Music on the Move

Fosler-Lussier, Danielle

doi:doi:10.3998/mpub.9853855

Music on the Move

Danielle Fosler-Lussier 2020

Open access version made available with the support of The Ohio State University Libraries, as part of the TOME initiative

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.

ISBN(s)

978-0-472-90128-9 (open access)
978-0-472-07450-1 (hardcover)
978-0-472-05450-3 (paper)

Subject

Music

Citable Link

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

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

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