The Well-Travelled Musician: John Sigismond Cousser and Musical Exchange in Baroque Europe by Samantha Owens

Notes ◽  
2020 ◽  
Vol 76 (3) ◽  
pp. 422-425
Author(s):  
Michael Eisenberg
Keyword(s):  
Musical Exchange

Harmony and Normalization

2020 ◽  
Author(s):  
Timothy P. Storhoff
Keyword(s):  
Symphony Orchestra ◽  
The United States ◽  
Diplomatic Relations ◽  
Cultural Relations ◽  
Transnational Ties ◽  
Cultural Implications ◽  
Florida Straits ◽  
Musical Exchange ◽  
Political Economic ◽  
Policy Shifts

Harmony and Normalization explores cultural relations between Cuba and the United States during the Presidency of Barack Obama, who restored diplomatic relations with the island. Musical exchanges during this period act as a lens through which to view not only US-Cuban musical relations but also the larger political, economic, and cultural implications of musical dialogue between these two nations. Policy shifts allowed US and Cuban performers to more easily traverse the Florida Straits than in the recent past and encouraged them to act as musical diplomats, and their performances served as a testing ground for political change that anticipated normalized diplomatic relations. While government actors debated these changes, music created connections between individuals on both sides of the Florida Straits. This book describes how musicians were among the first individuals to take advantage of new opportunities for travel, push the boundaries of new regulations, and expose both the possibilities and limitations of licensing musical exchange. Through the analysis of both official and unofficial musical diplomacy efforts, including the Havana Jazz Festival, the National Symphony Orchestra of Cuba’s first US tour, the Minnesota Orchestra’s trip to Havana, and the author’s own experiences in Cuba, this ethnography demonstrates how performances reflect aspirations for stronger transnational ties and the common desire to restore the once thriving US-Cuban musical relationship.

Songs with Consequences?

2017 ◽  
Author(s):  
Anna Marie Stirr
Keyword(s):  
Social Relations ◽  
Social Order ◽  
Labor Exchange ◽  
The Social ◽  
Different Types ◽  
History Of ◽  
Musical Exchange

This chapter focuses on the pragmatics of dohori singing in rural songfests. With a comparative focus on different types of songfest across Nepal’s rural hill areas, it addresses how songfests frame performances in ways that allow for particular pragmatic effects. These are based on forms of ritualized material and musical exchange that idealize the production of equality, yet often still reproduce inequality. It tells the history of dohori as a means of communication across social divides, often with significant material stakes in binding contests that could end in marriage. It discusses dohori’s historical connections with labor exchange and marriage exchange to show how this practice of singing is grounded in ways of producing equality and hierarchy. It gives examples of how binding dohori contests or song duels have been considered threats to the social order and how their outcomes have been reintegrated, changing aspects of individuals’ lives and social relations.

Power and musical exchange: the Dukes of Medina Sidonia in Renaissance Seville

Early Music ◽  
2009 ◽  
Vol 37 (3) ◽  
pp. 401-416 ◽  
Author(s):  
J. Ruiz Jimenez
Keyword(s):  
Musical Exchange

Songs of Oru Olai and the Praxis of Alternative Dalit Christian Modernities in India

2016 ◽  
Author(s):  
Zoe Sherinian
Keyword(s):  
Tamil Nadu ◽  
Daily Practice ◽  
Cross Cultural ◽  
Modern World ◽  
Economic Sustainability ◽  
The Bible ◽  
Common Ownership ◽  
Utopian Community ◽  
And Gender ◽  
Musical Exchange

This chapter addresses an alternative Dalit Christian modernity transmitted and practiced through song and drumming in Tamil Nadu, India. Using two examples of the praxis of sharing, I analyze expressions of agency by the caste and gender oppressed that shows an awareness of discourses of liberation in both the bible and the modern world outside the caste-inflected village. Daily practice of economic sustainability through community finds its musical analogy in folk music’s potential for re-creation, unity, accessibility, and common ownership by the oppressed. I theorize this as an indigenous religio-political cosmopolitanism, expressed by Dalits as a discourse of supra-localism and spirituality that reverses the discourse of caste impurity and pollution. These cases show the historical and contemporary nature of Christian transnational flow in the form of theology, politics, and utopian community, its dialogical process of indigenization, and the process of cross-cultural musical exchange to (re)make Christianity meaningful through local musical reconstruction.

Jazz as Intercultural Dialogue at the Havana Jazz Plaza Festival

2020 ◽  
pp. 81-111
Author(s):  
Timothy P. Storhoff
Keyword(s):  
New York ◽  
Intercultural Dialogue ◽  
Depth Analysis ◽  
The Us ◽  
Latin Jazz ◽  
Musical Exchange ◽  
Definition Of ◽  
Musical Diplomacy ◽  
The Revolution

Chapter Four consists of an in-depth analysis of jazz in US-Cuban musical exchange along with an ethnographic description of Havana’s International Jazz Plaza Festival. Cuba’s relationship to jazz became complicated after the revolution. Performers on the island had to carefully negotiate their desire to play jazz with the Castro government’s descriptions of jazz as imperialist music. The 2012 Havana Jazz Plaza Festival and the US musicians who played at the event are analyzed in-depth to show how participants navigated US-Cuban relations to perform in a festival that uses jazz as a form of intercultural dialogue. Arturo O’Farrill, a New York musician of Cuban heritage who was regularly featured in the jazz festival, illustrates the significance of Latin jazz in musical diplomacy and how the definition of jazz is redefined through the festival lens.

Musical Exchange and Interaction between Eisler and Schoenberg, Evidenced by their Serial Music

2018 ◽  
Vol 59 (1-2) ◽  
pp. 21-39
Author(s):  
So-Yung Ahn
Keyword(s):  
Comparative Analysis ◽  
Serial Music ◽  
Musical Interactions ◽  
Musical Exchange

This study demonstrates that Hanns Eisler's serial music composed in the early 1920s and his cantatas created in the 1930s are interrelated with Arnold Schoenberg's serial music. The specific purpose is to reveal the musical interactions between the two composers, such as how Eisler was influenced by Schoenberg, and how Eisler himself influenced Schoenberg. The former aspect is highlighted by the analysis of Schoenberg's Suite für Klavier (1923) and Eisler's Zweite Sonate für Klavier (1925). The latter is shown while Eisler's Deutsche Symphonie from the 1930s and Schoenberg's A Survivor from Warsaw (1947) are subjected to a comparative analysis. Eisler was not simply a pupil who renounced Schoenberg's teachings, but a “true disciple” who succeeded Schoenberg's serial technique in a manner comparable to that of Webern and Berg and who, in addition, was a musical companion of Schoenberg, influencing Schoenberg's later music.

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