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Music on the Move

Danielle Fosler-Lussier 2020 Creative Commons Attribution-NonCommercial 4.0 International license Open access version made available with the support of The Ohio State University Libraries, as part of the TOME initiative
Open Access Open Access
Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation.

 

With its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music's travels—with or without its makers—including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity. The case studies represent a variety of musical genres and styles, Western and non-Western, concert music, traditional music, and popular music. Highly accessible, jargon-free, and media-rich, Music on the Move is suitable for students as well as general-interest readers.

 
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  • 978-0-472-90128-9 (open access)
  • 978-0-472-07450-1 (hardcover)
  • 978-0-472-05450-3 (paper)
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  • Music
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  • Table of Contents

  • Resources

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  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • Preface
  • Media Chronology
  • Introduction
  • Part 1: Migration
    • Chapter 1. Colonialism in Indonesia
    • Chapter 2. The Romani Diaspora in Europe
    • Chapter 3. The African Diaspora in the United States
  • Part 2: Mediation
    • Chapter 4. Sound Recording and the Mediation of Music
    • Chapter 5. Music and Media in the Service of the State
  • Part 3: Mashup
    • Chapter 6. Composing the Mediated Self
    • Chapter 7. Copyright, Surveillance, and the Ownership of Music
    • Chapter 8. Localizations
    • Conclusion
  • Notes
  • Selected Bibliography
  • Index

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Four-part chorus sings in long, smooth phrases; words are "Jerusalem, Jerusalem, be converted to the Lord your God."

Manuel de Sumaya, Lamentations of the Prophet Jeremiah

From Introduction

Example 0.1. Excerpt from Manuel de Sumaya, “Hieremiae prophetae lamentationes” (Lamentations of the Prophet Jeremiah), performed by Chanticleer, Mexican Baroque (Teldec, 1993). See also Youtube: https://www.youtube.com/watch?v=Oc2-I7_aBW4


Music on the Move: Trading Area of the Dutch East India Company

From Chapter 1

Figure 1.1. Music on the Move: Trading Area of the Dutch East India Company. Map by Eric Fosler-Lussier, based on Femme S. Gaastra, The Dutch East India Company: Expansion and Decline (Leiden: Walburg Pers, 2003), 42.

Video shows a room with many players sitting on the floor close together.

Ladrang Slamet

From Chapter 1

Example 1.1. Excerpt from "Ladrang Slamet" ("Welcoming Music," performed by Studio Karawitan Dahlan Iskan with Siir Natagama Java Orchestra. Translation based on Mantle Hood and Hardja Susilo, Music of the Venerable Dark Cloud (UCLA Department of Ethnomusicology, 1967), 35. Youtube: https://www.youtube.com/watch?v=Tug7E8CUPp0

Fig. 1.2. Diagram shows several layers of activity over time. The bottom one is a slowly repeating pattern, the one above it is twice as fast, the next one is twice again as fast, and so forth.

Cyclical pattern in Central Javanese ladrang form

From Chapter 1

Fig. 1.2. Cyclical pattern in Central Javanese ladrang form. Adapted with permission from Henry Spiller.

Gending Bonang Babar Layar, 1

From Chapter 1

Example 1.2. Distinctive unison passage from “Gending Bonang Babar Layar,” recorded at the Istana Mangkunegaran, Surakarta by Robert E. Brown. Java, Court Gamelan, vol. II (Nonesuch Explorer Series 79721-2, 2003 [1977]). See Spotify: https://open.spotify.com/track/7hn7aKBzDjCL6s6ELNOaFA

Gending Bonang Babar Layar, 2

From Chapter 1

Example 1.3. Layering effect from “Gending Bonang Babar Layar,” recorded at the Istana Mangkunegaran, Surakarta by Robert E. Brown. Java, Court Gamelan, vol. II (Nonesuch Explorer Series 79721-2, 2003 [1977]). See Spotify: https://open.spotify.com/track/7hn7aKBzDjCL6s6ELNOaFA

Pairs of formally dressed people dance a waltz. Each couple spins as they step in time to the 1-2-3 pattern in the music.

Opening Committee Waltz

From Chapter 1

Example 1.4. Excerpt from Opening Committee Waltz, Stanford Viennese Ball 2013. Youtube: https://www.youtube.com/watch?v=tRTVoN95miM&index=2&list=RDeuM9O6Qaog8


Open external resource at https://open.spotify.com

Was Pepeko (Waltz)

From Chapter 1


Open external resource at https://open.spotify.com

Gaplek

From Chapter 1

Fig. 1.3. Image is blue on a white china dish, showing three costumed Javanese dancers in a formal pose, with words circling the outside of the image.

Souvenir plate from the Universal Exposition depicting Javanese dancers

From Chapter 1

Fig. 1.3. Detail from a souvenir plate from the Universal Exposition depicting the Javanese dancers. The plate reads: “Javanese. The Javanese dancers have bizarre hairstyles with helmets, which caused Lili to say when she saw them: ‘Oh! Papa, look, primitive firefighters.’” Collection Radauer, www.humanzoos.net. Used by permission.

pianist onstage, viewed from the audience.

Claude Debussy, Pagodes

From Chapter 1

Example 1.7. Claude Debussy, "Pagodas," performed by Sally Pinkas, Dartmouth College, 2014. Used by permission.

Group of about 30 men wearing checkered sarongs perform in a circle on a circular stage, surrounded by tourists.

Choral presentation of "cak" syllables; excerpt from a kecak performance in Uluwatu, Bali.

From Chapter 1

Example 1.8. Choral presentation of "cak" syllables. Excerpt from a kecak performance at Uluwatu, Bali .Youtube: https://www.youtube.com/watch?v=2WOOUbEirc8. Good faith effort has been made to contact the videographer.

Fig. 1.4. Diagram shows that three different groups take turns saying “cak” in a repeating pattern; sometimes two groups say it at the same time.

Diagram of interlocking syllables in kecak

From Chapter 1

Fig. 1.4. Diagram of interlocking syllables in kecak. The numbers across the top mark successive points in time. Separate groups within the chorus say “cak” at different timepoints to create an interlocking pattern. This pattern was taught to me by Jeremy Grimshaw in 2011.

Men, seated, chant as an elegantly dressed woman enters from a gate at the side.

Entrance of Sita. Excerpt from a kecak performance at Uluwatu, Bali.

From Chapter 1

Example 1.9. Entrance of Sita. Excerpt from a kecak performance at Uluwatu, Bali. Youtube: https://www.youtube.com/watch?v=2WOOUbEirc8. Good faith effort has been made to contact the videographer.

An actor in a monkey mask stands among the tourists as the chanting continues.

Hanuman interacts with the audience. Excerpt from a kecak performance at Uluwatu, Bali.

From Chapter 1

Example 1.10. Hanuman interacts with the audience. Excerpt from a kecak performance at Uluwatu, Bali. Youtube: https://www.youtube.com/watch?v=2WOOUbEirc8. Good faith effort has been made to contact the videographer.


Music on the Move: Migration of Romani people into Europe

From Chapter 2

Fig. 2.1. Music on the Move: Migration of Romani people into Europe. Map by Eric Fosler-Lussier, based on Lev Tcherenkov and Stéphane Laederich, The Rroma, vol. 1 (Basel, CH: Schwabe, 2004), 83. (See https://doi.org/10.3998/mpub.9853855.cmp.18)

Band plays in a tight corner of a busy restaurant.

Lajos Sárkozi, Jr., and his ensemble playing at the Százéves restaurant, Budapest

From Chapter 2

Example 2.1. Lajos Sárkozi, Jr., and his ensemble playing at the Százéves restaurant, Budapest. Video by Willem Gulcher, used by permission. Good faith effort has been made to contact the performers.


Mihály Várady, “Grief, Grief”

From Chapter 2

Example 2.2. Mihály Várady, “Grief, Grief,” Gypsy Folk Songs from Hungary (Hungaroton 18028-29, 1989 [1976]). Courtesy of Naxos USA. See also Spotify: https://open.spotify.com/track/2dcPFOw9RVyZt3fRtqKYoh


Mihály Kolompar, “You are not that sort of girl”

From Chapter 2

Example 2.3. Mihály Kolompar, “You are not that sort of girl.” Music on the Gypsy Route vol. 2 (Frémaux and Associés, 2004). Used by permission. See also Spotify: https://open.spotify.com/track/4OWhtePEZdxbbIFmDAp9rT


“Who has Been There,” song attributed to "the daughter of Limchi, in Végegyháza, the Buje"

From Chapter 2

Example 2.4, “Who has Been There,” song attributed to "the daughter of Limchi, in Végegyháza, the Buje." Gypsy Folk Songs from Hungary (Hungaroton 18028-29, 1989 [1976]). Courtesy of Naxos USA. See also Spotify: https://open.spotify.com/track/6iVsX3neCXuzfrIUMYeJkL


Kalyi Jag, "La Řatjake Cheya" (The Night Girls)

From Chapter 2

Example 2.5, Excerpt from Kalyi Jag, "La Řatjake Cheya" (The Night Girls). The Gypsy Road: A Musical Migration from India to Spain (Alula Records, 1999). See also Youtube: https://www.youtube.com/watch?v=h8bOin_vpeA


Open external resource at https://open.spotify.com

"Khorós Gáïda"

From Chapter 2

String quartet performs on a stage.

Joseph Haydn, String Quartet, op. 54 no. 2, second movement

From Chapter 2

Example 2.7. Joseph Haydn, String Quartet, op. 54 no. 2, second movement, performed by the Dudok Quartet. Used by permission. Youtube: https://www.youtube.com/watch?v=ZjTpAD85vgE

Quintet performs on a small stage.

Johannes Brahms, Clarinet Quintet, second movement

From Chapter 2

Example 2.8. Excerpt from Johannes Brahms, Clarinet Quintet, second movement, performed by Quatuor Modigliani. Youtube: https://www.youtube.com/watch?v=i0WWH-WgRmE.


Franz Liszt, Hungarian Rhapsody no. 2

From Chapter 2

Example 2.9. Franz Liszt, Hungarian Rhapsody no. 2, performed by György Cziffra. The Masters Collection: György Cziffra (Hungaroton HCD32814-16, 2019). Courtesy of Naxos USA.

Fig. 2.2. Caricature of Franz Liszt wearing a giant sword and playing a piano that is falling apart, its keys flying everywhere.

Anonymous caricature of Franz Liszt

From Chapter 2

Fig. 2.2. “Liszt-Fantaisie.” Anonymous caricature of Franz Liszt, La vie Parisienne, 3 April 1886. The original caption reads: “Liszt and his saber: He has renounced it today, after recognizing that he would do more damage with just the piano and his two hands. A strange specimen of the octopus species. Eight hands at four octaves each, thirty-two octaves!!!” Reprinted in Richard Leppert, “The Musician of the Imagination,” in The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists, ed. William Weber (Bloomington: Indiana University Press, 2004), 42.

Two players sit at a grand piano and play together animatedly.

Johannes Brahms, Hungarian Dance no. 5

From Chapter 2

Example 2.10. Excerpt from Johannes Brahms, Hungarian Dance no. 5, Passepartout Piano Duo. Youtube: https://www.youtube.com/watch?v=QyJPkoL6Wg8). Permission requested.

Bearded singer with microphone addresses the audience.

Joci Pápai, “Origo”

From Chapter 2

Example 2.11. Joci Pápai, “Origo,” Eurovision Song Contest 2017. Courtesy of Eurovision. Youtube: https://www.youtube.com/watch?v=2stjsoO0NfM


Music on the Move: Trans-Atlantic Slave Trade Voyages between 1580 and 1860

From Chapter 3

Fig. 3.1. Music on the Move: Trans-Atlantic Slave Trade Voyages. Map by Eric Fosler-Lussier. This map depicts the transportation of enslaved people from Africa as listed in The Trans-Atlantic Slave Trade Database in the decades between 1580 and 1860, grouped by regions where they arrived. White boxes and dashed lines indicate departures; black boxes and solid lines indicate arrivals. Voyages for which the major place of sale could not be imputed were removed from this visualization: the number of enslaved people who did not arrive at their destination (many died, but some possibly escaped) is represented by the difference in the number of persons leaving Africa and those arriving at destination ports. The excellent database at slavevoyages.org describes the research behind this map and more detailed visualizations. (See https://doi.org/10.3998/mpub.9853855.cmp.31)


Mississippi Matilda Powell, “Hard Working Woman”

From Chapter 3

Example 3.1. Mississippi Matilda Powell with guitarists Sonny Boy Nelson and Willie Harris, Jr., “Hard Working Woman,” recorded 1936 in New Orleans. Mississippi Blues Volume 3, 1939-1940 (Document Records DOCD-5671, 2002). Used by permission.


Grinding song attributed to "a young Tikar woman"

From Chapter 3

Example 3.2. Grinding song attributed to "a young Tikar woman," recorded by Gerhard Kubik in central Cameroon, 1964. Africa and the Blues (Neatwork AB-101, 2001). Used by permission.


Adamou Meigogue Garoua, solo song

From Chapter 3

Example 3.3. Solo song by Adamou Meigogue Garoua, accompanied by bowed lute, recorded by Gerhard Kubik in northern Cameroon, 1964. Africa and the Blues (Neatwork AB-101, 2001). Used by permission.


Big Joe Williams, Stack O'Dollars

From Chapter 3

Example 3.4. Excerpt from Big Joe Williams, “Stack O’Dollars,” played on a guitar, a one-string fiddle, and a washboard. Recorded in Chicago, 1935 (Document Records BDCD-6003, 1991). See also Youtube: https://www.youtube.com/watch?v=RkQe0HqnKyw


Open external resource at https://open.spotify.com

Blue Spring Missionary Baptist Association Delegation, “Traditional Prayer with Moans”

From Chapter 3


Open external resource at https://open.spotify.com

United Southern Prayer Band of Baltimore, “Give Me Jesus”

From Chapter 3


“Guide Me O Thou Great Jehovah,” Ike Caudill leading the Indian Bottom Old Regular Baptist Association congregation

From Chapter 3

Example 3.7. “Guide Me O Thou Great Jehovah,” Ike Caudill leading the Indian Bottom Old Regular Baptist Association congregation, Letcher County, Kentucky. From the Alan Lomax Collection at the American Folklife Center, Library of Congress. Courtesy of the Association for Cultural Equity.


Fisk Jubilee Singers, “Deep River"

From Chapter 3

Example 3.8. Fisk Jubilee Singers, “Deep River.” Fisk University Jubilee Singers, in chronological order, vol. 3, 1924-1940 (Document Records DOCD-5535, 1997). Used by permission.


Music on the Move: The Fisk Jubilee Singers, 1871-1880

From Chapter 3

Fig. 3.2. Music on the Move: Concert Tours of the Fisk Jubilee Singers, 1871–80. Map by Eric Fosler-Lussier based on an original map and research by Elizabeth Lacy and Louis Epstein. Darker or overlapping dots indicate multiple performances. (See https://doi.org/10.3998/mpub.9853855.cmp.42)


Open external resource at https://open.spotify.com

Sometimes I Feel Like a Motherless Child

From Chapter 3


Open external resource at https://open.spotify.com

Harry Burleigh, arr. “Wade in the Water”

From Chapter 3


Florence Price, "Fantasie nègre" (Black fantasy)

From Chapter 3

Example 3.11. Florence Price, "Fantasie nègre" (Black fantasy), performed by Samatha Ege. Used by permission.


Margaret Bonds, "Troubled Water"

From Chapter 3

Example 3.12. Margaret Bonds, "Troubled Water," performed by Samantha Ege. Four Women: Music for Piano by Price, Kaprálová, Bilsland, and Bonds (Wave Theory Records, 2018). Used by permission.

Raqs Fahala

From Chapter 4

Example 4.1. Mahmoud al-Rashidi, “Raqs Fahala,” probably made before 1911 (Baida Records 272A). Youtube: https://www.youtube.com/watch?v=clIZ1J8nanA


"Polka Wiewórka" (Squirrel Polka)

From Chapter 4

Example 4.2. Excerpt from "Polka Wiewórka" (Squirrel Polka), with Stanisław Kosiba, clarinet (Victor 80475, 1927). Youtube: https://www.youtube.com/watch?v=MDyI0WV6gEk

Fig. 4.1. Grainger has an arm around the singer’s shoulders and directs his face toward the horn of the phonograph.

Postcard photograph of Percy Grainger and Evald Tang Kristensen recording Danish Folk Singer Jens Christian Jensen

From Chapter 4

Fig. 4.1. Postcard photograph of Percy Grainger and Evald Tang Kristensen recording Danish folk singer Jens Christian Jensen, 1922. Photographer unknown. Grainger Museum Collection, University of Melbourne, 2017/41-1/34. Reproduced by kind permission of the Estate of George Percy Grainger.

Fig. 4.2. Musical transcription of “The White Hare

Grainger’s detailed transcription of “The White Hare’,” sung by Joseph Taylor

From Chapter 4

Fig. 4.2. Grainger’s detailed transcription of “The White Hare,” sung by Joseph Taylor. From “Songs Collected by Percy Grainger,” Journal of the Folk-Song Society 3, no. 12 (May 1908): 189–90.


"The White Hare," sung by Joseph Taylor

From Chapter 4

Example 4.3. Excerpt from "The White Hare," sung by Joseph Taylor. Recorded by Grainger on July 9, 1908. Voice of the People, vol. 18 (Topic Records, 1998).


Open external resource at https://open.spotify.com

“Genç Osman,” performed by the Ankara Radio Folk Music Group

From Chapter 4

Fig. 4.3. Boulton, standing, works a phonograph machine; the Sikvayugak brothers, seated, hold large frame drums.

The Sikvayugak brothers perform as Laura Boulton makes a recording

From Chapter 4

Fig. 4.3. The Sikvayugak brothers perform as Laura Boulton makes a recording. Courtesy of the Archives of Traditional Music at Indiana University.


"The Sheik of Araby," performed by Sidney Bechet's One Man Band

From Chapter 4

Example 4.5. Excerpt from "The Sheik of Araby," performed by Sidney Bechet's One Man Band (Victor 27485-A, 1941). Youtube: https://www.youtube.com/watch?v=cbT3m9JcOIw


Halim El-Dabh, excerpt from “Ta’bir al-Zar” (“The Expression of Zar”)

From Chapter 4

Example 4.6. Halim El-Dabh, “Ta’bir al-Zar” (“The Expression of Zar”). Excerpt under the title “Wire Recorder Piece” on Crossing into the Electric Magnetic (Halim El-Dabh Records, LLC, 2001). Reproduced by kind permission of Deborah El-Dabh.


Pierre Schaeffer, excerpt from “Étude pathétique”

From Chapter 4

Example 4.7 Pierre Schaeffer, excerpt from “Étude pathétique” from Études de bruit, from the album Panorama of Musique Concrète (1948-55) (London: Ducretet-Thomson Records, 1955). Youtube: https://www.youtube.com/watch?v=CTf0yE15zzI, track 5.


Open external resource at https://open.spotify.com

Steven Feld, “Making Sago”

From Chapter 4


Open external resource at https://www.youtube.com

DJ Kentaro, performance recorded at the DMC World DJ Final

From Chapter 4


The Black Madonna, set at Lente Kabinet Festival, 2017

From Chapter 4

Example 4.10. Excerpt from The Black Madonna’s set at Lente Kabinet Festival, 2017. Soundcloud: https://soundcloud.com/dkmntl/the-black-madonna-at-lente-kabinet-festival-2017


Excerpt from Mystère des Voix Bulgares/Angelite, “Guro is Looking for a Bride”

From Chapter 4

Example 4.11. Excerpt from Mystère des Voix Bulgares/Angelite, “Guro is Looking for a Bride.” A Cathedral Concert (Verve World 314 510 794-4, 1988). See also Youtube: https://www.youtube.com/watch?v=XbYCOLhA5GE


Open external resource at https://open.spotify.com

Gel Yano

From Chapter 4

Fig. 4.4. We see a row of women in colorful costumes with a gun pointing at them.

Album cover of “From Bulgaria with Love”

From Chapter 4

Fig. 4.4. Album cover of From Bulgaria with Love, by Mystère des Voix Bulgares. The folk costumes are a ubiquitous part of the choir’s presentation; the gun indicates their origin in a Communist country, which would have been regarded as unsafe and unfree by Western European and US audiences.


Open external resource at https://open.spotify.com

Anatoly Kulaar, “Borbangnadyr with Stream Water”

From Chapter 4


Angelite with Huun Huur Tu and the Moscow Art Trio, “Legend”

From Chapter 4

Example 4.14. Excerpt from Angelite with Huun Huur Tu and the Moscow Art Trio, “Legend.” Fly, Fly, My Sadness (Jaro Records, 1997). Youtube: https://www.youtube.com/watch?v=r0YKDFq_4Uc


Angelite with Huun Huur Tu and the Moscow Art Trio, “Lonely Bird”

From Chapter 4

Example 4.15. Excerpt from Angelite with Huun Huur Tu and the Moscow Art Trio, “Lonely Bird.” Fly, Fly, My Sadness (Jaro Records, 1997). Youtube: https://www.youtube.com/watch?v=PcPm7nyZxOA


Kōsaku Yamada, “Inno Meiji” Symphony, 1

From Chapter 5

Example 5.1. Excerpt near the beginning of Kōsaku Yamada, “Inno Meiji” Symphony. Tokyo Metropolitan Symphony Orchestra, conducted by Takuo Yuasa (Naxos 8.557971, 2007). Youtube: https://www.youtube.com/watch?v=eNrgeL-cSg8


Kōsaku Yamada, “Inno Meiji” Symphony, 2

From Chapter 5

Example 5.2. Excerpt near the middle of Kōsaku Yamada, “Inno Meiji” Symphony. Tokyo Metropolitan Symphony Orchestra, conducted by Takuo Yuasa (Naxos 8.557971, 2007). Youtube: https://www.youtube.com/watch?v=eNrgeL-cSg8


Kōsaku Yamada, “Inno Meiji” Symphony, 3

From Chapter 5

Example 5.3. Excerpt near the end of Kōsaku Yamada, “Inno Meiji” Symphony. Tokyo Metropolitan Symphony Orchestra, conducted by Takuo Yuasa (Naxos 8.557971, 2007). Youtube: https://www.youtube.com/watch?v=eNrgeL-cSg8


Burhan Çaçan, “Dertli Dolap – İlahi”

From Chapter 5

Example 5.4. Excerpt from Burhan Çaçan, “Dertli Dolap – İlahi,” from the recording Ilahiler—Kasideler. Posted by Bayar Müzik on Youtube: https://www.youtube.com/watch?v=-OWREhL-lcs

Adnan Saygun,"Dertli Dolap"

From Chapter 5

Example 5.5. Adnan Saygun,"Dertli Dolap," no. 5 chorale from Yunus Emre. Orchestra of the Ankara State Opera and Ballet Ankara State Opera Chorus, conducted by Hikmet Şimşek (Ankara State Opera A-91.0001, 1991). Translation adapted from Abdur Rahman, https://thecorner.wordpress.com/2018/12/28/dertli-dolap-reflections-on-endless-trouble-is-my-name/, with help from Ali Sait Sadıkoğlu. See also Spotify: https://open.spotify.com/track/6Hc8lkOEx6x3S7M33Rhw4B

We see a large orchestra and choir onstage.

Wer Hat Dich So Geschlagen

From Chapter 5

Example 5.6 Johann Sebastian Bach, chorale "Wer hat dich so geschlagen," from the St. John Passion, performed by the WDR Radio Orchestra and Chorus (Westdeutsche Rundfunk, 2018). Youtube: https://www.youtube.com/watch?v=wCx6cReO5ck


Music on the Move: Superpower interventions during the Cold War

From Chapter 5

Fig. 5.1. Music on the Move: Superpower interventions during the Cold War. This map represents military interventions instigated or supported by superpowers during the Cold War. Map by Eric Fosler-Lussier after Mike Sewell, The Cold War (Cambridge: Cambridge University Press, 2002), 116–17. Further data from J. Patrice McSherry, “Tracking the Origins of a State Terror Network: Operation Condor,” Latin American Perspectives 29, no. 1 (1 Jan. 2002): 38–60; and Gregg A. Brazinsky, Winning the Third World: Sino-American Rivalry during the Cold War (Chapel Hill: University of North Carolina Press, 2017), 231–69. See also Mary Dudziak, War-Time: An Idea, Its History, Its Consequences (New York: Oxford University Press, 2012), 137–56. (See https://doi.org/10.3998/mpub.9853855.cmp.73)

Dmitri Shostakovich, "Song of the Forest"

From Chapter 5

Example 5.7. Excerpt from Dmitri Shostakovich, "Song of the Forests," end of movement 4 and beginning of movement 5, performed by Yuri Temirkanov, the St. Petersburg Philharmonic Orchestra, the St. Petersburg Chorus, and the Boys' Choir of Glinka College. From On Guard for Peace: Music of the Totalitarian Regime (BMG, 1998). Youtube: https://www.youtube.com/watch?v=9mnWfXv8Nqw


Galina Ustvolskaya, Piano Sonata no. 2

From Chapter 5

Example 5.8. Excerpt from Galina Ustvolskaya, Piano Sonata no. 2, first movement, performed by Marianne Schroeder (HAT HUT records, 2017 [2010]). Youtube: https://www.youtube.com/watch?v=a87Tn2V2uvA


Pierre Boulez, "Structures 1a"

From Chapter 5

Example 5.9. Excerpt from Pierre Boulez, Structures Ia (1952), third movement, performed by Alfons and Aloys Kontarsky (Wergo WER 6011-2, reissued 1992). Youtube: https://www.youtube.com/watch?v=EmErwN02fX0&t=220s

Three men in black folkloric costumes dance on a large stage.

Kalmyk Dance

From Chapter 5

Example 5.10: Excerpt from Igor Moiseyev State Academic Dance Ensemble, "Kalmyk Dance." Youtube: https://www.youtube.com/watch?v=QYShDZ_CEMk

Fig. 5.2. Robeson, a tall and dignified black man wearing a double-breasted suit, with mouth open to sing, is surrounded by a dense crowd of casually dressed men of various skin tones.

Paul Robeson leads shipyard workers in singing the Star Spangled Banner

From Chapter 5

Fig. 5.2. Paul Robeson leads shipyard workers in singing “The Star-Spangled Banner.” National Archives of the United States, via Wikimedia Commons.

"No Party, No New China"

From Chapter 5

Example 5.11 , “No Party, No New China.” From “The Little Red Record,” performed by the Chinese Red Army Choir (FGL Productions, 2002). Youtube: https://www.youtube.com/watch?v=AeK-4_tMPkU

Faye Wong, “Love Without Regrets”

From Chapter 5

Example 5.12. Excerpt from Yuan Wei-Ren and Faye Wong, “Love Without Regrets,” from Love Without Regrets (Hong Kong: Cinepoly CP-5-0091,1993). Translation from Cantonese by Dan Jurafsky. See also Youtube: https://www.youtube.com/watch?v=k18hEJDDyBQ

Grainy video shows dark stage and lively audience. Audience becomes animated as guitarist appears and begins to play.

Cui Jian, "Nothing to my name"

From Chapter 5

Example 5.13. Excerpt from Cui Jian, “Nothing to my name,” live performance at Stanford University, 2008. Video posted by nikitavy on Youtube: https://www.youtube.com/watch?v=jaM_6Z5lcWM Good faith effort has been made to contact the videographer.

A large stage is filled with dancing couples in large sombrero hats or red dresses with flowing skirts.

Jalisco

From Chapter 5

Example 5.14. Excerpt from Ballet Folklórico de México de Amalia Hernández, “Jalisco.” Video posted on Youtube by Van Patto, Youtube: https://www.youtube.com/watch?v=boae26WIeMc Good faith effort has been made to contact the videographer.

In front of a painted backdrop of hills, forest, and sky, dancers are dressed in costumes meant to invoke the indigeous.

Igor Stravinsky, The Rite of Spring

From Chapter 5

Example 5.15. Excerpt from Igor Stravinsky, The Rite of Spring, performed by the Joffrey Ballet, 1987. Youtube: https://www.youtube.com/watch?v=wzrlwfOUCVY

In front of an Aztec-style pyramid, a long line of dancers dressed in fringed tunics trudges mechanically.

Azteca

From Chapter 5

Example 5.16. Excerpt from Ballet Folklórico de México de Amalia Hernández, “Azteca.” Video posted on Youtube by Van Patto, Youtube: https://www.youtube.com/watch?v=boae26WIeMc Good faith effort has been made to contact the videographer.

Wimoweh

From Chapter 6

Example 6.1. Excerpt from Solomon Linda and the Original Evening Birds, "Mbube" (Singer Bantu Records, G.E. 829, 1939). See Youtube: https://www.youtube.com/watch?v=3HWUN-l1sdQ

Homeless

From Chapter 6

Example 6.2. Excerpt from Paul Simon and Ladysmith Black Mambazo, “Homeless,” Graceland (Warner Brothers 9 25447-2, 1986).

Akabonga

From Chapter 6

Example 6.3. Excerpt from Soul Brothers (David Masondo, Moses Ngwenya, and Zenzele "Zakes" Mchunu) performing the song “Akabongi,” Isicelo (originally Munjale Records MUNG 4000, 1983; re-release on Soul Brothers Records CDSBL 1001, 2005). Youtube: https://www.youtube.com/watch?v=Ch2Z_-uOt10

Diamonds on the Soles of Her Shoes, 1

From Chapter 6

Example 6.4. Excerpt from Paul Simon and Ladysmith Black Mambazo, “Diamonds on the Soles of her Shoes,” Graceland (Warner Brothers 9 25447-2, 1986).

Diamonds on the Soles of Her Shoes, 2

From Chapter 6

Example 6.5. Second excerpt from Paul Simon and Ladysmith Black Mambazo, “Diamonds on the Soles of her Shoes,” Graceland (Warner Brothers 9 25447-2, 1986).

Fig. 6.1. Paul Simon sitting at a mixing board in a recording studio, manipulating the controls and listening intently.

Paul Simon at the mixing board

From Chapter 6

Fig. 6.1. Paul Simon at the mixing board. Still from Classic Albums: Paul Simon Graceland (DVD, Eagle Rock Entertainment/Isis Productions, 1997).


Raga Mishra Kafi

From Chapter 6

Example 6.6. “Raga Mishra Kafi” from North India: rudra veena, vichitra veena, sarod, shahnai. Anthology of Traditional Music, UNESCO collection (Auvidis, 1989 [1974]). Used by permission of Smithsonian Folkways Recordings.


Across the Lake of the Ancient World, 1

From Chapter 6

Example 6.7. Excerpt from Terry Riley, “Across the Lake of the Ancient World,” Shri Camel (CBS Records, 1988 [1980]). Youtube: https://www.youtube.com/watch?v=BnAwzu8t_1k


Across the Lake of the Ancient World, 2

From Chapter 6

Example 6.8. Second excerpt from Terry Riley, “Across the Lake of the Ancient World,” Shri Camel (CBS Records, 1988 [1980]). Youtube: https://www.youtube.com/watch?v=BnAwzu8t_1k


Open external resource at https://open.spotify.com

Music for Violin and Various Instruments

From Chapter 6


Open external resource at https://open.spotify.com

Sometimes

From Chapter 6

Fig. 6.2. A circular illustration with numbers one through seven around the outside of the circle. Lines connect numbers through the inside of the circle.

Braid, generating pattern

From Chapter 6

Fig. 6.2. Barbara Benary, Braid, generating pattern. Gamelan Works, vol. 1, The Braid Pieces ([New York]: Gamelan Son of Lion, 1993), 2. The numbers refer to the degrees (step numbers) of the seven-note scale.


Braid

From Chapter 6

Example 6.11. Barbara Benary, “Braid,” performed by Gamelan Son of Lion, The Complete Gamelan in the New World (Folkways FTS 31312, 1982 [1979]). Used by permission of Smithsonian Folkways Recordings. See also Youtube: https://www.youtube.com/watch?v=WPvJRy1Yanw&list=PLwiBRoSc5aNryUBJoA5R1PovFJnFwbYLe&index=13


Come Out

From Chapter 6

Example 6.12. Excerpt from Steve Reich, “Come out,” Reich Remixed (Nonesuch PRCD 8762P, 1999 [1967]). See also Youtube: https://www.youtube.com/watch?v=aVXc9Veo_B8


Open external resource at http://www.ragasurabhi.com

Raga Lalitha

From Chapter 6


Open external resource at http://www.ragasurabhi.com

Raga Ahiri

From Chapter 6


Janani

From Chapter 6

Example 6.15. Asha Srinivasan, Janani, saxophone version, performed by Michael Mizrahi, piano; and Sara Kind, Jesse Dochnahl, Will Obst, and Sumner Truax, saxophones. Recording provided courtesy of the composer.

Man, seated, plays the tambura and sings.

Tamboura

From Chapter 6

Example 6.16. B. Balasubrahmanian, “Tambura (N. Indian),” Wesleyan University Virtual Instrument Museum, https://www.youtube.com/watch?v=vZ7OaaNmmWk.

Hands with long black fingernails scrape the strings inside an open piano.

The Banshee

From Chapter 6

Example 6.17. Henry Cowell, “The Banshee,” Sonya Kumiko Lee (piano), film by Johnny Kwon. Used by permission.

Women dressed in saris sit side by side, playing reed instruments. Male drummers play to either side of them.

Nagaswaram

From Chapter 6

Example 6.18. Excerpt from “Nagaswaram or Nadaswaram,” Nagaswaram performance at Thirugukkungudi in Tamil Nadu. Performers not named. Video posted on Youtube by indiavideo.org, https://www.youtube.com/watch?v=qy8zxmhLrAo Good faith effort has been made to contact the videographer.

Close-up of Johnny Hodges playing saxophone solo in front of big band (band not visible).

I Got It Bad

From Chapter 6

Example 6.19. Excerpt from Duke Ellington and Johnny Hodges, “I Got it Bad,” 1958 videorecording. Duke Ellington Live in ’58, (DVD, Reelin’ in the Years Productions, 2007). For a longer clip see Youtube: https://www.youtube.com/watch?v=K0dYqCcXK3A

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