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Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
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3 Jun, 5 tweets, 2 min read
Submitted a draft of “Diversity initiatives in classical music as an extension of colonial power” this week and so feeling this (especially regarding the name/label issue in classical music a while back).

instagram.com/p/CPn5hS4geXi/
This one.
Sorry y’all. Everything’s European, right?
This quote by Angela Davis also.
This name/label Su thread in particular.

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Keep Current with Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai

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More from @Silpayamanant

Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
4 Jun
Got my khaen (แคน) and sueng (ซึง) today!

#ThaiMusicalInstruments #ThaiMusic #Thailand #ซึง #แคน #khaen #sueng #lute #mouthorgan #bambooinstrument #Isan #Lanna ImageImage
Here's Sombat Simha (สมบัติ สิมหล้า), a khaen master. The khaen is a bamboo mouth organ from the Isan region of Thailand/Laos. Where I'm from.

A number of Western and Western trained composers have written compositions for the khaen, inlcuding Dr. Christopher Adler, who is also an accomplished khaen player. Here's his guide for composing with the khaen.

Read 6 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
15 May
While working on my diverse/inclusive cello method books I’ve been thinking about the cello, not as an instrument, but as a cultural instance of a type of instrumental practice embodied in many variations across cultures.

1/4 ImageImage
Western music ecosystems are already familiar with the wide variety of early cello-like instruments (e.g. viol da gamba, baryton, violoncello piccolo) but there have been cello-like instruments outside of the context of classical music and Europe.

2/4 Image
So I’ve been exploring other string traditions and repertoire, in addition to women and composers of color who have been neglected in the West.

3/4 Image
Read 22 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
7 Apr
This can't be emphasized enough, but let's put sound to some of these composers, and the types of groups they compose for, to decenter European composers/instruments. 16 composers from the greater Turkic/Western Asian world.

THREAD 1/
Sərdar Fərəcov (b. 1957) Azerbaijani composer

"Rondeletto"
Müjgan Zülfüzadə (left photo)- Tar Soloist
Children and Youth Folk Instruments Orchestra of the Azerbaijan State Children's Philharmonic (right photo)



2/
Svetlana Apasova (b. 1963) Kazakh composer

"Saryarka XXI"
Academic Folk-Ethnographic Kazakh Orchestra "Otyrar Sazy" (photos below)
Established 1982 Almaty, Kazakhstan
fil.kz/team/afeo_os/?…



3/
Read 17 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
7 Apr
Loved it for what it was, but this take is close to how I feel.

"[O]ne film shouldn’t have to handle the weight of representing an entire geographic region, and I don’t expect Raya and the Last Dragon to do so, though it appears to desperately want to."

slashfilm.com/raya-and-the-l…
And this still stings a little.

"It mostly goes into the issue of treating Asians as a monolith, no matter which country they come from. And there is a distinction between East Asian countries and Southeast Asian countries."

npr.org/2021/03/09/975…
Yup, definitely this part!
Read 4 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
6 Apr
I'm so glad there are videos of Dina Nurpeisova (1861-1955) in existence. Some of her music, and other dombra masters' compositions, are the foundation for Symphonic Quy--a nationalist genre for Kazahkstan Folk Instrument Orchestras. Here s her "Nawiski."

A more contemporary performance by Assel Alina during a Kurmangazy Orchestra concert. Folk orchestra concerts almost invariably alternate between full symphonic works, solo (unaccompanied and accompanied) works, and vocal pieces.

The 80+ piece Kurmangazy Orchestra is just 13 years shy of its 100th anniversary and it's one of almost a dozen symphonic folk orchestras in all the regions of Kazakhstan.

Read 8 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
10 Nov 20
Re-reading this and thinking about it in light of Dr. Jacqueline C. DjeDje’s work researching the little known African American Fiddling traditions and all the early Blues violinist recordings that we have.

All the more reason to #CiteBlackWen @citeblackwomen
It shouldn’t be surprising that an ethnomusicologist researching African/African American fiddling traditions and a French-Senegalese immigrant researching African Diaspora/Black Muslim Slavery would have a take on the origins of the Blues being Islamological/Afrological.
Which says a lot about the tools/background knowledge that researchers bring with them and why most American Music Studies is inherently Anglo-Eurocentric and Colonialist.
Read 5 tweets

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