Adventures in compiling bibliographies: Arabic #MusicTheory edition. PART III: Graeco-Arabic Translation Movement.
One of the pleasures of working on this bib is coming across other folks' work. For example, the Digital Corpus for Graeco-Arbic Studies! graeco-arabic-studies.org
Western Music Theorists/Historians don't generally have a healthy understanding of the Islamic Golden Age and the translation movement that likely helped preserve a fair number of ancient Greek Music treatises which might not have otherwise survived.
The Greek works, obviously, haven't been the only ones preserved, translated, and commented on in Baghdad and Cordoba. My 1st two threads talked about the Syriac and Hebrew/Judaic overlap. Some translators were ethnically Persian so there's also overlap with Pahlavi works.
But by far the Greek works are far more represented in translation--which means contact with the Music Theory literature which plays a minor footnote in Western Music Theory training through Church Music history.
Ironically some of the Latin translations of the Greek Music texts were made from Arabic translations (due to the Cordoba connection) as some of the ancient Greek literature only exists in Arabic translation.
We can't fully appreciate the context of the Western Music and Music Theory without understanding the centuries of interaction with the the musical cultures of the Arabic, Ottoman, Persian, and Byzantine Empires.
P.S. Here's my first thread with some thoughts about the Syriac Christian Chant overlap with Arabic Music.
An 1870 photo of the Slave Band of Antônio Luís de Almeida.
Figure 10, pg. 66 in Luiz Cleber Moreira Freire's 2007 dissertation, "NEM TANTO AO MAR NEM TANTO À TERRA:
Agropecuária, escravidão e riqueza em
Feira de Santana - 1850-1888"
Antônio Luís de Almeida was a Brazilian Coffee Baron in Bananal, São Paulo. The white guy at the top-center of the photo is German conductor, Wiltem Sholtz. Most slave orchestras and ensembles were directed by European conductors.
2/
In Brazil, slavery didn't end till 1888, so finding actual photographs of slave ensembles in existence shouldn't be surprising.
This group was often called "Banda do Tio Antoniquinho" and as many slave ensembles, would have to perform diverse functions.
3/
Current Diversity initiatives is just a replay of Melting Pot racism ideology. It was an idea that was stewing (pun intended) for some time but really came into general usage in the US after the Israel Zangwill's play by the same name in 1908.
1/
The idea has always been at the back of my mind while writing the Diversity, Inclusive Programming, and Music Education' Series which is one of the reasons I focused on the Third Wave (1880-1920) of immigration as a backdrop for it.
Many of us in the States know the Melting Pot metaphor--that all races & cultures will "melt" and blend into one new and utopic "American" culture. But really, it's a monocultural metaphor for assimilating the new 20 million immigrants coming into the US during that 3rd wave.
3/
The past 16 years or so I've been also playing Jewish music. From about 2009-2013 I played with the River City Klezmer Band organized by Dr. Al Goldin who just passed this past June (at 97).
One of my favorite memories: all these Somali kids just had to dance with our singer! 2/
The past 5 years, been playing in a Sephardic Jewish band led by Cantor Sharon Hordes.
Was asked to record on 2 tracks of "Mi Coraçon Sospira"--her first CD--and to play the CD release. The group stuck & were dubbed "Transito."
Adventures in compiling bibliographies: Arabic Music Theory edition.
Just traveled down a rabbit hole of Syriac Christian Chants and the Beth Gazo (collection of Syriac hymns dating back to Bardaisian 154-222 CE) and I'm reminded how Eurocentric #MusicTheory is as a discipline.
Tala Jarjour, in her "Syriac Chant at the Negotiation of Source and Method in the Two Music–“ologies”," probably sums up a lot of what's running through my head right now.
And Jarjour really hits it on the head here because this could be said of so many of the Christian chant traditions. This applies even to the more well studied ones like the Byzantine and Znamenny, much less Armenian Apostolic, Georgian, Zema, and Coptic traditions.
The past 10 years I've been researching and cataloguing the Orchestra. Not "Euro-styled Orchestras" (ala Lewis, "Eurological Orchestras"), but ALL Orchestras. Seven years ago I started a site (not public) to chart this in the US.
1/
The generally received view is that the Orchestra evolved into its "final mature form" in the first half of the 20th century.
That's simply not the case and easily demonstrably false as long as we leave out Eurocentric/Colonialist/White Supremacist views and definitions.
2/
The Orchestra as an institution is constantly evolving and taking many different forms all around the world, but like the White Male Classical Music Canon, we tend to only see canonical ensemble types and treat them, like the repertoire canon, as universal and neutral.
3/
THREAD: American Music Essentialism and the Perpetually Foreign Music Trope.
Here's a map of N. American Chinese Music Ensembles (NACME). There're 115 entries on it. This was compiled by Erhu player, Andrew Wilt of Tucson, Arizona (currently living in Beijing).
CA-16; US-99
1/
If that's not eye-opening, let me say that this probably vastly underestimates the actual number of groups.
Ex. I read a dissertation about NYC Chinese music from 1993 which lists 42 organizations (Appendix A) alone. This map only has 8 in NYC.