Music History

An archaeologically grounded history of six legendary places in Detroit.

The city of Detroit has endured periods of unprecedented industrial growth,
decline, and revitalization between the late nineteenth century and the present.

In Detroit Remains: Archaeology and Community Histories of Six Legendary
Places, Krysta Ryzewski presents six archaeological case studies of
legendary Detroit institutions—Little Harry speakeasy, the Ransom Gillis
house, the Blue Bird Inn, Gordon Park, the Grande Ballroom, and the Halleck
Street log cabin—that trace the contours of the city’s underrepresented
communities and their relationship to local currents of capitalism and
social justice. Through a combination of rigorous historical archaeological
research and narrative storytelling, Ryzewski deftly contextualizes the cases within the city’s current struggles, including recovery from bankruptcy, and future-oriented recovery efforts.

Detroit Remains is is the first historical archaeology book focused on Detroit and one of the few to foreground the archaeology of the Great Migration era (ca. 1915–1970). The archaeological scholarship is rooted in collaborative, community-involved, and public-facing initiatives. The case studies examine how power is and has been exercised in Detroit’s communities over the past century: how it was stripped from the city’s twentieth- and twenty-first-century residents, but also how they acquired alternative sources of agency by establishing creative and illicit economies, most of which still operated within the city’s capitalist framework.

Throughout this book, connections run deep between archaeology, heritage, politics, historic preservation, and storytelling. Detroit Remains
demonstrates how the city’s past, present, and future lie not in ruins but
in the tangible archaeological traces of the everyday lives of Detroiters and
their legacies.

Published by University of Alabama Press

In 1850, after five years of planning, Liszt began composing music for his Italian opera, _Sardanapalo_, after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La Mara (1911), Humphrey Searle (1954) and others declared the manuscript fragmentary and partially illegible, but in 2016 this verdict was categorically overturned when work began on an edition of what Liszt notated: almost the entirety of Act 1. This article draws on an array of sources – published and unpublished – significantly to update our knowledge of the circumstances surrounding Liszt’s composition and abandonment of _Sardanapalo_. In light of his inconsistently Italianate music and idiosyncratic treatment of the libretto, it also reinterprets Liszt’s mid-century aesthetic orientation, as a confidant of Wagner and would-be pillar of Franz Brendel’s future neudeutsche Schule. By contextualizing key aspects of the uncovered musical score and libretto within Liszt’s mid-century writings on aesthetics, it posits character, declamatory melody and the visuality of the stage as (initially) critical criteria in the communication of a literary narrative, and suggests that Liszt’s impulse towards symphonic poetry may first have been kindled within the aesthetic potential of opera.

Concerto in G Major for oboe, strings and basso continuo by Antonín Reichenauer (c. 1694-1730), which is edited for the first time, is a significant and rare sights instrumental works by Czech composers of the late Baroque. The work was composed probably in the third decade of the 18th century for Count Wenceslas Morzin band for whom Reichenauer worked at that time. This ensemble was one of the best bands in the Czech Republic and as "Maestro di Musica in Italia" for him composed music also Antonio Vivaldi, who dedicated this Morzin a collection of the Concertos op. 8 with the famous "Le quattro stagioni". Also, the Reichenauer's handwriting on the Concerto in G major is obvious direct influence of Vivaldi's music. This critical edition prepared a music historian and musician Lukáš M. Vytlačil to satisfy the scholarly community and also meet the needs of musicians. The score is therefore complemented by Czech and English commentary, complete facsimile copy of the Dresden manuscript and instrumental parts. The concerto is possible without transposition also play on the flute.

Il dibattito fra idealismo universalista e materialismo individualista ha avuto inizio più di duemila anni fa nell’Antica Grecia con Platone e Aristotele, ed è giunto fino all’epoca moderna con la contrapposizione fra Classicismo e Romanticismo. Nella prima metà dell’Ottocento i tumulti sociali e i malcontenti che portarono alla Rivoluzione Francese si scontrarono prima con le sue conseguenze dirette e poi con i meccanismi della Restaurazione; il senso di “nulla di fatto” portò a quella serie di atteggiamenti collettivi che nell’arte si traducono nei temi topici del Romanticismo, nello specifico: la fuga dalla realtà verso mondi lontani nello spazio e nel tempo; la fuga intimista introspettiva; l’esaltazione della coscienza e dell’autodeterminazione individuale in luogo di grandi ideali collettivisti sempre validi; e infine la scoperta dei concetti di infinito e di eterno ritorno, che applicati alla storia e all’evoluzione della società, danno vita a una concezione circolare del tempo, contrapposta a quella giudaico-cristiana finalistica del tempo lineare. A causa dello smontaggio di alcuni valori fondativi della società, che iniziava il suo cammino verso il moderno capitalismo, tali concetti portarono gli intellettuali e gli artisti da un lato a operare con maggior libertà espressiva, dall’altro a dover scendere a continui compromessi con i gusti dei committenti. Per alcuni ciò era in qualche misura sopportabile, ma la mercificazione dell’arte e la perdita del ruolo sociale dell’intellettuale causate dal ceto borghese sempre più plutocratico, generarono dapprima un atteggiamento caricaturale e provocatorio nei confronti delle sue conseguenze, e subito dopo ad una netta opposizione conflittuale. È l’inizio della variegata stagione delle Avanguardie storiche, che spaziano dall’Espressionismo alla Nuova Oggettività. Ancora una volta però, gli atteggiamenti provocatori sfociarono in aspri conflitti sociali fra le varie anime del “Modernismo”, inteso come coesistenza del tardo Romanticismo decadente, delle Avanguardie e del Positivismo; essi portarono rapidamente alle due guerre mondiali, che sanciscono rispettivamente la fine della stagione borghese, e la fine delle “grandi narrazioni” e l’inizio del Postmodernismo. Esso si profila come l’ennesima crisi dell’idealismo, aggravata però dalla totale liquefazione globalizzante della società e delle informazioni fino alla rottura del logocentrismo, sintomo che rappresenta l’unica grossa differenza con il Modernismo. Nell’arte postmoderna, la contrapposizione tra Postavanguardie e Neoromanticismo si presenta per la prima volta dopo duemila anni non come scontro ma come dialettica non-violenta tra idealismo e materialismo. Le prime si presentano come voglia di rivoluzionare il pensiero tramite una rivoluzione del linguaggio tramite il metodo dell’apprendimento sperimentale. Il secondo accetta in realtà la globalizzazione, ma non in maniera rassegnata: bensì vuole sfruttare romanticamente i linguaggi stilistici di epoche passate, decontestualizzati e fusi in una sinergia eclettica promossa ad elemento strutturante e armonizzante nelle opere d’arte. Esse diventano quindi immagini di un’idea nascosta nell’anima mundi, la “memoria collettiva eterna”, aperte tra l’altro a varie interpretazioni come le opere postavanguardiste. La differenza sta invece
6
nell’intento di salvaguardia di una complessità non elitaristica in un’epoca privata del logocentrismo e in cui l’arte ha perso non solo ogni fine etico, ma anche la pretesa che possa averlo.
Analizzando tre brani con il corno, di cui uno per corno e pianoforte e due concerti per corno e orchestra, si sono andati a ricercare gli elementi che dimostrano l’appartenenza non al Romanticismo o ad un semplice “stile personale”, bensì ad uno stile nuovo legittimato da una nuova idea musicale, facendo tesoro della distinzione operata da Arnold Schönberg fra stile e idea. Ognuno di questi brani si colloca in modo diverso nella musica del Neoromanticismo corni stico, della quale in particolare si identifica il Secondo Concerto per Corno e Orchestra di Richard Strauss come uno dei precursori, in quanto sebbene lo stile non abbracci ancora un largo eclettismo storico, le idee sono già presenti in toto. En forêt di Eugène Bozza si configura come il più accademico e “antecedente” dei tre brani, che tuttavia si colloca perfettamente negli ideali neoromantici, mentre il Concerto per Corno e orchestra di John Williams, anch’esso assolutamente neoromantico, costituisce fra i tre il più complesso e sperimentale, caratterizzato da uno stile particolare e del tutto originale.
Il Neoromanticismo si afferma quindi non come revival del Romanticismo - tramontato assieme alle grandi narrazioni del passato - e neanche come sua semplice attualizzazione, ma come un’idea artistica nuova, figlia dell’epoca contemporanea postmoderna, che testimonia la possibilità non solo di entrare in polemica senza andare a cercare scontri ideologici, atteggiamento coerente del resto con l’accettazione della condizione di società liquida, ma anche di poter costruire la novità rimanendo legati alla totalità del passato collettivo eterno e all’anima mundi.

(Kassel, Reichenberger, 2001). Reviews in: Romanischen Forschungen 117/4 (2005); Speculum (2004); Revista Portuguesa de Musicología XIII (2003); Revista de Literatura medieval XV (2003); Musicology Australia XXVI (2003); Revista Musical Catalana 222 (2003); Revista de Musicología XXV (2002); Goldberg XX (2002); La Vanguardia (8 marzo 2002);

Naples, Smyrna (Izmir), and Athens are currently among the most populous and modern cities in the Mediterranean. During the last two decades of the nineteenth century, when “classic” Neapolitan song was born, Naples was the former capital of a backward-looking absolute monarchy evolving with the rest of the region into unified capitalist Italy; Smyrna was a cosmopolitan assembly of cultures and diverging imperialist interests; and Athens was little more than a small rural town.
It is feasible that Neapolitan songs—either performed by visiting Italian artists or in the form of gramophone records—were part of Smyrna’s lively musical scene at least until 1922, when the “Great Catastrophe” brought the cosmopolitan character of the city to an abrupt end. By 1923, about a million and a half Orthodox Greeks and former Ottoman citizens were forced to leave Asia Minor. Many came to live on the outskirts of Athens, which suddenly became a large city. Rebetiko, a marginal song genre apparently born in Ottoman Turkey and developed in suburban districts
around Athens and Piraeus, became the most popular urban-music style in Greece. From its supposedly original “oriental” (anatolikós, in Greek) character, rebetiko evolved in the 1940s and 1950s into a milder Westernized style, where song forms, harmony, and the singing style were influenced by Italian—mostly Neapolitan—models. Although ethnomusicologists and rebetiko historians seem to agree that
Italian and Neapolitan models were important in the stylistic evolution of the genre from the 1940s onward (Manuel 1989), it can also be argued that they had an influence even from the very beginning of the rebetiko era.

Today's dominance of the Almenräder-Heckel bassoon combined with the fact that it has basically been in existence since the 1820s may easily lead one to the assumption that this type of bassoon quickly and continuously gained acceptance immediately after it was first introduced. However, this presumption proves to be incorrect especially for regions of Europe with a preference for the French bassoon. In England, as is well known, it was not until about 1930 that the Almenräder-Heckel bassoon gained acceptance, and in Italy and Spain it was not accepted until after World War II. In German-speaking countries too the performance of the Almenräder-Heckel bassoon was not widespread until the last third of the nineteenth Century. This article is intended to give an overview describing the existence of numerous Instrument makers, who in spite of all of their diversity had one thing in common: well into the nineteenth Century they were making "evolutionary bassoons." These bassoons were further developed derivatives of the classical bassoon of about 1800 without fundamental changes to the traditional bore and therefore the sound of the instrument.

Scriabin's fascination with Theosophy was common amongst artists during Russia's Silver Age. This paper examines how interest in Theosophy emerged at this time in reaction to disillusionment with established religious norms, as well as to growing social and political tensions. In this context the research presented examines why the theosophical notion of cyclical evolution may have appealed to Scriabin, and attempts to establish a connection between theosophical dogma and Scriabin's highly personal eschatology, as expressed in the text to his unfinished 'Prefatory Act'. Scriabin's music is examined in a similar context, with particular consideration given to how the shape of the circle may be understood as inherent in certain musical structures and patterns, with examples drawn from Scriabin's Sonata No. 6, Op. 62, and Guirlandes, Op. 73, No. 1.

This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.

Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.

This paper explores the importance of Kendrick Lamar in the entertainment industry, in hip-hop and in American History. The essence of this paper explores his celebrity black body in relation to history, identity and his contribution to rich black historical archives on the black experience. At large, this paper examines his performance in his DNA music video, to see how his lived body, equipped with its historical DNA, informs our modern perception of the black body.

This paper, written from a feminist perspective, seeks to understand the oppressed black body in popular culture to see how public figures like Kendrick Lamar are reclaiming their history. By creating a rich archive of soulful music and meaningful videos, Kendrick is mainstreaming the black reality in a time where the African-American body is at a political crossroads.

Kendrick Lamar is writing history with his embodied performances and his profound written reflections and ensuring that future generations have a reference point in understanding, participating with and learning from their collective history.

“Whaaaaaaaaat!? I Don’t Get Classical Music: A Self-Help Desperation Guide” is a tonic for the perplexed, and a companion guide for those who feel classical music is forbidding, complex and grandiose. It is a concise and helpful book with humor and insight written by a composer and performer with a lifetime of experience. Beginning with patterns, pitches and instruments, author Dennis Bathory-Kitsz covers topics from performers to shrieking singers to the mysterious classical codes, from Beethoven (“the great hulk of a man”) through space music, tone poems, nationalism, and even composers insulting each other. Written in response to a student’s plea for help (“I’m desperate! I don’t get classical music!”), the book is not stuck in the distant past. Instead, “Whaaaaaaaaat!?” includes classical music—which the composer prefers to call “nonpop”—from ancient times right up to the present day, from Gregorian chant through electrons and gongs to nonpop fused with pop. Writes one of his students, “it accomplishes what a textbook does without being a textbook.” Another says, “It gets right into the dirty details of Western music and does so in a way that makes even the most novice listener feel like a professional.” Explored and critiqued by more than two dozen readers from complete amateurs to working professionals, “Whaaaaaaaaat!?” is insightful, exuberant, funny and, according to one music professor, “terrifically valuable as a corrective to bad thinking and its offspring, bad teaching.” In a short, readable 100 pages, Bathory-Kitsz shares the madness and mystery of classical music.

Note: This book is available in printed form here. Your purchase will help support the second edition.
https://www.amazon.com/Whaaaaaaaaat-Classical-Music-Self-Help-Desperation/dp/1530729521/

This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse ("Americanization"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation ; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense. Dieser Aufsatz gibt einen Überblick über die Rezeption von Arnold Schönbergs theoretischem Denken in der englischsprachigen Musiktheorie, wobei der Fokus, wenn auch nicht ausschließ-lich, auf der Rezeption in den Vereinigten Staaten liegt. William Rothstein hat dargestellt wie Heinrich Schenkers Theorie im Zuge einer Anpassung an den amerikanischen musiktheoretischen Diskurs modifiziert wurde (»Americanization«). Dies legt die Frage nahe, ob auch Schönbergs theoretisches Denken in ähnlicher Weise modifiziert worden ist. Nach einer einführenden Über-sicht über die Verfügbarkeit von Schönbergs Schriften in englischen Übersetzungen werden vier Themenbereiche von Schönbergs Denken in der anglophonen Musiktheorie verfolgt, wobei der Schwerpunkt auf der Nachkriegszeit liegt: 1) Harmonik; 2) Form; 3) thematische und motivische Transformation; 4) Ästhetik. Die amerikanische Rezeption von Schönbergs Theorien tendierte dazu, die technischen Aspekte in seinen Schriften herauszuheben, und vernachlässigte dabei in einem signifikanten Ausmaß die stärker philosophischen und ästhetischen Aspekte seines Den-kens. Die Schönberg-Rezeption in den USA hat also ein starkes Gewicht auf Fragen musikalischer Struktur und struktureller Einheit gelegt; weniger wurde hingegen danach gefragt, warum eine solche Einheit in einem umfassenderen Sinn erstrebenswert ist. In his 1986 article entitled "The Americanization of Heinrich Schenker," William Roth-stein explores the development of Schenkerian theory and analysis in North America in the decades following the Second World War. Reflecting on how Schenker's ideas had been absorbed, disseminated, and, to a certain extent, adapted by the English-speaking academic community in the United States, Rothstein remarks: 1 I would like to thank Severine Neff and Jonathan Dunsby for reading an earlier version of this article and offering useful comments. I would also like to thank the editors of the journal and the anonymous readers for their valuable feedback and suggestions.

According with Giovan Pietro Bellori, Domenichino was especially interested in the musical theories of the time and showed great musical competency. His works speak for themselves: Domenichino depicted with considerable precision contemporaries musical instruments, instrumental complexes consistent with practice of the time, scores that attest his knowledge of musical notation. The painter bonded fruitful relations with musicians and composers.
Moving from ancient sources and continuing footsteps of Benvenuto Disertori, Richard Spear, Patrizio Barbieri and Renato Meucci, this essays proposes to place Domenichino in his musical time, crossing organically and in a unified manner his creative course, and highlighting his interests’ versatility: on one side aimed to harmony mathematical study, that is purely theoretical, on the other side focused on performance practice instead. Plurality of interests animated by a deeply modern attitude towards music of his time. Musical ‘clues’ in some paintings, witnesses of his adherence to the most innovative musical instances: the “seconda prattica”, instrumental music’s gradual claim of autonomy, enharmonic experiments. It will emerge a renewed figure of the painter: a classicist Domenichino, but also a great “modernist”.

Attraverso le ricerche riportate in questa tesi si è voluto approfondire nelle sue diverse sfaccettature il ruolo del clarinetto e dei clarinettisti nella composizione delle Fantasie su temi d'Opera, genere molto diffuso all'inizio dell'Ottocento.

Si sono visti nel dettaglio il Potpourri n. 2 per clarinetto e orchestra su Là ci darem la mano di Franz Danzi, le Variazioni su Euer Liebreiz, eure Schönheit in Sib maggiore dall'Opera Alruna di Louis Spohr e la Fantasia da Concerto su motivi del Rigoletto di Luigi Bassi. Per ogni brano si sono analizzate le origini storiche ponendo grande attenzione al contatto e talvolta alla collaborazione avvenuta tra compositore e strumentista.

Lo scopo di tale lavoro non è quello di riportare semplicemente nozioni di valore storico, ma di riuscire a fornire al lettore l'idea di una corretta interpretazione filologica grazie al supporto della ricostruzione della vita dei personaggi coinvolti nella storia di questi brani; tenendo conto del fatto che il paesaggio sonoro in cui viviamo è diverso da quello di duecento anni fa e che le caratteristiche acustiche del clarinetto hanno subito numerose modifiche nel corso del tempo.

La tesi è articolata in quattro capitoli e un'appendice in cui si può trovare una breve storia del clarinetto. Ogni capitolo è strutturato in maniera indipendente e può essere letto separatamente dal resto della tesi. Per ogni capitolo viene fornita un'introduzione al contesto storico e geografico a cui si fa riferimento, una storia dell'autore e dell'esecutore del pezzo e una breve analisi del brano considerato.

In this paper, we experiment and adopt „new‟ economic approaches to interrogate some of the fundamental changes and continuities in the music industry „system‟ that have been produced as a result of digitalisation. In this experiment, we also include established techniques of media industries‟ analysis like a value-chain analysis (e.g. Küng, Picard and Towse 2008) and the distinction between audience and users markets, following the seminal work by Picard (1989). However, not only we consider the music industry as composed by three segments: (1) the digitalisation of content production in the music industry stage; (2) the distribution and marketing stage; (3) the delivery and exhibition stage, but we also attempt to provide a map of the increasing variety of activities in each segment. Moreover, we embrace a service activity perspective and pay particular attention to changing relationships between these activities. Our account of the main changes to the music industry relies on evidence derived from the findings of a recent empirical research study of the music industry in Ireland, and in the conclusions we discuss the significance of the effects of unauthorised downloads of music and provide arguments on how the industry could deal with this issue.
http://obs.obercom.pt/index.php/obs/article/view/514/471

Dr. Chris Stout Influencer David Frangioni is quite the polymath-as he is an entrepreneur, award-winning veteran of the music industry, technologist, producer, engineer, author, and perhaps most fundamentally, a drummer. He is the Founder of Audio One and CEO of Frangioni Media and All Access IDA (Inspire and Develop Artists). He has dedicated his life to designing and building world-class studios, production facilities, and innovative music technology solutions in order to produce music and develop artists, and just recently he became the publisher of Modern Drummer Magazine.

This paper investigates the position and nature of a newly forming musical movement in Turkish popular music scene, which I will call The Second New Music for reasons to be explained as well as convenience, through the work and critique of music of 20th century philosopher, sociologist and composer Theodor W. Adorno. The study will centralize around his extensive musical works mainly but not limited to Philosophy of Music originally published in 1949, then edited by Robert Hullot-Kentor and republished by Polity Press in 2009 under the name Current of Music and Night Music: Essays on Music 1928-1962 originally published in 1964 and then republished by Seagull Books in 2009.

The terms popular music, serious and unserious music, standardization and individualization will be discussed under the socio-cultural context of modern, urban Turkey and The Second New Music. The bands included in the movement and the cultural background that binds them together will be argued as possibly valuable meaning through lyrical importance (and resemblance to the 1950's Turkish poetry movement, The Second New) as opposed to the technical and musical lack of sophistication they may possess with respect to the " serious music " understanding and definition of Adorno. The meaning of musical language and function of music as a conveyor to critical meaning through language will be argued through Adorno's philosophical propositions. Effects of individualization and possibility of personal choice will be asserted against the potency of cultural hegemony through explanation of newly formed social, cultural and technological circumstances around the musical sphere of the society. The meaning of Adorno's definitions of popular music and mainstream will be remarked in terms of cultural significance and critical stance as opposed to standardized content and commodity nature of music. The importance of the individual and the current social state of the nature of freedom of choice will be approached and discussed with regards to Adorno's pseudo-individualization.