Tag Archives: music

Langston Hughes: Collector and Fierce Champion of Jazz

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Portrait of Langston Hughes by Winold Reiss

In an essay titled “The Negro Artist and the Racial Mountain,” Langston Hughes argues that the road to respect in art spaces for black Americans is not to abandon the artistic traditions and tools that belong to them in favor of the aesthetic standards of white Americans and Europeans, but rather embracing them. In making this assertion, he says “…jazz to me is one of the inherent expressions of Negro life in America…,”1 championing jazz as one of these artistic traditions to be embraced and not diminished. 

Hughes’s deep love for jazz remains consistent throughout his writing, evident in a column he wrote for The Chicago Defender in July 1954. The opinion piece is titled “Hot Jazz, Cool Jazz, Deep Blues, and Songs Help Keep Life Lively,” and in it Hughes discusses his personal record collection and taste in music, particularly jazz. He begins by mentioning that “the most restful records to [him] are the ones that make the most noise.”2 Immediately, there is an informal, familiar tone which makes the reader feel like they’re having a conversation with Hughes as he shares his favorite records when he asks the reader “Do you mind?” that he loves loud music.3 He jokingly laments about how most of his records are on loan to friends and family or “accidentally cracked up,” making himself relatable and accessible to the reader before sharing his opinions.4 His love for particularly women jazz musicians such as Mae Barnes, Bessie Smith, etc. shines through in just how evenly they are represented alongside Duke Ellington and Thelonius Monk in the article. 

He then moves into a defense of jazz as a wealth of education when he states “If you haven’t heard Mae Barnes sing… you need to go back to school and take up race relations.”5 He goes on and lists records he deems essential, and compares them to classic literature, implying that each jazz song holds equivalent learning to these cornerstones of the Western European canon. “Backwater Blues” contains the knowledge of the Book of Job. Ma Yancey’s “How Long, How Long” can only be substituted by the sum of Thomas Mann, Proust, Dostoyevsky, Gide, Hemingway, Tolstoy, McCullers, Ellison, and Faulkner.6 Comparing these records to texts that are widely considered to be required reading by many pretentious academics is an effective strategy, especially because each of these songs only takes a few minutes to listen to, while these books take hours and hours of time to read. Hughes’s assertion that all of that can be communicated by the language of jazz music emphasizes just how important he believed it to be. 

It’s rather an interesting strategy that refers back to his perspective in “The Negro Artist and the Racial Mountain.” In the essay, he laments about a young black poet who had expressed that he “want[s] to be a poet–not a Negro poet.”7 Throughout the essay he discusses a greater trend that he observes where young black people are discarding black art in favor of mainstream, white, Euro-centric art and aesthetic values. He plays to the desire to conform and assimilate to whiteness by repeatedly describing individual jazz songs as more powerful than huge swaths of the European canon, calling in this opinion article on jazz for the young black people who read The Chicago Defender to treat the jazz repertoire the way they treat classic literature.

1 Langston Hughes, “The Negro Artist and the Racial Mountain,” in Keeping Time: Readings in Jazz History, ed. Robert Walser (New York ; Oxford: Oxford University Press, 1999), 56.

2 Hughes, LANGSTON. “Hot Jazz, Cool Jazz, Deep Blues, and Songs Help Keep Life Lively.” The Chicago Defender (National Edition) (1921-1967), Jul 03, 1954. https://www.proquest.com/historical-newspapers/hot-jazz-cool-deep-blues-songs-help-keep-life/docview/492945618/se-2.

3 Ibid.

4 Ibid.

5 Ibid.

6 Ibid.

7 Hughes (1999), 55.

Copland, the Writer, On Jazz

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Aaron Copland was not just a prolific composer, but also wrote extensively about both his own works and his contemporaries. In a preface to a collection of his writing, he’s described as having “epitomized the ideal of the composer-writer” in his career.1 He also wrote about trends and occurrences in music, particularly American music. One example of this is a short essay from 1927 titled “Jazz Structure and Influence.” 

In the essay, Copland aims to contribute to analytical and critical writing about jazz, a field of study which had just begun to emerge. The essay’s general thesis argues that jazz’s main contribution to music as a whole is its rhythmic innovations. He begins by consulting a few different sources for a definition of jazz, including composer Virgil Thomson and music critic Henry O. Osgood’s book, So This Is Jazz. Both of the definitions emphasize rhythm, and the central function of “‘a counterpoint of regular against irregular beats.’”2

Copland continues to build on these assertions by pinpointing a particular type of syncopation that is unique to jazz. He traces the development of this jazz rhythm through spirituals, ragtime, and the foxtrot. He asserts that “Modern jazz began with the fox trot,”3 and identifies a specific rhythmic motif, pictured below. By putting it over four quarter notes, “the play of two independent rhythms…” creates “a molecule of jazz.”4 He clarifies later that polyrhythms themselves were not invented by jazz, but that “the polyrhythms of jazz are different in quality and effect… The peculiar excitement they produce by clashing two definitely and regularly marked rhythms is unprecedented in occidental music.”5

The “molecule of jazz” pictured in Copland’s essay.

Copland then moves into an analysis of the ways in which this identifying aspect of jazz has “achieved a new synthesis in music.”6 This is also where his rhetoric begins to feel problematic for a modern day reader. Copland posits several times that jazz is “so difficult for ordinary ears” that these polyrhythms only appear a few measures at a time in contemporary music, and goes on to credit Gershwin as having written the “most original jazz song yet composed.”7 These statements indirectly communicate a belief that jazz’s rhythmic complexity places it above music “developed among primitive races.”8 Also, he places a white man at the pinnacle of achievement in a genre that he even describes as having Black (specifically African-American) origins. He provides some nuance when he argues that European composers have “exploited it as an exotic novelty.”9 However, his concluding statements describing jazz as “indigenous, music an American has heard as a child,” and encouraging American composers to draw on it as a musical resource, are ignorant of the actual Indigenous music of the Americas, as well as the institutional racism in America that complicates the use of jazz by white composers as inspiration and source material.10

1 Kostelanetz, Richard. “Preface.” In Aaron Copland: A Reader : Selected Writings 1923-1972, by Aaron Copland. New York: Routledge, 2004.

2 Copland, Aaron. “Jazz Structure and Influence.” In Aaron Copland: A Reader : Selected Writings 1923-1972. New York: Routledge, 2004, 83.

3 Ibid, 84.

4 Ibid, 85.

5 Ibid, 87.

6 Ibid, 85.

7 Ibid, 86.

8 Ibid, 86.

9 Ibid, 87.

10 Ibid, 87.

Government Documents for Indian Boarding Schools

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It can be said that the worst outcomes come from the best of intentions. Of course, we look back in history and find that the definition of ‘best’ is thoroughly different between cultures, backgrounds, classes, races, etc. And obviously, if one were to take the extremely low-hanging fruit, it requires an impressive amount of logic leaps to find the ‘best intentions’ in some of the greatest historical tragedies, such as the Holocaust, any number of catastrophic wars, or the Trail of Tears.

While the history of Indian boarding schools is undoubtedly tragic, the discussion of the goals behind them is surprisingly frank and positive. As a report from a member of the Advisory Council on Indian Affairs to the Secretary of the Interior (one who had the fantastic decency to write his name in an illegible scrawl at the end of his letter to said Secretary of the Interior, at the time Hubert Work; I therefore have absolutely no idea who wrote thing beyond this) notes that the primary goal is to “place the American Indian… upon the same basis as the rest of our citizenship, politically, intellectually, and industrially…” with the disturbance of “community life or tribal or family relationships” no more “than a growing degree of general participation in economic and… political affairs has interfered with… the Negro…”1

An excerpt from page 2 of a letter written to the Secretary of the Interior Hubert Work

Piercing through the incredible wordiness of this statement, it is perhaps difficult to gauge the true opinion of the report’s author. There is much wiggle-room presented in the goal, particular in the definition of an appropriate level of disturbance, but there does not seem to be explicit mention of disrupting family groups, of squashing heritage, and the like. Indeed, the report author notes that “the average American Indian should be educationally as well equipped and as self-reliant and self-sufficient as the average citizen of any other racial descent.”2 A noble goal, if not for the fact that the peoples in question had been self-reliant for well before the arrival of Europe in the New World.

Turning attention to the boarding schools established for the purposes of educating American Indians to the degrees mentioned above, analysis of their curriculum identifies that a significant amount of effort seems to have been put in to ensure a full coverage of all subjects, in science, history, math, and more. One example from the Office of Indian affairs, prepared for use throughout the Indian school service in 1915, dedicates 30 pages in its curriculum overview to Industrial work and over 130 pages to various vocational studies (trade, agriculture, home economics, nursing, etc)3.

A excerpt from the table of contents from curriculum proposed for American Indian students. Note the wide variety of topics available, especially relating to ‘practical’ work.

A section is, of course, dedicated to music. Although there is attention given to the coverage of ‘good’ music (which is something that many others have covered, I will therefore not beat a dead horse), interesting emphasis is placed on proper vocal techniques. Notes to have a “light, pure tone”, with special exercises for “preventing huskiness” and “the elimination of monotones” in the lower grade levels, perhaps were included specifically to ‘correct’ vocal styles that are used for Native American singing 4.

A excerpt from the table of contents from curriculum proposed for American Indian students. A guideline for vocal standards lays out what to prioritize while singing.

For example, in an analysis of different pow-wow singing styles, it is noted that the Great Lakes style uses a “medium-high voice, often with a gravelly or rough timbre” while in both the Great Lakes and Midplains style the women’s part is described as “high and tense”.5 These assertions are difficult to confirm, as during the early 20th century musical analysis of Native American styles was in its infancy, and unfortunately there is little literature that refers directly to behaviors or tendencies that need to be prevented (which would have been an obvious indicator of this type of connection), but the possibility of a link is still there.

In conclusion, this serves as a slightly different approach, as I was surprised to see that reports regarding Native Americans in the 20th century were not as overtly hostile as I might have suspected, going from history. This, of course, could entirely be fancy political language, and there is the additional factor of the majority not understanding the minority and wishing to impose upon them an idea of ‘correctness’, but I found it interesting regardless.

Works Cited:

1 Member of the Advisory Council on Indian Affairs, Report on Indian Affairs (United States Government, 1923), 1-2. Retrieved from American Indian Histories and Cultures https://www.aihc.amdigital.co.uk/Documents/Images/Ayer_MS_668/3#Chapters (accessed Oct 26, 2023).

2 Ibid

3 Department of the Interior (Office of Indian Affairs), Tentative Course of Study for United States Indian Schools (Washington D.C: Government Printing Office, 1915), Table of Contents. Retrieved from American Indian Histories and Cultures https://www.aihc.amdigital.co.uk/Documents/Images/Ayer_386_U5_1915/5 (accessed Oct 26, 2023).

4 Dept. of Interior, Tentative Course of Study, 111-113.

5 Tara Browner, Judith Vander, et al., Music of the First Nations: Tradition and Innovation in Native North America (University of Illinois Press: 2009), 137-138. Retrieved from https://ebookcentral.proquest.com/lib/stolaf-ebooks/reader.action?docID=3413835&ppg=147 (accessed on Oct 26, 2023).

Music Education and Forced Assimilation at United States Indian Boarding Schools

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The first off-reservation boarding school in the U.S. for Indigenous students, Carlisle Indian Industrial School, was founded in 1879 by Henry Richard Pratt in Pennsylvania. The founding of the school was overseen by President Rutherford Hayes, under the Indian Civilization Act (ICA), that incentivized the so-called “civilized” education of Indigenous children. Carlisle’s strict, military-style modes of discipline and focus on vocational training that funneled students directly into underpaid manual and domestic labor jobs became a blueprint for several such boarding schools across the country.1

Since the recent archeological discoveries of mass graves at the former sites of these schools across the US and Canada, the legacy of these institutions designed to “kill the Indian, save the man,” in Pratt’s words, is being examined again with a mind towards restorative justice, acknowledging how these modes of “education” and assimilation were not just physically violent, but also mentally and spiritually violent.2

One would not necessarily expect music to play a central part in the violent assimilationist education of these boarding schools, but a 1915 book giving detailed instructions, down to how much time in the school day should be spent on a subject, for boarding school curriculum suggests otherwise. The book features a chapter outlining the music curriculum, which is extremely telling of the strict assimilationist thinking that was the guiding force for these boarding schools. 

The first paragraph seems innocent enough, touting the broader educational benefits of music training, but it quickly takes a turn. The author(s) of this guide state that the first step in a proper musical education is “to permit the pupils to hear only good music.”3 What exactly they mean by “good,” is quickly outlined by a long list of operas such as Aida and William Tell, as well as works from the Western classical canon by composers such as Mozart and Haydn. They also add that “Patriotic songs, as ‘The Star Spangled Banner,’… should, of course, receive special attention.” 4

Repertoire suggestions in 1915 book.

Following these narrow and purposefully Euro-centric repertoire guidelines, the author(s) go on to list aesthetic guidelines for the training of the pupils’ voices. The very first rule stated is “Always insist on a good, smooth, sweet, light, pure tone.”5 Soon after that, it’s also stressed that the pupils “Pronounce all words clearly, so that a listener can understand them.”6 These two guidelines emphasize the enforcement of Euro-centric standards for musical training, as well as complete assimilation to the English language and abandonment of Indigenous aesthetics and language.

With strict guidelines to teach and enforce the European classical canon as the musical ideal, Indigenous children, often as young as four years old, were completely cut off from not only their home and family, but also the musical culture they would have otherwise been surrounded by and raised in. The violence lies not only in hundreds of deaths of children that were torn from their homes, but the systematic way in which they had their culture and traditions torn from them, and the Indigenous music and languages that were lost in the process.

1 Ferris, Jeanne. 2021. “‘LET THOSE Children’s Names BE KNOWN’: THE PARADOX OF INDIAN BOARDING SCHOOLS.” News from Native California 35 (2): 26–32. https://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=154090702&site=ehost-live.

2 Ibid.

3 Bureau of Indian Affairs. 1915. Tentative course of study for United States Indian schools. Prepared under the direction of commissioner of Indian affairs. Available through: Adam Matthew, Marlborough, American Indian Histories and Cultures, http://www.aihc.amdigital.co.uk/Documents/Details/Ayer_386_U5_1915 [Accessed October 26, 2023].

4 Ibid.

5 Ibid.

6 Ibid.

Black Newspaper Critics and Bluegrass

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In March of 1969, the Osborne Brothers, a bluegrass duo from Kentucky, released a record called “Yesterday, Today and the Osborne Brothers.” The album was half vintage, half contemporary bluegrass tunes, including re-recordings of the duo’s greatest hits. The same month, a review of this album appeared in The Minority Report, which was an underground African-American newspaper based in Dayton, OH. The reviewer, Mike Hitchcock, was writing during the time of the folk revival of the mid-20th century, and he notes this in the opening paragraph: 

“The latest issue of Rolling Stone…is chock full of stuff about bands like Pogo,…Crosby, Nash and Stills, and the word from people on the West Coast is that country music is rapidly becoming where it is at.”1

Hitchcock does clarify, though, that he doesn’t believe the Osborne Brothers are “happening” yet, and are rather on their way to reaping the benefits of this folk revival.2 The review is framed as an early discovery of this up and coming group (though they had been well established in bluegrass as a genre), and credits the largely black readership of the newspaper with being a driving force in a bluegrass revival, due to the genre’s roots. 

Bluegrass Discography: Viewing full record for Yesterday, today & the Osborne Brothers

Cover of ‘Yesterday, Today & the Osborne Brothers’

One of the main ways Hitchcock does this is through his emphasis on the live performance aspect of the genre of bluegrass. He recounts how one of the more traditional songs on the record is “the kind of thing you used to hear at the Ken-Mill when all the boys were too drunk to fight anymore and not drunk enough to go home and somebody would put a quarter in the request box…”3 Demonstrating the community aspect of this genre is how Hitchcock asserts it as popular and integral for his reader base, which are largely Black Midwesterners.

His focus on the communal roots of bluegrass music being evoked through traditional songs that are recorded for a commercial audience contrasts the condescending reaction to bluegrass from the wider public that he observes. The example given by Hitchcock involves general condescension at the University of Chicago Folk Festival, where bluegrass was described as “quaint and ethnic.”4 To Hitchcock, this is precisely the reason that although they are making progress towards popularity, bluegrass musicians are still largely not considered “hip.” He directly ties this to the socioeconomic and racialized origins of bluegrass when he asks the rhetorical question: “After all, what do [n-words] and hillbillies know about music?”5

In addressing the fact that bluegrass is a music traditionally enjoyed and made by Black people and poor White people, and yet is on the rise in universal popularity contrary to previous resistance at the idea, Hitchcock is documenting an important cultural dialogue around folk and popular music. We now craft arguments such as his to give equal stake in the popularity and commercial uses of bluegrass to all who were/are the originators and curators of the genre.

1“The Osborne Brothers. Buy a Nickel of Bluegrass Baby.” Minority Report (Dayton, Ohio) 1, no. 4, March 15, 1969: 5. Readex: African American Newspapers. https://infoweb.newsbank.com/apps/readex/doc?p=EANAAA&docref=image/v2%3A12A7ECD8048E2975%40EANAAA-12BA755320D4E840%402440296-12BA7553513015E0%404-12BA7553CDFFFFE8%40The%2BOsborne%2BBrothers.%2BBuy%2Ba%2BNickel%2Bof%2BBluegrass%2BBaby.

2 Ibid.

3 Ibid.

4 Ibid.

5 Ibid.

Looking a little deeper

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It was said in a keynotes speech by Rhiannon Giddens, a solo artist and 2016 Steve Martin Prize for Excellence in Bluegrass and Banjo recipient, that bluegrass started as a combination of different styles and peoples coming together to make a unique sound. However, she laments that in the modern day, the words ‘bluegrass’ and ‘hillbilly’ lead to a particular image in everyone’s mind. Even looking back at a photograph of Bill Monroe, known as the father of Bluegrass, you can see where the ideas come from.

An image of Bill Monroe at Take it Easy Ranch in Callaway, Maryland. The above image is taken the Smithsonian, however the much smaller original can be found at the Library of Congress. 

Remaining both casual and semi-professional, the dress code hasn’t changed that much. Neither has the association with ranches, the country, and folk music. However, it’s origin story certainly has been altered.

One modern image, described by Rhiannon, sums this perfectly: “that while black folk were singing spirituals and playing the blues, white folk were do-si-do-ing and fiddling up a storm – and never the twain did meet…” However, Rhiannon goes on to explain how this is certainly not the case. How, primarily due to the record companies attempting to market towards specific groups, specific sounds were sought for their records. Blacks go the blues, as that seemed to be popular, while the ‘hillbilly’ label was created for whites, with all relevant music being shuffled under it, regardless of true origin.

I’m not hear to recount Rhianna’s entire address, you can go read it yourself; it’s quite interesting. I merely wanted to bring attention to a display at the Kentucky Bluegrass Museum, located in Owensboro, with a quote from Bill Monroe himself on it.

A display in the Kentucky Bluegrass Museum, to honor the words and memory of Bill Monroe.

This isn’t a hidden display. In fact, it’s located one of the largest Bluegrass Museums in the country, which holds regular Bluegrass programs and hosts many exhibits regarding the genre. The quote itself is pretty on the nose, talking about how many things came together to make Bluegrass, not just ‘white’ music. So perhaps, if you could take a couple seconds, look into history and see what the man himself had to say about the thing he’s said to have created, it would save a bit of time on everything.

References

Giddens, Rhiannon. 2017. “Keynote Address”. Transcript of speech delivered at the IBMA Business Conference, Raleigh, NC, September 26, 2017. https://ibma.org/rhiannon-giddens-keynote-address-2017/.

Horenstein, Henry. Bill Monroe, Take It Easy Ranch, Callaway, Maryland. Photograph: inkjet print on foam core. Library of Congress Call Number LOT 15174, no. 70 (FM – MCD size) [P&P]. 1973. https://www.loc.gov/pictures/item/2021643190/.

Highsmith, Carol M. Display honoring the music, and thoughts, of Bill Monroe… Photograph: digital. Library of Congress Call Number LC-DIG-highsm- 63909 (ONLINE) [P&P]. July 14, 2020. https://www.loc.gov/pictures/item/2020722249/.

Why music?

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Every decade or so, a different approach to analyzing music comes around, each trying to explain what it is about the idea that develops independently and uniquely across every culture. We’re asked regularly to consider “What is music?” or “Why is music?” as performers, in order to better understand our own art form and convey… whatever we’re trying to in our musical attempt.

Pleasure is something that the author S. ruminates on. As they wrote their letter to the editor of The Monthly Magazine, and the American Review with nothing more substantial for a signature, their identity is entirely up for question. This is not uncommon; the magazine was compiled from letters to the editors, commentary, and bits of philosophic thoughts about all sorts of topics ranging from orations of American Independence to church sermons to shavings (it is quite an interesting read). Specifically, S. focuses on the pleasure of music and where it originates from: the notes themselves or the ideas they incite? S. goes out of their way to talk about how “simple sounds are agreeable or disagreeable according as the vibrations they produce in the ear arrive at, or are above or below the pleasure point of action”1, which can be summarized by the following example:

 

For those still confused, S. is essentially theorizing that some sounds are just naturally terrible, that there exists an invisible bar that denotes the bare minimum of human tolerance, and that no sounds below it can exist with any form of musicality. They are, in essence, pointing out these sounds for the only purpose of ignoring them, as nails on a chalkboard (or anything similar) perhaps should never be included in a musical composition.

Therefore, the primary part of S’s argument focuses on ideas that music incites. They theorized that music acts as the starting domino in a long chain, setting off a cascade of ideas. When listening to a piece of music that perhaps invokes ideas of mountain rivers and chirping birds, it is actually the listener that is giving the song those meanings, even if it had been composed with the intent to inspire such ideas. S. notes this is extremely obvious with national music, citing a “Swiss Air that is forbid even to be played to their troops in foreign service, as it always produces the most unrestrainable desire to return [home].” Yet of course, if one has no particular love for the Swiss, they would most likely clap and move right along.

This notion comes to a head with the music of Native Americans. S. discusses this in brief, referring as an example to the Creek nation, which is now known as the Muscogee Nation in Oklahoma, where an observed song contained only three notes. To the unenlightened observer, such ‘music’ would have been laughable, however to those who have somber thoughts of war and strife associated with the slow, despondent melody, there is deeper understanding and shared meaning.

Extrapolating this to class readings and conversations, we return to the idea that ‘everyone lacks context’. When Frances Densmore, an anthropologist and ethnomusicologist, recorded the traditional songs of Native American tribes during the early 1900s and carefully noted their meanings, there was lost context and understanding. In compilations of early colonist opinions regarding native music, there was lost context and understanding (made even worse by the lack of a shared language). Even recorded songs that can be heard in full inspire new domino-chains of thought that perhaps are not what the original composer or culture intended.

This, perhaps, is not a bad thing, as music can be shared between cultures and grow and change with each new person who ascribes meaning to it. But it lends certain doubt to that traditional sentiment: “Music is a universal language”.

Citations:

1. S. 1800. Letter 2 — no title. The Monthly Magazine, and American Review (1799-1800). 02, pg. 85. https://www.proquest.com/magazines/letter-2-no-title/docview/88855456/se-2 (accessed September 21, 2023).

The entire collection (volumes 1-3) can be found publicly available at HathiTrust at the following URL: https://catalog.hathitrust.org/Record/009018879.

Latin American Music and the Argentinian Tango

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There seems to be a major misconception to what the first large wave of Latin American music was in the United States. Many seem to believe that the first large wave was in 1930 with the large wave of immigration from both Cuba and Mexico, this isn’t entirely incorrect. That was a large wave of immigration that brought along music, but the first large foray into Latin music was in 1910. A duo of husband and wife brought over the Argentinian Tango from France.1 Quite the interesting road map… Vernon and Irene Castle were the two that brought the Tango over from France in 1913, confusing right?

“Advertisement: Tango (Tango).” 1977.Vogue, Aug 01, 47.

When the two performed this on Broadway, it was a smash hit and took off immediately.  While it took off in the United States, there was a different version centralized in Buenos Aires, Argentina. The Tango scene in Buenos Aires would seem much different from the United States. The Argentinian Tango is characterized by an emphasis on improvisation and the music that accompanies it. If the dance is not accompanied by Argentinian Tango music, it would not fit the bill.

There is a slight problem with the Tango in the United States, they lack any connection to Argentinian composers or performers. Developments that are seen in Argentina, aren’t seen in the United States. This isn’t all bad, there are some good things that came from this problem. Tango is being used on Broadway more frequently, and there are some *fusions* starting to happen, particularly in the jazz scene. Some of the earliest examples include classics like “A Night in Tunisia” played by Dizzy Gillespie. There are also some new tunes written specifically around Tango, “Tango Land” by Henry C Lodge2 is a perfect example. Listen for the syncopation, it’s a defining characteristic of the Tango.3

Around the 1950’s there was a huge stylistic shift in the jazz community, emphasizing fusion. The Mambo, Rumba, and other Latin influences. This was the golden period for Latin American music. Astor Piazzolla, an Argentine composer, was also taking the world stage at this point. Many took notice of his tango and jazz fusion in a Western classical lens, causing a large upset. The upset aside, the French government awarded him with a grant to come and study with the best, Natalie Boulanger.

The tango was taking the world’s attention, and it wasn’t going to let go. It influenced many different genres, and even took Broadway by storm. Its influence cannot be denied in the sects of jazz, symphonic rep, opera, dance, and many more.

Citation:

“Advertisement: Tango (Tango).” 1977.Vogue, Aug 01, 47. https://www.proquest.com/magazines/advertisement-tango/docview/904335846/se-2.

Argentine Tango. Directed by Suzanne Reid and Norah Dale Allen. Spirit of Dance, 1996. https://search.alexanderstreet.com/view/work/bibliographic_entity%7Cvideo_work%7C2628254

Denniston, Christine. 2003. “Couple Dancing and the Beginning of Tango.” Www.history-of-Tango.com. 2003. http://www.history-of-tango.com/couple-dancing.html.

Kozhevnikova, Evgeniya. (2019). “The Boundaries of Modern Jazz Composition: Interaction between Tango and Jazz Music” master’s Theses. 4727.

León, Javier F. “South American Music in the United States.” In The American Mosaic: The Latino American Experience, ABC-CLIO, 2023. Accessed September 18, 2023. https://latinoamerican2.abc-clio.com/Search/Display/1329969.

Muñoz, Cristina K. “Tango.” In The American Mosaic: The Latino American Experience, ABC-CLIO, 2023. Accessed September 18, 2023. https://latinoamerican2-abc-clio-com.ezproxy.stolaf.edu/Search/Display/1329987.

1León, Javier F. “South American Music in the United States.” In The American Mosaic: The Latino American Experience, ABC-CLIO, 2023. Accessed September 18, 2023. https://latinoamerican2.abc-clio.com/Search/Display/1329969.

2Kozhevnikova, Evgeniya. (2019). “The Boundaries of Modern Jazz Composition: Interaction between Tango and Jazz Music” master’s Theses. 4727.

3Denniston, Christine. 2003. “Couple Dancing and the Beginning of Tango.” Www.history-of-Tango.com. 2003. http://www.history-of-tango.com/couple-dancing.html.

Do I dare say the benefits of minstrel music?

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Defining American music. What is the definition of American music? There are several answers, it’s not quite black and white. Minstrel performances are one major “art form” that I believe influenced American music today.

As is well known, minstrel shows performed by white people were designed to exploit and mock black people rather than to showcase their music. However, one could argue that black minstrel shows, such as Richards and Pringle’s Famous Minstrels, and minstrels in general could have influenced American music somewhat positively.

1

2

The two above images relate Richard’s & Pringles Famous Georgia Minstrels. Richards & Pringles Famous Georgia Minstrels was a black group of entertainers. They first started performing in 1879 and performed for over 20 years with on and off again conductor Frank Clermon. Golds W. Houseley became the conductor of Richards & Pringle’s Famous Georgia Minstrels from 1898 to 1903. An accomplished musician and conductor, as in 1898, he became a solo cornetist for both band and orchestra for the John W. Vogel’s Concert Company which was considered the “best colored band in America” and more. 3
Such an accomplished musician participating in entertainment that previously had made fun of their own culture.

I believe that minstrel shows did help bring spirituals and folk songs to light, even how very controversial they were. One example is Golds W. Houseley. American music started to develop around 1920’s, especially with American and French Music. The National Association of Negro Music was organized in 1919. The goal was to stimulate, discover and foster talent, mold taste, promote fellowship, and advocate racial expression. 4

5

Stephen Foster was a white composer who merely imitated folk styles. He is given credit for implementing the romantic image of the Old South in American popular culture. He was the most popular product of the minstrel school of songwriters and continued to bring forward folk music to the classical world.

Will S. Hays is another prolific songwriter whose lyric themes are highly reminiscent of Stephen Fosters. The song “Little Old Log Cabin in the Lane” is a long staple of country music. It was also commonly heard in minstrelsy depicting sadness of a poor old slave.6

How racist and profitable minstrel shows were, they helped develop American music by bringing attention to them and their music.

 

1 https://www.loc.gov/pictures/resource/var.0233/

2Richards and Pringle’s famous Georgia minstrels : headed by the great and only Billy Kersands, traveling in their own $10,000 hotel car. (0 C.E.). [Advertisements, Hand coloring, Promotional materials]. https://collections.library.yale.edu/catalog/16700125.

3Schwartz, Richard I. “The African American Contribution to the Cornet of the Nineteenth Century: Some Long-Lost Names.” Historic Brass Society Journal 12 (2000): 75-76.

4 Samuel Floyd, Jr. “Introduction,” Black Music in the Harlem Renaissance, 14.


5Schwartz, Richard I. “The African American Contribution to the Cornet of the Nineteenth Century: Some Long-Lost Names.” Historic Brass Society Journal 12 (2000): 76.

6Malone C., Bill, Stricklin, David. “Southern Music/American Music.” The University Press of Kentucky. 2003. Pg. 23-24.

 

What Minstrelsy Means For American Identity

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In my research of black minstrel troupes, it has become obvious that American pop culture is infused with references to minstrelsy. Although this influence becomes obvious when it is pointed out, I would like to propose a claim that might not be as readily accepted. Not only is minstrelsy heavily involved in American media, the influence of the minstrel show is a pillar of American art and media. In other words, elements of minstrelsy actually contribute to what it means for a piece of media to be “American”.

The American-ness of the minstrel show and minstrel influences can be seen in the perception of the minstrel show from audiences abroad. In my own mapping of black minstrel shows, I noticed very quickly that these shows were mostly plotted in the U.S. Perhaps this article posted in the Freeman newspaper might give more insight into why that is.

This article posted in the the Freeman in Indianapolis, Indiana on February 8, 1902 titled “The Negro Performer Abroad” explains how the minstrel show was not well received abroad. The article writes: “The English and Australians, by the way, are very austere and reserved as regards the manner of entertainment of histrons, therefore that which we here consider clever, they, over there regard indifferent and treat with almost heartless disdain. Little wonder then that early Negro minstrels met a cold reception and proved a ‘frost’”. 1

This indifferent reception shows us the extent to which American media and humor differentiated from that of Europeans and Australians. In other words, this humor is strictly American. 

We can see this inclusion of minstrel influences as well in other forms of media such as animation in more sinister, more blatant ways. For example, in Ammond’s book “Birth of an industry: blackface minstrelsy and the rise of American animation” he argues that certain characters, such as Mickey Mouse, carried “all (or many) of the markers of minstrelsy while rarely referring directly to the tradition itself”. 2 For example, in this video of the first Disney animation “Steamboat Willie”, we see that Mickey is whistling a minstrel tune and also wears the distinctive white gloves worn by minstrel performers.

 

 

These examples of the influence of minstrelsy on American media show how truly interlaced it is with American identity. The inclusion of minstrelsy can really be seen as a staple of American identity. Although this fact is incredibly troubling, by understanding its implications, we can begin to uncover and become critical about the nature of American identity itself.

An analysis of works published by T.B. Harms & Co.

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Last week we analyzed some shocking images in the form of sheet music. Printed, sold, and studied sheet music. I was not only floored by the experience of handling such egregious materials containing such ugly content. I was further surprised by the knowledge that “Hello my Baby”, a song sung to me as a child by my mother and the television alike, a song that just earlier that week I referenced in jest, was a minstrel song. The knowledge that minstrelsy is ever present in our present lives is equal parts haunting and infuriating, as with that knowledge comes the inevitable inward analysis required to recognize my place in perpetuating it. This week I decided to the sheet music that spoke to me the most, and go further and analyze those who created this work. Who would make this? Who would sell this? What other egregious and ugly content have they gotten away with making and selling? In doing so, I found the name. T.B Harms & Co. Publishing House.

B. Harms & Co were one of the most notable music distributors in the early 20th century. Founded in 1875 by Alex and Thomas Harms, the distribution company worked to produce music for many notable artists at the time, namely George Gershwin and Cole Porter, among others. In using the Sheet music Consortium to find scores released at the time, I found more striking pieces using racist imagery, writing and art.

Take this for example. This piece, titled “I Want Yer Ma Honey”, is another example of a popular song, similar to “Hello Ma Baby”. The singer sings about waiting an unnamed figure badly, being passionately in love with them, though the text reads as follows: 

“When de banjo’s a-strummin’

And de darkies’ a-hummin’

Den I want yer, ma honey

Yes I do”

Another example shows that the racism and fetishization present in work from T.B. Harms was not exclusive to the black community. An example found from the SMC, titled “Poor Butterfly”, depicts a pulp story of an American soldier sailing to show a waiting Japanese Damsel how to “live and love the American way”, only to leave her stranded where she was found, waiting for her American hero to return. 

These images can be painful to sift through and analyze, but the study of these images and scores not only clues us in to how large this issue was at the time, but also how ingrained this music and its ideals is in our everyday lives. These publishing dates are not that far from our present date, and these musicians weren’t necessarily nobodies. Their tunes remain, their influence lingers, and most importantly, the scars they’ve inflicted aren’t yet healed.

SMC Portal to T.B. Harms’ works: https://repository.duke.edu/dc/hasm?f%5Bpublisher_facet_sim%5D%5B%5D=T.B.+Harms%2C+New+York+%28N.Y.%29

Info on T.B. Harms & Co. : https://biblio.uottawa.ca/omeka1/silentfilmmusiccanada/exhibits/show/warner-chappell-music/t–b–harms—francis–day—hsheet musi

A Closer Look

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Upon approaching research for this week’s blog post, I stumbled across this image in the Library of Congress’ digital archive of images. In the name of the thirst for knowledge, I looked for further images; maybe one that was a more readily used piece of music, or maybe a log of a certain event that might point me towards the cultural events of a given time period. Though educational and truly interesting, I kept remembering the painting of the happy black fiddler and the happy white family and the happy children dancing happily. 

image link: https://www.loc.gov/item/98516820/

The picture’s description as it states in the Library of Congress’ web archive is as follows:

Print shows an African American man playing fiddle and family dancing. It resembles, but is an Americanized variation of, Auguste Dircks (1806-1881) “Dancing to the fiddle” now in the Josef Mensing Gallery, Hamm-Rhynern, Germany. 

The reading of Eileen Southern jumped to the front of my mind. Her reading explores the means of musical practices in the the South during the years of slavery, and the ways that black musicians were often times used as entertainment for white slave owners. With that knowledge, I began to consider the circumstances of this image’s creation, as I was very taken aback by the painting’s lighthearted nature. Certainly a painting depicting a slave and white family happily coexisting to the credit of some fire fiddle music should have been painted by a white person, someone with a stake to try and “paint” the history of black Americans playing music in servitude in a far more positive light. 

Not much is known about August Dircks other than the information that he was German-born and lived from 1806-1871. With the knowledge that this painting was not American born, my viewing of it was altered slightly. Though it is important to mention the African diaspora was not exclusive to the United States, knowing this painting came from a mind outside of the Antebellum South shifted my focus. My attention went toward the black fiddler in the center of the painting, the only character painted who does not have attention paid to his expression. Rather his face is obscured by the fiddle he is being forced to play, looking downward as a slave player like him would likely be privy to not making mistakes when performing for his oppressors. Obscured, ignored, relegated to the painting’s source of joy without the slightest mention of his experience or attitude, this man fades into ambiguity. 

I think that this painting is actually quite interesting, as the experience that I had dissecting its contents is likely the desired experience for Dircks. As a white person in America, the circumstances of my upbringing have predisposed me to ignore the experiences of minority individuals. My white eye went directly to the white family having a good bit of Southern fun, and not the enslaved black man, quite literally playing for his life. This realization is the painting’s purpose, a mirror image towards the viewer’s worldview. 

I don’t know if I did this assignment entirely correctly, but I just had an interesting experience researching this image and was reminded that music research can be flawed as well.

Duval & Hunter, and James Fuller Queen. Power of music / chromo. of Duval & Hunter, Philadelphia ; Jas. F. Queen after A. Dircks. New York: published by A. & C. Kaufmann. Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/98516820/>.

Bias and Sexism in the Search for the Great American Symphony

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When I was working on the readings for our upcoming class, I was perplexed by the choices made in order to procure the definition of ‘American’ music.  It just sounded to me like no one knew what they wanted, criticizing composers for sounding too European while accepting music from foreign enemies into the American cannon over those from marginalized groups of Americans.  Fauser’s and Shadel’s articles do an especially good job in complicating the relationship between American music and European opinion, as the idea that American music must be differentiated in some way came from the Europeans and was put into practice first by Dvorak in his New World Symphony.  This  was so well received that it established the bohemian composer as an authority on African American spirituals, and many adaptations were made from his symphony to be marketed as authentic spirituals.

Goin’ Home: Negro Spiritual from the largo of the New World Symphony by Dvorak, Lyrics by Fisher

Down De Road: From the Largo of the New World Symphony by Dvorak, lyrics by Kagles

A Song of Home: From the Largo of the New World Symphony by Dvorak, Lyrics by Lorenz

I was interested in the portion of Shadel’s article on Amy Beach’s response to Dvorak’s symphony and how she created her own interpretation.  Having been born and raised in America, one would think that Beach would have a leg up on Dvorak in composing American symphonies.  Her Gaelic Symphony, being the first symphony composed by an American woman, fits much of the criteria proposed of the idealized ‘great American symphony’. Meanwhile, Beach’s symphony was not taken seriously by critics due to her gender.  Compared to Dvorak and Chadwick, Beach’s music was described by critics as “delicate”, “beautiful” and “tender”, while “other early reviewers… did not comment at any length on the expression of a national identity given the works clear dialogue with Dvorak” [1].  It was striking that many of the quotes, whether positive or negative, couldn’t help but mention Beach’s gender in relation to the music, while “the most negative critics displayed heightened anxiety over the emergence of a truly valid American symphonic voice capable of speaking to international audiences” [2].  This is what people had been hoping for in the ‘great American symphony’; however, for some, the fact that this voice was coming from a woman was the sole thing rendering the attempt invalid.

Beach Symphony in E Minor, Op. 32 ‘Gaelic’

Follow these links to listen for yourself:

Beach, Symphony in E Minor, Op. 32, “Gaelic Symphony”, I. Allegro con fuoco

Dvorak, Symphony No.9 in E minor, Op. 95, B. 178, “From the New World”, I. Adagio- Allegro molto

Chadwick, Symphony No. 3 in F Major, I. Allegro sostenuto

Chadwick purportedly told Beach after her symphony’s debut, “I always feel a thrill of pride myself whenever I hear a fine new work by any one of us, and as such you will have to be counted in, whether you will or not—one of the boys” [3].

American music has a long history of discrimination on the basis of race, gender, class, etc.  When we think about American music, we must also stop to think about who’s experiences we are validating and invalidating.  Who are we letting participate and why?  We cannot tout the idea of an American “melting pot” of musical culture if different groups are not all respected equally.

_____

  1. Shadle, Douglas W. Orchestrating the Nation : the Nineteenth-Century American Symphonic Enterprise New York: Oxford University Press, 2016.
  2. ibid
  3. Block, Adrienne Fried E. Douglas Bomberger. “Beach [née Cheney], Amy Marcy.” Grove Music Online. 2001; Accessed 16 Oct. 2019. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000002409.

Works Cited:

Beach, Symphony in E Minor, Op. 32, “Gaelic Symphony”

Block, Adrienne Fried E. Douglas Bomberger. “Beach [née Cheney], Amy Marcy.” Grove Music Online. 2001; Accessed 16 Oct. 2019. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000002409.

Chadwick, Symphony No. 3 in F Major

Dvorak, Symphony No.9 in E minor, Op. 95, B. 178, “From the New World”

Dvorak, Antonin and Fisher, William Arms. Goin’ home Negro spiritual from the largo of the New World Symphony, op. 95 Adelaide: Cawthornes Ltd, 1922. Web. 16 Oct. 2019 <http://nla.gov.au/nla.obj-166692271>

Dvorak, Anton and Klages, Raymond, “Down De Road : From The Largo Of The New World Symphony” (1925). Vocal Popular Sheet Music Collection. Score 4824.
https://digitalcommons.library.umaine.edu/mmb-vp-copyright/4824

Dvorak, Antonin, Lorenz, E.J and Gray, Geofrey. A song of home from the Largo of New world symphony : two-part song Melbourne: Allan & Co, 1940. Web. 16 Oct. 2019 <http://nla.gov.au/nla.obj-170769555>

Fauser, Annegret. Sounds of War : Music in the United States During World War II New York: Oxford University Press, 2013.

Shadle, Douglas W. Orchestrating the Nation : the Nineteenth-Century American Symphonic Enterprise New York: Oxford University Press, 2016.

“Naxos Music Library – Invaluable Resource for Music Enthusiasts and Collectors.” Naxos Music Library – Invaluable Resource for Music Enthusiasts and Collectors, https://www.naxosmusiclibrary.com/.

 

The role of the Medicine Man in Native American Music

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A Native American Medicine Man standing beside a sick woman, c. 1870. Photographed by O.C. Smith (American, active 1860s – 1870s).

In almost every Native American tribe, there is a medicine man or healer, as seen in the picture above. These men, and occasionally women, had to go “beyond human power” to use their herbs and chants to heal ailing tribesmen. A medicine man gained his power to heal through dreams, visions, and even during the song, as discovered in class while looking through many primary sources. During visions and encounters with the Great Spirit, healers were told how to heal ailments and advised on which herbs, roots and plants to use, and which to avoid. To aide their power, healers often lived in quiet seclusion to be in tune with nature its power sometimes giving them the name “forest folk”.1 

A traditional medicine mask used to scare off evil spirits and disease in tribe members. https://indianspictures.blogspot.com/search/label/Navajo%20indians

Ely S. Parker, born in 1828, was from the Iroquois tribe and in newspapers, recounts the practices of the medicine man through public and private ceremonies. Native American medicine men treated the sick and ailing in public ceremonies followed by a private meeting. The public ceremony was attended by tribesman of high power and influence and took place over several days. During those public and private healing sessions, the medicine man may have told narratives, chanted, and sing. A “sacred song” is chanted only by one medicine man. If anyone else chants the “sacred song,” it is expected that evil events will follow.2   To further aide him, he may have used tobacco pouches and the herb of choice sent to him by the Great Spirit. There are times when the the medicine man is not able to heal the sick, but this is viewed as the will of the “Great Spirit” who is asked to “guide the red man and choose for his best, always.”

Most songs were accompanied by a regular drumbeat, dubbed as the heartbeat of the Earth, to help calm and relax the sick. Additionally, the drumbeat expanded the mind of the medicine man to the awareness of self and spirit. Other instruments like the rattle, shook away disease, and bells borrowed from Christianity invoked God’s healing power.3  It is told that “he who holds the medicine has time to die.” That is, they can choose their successor because their death is never sudden and “has time to die.” This background of the medicine men’s rituals which were alien and exotic to foreigners such as John Smith helps shed a light on what outside visitors encountered.

1 Hofmann, Charles. American Indians Sing New York: John Day Co., 1967. 46

div id=”sdfootnote1″>

2 Ely Samuel Parker scrapbooks: Vol 11, 1828-1894, © The Newberry Library, 96 http://www.aihc.amdigital.co.uk/Documents/Images/Ayer_Modern_MS_Parker_VL11/55?searchId=c2aa61ad-bbdf-48e6-a160-bba150f8d14e#VisualMaterials

 

1980’s Music Censorship: NWA vs. FBI

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https://www.youtube.com/watch?v=0pu3ByHBeU0

“So police think they have the authority to kill a minority.” -Ice Cube

NWA

In 1988, the famous rap group called NWA received a letter written by Milt Ahlerich, assistant director of the FBI office of public affairs. The letter enveloped the idea that NWA was advocating for violence against local police officers. Later, NWA clarified that their music was not advocating for action, rather reflecting on their personal experiences with police brutality. This letter was perceived by many as a means of artistic censorship, which caused much controversy across the nation. Many people felt that their amendment of free speech was being threatened by the FBI. According to Ahlerich, he felt that he was representing the sentiment of all the police departments across the nation, stating, “I believe my views reflect the opinion of the entire law enforcement community.” Ahlerich was specifically referring to the censorship of the song, “Fuck The Police” which was written by rapper Ice Cube from NWA.

The entire incident reflected the oppression of expression at the hand of the government. Whether the claim was racialized or not, the FBI’s decision to write such a letter actually worsened attitudes among minorities because it showed that the government will censor any form of personal expression. It created an “us vs. them” feeling among many people.

Los Angeles Times journalist Steve Hochman writes this particular article from a 3rd person perspective. When you read the article, you get to hear all sides of the story, including the FBI member, Milt Ahlerich. Ultimately, Hochman does end up including an argument that music should not be censored by government entities by utilizing quotes stated by Danny Goldberg, chairman of the Southern California affiliate of the American Civil Liberties Union and a recording industry executive. The article was written in 1989, which gave the writer some time for more information on the incident to arise, since the letter was sent to Priority Records, the label that represented NWA, in August 1988.

Although this source highlights the overall story from all angles of the issue, there are more articles that may highlight or focus on the controversy that immediately followed the publication of the FBI letter to NWA. This incident surely created some heated debates across the United States, and only brought NWA more recognition for their art. Hearing from those sides would be paired well with this primary source.

 

Sources Cited:

1973eazyme. “N.W.A. vs. the FBI [1989].” YouTube. March 20, 2010. Accessed May 01, 2018. https://www.youtube.com/watch?v=0pu3ByHBeU0.

 

Hochman, Steve. “Compton Rappers Versus the Letter of the Law: FBI Claims Song by N.W.A. Advocates Violence on Police.” Los Angeles Times. October 05, 1989. Accessed April 29, 2018. http://articles.latimes.com/1989-10-05/entertainment/ca-1046_1_law-enforcement.

 

K-Pop’s EXO: Can Music End the War Between the South & North?

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https://www.youtube.com/watch?v=9bZkp7q19f0

 

Oh, does this song ring a bell? Welcome to K-Pop Music and it’s global takeover.

 

Did you know that Korean Artists are hand-picked by entertainment companies and created into full-time, untouchable, superstars? No other country in the world takes their pop music more seriously than South Korea, sorry USA. According to VOX.com, South Korea’s music industry is a $5 billion industry, and is one of the most significant exports from the country. SM is the largest entertainment company in South Korea, and is responsible for growth of some of the most famous K-Pop superstar music acts in the world.

 

In the United States, and everywhere else in the world, an artist needs to work their way up to proving themselves worthy of the attention of either a record label or their own fanbase. Although this happens in South Korea as well, it does not stop there. South Korea has institutions that train the artists to perfect their performances, essentially grooming them to be performing machines. This business model is not utilized anywhere else by any other entertainment industry.

 

Picture of EXO

 

Just to begin, one major artist group from South Korea is EXO, which is a Korean-Chinese boy band. The band 2018 Winter Olympics was the first time that North Korea opened its doors to influence from entertainers outside of their country. EXO was chosen to perform for the 2018 Winter Olympics. How is this significant? Some may argue that having a South Korean band performing in North Korea allows the two nations to relieve a bit of tension. The band is essentially in a position of sociopolitical influence to an extent.

 

https://www.youtube.com/watch?v=UKCKn5RhbAw

 

This leaves me to ask the question: can music heal the tension between two nations at war with one another?

 

After reading up on our history of war, I am left with the impression that it is impossible for music to end war. However, music has played a huge role in empowering people and regenerating cultures of unity in a time of segregation. An example of music uniting a culture amongst the horrors of war was during the Vietnam era. Artists such as Bob Dylan and Phil Ochs helped to develop morality for Americans. Moreover, this particular generation of artists was unique in that they did not aspire to unite American against their wartime rivals, rather to establish harmony and a peace of mind in the midst of confusion, disappointment, and devastation. Music alleviated a culture of people who needed answers.

 

Here is a picture of EXO taken with North Korean dictator: Kim Jong Un

 

Now that South Korean artists EXO, have expelled some of their influence in the Communist North Korea, the culture of entertainment has planted a seed for acceptance of change. EXO has new fans in North Korea. However, will things truly change simply because of a boy band’s historic performance in a Communist country that’s blocked all forms of outside entertainment for over 20 years?

 

Sources:

Officialpsy. “PSY – GANGNAM STYLE(강남스타일) M/V.” YouTube. July 15, 2012. Accessed April 17, 2018. https://www.youtube.com/watch?v=9bZkp7q19f0.

 

Olympic. “EXO at the Winter Olympics – FULL Performance – PyeongChang 2018 Closing Ceremony | Music Monday.” YouTube. March 13, 2018. Accessed April 17, 2018. https://www.youtube.com/watch?v=UKCKn5RhbAw.

 

Romano, Aja. “How K-pop Became a Global Phenomenon.” Vox. February 16, 2018. Accessed April 17, 2018. https://www.vox.com/culture/2018/2/16/16915672/what-is-kpop-history-explained.

 

Sklaroff, Lauren Rebecca. “During Vietnam War, Music Spoke to Both Sides of a Divided Nation.” The Conversation. September 13, 2017. Accessed April 17, 2018. http://theconversation.com/during-vietnam-war-music-spoke-to-both-sides-of-a-divided-nation-83702.

 

Music as a Cultural Weapon: Indian Schools

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Indian Schools were designed by the United States government to eliminate a threat of a generation of people whose predecessors they had slaughtered by assimilating them into the dominant Western culture. Part of this ‘Westernization’ was the role of music in the lives of the students.

1
This text from 1915 is a review of an Indian School in Pennsylvania that had been put in place to train them into the “American” culture. What is of note is the focus on music as a form of entertainment as well as education. Another example is this:

3

As can be seen in this other guidelines of an Indian School, music is a part of the total enculturation of the students. Music had become a cultural weapon with which the United States established it’s authority. Although it never explicitly states the institution’s intention to erase and replace an entire culture, this can still be seen in the rhetoric used. One can read at the bottom of the image that these student associations that management is required to “see that the true purpose of the associations is maintained.” For those managing the school, the true purpose was the study and practice of Western music.

Music in the Indian schools had to fall within the ‘Course of Study’ prepared by the Commissioner of Indian Affairs, who, in 1915 wrote “Music opens the way to a new world of joy.” but a sentence later explains this music must be “only good music” and then lists a series of operas and patriotic music to use.2

All of these examples set up the framework and intention behind the use of music in these institutions. Music was used as a two-pronged weapon to encourage assimilation. On the one hand, it did attempt to increase an appreciation of Western music because then the students would be less inclined to look elsewhere for that fulfillment. At the same time, it worked to ignore and eliminate the multitude of Native American cultures that had existed before it. This was necessary so these students would not have these other cultural practices that could define them and create a distinct identity separate from an “American” that could present a threat against the government.

Music and these schools were a part of the larger cultural narrative that encouraged the supremacy of Western culture over anything that had been produced by the indigenous people before it and created these schools to asset that. These Indian Schools were a powerful tool that used music as a way to eliminate a threat the US Government saw to its power.

1.Carlisle Indian Industrial School. 1915. Catalogue and synopsis of courses, United States Indian School, Carlisle, Pennsylvania. Carlisle: Carlisle Indian Press. Available through: Adam Matthew, Marlborough, American Indian Histories and Cultures, http://www.aihc.amdigital.co.uk/Documents/Details/Ayer_389_C2_C2_1915 [Accessed February 20, 2018].

2. Bureau of Indian Affairs. 1915. Tentative course of study for United States Indian schools. Prepared under the direction of commissioner of Indian affairs. Available through: Adam Matthew, Marlborough, American Indian Histories and Cultures, http://www.aihc.amdigital.co.uk/Documents/Details/Ayer_386_U5_1915 [Accessed February 20, 2018].

3. United States Indian Service. 1913. Rules for the Indian School Service, 1913 / Department of the Interior, United States Indian Service. Available through: Adam Matthew, Marlborough, American Indian Histories and Cultures, http://www.aihc.amdigital.co.uk/Documents/Details/Ayer_386_U5_1913 [Accessed February 20, 2018].

Women in Music and Male Clothing…and Frankly Just Society in General

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Before posting, I acknowledge that this post doesn’t directly relate to music, but I am also of the opinion that this topic can be spread to music among many other aspects of life.
The video that I kept getting drawn to was one that seemed as though it was going to discuss the act of being a man, or the requirements and limitations that society imposed on being male. Unfortunately, it seemed that I was wrong and that the video simply discussed the silly limitations that women placed on men in the form of clothes.
(Sarcasm warning) Of course, as the video stated, this was unreasonable as women had no idea what male fashion was and could not have chosen proper clothing to save their lives. In fact, it seems as though they are to be ridiculed for even attempted to aid in the choices that men made regarding their clothes.
As mothers, wives, grandmothers, sisters, etc… I find it tough to see how someone associated so much in the lives of the males in their families could have their opinions on such a small matter ignored, let alone ridiculed. The video seemed as though everyone agreed, presenting to the audience a completely disdainful commentary that looked down on women. This type of commentary cannot be flaunted on what believed to be a reputable program and it’s shameful to have been put forth at a time where such trivial disagreements such as clothing shouldn’t have been associated with sexism.
This type of argument can exist within music as well, spanning both women in music in the past as well as our learning now. The idea that women could be professionally involved in music was often disputed and, such as women choosing clothes for their husbands, laughed at. Even now, in learning about music history women are often ignored by what we consider to be the reputable sources, and their importance and involvement is still downplayed as we learn from curriculums that we trusted because we simply did not question them.
Overall, trivial matters such as clothes isn’t important, but rather an issue in the broader discussion of women’s opinions, ideas, and sheer existence in the public and male dominated sphere of being laughed at, downplayed, and downright ignored. It is in fact an issue that cannot be ignored and must be addressed, and we cannot perpetuate it within what some would consider to be reputable and trustworthy sources.
http://search.alexanderstreet.com/view/work/bibliographic_entity%7Cvideo_work%7C1792619

Amy Beach: musician in spite of her family

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Today many listeners of classical music are familiar with the music or at least the name of Amy Beach. A prodigy from a very young age who came to fame through her virtuosic piano performances made her lasting mark in her compositions. Her life was defined by her gender because women, especially those of Beach’s social standing, were not to support themselves. Even though her parents were distinctly aware of Amy’s talents, they stuck with the status quo plan for young women of the time: some formal schooling, lessons in the arts, and marriage.[1]

In her article published in many women’s magazines in the early 1900s she does not fault her family for so obviously holding her back when she had so much to do in music. Rather she saw her mother’s education style as a way to ease the young prodigy into music without becoming overwhelmed. Beach’s article almost exclusively focuses on the relationship between Amy and her mother, as well as her career as a performer and composer.[2]

Beach’s success as a musician almost depends on this sort of frame that women were expected to live in. There is no doubt that Beach could have done amazing things if afforded the right to a fancy musical education that men had available to them. However, her affluent family history and unique life story allowed (or forced) her to stand out among other women. I mention forced because Amy hardly had any choice in her study of music or the path it would take.[3]

Beach had the opportunity to become a self-taught musician after her little formal training because she did not have the duties of a domestic wife like many other women. After her husband’s death in 1910 she was able to take many tours of Europe and make her name even larger.

All of these facts make for a confusing picture of Amy Beach. On one hand we have a woman who is a prisoner in her time where women aren’t allowed to study music at high levels and must submit their wills to their parents and husbands. On the other hand we have Beach as a child prodigy who has led the way for other women composers after her and succeeded because of her circumstances, but could have thrived even more in a more accepting culture.

 

[1] Adrienne Fried Block, Amy Beach: Passionate Victorian, (Oxford:Oxford University Press, 1998), 298.

[2] Judith Tick ed., Music in the USA: A Documentary Companion, (Oxford: Oxford University Press, 2008), 323-327.

[3] Walter S. Jenkins, The Remarkable Mrs. Beach, American Composer, (Warren: Harmonie Park Press, 1994), 66-68.

The good book says you’ve got to reap just what you sow

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The blues tradition started with emotion. Albert Murray, a black novelist, commented that the blues were a way for one to “[Confront, acknowledge, and contend] with the infernal absurdities and ever-impending frustrations inherent in the nature of all experience.”1 Drawing from the oral music traditions of “field hollers” and call and response, the blues had a strong presence and role of importance in black American communities starting during the Reconstruction period before segregation laws.

One of the early recordings of Alberta Hunter and Lovie Austin’s Down-hearted blues was done in 19232 (the YouTube recording below is from 1939). It follows the typical AABA structure the blues would follow and makes use of call and response primarily between the singer and a clarinet. One thing that can be noted is the inflections Hunter uses as she sings. Many of the accents and emotive inflections she uses in her phrasing would not be written down in the music––such as shortening a note at the end of a phrase, sliding into or between notes and adding accented vibrato to a sustained note.

The subject matter deals with the singer being unhappy in the romantic situation she’s in. Hunter specifically sings about “the man that wrecked her life,” but beyond the relationship, the man could be extended to representing her job or position in society (especially important given the time this piece was written in). In the first verse, Hunter sings that “the good book says you’ve got to reap just what you sow,” which is acceptance for the situation that she’s in––something she could have arguably had very much or very little control over to begin with.

 

1. Hogue, W. Lawrence. Discourse and the Other: The Production of the Afro-American Text. Durham, North Carolina, NC: Duke University Press, 1986.

2. Hunter, Alberta and Austin Love. Tennessee Ten: Down-hearted blues. Victor, 1923, audio recording, http://www.loc.gov/jukebox/recordings/detail/id/9323.