References from Feature Article “The Post-Woodstock Protest Era”
[1] https://www.vanityfair.com/hollywood/2017/12/greatest-showman-hugh-jackman-p-t-barnum-jenny-lind
[2] Cavicchi, Institutionalizing musical Ecstasy, pp. 184
[3] R. Moore: Sells Like Teen Spirit, pp.4, 2010
[4] R. Moore: Sells Like Teen Spirit, pp.113, 2010
[5] https://www.theringer.com/2019/7/9/20687231/limp-bizkit-break-stuff-woodstock-99
[6] Cavicchi, Institutionalizing musical Ecstasy, pp. 184
[7] Documentary, B. Goodman “Woodstock, three days that defined a generation”
[8] https://www.theringer.com/2019/7/9/20687231/limp-bizkit-break-stuff-woodstock-99
[9] https://www.rollingstone.com/music/music-news/19-worst-things-about-woodstock-99-176052/
[10] https://www.rollingstone.com/music/music-features/was-woodstock-99-end-of-rock-863958/
[11] C. Strong, Grunge: Music and Memory, pp.21, 2011
[12] https://www.rollingstone.com/music/music-news/19-worst-things-about-woodstock-99-176052/
[13] Documentary, B. Goodman “Woodstock, three days that defined a generation”
[14] https://www.rollingstone.com/music/music-news/19-worst-things-about-woodstock-99-176052/
[15] https://www.rollingstone.com/music/music-features/was-woodstock-99-end-of-rock-863958/
References from Feature Article 2: “Sibling Rivalries”
[1] Woodstock: ‘It Was Like Balling for the First Time’- A three-day festival on Max Yasgur’s farm draws half a million and expands the spirit of a generation, By Jan Hodenfield, https://www.rollingstone.com/music/music-features/woodstock-it-was-like-balling-for-the-first-time-229092/
[2] Paul McCartney: Many Years From Now, Barry Miles- Macmillan, Oct 15, 1998
[3] According to survey data of television ownership provided by the Nielson Report, The World Book Encyclopedia, Energy Star Research, and several other data collection surveys through the 2000’s: “The television today is arguably one of the most popular home electronic devices. Since it became commercially available in the 1930’s, the television has skyrocketed in popularity, with nearly 77% of households owning at least one television set by 1955. Today, the television is almost a necessity, with 99% of households owning at least one set” https://hypertextbook.com/facts/2007/TamaraTamazashvili.shtml
[4] Smothered: The Censorship Struggles of the Smothers Brothers Comedy Hour (2002) 1h 33min | Documentary | TV Movie 4 December 2002
[5] November 25, 2017 6:30am PT by Marc Freeman, 'The Smothers Brothers Comedy Hour' at 50: The Rise and Fall of a Groundbreaking Variety Show, https://www.hollywoodreporter.com/live-feed/smothers-brothers-comedy-hour-oral-history-1060153
[6] https://web.archive.org/web/20050206212828/http://www.smothersbrothers.com/remick.html
[7] Smothered: The Censorship Struggles of the Smothers Brothers Comedy Hour (2002) 1h 33min | Documentary | TV Movie 4 December 2002
[8] Journal Article: On the Edge of Tastelessness: CBS, the Smothers Brothers and the Struggle for Control, Steven Alan Carr, Cinema Journal Vol. 31, No. 4 (Summer, 1992), pp. 3-24 (22 pages) Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies
[9] November 25, 2017 6:30am PT by Marc Freeman, 'The Smothers Brothers Comedy Hour' at 50: The Rise and Fall of a Groundbreaking Variety Show, https://www.hollywoodreporter.com/live-feed/smothers-brothers-comedy-hour-oral-history-1060153
[10] Journal Article: On the Edge of Tastelessness: CBS, the Smothers Brothers and the Struggle for Control, Steven Alan Carr, Cinema Journal Vol. 31, No. 4 (Summer, 1992), pp. 12 (22 pages) Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies
[11] Carr, p13
[12] Dangerously Funny: The Uncensored Story of "The Smothers Brothers Comedy Hour" By David Bianculli, Touchstone, 2010
references from feature article 3: “Griot’s Battle song”
1. Locke, David, “Worlds of Music” Ch. 3, P 113
2. KNIGHT, RODERIC. “The Jali, Professional Musician of West Africa.” The World of Music, vol. 17, no. 2, 1975.
3. Bangoura, Sibo. Ted Talk, https://www.youtube.com/watch?v=QdrPmZwsXiM
4. Hale, Thomas A. "Griottes: Female Voices from West Africa." Research in African Literatures 25, no. 3 (1994).
5. Paulla A. Ebron, “Performing Africa” Princeton University Press, Apr 11, 2009 - Social Science – P 75
6. Hopkins, Nicholas S., and ﻫﻮﭘﻜﻨﺰ ﻧﻴﻜﻮﻻﺱ. “Memories of Griots / (ﺫﻛﺮﻳﺎﺕ ﺍﻟﺮﻭﺍﺓ (ﺍﻟﻐﺮﻳﻮ.” Alif: Journal of Comparative Poetics, no. 17, 1997, pp. 43–72. JSTOR, www.jstor.org/stable/521607 P 54
7. Kouyate, Dani. “Kieta: The Heritage of the Griot” 1995 http://newsreel.org/video/keita-heritage-of-the-griot
8. Dorothy Dickinson , The Magic of Words: The Role of Griots in West African Society and Film, Apr 2015, https://digitalcommons.hope.edu/curcp_14/49/
9. Hoffman, Barbara G. “Griots at War.” Conflict, Conciliation, and Caste in the Mande. Indiana University Press, 2000
10. https://www.britannica.com/art/kora-musical-instrument
references FROM feature article 4: “foundations…”
1. Steven K. Sanderson, “Religious Evolution and the Axial Age, From Shamans to Priests to Prophets” 2018, from Sally Mallem’s review on The Human Journal, https://www.humanjourney.us/ideas-that-shaped-our-modern-world-section/
2. J.R. Alvira, “Teoria, 2,500 Years of Musical Temperaments, Dialogue Between Humans and Nature,” https://www.teoria.com/index.php
3. Andrew Barker, “Greek Musical Writings, The Musician and his Art,” Cambridge, 1989
4. Ernest G. McClain, “The Pythagorean Plato, Prelude to the Song Itself,” York Beach, Maine, 1978
5. Eric W. Weisstein, "Harmonic Series." From MathWorld--A Wolfram Web Resource. http://mathworld.wolfram.com/HarmonicSeries.html
6. Barbara R. Hanning, “Concise History of Western Music,” New York 2014
7. Merry E. Wiesner-Hanks, “History of World Societies, Combined Volume, Eleventh Edition” New York 2018
9. D,J, Grout, “A History of Western Music, 5th ed.,” London, 2018
10. Charles Burney, “A General History of Music, A classic of musical history from the Greeks to 1789,” London, 1980
Notes from Feature Article 5: “Arabic Modern Music Practice”
NOTES:
1. Farraj, Johnny and Sami Abu Shumays Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century. Oxford University Press, 2019, describes ornamentation as one of the characteristics of the traditional sounds of the music coupled with the individual’s expression. “Ornamentation reflects several facets of Arabic Music: How an instrument or voice is used in Arabic music, what the prevailing Arabic music tradition sounds like, and how the musician’s creativity and vision is expressed within that tradition.”
2. The Cairo Conference of 1932 is a gathering in Egypt in 1932-33 where several important music theorists of the day convened to agree on how to educate music theory going into the 20th century.
3. “Ornamentation is not optional, it is a skill and an art that is learned along with the basic technique for an instrument (including, especially the voice.) Not using ornamentation sounds like a student rehearsing. Conversely, non-Arabic music can be transformed to sound like the prevailing Arabic tradition simply be adding the correct form of ornamentation. (pp77)
4. Dr. Scott Marcus is mentioned in the book as writing of the inconsistencies that exist in the current Arabic music world where practice and theory do not match. This book has been “to expand upon that that knowledge, by attempting to reconcile contradictions, and to provide a comprehensive new theory accounting for the maqam system as a whole.” It is not that we find the oral concepts of maqam theory to be fundamentally wrong-either as learned from our teachers or as documented by Marcus since 1989-but that we found the theory incomplete. We have tried to add what we inherited in the pages that follow…” (introduction)
5. This book makes specific reference to classical Arabic song and poem forms as the source of its teaching. Qasida is the Arabic word for metered poem written in classic Arabic as well as the vocal for that uses that poem for its lyrics. It discusses the rhyme and meter characteristics. (pp123)
6. Arabic music is highly personalized and improvisational. Great abundance of improvisation keeps them from music sounding too rigid. To a western observer, Arabic music may appear informal in many respects: musicians vary composition with each performance, sometimes even simultaneously. Audience members react vocally- sometimes loudly- to things they like in the music, and music is transmitted orally, with variation in versions and the addition of individual or regional characteristics. (Pp9)
7. The late modern period is agreed to be after the 1932 Egypt conference, where many of the middle period practices were abandoned to make a simplified text for students to learn from. For example, the single octave scale was adapted and melodic identities to modes were almost completely forgotten.
8. Intonation studies explored in "Microtones in Arabic Music," a podcast by Sami Abu Shumays”, go in detail of the variant intonations of E-b- in practice, versus the highly watered-down explanations in current circulation for Arabic theory. He identifies 12 different micro tones between E and F alone.
9. An example of where Arabic music is far stricter than western music is intonation pp10
10. The variations in each recorded or performed version is very normal and considered part of the culture. Many people prefer specific recordings and variations of their favorite songs or instrumental music.
11. Arabized instruments: The accordion, adjusted for quartertones in Egypt, Cairo in the 1920s. Used as a melodic instrument as chards are rare in Arabic music. Pp34
12. Organ, keyboards and saxophones are all western instruments that can be altered or played in a fashion to allow for the quarter tone system of the Arabic world. Pp45
13. (Just noticeable difference) Scale. Scale used to determine if the human ear can detect the difference in pitch. Varies greatly from person to person, context and volume matters, however with enough exposure, most people can develop a highly sensitive amount of accuracy to the quarter tone system and its smaller pitch variations. Pp168
14. The convenience of the 24 tone scale in developing Arabic theory was a model that allowed easy transcription and helped musicians develop a guide thorough which they could reduce the need for remembering hundreds of different note names, instead knowing that a pitch within the 24 tone system could be altered slight based on the maqam that they may need it for.
15. This book gives specific reference to practice verses theory for the 24 tone Arabic scale. It describes its inaccuracies: 1) First the scale system is Pythagorean, not equal tempered. Second numerous pitches are used, with distinctions much finer than a quarter tone, third some individual pitches are variable depending on region and time period. Fourth, note names used to describe the Arabic tuning system are conceptual, some are based on precise pitches derived from open strings, and some are a convenient grouping of many shades of a pitch under one note; therefore, using them to precisely define a single interval is meaningless. Pp171-172
16. The gap between the 24 note theoretical and actual model is noted by P Marcus described. He concludes that aside from a small group of musicians who accepted the 24 tones at various mechanisms to relate notes they perform in real-life to the conceptual 24 tones by recognizing that certain notes deviate from their theoretical positions by a comma, by describing shrunken augmented seconds, by allowing for a general pitch variability as a function of tonal focus and/or personal preference, or by adding extra fixed notes to the 24-notes. Pp172
17. Pinning down an exact Arabic scale is like pinning down an exact pronunciation of the English language. Pp172
18. Sikah at the Cairo conference exhibited the most tonal difference by region in 1932 even trying to define each pitch. Pp 173
19. Pitch variability based on phrasing as represented in the maqam Huzam, where the ascending and descending pitches vary depending on the phrase. Pp172
20. When it comes to performing in an ensemble, musician invariably run into intonation problems, however after rehearsing they will often seek to come to agreement on intonation. “The result is never perfect unison, but musician’s intention is clearly to converge and unify their intonation.” Pp175
21. Fine tuning symbols used to determine pitch quality. Up and down arrows. Pp183, tonal interval symbols indicating ¾ and ½ intervals, pp184
22. Arabic music understands notation as a visual guide, as related in this story, “ Syrian singer Zakiyya Hamdan once told a story about a veteran Egyptian composer Zakariyya Ahmad, who spent a month in Beirut in 1950 teaching her ensemble his newly composed song “ya halawit id-dunya” using a score he had notated. When he was satisfied that they had memorized it well, he said to the ensemble, “and now were going to put aside the sheet music and play according to how we feel [our moods]!” pp186
23. Using western notation to write Arabic music is much like using a foreign alphabet to write the Arabic language. There will be inconsistencies and its imperfect. Pp190
24. These points are reiterated by Marcus: “Moreover, the new reliance on notation changed the music that which that notation was meant to preserve and disseminate. When given a piece had existed in the aural realm musicians routinely varied its melodic lines, but once written down, the melody was regarded as fixed. According to an age-old performance aesthetician, musicians had been encouraged to render a given melody according to their creative impulses and the idiosyncratic capabilities of their instrument; this quality was often lost with staff notation, where a melody would be performed uniformly without variation.” Pp191
25. The fear of Arabic music becoming one with western music is increasingly difficult to ignore with the problem of a lack of improvisation after notation occurs.
26. Detailed descriptions of the jins and ajnas and their application, use and tonal centers.
27. Traditions versus Innovations. “Modulations in Arabic music is like cooking in regional cuisines; there are many ingredients, and they are all delicious, but people don’t go around mixing these ingredients willy nilly.” Pp312
28. “Marcus discusses the tension between wanting to sound traditional and the desire to innovate: “Additionally, while composers and improvisors general stay within tradition (not trying to be ‘out there’ in the manner of some jazz musicians), there is always the possibility that an insightful musician might present a maqam in a new way. Depending on the reception of that novelty, it might over time be adopted into the mainstream understanding of the mode, or it might be rejected and continued only in that musicians’ performances.” Pp313
29. This book recommends the right balance between tradition and experimentation. Pp313
30. This book states that the community may be dwindling but by emphasizing on the literature and staying flexible within the tradition it can stay alive. Pp417
Notes from Feature Article 6: “Unstoppable: the Heart of New Orleans”
Bibliography:
· Charles Suhor, “Jazz in New Orleans, The Postwar Years through 1970” Studies in Jazz, No. 38, (2001, Rutgers- The State University of New Jersey)
· Michael Denning, “Noise Uprising-The Audiopolitics of a World Musical Revolution”, (2015- London, New York)
· Scott DeVeaux "BEBOP AND THE RECORDING INDUSTRY: THE 1942 AFM RECORDING BAN RECONSIDERED." Journal of the American Musicological Society 41.1 (1988): 126-165. Web.
· James Kraft "Artists as Workers: Musicians and Trade Unionism in America, 1880-1917." Musical Quarterly 79.3 (1995): 512-543. Web.
· Franklin Dunham, Music-A New Force in America, (National Broadcasting, 1938)
· https://www.neworleans.com/
· https://www.nola.gov/onestop/business/occupational-general-business/mayoralty-permit-general/
· Heather Z. Lyons, “Responding to Hard Times in the "Big Easy": Meeting the Vocational Needs of Low-Income African American New Orleans Residents”, (The Career Development Quarterly 59 no4 290-301 Je 2011)
· Adrienne D. Dixson, Kristen L. Buras, Elizabeth K. Jeffers, “The Color of Reform: Race, Education Reform, and Charter Schools in Post-Katrina New Orleans”, (First Published February 25, 2015, New York)
NOTES FROM FEATURE ARTICLE 7: “Dragonetti, First to the Bottom”
Bibliography:
1. Domenico Dragonetti in England 1794-1846, The Career of a Double Bass Virtuoso, F.Palmer 1997
2. Musical Times, Journal Article: Domenico Dragonetti 1793-1846, E. Doernberg, Vol. 104, No. 1446, pp.546 1963
3. Thayer-Deiters-Riemann, Ludwig von Beethoven Leben (Leipzig, 1908) vol 5, pp.45 and 242n
4. Northwestern, 131, letter from L.Dulcken (London) in which she asks, in French, for an appointment for her first bass lesson, dated only Thurs. 25 May
5. Northwestern, 126, letter from W. Gardiner (Liecester) introducing Mr. Deacon and asking for lessons on his behalf, dated 10 Mar. 1826
6. Music and Society, The Early Romantic Era, A. Ringer; London: The Professionalization of Music
7. The String Quartets of George Onslow First Edition, R. Silvertrust, pp.27, 2005