Manuel de Sumaya, Lamentations of the Prophet Jeremiah
From Introduction
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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
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.
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
From Chapter 1
Fig. 1.2. Cyclical pattern in Central Javanese ladrang form. Adapted with permission from Henry Spiller.
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
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
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
From Chapter 1
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.
From Chapter 1
Example 1.7. Claude Debussy, "Pagodas," performed by Sally Pinkas, Dartmouth College, 2014. Used by permission.
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.
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.
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.
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.
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)
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.
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
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
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
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
From Chapter 2
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
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.
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.
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.
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.
From Chapter 2
Example 2.11. Joci Pápai, “Origo,” Eurovision Song Contest 2017. Courtesy of Eurovision. Youtube: https://www.youtube.com/watch?v=2stjsoO0NfM
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)
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.
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.
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.
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
From Chapter 3
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.
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.
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)
From Chapter 3
From Chapter 3
From Chapter 3
Example 3.11. Florence Price, "Fantasie nègre" (Black fantasy), performed by Samatha Ege. Used by permission.
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.
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
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
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. 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.
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).
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.
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
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.
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.
From Chapter 4
From Chapter 4
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
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
From Chapter 4
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.
From Chapter 4
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
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
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
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
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
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
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
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
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)
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
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
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
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. Paul Robeson leads shipyard workers in singing “The Star-Spangled Banner.” National Archives of the United States, via Wikimedia Commons.
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
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
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.
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.
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
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.
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
From Chapter 6
Example 6.2. Excerpt from Paul Simon and Ladysmith Black Mambazo, “Homeless,” Graceland (Warner Brothers 9 25447-2, 1986).
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
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).
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).
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).
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.
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
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
From Chapter 6
From Chapter 6
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.
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
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
From Chapter 6
From Chapter 6
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.
From Chapter 6
Example 6.16. B. Balasubrahmanian, “Tambura (N. Indian),” Wesleyan University Virtual Instrument Museum, https://www.youtube.com/watch?v=vZ7OaaNmmWk.
From Chapter 6
Example 6.17. Henry Cowell, “The Banshee,” Sonya Kumiko Lee (piano), film by Johnny Kwon. Used by permission.
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.
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