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Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
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2 Dec, 10 tweets, 3 min read
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Pretty much my view.
Any example of the above in the context of organology:
Applied to keys, key signatures, and scales:
And rhythm, meter, and groove:
Polyphony:
Harmony:
Composition:
And even pitch:
Yeah, I guess. See all the above tweets in this thread. I went to music school for cello performance.

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More from @Silpayamanant

Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
4 Dec
Bless their hearts. I guess this is a natural consequence of colonial harmony.

"Three systems of harmony"
reddit.com/r/musictheory/…
Colonial harmony is basically the result of treating a small sample of global harmonic traditions as Universal and Neutral.

There are plenty of ways for music to be vertically arranged, and those ways multiply once we get outside of diatonic tuning systems.

Read 8 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
3 Dec
Yellowface is well and alive. 🤮
Ugh Image
Not even sure if this is parody or not. "raciodivergent"? I've seen "racial fluidity" before (in the context of bi and multi racial issues) but raciodivergent is too much.

facebook.com/mariadelmar.ri… Image
Read 6 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
3 Dec
Oof! I do love long titles for presentations! 😂

"When Heterophony Becomes Polyphony: Two Ways of Looking at Multipart Music on a Continuum and how that Influences Composition and Performance Practice."
But I'm really looking forward to this as I'll be framing it from the standpoint of creating inclusive pedagogies by highlighting Heterophony/Polyphony as types of musical practices embodied as variations across cultures. Similar to what I describe here:
One ultimate goal of which is to get away from essentializing musical practices while also acknowledging how they are modeled in different ways because of different knowledge systems.
Read 7 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
3 Dec
If I have to read another essentialist description of West African music being drumming music, it will be too soon.
Probably a good place to put this.

silpayamanant.wordpress.com/islam-blues-aa…
Dr. Jacqueline C. DjeDje says a lot about how Black music in the US has been erroneously essentialized as coming from West African drumming. Since her work focuses on West African fiddling and African American fiddling, probably good to listen to her.

signifyingscriptures.org/an-interview-w…
Read 7 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
2 Dec
When you're researching 16th c. music prebends of Olivença and the Diocese of Ceuta and get distracted by mention of Japanese slaves in Portugal and start going down that rabbit hole... 😬

brill.com/view/title/379…
This helps give a lot of context to the Mardijkers of Batavia, many of whom were descended from Portuguese slaves and went on to form slave orchestras in Batavia.

And this all started with researching Cante Alentejano, a Portuguese folk polyphony style that dates back to the 1500s by some accounts.

Read 8 tweets
Jon Silpayamanant (โจนาทาน ศิลปยามานันท์)| Mae Mai Profile picture
20 Jun
Just won a banhu (板胡) on an auction. Might have to learn some bangzi tunes now.
I mean, sure I’d love to play Wang Danhong’s “Red Sorghum” (紅高粱) or something, but that ain’t going to happen anytime soon! 🤣

Here’s Shen Cheng (banhu) performing it with the Hsinchu Youth Chinese Orchestra of Taiwan.

Oh, "Red Sorghum" was composed in 2017, and the 80 piece Hsinchu Youth Chinese Orchestra was founded in 2011.

facebook.com/hihcyco/
Read 4 tweets

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