(Roughly) Daily

Posts Tagged ‘history of music

“The bond of our common humanity is stronger than the divisiveness of our fears and prejudices”*…

View of the Grand Market in Lier (early 17th century) by Philips de Momper

Inanna Hamati-Ataya on the importance of understanding our place in the world…

In the 1990s, an entire generation was robbed of its historical consciousness by a powerful and seemingly unprecedented tale. This story, crafted as the Cold War came to an end, declared that real or imagined boundaries had stopped working as they once had. Humans were no longer contained within their old geographies or identities. They now inhabited a new world that appeared to be unhinged from the normal evolution of human society.

The concept chosen to capture this transformational moment in human history was ‘globalisation’. It described how new technologies and networks of connectivity had suddenly brought human communities closer together and made them permeable to an uncontrollable flow of people, ideas, goods and cultural practices, which all moved freely across the integrated markets of the world economy. In the wake of this transformation, new jargon emerged, expressing new anxieties: the world had truly become the ‘global village’ that Marshall McLuhan anticipated in the 1960s, but it was a world shaped by multinational corporations and ‘elite globalisers’, who spoke a common, hegemonic ‘global English’, and were spearheading a destructive ‘homogenisation’ (or ‘McDonaldisation’) of human cultures that national borders were too fragile to withstand.

During the past three decades, more people have begun viewing our ‘global’ world as a cursed fate. With its suffocating time-space compression, globalisation seems to have uncoupled us from the logic and flow of history. Our suspicious, bastard identities – patched together from a mishmash of cultures – appear incompatible with our ancestors’ ‘authentic’ traditions and ways of life. We have become strangers to the places they called home, to the ways they dressed, ate or communicated with one another. And, with no template for how to live and no experience to learn from, the deafening siren songs of anti-globalisation movements are now luring us back into the safer identities and boundaries of a lost, golden past.

This tale of globalisation is the most successful scare story of our times. And like all scare stories, it stimulates our fear of an overwhelming unknown.

But it’s all an illusion. There is no new global world.

Our present appears that way only because we have forgotten our common past. Globalisation didn’t begin in the 1990s, or even in the past millennia. Remembering this older shared history is a path to a different tale, which begins much, much earlier – long before the arrival of international supply chains, ocean-going sailing ships, and continent-spanning silk roads. The tale of globalisation is written across human history. So why do we keep getting the story so wrong?…

[She unpacks the answer to her questions, then turns to it implications…]

… In our own contemporary era, anti-globalisation movements have recently shifted from the far Left to the far Right of national and global politics. Justified resentment against the locally experienced injustices of the global economy and the growing disruptive effect of global climate change are now couched in resentment for the social and cultural dimensions of globalisation. Identitarianism, a political ideology that stresses the preservation of narrowly conceived ‘Western’ ethnicities and cultures, has accordingly become the easiest and most efficient strategy to mobilise local grievances, and direct them at whatever is perceived as a threat to the wellbeing of those suffering within. The ugly age of nationalism is back.

Is nationalist identitarianism the ethos we will now deploy to confront the common existential threats that await us in the coming century? Why wouldn’t it be? Does anyone doubt that national borders will be turned, once again, into sacred physical boundaries and fiercely defended against those fleeing the environmental, economic or military devastation of their homes? Do we doubt that eloquent voices animated by the most (ig)noble intentions will rise to justify patriotic bullets being aimed at ‘alien migrants’ and climate refugees? And that leaders will say these displaced people cannot be accommodated because of their numbers and cultures, and the threat they pose to our secure lives – to our ‘identity’?

Such scenarios are far too likely given the rise of xenophobic worldviews, such as the conspiratorial idea of a ‘Great Replacement’, in which elites – imagined to be Jews and other minorities – have begun executing a plan to replace so-called indigenous white Europeans with other populations of apparently greater and threatening reproductive vitality. These racialist worldviews dangerously converge with a public misunderstanding of ‘race’ as reflected in the recent craze for DNA ‘ancestry tests’. DNA has little to do with ‘identity’, as social and political ideologies have constructed it, and much to do with physical and social geography. Our genes are a result of human adaptive mobility, and the journeys, rich encounters and kin-making that our freedom of movement made possible over tens of thousands of years. Our genome does not tell our whole story, but the story it does tell shows how past globalisations made us what we are today.

As we search for ways of communing with one another beyond the stubborn ideology of difference, we should also prepare for vicious future distortions and manipulations of our current scientific and historical understanding of identity. Some humans today carry a few genes that their Pleistocene ancestors inherited from intercourse with our Eurasian Neanderthalian and Denisovan cousins, whom some communities of Homo sapiens encountered on their journeys of cosmopolitan expansion. How might such a genetic difference among us be interpreted and used in the future by those intent on pursuing identitarianism to its silliest or most murderous conclusions? Might they declare that some humans are not ‘pure’ enough to enjoy the full freedom, security and dignity we recognise as the natural rights of humankind? Or might they, on the contrary, elevate the Neanderthalian or Denisovan gene as a marker of Eurasian ‘distinction’ to recreate narratives of racial superiority, similar to those that once plagued archaeological thinking about the allegedly more ‘advanced’ nature of those human fossils laying the farthest away from the species’ original African homes?

Palaeontologists who insist on ascribing the label ‘humans’ to the entire Homo genus while reserving that of ‘modern humans’ to the surviving representatives of the lineage (ie, us) probably understand better than most the dangers of ideological manipulations of scientific taxonomies. But in the open marketplace where ideas freely flow in the name of freedom of thought and expression, how can we protect ourselves and one another from such dangers, if we still perceive plurality as a threat to survival, and cannot see the richness of our shared human culture?

The wars we wage against one another are all civil wars. Until we recognise them as such, they will remain tragedies we accept as natural – or horrors we cheer on in the name of grand notions sold to us by loud voices who know our fears too well (and know too little of the richness of our world and our history). We have always been global, and this is our shared identity. It is our unique way of being and remaining in the world as one family. Whatever we cherish in our humanity and culture has been crafted by our global journeys and encounters. Through them, we will continue to write the story of how we become us…

All of our religions, stories, languages, and norms were muddled and mixed through mobility and exchange throughout history: “There are no pure cultures,” from @berytia.bsky.social in @aeon.co.

Still, as Venkatesh Rao reminds us, the “vacuous over-large abstractions like “globalization” make us underestimate the horizontal historicity of the world.”

* Jimmy Carter

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As we go with the flow, we might recall that it was on this date in 1690 (or so musicologists believe) that Johann Christoph Denner, inspired by a reeded recorder-like instrument called the chalumeau, designed and created a longer and keyed (so more widely-ranged) instrument that was quickly copied and modified by other makers– and became what we know as the clarinet. By 1791, Mozart was composing for the instrument; by Beethoven’s time, the clarinet was a staple member in the orchestra.

To the point of the essay above, it’s worth noting that the chalumeau– and thus the clarinet– were direct descendants of ancient Greek and ancient Egyptian reeded pipes… that may themselves have been modeled on similar instruments from Central and East Asia.

The clarinet, as depicted in Diderot’s Encyclopedia, 1776 (source)

“In many ways, classic rock became bigger than mainstream rock”*…

 

Led Zeppelin is classic rock. So are Mötley Crüe and Ozzy Osbourne. But what about U2 or Nirvana? As a child of the 1990s, I never doubted that any of these bands were classic rock, even though it may be shocking for many to hear. And then I heard Green Day’s “American Idiot” on a classic rock station a few weeks ago, and I was shocked.

It was my first time hearing a band I grew up with referred to as “classic rock.” Almost anyone who listens to music over a long enough period of time probably experiences this moment — my colleagues related some of their own, like hearing R.E.M. or Guns N’ Roses on a classic rock station — but it made me wonder, what precisely is classic rock?…

Follow FiveThirtyEight’s deep– and diverting– dive into the data at “Why Classic Rock Isn’t What It Used To Be.”

 

* Chuck D

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As we roll around in our roots, we might spare a thought for another variety of classic:  it was on this date in 1930 that Edward Kennedy “Duke” Ellington recorded his first big hit, “Mood Indigo.”  Ellington was fond of saying, “Well, I wrote that in 15 minutes while I was waiting for my mother to finish cooking dinner.”  With lyrics added by Mitchell Parish in 1931 (but credited to Ellington’s manager Irving Mills), “Mood Indigo” became a vocal as well as an instrumental standard, recorded by Ella Fitzgerald, Frank Sinatra and Nina Simone among many, many others.

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Written by (Roughly) Daily

October 15, 2014 at 1:01 am

Tripping the Light Fantastic…

 Click here to watch full-screen (at least some of) the history of Western dance music unfold

Music tourism (visiting a city or town to see a gig or festival) is on the rise. But why stop at gigs and festivals? Why not visit the birthplace of your favourite genre and follow the actual journey various music genres have taken as one style developed into another.

To make it easier to trace the threads of music history, we’ve created an interactive map detailing the evolution of western dance music over the last 100 years. [It’s actually from the late 18th Century to the present…] The map shows the time and place where each of the music styles were born and which blend of genres influenced the next…

One can (and surely should) quibble with the map-makers’ bias to Afro-Carribean-based dance music (what about the Virginia reel, and its antecedents?  Or Latin dance music?)  But then, that’s fun of artifacts like this– the challenge to make them “better,” to make them one’s own…

Watch the interactive history unfold and read the full background at Thomson Travel’s “Evolution of Western Dance Music.”

And lest one doubt that music is in fact contagious, consider this evidence from the PRC:

 

As we tap our toes, we might recall that it was on this date in 1990 that producer Frank Farian publicly admitted that the voices heard on the recordings of Milli Vanilli were not the actual voices of the duo (Fab Morvan and Rob Pilatus).  Shortly thereafter, the “Best New Artist” Grammy that the group had won earlier that year was recalled…  In this age of wide-spread lip-syncing and Auto-Tune, it all seems so quaint…

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Written by (Roughly) Daily

November 15, 2011 at 1:01 am

Special Summer Cheesecake Edition…

From Flavorwire, “Vintage Photos of Rock Stars In Their Bathing Suits.”

(Special Seasonal Bonus: from Sylvia Plath and Anne Sexton to Ernest Hemingway and Scott Fitzgerald, “Take a Dip: Literary Greats In Their Bathing Suits.”)

As we reach for the Coppertone, we might might wish a soulful Happy Birthday to musician Isaac Hayes; he was born on this date in 1942.  An early stalwart at legendary Stax Records (e.g., Hayes co-wrote and played on the Sam and Dave hits “Soul Man” and “Hold On, I’m Coming”), Hayes began to come into his own after the untimely demise of Stax’s headliner, Otis Redding.  First with his album Hot Buttered Soul, then with the score– including most famously the theme– for Shaft, Hayes became a star, and a pillar of the more engaged Black music scene of the 70s.  Hayes remained a pop culture force (e.g., as the voice of Chef on South Park) until his death in 2008.  (Note:  some sources give Hayes birth date as August 20; but county records in Covington, KY, his birthplace suggest that it was the 6th.)

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Your correspondent is headed for his ancestral seat, and for the annual parole check-in and head-lice inspection that does double duty as a family reunion.  Connectivity in that remote location being the challenged proposition that it is, these missives are likely to be in abeyance for the duration.  Regular service should resume on or about August 16.  

Meantime, lest readers be bored, a little something to ponder:

Depending who you ask, there’s a 20 to 50 percent chance that you’re living in a computer simulation. Not like The Matrix, exactly – the virtual people in that movie had real bodies, albeit suspended in weird, pod-like things and plugged into a supercomputer. Imagine instead a super-advanced version of The Sims, running on a machine with more processing power than all the minds on Earth. Intelligent design? Not necessarily. The Creator in this scenario could be a future fourth-grader working on a science project.

Oxford University philosopher Nick Bostrom argues that we may very well all be Sims. This possibility rests on three developments: (1) the aforementioned megacomputer. (2) The survival and evolution of the human race to a “posthuman” stage. (3) A decision by these posthumans to research their own evolutionary history, or simply amuse themselves, by creating us – virtual simulacra of their ancestors, with independent consciousnesses…

Read the full story– complete with a consideration of the more-immediate (and less-existentially-challenging) implications of “virtualization”– and watch the accompanying videos at Big Think… and channel your inner-Phillip K. Dick…

Y’all be good…

Oh Lord, please don’t let me be misunderstood…

Consider the case of Gregor Mendel:

You probably know Mendel as the guy who pioneered the science of genetics… Anybody with a high school diploma has filled out those dominant/recessive trait Punnett squares … … though astute readers are probably wondering why that technique is called a Punnett square if it predicts patterns Mendel discovered.

What you probably didn’t know was that before making his revolutionary discovery, Gregor Mendel flunked out of school and resigned himself to a quiet life as the abbot of a monastery. It had an extensive experimental garden and there Mendel patiently spent the next seven years of his life breeding and cross-breeding peas.

He carefully documented his work and developed what would eventually be known as Mendel’s Laws of Inheritance. Then he wrote it up and got it published in an lesser-known journal, the Journal of the Brno Natural History Society in 1866.

His genius was rewarded by … A quiet life of complete anonymity. Mendel’s work was read by about zero people, even after he took it upon himself to contact the highest minds of his time by personally sending them copies of his theory… Why did they ignore him? Because the greatest minds of his time couldn’t understand him. It wasn’t until 16 years after his death that three independent botanists rediscover Mendel’s work and started the genetics ball rolling.

Read a more colorfully-worded version of Mendel’s story, and the tales of four other scientific pioneers, in “5 Famous Scientists Dismissed as Morons in Their Time.”

[Special Holiday Bonus:  The Animals singing this post’s title song]

As we reconsider the advice we got from the wild-eyed gentleman standing in the DMV line this morning, we might recall that it was on this date in 1900 that Nature reported the development of the first fully-electric musical instrument, the Musical Arc (or Singing Arc) developed by English physicist and engineer William Dudell.

Before Edison “invented” the electric light bulb in the United States, electric street lighting was in wide use throughout Europe; the carbon arc lamp generated light by creating a spark between two carbon nodes. But this method of lighting produced an annoying constant humming noise from the electric arc.  Duddell, who was appointed to solve the problem in London in 1899,  found that by varying the voltage supplied to the lamps he could create controllable audible frequencies from a resonant circuit caused by the rate of pulsation of exposed electrical arcs.  He attached a keyboard to the arc lamps– and created the first electronic instrument that was audible without using the yet-to-be-invented amplifier or loudspeaker.

Duddell– who also invented the moving-coil oscillograph (an early oscillator-type device for the photographic monitoring of audio frequency waveforms), the thermo-ammeter, thermo-galvanometer (an instrument for measuring minute currents and potential differences later used for measuring antenna currents and still used in modified form today), and a magnetic standard (used for the calibration of ballistic galvanometers)–  never patented his discovery.

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