Guide to another year’s blogging

 

Struggling to encompass all this? I know I am. While we inevitably specialize in particular topics, it’s important to build bridges. I guess it’s that time of year when another guide to my diverse posts may come in handy—this is worth reading in conjunction with the homepage and my roundup this time last year.

I’ve added more entries to many of the sidebar categories and tags mentioned in that summary. I’ve now subheaded many of the categories; it’d be useful for the tags too, but it seems I can’t do that on my current WP plan. Of course, many of these headings overlap—fruitfully.

Notably, I keep updating and refecting on my film and book on the Li family Daoists. I wrote a whole series resulting from my March trip to Yanggao (helpfully collected here) and Beijing (starting here, also including the indie/punk scene). Other 2018 posts on the Li family include Yanggao personalities and Recopying ritual manuals (a sequel to Testing the waters).

To accompany the visit of the Zhihua temple group to the British Museum in April, I also did a roundup of sources on the temple in the wider context of ritual in Beijing and further afield, including several posts on this site.

I’ve posted some more introductions to Local ritual, including

Gender (now also with basic subheads) is a constant theme, including female spirit mediums—to follow the series on women of Yanggao, starting here. Or nearer home, Moon river, complementing Ute Lemper.

Sinologists—indeed aficionados of the qin, crime fiction, and erotica—may also like my post on Robert van Gulik (and note the link to Bunnios!).

I’ve added a few more categories and tags, notably

The film tag is developing, with a side order of soundtracks—for some links, see here.

I’ve given basic subheads to the language category (note this post on censorship), which also contains much drôlerie in both English and Chinese. Issues with speech and fluency (see stammering tag) continue to concern me, such as

Following Daoist football, the sport tag is worth consulting, such as The haka, and a series on the genius of Ronnie.

Some posts are instructively linked in chains:

More favourites may be found in the *MUST READ* category. Among other drôlerie, try this updated post, one of several on indexing and taxonomy; and more from the great Philomena Cunk.

Most satisfying is this collection of great songs—still not as eclectic as it might become:

Do keep exploring the sidebar categories and tags!

 

 

Cheremis, Chuvash—and Tibetans

 

Photo: Cheremis “pagan” ritual singer H.H. Musztafa (then 69), June 1975.

Along with from the many Hungaroton LP box-sets of the musics of east Europe, another impressive 3-disc set that I brought back from Budapest is

collected and published by László Vikár (1929–2017) and linguist Gábor Bereczki. The set documents musical traditions of peoples in the “autonomous” republics around the eastern perimeter of the European part of the USSR, the central Volga and Urals—peoples about whom I know nothing, but feel we should know:

Mordvinians, Votyaks (Udmurt), Cheremis (Mari), and the Turkic-speaking Chuvash, Tatars, and Bashkirs.

USSR

Source: reddit.com.

Between 1958 and 1979 Vikár and Bereczki made four long summer fieldtrips to some 286 villages, accompanied by local scholars. With sound engineer Pál Sztanó they recorded life-cycle and calendrical items, both vocal and instrumental, including bridal dirges, funeral laments, dance tunes, and historical epics.

The recordings on this box set are part of a much larger archive. You can hear tracks on a playlist here:

The 43-page booklet contains detailed notes, as well as maps, translations, photos, and some transcriptions.

notes 2

A page from the booklet, on Mari singing.

Bartók, Kodaly, and Bence Szabolcsi had already shown an interest in these groups, mainly as part of their comparative musical paleography, classifying melodic types; Vikár was building on this tradition. [2]

Such early recordings were made on request, not—as ethnographers later also sought—while documenting the social events of which they are the core. So we meet the typical issue that often crops up in Chinese collections: were they performing items then still in use, or recalling them from an earlier social practice?

And of course these projects could barely hint at the painful recent histories of such peoples. Music is never autonomous, but gives us a window into the study of changing local societies.

Indeed, it’s worth recalling what else was happening in those years. Notwithstanding early east European scholars’ interest in “archaic layers”, these are not timeless idyllic communities; though they were over the worst of the years of repression under Stalin, they had been constantly starved, deported, subject to political whims, suffering under collectivization and the Great Purge (cf. Blind minstrels of Ukraine, under “Other minorities”). This too is a rich field of research—see e.g.

The task of modern ethnographers—just as for China—is to integrate socio-political histories with expressive cultures. In 1975 the moment had still not come to record the memoirs of “pagan” Mr Musztafa—and now it’s too late.

In addition to the Garland encyclopedia of world music, for more on early collecting, see under

  • Margarita Mazo, “Russia, the USSR and the Baltic states”, in Ethnomusicology: historical and regional studies (The New Grove handbooks in music, 1993), pp.197–211,

and in the same volume,

  • Theodore Levin, “Western central Asia and the Caucasus”, pp.300–305.

In the early years after the crushing of the 1956 Budapest uprising, one might wonder how smooth was the collaboration between Hungarian and Soviet scholars—only of course the latter too would have suffered under the policies of their own regime.

* * *

1955

Left to right: Yang Yinliu, Bence Szabolcsi, Li Yuanqing, Beijing 1955.

Meanwhile in China, scholars were also documenting local traditions, for both the Han majority and the many ethnic groups—under testing conditions, and with a similar caution in broaching socio-political issues. By the 1950s, with a growing interest in early connections between Hungarian and Chinese musics, China was open to Hungarian musicology; Bence Szabolcsi visited the great Yang Yinliu in Beijing in 1955, on the eve of the Budapest uprising. And Yang Yinliu visited the USSR in 1957, just after his remarkable fieldtrip to Hunan—just before the Anti-Rightist campaign and Great Leap Backward led to untold suffering.

1957

Yang Yinliu (seated, right) on a visit to the USSR, 1957.

Kodaly’s Folk music of Hungary, dating from 1935, was published in 1964 in a Chinese translation from the 1956 German edition—just as a brief lull after the Leap was destroyed by the Four Cleanups and Cultural Revolution.

Kodaly

In east Europe, the USSR, and Maoist China, the enthusiasm of ethnographic collectors of the day is admirable—even as their leaders were imprisoning them and manipulating the peoples they were studying. As William Noll observes, such studies need both to be intepreted in their historical framework and updated constantly, both by augmenting the earlier material and by documenting more recent change. Also in that post, note Noll’s comment that ethnographers of one cultural heritage commonly conduct fieldwork among peoples of a different cultural heritage—even if both groups live within the political boundaries of one state.

Left: monks lay down their arms, 1959. Right: Norbulingka, 1966.
For insights on the period in Tibet, with rare photos, see this fine series by Woeser.

A flagrant instance of circumspection is fieldwork by Chinese musicologists in Tibet in the 1950s, rosily portraying the region (like Xinjiang) as a happy land of singing and dancing—even in 1959 Lhasa, just as mass rebellions were breaking out all over Tibet against Chinese occupation. Two of the most distinguished, and well-meaning, Chinese scholars resumed their fieldwork upon the 1980s’ reforms, encouraging their Tibetan pupils; but the whole social-political backdrop remained taboo.

Expressive culture is an illuminating window on society. How little we know about the world…

 

[1] The term Finno-Ugric seems somewhat dated, but see here for a more extensive list of peoples.

[2] An early curiosity among the ouevre of the great Bruno Nettl is his slim tome Cheremis musical styles (1960), part of a Cheremis project at Indiana. The Preface by Thomas Sebeok has a useful summary of interest among Hungarian and other scholars. But written from a distance, the monograph could still only be narrowly musical—free of ethnomusicology’s later concern for society and culture, in which Nettl has played such a major role; and the material that he assembles consists largely of transcriptions rather than recordings.

For Chuvash and Mordvins, note also the 1996 Auvidis CD Chants de la Volga: musique traditionnelle de Tchouvachie et Mordovie.

Auvidis

 

Musical cultures of east Europe

tanchaz 93

String trio with cimbalom at the Meta táncház, Budapest 1993another perk of my orchestral touring life. My photo.

Having written about the ill-fated blind minstrels of Ukraine, here I’d like to outline the importance of the varied soundscapes around east Europe (a region I’ve also touched in several posts). Also, changing expressive cultures there—besides their intrinsic fascination—suggest useful perspectives for our studies of China.

This may be Old Hat for World Music fans, but perhaps less so for China-watchers or scholars of Asian ritual. Here I’ll offer a mere smattering of reading and audio-visual material.

As in China, sandwiched between the timeless ancient and recent turbo-rock images of the whole region are the elusive fates of local cultures during the state socialist era. Parallel with the official state ensembles, folk traditions were not entirely dormant (a major theme of mine for China; for the spectrum, see e.g. here and here); and fieldwork and research continued, despite political obstacles. These traditions are not so much national as regional, indeed local; subcultures cross boundaries.

And they are not timeless reified commodities to be preserved, but ever-evolving amidst complex social change. Changing political boundaries, and mutual borrowings, belie ongoing nationalist agendas—another reminder of the fantastic and enduring diversity of European cultures (see e.g. Iberia tag for flamenco and fado). Tensions are apparent between local values and official images—and latterly the World Music scene.

Life-cycle rituals, notably weddings, remain a major context. But as the image of the unspoilt rural idyll recedes, turbo-folk tends to dominate. Weddings have become a focus of modernization; secular festivals, no longer manipulated by the Party state, also come to the fore. Yet changes in rural life also remain a lively topic. There’s never a simple progression from unspoilt rural traditions through kitsch state ensembles to turborock.

Both vocal and instrumental genres are remarkable. Older instruments haven’t entirely been replaced, such as gadulka and gusle fiddles, kaval end-blown flute, zurna shawm, gaida bagpipe.

For an introduction to the different early post-war histories of the whole region, see

  • Anne Applebaum, Iron curtain: the crushing of Eastern Europe 1944–1956.

* * *

Fieldwork on east European traditions began still before the explorations of Bela Bartók, Zoltán Kodaly, and Constantin Brăiloiu, but they make a convenient starting-point. Their interests extended far beyond the borders of Hungary and Romania—indeed, Bartók made fieldtrips as far afield as Turkey and north Africa.

Bartok LP

We can admire Brăiloiu’s 1933–43 recordings on this CD:

For convenient collections of articles, see

  • Bela Bartók, Essays (1976)
  • Zoltán Kodaly, Folk music of Hungary (1960/1982—translation revised by Laurence Picken, who maintained a lively correspondence with east European musicologists!)
  • Constantin Brăiloiu, Problems of ethnomusicology (1984).

Still, their work belongs towards the “music” end of the music—culture spectrum, and later under the Communist era, social and political analysis was discouraged from developing. On the one hand, the early fieldworkers are laudable for making trips long before the formal discipline of ethnomusicology; on the other, under state socialism the scholars were laudable for attempting to pursue ethnographic principles under political pressures. Later the whole region became one of the most lively topics of the European Seminar in Ethnomusicology (ESEM).

As Carol Silverman observes about the Roma,

Early folk music studies focus on aesthetics and creativity rather than on power differentials; they were primarily about the culture within folk groups, not about domination, resistance, and conflict among groups.

Indeed, there are varied ways to study the topic, from popular to scholarly. We might start with the articles in the Rough guide to world music and Songlines magazine, where east Europe is well covered thanks largely to the enthusiasm of their editor Simon Broughton. Apart from the recent glossy World Music stars, it also features local traditions and archive recordings (mostly listed at the start of the discographies).

Among more scholarly studies, note relevant chapters in

  • Timothy Rice and James Porter (eds.), The Garland encyclopedia of world music, vol.8: Europe (2000).

For many further refs. at the traditional end of the spectrum, showing the energy of early collecting and recording, see

  • Barbara Krader and Bálint Sarosi, “Southern and eastern Europe”, in Ethnomusicology: historical and regional studies (The New Grove handbooks in music, 1993), pp.160–96,

and in the same volume, updating the story, relevant sections of

  • James Porter, “Europe”, pp.215–39.

Chapters in

  • Mark Slobin (ed.), Retuning culture: musical changes in central and eastern Europe (1996)

suggest Chinese parallels in the adjustment following the demise of state socialism. Of course, while the early 1990s were a time of pivotal significance, the scene has continues to change since then. I cited a couple of salient general points from Retuning culture here.

In all these regions, educated urban “roots” movements have become an aspect of the revival since the fall of Communism. In Retuning culture Judit Frigyesi describes this for Hungary, whereas in the following chapter Barbara Rose Lange discusses the reaction against it in the form of lakodalmas rock—resembling similar tensions in China.

At the same time, as Timothy Garton Ash comments in a review of Witold Szablowski’s Dancing Bears,

There is a long tradition, stretching back to the Enlightenment, of western Europeans and North Americans orientalizing eastern Europe, as Voltaire did with Russia and Rousseau did with Poland. What is unusual about Szablowski is that he is orientalizing his own region.

Another constant theme is ritual, along with religion—which persisted in various ways under state socialism. See e.g.

  • Jacek Jackowski, “Folk religious songs sung during the peregrination of Virgin Mary’s icon: an example of traditional Polish peasant piety in Communist times”, in Music traditions in totalitarian systems (2010).

I won’t attempt to cover Polish, Czech, or Slovak traditions here, though they too are a rich topic, with a wealth of material. For an introduction to the perspective from Poland, see Anna Czekanowska in Retuning culture. And I already mentioned Michael Beckerman’s piece in Retuning culture on Milan Kundera’s brilliant dissection of culture clash in The joke.

But despite the glossy stars of the World Music scene, it’s not all about them: they are just the tip of the iceberg of changing social life (cf. my flamenco series, starting here). That’s far from saying that folk traditions are anonymous—on the contrary, personalities are always important, and locally there are always hierarchies and admired performers.

Under state socialism, in the wake of the tradition of Bartók, Kodaly, and Brăiloiu, fieldwork on regional traditions was avidly pursued. Before and after 1989 I returned from concerts in Budapest with suitcases full of box-sets of LPs from the Hungaroton label, founded in 1951.

LP

There’s also a wealth of material on film and online. Gigs are all very well; feature films (see below) are more revealing; ethnographic documentaries are fewer (if only the BBC films of Simon Broughton were available now).

Hungary, Transylvania, Romania
Here—by contrast with the brass-band sound that has come to dominates the Balkans—string bands are still plentiful, surviving notably in Transylvania, source of much of the inspiration for Hungarian folk music studies ever since Bartok’s fieldwork.

The combo of primas fiddle, contra viola, and bass is enchanting (for this and other world fiddle traditions, see here). Foremost among many recordings with a more traditional brief is a series of fine box sets from Hungaroton, followed by the Fono label, including their Final hour/ Új Pátria series.

Unearthing Transylvanian bands has long been at the heart of the projects of the enterprising Budapest-based concert band Muzsikás and the wonderful singer Márta Sebestyén, and of the Budapest táncház (“dance house”) scene (for which see e.g. Jávorszky Béla Szilárd, The story of Hungarian folk, 2015, and an introductiion in Songlines #112). But the fortunes of most such rural bands remained based in the lives of their local communities.

Here Muzsikás accompany the master fiddler Sandor “Neti” Fodor (1922–2004):

Still in Romania, the Rough Guide introduces many distinctive traditions, such as those of Maramureș and Moldavia. The Csángó people of Gyimes are famed for the duo of fiddle with gardon slapped bass—one of the best possible things to do with a bass, apart from furniture effects and marriage guidance counselling (cf. viola jokes).

Here’s a documentary made soon after the 1989 revolution, with contributions from Muzsikás and (from 28.28) the Gyimes fiddle and gardon:

Transylvania is also another of the enviable fieldsites of Bernard Lortat-Jacob:

  • Jacques Bouët, Bernard Lortat-Jacob, and Speranţa Rădulescu, A tue-tête: chant et violon au pays de l’Oach, Roumanie (2002, with DVD),

a detailed ethnography of social musicking in the Oaș region, including musical analyses.

From Clejani near Bucharest, Taraf de Haïdouks were plucked up into the World Music scene; indeed, they are the source of my favourite quote about such success. Speranţa Rădulescu had recorded them from 1983, and introduced fellow-ethnomusicologist Laurent Aubert to them in 1986. Later, taken up by the likes of Johnny Depp, they toured with the Kronos quartet (“Californian pointy-heads” apud Cartwright, Princes amongst men, pp.196–7—actually a telling vignette on the different aesthetics of folk and art musicians).

But with the goals of ethnomusicologists and World Music promoters not always in tandem, such collaborations may not unfold smoothly. The World Music scene not only propels certain bands to fame, but may engender rival clones, misunderstandings, and lawsuits.

Retuning culture has a fascinating article

  • Steluta Popa, “The Romanian revolution of December 1989 and its reflection in musical folklore”,

documenting songs just as they were being composed—if only we could hear them too. But we can hear, from Latcho Drom (see below), the “Ballad of the dictator” by the late great Nicolae Neacșu (of Taraf de Haïdouks)—including my very favorite fiddle technique, evoking anguish, earthquake, or perhaps the creaking door that precedes “The master is not at home” in a Hammer Horror movie (perhaps not so suitable in the Mahler Adagietto, but who knows):

Green leaves, flowers of the fields, What are the people doing?
They’re taking to the streets, yelling and crying “Freedom!”
Green leaves, flowers of the fields, What are the students doing?
They’re marching on Bucharest, yelling and crying “Sweep away the dictatorship.”
Green leaves, a million green leaves on this 22nd day
Here, the time for life has returned, to live in freedom
Green leaves, flowers of the fields, There in Timisoara people are taking to the streets, yelling “It’s all over for the tyrant!”
What are the men doing? They’re taking out their guns. They’re shooting at people. Ceaucescu hears them:
“Tyrant, you have destroyed Romania.”

Roma
Beyond all the traumas of warfare and occupation, these are regions where countless Jewish and Roma peoples were murdered and deported in the mid-20th century, transforming the cultural landscape. In addition to its articles by country, The Rough Guide has a section on the trendy tag of Gypsy music—indeed, casting the net as wide as Rajasthan, Turkey, Russia, Spain, France, and Britain.

The fortunes of Roma peoples in various nations are tellingly described in

  • Isobel Fonseca, Bury me standing (1995),

and turning to music, another most accessible book is

  • Garth Cartwright, Princes amongst men [sic]: journeys with Gypsy musicians (2005),

with vignettes from Serbia, Macedonia, Romania, and Bulgaria. Though based on interviews with the stars, it makes a lively and well-observed read, a popular introduction not only to the scene at the time of his visits but also to the state socialist background. See his playlist here.

 The transgressive lifestyle of the Roma, Exotic Other “deviating from behavioural norms”, has long made an irresistible commercial proposition, as gleefully evoked in many popular feature films (Cartwright, pp.306–8 gives a useful list), such as those of Emil Kusturica like Time of the Gypsies (1989), Underground (1995), and Black cat, white cat (1998), or—more acceptably to the Roma community—Tony Gatlif, including Latcho Drom (1993, travelling from Rajasthan, Egypt, and Turkey to Romania, Hungary, Slovakia, France, and Spain):

and Gadjo dilo (1997):

An impressive early film was I even met happy Gypsies (Aleksandar Petrovic, 1967).

The Balkans
Here the scars of the war following the breakup of Yugoslavia are constantly on display. Brass bands have come to dominate the soundscape, the Guča festival making a heady showcase. Among the stars are Boban and Marko Marković (Serbia), the Kočani orkestar (Macedonia), and Fanfare Ciocârlia (from Zece Prăjini in Moldavia, Romania). While high-octane numbers dominate, the slow ballads are also most affecting.

Sorry, can’t find English subtitles for this 2002 documentary Iag bari/Brass on fire, so here’s some Swedish practice:

Modern brass bands have developed from groups led by zurna shawms with percussion, rather as Chinese shawm bands have added Western brass and pop music to their instrumentation since the 1980s.

The label “Balkan jazz” reminds me that I couldn’t resist describing the amazing Hua family shawm band as Chinese gypsies playing Ming-dynasty jazz; but accounts of both the social life of Balkan musos and the wildness of their playing do indeed suggest similarities.

In Bosnia–Herzegovina, apart from sevdalinka singing (sevdah resembling Romanian dor, as well as duende and saudade), Islamic soundscapes include kaside, ilahije, and zikr rituals—note the Smithsonian Folkways CD Bosnia: echoes from an endangered world:

Bulgaria, Macedonia
Academic studies include

  • Timothy Rice, May it fill your soul: experiencing Bulgarian music (1994, with CD)
  • Donna Buchanan, Performing democracy: Bulgarian music and musicians in transition (2006)
  • Carol Silverman, Romani routes: cultural politics and Balkan music in diaspora (2012, with companion website)

See also Silverman’s 2007 article on the changing wedding market, and chapters by Rice and Silverman in Retuning culture.

Silverman notes that Bulgaria had one of the most centralized forms of state socialism, Macedonia one of the least. But under both regimes the Roma—“powerless politically and powerful musically”—continued to play for non-Rom as well as Rom audiences at village and town events, such as weddings, birth celebrations, soldier send-off celebrations, circumcisions, and baptisms.

In the West, broad awareness of Bulgarian music began when “World Music” was just a twinkle in the promoter’s eye, with Le Mystère des Voix Bulgares. The original LP, released as early as 1975, was reissued more widely in 1986. After the collapse of state socialism they reinvented themselves with several reincarnations, with further albums following. They made rather more earthy recordings too, like Bulgarian custom songs (1993):

Another early star of the World Music circuit was Ivo Papazov—subject of a fine article by Donna Buchanan in Retuning culture, and vignettes in Rice’s May it fill your soul. Reminding us again that musicking doesn’t necessarily take place in designated venues like concert halls, the wedding scene is important. But Buchanan unpacks the ethnic and cultural tensions. In summer 1989, 370,000 ethnic Turks and Muslims were deported. Buchanan also puts into context how Papazov was promoted abroad by Joe Boyd with the Hannibal albums Orpheus ascending (1989) and Balkanology (1991), soon launching him as a global touring star—just as the local economy was collapsing.

Weddings had been lucrative, and moreover musos prefer their ambience—as Ivo commented,

In truth, a wedding is equal to a dozen concerts. There a person can create… A great deal of music is introduced in a wedding, and in a concert you lack this thrill.

However, by the 1990s weddings lasted only one day: he was being nostalgic for the extravagance of the 1980s! He returned to recording with the great albums Fairground (2003) and Dance of the falcon (2008). Meanwhile the wedding scene in Bulgaria continues to change.

Whatever setting he plays in, his music is just intoxicating. Here’s one of several YouTube playlists, including some raw footage from local gigs also featuring other bands:

And a drôle quote from Frank Zappa, no less:

Ivo’s wedding music, played first thing in the morning, provides thorough and long-lasting attitude adjustment for the busy executive.

Though additive “limping” metres feature in much folk music around the region and further afield (notably Turkey), Bulgaria has been particularly associated with them.

In Macedonia, megastars (sic) are Esma Redžepova (e.g. here, and here; and a playlist:)

and sax player Ferus Mustafov, also featured by Cartwright.

But again, it’s not all about the stars of the World Music scene. At the same time, musical appraisals expand from local to global, which are often at variance. By contrast with both nostalgic romantics and World Music fans in search of the latest groove, the brash sounds of Bulgarian chalga and Romanian manele have become highly popular.

As Cartwright observes,

The difference between what the West’s world music industry sells as Gypsy music and what the Roma listen to back in the Balkans can be huge. Sure, in Serbia Šaban is king and across Macedonia Esma reigns. But this is akin to African Americans acknowledging James Brown and Aretha Franklin. Don’t mean they’re listening to them. And in Romania the breach seems wider than anywhere else. Fulgerica is respected but he’s no pop star while Fanfare Ciocârlia and Taraf de Haïdouks exist only for Western audiences. That they play superior Gypsy music, rooted in tradition, means nothing. The local Roma aren’t listening. What they want is Adrian. And Guța.

Meanwhile, as he notes, the Venezuelan soap opera Kasandra became wildly popular across the Balkans, giving Šaban Bajramović a huge hit in 1997.

Albanian cultures
As a respite from the bombardment of turbo-folk, it’s good to return to a more traditional milieu. Again, ethnic Albanians occupy not just Albania but Kosovo and parts of Macedonia and northern Greece; the soundscape is highly regional, with Gheg culture in the north, Tosk and Lab further south.

The splendid A. L. Lloyd somehow issued a fine album as early as in 1966:

The polyphony here is amazing. From the south, another fine CD from Bernard Lortat-Jacob is

  • Albanie: polyphonies vocales et instrumentales (notes here):

A substantial study is

  • Jane Sugarman, Engendering song: singing and subjectivity at Albanian Prespa weddings (1997, with CD).

Bards
Again, the epics sung by bards, over a wide region of south Yugoslavia and Albanian communities, don’t neatly fit national or ethnic boundaries.

The classic study is

  • Albert Lord, The singer of tales (with CD-Rom; complete text here)

following the work of Milman Parry, Most singers are accompanied by a one-string fiddle like the gusle, as in this celebrated 1935 clip:

And in case all this seems like a bygone world, see here for a 2018 Venice performance of a Kosovan bard.

* * *

Under all these unwieldy national rubrics, the diverse ethnic groups negotiate the changing times, interacting. As ever, this is far more than a “merely musical” topic, as such cultures are not merely quaint ornaments, aural pashmina; they are windows on changing local societies, an essential part of what makes them click. As in China, it’s no use clinging onto a romantic idealization of the past; and we should always delve beyond the World Music stars to musicking in local societies.

As ever, Bruno Nettl offers useful perspectives, as in his taxonomies for various types of change and responses to them.

For any sinophiles who have read this far, it may serve as a reminder of the persistent variety of regional and local traditions in China—not just the ethnic tapestries of the northwest, southwest, and indeed northeast, or even Hakka and Hokkien cultures, but all kinds of musicking beneath the provincial level in Han Chinese regions.

The cultures of all these groups—before and during state socialism, and since— deserve detailed attention. And World Music fans may tend to favour modern commercial pop, but it’s important for ethnographers to include it in the picture too. Even in my work on Daoist funerals in China, I could hardly neglect the pop bands outside the gate (my film, from 30.32).

Both academic and popular accounts repay study: and both keep track of change. I wonder what Bartok would have made of all this—another of those fruitless debates like “Would Bach have used the ondes martenot?” or “Mozart would have written advertising jingles”…

For a sequel, see here.

On a lighter note, far from PC, there’s Molvania

Why music matters

Slobin

I’m just re-reading

  • Mark Slobin (ed.), Retuning culture: musical changes in central and eastern Europe (1996).

I’ve stressed the importance of soundscape to the study of both ritual and, more generally,  local cultures (Nettl, Small, Bigenho, and so on; see also category World music > general). Ethnomusicological literature explores endless variations on this theme, but the opening paragraph of Slobin’s introduction might serve as a mission statement:

Music is both deeply rooted and transient. It dissolves into space while simultaneously settling into individual and collective memory. Yesterday’s songs trigger today’s tears. Music harbors the habitual, but also acts as a herald of change. It helps to orchestrate personal, local, regional, ethnic, religious, linguistic, and national identity. Stable yet constantly in flux, music offers both striking metaphors and tangible data for understanding societies at moments of transition.

He goes on to comment,

Each hegemonic thrust and subcultural parry are just episodes in a long fencing match on the battlefield of culture.

In the same volume, Carol Silverman also stresses the importance of music:

Music shapes politics and economics and social life as well as being shaped by them. Moreover, music is often part of a cultural milieu that displays specific social values, values that may represent the existing hegemony, counter it, or subvert it.

 

Taco taco taco burrito

Rite

Wondering how to get to grips with additive metres?
Awed by the complexities of flamenco palmas?
Despair not, help is at hand!

As a prelude to aksak “limping” metres, we might start with quintuple metres, which go far back, even in WAM. By the baroque period there are niche examples by composers such as Schmelzer, and they feature in 19th-century Russian music—a most popular instance being the “limping waltz” of Tchaikovsky’s Pathétique symphony (2+3) (which, like the 2nd movement of Berlioz’s Symphonie fantastique, is a kaleidoscopic WAM subversion of the waltz, before Ravel‘s disturbing vision).

Quintuplets, of course, are something else altogether; as are the creative use of additive rhythms in minimalism (see also examples from Reich and Meredith).

From Tchaikovsky we might graduate to the Pearl and Dean theme (which we may hear as two groups of 3+3+2; or for a Bulgarian, even two groups of 3+3+3+3+2+2), Un homme et une femme (3+3+2+2), and Lalo Schifrin’s theme to Mission impossible (5/4, with a duplet over the first 2 beats).

If you can hum along to such easy examples, then that’s a good start in mastering the intricacies of so-called aksak metres around east Europe and the Middle East…

Indeed, Take five was inspired by hearing Turkish musicians. Rather more challenging is the opening section of Blue Rondo à la Turk (2+2+2+3):

Note the helpful BTL comment there (only without the punctuation!):

Taco, taco, taco, burrito. Taco, taco, taco, burrito. Taco, taco, taco, burrito.
[SJ: not to be confused with potato, potato]

Still, that’s a rather crude, mechanical usage, the melody merely marking out the metre in regular quavers—whereas further east, melodic rhythms are infinitely varied within the basic metre.

Admittedly, the additive patterns of the Rite of spring have been transcribed in 4/4—was it really Boulez who had this drôle idea?! Cf. Slonimsky‘s help for Koussevitzky, here). Indeed, the scores for both the Pearl and Dean and Un homme et une femme tunes were written in duple metres.

And Max Richter’s welcome recomposition of the Four Seasons mixes in some great limping 7/8 bars (2+2+3—just the two tacos before the burrito today, thanks waiter) (from 1.14):

An intriguing instance is I say a little prayer, with its quirky insertion of a triple-time bar in the chorus—which no-one apparently even has to think about.

* * *

But all this is mere child’s play compared to folk music. Though such metres are quite widespread, Bartók, Brailiou et al. coined the term “Bulgarian rhythm”.

aksak

Some instances of “Bulgarian rhythm”, found here.

See also here.

A classic essay is

  • Constantin Brăiloiu, “Aksak rhythm” (in Brăiloiu, Problems of ethnomusicology, 133–67, based on a 1951 lecture),

which contains far more detailed schemata. His work followed that of

  • Bela Bartók, “The so-called Bulgarian rhythm” (1938).

A transcription by Bartók of a Turkish zurna–davul shawm band shows how, over the basic metre, melodic and percussion rhythms seriously thicken the plot:

aksak 2

The whole repertoire of players like Ivo Papazov is based on aksak metres:

I don’t think I’m quite ready for Sedi donka (Plovdivsko horo), a 25-beat pattern divided

    7             7                 11
3+2+2 | 3+2+2  | 2+2+3+2+2

For more on the diverse musical cultures of Bulgaria and environs, see here.

* * *

Further east, an example from the muqam of the beleaguered Uyghurs of Xinjiang is sadly topical (see this useful site). A common metre consists of one long beat divided into two equal stresses, followed by two regular beats—which we might notate cumbersomely as

aksak

with the initial duplet over a notional 3/8 unit:

Some sections add another duple unit, like this dastan from Chebiyat muqam (actually a duplet over 3/8,  followed by 3/4):

QB

And some muqam have still more metrically complex segments to explore.

As with many world genres, the Uyghurs have no tradition of notation, and seem to have no terminology for such metres (though see Rachel Harris’s chapter in Harris and Stokes (eds.), Theory and Practice in the Music of the Islamic World). As with flamenco, this kind of thing is only an issue for those (like me) hampered by a visual classical education. The trick is to internalize it in the body—and to dispense with notation. Let’s remember that much of this music accompanies dance.

Uyghur musical traditions are part of the rich culture that is currently being systematically erased in Xinjiang.

 

 

Musicking worldwide: a new category!

Bartok 1907

WM

 

As I write more about musicking worldwide, I’ve upgraded the former world music tag to a new category in the sidebar, which allows me to make some rudimentary subheads—and do click on all the internal links too!

The rubric “world music” is a compromise. Of course, all these posts are about far more than mere “music”: they concern the cultures of local societies along with the soundscapes that animate them. The glossy commercial category of “World Music” (to which I am almost as resistant as to “heritage“) features only as an occasional irritant—though it does appear magnificently (under “drôle”) here.

Here’s a selection of some highlights, by subheads:

  • Under Asia, I have included some posts related to the Chinese soundscape (like Different values, and Festivals), but my myriad posts on the Li family Daoists (with subheads!) and other ritual groups (many linked here), as well as the qin, all have their own separate categories and tags. And I’ve included some articles on Indian music, but it’s worth exploring the Indian tag too. Note this post on Afghan musicking.

AND it’s always worth basking in this playlist—while it could be yet more eclectic, it has a variety of gorgeous, plaintive, exuberant songs.

 

Areas of expertise

 

 

Note: not quite to scale…

A true story to illustrate the parochial limitations of academic views of musical cultures of the world:

Way back in the days when ethnomusicology was Neither Profitable Nor Popular, a bright young expert on Korean music went to interview for a job at the Music Department of an English university. Besides his Korean speciality, he realized he should probably offer a wider course on East Asian music, to include China and Japan—a mere 3,000 years’ continuously-documented history of local folk, popular, and elite traditions.

The board politely commented that this was rather too limited, so he proposed he could do a yet broader course, on Asian music—further including south, southeast, and central Asia. Glancing at the map, these countries look quite small, don’t they—how hard can it be?

When they still felt this was too narrow, my friend asked, bemused:
“So what kind of courses have you been offering, then?”

The chair of the board eagerly replied:
“Well, last year we ran a very successful course on 19th-century English Art Song…”

 

For a similar debate at the New Grove dictionary of music and musicians, see here. I often observe the diverse soundscapes within China alone, as here. For further drôle interview stories, see herehere, and now I come to think of it, here.