musicology

References:

Daedalus Controllerism - https://www.youtube.com/watch?v=spa4emMwhOM

Liveness: Performance in a Mediatized Culture by Philip Auslander - https://www.routledge.com/Liveness-Performance-in-a-Mediatized-Culture/Auslander/p/book/9780367468170

Playing with Something that Runs by Mark J. Butler - https://global.oup.com/academic/product/playing-with-something-that-runs-9780195393620

Push: Software Design and the Cultural Politics of Music Production by Mike D’Errico - https://global.oup.com/ushe/product/push-9780190943318?cc=gb⟨=en

Music Used:

Space Town - What Happened to Chiptune Theme

The Attic Bits - Command Line Fail

In this episode of The Music Talkshow, our music researchers Veronika Muchitsch and Mirjana Plath are chatting about popular music cultures of the 20th and 21st centuries. 

We’re discussing pride music, technology, and stylistic changes through time. On top of fascinating research, you can enjoy music from 1874 to 2023. Even football fans get their money's worth.

Fotocredit: Frode Larsen / Nasjonalmuseet / UiO

UiO research center RITMO's postdoctoral fellow Dr. Remy Martin and doctoral fellow Martin Pleiß took this episode as an opportunity to stroll through one of Oslo’s most prominent places for experiencing art - the national museum of Norway. They do not simply look around, but pay attention to how we use sounds to make sense of what we experience. They talk about the need for places and emotions, how our senses give us references, and why music is so great to experience these perceptual powers every day.

Christina chats with longtime friend and iconic radio DJ Rudie Hayes. Rudie is an ecologist, environmentalist, and forester, based in the UK, he is an advocate of the health benefits of woodlands.

A runner, and football coach he is a total music nerd. Writing on Americana, Folk and Acoustic artists for 20 years, he has been a promoter, drummer, compare of festivals - he'll do anything to get good music heard.

His passion has always been radio - he hosted the award winning "Horseshoe Lounge Radio Show" for 5 years as well as founding a local community station in his adopted home town of York. 

Got a question for Christina? Call her Heartbeat Hotline in Canada: 1-902-669-4769

Explore Christina's music, videos and tour dates at christinamartin.net

One of Daddy Grace’s lasting legacies is shout music: specifically, the horn-driven shout bands, whose presence – even today – is a constant at almost all United House of Prayer functions. In this week’s bonus episode, Marcy sits down with Lovett Hines, Artistic Director of the Philadelphia Clef Club of Jazz & Performing Arts (and former House of Prayer band member), to discuss his own musical upbringing in the church, as well as how he sees the tradition of shout music in the world today.

For more on Sweet Daddy Grace, check out SweetDaddyGrace.com

See omnystudio.com/listener for privacy information.

Sosiale medier er over alt, også i musikklivet. I den neste episoden av The Music Talkshow prater doktorgradsstipendiat Eirik Jacobsen om sin forskning på sosiale mediers påvirkning på uavhengig musikkultur. Hør hans samtale med musikerne Dionisia Fjelldalen fra bandet MÍO og Janos Andersson fra bandet Janos.

Social media is everywhere, also in musical life. Hear PhD candidate Eirik Jacobsen talk about his research on social media in independent music culture in conversation with two musicians, in the next episode of The Music Talkshow! (Conversation in Norwegian).

INTRO

2min - Do you have a most cherished Prince related possession (from the 9 years you worked together)? "I joke with my friends that I only buy vinyl with my name on it!"

4mins - Biggest 'pinch-me' moments working with Prince...? 3121 era, cherished memories.

6mins30s - Which kind of people engaged Prince best behind the scenes?

7mins30s - Prince and his heroes...and a fierce competitive streak.

8mins - Memories of the Musicology tour, Sam's favourite shows.

10mins - When did you last speak to Prince?

11mins - Where were you, when you heard...

14mins - View of The Prince Estate and posthumous releases overall

17mins - What was it like getting tapes in the post from Prince??

17mins30s - Any tracks that you personally heard for the first time that blew you away?

19mins - Studio version of Prince & The Band

22mins - What's the piece of work that you're proudest of?

23mins - The creative process of working with Prince

26mins - NPG Ahdio Shows

31mins30s - DJing on Twitch: how does it work?

33mins - Prince album battles! Lovesexy vs The Black Album...Cindy C vs Alphabet Street??

36mins30s - Legacy

How Can U Just Leave Me Standing? In Search of Prince... is produced and arranged by Sam J. Bleazard - but couldn't exist without the fabulous contribution from all of our guests!

The show also features significant original music compositions from Gavin Calder.

LINKS

Please follow me on Instagram and Facebook if you'd like to interact with the show on social media.

Email me at: bleazas@hotmail.com if you have any ideas for future episodes, or if you'd like to share any feedback on the show. 

#prince4ever #love4oneanother

Episode #29. Just Good Records. “Fiddle Bustdowns, Fair Warnings and Gully Jumpers” Enjoy a nice selection of records across a variety of styles. Please subscribe to the show if you haven't done so already and share with family and friends. Also, go take a visit to the show's new website olddingyjukebox.com and have a look around. Thanks for listening and I hope you enjoy the show. 

Donate to the podcast: https://paypal.me/christiangallo1?locale.x=en_US

Website: https://www.olddingyjukebox.com/home

Facebook: https://www.facebook.com/olddingyjukeboxpodcast

Instagram: @olddingyjukeboxpodcast

E-mail: olddingyjukebox@gmail.com

1. Paul Warmack and his Gully Jumpers-”Robertson County” Victor 1929
2. Johnny Shines-”Ride, Ride, Woman” Columbia 1946 Unissued Test
3. The Johnson Family- “Precious Lord” George Mitchell Field Recording Skene Mississippi, July of 1969
4. The Grant Brothers and Their Music- “Tell It To Me” Columbia 1928
5. Coy Jackson- “Lookout Heart” Rimrock 1966
6. The Vicksburg Blowers- “Twin Blues” Gennett 1927
7. Jim Kweskin & The Jug Band w/ Sippie Wallace “Separation Blues” Mountain Railroad Records 1967
8. D.L Menard & The Louisiana Aces “Lacassine Special” Rounder Records Recorded 1973 in DL’s Kitchen
9. Blind Alfred Reed “How Can A Poor Man Stand Such Times And Live?” Victor 1929
10. Earl Hooker “Dust My Broom” Cuca 1967
11. Ford & Grace “Hideaway” Okeh 1928
12. Ocie Stockard and his Wanderers “Twin Guitar Polka” King 1947
13. Fats Waller “Sweet & Low” RCA Victor 1935
14. James “Thunderbird” Davis “Instrumental #4” George Mitchell Field Recording Mississippi 1960s
15. Cliff Bruner & His Boys “Truck Driver’s BLues” Decca 1939
16. Joke & The Jokers “I’ve Got The Time” Tennessee Records 1965
17. Charlie Poole and the North Carolina Ramblers “Flyin’ Clouds” Columbia 1926

"Ukrainian songs, whether they are sung or instrumental, tell about the history of our people and about their landscape." Dallas-based fellow Kelsey Lee explores Ukrainian folk music performance in the Dallas-Ft. Worth area. Veselka Dallas is a folk singing group that performs all over North Texas.  Kelsey interviews two singers from the group, as well as a Dallas-based bandura musician. 

Learn more at TexasFolklife.org
This project is supported in part by the National Endowment for the Arts.

Pianist Michael Pelz-Sherman and multi-instrumentalist Hal Goodtree joined Six Count at Chatham Street Records, an indie record label in Cary, North Carolina. The label supports local artists through artist management, fair-share royalty collection, music production, and distribution. 

Michael and Hal’s next album, “Notes from the Suburbs,” released November 8. Follow the Lounge Doctors on Spotify.

About Michael

A jazz fusion enthusiast, Michael has been playing jazz, blues, and R&B in Raleigh since moving back to the Triangle in 2006. 

The musician received his bachelor’s in composition and piano from Indiana University Bloomington (1986) and his PhD in musicology and ethnomusicology from the University of California, San Diego (1994).

Michael plays regularly with the North Carolina Jazz Ensemble and as a rehearsal accompanist for the Carolina Ballet in Raleigh. For his day job, he’s a software engineer at Nextiva and a co-producer at Chatham Street Records.

In this episode, Michael shares about his early career days touring the Midwest with a Top 40 cover band; collaborating with Swedish composer Klas Torstensson at IRCAM, a Paris-based institute (associated with the Centre Pompidou) dedicated to music and sound research; working in the Bay Area tech scene after the dot-com crash in 2000; his current musical work around the Triangle, and more.

Follow Michael on Facebook or YouTube.

You can catch him at the Hayti Heritage Center’s annual Christmas concert with the North Carolina Jazz Ensemble this December.

About Hal

Hal (bassist, vocalist, guitarist, and songwriter) is the general manager and executive producer at Chatham Street Records and a filmmaker and photographer at Goodtree.Studio, where he specializes in high-end architecture, food, and events. 

Hal is the writer and producer of Shaw Rising, a documentary about Raleigh’s Shaw University, the oldest Historically black university in the South. The film won the Midsouth Regional Emmy Award in 2021 and is now streamable on PBS. His documentary, “Because No One Else Would: American Tobacco and the Durham Renaissance,” won Best Short Documentary at the 2015 Longleaf Film Festival at the North Carolina Museum of History. 

For the past seven years, he’s taught at the Center for Documentary Studies at Duke University in filmmaking and photography. He was also the publisher for the online newspaper CaryCitizen for more than a decade.

Hal received his bachelor’s in history from Rutgers University—New Brunswick in 1980. He’s a member of the National Academy of Television Arts & Sciences, the American Society of Composers & Publishers, Directors Guild of America, the Cary Chamber of Commerce. 

Music credits

This episode features “Blue Winter” from the album Goes Without Saying (2012), by Michael (piano), E. Scott Warren (bass), and Charles Barchuk (drums), as well as “Typology,” by the Lounge Doctors.

This season features the songs “Forged in Rhythm” and “Callous & Kind” by Keenan McKenzie & The Riffers (2017), used by Six Count with permission from the artist.

How to listen

You can find Six Count on Apple Podcasts, Spotify, or any other listening app!

Support the show

If you’d like to support Six Count, you can make a gift on DonorBox or Venmo @thexarawilde.

Composer Meira Warshauer (Columbia, SC) and marine scientist and artist Bonnie Monteleone (Wilmington, NC) discuss art, music, and environmental advocacy as well as their collaborative work. Their art and music will be showcased at the University of South Carolina’s Southern Exposure New Music Series on October 27, 2022 with the performance of Meira’s Ocean Calling Trilogy and Bonnie’s art installation What Goes Around Comes Around. Find out more at meriawarshauer.com and plasticoceanproject.org. 

Author Neal Karlen, in conversation with Sam Bleazard.

Introduction - New York Times, Rolling Stone magazine, author...friend?

1-3mins: "Please don't let my scoop go away!" - Memories from another lifetime...and the BBC Omnibus documentary

4mins ...time to stop writing - and talking about - Prince, wanting to be a fan again and not a critic...

7mins - MPLS, segregation and the 'Minneapolis Sound'

9mins30s - Prince as an 11-year-old kid, and a story from one of his substitute teachers

11mins30s - Was Prince's life a sad story or a triumphant story of success?

13mins30s - 'This Thing Called Life' - were you worried that by being so candid it would create a backlash on the book?

17mins - the audiobook, the showman and Prince off the record in the 1980s

19mins - small aspects of the real guy being revealed: showing the imperfect human being behind the star.

20mins30s - "I Love U..."? And how it feels...

22mins30s - Humour in the book and 'The Crusher'!

24mins30s - The dilemma of releasing tapes of Prince speaking from the 1980s...'the most compartmentalised person I've ever met'

27mins - "Prince who?" - "The real Prince!"

29mins - The only person still awake at 4am and happy to shoot the breeze...

30mins30s - Different personalities and the blurring between friendship and employment

33mins - Not deifying Prince...and his relationship with his mother and father

49mins - the last conversation with Prince (3 weeks before his passing)

50mins - any things you wished you'd put in the book?

How Can U Just Leave Me Standing? In Search of Prince... is produced and arranged by Sam J. Bleazard - but couldn't exist without the fabulous contribution from all of our guests!

The show also features significant original music compositions from Gavin Calder.

LINKS

Please follow me on Instagram and Facebook if you'd like to interact with the show on social media.

Email me at: bleazas@hotmail.com if you have any ideas for future episodes, or if you'd like to share any feedback on the show. 

#prince4ever #love4oneanother

This episode examines the field recordings made by Alan Lomax during his 1959-60 visits to the American South collecting American vernacular music styles found in the region. Episode also includes a partial examination of the Lomax's recordings made for the Library of Congress including those of Leadbelly and Jelly Roll Morton.

Andrés Espinoza Agurrrrto’s new book, Salsa Consciente: Politics, Poetics, and Latinidad in the Meta-Barrio, explores the Salsa consciente movement, a Latino movement of music, poetry, and political discourse that exploded in the 1970s. Largely linked to the development of Nuyo latino popular music, Salsa consciente was brought about, in part, by the mass Latino migration to New York City beginning in the 1950s and the subsequent social movements that were tied to the shifting political landscapes. Defined by its lyrical content, its unique sound, and the political and social issues facing U.S. Latinos and Latin Americans, Salsa consciente evokes the overarching cultural-nationalist idea of Latinidad (Latin-ness). Analysis of over 120 different salsa songs spanning sixty years, the book draws on lyrical and musical perspectives to argue that the urban Latino identity expressed in Salsa consciente was constructed largely from diasporic, de territorialized, and at times imagined cultural memory. From this perspective, Latino / Latin American identity is in part based on African and Indigenous experience, especially as it relates to Spanish colonialism. A unique study of the intersection of Salsa and Latino and Latin American identity, Salsa consciente appeals to scholars of ethnic studies and fans of salsa music alike.

ANDRÉS ESPINOZA AGURTO serves as assistant professor in the Department of Music at Florida Atlantic University. He studied Afro-Cuban percussion at the Escuela Nacional de Arte (Cuba), graduated summa cum laude from Berklee College of Music with a degree in jazz composition, and holds an MA in music from the University of York (England). He received his PhD in musicology and ethnomusicology from Boston University. He is also a composer, musical director, and percussionist for his own group, Ayé, an also a consecrated drummer in the lineage of Añá Ilu Kan and is currently conducting research on the lineage, performance practice, and aesthetics of Afro-Cuban batá drummers and drumming. He is an active participant in the Percussive Arts Society where he serves as the cochair of the World Percussion Committee.

Andrés Espinoza Agurto’s Salsa Consciente: Politics , Poetics, and Latinidad in the Meta-Barrio is available at msupress.org and other fine booksellers. You can find Andres online at aespinozaphd.com. You can connect with the press on Facebook and @msupress on Twitter, where you can also find me @kurtmilb.

The MSU Press podcast is a joint production of MSU Press and the College of Arts & Letters at Michigan State University. Thanks to the team at MSU Press for helping to produce this podcast. Our theme music is “Coffee” by Cambo. 

Michigan State University occupies the ancestral, traditional, and contemporary Lands of the Anishinaabeg – Three Fires Confederacy of Ojibwe, Odawa and Potawatomi people. The University resides on Land ceded in the 1819 Treaty of Saginaw.

Jazz pianist Julian Reid on music, theology, and improvisation. The keys element of The JuJu Exchange uses the history of blues, gospel, and jazz to discuss how we communicate emotionally and spiritually through music, teaching an important lesson in how to live and long for home while we remain exiles. Features score from The JuJu Exchange's latest release, The Eternal Boombox. Interview by Ryan McAnnally-Linz and Evan Rosa.

Julian Reid is a Chicago-based jazz pianist and producer, writer, and performer (not to mention B.A. Yale University, and M.Div. Emory University). The JuJu Exchange is a musical partnership also featuring Nico Segal (trumpet, Chance the Rapper; The Social Experiment) and Everett Reid—exploring creativity, justice, and the human experience through their hip-hop infused jazz. Their new 5-song project is called The Eternal Boombox.

Show Notes

• Music is invisible and tactile
• Music as a matter of faith
• How do we decide what is music and what is just sound?
• Pain and hope in Blues music
• “The Blues emerged as a way to communicate within the black community the pain and frustration and disappointment of failed black life post emancipation.”
• How the Blues emerged as a way to talk about the sorrows of life.
• The beauty of the mundane
• The birth of Gospel Blues and Georgia Tom
• Gospel sings about God, but carries on the pain of the blues
• Jazz and the middle class
• Amiri Bakara, Blues People
• “Jazz was communicating freedom of expression of aspiration, of ambition, of joy, maybe even some frivolity in American life.”
• The music theory behind emotion
• The theological implications of Blues chord progressions
• Exilic chords: how Blues denies the ear the chord resolution it wants to hear
• “Frustrating the notion of going home”
• Music theory and the meaning of home in Christianity
• “Music is a means by which I can signal the dysfunction of society, the lack of home in society”
• Jacob Blake and frustrated chords
• Blues is the music that is ‘beautifying but not justifying,’ that ‘points forward to something that’s not yet’
• The chord progressions of European imperialism
• How American music and Christian music centers us back ‘home’ in the chords, “as opposed to contending with the fact that we are still pilgrims and in a foreign land"
• Sugary chords avoid "the reality of us being in some real deep trouble”
• Julian’s band The JuJu exchange, and their latest EP The Eternal Boombox
• His album is on the stages of grief involved in processing the Pandemic
  • The first stage: shock, “I can’t see my eyes”
  • The second stage: anger, “Avalanche”
  • The third stage: bargaining, “Eternal boombox”
  • The fourth stage: depression, “And so on”
  • The fifth stage, acceptance/hope, “Glimmer”
• Music, Alzheimers, and how distorting the melody conveys issues with memory
• Jazz and agency
• Improvised music and expression in the moment
• Tension and comfort in Jazz phrasing
• How God can meet us in the midst of space, how God can meet us in the midst of creating wordless music”
• Do we need to articulate who God is?
• Improvisation and humility
• “Does the music breed honest dialogue with the Creator?”
• How music plays with social boundaries
• “Musicians that are just out for themselves sound like it”

More from The JuJu Exchange: 

• Listen to The Eternal Boombox EP: https://ditto.fm/theeternalboombox
• If you like what you hear and want to further the exchange, join us over at Patreon. This subscription service helps The JuJu Exchange stay independent: patreon.com/thejujuexchange
• Learn more about The JuJu Exchange on their website: https://www.thejuju.life/ 

From the episode:

• Cornel West, from Race Matters: “To be a jazz freedom fighter is to attempt to galvanize and energize world-weary people into forms of organization with accountable leadership that promote critical exchange and broad reflection. The interplay of individuality and unity is not one of uniformity and unanimity imposed from above but rather of conflict among diverse groupings that reach a dynamic consensus subject to questioning and criticism. As with a soloist in a jazz quartet, quintet or band, individuality is promoted in order to sustain and increase the creative tension with the group--a tension that yields higher levels of performance to achieve the aim of the collective project. This kind of critical and democratic sensibility flies in the face of any policing of borders and boundaries of 'blackness', 'maleness', 'femaleness', or 'whiteness'.”

For Episode 9 of ALBUM SHOTS, our resident NYC master DJ/Musicologist returns with a new batch of soul-enriching vibes for a positive new year in our “Existing Conditions…”  Digging deep into his collection, Greg serves up and raps on some stunning latin funk, jazz-fusion, vintage bossa-soul, salsa and other leftfield selections, kicking it off with a fittingly-titled “Condiciones Que Existen,” by Eddie Palmieri.  This episode also features a sensational DJ Monk-One edit of a classic funk/fusion nugget from the Yellowjackets, a soothing scorcher from Ashford & Simpson, a classic 00’s smooth house beauty from Hardage with Jocelyn Brown, a soon-to-be classic from Jan Kinkaid’s “brand new” MF Robots LP and more…

Find out more about these and other albums featured on DJ Greg Caz's Instagram page @the_real_greg_caz

See omnystudio.com/listener for privacy information.

In this episode Claudia talks to musicologist Martin Ullrich about animals and music. Together they touch on the multiple ways in which music and animals intersect from how animals inspire human music, to how animals make and listen to music, and the ethics of more-than-human musical encounters. They find that the focus on animals and music destabilizes anthropocentric understandings of both culture and aesthetics.

Date Recorded: 15 December 2021

Martin Ullrich studied piano in Frankfurt and Berlin as well as music theory in Berlin too. He received his PhD in musicology in 2005. His main research area is sound and music in the context of more-than-human aesthetics (nonhuman animals and music, artificial intelligence and music), with an emphasis on human-animal studies. He has presented and chaired at international conferences and has published on animal music and the relationship between animal sounds and human music. Martin was a professor for music theory at Berlin University of the Arts from 2005 to 2009 and the president of Nuremberg University of Music from 2009 to 2017. Since 2017, he has worked as a professor for interdisciplinary musicology and human-animal studies at Nuremberg University of Music. Find Martin on Facebook and Twitter (@MResearchHAS).  

Featured: 

Human-Elephant Encounters in Music by Martin Ullrich; Animal Music: David Rothenberg, Dario Martinelli, and Martin Ullrich Exchange Their Views on the Topic Minding Animals: Studies and Research Contributions  by Jessica Ullrich;  The Critical Posthumanities; Or, Is Medianatures to Naturecultures as Zoe Is to Bios?  by Rosi Braidotti; Piano for Elephants by Paul Barton on Youtube; The War Against Animals by Dinesh Wadiwell; The Octopus, the Sea, and the Deep Origins of Consciousness by Peter Godfrey-Smith;

The Animal Turn is hosted and produced by Claudia Hirtenfelder and is part of iROAR Network. Find out more on our website.

Kyle Devine’s 2019 book Decomposed: A Political Ecology of Music is making waves. As Devine explains, the book started as an investigation of the nostalgic return of the vinyl record, a seemingly “backwards” trend in current music consumption. However, the more he looked into the issue, the more he was challenged by the story of the music’s material presence as data in the age of mechanical reproduction. His key takeaway, and stark truth: recording technology, from shellac discs, to vinyl LPs, CDs, mp3s, and contemporary streaming services, comes with environmental impacts. What music is made of matters, and its cost to the natural world is a problem of “political ecology.”

In this final episode of our first season Chris takes us through the book, looking for resonances and intersections with the Sounding History project. As a historian of empire he finds parallels, for instance, between the music industry’s environmental costs and empire’s human toll, up to and including mass enslavement: whether in the sugar slaveocracies of the Caribbean, or the server farms of Iceland, empire’s environmental costs have too often been concealed “just over the horizon.”

Yet despite our enthusiasm for the book, we are not entirely convinced by some portions of Devine’s account. We reflect, for example, upon the price (in deforestation and exploitative labor) of the shellac record, as against the liberation and democratization that easily accessible recording technology brought to subaltern and minoritized musical experiences in the early twentieth century. Shellac records made it possible, wherever musicians and technology could come together, for people (“the people,” even) to tell their stories in sound. Without shellac, we believe, there would have been no blues revolution, no Ma Rainey, no Robert Johnson, even, no jazz. 

It turns out that the social-environmental-historical-economic impact of datafied music is not an easy nut to crack.

We thus end the podcast (and our first season!) with a quick glimpse of some work Tom is doing at the Alan Turing Institute, the UK’s national center for data science and AI, where he directs the project “Jazz as Social Machine.” Today machine learning agents drive cars, diagnose disease, play chess, and design buildings–among many other human tasks. Such autonomous systems also improvise jazz. It turns out, though, that jazz improvisation is apparently harder than driving a car! Why? The answer has to do with risk, historical “consciousness,” and the attitudes towards “getting it wrong” that underpin the algorithms of the machine learning revolution.

Key Points

• Music objects, Kyle Devine argues in his book Decomposed: A Political Ecology of Music, come with considerable environmental costs, both from their materials (the chemicals used to make vinyl records and CDs, for instance) and the energy required to make them widely available (for example the consumption of electricity to sustain the server farms than underpin music streaming).
• Of all the many human tasks that are now subject to takeover by machine learning agents, jazz improvisation turns out to be a particularly thorny challenge, perhaps because so much of machine learning depends on the avoidance of risk.

Resources

• You can learn more about the environmental costs of music in Kyle Devine’s Decomposed: A Political Ecology of Music
• His argument is summarized in an article he wrote in 2015 for the journal Popular Music.
• You can find out more about Tom’s project “Jazz as Social Machine” on the Alan Turing Institute Website.
• The Musica project, led by Kelland Thomas and Donya Quick, is at the Stevens Institute of Technology.
• For more on the technological transformation wrought by shellac records, you can revisit a recommendation from earlier in our Season I, Michael Denning’s Noise Uprising: The Audiopolitics of a World Music Revolution.

All of the books mentioned in the episode can be found in our Sounding History Goodreads discussion group. Join the conversation!