s text and music is undertaken to demonstrate how it conforms to the reality of the Factory and the New York City underground.
Cuesta, Stan. Lou Reed, The Velvet Underground, John Cale, Nico (Paris: Layeur, 2019). [RILM Abstracts of Music Literature, 2019-21973]
Abstract: The Velvet Underground had an amazing destiny. In the 1960s, in the wake of Andy Warhol, avant-garde artist, provocateur, and way ahead of his time, they had no success at all! But, as Brian Eno said, although almost nobody bought their records when they were released, the people who did all later formed their own groups. The band steadily attracted more and more imitators, especially in punk, and is now recognized as one of the most enduringly influential groups in rock history. The recordings of the Velvet Underground are analyzed: the group only released four albums during its brief existence, though myriad records came out after they broke up: live, never-released, and other pirate recordings which achieved official status. After 1970, the three principal members of the group embarked on incredibly fertile solo careers, which are discussed chronologically.
Dorin, Stéphane. Velvet underground: La Factory de Warhol et l’invention de la bohème pop (Paris: Éditions des Archives Contemporaines, 2016). [RILM Abstracts of Music Literature, 2016-28124]
Abstract: Between 1965 and 1967 with its first album The Velvet Underground & Nico (1967), The Velvet Underground evolved from a promising underground New York band into a legend of rock history. This pivotal period for the group that installed itself in the Factory was equally so for Andy Warhol, who was for a short while its patron and manager. Warhol’s yearning to achieve the alchemical transformation of rock into art through his collaboration with Lou Reed and the Velvet Underground was always balanced on the razor’s edge between sub-cultural marginality and social and commercial recognition within the realm of contemporary art and rock. Although it did not completely shake up the classical and popular art and music worlds, it did blur their boundaries and give rise to one of the most beautiful myths of 20th-century American culture, and to a rock group which attained cult status. Using the conceptual tools of cultural studies and cultural sociology, an analysis of the life and experience of the band at the center of the Factory reveals how rock and art have transformed today’s lifestyles and relationship to work, from the standpoint of the pop aesthetic.
Heylin, Clinton. All yesterdays’ parties: The Velvet Underground in print 1966–1971 (Cambridge: Da Capo, 2005). [RILM Abstracts of Music Literature, 2005-18301]
Abstract: The Velvet Underground (VU) are among the most influential bands of all time. Their trademark sound is easily detected in David Bowie, Iggy Pop, Talking Heads, R.E.M., Jane’s Addiction, Yo La Tengo, Luna, and the Strokes, and they are also credited with creating a streetwise, pre-punk sensibility that has become inseparable from the popular image of downtown New York. “Discovered” by Andy Warhol in 1966, the VU—with their original line-up of Lou Reed, John Cale, Sterling Morrison, and Moe Tucker—would soon become the house band of the avant-garde, composing songs simultaneously furious in their abrasiveness and beautiful in their pathos, standing in striking contrast to the prevailing flower power of the era. With such a notorious pedigree, it’s only natural that the story of the VU has become shrouded in myth and hyperbole. Here gathered for the first time are almost all of the published writings contemporary with the band’s existence–from sources as mainstream as the New York times to vanished voices of the counterculture like Crawdaddy!, Oz, Open city, and Fusion. An invaluable snapshot of an era is provided by trailblazing rock writers such as Lester Bangs, Robert Greenfield, Sandy Pearlman, and Paul Williams. With the most complete VU discography assembled to date; a biographical overview by the editor; and photographs, posters, and other visual evocations of the period throughout, a treasure trove of lore is made available for anyone interested in the VU, their roots, and legacy.
Jovanovic, Rob. Seeing the light: Inside The Velvet Underground (New York: St. Martin’s Press, 2012). [RILM Abstracts of Music Literature, 2012-3572]
Abstract: Artists including David Bowie, The Sex Pistols, Joy Division, Roxy Music, Nirvana, U2, R.E.M., and even the dissident Czech playwright and eventual president Václav Havel have cited The Velvet Underground as a major influence. Formed by the mercurial Lou Reed and the classically trained Welshman John Cale in the mid-1960s, the band first gained notoriety after being adopted by Andy Warhol. Warhol’s patronage allowed the group to chart unexplored regions of rock ‘n’ roll, producing music that veered from droning, avant-garde experimentalism to folk-infused pop, offering taboo-busting tales of drug addiction, prostitution, and sexual deviance. Creative tensions and frustrated ambition eventually saw both Cale and Reed leave the band, to its ignominious end. In the decades since, The Velvet Underground’s music has attained classic status, revered alongside The Beatles and The Beach Boys as one of the sources of modern pop. New interviews from members Moe Tucker and Doug Yule, as well as the widow of their bandmate Sterling Morrison, reveal the mystique of one of the most important bands in rock history.
Abstract: The author casts an ear back through the musical history of The Velvet Underground legend and brilliant rock musician who recently passed away. Lou Reed saw himself as the bard of New York; the way, he explained, Joyce had Dublin and Faulkner the South, though a sensibility awash in Edgar Allan Poe, Delmore Schwartz, and Nelson Algren produced adolescent renderings of perversion. But he didn’t stop there. Reed’s fictive power acted as a window through which sympathetic parents, heterosexual marriages, and other tenets of the bourgeoisie look as deeply strange as kissing a boot of shiny, shiny leather. If rock critics remain as obsessed with lyrics as they ever were, Reed deserves the blame as much as Dylan. But what’s astonishing about those Velvet Underground records is the success with which their musical correlatives complement if not overwhelm the lyrics. For instance, Venus in furs, the ode to sadomasochism from the band’s first album, is sexy and thrilling and wondrous in ways that have little to do with the ooh-scary libretto. Listen as those Byrds-y guitars slam against the single note that John Cale saws off his viola, while “Moe” Tucker bangs a kick drum; when Cale actually plays chords on the bridge the song sounds as tired and weary as Reed himself.
Warner, Simon. “La banalité de la dégradation: Andy Warhol, le Velvet Underground et l’esthétique trash”, Volume! La revue des musiques populaires IX/1 (2012) 51-65. [RILM Abstracts of Music Literature with Full Text, 2012-15874]
Abstract: The American 1960s has become closely associated with moral crusades that strove for Civil Rights for the Black community and protested against the conflict in Vietnam, and with the peace and love gestures of the hippies, particularly in the latter part of the decade. However, the seeds of a more subversive underground movement were sown during the period, and a new approach to art creation, centered on an emerging trash aesthetic, not only challenged the psychedelic utopianism of the counterculture but actually left a longer lasting mark on left-field creative activity in the final quarter of the century. As Andy Warhol’s art and film projects were reshaped into multimedia experiences, the importance of the Velvet Underground, the rising house band at the artist’s Factory headquarters, was magnified. The Exploding Plastic Inevitable, a performance work inspired in part by early-decade Happenings, would be unveiled in 1966, combining Warhol’s underground cinema projections, light shows, dancers, and the cacophonous sound of the Velvets. This radical piece of stage art was filmed by the director Ronald Nameth, and his account remains a key document of the live venture. While Warhol and the band built on traditions from Dada to the Beats to build a form of anti-art, it was during this time that the aesthetic of trash took shape, from the Pop Art celebrations of mass cultural forms to the darker realms of drugs and sexual perversity. This anti-aesthetic would have an enduring impact in the years that followed, beyond the subterranean avant-garde of New York City, as music, cinema, art, and literature were all shaped by this brand of expression. An English translation is abstracted as RILM 2014-3712.
Willis, Ellen. “Velvet underground: Golden archive series”, Stranded: Rock and roll for a desert island, ed. by Greil Marcus (New York: Da Capo, 1996) 71–83. [RILM Abstracts of Music Literature, 1996-3327]
Abstract: Ostensibly an essay on her desert island album—a slightly Willis-doctored version of an existing Velvet Underground anthology released in 1970 (she switches out Afterhours for Pale blue eyes)—this piece serves as more of a general essay on the band and even Lou Reed’s post-VU work. Willis situates all sides of the band into a larger framework that accounts for detachment, innocence, irony, and, most unusual in writings on the Velvets, moral responsibility. As she sees it, there’s an intended irony in their emotional distance—a straddling of the rock ‘n’ roller as aesthete and the rock ‘n’ roller as punk. Their stance is self-critical and even in danger of being internally undermined: “The risk is real because the Velvets do not use irony as a net, a way of evading responsibility by keeping everyone guessing what they really mean. On the contrary, their irony functions as a metaphor for the spiritual paradox, affirming that the need to face one’s nakedness and the impulse to cover it up are equally real, equally human”.
Although strained at times, Reed’s relationship with the vanguardist John Cale was incredibly fruitful. Moreover, it encouraged a complex and perhaps erroneous dichotomy between highbrow and lowbrow sensibilities, which surfaced in different guises throughout Reed’s career.
Gibson, Dylan Lawrence. “Postmodernism in Lou Reed and Metallica’s collaborative album Lulu: The subjective perception of highbrow and lowbrow“, Metal music studies V/2 (2019) 187–200. [RILM Abstracts of Music of Literature with Full Text, 2019-5761]
Abstract: The 2011 collaborative album Lulu (by Lou Reed and Metallica) presents one with what can be clearly identified as a clash between highbrow and lowbrow culture. This clash, as demonstrated in this article, attempts to blur what the media tries to enforce by revealing that Metallica and Lou Reed in actuality cannot be exclusively defined by one coherent label. The intended implication is that the album should not be dismissed as its impact, as Metallica’s first postmodern album, ought to be remembered and formally recognized as such—a postmodern experimental metal album.
Gracyk, Theodore. “What goes on: The double-bind of theorizing rock”, Literature and psychology XLIV/3 (1998)1–22. [RILM Abstracts of Music Literature, 1999-32628]
Abstract: Theorizing about rock is difficult because intellectuals trained in the values of high culture have not found a way to approach popular music on its own terms. In addition, rock music is often assumed to be incapable of incorporating the values of high culture. The career of Lou Reed of The Velvet Underground demonstrates how a rock musician can include tradition and morality in his work, drawing on both high and low culture. The views of the cultural critics John Fiske and Martha Bayles are also examined.
Sangild, Torben. “Flossede nerver: Støj og avantgardisme hos Velvet Underground”, Loaded: Om The Velvet Underground, Lou Reed, John Cale, Nico, ed. by Klaus Lynggaard and Henrik Queitsch (København: Information, 2004) 64–70. [RILM Abstracts of Music Literature, 2004-10893]
Abstract: The link between The Velvet Underground and the avant-garde art music world was established by John Cale, a classically trained composer and viola player active in the vanguardist scene of John Cage and associates. Together with Lou Reed they developed an aesthetic alternating between intense noise and otherworldy ambience on albums such as White light/White heat. Lou Reed pushed this aesthetic further than it had ever been taken in popular music with his album Metal machine music. With their avant-noise innovations, The Velvet Underground were a key inspiration for the post-punk of the 1970s and 1980s.
Zak, Albin J., III., ed. The Velvet Underground companion: Four decades of commentary (New York: G. Schirmer, 1997). [RILM Abstracts of Music Literature, 1997-8762]
Abstract: A collection of articles, reviews, and essays on the influential avant-garde rock band made up of John Cale, Lou Reed, Maureen Tucker, Sterling Morrison, guest vocalist Nico, and Doug Yule in the band’s final incarnation. Interviews with and memoirs by band members are included.
The exhibit includes multiple stations for listening to Reed’s music. One example, now available on vinyl as Words & music, May 1965, is a reel-to-reel tape that Reed sent to himself, likely as a “poor man’s copyright”. It contains a number of acoustic demos with Cale, some of which would develop into VU songs.
Peraino, Judith A. “I’ll be your mixtape: Lou Reed, Andy Warhol, and the queer intimacies of cassettes”, The journal of musicology: A quarterly review of music history, criticism, analysis, and performance practice XXXVI/4 (fall 2019) 401–436. [RILM Abstracts of Music Literature, 2019-9699]
Abstract: Tells the story of a cassette tape housed in the Andy Warhol Museum archives, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended audience: Andy Warhol. Warhol and Reed are giant figures in the history of 20th-century pop art and popular music, and their collaboration from 1966 to 1967 resulted in the acclaimed album The Velvet Underground & Nico. Based on extensive archival research and interviews, I discuss how this tape reflects Warhol’s and Reed’s failed attempt to collaborate on a stage version of Reed’s album Berlin (1973); Reed’s reaction to Warhol’s book, The philosophy of Andy Warhol (from A to B and back again) (1975); and how elements of Warhol’s own audio aesthetics and taping practices find their way into Reed’s recordings around 1975. I also place this cassette in the context of the emerging common practice of creating and gifting homemade mixtapes of curated music, and demonstrate how such mixtapes function as a type of “closet media” (to quote theater scholar Nick Salvato) marked by private audience, disappearance, and inaccessibility. Drawing on William S. Burroughs’s conceptual spliced-tape experiments and their challenge to unified subjectivity, I explore the epistemological and ontological ramifications of sonically entangling the self with another person, and the queer intimacies of doing so on cassette tape.
Perhaps Reed’s “lyrics and poetry were kind of one and the same” (Don Fleming). In the early 1970s, in the direct aftermath of the VU, Reed follows a path towards literature and writing poetry.
Morris, Daniel. “Whose life is saved by rock and roll? An essay on the lyrics of Lou Reed”, Popular music and society XVI/3 (fall 1992) 23–30. [RILM Abstracts of Music Literature, 1992-4611]
Abstract: Reed’s lyrics are the work of a surreal, imagistic poet whose announced purpose is to chronicle public life in New York. His desire to embody the city through the description of a representative life diminished rather than enhanced the scope and quality of his writing over time. In lyrics from 1967, 1969, and 1989, Reed wrote a genuine public poetry by focusing his gaze with empathy and identification on the pain of others living on the margins of visibility. His best writing stems from an impersonal, Whitmanesque impulse to register the value of lives on the margin and not from the self-absorption that characterized his writing from 1972 on.
Rae, Casey. William S. Burroughs and the cult of rock ‘n’ roll (Austin: University of Texas Press, 2019). [RILM Abstracts of Music Literature, 2019-12562]
Abstract: William S. Burroughs’s fiction and essays are legendary, but his influence on music’s counterculture has been less well documented. Examining how one of America’s most controversial literary figures altered the destinies of many notable and varied musicians, this book reveals the transformations in music history that can be traced to Burroughs. A heroin addict and a gay man, Burroughs rose to notoriety outside the conventional literary world; his masterpiece, Naked lunch, was banned on the grounds of obscenity, but its nonlinear structure was just as daring as its content. The book examines Burroughs’s parallel rise to fame among daring musicians of the 1960s, 1970s, and 1980s, when it became a rite of passage to hang out with the author or to experiment with his cut-up techniques for producing revolutionary lyrics (as the Beatles and Radiohead did). Whether they tell of him exploring the occult with David Bowie, providing Lou Reed with gritty depictions of street life, or counseling Patti Smith about coping with fame, the stories of Burroughs’s backstage impact will transform the way we see the U.S.’s cultural revolution and how we hear its music.
Metal machine music
Dault, David. “To the void: Karl Barth, Yvves Klein, and Lou Reed’s Metal machine music“, Secular music and sacred theology, ed. by Tom Beaudoin (Collegeville: Liturgical Press, 2013) 3–15. [RILM Abstracts of Music Literature, 2013-2033]
Abstract: This chapter juxtaposes the music of Lou Reed with the theology of Karl Barth and the art of Yves Klein, so as to show how all three artists create works that try to name what exceeds naming. The ancient theological question of whether God can be comprehended in human turns is turned into a triptych of rock and roll, theology, and visual art, all trying to let that which is profoundly other appear through their respective mediums.
Moore, Thurston. “Towards a sonic machine music”, Lou Reed, Metal Machine Trio: The creation of the universe, ed. by Christopher Scoates (Bloomfield Hills: Cranbrook Art Museum, 2015) 63. [RILM Abstracts of Music Literature, 2015-19624]
Abstract: Personal recollections of the guitarist and founding member of Sonic Youth on his encounter with Lou Reed’s Metal machine music (1975), particularly the way in which the seminal album validated feedback as a compositional element.
Spelman, Nicola. “Recasting noise: The lives and times of Metal machine music“, Resonances: Noise and contemporary music, ed. by Michael Goddard, Benjamin Halligan, and Nicola Spelman (New York: Bloomsbury, 2013) 24–36. [RILM Abstracts of Music Literature, 2013-6206]
Abstract: Many of Lou Reed’s fans purchased his double-album Metal machine music (1975) assuming its contents to be of a similar ilk to his previous albums. With limited pre-listening opportunities, they were effectively lured into an auditory experience few were prepared for. Thus followed an unprecedented number of album returns and the record’s withdrawal just three weeks later. Although many accounts of the album’s unpalatable nature rest on attempts to describe its arresting sonic properties, the discrete sounds and techniques of timbral manipulation explored with MMM (heavy distortion, feedback, amplifier hum, use of tremolo units, varied tape speed, EQ, reverb and tone controls) were already standard fare by the time of its conception and release. As such, the distinctly experimental aspects of Reed’s noisescape are located not within the sounds themselves, but rather in how and where they were presented, and in the way they were creatively and unconventionally employed. Here, through examination of the original album and its subsequent transformations—moving from recorded composition to score/arrangement and finally to an improvised performance exploring the compositional techniques used in the construction of the original work—an attempt is made to pinpoint shifts in perception resulting from this successive recasting of noise.
Steintrager, James A. “Metal machines, primal screams, horrible noise, and the faint hum of a paradigm shift in sound studies and sonic practice”, Musica humana III/1 (spring 2011) 121–151. [RILM Abstracts of Music Literature with Full Text, 2011-10305]
Abstract: In the mid-1970s there emerged both in pop music practice and in theoretical discourse a paradigm that extended liberating, ecstatic value to noise. For noise in practice, Lou Reed’s LP Metal machine music has been cited as seminal; in theory, Jacques Attali’s Noise: The political economy of music (see RILM 1977-1976 for the original French version; the first English translation is cited as RILM 1985-7455) stands out. Both of these important moments, however, have deep and often complex genealogies. Moreover, once we grasp the historical constitution of the noise paradigm, we can better understand why and how the promise of liberating noise—noise as revolutionary violence or subjectivity-shattering ecstasy—has in recent sound theory been treated as an unnecessarily limiting discursive trap. This has been most emphatically the case with Michel Chion’s suggested abandonment of the concept of noise as pseudo-scientific and roughly ideological. This abandonment, moreover, has been echoed in sonic practice—in the onkyō scene in Japan, for example—where an emphasis on subtle sound processing, gently modulated feedback, and bare audibility have put into question the relevance of noise as previously conceived and produced.
And then there was more Reed solo…with a little help from his friends
Furman, Ezra. Transformer. 33 1/3 (New York: Bloomsbury, 2018). [RILM Abstracts of Music Literature, 2018-6807]
Abstract: Lou Reed’s most enduringly popular album is described with varying labels: it’s often called a glam rock album, a proto-punk album, a commercial breakthrough for Lou Reed, and an album about being gay. And yet, it doesn’t neatly fit into any of these descriptors. Buried underneath the radio-friendly exterior lie coded confessions of the subversive, wounded intelligence that gives this album its staying power as a work of art. Here Lou Reed managed to make a fun, accessible record that is also a troubled meditation on the ambiguities—sexual, musical, and otherwise—that defined his public persona and helped make him one of the most fascinating and influential figures in rock history. Through close listening and personal reflections, the author explores Reed’s unstable identities and the secrets the songs challenge us to uncover.
Thompson, Dave. Your pretty face is going to hell: The dangerous glitter of David Bowie, Iggy Pop, and Lou Reed (New York: Backbeat Books, 2009). [RILM Abstracts of Music Literature, 2009-8003]
Abstract: Sketches the intertwining, outrageous lives of three rock legends. When Lou Reed and Iggy Pop first met David Bowie in the fall of 1971, Bowie was just another English musician passing through New York City. Reed was still recovering from the collapse of the Velvet Underground, and Iggy Pop had already been branded a loser. Yet within two years they completely changed the face of popular music with a decadent glamour and street-level vibe. With Bowie producing, Reed’s Transformer album was a worldwide hit, spinning off the sleazy street anthem “Walk on the wild side”. Iggy’s Raw power, mixed by Bowie, provided the mean-spirited, high-octane blueprint for punk rock. Bowie boosted elements from both Iggy and Reed to create his gender-bending rock idol alter-ego Ziggy Stardust. Here, the story of these friendships, and the musical productivity and rock star debauchery that emerged from their three-fold alliance is told—a triple helix of sexuality, glam rock, and drugs as seen through the eyes of the people who made it happen.
And Lou Reed the humorist
Hamelman, Steven. “‘I never said I was tasteful’: Lou Reed and the classic philosophy of humor”, The Routledge companion to popular music and humor, ed. by Thomas M. Kitts and Nick Baxter-Moore. Routledge music companions (New York: Routledge, 2019) 177–185. [RILM Abstracts of Music Literature, 2019-12616]
Abstract: Lou Reed is rarely considered a humorist. Yet, the author identifies the humorous impulse in Reed, which he sees as dry and ironic, raunchy and tasteless, and dark and cynical. He draws on the three main theories of humor (superiority, incongruity, and relief) to explicate songs like Dirt and The gift, Reed’s laughter at the end of the original recording of Heroin, and his on-stage monologues.
_____. “Why is this man laughing?”, Rock music studies III/2 (2016) 180–191. [RILM Abstracts of Music Literature, 2016-25331]
Abstract: There is a good deal of humor, from dry and ironical to raunchy and tasteless, in the music and live monologues of Lou Reed, both as a member of The Velvet Underground and as a solo artist. To examine Reed’s wide-ranging humor in terms of the three major categories comprising the philosophy of humor (superiority theory, incongruity theory, and relief theory) is to appreciate the nuances of a rock humorist who could at one point be heard laughing at the end of a song about heroin’s destructiveness and at another point delivering a scathing but hilarious attack on well-known rock journalists who annoyed him. As this analysis demonstrates, the diversity of tone, subject matter, and manner of delivery of Reed’s humor reflects an artist who satisfied, in terms defined as much by courage as by literary skill, the three classic divisions of humor, suggesting that despite his reputation for writing dark and often cynical songs about taboo topics, Lou Reed enjoyed hearing the sound of laughter, sometimes his own, when he gave free expression to his comic genius.
Reed, Lou. Lou Reed: The last interview and other conversations (Brooklyn: Melville House, 2015). [RILM Abstracts of Music Literature, 2015-81311]
Abstract: A revealing collection of interviews with one of the greatest artists in the history of rock ’n’ roll—as brilliant, punchy, and blustery as the man himself. In this collection of interviews given over 30 years, including his final interview, Lou Reed oscillates between losing patience with his interviewers (he was famous for walking out on them) and sharing profound observations on the human experience, especially as he reflects on poetry and novels, the joy of live performances, and the power of sound. In conversation with legendary rock critics and authors he respected, Reed’s interviews are as pithy and brilliant as the man himself.
Finally, take a listen to some of the music that Reed liked in “Listen Like Lou Did”, a playlist curated by NYPL.
And definitely take a second to get what is surely the coolest, most New York, free library card that has ever existed.
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November marks National Native American Heritage Month in the United States, honoring the first Americans’ contributions to the establishment and growth of the country. Exhibits and collections, song and dance recordings, visual art and imagery, poetry and storytelling, and teaching materials dedicated to National Native American Heritage are available through the portal https://nativeamericanheritagemonth.gov/.
This bibliography reflects the diverse musical expressions and musical life of Native Americans over nearly three centuries, ranging from engagement with Christianity to cope with Colonial-era displacement, to Navajo heavy metal and Indigenous sound studies in the present. It comprises a wide range of document types, including monographs, collections, journal articles, and sound recordings.
Native Americans are both active and represented in traditional, popular, and classical music; music education; radio; and record production. The ways in which Native American music has been colonized and appropriated may be contrasted with the way in which it has been used by its practitioners as a means of cultural and spiritual agency and survival. Finally, although this bibliography centers on indigeneity in the United States, many of its ideas, traditions, and struggles find parallels in the experiences of Indigenous communities worldwide, and it is hoped that the research below may resonate with the musical-cultural experiences of those groups as well.
Cahill, Cathleen D. “Urban Indians, Native networks, and the creation of modern regional identity in the American Southwest”, American Indian culture and research journal XLII/3 (2018) 71–92. [RILM Abstracts of Music Literature, 2018-95806]
Abstract: The careers and political activism of Native opera singers in the Southwest of the 1920s are explored. A number of talented Native artists recognized that engaging their audiences directly in live performances provided opportunities for public education in addition to their economic benefits. Partnering with regional boosters, they built careers performing in multiple pageants and events sponsored by municipalities across the Southwest. Live performance with its direct access to audiences also facilitated their political agendas of publicizing Indigenous histories. Their careers highlight the mobility of Indigenous people, demonstrating how they helped create modern urban spaces across the American Southwest.
Diamond, Beverley. “Affect, ontology, and indigenous protocol: Encounters in Canada”, Ethnomusicology matters: Influencing social and political realities, ed. by Ursula Hemetek, Hande Sağlam, and Marko Kölbl (Wien: Böhlau Verlag, 2019) 117–134. [RILM Abstracts of Music Literature, 2019-12878]
Abstract: Ethnomusicologists have, thus far, written extensively about Indigenous ontologies but less about the ways divergent ontologies shape intercultural diplomacy. This article attempts to think through several such spaces of intercultural encounter. It considers how Indigenous protocol plays a role in promoting respectful relations. But it also reﬂects on situations where a failure to consider the affect of protocol-related performances may be disrespectful and counter-productive. There is a need, then, for intercultural dialogue about the clashes of perspectives, and the affect of performances that surround difﬁcult moments of meetings, when one way of being in the world (i.e., ontology, simply deﬁned) meets another and seems utterly incomprehensible. Sometimes such incommensurability is rooted in language: that song or story are “law” for many Indigenous groups in North America (and elsewhere), for instance, is often a confusing notion for Euroamericans. This formulation is already stimulating action-oriented discussions about access to archives, and appropriations of Indigenous song. At other times, forms of relationality are at stake. For instance, many Indigenous expressive cultures assume kinship with non-humans, spirits, and other life-forms in a broad ecological system that differs fundamentally from, e.g., those who see the earth’s resources as economic investments, or those promoting “creative city” initiatives that see the arts as a vehicle for prosperity while disregarding human relations with other life forms. The affect of performances that assert presence and sovereignty on the one hand or guesthood on another is an important consideration when divergent viewpoints are at issue. In some cases, a focus on “affect” may help to reduce misunderstanding, while in other cases it may encourage respect for the performers who assert their values, understandings, and sovereign rights.
Fox, Aaron A. “Repatriation as reanimation through reciprocity”, The Cambridge history of world music, ed. by Philip V. Bohlman and Martin Stokes (Cambridge: Cambridge University Press, 2013) 522–554. [RILM Abstracts of Music Literature, 2013-17019]
Abstract: Describes the process by which the Laura Boulton Collection of Traditional and Liturgical Music came to be housed at Columbia University, a process that began in 1962. The Boulton Collection’s history includes disputes between the collector and various institutions, and among and within those institutions as well, about the extent and nature of its contents. The collection is an assemblage of sound recordings made or acquired by the mid–20th-century music collector Laura Boulton (1899–1980) in a series of expeditions to dozens of countries over nearly 40 years. This essay examines her work as a particularly vivid example of the ironies inherent in ethnomusicology’s broader racist and colonialist legacy, a legacy embedded in the structure of the broader archive-building mindset upon which the discipline was constructed. Doing so allows us to think critically about that legacy and about how to address it and heal its lingering and still caustic effects on our discipline and its relations with its publics and constituents. Recovering, through repatriation, the cultural and scholarly value of archives like Boulton’s suggests ways to move ethnomusicology forward as an ethical as well as scholarly enterprise, by confronting the moral obligations the discipline has incurred, but not always honored, in the past.
Garrett-Davis, Josh. “American Indian Soundchiefs: Cutting records in Indigenous sonic networks”, Resonance: The journal of sound and culture I/4 (winter 2020) 394–411. [RILM Abstracts of Music Literature, 2020-54119]
Abstract: American Indian Soundchiefs, an independent record label founded by the Rev. Linn Pauahty (Kiowa) in the 1940s, developed a remarkable model of Indigenous sound media that combined home recording, dubbing, and small-scale mass production. Alongside other Native American media producers of the same era, Soundchiefs built on earlier engagements with ethnographic and commercial recording to produce Native citizens’ media a generation prior to the Red Power era of the 1960s and 1970s. This soundwork provided Native music to Native listeners first, while also seeking to preserve a “rich store of folk-lore” sometimes in danger of being lost under ongoing colonial pressures. Pauahty’s label found ways to market commercial recordings while operating within what music and legal scholar Trevor Reed (Hopi) calls Indigenous sonic networks, fields of obligation and responsibility.
Goodman, Glenda. “Joseph Johnson’s lost gamuts: Native hymnody, materials of exchange, and the colonialist archive”, Journal of the Society for American Music XIII/4 (November 2019) 482–507. [RILM Abstracts of Music Literature, 2019-11405]
Abstract: In the winter of 1772–73, Joseph Johnson (Mohegan/Brothertown) copied musical notation into eight books for Christian Native Americans in Farmington, Connecticut, a town established by English settler colonists on the land known as Tunxis Sepus. Johnson did so because, as he wrote in his diary, “The indians are all desireous of haveing Gamuts”. Johnson’s gamuts have not survived, but their erstwhile existence reveals hymnody’s important role within the Native community in Farmington as well as cross-culturally with the English settler colonists. In order to reconstruct the missing music books and assess their sociocultural significance, a surrogate bibliography is proposed, gathering a constellation of sources among which Johnson’s books would have circulated and gained meaning for Native American Christians and English colonists (including other printed and manuscript music, wampum, and legal documents pertaining to land transfer). By bringing together this multi-modal network of materials, redress is sought for the material and epistemological effects of a colonialist archive. On one level, this case study focuses on a short period of time in order to document the impact on sacred music of conversion, literacy, shifting intercultural relations, and a drive to preserve sovereignty. On another, a methodological intervention is presented for dealing with lost materials and colonialist archives without recourse to discourses of recovery or discovery, the latter of which is considered through the framework of archival orientalism.
_____. “Sounds heard, meaning deferred: Music transcription as imperial technology”, Eighteenth-century studies LII/1 (fall 2018) 39–45. [RILM Abstracts of Music Literature, 2018-95884]
Abstract: How notations of the traditional musics of Indigenous peoples by colonists in the 18th century came to be regarded as evidence in the mapping of global trade are examined, focusing on the example of a transcription by William Beresford, published in A voyage round the world; but more particularly to the north-west coast of America (London: Geo. Goulding, 1789). The book, an account of the fur trading voyage of the ship Queen Charlotte in 1786–88 consists almost entirely of material written by Beresford, the ship’s supercargo. Beresford’s transcription of an Indigenous (likely Tlingit) song from Norfolk Sound (now Sitka Sound, Alaska) included a description of the customary pre-trade ceremonies as a guide for future traders. The transcription itself reflects multiple performances, by different groups, as Beresford re-encountered this ceremonial song along the coast; it should be viewed as an invention as much as a documentation.
Gray, Robin. “Repatriation and decolonization: Thoughts on ownership, access, and control”, The Oxford handbook of musical repatriation, ed. by Frank D. Gunderson, Robert C. Lancefield, and Bret D. Woods. Oxford handbooks (New York: Oxford University Press, 2018) 723–737. [RILM Abstracts of Music Literature, 2018-11972]
Abstract: Focuses on the efforts of Ts’msyen from Lax Kw’alaams to repatriate songs and associated knowledge products from the Laura Boulton Collection of Traditional and Liturgical Music. It provides an overview of the sociopolitical context that created the conditions for the songs to be taken from the community, including an analysis of the contributing role of Western property frameworks in the dispossession of Ts’msyen knowledge, heritage, and rights. Based on a community-based participatory action research project with, by, and for Ts’msyen, this chapter offers decolonial considerations on the topics of ownership, access, and control from the vantage of Ts’msyen laws, ethics, and protocols.
Hauptman, Laurence M. “The musical odyssey of Cleo Hewitt, Cattaraugus Seneca, 1889–1987”, New York history C/2 (winter 1999) 246–268. [RILM Abstracts of Music Literature, 2019-32487]
Abstract: Caroline Glennora Cleopatra (Cleo) Hewitt (1889–1987), a Hodinöhsö:ni’ elder, was for four decades a music teacher at the Thomas Indian School and other schools for Native Americans in western New York State, as well as a piano teacher. Hewitt was also a violinist, but was blocked from a performing career due to her race. While Hewitt faced formidable obstacles as a Native American and a woman, her life story both confirms and contradicts the assimilationist narrative of Native boarding schools.
Levine, Victoria Lindsay and Dylan Robinson, eds. Music and modernity among First Peoples of North America. Music/culture (Middletown: Wesleyan University Press, 2019). [RILM Abstracts of Music Literature, 2019-2103]
Abstract: A collaboration between Indigenous and settler scholars from Canada and the U.S., exploring the intersections between music, modernity, and indigeneity in essays addressing topics that range from hip hop to powwow, and television soundtracks of Native Classical and experimental music. Working from the shared premise that multiple modernities exist for Indigenous peoples, the authors seek to understand contemporary musical expression from Native perspectives and to decolonize the study of Native American/First Nations music. The essays coalesce around four main themes: innovative technology, identity formation and self-representation, political activism, and translocal musical exchange. Closely related topics include cosmopolitanism, hybridity, alliance studies, code-switching, and ontologies of sound.
Moling, Martin. “’Anarchy on the Rez’: The blues, popular culture, and survival in Sherman Alexie’s Reservation blues“, American Indian culture and research journal XL/3 (2016) 1–22. [RILM Abstracts of Music Literature, 2016-56019]
Abstract: The ingenious ways in which Sherman Alexie appropriates the blues as a vessel for Native Americans to creatively express their predicament and a subversive instrument in their struggle to resist colonial cooption are explored. In Reservation blues (1995), Alexie’s writing itself creates a Native American version of the blues that appropriates such blues staples as the AAB stanza, improvisation, and syncopation. The multiple references in the novel to mainstream popular culture are in contrast to the role of the blues, which arguably serves as the music of choice for Alexie’s principal project: the survival of Native America.
Moylan, Katie and Sheila Nanaeto. “‘Indigenous for days’: Indigenous internationalism in Native American music radio”, The global South, XV/2 (spring 2022) 176–192. [RILM Abstracts of Music Literature, 2022-7727].
Abstract: Community building in Indigenous music radio is identified and explored, drawing on music programming examples and practitioner insights from two Indigenous radio stations: KPRI FM (Rez Radio) and KSUT FM. Multifaceted music programming across the two stations embodies the concept of grounded normativity (Coulthard and Betasamosake Simpson) and expands capacities for tribal community building on-air, in turn reinforcing a cultural Indigenous internationalism. In particular, Rez dub reggae and Songs of the Southwest at KPRI and the Tribal radio morning show at KSUT enable and encourage Indigenous community building through place-based practices of music radio production which in turn embody possibilities for Indigenous resurgence (Corntassel).
Perea, John-Carlos. Intertribal Native American music in the United States: Experiencing music, expressing culture. Global music (New York: Oxford University Press, 2013). [RILM Abstracts of Music Literature, 2013-52557]
Abstract: Over time many Native American tribes have developed a shared musical culture that is prominently audible on local, national, and international stages. Northern and Southern Plains pow wow practices represent a singular performance encompassing disparate stories and sounds. Traditional sounds, such as pow-wow and Native American flute songs, have developed in tandem with increasingly recognizable forms like Native jazz and rock.
Peters, Gretchen. “Unlocking the songs: Marcie Rendon’s indigenous critique of Frances Densmore’s Native music collecting”, American Indian culture and research journal XXXIX/4 (2015) 79–92. [RILM Abstracts of Music Literature, 2015-89340]
Abstract: Criticisms of the work of Frances Densmore in Marcie Rendon’s play SongCatcher are identified and contextualized within Densmore’s own writings. The integration of physical and spiritual realities, as well as contemporary and historic settings, denies the common assertion that Densmore preserved large repertoires. Numerous musical performances remain intact within their broader context and call into question the value of the isolated and distorted recordings and transcriptions by Densmore. While Densmore’s analytical working method marginalized the Native individual experience and perspective, SongCatcher examines Densmore’s work through its impact on Native individuals and communities in the past and present.
Poirier, Lisa. “Makes me feel glad that I’m not dead: Jim Pepper and music of the Native American Church”, Journal of religion and popular culture XXX/2 (summer 2018) 120–130. [RILM Abstracts of Music Literature, 2018-95883]
Abstract: Jim Pepper’s 1971 jazz hit Witchi tai to is a contact zone in which cultures (Native and non-Native) collide. In the song, Native powwow culture and Native identities are reclaimed and reinterpreted within a jazz idiom. While Native supratribal identities are celebrated within this popular culture artefact, the song retains an opacity that resists absorption and cooptation by non-Natives. Witchi tai to is a song of Native religious reorientation within a context of modernity, and its legacy reverberates in at least two genres of contemporary Native popular music: Native American Church songs and Native American electronic dance music.
Prest, Anita and J. Scott Goble. “Language, music, and revitalizing indigeneity: Effecting cultural restoration and ecological balance via music education”, Philosophy of music education review XXIX/1 (spring 2021) 24–46. [RILM Abstracts of Music Literature, 2021-98113]
Abstract: Challenges are explored in conveying the culturally constructed meanings of local Indigenous musics and the worldviews they manifest to students in K–12 school music classes, when foundational aspects of the English language, historical and current discourse, and English language habits function to thwart the transmission of those meanings. In settler colonial societies in North America, speakers of the dominant English language have historically misrepresented, discredited, and obscured cultural meanings that inhere in local Indigenous musics. Three ways in which the use of English has distorted the cultural meanings of those musics are examined. How historical discourses in English have intentionally undervalued or discredited the values intrinsic to those musics are explained, also describing how some current music education discourse in English might work against the embedding of Indigenous meanings in school music education settings. Additional factors distinguishing Indigenous languages from European languages (especially English) are considered to show how a people’s language habits influence their perception of and thus their relationship with their natural environment. The role of music education in revitalizing local Indigenous languages and musics and advancing the cultural values of their originating communities is considered.
Przybylski, Liz. “Indigenizing the mainstream: Music festivals and indigenous popular music authors”, IASPM@Journal XI/2 (2021) 5–21. [RILM Abstracts of Music Literature, 2021-13635]
Abstract: First Nations, Métis, and Inuit music and dance practices have enacted Indigenous survivance since colonization began. Contemporary Indigenous performers within and beyond present-day Canadian borders continue this performative intervention through popular music, building sonic sovereignty. Rooted in dialogue with Indigenous music industry professionals and musicians, this article draws on ethnographic work with Indigenous music festivals, especially the sākihiwēfestival in Winnipeg, Canada where musicians from many Nations share stages. In response to music industry barriers, Indigenous media professionals created performance spaces for First Nations, Métis, Inuit, and international Indigenous musicians. With the imposition of performance restrictions due to COVID, musicians faced new limitations. On the heels of ongoing political changes, Indigenous music professionals navigated multilayered challenges for the 2020 festival season. As uncertainty continues around music festivals in the future, how decolonial possibilities are shifting around cultural and political change through music festival performance is addressed.
Reed, Trevor. “Sonic sovereignty: Performing Hopi authority in Öngtupqa”, Journal of the Society for American Music XIII/4 (November 2019) 508–530. [RILM Abstracts of Music Literature, 2019-11407]
Abstract: Explores the ways in which territorial authority or sovereignty emerges from within a particular mode of indigenous creativity—the creation and performance of Hopi taatawi (traditional songs)—despite the appropriation of Hopi traditional lands by the American settler-state. Hopi territories within Öngtupqa (Grand Canyon) are just a sample of the many places where indigenous authority, as expressed through sound-based performances, continues to resonate despite the imposition of settler-colonial structures that have either silenced Indigenous performances of authority or severed these places from Indigenous territories. Hopi musical composition and performance are deeply intertwined with Hopi political philosophy and governance, resulting in a form of sovereignty that is inherently sonic rather than strictly literary or textual in nature. Recognizing that this interconnection between territorial authority and sound production is common across many indigenous communities, listening to contemporary indigenous creativity should be considered both as an aesthetic form, and more importantly, as a source of sonic sovereignty.
Robinson, Dylan. Hungry listening: Resonant theory for Indigenous sound studies. Indigenous Americas (Minneapolis: University of Minnesota Press, 2020). [RILM Abstracts of Music Literature, 2020-4582]
Abstract: Listening is considered from both Indigenous and settler colonial perspectives. In a critical response to what has been called the “whiteness of sound studies”, how decolonial practices of listening emerge from increasing awareness of our listening positionality are evaluated. This involves identifying habits of settler colonial perception and contending with settler colonialism’s “tin ear” that renders silent the epistemic foundations of Indigenous song as history, law, and medicine. With case studies on Indigenous participation in classical music, musicals, and popular music, structures of inclusion that reinforce Western musical values are examined. Alongside this inquiry on the unmarked terms of inclusion in performing arts organizations and compositional practice, examples of “doing sovereignty” in Indigenous performance art, museum exhibitions, and gatherings that support an Indigenous listening resurgence are offered. It is shown how decolonial and resurgent forms of listening might be affirmed by writing otherwise about musical experience. Through event scores, dialogic improvisation, and forms of poetic response and refusal, a reorientation is demanded toward the act of reading as a way of listening. Indigenous relationships to the life of song are sustained in writing that finds resonance in the intersubjective experience between listener, sound, and space.
Samuels, David W. Putting a song on top of it: Expression and identity on the San Carlos Apache Reservation (Tuscon: University of Arizona Press, 2004). [RILM Abstracts of Music Literature, 2004-16236]
Abstract: As in many Native American communities, people on the San Carlos Apache reservation in southeastern Arizona have for centuries been exposed to contradictory pressures. One set of expectations is about conversion and modernization—spiritual, linguistic, cultural, technological. Another is about steadfast perseverance in the face of this cultural onslaught. Within this contradictory context lies the question of what validates a sense of Apache identity. For many people on the San Carlos reservation, both the traditional calls of the Mountain Spirits and the hard edge of a country, rock, or reggae song can evoke the feeling of being Apache. Using insights gained from both linguistic and musical practices in the community—as well as from his own experience playing in an Apache country band—the author explores the complex expressive lives of these people to offer new ways of thinking about cultural identity. He analyzes how people on the reservation make productive use of popular culture forms to create and transform contemporary expressions of Apache cultural identity. Some popular songs—such as those by Bob Marley—are reminiscent of history and bring about an alignment of past and present for the Apache listener. Thinking about Geronimo, for instance, might mean one thing, but “putting a song on top of it” results in a richer meaning. He also proposes that the concept of the pun, as both a cultural practice and a means of analysis, helps us understand the ways in which San Carlos Apaches are able to make cultural symbols point in multiple directions at once. Through these punning, layered expressions, people on the reservation express identities that resonate with the complicated social and political history of the Apache community. This richly detailed study challenges essentialist notions of Native American tribal and ethnic identity by revealing the turbulent complexity of everyday life on the reservation. It is a multifaceted exploration of the complexities of sound, of language, and of the process of constructing and articulating identity in the 21st century.
Soltani Stone, Ashkan. Rez metal. DVD (Leomark Studios, 2022). [RILM Abstracts of Music Literature, 2022-7725]
Abstract: The remarkable journey of Kyle Felter and the Navajo heavy metal band I Dont Konform is traced, from the band’s early days to the recording of their debut album Sagebrush rejects with Flemming Rasmussen, the Grammy-award winning producer of Metallica, while telling the story of the thriving heavy metal scene on the Navajo reservations. A companion monograph is abstracted as RILM 2020-69069.
Soltani Stone, Ashkan and Natale A. Zappia. Rez metal: Inside the Navajo Nation heavy metal scene (Lincoln: University of Nebraska Press, 2020). [RILM Abstracts of Music Literature, 2020-69069]
Abstract: Bridging communities from disparate corners of Indian Country and across generations, heavy metal has touched a collective nerve on the Navajo Reservation in Arizona in particular. Many cultural leaders—including former Navajo president Russell Begaye—have begun to recognize heavy metal’s ability to inspire Navajo communities facing chronic challenges such as poverty, depression, and addiction. Heavy metal music speaks to the frustrations, fears, trials, and hopes of living in Indian Country. A seminal moment in Indigenous heavy metal occurred when Kyle Felter, lead singer of the Navajo heavy metal band I Dont Konform, sent a demo tape to Flemming Rasmussen, the Grammy Award–winning producer of several Metallica albums. A few months later, Rasmussen, captivated by the music, flew from Denmark to Window Rock, Arizona, to meet the band. Through a series of vivid images and interviews focused on the venues, bands, and fans of the Navajo Nation metal scene, a window is provided into this fascinating world. A companion documentary film is abstracted as RILM 2022-7725.
Veerbeek, Vincent. “A dissonant education: Marching bands and Indigenous musical traditions at Sherman Institute, 1901–1940”, American Indian culture and research journal XLIV/4 (2020) 41–58. [RILM Abstracts of Music Literature, 2020-69045]
Abstract: At the end of the 19th century, the U.S. government established a system of off-reservation boarding schools in an effort to assimilate Indigenous youth into the American nation-state. Music emerged as one of the most enduring strategies that these schools employed to reshape the cultural sensibilities of young Native Americans. A lively music culture could be found, for instance, at Sherman Institute in Riverside, California, which was home to a marching band and dozens of other music groups throughout its history. Although school officials created these institutions for the purposes of assimilation and cultural genocide, this music program often had a more ambiguous place in the lives of students. To understand the role of music within Sherman Institute during the early 20th century, the school’s marching band and the place of Indigenous cultural expression are examined. While the school had students march to the beat of civilization, young Native Americans found various strategies to combat assimilation using the same instruments. At the same time, they also used the cultures of their communities to navigate life in an environment that the government created to destroy those very cultures.
Wheeler, Rachel and Sarah Eyerly. “Singing Box 331: Re-sounding eighteenth-century Mohican hymns from the Moravian Archives”, William and Mary quarterly LXXVI/4 (October 2019) 649–696. [RILM Abstracts of Music Literature, 2019-32488]
Abstract: A single Mohican-language hymn verse, Jesu paschgon kia, from the Moravian Mission collection at the Moravian Archives in Bethlehem, Pennsylvania, is the focus of a collaboration between a historian, a musicologist, members of Stockbridge-Munsee Band of Mohican Indians, a scholar in linguistics, recording professionals, and students, as well as with the professional Mohican musician Bill Miller and the composer Brent Michael Davids. Applying what might be called a nanohistorical approach to the verse’s four lines of text, the history of the creation of Mohican-language hymns is traced at a number of different communities affiliated with the Moravian Church in New York and Pennsylvania in the mid-18th century. Building upon this historical research, Jesu paschgon kia is rendered as a living, multidimensional sounded text by creating three recordings, each of which highlights very different aspects of the collaborative work. These musical renderings of the verse stand as aural shorthand for the diverse meanings and interpretations of historical sources generated by varied relationships with and perspectives on those sources, speaking to recent calls for methodological innovation in the fields of history, musicology, and Native American and Indigenous studies.
Wigginton, Caroline. “Hymncraft: Joseph Johnson, Thomas Commuck, and the composition of song and community from the Native North American Northeast to Brothertown”, NAIS: Journal of the Native American and Indigenous Studies Association VIII/1 (spring 2021) 19–55. [RILM Abstracts of Music Literature, 2021-10146]
Abstract: Hymncraft is the composition of a material text with songs of praise and veneration for the sacred relationships between communities, place, and beings, human and nonhuman. For Mohegan Joseph Johnson in the 1770s and Brothertown Narragansett Thomas Commuck in the 1840s, hymncraft was an instrument for choreographing new visions of community in order to counter colonization’s destructive fragmentation of their peoples and homelands in the North American Northeast. Their intergenerational tale begins with Johnson’s creation of now-lost manuscript music instruction books he called gamuts and continues with Commuck’s publication of his tunebook Indian melodies 70 years later. Their hymncraft extends and adapts their region’s multicentury custom whereby craft combines with sacred song to forge, arrange, and maintain relations among peoples. Rebinding communities first through scribal publication and then through print, they produced objects with diplomatic valences that enfold ancient and new technologies to serve their people’s pasts, presents, and futures.
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As the largest minority in the United States, the Latino/a/x population has spawned a diverse array of cultural and musical expressions, many of which have impacted American popular culture. From the Latino/a/x groups historically affected by border expansions, to today’s immigrants, these communities express their experiences, political struggles, and lives in oral traditions, music, dance, and sound.
This bibliography reflects the diversity of musical and dance expressions of these communities. Beyond the dominant sonic imaginaries towards mariachi music, or the ideas of correspondence between geographic region and musical style, the selected texts reflect a complex reading of how cultural practices challenge ideas on race, gender, sexuality, experiences of dislocation, belonging, and identity. This bibliography references practices on the Mexican-American border region, the Appalachian region, Puerto Rico, and New York, and spans multiple genres, from son jarocho and salsa, to Latin jazz and reggaetón.
Written and compiled by Beatriz Goubert, Editor and Product Development Coordinator, RILM
Alvarado, Lorena and Frances R. Aparicio. “Dissonant love: Music in Latina/o diaspora weddings”, Music in the American diasporic wedding, ed. by Inna Naroditskaya (Bloomington: Indiana University Press, 2019) 70–86. [RILM Abstracts of Music Literature, 2019-5492]
Abstract: Deploying Deborah Vargas’s critical concept of dissonance as a disruption of the heteronormative and cultural nationalist limits, this essay examines the heterogeneous musical repertoires featured in U.S. Latina/o weddings that trouble or “disrupt” the dominant sonic imaginaries—the Mexican mariachi—that conflate national identity with musical traditions. Tracing the musical repertoires in U.S. Latino weddings, the essay juxtaposes a survey conducted by the authors with 11 couples and four Latino grooms and their own readings of weddings in films (including the Latino film Mi familia [My family]), novels, and poetry. In order to weave a broad picture of music in Latino weddings, the essay weaves textual and ethnographic approaches as an intervention that can only begin to suggest new ways of thinking about the social meanings of musical repertoires in these weddings. Tensions between tradition and modernity, between national and global sounds, generation-informed musical taste and predilections, and gendered norms, surfaced in the film and literary texts studied as well as in the surveys completed by young Latina/o couples.
Chávez, Xóchitl Consuelo. “La creación de Oaxacalifornia mediante tradiciones culturales entre jóvenes oaxaqueños de Los Ángeles, California”, Desacatos Revista de Ciencias Sociales 62 (enero–abril 2020) 172–181. [RILM Abstracts of Music Literature, 2020-69173]
Abstract: The Guelaguetza and the philharmonic bands are community practices of the Oaxacan migrant communities in the United States—from Santa Cruz to Los Angeles—and in the places of origin in Oaxaca, Mexico. These cultural productions cross the border between Mexico and the United States and survive in the region called Oaxacalifornia. As part of the traditions and forms of cultural expression, music and dance help to recover a community identity, despite economic instability and political conflict, and overcome the difficult processes of transnational migration. Oaxacalifornia is a microcosm, a migration route of human bodies, ideas, languages, and identities. Young people create a bicultural identity that claims and constitutes their indigenous cultural citizenship in Oaxaca and California.
Colón Montijo, César. “Carimbo: Raza, farmacolonialidad y conjuro en la espectropolítica salsera de Ismael ‘Maelo’ Rivera”, Del archivo a la playlist: Historias, nostalgias, tecnologías, ed. by Darío Tejeda (http://iaspmal.com/index.php/2021/07/07/del-archivo-a-la-playlist-actas/, 2021) 286–292. [RILM Abstracts of Music Literature, 2021-5920]
Abstract: The song Carimbo, by Afro-Puerto Rican singer Ismael “Maelo” Rivera, tells the story of Carimbo, an enslaved man who talks to the sonero about the infamous mark that slavery left on his voice. Carimbo’s spectral voice can be thought in relation to the precarious contemporaneity of the 1970s in which Maelo recorded it. Maelo’s Carimbo is not only the subject of the times of slavery, he is also that contemporary subject who struggles with the infamous mark of pharmacolonial violence. The incantation that Carimbo and Maelo vocalize as a survival tactic allows us to rethink the concatenation of their voices as an entry point to theorize a spectropolitics of listening. The incantation tells us much about the politics of life and death in contemporary Puerto Rico.
Enriquez, Sophia M. “‘Penned against the wall’: Migration narratives, cultural resonances, and Latinx experiences in Appalachian music”, Journal of popular music studies 32/2 (June 2020) 63–76. [RILM Abstracts of Music Literature, 2020-14803]
Abstract: Although the Appalachian region has long been associated with white racial identity, Latinx people remain the region’s largest and fastest-growing minority. What perspectives and experiences are revealed when such narratives of whiteness are challenged by the visibility of Latinx migrants? What does music tell us about ongoing discourses of migration and border-crossings? This essay analyzes Latinx immigration narratives in Appalachian music and offers the possibility of a Latinx-Appalachian musical and cultural resonances. I take up the music of artists who claim hybrid Latinx-Appalachian cultural and musical identities. Namely, this essay focuses on Che Apalache—a four-piece band based in Buenos Aires that plays Latingrass—and the Lua Project—a five-piece band based in Charlottesville, Virginia, that plays Mexilachian music. Using field recordings and ethnographic interviews with both groups, this essay analyzes references to U.S.-Mexico border politics, acts of border crossing, and Latin American-Appalachian geographic similarities. I engage U.S.-based Latinx studies and Appalachian studies to establish relationships of Appalachian and Latinx cultures and incorporate analyses of both Spanish and English lyrics. Ultimately, this essay suggests that listening for Latinx migration narratives in Appalachian music challenges assumptions of belonging in the shifting U.S. cultural landscape.
Fernández L’Hoeste, Héctor and Pablo Vila, eds. Sound, image, and national imaginary in the construction of Latin/o American identities. Music, culture, and identity in Latin America (Lanham: Lexington Books, 2018). [RILM Abstracts of Music Literature, 2018-64488]
Abstract: Addresses a gap in the many narratives discussing the cultural histories of Latin American nations, particularly in terms of the birth, configuration, and perpetuation of national identities. It argues that these processes were not as gradual or constrained as traditionally conceived. The actual circumstances dictating the adoption of particular technologies for the representation of national ideas shifted and varied according to many factors including local circumstances, political singularities, economic disparities, and highly individualized cultural transitions. This book proposes a model of chronology that is valid not only for nations that underwent strong processes of nationalism during the early or mid-20th century, but also for those that experienced highly idiosyncratic cultural, economic, and political development into the early 21st century.
Hernández-León, Rubén. “How did son jarocho become a music for the immigrant rights movement?”, Ethnic and racial studies 42/2 (2019) 975–993. [RILM Abstracts of Music Literature, 2019-25678]
Abstract: Chicana/o activists and artists in Greater Los Angeles have turned son jarocho, a traditional music genre from southeastern Mexico, into an organizing resource and a means to express the plight of immigrants. Building on a movement that started in Mexico to reestablish the communal celebration of the fandango as the center of the son jarocho tradition, these Chicana/o activists have reinterpreted fandangos as the enactment of community. They have also repurposed son jarocho and its lyrical content to articulate demands for the rights of undocumented immigrants and other social justice causes. These endeavors take place in community and cultural centers founded and led by a mix of immigrant generations: veterans of the Chicana/o civil rights movement of the 1970s, first generation immigrants and their adult children and grandchildren. These actors embrace fandangos as a metaphor and blueprint for community participation as they write new lyrics to demand justice for immigrants.
Loza, Steven, ed. Barrio harmonics: Essays on Chicano/Latino music (Los Angeles: UCLA Chicano Studies Research Center press, 2019). [RILM Abstracts of Music Literature, 2019-14233]
Abstract: Explores Chicano, Mexican, and Cuban musical forms and styles and their transformation in the United States. Employing musical, historical, and sociocultural analyses, Loza addresses issues such as marginality, identity, intercultural conflict and aesthetics, reinterpretation, postnationalism, and mestizaje—the mixing of race and culture—in the production and reception of Chicano/Latino music.
Miller, Sue. “Pacheco and charanga: Imitation, innovation, and cultural appropriation in the típico tradition of New York City”, Latin American music review/Revista de música latinoamericana 41/1 (spring–summer 2020) 1–26. [RILM Abstracts of Music Literature, 2020-2944]
Abstract: Explores the performance practice and aesthetics of Cuban dance music in the U.S. in relation to the concept of sabor. This multifaceted term encompasses a range of meanings and includes, among other elements, a dance imperative, melodic call-and-response-style inspiraciones, and a clave feel. A case study of Dominican-born Johnny Pacheco, a charanga flute player and the cocreator of the term salsa, allows for exploration of a specific New York-based sabor as well as consideration of issues such as imitation, innovation, and cultural appropriation in the context of charanga típica performance in mid-20th-century New York. Pacheco’s musical contributions, critiqued by Juan Flores as “traditionalist” and by John Storm Roberts as “revivalist”, have often been overshadowed by his considerable entrepreneurial activities. Rather than examine his work as a record producer and entrepreneur, Pacheco’s earlier recordings made as a charanga flute improviser are examined to demonstrate that, pace Roberts and Flores, his improvisational style illustrates a particular New York performance aesthetic rooted in clave aesthetics and the rich musical culture of the Bronx—an aesthetic that is related to, but distinct from, that of earlier Cuban role models.
Power-Sotomayor, Jade. “Moving borders and dancing in place: Son jarocho’s speaking bodies at the Fandango Fronterizo”, TDR: The drama review 64/4 (winter 2020) 84–107 [RILM Abstracts of Music Literature, 2020-12392]
Abstract: The annual Fandango Fronterizo is a binational performance gathering where the U.S.-Mexico border meets the ocean. Fandanguerxs, gathering on both sides of the border wall in Tijuana and San Diego, enact a performative, political gesture that interrupts the discursive racialized and gendered logic of the two nation-states, refusing to be eternally desterrados by the violence of the border.
Ramos-Kittrell, Jesús A., ed. Decentering the nation: Music, mexicanidad, and globalization. Music, culture, and identity in Latin America (Lanham: Lexington Books, 2020). [RILM Abstracts of Music Literature, 2020-8323]
Abstract: Decentering the nation: Music, mexicanidad, and globalization considers how neoliberal capitalism has upset the symbolic economy of “Mexican” cultural discourse, and how this phenomenon touches on a broader crisis of representation affecting the nation-state in globalization. This book argues that, while mexicanidad emerged in the early 20th century as a cultural trope about national origins, culture, and history, it was, nonetheless, a trope steeped in otherization and used by nation-states (Mexico and the United States) to legitimize narratives of cultural and socioeconomic development stemming out of nationalist political projects that are now under strain. Using music as a phenomenological platform of inquiry, contributors to this book focus on a critique of mexicanidad in terms of the cultural processes through which people contest ideas about race, gender, and sexuality; reframe ideas of memory, history, and belonging; and negotiate the experiences of dislocation that affect them. The volume urges readers to find points of resonance in its chapters, and thus, interrogate the asymmetrical ways in which power traverses their own historical experience. In light of the crisis in representation that currently affects the nation-state as a political unit in globalization, such resonance is critical to make culture an arena of social collusion, where alliances can restore the fiber of civil society and contest the pressures that have made disenfranchisement one of the most alarming features characterizing the complex relationships between the state and the neoliberal corporate system that seeks to regulate it. Scholars of history, international relations, cultural anthropology, Latin American studies, queer and gender studies, music, and cultural studies will find this book particularly useful.
Rivera-Rideau, Petra R. and Jericko Torres-Leschnik. “The colors and flavors of my Puerto Rico: Mapping Despacito‘s crossovers”, Journal of popular music studies 31/1 (March 2019) 87–108. [RILM Abstracts of Music Literature, 2019-3436]
Abstract: Luis Fonsi and Daddy Yankee’s song Despacito shattered records to become one of the most successful Spanish-language songs in U.S. pop music history. Declared 2017’s Song of the Summer, the remix version featuring Justin Bieber prompted discussions about the racial dynamics of crossover for Latin music and Latina/o artists. However, little attention was paid to the ways that the song’s success in the Latin music market demonstrated similar racial dynamics within Latin music, especially in the song’s engagement with reggaetón, a genre originally associated with Black and working-class communities. This paper examines the racial politics that surround the success of Despacito in both the Latin mainstream and the U.S. mainstream. We argue that Despacito reinforces stereotypes of blackness in the Latin mainstream in ways that facilitate reggaetón’s crossover. In turn, Fonsi himself becomes attributed with similar stereotypes, especially around hypersexuality, that represent him as a tropical Latina/o racialized other in the United States. Through close readings of media coverage of Despacito alongside the song’s music video, we argue that it is critical to look at its success in both the Latin mainstream and the U.S. mainstream in order to examine the complex and contradictory process of crossing over.
Ruiz Vega, Omar. “Representando al caserío: Narcocultura y el diario vivir en los videos musicales de reggaetón”, Latin American music review/Revista de música latinoamericana 39/2 (fall–winter 2018) 229–265. [RILM Abstracts of Music Literature, 2018-44684]
Abstract: Reggaetón music videos frequently portray representations of narco culture and Puerto Rican marginalized communities. Existing literature explains these representations as an expressive vehicle that reflects the life and problems in the barrios and housing projects. However, the analysis of 14 reggaetón music videos provides a critical perspective of the narco-related messages. Reggaetón’s narco references help strengthening the stereotypes prevailing in Puerto Rican society toward marginalized communities, promoting a problematic identity through narco-aesthetics messages.
Sánchez Rivera, Rachell. “Reggaetón, trap y masculinidades: Dinámicas sociales al ritmo del perreo combativo en Puerto Rico”, Taller de letras número especial (2020) 42–55. [RILM Abstracts of Music Literature, 2020-64456]
Abstract: Examines the Puertorican reggaetón imagination based on the perreo combativo, a combative reggaetón dance that was part of the 2019 social protest against Governor Ricky Rosselló. The analysis of the intersections between gender, race, class, and identity overcome the unitary view of Puertorican identity embedded in machismo.
Schreil, Cristina. “Eunice Aparicio: Slow and steady”, Acoustic guitar 28/4:298 (October 2017) 48–49. [RILM Abstracts of Music Literature, 2017-55454]
Abstract: Flor de Toloache’s guitarist, Eunice Aparicio, shares her mariachi playing tips. Formed in 2008, the Latin Grammy winning Flor de Toloache are New York City’s first all-female mariachi group. Today its members hail from diverse locales such as Mexico, Cuba, Puerto Rico, Dominican Republic, Colombia, Australia, Italy, Germany, and the U.S.
Washburne, Christopher. Latin jazz: The other jazz. Currents in Latin American and Iberian music (New York: Oxford University Press, 2020) [RILM Abstracts of Music Literature, 2020-10628]
Abstract: Jazz has always been a genre built on the blending of disparate musical cultures. Latin jazz illustrates this perhaps better than any other style in this rich tradition, yet its cultural heritage has been all but erased from narratives of jazz history. Told from the perspective of a long-time jazz insider, this book corrects the record, providing a historical account that embraces the genre’s international nature and explores the dynamic interplay of economics, race, ethnicity, and nationalism that shaped it.
Williamson, Emily J. “Reclaiming the tarima and remaking spaces: Examining women’s leadership in the son jarocho community of New York City”, Transatlantic malagueñas and zapateados in music, song and dance: Spaniards, natives, Africans, Roma, ed. by K. Meira Goldberg, Walter Aaron Clark, and Antoni Pizà (Newcastle upon Tyne: Cambridge Scholars Publishing, 2019) 406–413. [RILM Abstracts of Music Literature, 2019-6519]
Abstract: If the tarima is the corazón of the fandango, is the zapateado its heartbeat? Then, is the bailadora the life that flows through this heart? The tarima and zapateado are often described in romantic and powerful metaphors. However, few scholars have examined women’s relationship to the performance and practice of son jarocho. In this paper, I build upon Martha González’s theory of “rhythmic intention,” and argue that women in the recently formed Mexican fandango revival or “jaranero” community across the five boroughs of New York City are not only moving and executing sounds of zapateado on the tarima with rhythmic purpose, but also outside of the fandango. The jaraneras of New York City are creating distinctly feminine spaces for music as well as leadership. Their leadership is present in their organizational work that maintains and cultivates the son jarocho community and in their musical practices—at fandangos, in professional stage performances, and in music workshops. This paper presentation will provide ethnographic examples that demonstrate the ways in which women are making and articulating space for jaraneras by sounding their fandango-centered practice on and off of the tarima.
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The term “Asian American” refers to people of Asian descent who have settled in North America beginning in the mid-18th century. Encompassed within the term is a wide range of ethnic groups and immigrant experiences stretching from Japan, Korea, and China, to India, the Philippines, Vietnam, and the Middle East. The earliest Asian immigrants were Chinese, Japanese, Filipinos, and South Asians who came for economic reasons and worked on building the railroads or in agriculture. Subsequent waves of migration since the 1960s have included refugees escaping from political conflict in countries such as Korea, Vietnam, Cambodia, Iran, and Afghanistan. Laws passed in the United States such as the Chinese Exclusion Act of 1882 and the Asian Exclusion Act of 1924, which barred further immigration from Asia, and Executive Order 9066, which facilitated the relocation of Japanese Americans to internment camps during World War II, highlight instances where Asian immigrants encountered racism and segregation. Many have overcome such challenges by maintaining connections with their homelands, especially through music, dance, and the dramatic arts.
The diversity of social classes and ethnic heritages of Asians in North America are represented in a wide range of performance traditions. Using the term Asian American music, for instance, has been highly contested and can refer to any music made by Asian Americans or simply music made about the Asian American experience (Wong 2004). Some artists have voiced concerns about the phrase “Asian American music” suggesting it could be essentializing or implies a unified aesthetic. Dance scholars have made the case for establishing Asian American dance as a critical field of inquiry bringing topics of Asian American studies into dialogue with dance studies. By interrogating issues of racial belonging and identity, citizenship, and model minority stereotypes in the context of dance, the field offers a framework for Asian American embodiment.
The scope of Asian American music and performance also has a historical component given the different waves of migration. Early Chinese immigrants of the 18th century brought to North America their love of Cantonese opera and narrative song traditions often heard in the Chinatowns that emerged in cities across the continent. From 1890 to 1924, Japanese immigrants brought various folk, popular, and classical music and dance to places such as California and Hawai’i. After 1965, the constituency of Asian America was transformed by an influx of different types of migrants including laborers from the Philippines, China, and Japan, war refugees (Vietnam, Laos, Afghanistan), and educated professionals and wealthy entrepreneurs from across Asia.
Active scenes for various genres of Asian music and dance emerged along with newer styles blending Asian and Western musical elements. The establishment of San Jose Taiko in the context of the 1960s Asian American political movement opened a space of racial consciousness even as it forced dancers, choreographers, and musicians to navigate the external pressures of representing the often essentialized ideals of Asian America. Some immigrant musicians enthusiastically learned instruments such as piano and violin and became active in Western art music, citing it as a form of social capital that could lead to upward mobility. Others immersed themselves in jazz and hip hop, creating new experimental genres. Today, Asian Americans are singer-songwriters, metalheads, rappers, and performance artists as well as butoh dancers, taiko performers, and bhangra musicians. Each of these shifting artistic identities has contributed to the nuanced complexity of representation that comprises Asian American music and dance.
The following bibliography represents selected texts taken from RILM Abstracts of Music Literature that enhance our knowledge of music, dance, theater, and Asian American experiences. It comprises publications that detail varying perspectives, genres, mediums, and activities.
Written and compiled by Russ Skelchy, Associate Editor, RILM
Baily, John and Asif Mahmoud. Tablas and drum machines: Afghan music in California (London: Goldsmiths College, 2005, motion picture). [RILM Abstracts of Music Literature, 2005-17147]
Abstract: A film exploring the musical life of the Afghan community in Fremont, California, with particular attention to issues of cultural identity.
Bryant, Lei Ouyang. “Performing race and place in Asian America: Korean American adoptees, musical theatre, and the land of 10,000 lakes”, Asian music: Journal of the Society for Asian Music 40/1 (winter–spring 2009) 4–30. [RILM Abstracts of Music Literature, 2009-344]
Abstract: The Walleye kid: The musical, written by R.A. Shiomi and Sundraya Kase with music and lyrics by Kurt Miyashiro, was one of two musical productions incorporating themes of transracial and transnational adoption staged in the Twin Cities in the spring of 2005. The musical, produced by the Minneapolis-based Asian American theater company Mu Performing Arts, follows a young Korean American adoptee’s journey of self-discovery while adjusting to life in rural, white Minnesota. The production is used as a case study to examine the creative processes used in contemporary Asian American artistic expression, the Korean American adoption experience in Minnesota, and the use of the musical theater to express complex issues surrounding the transnational adoption experience.
Cayari, Christopher. “The education of Asian American music professionals: Exploration and development of ethnic identity”, Bulletin of the Council for Research in Music Education 228 (spring 2021) 7–24. [RILM Abstracts of Music Literature with Full Text, 2021-3584]
Abstract: Asian American people make up approximately 5.8% of the U.S. population (U.S. Census Bureau, 2019) and pursue careers in a variety of musical professions. However, a monoracial view of Asian Americans that conceives of all Asian Americans as a homogenous group without regard to ethnicity or cultural background has led to widespread stereotypes. The desire to acculturate to U.S. culture and Western European art music ideals can pressure Asian Americans to play certain instruments, restrict their involvement to areas of music, or force them to portray their ethnicity in offensive ways. This study looked at the racial and ethnic identity development of nine Asian American music professionals from various career paths in education, performance, curation, and history through a Web survey and subsequent semistructured interviews. Findings pertained to the musical upbringing of participants both inside and outside of school, the social contexts that affected participants’ musical endeavors, pressures from dominant cultures that participants faced while in school and during their careers, and the actions participants took in their careers that were a result of growing up as Asian Americans in various music learning contexts (e.g., school, community, familial, and informal).
Chambers-Letson, Joshua. A race so different: Performance and law in Asian America (New York: New York University Press, 2013). [RILM Abstracts of Music Literature, 2013-29192]
Abstract: Taking a performance studies approach to understanding Asian American racial subjectivity, the author argues that the law influences racial formation by compelling Asian Americans to embody and perform recognizable identities in both popular aesthetic forms (such as theater, opera, or rock music) and in the rituals of everyday life. Tracing the production of Asian American selfhood from the era of Asian Exclusion through the Global War on Terror, the book explores the legal paradox whereby U.S. law apprehends the Asian American body as simultaneously excluded from and included within the national body politic. The last chapter examines the group Dengue Fever and the racialization of Cambodian-America.
Hong Sohn, Stephen. “Calculated cacophonies: The queer Asian American family and the nonmusical musical in Chay Yew’s Wonderland“, The journal of American drama and theatre (JADT) 29/1 (fall–winter 2017) 20p. [RILM Abstracts of Music Literature, 2017-50880]
Abstract: Chay Yew’s productions commonly address queer Asian American experiences and associated themes, including the struggle to survive amid hostile familial ties and exclusionary social contexts. This article explores such issues through an extended analysis of Wonderland, a dramatic production involving four roles. Three of the roles—a Man, a Woman, and a Son—comprise an Asian American nuclear family. The fourth figure, a Young Man, is revealed to be playing the Son as an adult. Each role bears the burden of expanding the audience’s vision to include the queer Asian American as part of a domestic social construct that better integrates non-normative sexualities as part of its core foundation. The article shows how Wonderland diagnoses this problem through its thematic depictions and offers an intriguing intervention through its deployment of form—what Yew describes as a “nonmusical musical”. I investigate the “nonmusical musical” as a quintessentially queer racial performance form that employs what I term as calculated cacophonies, which elucidates how Wonderland uses dialogic, sonic, and thematic relationalities to undercut the portrayed destruction of the Asian American family. The presence of calculated cacophonies allows Wonderland to spotlight some guarded optimism: there may be a sustained possibility for the queer Asian American son to find a place in the heteronuclear family.
Liu, Sissi. “‘Kungfu/jazz’ as a new approach to music theatre making: Fred Ho and ‘manga opera'”, Studies in musical theatre 11/2 (2017) 197–214. [RILM Abstracts of Music Literaturewith Full Text, 2017-35087]
Abstract: Kung fu and jazz—performing art forms that originated from the racial others—will be used as shorthand for two concurrent, interdependent, and dialectically opposing cultural processes: one that prioritizes boundary formation or reinforcement, and one that favors boundary elimination or crossing. The processes of kung fu and jazz are analyzed in the case of Ho’s Voice of the dragon (2006), and the paradoxical process of negotiating between the two are explored in Ho’s creation of a new genre, manga opera. I propose that in a world of increasing global encounters, racial and ethnic multiplicities, and political and cultural complexities, kung fu/jazz provides a politically progressive and transgressive approach to the process of boundary-conscious musical theater-making.
Nguyen, Mimi Thi and Thuy Linh Nguyen Tu. Alien encounters: Popular culture in Asian America (Durham: Duke University Press, 2007). [RILM Abstracts of Music Literature, 2007-17171]
Abstract: Showcases innovative directions in Asian American cultural studies by exploring topics ranging from pulp fiction to multimedia art and import-car subcultures. Contributors analyze Asian Americans’ interactions with popular culture as both creators and consumers. The volume reflects post-1965 Asian America paying nuanced attention to issues of gender, sexuality, transnationality, and citizenship, while unabashedly taking pleasure in pop culture. Issues of cultural authenticity are raised by addressing Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. youth culture, and the circulation of Vietnamese music variety shows. Taking popular culture seriously reveals how people imagine and express their affective relationships to history, identity, and belonging.
Sharma, Nitasha Tamar. Hip hop desis: South Asian Americans, Blackness, and a global race consciousness. Refiguring American music (Durham: Duke University Press, 2010). [RILM Abstracts of Music Literature, 2010-5669]
Abstract: Explores the worldviews of young U.S. people of South Asian descent (self-identifying as Desis) who create hip hop music. Through their lives and lyrics, hip hop Desis express a global race consciousness reflecting both their sense of connection with Black Americans as racialized minorities in the U.S. and their diasporic sensibility as part of a global community of South Asians. The author emphasizes the role of appropriation and sampling in the ways that hip hop Desis craft their identities, create art, and pursue social activism. Some of the Desi artists at the center of her ethnography produce what she calls ethnic hip hop, incorporating South Asian languages, instruments, and immigrant themes. Through ethnic hip hop, Desi artists such as KB, Sammy, and Bella Deejay express alternative desiness, challenging assumptions about their identities as South Asians, children of immigrants, minorities, and U.S. people. Desi artists also contest and seek to bridge perceived divisions between Black and South Asian Americans through racialized hip hop. It is described how they uncover connections between South Asians and Black Americans, highlighting in their lyrics links such as the relationship between Martin Luther King Jr., Malcolm X, and Mahatma Gandhi. By taking up themes considered irrelevant to many Asian Americans, Desi performers including D’Lo, Chee Malabar of Himalayan Project and Rawj of Feenom Circle create a multiracial form of Black popular culture to fight racism and enact social change.
Villegas, Mark R., Kuttin Kandi, and Roderick N. Labrador, eds. Empire of funk: Hip hop and representation in Filipina/o America (San Diego: Cognella, 2014). [RILM Abstracts of Music Literature, 2014-5390]
Abstract: Gives long overdue attention to the most popular cultural art form practiced by recent generations of Filipina/o American youth. The anthology features the voices of artists, scholars, and activists to begin a dialogue on Filipina/o American youth culture and its relationship to race, ethnicity, gender, sexuality, and class. The text also offers the opportunity to question the future of hip hop itself. Individual chapters explore Filipina/o American hip hop aesthetics, community-building, the geography of hip hop in Filipina/o America, sexuality and power, activism and praxis, visual culture, and navigating the hip hop industry. This text gives readers a thoughtful introduction to an often-overlooked aspect of American society and culture.
Wang, Oliver. Legions of boom: Filipino American mobile DJ crews in the San Francisco Bay Area (Durham: Duke University Press, 2015). [RILM Abstracts of Music Literature, 2015-13936]
Abstract: Armed with speakers, turntables, light systems, and records, Filipino American mobile DJ crews, such as Ultimate Creations, Spintronix, and Images, Inc., rocked dance floors throughout the San Francisco Bay Area from the late 1970s through the mid-1990s. This book chronicles the remarkable scene that eventually became the cradle for turntablism. These crews, which were instrumental in helping create and unify the Bay Area’s Filipino American community, gave young men opportunities to assert their masculinity and gain social status. While crews regularly spun records for school dances, weddings, birthdays, or garage parties, the scene’s centerpieces were showcases—or multi-crew performances—which drew crowds of hundreds, or even thousands. By the mid-1990s the scene was in decline, as single DJs became popular, recruitment to crews fell off, and aspiring scratch DJs branched off into their own scene. As the training ground for a generation of DJs, including DJ Q-Bert, Shortkut, and Mix Master Mike, the mobile scene left an indelible mark on its community that eventually grew to have a global impact.
Wong, Deborah. Louder and faster: Pain, joy, and the body politic in Asian American taiko. American crossroads (Berkeley: University of California Press, 2019). [RILM Abstracts of Music Literature, 2019-7730]
Abstract: A cultural study of the phenomenon of Asian American taiko, the thundering, athletic drumming tradition that originated in Japan. Immersed in the taiko scene for 20 years, the author has witnessed cultural and demographic changes and the exponential growth and expansion of taiko particularly in Southern California. Through her participatory ethnographic work, she reveals a complicated story embedded in memories of Japanese American internment and legacies of imperialism, Asian American identity and politics, a desire to be seen and heard, and the intersection of culture and global capitalism. Exploring the materialities of the drums, costumes, and bodies that make sound, analyzing the relationship of these to capitalist multiculturalism, and investigating the gender politics of taiko, the book considers both the promises and pitfalls of music and performance as an anti-racist practice. The result is a vivid glimpse of an Asian American presence that is both loud and fragile.
Wong, Yutian, ed. Contemporary directions in Asian American dance. Studies in dance history (Madison: University of Wisconsin Press, 2016). [RILM Abstracts of Music Literature, 2016-1207]
Abstract: The definition of Asian American dance is as contested as the definition of “Asian American”. The term encompasses not only a range of national origins but also a dazzling variety of theoretical frameworks, disciplinary methods, and genres—from traditional to postmodern to hip hop. Contributors to this volume address such topics as the role of the 1960s Asian American movement in creating Japanese American taiko groups, and the experience of internment during World War II influencing butoh dance in Canada. Essays about artists look closely at the politics of how Asian aesthetics are set into motion and marketed. The volume includes first-person narratives, interviews, ethnography, cultural studies, performance studies, and comparative ethnic studies.
Yoshihara, Mari. Musicians from a different shore: Asians and Asian Americans in classical music (Philadelphia: University of Temple Press, 2007). [RILM Abstracts of Music Literature, 2007-5967]
Abstract: An examination of the phenomenon whereby musicians of Asian descent enjoy unprecedented prominence in concert halls, conservatories, and classical music performance competitions. A confluence of culture, politics, and commerce after World War II made classical music a staple in middle-class households, established Yamaha as the world’s largest producer of pianos, and gave the Suzuki method of music training an international clientele. Soon, talented musicians from Japan, China, and South Korea were flocking to the U.S. to study and establish careers, and Asian American families were enrolling toddlers in music classes. This historical backdrop is punctuated by interviews with Asian and Asian American musicians, such as Cho-Liang Lin, Margaret Leng Tan, Kent Nagano, who have taken various routes into classical music careers. They offer their views about the connections of race and culture and discuss whether the music is really as universal as many claim it to be. A Japanese translation is cited as RILM 2013-34104.
Zhu, Ying and Quynh Nhu Le. “Body, time, and space: Poetry as choreography in Southeast Asian American literature”, Dance chronicle: Studies in dance and the related arts 39/1 (2016) 77–95. [RILM Abstracts of Music Literature, 2016-26748]
Abstract: This collaboration between a dance scholar and a literary/critical race studies scholar engages cross-disciplinary strategies of reading poetry to complicate contemporary discourses surrounding Southeast Asian American cultural productions. We offer an analysis of Phayvanh Luekhamhan’s Rubber bands and Diep Tran’s Schools, focusing on their incorporation of elements integral to both dance and Southeast Asian diasporic poetry: body, time, and space. Choreographic in form and content, these poems shed light on the embodied repercussions of imperialism, war, and migration, and call forth the moving body as central to both recording and cultivating the formation of communities in diaspora.
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Over 150 countries around the world celebrate Labor Day, or International Workers’ Day, on 1 May. With origins in the mid–19th-century eight-hour workday movement, this date (May Day) was established in 1889 by the first congress of the Second International to commemorate the 1886 Haymarket affair in Chicago. Today, the holiday functions largely to recognize the struggle and achievements of laborers everywhere. The criteria by which music making is judged as work, the power of collectives to safeguard the rights of music workers, and the determination of appropriate remuneration for musical services are constantly being negotiated by musicians and institutions. Simon Frith’s article “Are workers musicians?” (cited below)—an exploration of how UK musicians’ unions have been shaped by the conceptual division of the musician as laborer-craftsperson, or professional—ends with a familiar opposition: music as work versus music as play. Frith elaborates:
The belief that music—making music—is in itself, fun, a pleasurable activity that shouldn’t be thought of as work is embedded in our culture. Music is something humans do; we are all musicians—hence the vast number of amateur musicians, people who play for love. Such love of music is, of course, why people are willing to pay for musical labour in the first place, but it also means, perhaps, that they don’t really regard or music as work. Its value is precisely as non-work. Musicians may, then, be workers, but they shouldn’t be!
Aside from the reductive tone of this quote’s opening sentence (one might rightly question, “Whose ‘cultures’?” and “In which contexts?”), the musician as non-laborer (or player, rather than worker), is a common trope encouraged by the music industry, fans, journalists, and even pop musicians themselves. To cite just one examples of the latter, Lou Reed, in an interview for the documentary Rock & Roll, recounts the conditions that led to his place in The Velvet Underground. He recalls, “I had a real problem with authority. Always have. I had a real problem with being able to hold a job, a normal job. I only had, I think, three in my life. Some lasted a half hour and some half a day. I had often thought, like, ‘What are you going to do, for a job? You can’t do anything’. And I fell into the band thing.” The positioning of popular music making as a desirable alternative to the repressive power structures foisted upon those with “normal” jobs facilitates the notion that pop offers a high (or relatively high) degree of autonomy to its practitioners. Reed’s experimental—some would say, and did at the time, “unlistenable”—1975 album Metal machine music would serve as just one of innumerable sonic examples of musicians complicating this putative autonomy. Whether resulting from an interest in drones, noise, minimalism, and the postwar avant-garde, or a defiant gesture to RCA Records, pop audience expectation, and genre boundaries (or some, all, or none of these), it made a statement on the (perceived or real) options available to a pop musician.
Frith’s remarks on music’s pleasurability and Reed’s appeal to autonomy are tenacious elements of discourses surrounding popular music making that have at times led to pop musicians being denied the status of worker. This denial is worthy of inspection and holds implications for other forms of music-related activities, but it is also glaringly limited. A more complete picture of a topic as complex, wide-ranging, and wide-reaching as music and labor would include numerous genres (traditional, art, and pop musics), activities (composition, performance, editing, recording), organizations (unions, libraries, private companies, state institutions), and functions (entertainment, ritual, edification). And of course, in the spirit of the holiday, it is worth remembering that music may be mobilized to serve the struggle for workers’ rights more broadly, through protests and activist movements that operationalize the emotionality embedded in chants, songs, and melodic speech. People sound defiance, and that too does work.
The following bibliography presents a selection of texts taken from RILM Abstracts of Music Literature that may advance our knowledge and awareness of specific aspects of music and labor. It comprises publications that are international in scope and that detail varying perspectives, genres, collective activities, and economies. It is hoped that they will serve as a spark for further research. But perhaps leave that for tomorrow and take today off.
Written and compiled by Michael Lupo, Assistant Editor/Marketing and Media, RILM
Absher, Amy. “Traveling jazz musicians and debt peonage”, American music: A quarterly journal devoted to all aspects of American music and music in America 37/2 (summer 2019) 172–196. [RILM Abstracts of Music Literature with Full Text, 2019-18326]
Abstract: The story of three brothers—Charles, Chester, and Morgan Jones—and their lives as itinerant jazz musicians in the 1930s reveals the ways in which Black musicians were still effectively enslaved by white club owners and law enforcement. In 1937, they were jailed as a result of debt peonage, wherein an employer, Dewey Helms, withheld pay supposedly in the service of debt owed by the musicians. Rarely does jazz scholarship document this system of debt peonage, and in this case, the documentation relies heavily on records of the FBI, who interviewed the brothers, Helms, and others as part of an FBI investigation. The kind of coerced labor involved in this story is well-documented in histories of the Reconstruction through World War II. Stories of Black musicians during this period, however, are often colored with a romanticized illusion of freedom rooted in the creative nature of their work. The difficulties in studying musicians such as the Jones brothers without access to oral histories, accounts of their performances, or memoirs are explored. One of the only ways to examine a story such as this is through the lens of slavery and labor culture.
Alisch, Stefanie. “‘I opened the door to develop kuduro at Jupson’: Music studios as spaces of collective creativity in the context of electronic dance music in Angola”, Contemporary music review 39/6 (December 2020) 663–683. [RILM Abstracts of Music Literature, 2020-61691]
Abstract: Demonstrates how studios producing the Angolan electronic dance music (EDM) kuduro (hard arse) in the capital Luanda are usefully investigated as social spaces of collective creativity. Interviews, observations, close listening, and ethnographic participation are triangulated. Researchers often portray kuduro and other EDM styles in the Global South using what I name the–scarcity-resilience narrative. This narrative gives short shrift to the rich cultural resources that feed into EDM styles. It perpetuates problematic stereotypes about African people and occludes the deliberate labor that kuduro practitioners (kuduristas) invest in their craft. As kuduristas routinely affirm that sociability drives their interpersonal creative processes, kuduro studios are portrayed as social spaces and kuduro’s collective creativity is construed through extended mind theory (EMT). In the analysis, first kuduro studios in Luanda are introduced broadly and then the focus is on two influential kuduro studios: JUPSON and Guetto Produções. It is shown how kuduristas mobilize their collective creativity inside the studio by tapping into aesthetic strategies and conventions of the rich popular culture that surrounds them. Via EMT, aesthetic dueling is portrayed through puto-kota (elder-younger) relationships, call-and-response, and urban vocal strategies as collectively maintained social institutions. Inside the studio, kuduristas translate these rich resources into the sonic materiality of kuduro tracks which, in turn, are designed to achieve maximum audience response through mobilizing the social institutions when radiating out into the world. The scarcity-resilience narrative of Global South EDM is de-centered by focusing on collective creativity and, as such, a fresh epistemological position is offered on the study of music studios, Global South EDM, and popular music in Angola.
Ayer, Julie. More than meets the ear: How symphony musicians made labor history (Minneapolis: Syren Book Co., 2005). [RILM Abstracts of Music Literature, 2005-7672]
Abstract: A history of the grassroots movement that transformed labor relations and the professional lives of U.S. and Canadian symphony musicians. The struggles and accomplishments experienced by many visionary leaders of the 1950s to 1970s offer inspiration to new generations of musicians, students, teachers, music lovers, labor historians, and orchestra administrators. Minnesota Orchestra case history documents the growth of a major American orchestra in dramatic detail and anecdotes, showing the profound effect the musician’s labor movement has had on the profession.
Abstract: What is the ultimate song to celebrate Workers’ Day? Many will suggest “The Internationale” which had its roots as a poem written in the aftermath of the Paris Commune in 1871 by Eugène Pottier, a transport worker. Set to music a few years later, it became the anthem for the wider progressive movement. But I would argue that trumpeter Hugh Masekela’s iconic and internationally popular song “Stimela”—the coal train—is perhaps a more appropriate anthem for Workers’ Day in southern and Central Africa. The song speaks about local history and the migrant labour system on the mines. “Stimela” reminds everyone that South Africa’s wealth and infrastructure was built on the back of labour from all over Africa. They were the force that modernized the country. But the song is also internationalist in focus. Later recordings of the song typically begin with bass rhythms and percussion mimicking the sound of a train on its tracks.
Dedić, Nikola. “Muzika između proizvodnog i neproizvodnog rada”, Challenges in contemporary musicology: Essays in honor of prof. dr. Mirjana Veselinović-Hofman/Izazovi savremene muzikologije: Eseji u čast prof. dr Mirjane Veselinović-Hofman, ed. by Sonja Marinković, Vesna Mikić, Ivana B. Perković, et. al. Muzikološke studije: Monografije. (Beograd: Univerzitet Umetnosti, 2018) 472–484. [RILM Abstracts of Music Literature, 2018-11468]
Abstract: Identifies three models through which music is connected with the economy. Autonomy of art is shown as utterly relative autonomy, while the labor in art (music) is treated as a socially and economically determined labor. Those three models are: art (1) as a simple commodity exchange that rests on the law of simple supply and demand, then art as (2) redistribution of income through the intervention of modern state that carries with it a certain social division of labor (productive and non-productive classes) and finally, (3) it is art as a social practice of forming a monopoly rent. In our contemporary, capitalist society all three models coexist. However, in the history of Western art this was not always the case, and that is why our three-part system can be applied historically: the first model, we call it premodern, is characteristic of most precapitalist societies (at a time when there was no art, only techne, and when there was no idea of the autonomy of art which is obviously a consequence of a very specific social division of labor); the second model, we call it modern, appears with the administrative, bureaucratic state; the third model arises with the evolution of capitalist forms of production that, at one point, through art markets and the culture industry, begin to co-opt and commodify cultural products. The second and third models are, therefore, historically extremely specific and occur exclusively in bourgeois, capitalist societies.
Dreyfus, Kay. “The foreigner, the Musicians’ Union, and the state in 1920s Australia: A nexus of conflict”, Music and politics 3/1 (winter 2019) 1–16. [RILM Abstracts of Music Literature with Full Text, 2009-3759]
Abstract: In September 1929, the general secretary of the Musicians’ Union of Australia (MUA) announced in the official journal, “there are no orchestras of any foreign nationality here now…the fight is over”, an extraordinary statement given that the nonindigenous musical traditions of this former British colony are entirely transplanted. The proximity of the date to the advent of sound films suggests a causal relationship, but the facts are more complex. The issue of foreign musicians became the site of a struggle for control of the labor market, a struggle rooted in the institutionalized racism of the Immigration Restriction Act of 1901 (the infamous so-called White Australia Policy), legitimized by the distinctive structures of the arbitration system and sanctioned by legal recognition of trade union autonomy with regard to membership regulation. The evolution and consequences of the MUA’s policy on foreign labor through the 1920s and its efforts to mobilize legislative support by appeals to popular concerns are examined.
Frith, Simon. “Are musicians workers?”, Popular music 36/1 (January 2017) 111–115. [RILM Abstracts of Music Literature, 2016-20901]
Abstract: Discusses working musicians in light of being considered laborers versus being considered professionals, and the historical role played by musicians’ labor unions.
Hildbrand, Sebastián Mauricio. “‘Todos unidos triunfaremos…’: La música para los gremios en el Teatro Colón durante el primer peronismo”, Recorridos: Diez estudios sobre música culta argentina de los siglos XX y XXI, ed. by Omar Corrado and Jorge Dubatti (Buenos Aires: Editorial de la Facultad de Filosofía y Letras UBA, 2019) 273–309. [RILM Abstracts of Music Literature, 2019-27072]
Abstract: In 1946, Colonel Juan Domingo Perón came to power legitimately through the efforts of various sectors of society that promoted his presidential candidacy; among them the fundamental support of an as yet dispersed and inorganic labor movement. From then until the coup that ended his first period in office in 1955, he served as an effective channel for union demands on the state, as is well known; less familiar are his efforts on behalf of labor rights for the musicians’ union, in particular at the Teatro Colón in Buenos Aires, which constitutes a significant chapter in the reconstruction not only of the history of the opera house, but of musical life during those first Perón years.
Kahn, Si. Habits of resistance: Cultural work and community organizing (Songspeech) (Ph.D. diss., Union Institute, Cincinnati, 1994). [RILM Abstracts of Music Literature, 1994-4550]
Abstract: Songspeech is a communication mode that is useful in multicultural communication and consciousness-raising. It draws on a number of traditional cultural forms, such as oral poetry, southern storytelling, midrash, theater, preaching, and unaccompanied song. Songspeech is located at the crossroads of cultural work, community organizing, and power, where multicultural communication forms an integral part of social change organizing. At the heart of this work are issues related to race, gender, class, and the complex interplay between them. Three southern contexts are discussed: black studies (emphasizing the 1960s civil rights movement), women’s studies, and labor studies. Examples are drawn from popular culture, multicultural studies, and social change theory and practice, including oral history, poetry, storytelling, and musical performance styles. Additional examples of the use of songspeech include the Dutch resistance to the Nazis, occupational stress, the relationship between social work and social change, the relationship between culture and community, and the need to develop habits of resistance to injustice.
Karmy, Eileen. “Musical mutualism in Valparaiso during the rise of the labor movement (1893–1931)”, Popular music and society 40/5 (December 2017) 539–555. [RILM Abstracts of Music Literature, 2017-28773]
Abstract: The Musicians’ Mutual Aid Society of Valparaíso was active from 1893 to well into the 20th century in what was then Chile’s main port city. I examine the characteristics of this social organization of Chilean musicians during the late 19th and early 20th centuries, and its relationship to the rising labor movement. Moreover, I report some relevant findings based on a range of archival material. To conclude, I discuss the role of the Mutual Aid Society of Valparaíso as a forerunner to the creation of the country’s first Musicians’ Union in 1931.
Milohnić, Aldo. “Performing labour relations in the age of austerity”, Performance research: A journal of the performing arts 17/6 (December 2012) 72–79. [RILM Abstracts of Music Literature, 2012-15379]
Abstract: Discusses labor in relation to the performance projects Call cutta (2005) and Call cutta in a box (2008) by the collective of theater directors Helgard Haug, Stefan Kaegi, and Daniel Wetzel, know as Rimini Protokoll.
Scherzinger, Martin. “Music, labor, and technologies of desire”, Sound and affect: Voice, music, world, ed. by Judith Lochhead, Eduardo Mendieta, and Stephen Decatur Smith (Chicago: University of Chicago Press, 2021) 197–223. [RILM Abstracts of Music Literature, 2021-3926]
Abstract: Speculatively and critically diagnoses new forms of labor, affect, and technology that have taken shape in recent decades, arguing that musical practices are at once historical precursors of current mutations across these domains, key players in the crystallization of their new contemporary forms, and sites where their new shapes may be discerned and critiqued today. In particular, the ways are critiques in which the indeterminacy of affect, along with the kinds of connection that such open affective experience can facilitate, might now fall prey to new forms of harvesting, extraction, and exploitation, which were unforeseen in earlier affect theory and in some musicological literature that valorized affective and emotional experience. Writing with an eye to recent developments at intersections of machine learning, advertising, and cognitive science, it is cautioned that affective arousal could be colonized by militarized adaptation in the same way that interactive instincts could be colonized by industrial interpellation.
Schinasi, Michael. “Zarzuela and the rise of the labour movement in Spain”, Popular entertainment studies 8/2 (2017) 20–37. [RILM Abstracts of Music Literature, 2017-26626]
Abstract: Zarzuela—Spanish lyric theatre—traces its extraordinary popularity on the Iberian Peninsula to the reign of Isabel II (1844–68). Thereafter it never lost its public appeal. In the 19th century cultural commentators debated its debt to 17th-century antecedents. Notwithstanding differing opinions on this, clearly its modern form emerged from Spanish musicians’ attempts to found a new national opera. When they failed to popularize a genre entirely in music, what remained was the zarzuela, which has both singing and spoken dialogue. This article focuses on the social nature of musicians’ hopes for a national opera, the way this arises from their difficult material situation in the face of competition from foreign music and artists, and the politics of early Spanish liberalism. After documenting the depth of artists’ concern with material life and the social language of their plan for action it suggests that we view the rise of the mature zarzuela in the light of Spain’s incipient labor movement. By doing so we in turn gain insight into an important aesthetic feature of zarzuela.
Schwab, Heinrich W. “Das Lied des Berufsvereine: Ihr Beitrag zur ‘Volkskunst’ im 19. Jahrhundrets”, Zeitschrift für Volkskunde 63 (1967) 1–16. [RILM Abstracts of Music Literature, 1968-2481]
Abstract: Investigation of the song repertoire of the labor organizations from the standpoint of the history of the genre and in its sociological and qualitative aspects. Describes the various organizational song books (chemists, post and telegraph assistants, railway workers, surveyors) and interprets the textual and musical symbolism of the special club” or “class” songs.
Stahl, Matt. Unfree masters: Recording artists and the politics of work. Refiguring American music (Durham: Duke University Press, 2013). [RILM Abstracts of Music Literature, 2013-9073]
Abstract: Examines recording artists’ labor in the music industry as a form of creative work. It is argued that the widespread perception of singers and musicians as free individuals doing enjoyable and fulfilling work obscures the realities of their occupation. Stahl begins by considering the television show American idol and the rockumentary Dig! (2004), tracing how narratives of popular music making in contemporary America highlight musicians’ negotiations of the limits of autonomy and mobility in creative cultural-industrial work. Turning to struggles between recording artists and record companies over the laws that govern their contractual relationships, Stahl reveals other tensions and contradictions in this form of work. He contends that contract and copyright disputes between musicians and music industry executives, as well as media narratives of music making, contribute to American socioeconomic discourse and expose basic tensions between the democratic principles of individual autonomy and responsibility and the power of employers to control labor and appropriate its products. Attention to labor and property issues in relation to musicians and the music industry can stimulate insights about the political, economic, and imaginative challenges currently facing all working people.
Toynbee, Jason. “The labour that dare not speak its name: Musical creativity, labour process and the materials of music”, Distributed creativity: Collaboration and improvisation in contemporary music, ed. by Eric F. Clarke and Mark Doffman. Studies in musical performance as creative practice (New York: Oxford University Press, 2017) 37–51. [RILM Abstracts of Music Literature, 2017-34150]
Abstract: Explicitly offers a predominantly macro-social account, with musical creativity approached through the lens of labor. The author presents a broadly Marxist critique of the traditional romantic ideology of creativity (IOC), pointing out some of the contradictions of a capitalist system that presents all labor as alienated while regarding creative production as no kind of labor at all. As a consequence, creativity is conceived of and presented as entirely individualist and psychic, despite its organization in terms of an industrial labor market (the cultural industries). This organization of labor is manifestly a system of distributed creativity, which nonetheless clings to the radical individualism of the IOC. Through an analysis of the creative labor processes in diverse musical genres (the symphony orchestra, singer-songwriters, rock bands), the author points out the ways in which musical production, though thoroughly assimilated into contemporary capitalism, demonstrates outlier, or eccentric, tendencies, in which the primary creative agents operate with a high degree of autonomy, and in which artisanal forms of working are perpetuated. From this macro analysis of the contradictorily distributed nature of musical creativity, the essay moves to material production, making extensive use of the idea of coded voices. He points to both the abstract (schematic) and the concrete character of the coded voice, and he identifies translation (intercultural borrowing) and intensification (intercultural development) as the two primary generative processes that act upon them.
Woolhouse, Matthew and Jotthi Bansal. “Work, rest and (press) play: Music consumption as an indicator of human economic development”, Journal of interdisciplinary music studies/Disiplinlerarası müzik araştırmaları dergisi 7/1–2 (spring–fall 2013) 45–71. [RILM Abstracts of Music Literature with Full Text, 2013-39541]
Abstract: Human development is addressed with respect to the United Nation’s Human Development Index (HDI), a composite statistic ranging from 0 (undeveloped) to 1 (highly developed). Rather than merely industrial output, the HDI expresses the level of human wellbeing within a country (and is therefore arguably better suited to the study of music downloading than a purely monetary indicator such as Gross Domestic Product). HDI depends on three main factors: life expectancy, educational opportunity, and standard of living. We explore relationships between music consumption, human development, work and leisure, and unemployment levels in 27 geographically and economically diverse countries. We hypothesize (1) that countries with high HDI values will have increased download variability between periods of work and non-work, due to elevated levels of consumption-based leisure, and (2) that countries with high levels of unemployment will have decreased download variability between periods of work and non-work, due to a decrease in the population for whom there is a clear distinction between work and non-work. A music database, consisting of over 180 million mobile-phone downloads, is used to investigate our hypotheses. We discuss our findings in respect of HDI, the European Sovereign Debt Crisis, literature on paid and unpaid work, and the types of leisure enjoyed by people in different countries.
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Seven strings/Сім струн(dedicated to Uncle Michael)*
For thee, O Ukraine, O our mother unfortunate, bound,
The first string I touch is for thee.
The string will vibrate with a quiet yet deep solemn sound,
The song from my heart will gush free.
My song o’er the earth’s distant reaches will fly in its task
With my dearest hopes as its guide;
Wherever it speeds o’er the world among mankind, ’twill ask
“Know ye where good fortune doth bide?”
And there somewhere yonder my song solitary will meet
With other such wandering lays,
And then, joining in with that loud-singing swarm, will fly
Away over thorn-studded ways.
’Twill speed over ocean’s blue bosom, o’er mountains will fly,
And circle about in free air;
’Twill soar ever higher far up in the vault of the sky
And maybe find good fortune there.
And finding it somewhere, that longed-for good fortune may greet
And visit our dear native strand,
May visit and greet thee, Ukraine, O thou mother most sweet,
Ill-starred and unfortunate land.
By Lesâ Ukraїnka, translated into English by Percival Cundy in Spirit of flames: A collection of the works of Lesya Ukrainka (New York: Bookman Associates, 1950)
*Uncle Michael was Ukraїnka's Uncle Mihajlo (Mihajlo Dragomanov, 1841-95), a significant Ukrainian cultural and political figure.
Noll, William. “Cultural contact through music institutions in Ukrainian lands, 1920–1948”, Music-cultures in contact: Convergences and collisions, ed. by Margaret J. Kartomi and Stephen Blum. Australian studies in the history, philosophy and social studies of music 2; Musicology: A book series 16 (Sydney: Currency Press; New York: Gordon and Breach, 1994) 204–219. [RILM Abstracts of Music Literature, 1994-4762]
Abstract: In the first half of the 20th century, the networks of music institutions in the two zones of the Ukraine were largely conceived and implemented by urban-born and urban-trained activists who were consciously creating institutionalized links with rural populations. The music and dance practices developed and distributed through these institutions were derived from rural populations, although they were stylized, notated, and arranged by urban dwellers in ways that were thought to appeal to both urban and rural groups. Most of the musical performances took place in local centers that were part of a widespread national network. Activists in western Ukraine used music to help establish and maintain a Ukrainian national identity among a large rural population with ethnic minority status in the Polish state. In eastern Ukraine the music network was intended to be the primary shaping force of village musical culture.
Poljak, Dubravka. “Aspekt samoupravnosti u baladnih junaka ukrajinske narodne balade”, Zbornik od XXV kongres na Sojuzot na Združenijata na Folkloristite na Jugoslavija/Rad XXV kongresa Saveza Udruženja Folklorista Jugoslavije, ed. by Lazo Karovski and Goce Stefanoski (Skopje: Sojuz na Združenijata na Folkloristite na Jugoslavija, 1980) 109–112. [RILM Abstracts of Music Literature, 1999-31936]
Abstract: Examines the theme of self-determination in the Ukrainian heroic ballads.
Berthiaume-Zavada, Claudette. “Résonances de la bandoura ou la mémoire vive d’un peuple”, Construire le savoir musical: Enjeux épistémologiques, esthétiques et sociaux, ed. by Monique Desroches and Ghyslaine Guertin. Logiques sociales: Musiques et champ social (Paris: L’Harmattan, 2003) 129–142. [RILM Abstracts of Music Literature, 2003-16721]
Abstract: Considers the Ukrainian duma as a cultural artifact that reveals how knowledge can be built on the basis of and by means of music. The duma is a musical genre, a half-sung, half-recited epic with different accompaniments depending on the period (the lira, the kobza, and, more recently, the bandura). The bandura, a Ukrainian national symbol, is the guardian of the collective memory of the Cossack epics and of historical events. The Ukrainian duma is an example of a multifunctional form of expression in which the musical aspect is inseparable from the social, and where a musical instrument and a musical form can convey the values of a people and provide trails for the researcher to follow in understanding the behavior of a population.
Ostashewski, Marcia. “Identity politics and Western Canadian Ukrainian musics: Globalizing the local or localizing the global?”, TOPIA: Canadian journal of cultural studies 6 (fall–winter 2001) 63–82. [RILM Abstracts of Music Literature, 2001-22653]
Abstract: Explores how Ukrainian musicians in Western Canada use music to construct local senses of identity and Ukrainianness, while participating in a more global sense of Ukrainian history and nationhood.
Bajgarová, Jitka. “Ukrainische Musik: Idee und Geschichte einer musikalischen Nationalbewegung in ihrem europäischen Kontext—Lipsko, 7.–9. května 2006”, Hudební věda 2/43 (2006) 215–216. [RILM Abstracts of Music Literature with Full Text, 2006-30845]
Abstract: A report on the conference on Ukrainian music and nationalism, which took place in Leipzig from 7 to 9 May 2006.
Helbig, Adriana. “The cyberpolitics of music in Ukraine’s 2004 Orange Revolution”, Current musicology 82 (fall 2006) 81–101. [RILM Abstracts of Music Literature, 2006-8421]
Abstract: Analyzes the relationship between political activism and what the author terms cybermusicality—an engagement with Internet music and its surrounding discourses that enables musical creativity both online and off. By looking into cybermusical phenomena in a non-Western context, this study moves beyond geographically and culturally limited analytical approaches that privilege Web-based music in the West and promote an uncritical celebration of the Internet as a technology of only the developed world. Music and the Internet played crucial roles in Ukraine’s 2004 Pomarančeva Revolûcia (Orange Revolution) when nearly one million people protested against election fraud, mass government corruption, and oligarchic market reforms. Prior to 2004, media outlets in Ukraine such as television, radio, and newspapers were government-controlled and censored. In contrast, the Internet grew in popularity as a technology that people could trust and helped activate the masses in anti-government protest. The article analyzes the revolution’s music and recordings disseminated on the Internet and examines the representative power of political song. This repertoire functioned as a particularly salient expression of citizen empowerment through the interpretation and evaluation of truth (pravda), a concept understood in the rhetoric of the revolution as the public’s “right to know” what is at the core of post-Soviet Ukrainian government propaganda.
Kiânovs’ka, Lûbov Oleksandrìvna. “Soziokulturelle Funktionen der ukrainischen nationalen Chorbewegung in Galizien nach 1867”, Chorgesang als Medium von Interkulturalität: Formen, Kanäle, Diskurse, ed. by Erik Fischer, Annelie Kürsten, Sarah Brasack, and Verena Ludorff. Berichte des interkulturellen Forschungsprojekts Deutsche Musikkultur im östlichen Europa 3 (Stuttgart: Franz Steiner, 2007) 403–411. [RILM Abstracts of Music Literature, 2007-34444]
Abstract: After 1867 cultural areas with a strong national patriotic component began to develop within the Ukrainian choral movement. Numerous Polish choirs (Echo, Lutnia (Lute), Lwowski chór męski (Lemberg men’s choir), etc.), and Ukrainian choirs (Teorban, Bojan, Bandurist, etc.) emerged which pursued national goals in addition to societal and social objectives. The socio-cultural functions of Ukrainian choirs, which were representatives of an ethnic group without a state of their own, are examined. Their functions can be summed up as follows: establishing a national mind-set, aided by the choral culture, which was the focus of the political elite; promoting the formation of a national identity and a national memory by reviving the (ethnic) song culture; furthering general musical education by providing knowledge of the great international and national works, previously inaccessible to many; musical education—the professional musical academies of the Ukraine subsequently developed from the music schools and choirs, stimulating musical creation—a whole host of “national” compositions were composed especially for choirs; representative tasks; the “transfer” of the political and socio-cultural structures of choirs to other organizations with a similar orientation such as publishing houses, museums, and libraries.
Wickström, David-Emil. “Drive-ethno-dance and Hutzul punk: Ukrainian-associated popular music and (geo)politics in a post-Soviet context”, Yearbook for traditional music 40 (2008) 60–88. [RILM Abstracts of Music Literature with Full Text, 2008-8821]
Abstract: Focuses on how Ruslana, Gajdamaki, and Svoboda—contemporary groups playing Ukrainian popular music—fashion themselves based on their country of (perceived) origin and what role politics, history, and traditional music play in that process. Using a postcolonial perspective, the author argues that the identity constructed by Ruslana and Gajdamaki functions to assert Ukrainian sovereignty and thus distinguishes the Ukraine from its former colonizer Russia, while Russian-based Svoboda exoticizes the Ukraine by drawing on colonial representations of the country.
Kušnìruk, Ol’ga. “Refleksìâ nacìonal’nogo v muzičnomu diskursì”, Studìï mistectvoznavčì 4:28 (2009) 43–47. [RILM Abstracts of Music Literature, 2009-21736]
Examines the category of nationalism in music from the perspective of non-Russian musicology and proposes to introduce this category into the terminological apparatus of the modern Ukrainian musicology.
Wickström, David-Emil. Okna otkroj!—Open the windows! Scenes, transcultural flows, and identity politics in popular music from post-Soviet St. Petersburg (Ph.D. diss., University of Copenhagen, 2009). [RILM Abstracts of Music Literature, 2009-22095]
Abstract: Focuses on music production in post-Soviet St. Petersburg from the perspective of local groups, the processes that enable these groups to tour Central Europe, as well as how the groups respond to social and cultural changes in their creative work. The aim is to provide a better understanding of popular music’s role in society, especially related to music, migration, and transcultural flows, specifically focusing on the ties to the post-Soviet emigrant community in Germany. These findings also provide a deeper understanding of cultural processes in the second decade after the fall of the Soviet Union. The first part examines popular music production from a scene perspective as theorized by Will Straw (1991, 2004) and others. This is done based on experiences with the St. Petersburg group Svoboda. By tracing the social networks and hubs, as well as underlying discourses, an overview of music production in the St. Petersburg rock scene is given. The same approach is applied to the scene approach to the Russendisko, a fortnightly discotheque in Berlin run by two emigrants from the former Soviet Union playing post-Soviet popular music, with a high percentage of St. Petersburg groups. The Russendisko is special since it targets a German and not an emigrant audience. The focus is both on the Russendisko itself as well as related events in Germany. Drawing on Ulf Hannerz’s theorization of transcultural flows (1992, 1996) some of the (cultural) flows to and from St. Petersburg are traced. Here the focus is on the flow of music aided by media and people within the frames “form of life” and “market” to both St. Petersburg and Berlin. Since influences from the music style ska were quite prominent in the music heard at the Russendisko, the discussion centers around the presence of reggae and ska in St. Petersburg. Here again Svoboda, whose self-proclaimed style is Ukra-ska-Pung (Ukrainian ska punk) is used as the link between the two cities, especially since some of the group’s songs are also played at the Russendisko. An important connection between St. Petersburg and Berlin that has provided the basis for the Russendisko is the massive emigration from the former Soviet Union to Germany after 1990, which is also briefly discussed. The final part turns to identity constructions, especially how bands from St. Petersburg create a band image and market themselves. Here the focus is on how these constructions relate to concepts of collective identities, especially how groups assert their origin (from St. Petersburg/Russia) and ideas of Russian national identities. One notion of Russian national identity is that Russia, Ukraine, and Belarus historically belong together. Inspired by post-colonial theory, the relationship to Ukraine is given special attention by comparing representations of Ukraine by the Russian group Svoboda and the Ukrainian performer Ruslana. The last section returns to Germany and examines first how the band identities shift when promoted to a primarily non-Russian speaking audience within the Russendisko scene. At the same time the Russendisko seems to be part of a broader German and Austrian musical focus on the East–especially linked with music from the Balkans–and the discussion is broadened to include this perspective. Returning to the post-Soviet musicians living in Berlin, the discussion is rounded off by examining why the term diaspora is not applicable within the post-Soviet emigrant community. A related monograph is cited as RILM Abstracts of Music Literature, 2014-78783.
Yekelchyk, Serhy. “What is Ukrainian about Ukraine’s pop culture? The strange case of Verka Serduchka”, Canadian-American Slavic studies/Revue canadienne-américaine d’études slaves 44/1–2 (spring–summer 2009) 217–232. [RILM Abstracts of Music Literature, 2010-342]
Abstract: The Ukrainian cross-dressing and language-mixing pop star Vêrka Serdûčka (played by male actor Andrij Danilko) is the most controversial product of Ukrainian post-Soviet mass culture. Ukrainian nationalists reject Serdûčka as a parody of their nation, while Russians took umbrage at her 2007 Eurovision entry, which allegedly contained the words “Russia goodbye”. This article interprets the character of Serdûčka as a jester, who makes audiences laugh at their own cultural stereotypes and prejudices, and at the same time as a representative of Ukraine’s living traditional culture, reflecting an ambiguous national identity of this essentially bilingual country.
Lastovec’ka-Solans’ka, Zorâna Mykolaїvna. “Rol’ tradyciї ta nacional’nyh cinnostej u duhovnij kul’turi ukraїnciv”, Naukovij vìsnik Nacìonal’noï Muzičnoï Akademìï Ukraïni ìmenì P.I. Čajkovs’kogo 85 (2010) 36–50. [RILM Abstracts of Music Literature, 2010-16673]
Abstract: Discusses the Ukrainian sociocultural values through the prism of their traditions. Sociocultural dynamics of cultural development, individual ethnic-aesthetic culture, nation’s genetic memory, national self-identification, and their expression in musical art are analyzed.
Radzievskij, Vitalij Aleksandrovič. “Muzykal’naâ kul’tura na ukrainskom Majdane”, Muzykal’naâ kul’tura v teoretičeskom i prikladnom izmerenii. I, ed. by Irina Gennadievna Umnova (Kemerovo: Gosudarstvennyj Universitet Kul’tury i Iskusstva, 2014) 88–96. [RILM abstracts of Music Literature, 2014-80333]
Abstract: Describes the musical components of the majdan culture as the main sociocultural dimensions of the Ukrainian culture. The music of the Èvromajdan is discussed.
Schwanitz, Mirko. “Rüben sammeln und Sex Pistols hören: Die ukrainische Revolution und der Mut ihrer Künstler”, Österreichische Musikzeitschrift 69/2 (2014) 62–64. [RILM Abstracts of Music Literature, 2014-11161]
Abstract: Discusses the poet and writer Serhìj Žadan, who is considered one of the most powerfully eloquent poets in Europe, with reference as well to selected Ukrainian artists and their situation. Ukraine is presented as the country where most poets, authors, and singers are fighting fiercely for their vision of a new and freer homeland. The translator and author Ûrìj Prohas’ko figures as one of the most important cultural mediators between Ukraine and the German-speaking countries. Andrej Kurkov, internationally the best-known and most-translated Ukrainian author, offered prescient warnings about the scenario that has now come to pass.
Morozova, Lûbov’ Sergeevna and Katarzyna Kramnik. “Sounds of Maidan”, Glissando: Magazyn o muzyce współczesnej 26 (2015) http://glissando.pl/en/tekst/sounds-of-maidan/. [RILM Abstracts of Music Literature, 2015-3900]
Abstract: Discusses the soundscape of the Majdan Nezaležnostì (Independence Square) in Kiïv during Èvromajdan.
Sonevytsky, Maria. “The freak cabaret on the revolution stage: On the ambivalent politics of femininity, rurality, and nationalism in Ukrainian popular music”, Journal of popular music studies 28/3 (September 2016) 291–314. [RILM Abstracts of Music Literature, 2016-5972]
Abstract: In the winter of 2013, as dramatic political demonstrations overtook central Kiïv, Ukraine, screens around the world projected live video feeds of the protests first referred to as Èvromajdan, and later simply as Majdan. Social media was pivotal in inciting the groundswell of opposition that eventually led to the abdication of power by President Vìktor Ânukovič. As part of the broad social contest over meaning that has characterized the Ukrainian Majdan and the ongoing war in Ukraine’s eastern borderlands, online communities have interpreted Majdan-themed music videos in dialectically opposing ways, engaging in bitter feuds over the meanings of politically charged tropes on the comment boards of websites and social media feeds, each side accusing the other of propagandizing on behalf of either Putin’s Russia or the US and European Union. This polarized battle over interpretation often mirrored the entrenched discourse over Ukraine’s liminal geopolitical position: forever the quintessential borderland, buffering an expanding Europe from the Russian sphere of influence. This article considers one such contested performance that circulated in the form of an edited music video, the Èvromajdan performance of the piece Gannusâ by the Ukrainian freak cabaret act known as the Dakh Daughters, a Kiïv-based collective of female actors and musicians known for their dramatic, collage-based musical performance pieces.
Kiânovs’ka, Lûbov Oleksandrìvna. “Verluste des ukrainischen Musiklebens in der Periode der ‘Hingerichteten Renaissance’: 1930er Jahre und nach dem Zweiten Weltkrieg”, Musicology today: Journal of the National University of Music Bucharest 7/3:27 (July–September 2016) 241–258. [RILM Abstracts of Music Literature with Full Text, 2016-34688]
Abstract: Describes the tragic events of the Ukrainian musical culture in the period of Stalin’s terror. The author explains—from a social and political perspective—the reasons why Ukrainian art and the Ukrainian intelligentsia had been subjected to repression. Most of the prominent artists were murdered; other examples of reprisal are considered, against the director, actor, public figure Les’ Kurbas, and against choreographer, composer, manager Vasil’ Mikolajovič Verhovinec’. The cruel extinction of blind kobza-players under Harkìv is also described. Even after World War II, repressions against Ukrainian artists hadn’t been stopped, as we find out from the case of the composer Vasil’ Oleksandrovič Barvìns’kij.
Sonevytsky, Maria. Wild music: Sound and sovereignty in Ukraine. Music/culture (Middletown: Wesleyan University Press, 2019). [RILM abstracts of Music Literature, 2019-11778]
Abstract: What are the uses of musical exoticism? This book tracks vernacular Ukrainian discourses of wildness as they manifested in popular music during a volatile decade of Ukrainian political history bracketed by two revolutions. From the Eurovision Song Contest to reality TV, from Indigenous radio to the revolution stage, the author assesses how these practices exhibit and re-imagine Ukrainian tradition and culture. As the rise of global populism forces us to confront the category of state sovereignty anew, the author proposes innovative paradigms for thinking through the creative practices that constitute sovereignty, citizenship, and nationalism.
– Compiled by Katya Slutskaya Levine, Editor, RILM
Each Olympic Games is an excellent opportunity for the host country to showcase its soft power; we saw the pop music elements in the opening ceremony of London 2012, a combination of local and international performances in the opening ceremony of Seoul 1988, as well as the German works presented by the Nazis through the music competition of Berlin 1936. Of course, the Olympics cannot be divorced from politics, and the Los Angeles, Moscow, and Munich Games were inevitably colored by the Cold War. What role did music play in this? And finally, what is the relationship between the individual and the times in these grand narratives?
– Qian Mu, Editor, RILM
Porta Navarro, Amparo, José María Peñalver Vilar, and Remigi Morant Navasquillo. “Music of the inaugural ceremony of London 2012: A performance among bells”, International review of the aesthetics and sociology of music 44/2 (December 2013) 253–276. [RILM Abstracts of Music Literature, 2013-15376]
Abstract: The music of the Olympic Games, especially that of their grandiose rituals and ceremonies, can be considered a great study laboratory due to its relevance, selection of contents, production forms, diffusion, and also because of its capacity of being a synthesis of mediums, supports, and musical tendencies. This research studies the music of the inaugural ceremony of London 2012, and examines it by means of musical analysis and also content revision, studying the music that is listened to and its characteristics, the way it is built up, and its effects and tendencies. This ceremony would not make any sense without music. Music acts as an emotional catalyst and also as a metronome of the dynamism of the show and, finally, it shows its capacity to persuade, to move, and to become a symbol of identity, achievements, and agreements among cultures.
Dilling, Margaret. “The script, sound, and sense of the Seoul Olympic ceremonies”, Contemporary directions: Korean folk music engaging the twentieth century and beyond, ed. by Nathan Hesselink. Korea research monograph (Berkeley: University of California, 2001) 173–234. [RILM Abstracts of Music Literature, 2001-10756]
Abstract: From the outset, the scenario planning committee for the 1988 Games of the XXIV Olympiad in Seoul identified three crucial desiderata: a universal theme, a distinctly Korean approach, and a sense of something new and different. Musically, the first goal was met with the official song, Hand in hand with music by Georgio Moroder and lyrics by Tom Whitlock; the second by the inclusion of modified examples of indigenous Korean music and dance genres; and the third by the inclusion of music by contemporary Korean composers. The processes through which these elements were implemented are explored through interviews with those involved; particular attention is given to the controversies surrounding new works by Kang Sukhi and Hwang Byung-ki (Hwang Byeong-gi).
Gilbert, Janet Monteith. “New music and myth: The Olympic Arts Festival of Contemporary Music”, Perspectives of new music 22/1–2 (fall–winter–spring–summer 1983–1984) 478–482. [RILM Abstracts of Music Literature with Full Text, 1984-14276]
Abstract: Report on the festival held in Los Angeles in June 1984. Many of the works programmed expressed a common theme: the creation of mythological or cosmic music produced or supported by a sophisticated technology.
Kuharskij, Vasilij Feodos’evič. “Vospevaja idei mira, družby, gumanizma…”, Sovetskaâ muzyka: Organ Soûza sovetskih kompozitorov i Sektora iskusstv Narkomprosa 6 (1980) 2–5. [RILM Abstracts of Music Literature, 1980-20149]
Abstract: Deals with the tasks and goals of the cultural program for the Moscow Olympic Games in 1980. Surveys the musical undertakings, concert programs, and the participation of well-known Soviet performers.
Wichmann, Siegfried, ed. World cultures and modern art: The encounter of 19th and 20th century European art and music with Asia, Africa, Oceania, Afro- and Indo-America—Exhibition on the occasion of the games of the 20th Olympiad, Munich 1972: June 16 to September 30, Haus der Kunst (München: Bruckmann, 1972). [RILM Abstracts of Music Literature, 1974-43]
Abstract: Abbreviated version of the German exhibition catalogue. Contains several additional contributions. The relevant chapters are Orientalism in music, Asia and music since Debussy, Music of Negroes and American Indians, and Sound Centre (an attempt at a synthesis of global music cultures). Contributions are by Ramón Pelinsky, Claus Raab, and Dieter Schnebel.
Lazzaro, Federico. “800 mètres d’André Obey: Drame sportif, grec et musical”, Les cahiers de la Société Québécoise de Recherche en Musique 20/1 (printemps 2019) 57–80. [RILM Abstracts of Music Literature with Full Text, 2019-23489]
Abstract: 800 mètres is a sports drama born out of the stadium for the stadium, staged at Roland-Garros in 1941 together with Aeschylus’s The suppliants. The music for both plays, now lost, was by Arthur Honegger. Inspired by Greek tragedies in both its formal and dramaturgical conception, 800 mètres is the translation into words, gestures, and sounds of the thoughts that André Obey expressed at the time of the 1924 Olympic Games in Paris. Obey was one of the main actors in the reflection on the relationship between music and sport. In promoting sports among French intellectuals, Obey advocated for the birth of an Olympic art and elaborated a rich metaphorical portrait of sport as music. Based on textual, iconographic, and sound archival documents, the genesis of 800 mètres is reconstituted, how this drama stages Obey’s philhellenic ideas is shown, and the complex musical-dramatic conception of the work is discussed.
Heinze, Carsten. “Der Kunstwettbewerb Musik im Rahmen der Olympischen Spiele 1936”, Archiv für Musikwissenschaft 62/1 (2005) 32–51. [RILM Abstracts of Music Literature, 2005-1103]
Abstract: Although the Olympic Art Competitions were introduced in 1912, they generated little public interest until 1932. The Nazis were determined to set new standards with this concomitant event in 1936 and used the forum to present to the world the towering achievements of German art, which in the meantime had been purged of all elements considered degenerate. The exploitative process is reconstructed as it pertained to the musical segment of the competition, which culminated in a grand Olympic concert, the first of its kind. Leaving nothing to chance in their erection of a new monumental style, the Nazis awarded medals to each of the four German works submitted.
Jiang, Zhiguo. “Taiwan wuqu hesheng yanjiu”, Zhongguo yinyuexue/Musicology in China 1:82 (2006) 32–42. [RILM Abstracts of Music Literature, 2006-3847]
Abstract: Analyzes harmonic material in Jiang Wenye’s orchestral work Taiwan wuqu (Taiwan dances), op. 1 (1934). Jiang Wenye (1910–83) was a pioneer among Chinese composers using modern composition techniques, and his was the first Chinese work to receive a top prize in international competition, at the Olympic International Music Competition in Berlin, 1936.
The Beijing Winter Olympic Games have become one of the biggest hot spots in the world’s attention at the moment, and among musicians it is no exception. The Olympic Games and music have always been inextricably linked. In ancient Greek times, music was an essential part of the Olympics. The large crowds brought by the Olympics made it an ideal venue for musicians to perform as well. At the same time, many competitions were called by trumpeters to start.
For the modern Olympics, music is even more ubiquitous. Coubertin‘s Olympic ideology was directly inspired by the opera libretto L’Olimpiade; the Olympic Games from 1912 to 1948 included musical competitions and medals were awarded like sporting events; and today’s Olympic-related musical events are a constant source of cultural and commercial competition.
Let’s take a glimpse at the relationship between music and the Olympics through relevant literature included in RILM.
– Qian Mu, Editor, RILM
Segrave, Jeffrey O. “Music as sport history: The special case of Pietro Metastasio’s L’Olimpiade and the story of the Olympic Games”, Sporting sounds: Relationships between sport and music, ed. by Anthony Bateman and John Bale (Abingdon; New York: Routledge, 2009) 113–127. [RILM Abstracts of Music Literature, 2009-1570]
Abstract: Pietro Metastasio’s popular 18th-century libretto L’Olimpiade publicized and transmitted a particular ideological and historicized conception of the Olympic Games that would ultimately contribute to the rationalization and legitimization of Pierre de Coubertin’s own idiosyncratic Olympic ideology, a philosophical religious doctrine that embraced a noble and honorable conception of sport at the same time as it served discrete class, race, and gendered ends. The hegemony of the contemporary Olympic Games movement is grounded in part on the appropriation of the classicism and Romanticism transmitted in Metastasio’s work. Musicological readings of opera, sociolinguistic conceptions of meaning, and postmodern social perspectives on material culture are addressed. Metastasio’s L’Olimpiade, in narrative, music, and production, sustained a particular image of the games, an image that nourished Coubertin’s own ideological formulation at the same time as it paved the way for further musical representations of the Games that to this day lend authority to the hegemony of the Olympics by appealing to a musically transmitted, mythologized, and Hellenized past.
Charkiolakīs, Alexandros. “Music in the first modern Olympiad in Athens in 1896: Cultural and social trends”, Mousikos logos 1 (January 2014) 51–64. [RILM Abstracts of Music Literature with Full Text, 2014-4634]
Abstract: Music, without any doubt, has been one of the main features during both the opening ceremony and on the concert that was given in the end of the first day in the Olympic Games of 1896 in Athens. Actually, there were two new works commissioned for performance during that first day: the Olympiakos ymnos (Olympic hymn) by Spyridōn Samaras on a text of Kōstis Palamas and Pentathlon by Dionysios Lauragkas on poetry of Iōannīs Polemīs. Here, we show the cultural and social trends that are implied in these two works and are characteristic of the developing ideologies in Greece of that time. Furthermore, we emphasized our scope towards the impact that these two works had on the contemporary Athenian society of that time.
Segrave, Jeffrey O. “‘All men will become brothers’ (“Alle Menschen werden Bruder“): Ludwig van Beethoven’s Ninth Symphony and Olympic Games ideology”, Sport, music, identities, ed. by Anthony Bateman. Sport in the global society, contemporary perspectives (London: Routledge, 2015) 38–52. [RILM Abstracts of Music Literature, 2015-99]
Abstract: First performed in an Olympic context as part of the opening ceremonies of the 1936 Berlin Olympics, the Finale of Beethoven’s Ninth Symphony has become a popular mainstay of modern Olympic protocol. Part of a ritualized entertainment spectacle that enhances the appeal and popularity of the Games, the Ninth Symphony elevates the prestige of the Games and helps to sustain the Olympic Movement’s political and commercial dominance within the panoply of institutionalized sport. It is argued here that the normalization of the Finale of the Ninth Symphony in the opening ceremonies of the Olympic Games not only transmits and reinforces the traditional Olympic ideology, but also reaffirms the ascendant hegemony of the Olympic movement within the world of elite international sport. This study is a critical reading of the Olympic musical ceremonial as a site of ideological production, especially as it pertains to Beethoven’s Ninth Symphony.
Dümling, Albrecht. “Zwischen Autonomie und Fremdbestimmung: Die Olympische Hymne von Robert Lubahn und Richard Strauss”, Richard Strauss-Blätter 38 (Dezember 1997) 68–102. [RILM Abstracts of Music Literature with Full Text, 1997-52827]
Abstract: When the Olympic Games were to be held in Berlin in 1936 Strauss was chosen as composer of an Olympic Hymn. Early in 1933 he agreed in principle, but on the condition that he was provided with an appropriate text. Four poems out of 3,000 entries were selected and sent on to Strauss with no mention of the poets’ names. He decided on a text, written by the hitherto unknown poet Robert Lubahn. Despite the favorable response of committees and German music critics, the belongs to Strauss’s weaker works.
Barney, Katelyn. “Celebration or cover up? My island home, Australian national identity and the spectacle of Sydney 2000″, Aesthetics and experience in music performance, ed. by Elizabeth Mackinlay, Denis Collins, and Samantha Owens (Newcastle upon Tyne: Cambridge Scholars Publishing, 2005) 141–150. [RILM Abstracts of Music Literature, 2005-18443]
Abstract: Addresses the conflicts and complexities inherent in musical statements of Australian national identity as represented by Neil Murray’s My island home and Christine Anu’s performance of it at the closing ceremony of the Sydney 2000 Olympic Games. Her performance functioned simultaneously as a site for celebration of indigeneity and Australian national identity yet also as a concealment or cover-up of the social and political positioning of indigenous Australians within Australian history and contemporary society. As it celebrated localized Torres Strait Islander culture and identity as part of the Australian national imagination, it also concealed the realities of indigenous issues and race relations within Australia.
Newman, Melinda and Michael Paoletta. “Goodsports”, Billboard: The international newsweekly of music, video and home entertainment 118/5 (4 February 2006) 22–23. [RILM Abstracts of Music Literature, 2006-2393]
Abstract: Established stars including Andrea Bocelli, Bon Jovi, Whitney Houston, and Lou Reed, as well as new and developing acts like James Blunt, Switchfoot, Flipsyde, Morningwood, the Donnas, Rock ‘N Roll Soldiers, We Are Scientists, and OK Go are hoping for a career boost from their ties to the Olympic Winter Games in Torino, Italy. By using hip, under-the-radar acts, NBC hopes to connect with the much-coveted youth demographic. NBC uses music in four ways for the Olympics: network campaigns in advance of the Games; co-branding opportunities; features and interstitial footage broadcast during the athletic events; and nightly concerts.
Lawson, Francesca R. Sborgi. “Music in ritual and ritual in music: A virtual viewer’s perceptions about liminality, functionality, and mediatization in the opening ceremony of the 2008 Beijing Olympic Games”, Asian music: Journal of the Society for Asian Music 42/2 (summer–fall 2011) 3–18. [RILM Abstracts of Music Literature, 2011-12007]
Abstract: Concepts such as liminality, functionality, and mediatization were clearly exemplified in the opening ceremony of the 2008 Beijing Olympic Games. The fascinating use of the ancient practice of liminal integration of music and ritual in a modern mediatized performance illustrates both indigenous Chinese and contemporary Western performance theories. Despite the spectacular nature of the opening ceremony, however, it is doubtful that international viewers fully understood the complex messages communicated through this modern ritual performance.
Juzwiak, Rich. “Village Person says Y.M.C.A. isn’t about gays, is probably lying”, http://gawker.com/village-person-says-y-m-c-a-isnt-about-gays-is-pro-1493380284. [RILM Abstracts of Music Literature, 2014-293]
Abstract: A common reading of the Village People’s Y.M.C.A. (1978) posits the song as a post-Stonewall stealth attack on heteronormative America. From discos to weddings to sports arenas across the country, millions have contorted in acronymal glee, singing the praises of the male-only fitness center/boarding house where you can “hang out with the boys” and “do whatever you feel”. The song first appeared on an album titled Cruisin’. Despite the seemingly obvious subtext, members of the Village People deny any subtextual intent. Victor Willis, the first lead singer of the Village People who played the role of “cop” and co-wrote Y.M.C.A., recently spoke out against using the song as Team USA’s entrance music at the 2014 Sochi Winter Olympics–intended in protest of Putin’s anti-gay mandate and the rash of violent hate crimes in its wake (not to mention the Sports Minister’s threat to jail gay athletes). The author notes that “the inherent gayness of the Village People has been a point of contention between the people who were (and are) in the group and its creators, Jacques Morali and Henri Belolo. Morali, who died in 1991, was gay and in last year’s documentary about the politics of disco, Secret disco revolution, Belolo said that the Village People were Morali’s statement of his own gay pride, as well as an exercise in double entendre”.
Cottrell, Stephen. “Glad to meet you: North Korea’s pop orchestra warms hearts in the South”, The conversation (UK) (9 February 2018) https://theconversation.com/glad-to-meet-you-north-koreas-pop-orchestra-warms-hearts-in-the-south-91499. [RILM Abstracts of Music Literature, 2018-52079]
Abstract: Describes a performance by Samjiyon Band, a well-known fixture from North Korea’s cultural scene, on the first night of the Winter Olympics in PyeongChang.
Raymond Murray Schafer (1933–2021), the Canadian composer, author, educator, and ecologist who coined the term soundscape, died on 14 August at 88. Through the years Schafer’s concept of soundscape has inspired scholars in not only musicology and ethnomusicology, but also history, anthropology, and more.
In 1969, with the aim of “finding solutions for an ecologically balanced soundscape that harmonizes the relationship between human society and its sound environment,” Schafer founded the world soundscape project at the Simon Fraser University. Based on this project, his book, The tuning of the world, was published in 1977 (reprinted in 1993 and retitled as The soundscape: Our sonic environment and the tuning of the world). Schafer’s visualization of the sound environment led to the concept of soundscape, which refers not only to the sounds in people’s environments, but also to the interactions between people, their hearing, their sound environment, and their social environment.
The concept of soundscape inspired new approaches for musicological research. Since Schafer first suggested this term, generations of scholars not only focused on sound itself, but also interpreted various cultural phenomena from the perspective of sound: echo, noise, silence… these terms are seemingly abstract, yet each contains deep meaning and controversy. Since the 1970s, the sound environment we live in has been changing rapidly. Considering the harmony and balance that the concept of soundscape has emphasized from the very beginning, what will be the relationship between human communities and ecology in the future? Please join RILM in following recent publications on sound studies.
(Introduced and compiled by Liu Xintong)
Schafer, R. Murray. The soundscape: Our sonic environment and the tuning of the world (Rochester: Destiny, 1993). [RILM Abstracts of Music Literature, 1993-3992]
Abstract: Studies the evolution of soundscapes in connection with culture, urban development, and technology. The soundscape—a term coined by the author—is our sonic environment, the ever-present array of noises with which we all live. Beginning with the primordial sounds of nature, we have experienced an ever-increasing complexity of our sonic surroundings. As civilization develops, new noises rise up around us: from the creaking wheel, the clang of the blacksmith’s hammer, and the distant chugging of steam trains to the “sound imperialism” of airports, city streets, and factories. The author contends that we now suffer from an overabundance of acoustic information and a proportionate diminishing of our ability to hear the nuances and subtleties of sound. Our task, he maintains, is to listen, analyze, and make distinctions. As a society we have become more aware of the toxic wastes that can enter our bodies through the air we breathe and the water we drink. In fact, the pollution of our sonic environment is no less real. Schafer emphasizes the importance of discerning the sounds that enrich and feed us and using them to create healthier environments. To this end, he explains how to classify sounds, appreciating their beauty or ugliness, and provides exercises and “soundwalks” to help us become more discriminating and sensitive to the sounds around us. This book is a pioneering exploration of our acoustic environment, past and present, and an attempt to imagine what it might become in the future.
The study of soundscape has developed considerably since Schafer first used the term. However, Schafer’s own work and his world soundscape project have received much criticism, primarily because of his way of treating sound as an objectified presence, ignoring its experiential nature, and his project’s failure to include the sound cultures of Canada’s First Nation peoples. However, Schafer’s concept of soundscape opened up new horizons in sound studies, and subsequent scholars have continued to build on his foundation to expand the theoretical framework of soundscape. Below are some examples of cutting-edge research on soundscape.
Abe, Marié. Resonances of chindon-ya: Sounding space and sociality in contemporary Japan. Music/culture (Middletown: Wesleyan University Press, 2018). [RILM Abstracts of Music Literature, 2018-3821]
Abstract: Investigates the intersection of sound, public space, and sociality in contemporary Japan. Chindon-ya, dating back to the 1840s, are ostentatiously costumed street musicians who publicize a business by parading through neighborhood streets. Historically not considered music, but part of the everyday soundscape, this vernacular performing art provides a window into shifting notions of musical labor, the politics of everyday listening and sounding, and street music at social protest in Japan. Against the background of long-term economic downturn, growing social precarity, and the visually and sonically saturated urban streets of Japan, this book examines how this seemingly outdated means of advertisement has recently gained traction as an aesthetic, economic, and political practice after decades of inactivity. It challenges Western conceptions of listening that have normalized the way we think about the relationship between sound, space, and listening subjects, and advances a growing body of interdisciplinary scholarship that examines the ways social fragmentation is experienced and negotiated in post-industrial societies.
Ochoa Gautier, Ana María. Aurality: Listening and knowledge in nineteenth-century Colombia. Sign, storage, transmission (Durham: Duke University Press, 2014). [RILM Abstracts of Music Literature, 2014-65359]
Abstract: Explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from 19th-century Colombian sources, the author locates sounds produced by different living entities at the juncture of the human and nonhuman. An “acoustically tuned” analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. Thus, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.
Daughtry, J. Martin. Listening to war: Sound, music, trauma and survival in wartime Iraq (New York: Oxford University Press, 2015). [RILM Abstracts of Music Literature, 2015-10080]
Abstract: A groundbreaking study of the centrality of listening to the experience of modern warfare. Based on years of ethnographic interviews with U.S. military service members and Iraqi civilians, as well as on direct observations of wartime Iraq, the author reveals how these populations learned to extract valuable information from the ambient soundscape while struggling with the deleterious effects that it produced in their ears, throughout their bodies, and in their psyches. He examines the dual-edged nature of sound—its potency as a source of information and a source of trauma—within a sophisticated conceptual frame that highlights the affective power of sound and the vulnerability and agency of individual auditors. By theorizing violence through the prism of sound and sound through the prism of violence, the author provides a new vantage point for examining these strangely conjoined phenomena. Two chapters dedicated to wartime music in Iraqi and U.S. military contexts show how music was both an important instrument of the military campaign and the victim of a multitude of violent acts throughout the war.
Dillon, Emma. The sense of sound: Musical meaning in France (1260–1330). New cultural history of music (Oxford: Oxford University Press, 2012). [RILM Abstracts of Music Literature, 2012-25429]
Abstract: Among the most memorable innovations of music and poetry in 13th-century France was a genre that seemed to privilege sound over sense. The polytextual motet is especially well-known to scholars of the Middle Ages for its tendency to conceal complex allegorical meaning in a texture that, in performance, made words less, rather than more, audible. What did it mean to create a musical effect so potentially independent from the meaning of words? Is it possible such supermusical effects themselves had significance? A radical recontextualization of French song in the heyday of the motet ca. 1260–1330 makes the case for listening to musicalsound against a range of other potently meaningful sonorities, often premised on non-verbal meaning. In identifying new audible interlocutors to music, our ears are opened to a broad spectrum of sounds often left out of historical inquiry, from the hubbub of the medieval city; to the eloquent babble of madmen; to the violent clamor of charivari; to the charismatic chatter of prayer. Drawing on a rich array of artistic evidence (music, manuscripts, poetry, and images) and contemporary cultural theory locates musical production in this period within a larger cultural environment concerned with representing sound and its emotional, ethical, and social effects.
Manabe, Noriko. The revolution will not be televised: Protest music after Fukushima (New York: Oxford University Press, 2015). [RILM Abstracts of Music Literature, 2015-13996]
Abstract: Nuclear power has been a contentious issue in Japan since the 1950s, and in the aftermath of the Fukushima nuclear power plant disaster, the conflict has only grown. Government agencies and the nuclear industry continue to push a nuclear agenda, while the mainstream media adheres to the official line that nuclear power is Japan’s future. Public debate about nuclear energy is strongly discouraged. Nevertheless, antinuclear activism has swelled into one of the most popular and passionate movements in Japan, leading to a powerful wave of protestmusic. Music has played a central role in expressing antinuclear sentiments and mobilizing political resistance in Japan. A combination of musical analysis with ethnographic participation offers an innovative typology of the spaces central to the performance of protestmusic—cyberspace, demonstrations, festivals, and recordings. These four spaces encourage different modes of participation and methods of political messaging. The openness, mobile accessibility, and potential anonymity of cyberspace have allowed musicians to directly challenge the ethos of silence that permeated Japanese culture post-Fukushima. Moving from cyberspace to real space, the author shows how the performance and reception of music played at public demonstrations are shaped by the urban geographies of Japanese cities. While short on open public space, urban centers in Japan offer protesters a wide range of governmental and commercial spaces in which to demonstrate, with activist musicians tailoring their performances to the particular landscapes and soundscapes of each. Music festivals are a space apart from everyday life, encouraging musicians and audience members to freely engage in political expression through informative and immersive performances. Conversely, Japanese record companies and producers discourage major-label musicians from expressing political views in recordings, forcing antinuclear musicians to express dissent indirectly: through allegories, metaphors, and metonyms.
Schwarz, Arman. Puccini’s soundscapes: Realism and modernity in Italian opera. Centro Studi Giacomo Puccini: Premio rotary Giacomo Puccini ricerca 2 (Firenze: Leo S. Olschki, 2018). [RILM Abstracts of Music Literature, 2018-58613]
Abstract: From the bells in Tosca and the birdcalls in Madama Butterfly to the horns and sirens in Il tabarro and the music box melodies that inspired Turandot, Puccini’s operas rely to an unprecedented degree on realistic and seemingly unmediated acoustic objects. Focusing on the pervasive if little-discussed aspect of the composer’s art, presented are two categories of sound and realism to rethink the shape of Puccini’s career, and to offer new interpretations of many of his major works, as well as those of his contemporaries. It asks how Italian composers responded to some of the fundamental transformations of auditory culture during the fin-de-siècle, and resituates their works within the discourses (aesthetic, political, and technological) of Italian modernity.
Rasmussen, Anne K. Women, the recited Qur’an, and Islamic music in Indonesia (Berkeley: University of California Press, 2010). [RILM Abstracts of Music Literature, 2010-6148]
Abstract: Going to the heart of religious musical praxis in Indonesia, home to the largest Muslim population in the world, this book explores a rich public soundscape, where women recite the divine texts of the Qur’ān, and where an extraordinary diversity of Arab-influenced Islamic musical styles and genres, also performed by women, flourishes. Based on unique and revealing ethnographic research beginning at the end of Suharto’s New Order and continuing into the era of Reformation, the book considers the powerful role of music in the expression of religious nationalism. In particular, it focuses on musical style, women’s roles, and the ideological and aesthetic issues raised by the Indonesian style of recitation.
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