The forecast for Saturday, April 17 called for rain and all the day there was a steady build up the eventual arrival of the showers shortly following six o’clock that evening. Dusk came suddenly and when I arrived at the Jonsson Theater it was already pitch dark and the downpour was in full douse mode. Coming upon the courtyard with the Spirit Rocks, I was amazed by the crowd out side of the theater. I thought that having arrived at least thirty minutes early would I would miss most of the crowds, but people were still outside, so instantly my hopes were peaked.
Side Show is a typical American Broadway musical. The plot of the story is nearly all sung, with brief speaking interludes in between. Each of the songs was accompanied by an orchestra that was very well hidden (most of the time) behind large set pieces. The orchestra consisted of mostly aerophones: saxophone, clarinet, oboe, tuba and flute were observed. The use of each of these set the musical mood for each song, for example, the oboe could be heard used in the Sheik’s appearance in the opening song. The oboe was played in a way reminiscent of eastern music with eight-notes, small pitch intervals and ornamentation.
Most of the songs were melody centric and were homophonic. There was a focus on one melody and the music did not vary much form that melodic theme. One element was the use of percussion in the music. Instead of using percussion to keep a beat, it was used as another ornamental element. So even though there were songs where snare drums were used as pace-keepers, the percussion could best be heard in the forms of bells and chimes. The chimes in particular were used as a tinny crescendo that would call attention to a particularly emotionally charged bit of singing.
During the first half of the musical there were many more characters on stage then during the last half. The first half was mainly introductory and told the origin of the show’s stars, the conjoined twins Daisy and Violet. Since the first part of the musical was set in a freak show, many of the actors were free to move onstage, jumping and somersaulting and occasionally moving around the stage and into the audience for dramatic effect. The actors’ movements were fewer in the second half of the musical, mostly because of the shift in the plot to focus more on character development and affect.
Amusingly, the orchestra was obscured for the nearly the entire length of the performance. Conveniently they were always hidden from sight behind some mammoth set piece. Their little perch at the back of the stage was even painted to match the colors of the sets so that they would blend in further. Clearly they were meant to be heard and not seen.
The house was nearly packed and I was very surprised by the number of people in attendance. Outside it was poring buckets, and nothing demotivates people quite like precipitation. The audience was about ninety percent students and a few older people, who I guess were either parents there to support their children’s artistic aspiration or just local musical enthusiasts. Audience reaction was very warm and I believe that most of the people in attendance were entertained. Luckily the songs were easy to follow and there were no significant mistakes. Do to the “middle brow” status of stage musicals, the audience felt free to clap whenever they felt. This could be after a large cadence where the song would change tempo, and it would still be permissible. Possibly the fact that this was the last performance could have effected audience attendance and reaction.
I conclusion Side Show was a quintessential American-style musical with and emphasis on singing with musical accompaniment that is used in both a melodic and ornamental way. Both voice and orchestra are used as narrative storytelling devices.
Monday, April 26, 2010
Monday, April 19, 2010
Here are some examples:
Note the simple structure of the song and the nearly minimalistic instumentation.
Joy Division was one of the first bands to experiment with synthesizers.
PIL is the quentiscential Post Punk Band. The lead singer John Lydon was the former Johnny Rotten of Sex Pistols fame. Note the heavy base and disco beat.
Note the simple structure of the song and the nearly minimalistic instumentation.
Joy Division was one of the first bands to experiment with synthesizers.
PIL is the quentiscential Post Punk Band. The lead singer John Lydon was the former Johnny Rotten of Sex Pistols fame. Note the heavy base and disco beat.
Post Punk
The genre that I chose to write about is not well known in America because great deals of bands in this genre are British. It is only in the last ten years that the United States has recognized the influence of bands such as Joy Division and Gang of Four due to their influence on much of today’s music.
As a whole, Post Punk is more of a movement in music then an established genre. Although all Post Punk bands call all be said to be influenced by earlier Punk bands like the Sex Pistols and the Clash. Post Punk took the “do it yourself” independent spirit of Punk and also a sense of social-political awareness and to some extent activism. What Post Punk did was to free this “Punk Ethos” form some of the more anti-intellectual and anti-artistic notions that have developed as Punk swelled in popularity and threatened to spill over into the mainstream. Suddenly in the years following 1977 there was this massive movement incorporating punk simplicity and directness with a variety of other influences, such as reggae (“ska”) and disco (“death disco”).
Some Post Punk kept the three chord structure and tempos of Punk. There was also an emphasis on incorporating very “un-rock and roll” musical elements such as syncopation, reggae inspired base lines and minor scales. Some totally deviated form the guitar, base and drum format to include electrophones. In time these experiments would see the rise of the “New Wave”, which combined Punk Ethos and added dance and pop sensibilities i.e. the Human League.
Post Punk was a repudiation of both the nihilism of Punk as well as the stale state of traditional Rock and Roll.
As a whole, Post Punk is more of a movement in music then an established genre. Although all Post Punk bands call all be said to be influenced by earlier Punk bands like the Sex Pistols and the Clash. Post Punk took the “do it yourself” independent spirit of Punk and also a sense of social-political awareness and to some extent activism. What Post Punk did was to free this “Punk Ethos” form some of the more anti-intellectual and anti-artistic notions that have developed as Punk swelled in popularity and threatened to spill over into the mainstream. Suddenly in the years following 1977 there was this massive movement incorporating punk simplicity and directness with a variety of other influences, such as reggae (“ska”) and disco (“death disco”).
Some Post Punk kept the three chord structure and tempos of Punk. There was also an emphasis on incorporating very “un-rock and roll” musical elements such as syncopation, reggae inspired base lines and minor scales. Some totally deviated form the guitar, base and drum format to include electrophones. In time these experiments would see the rise of the “New Wave”, which combined Punk Ethos and added dance and pop sensibilities i.e. the Human League.
Post Punk was a repudiation of both the nihilism of Punk as well as the stale state of traditional Rock and Roll.
Monday, April 5, 2010
Performance report: Shakespeare in Song.
Time and space:
Saturday, March 27 had been sunny and warm with a few clouds, but as show time approached. The clouds moved in and the air was noticeably cooler. It was a Saturday evening and I expected for there to be more people out at the time. The courtyard was deserted, but I presume that the sudden change in the weather discouraged a few from wandering about.
I was early in arriving to the theatre and I arrived just as the ushers were set to hand out programs to Shakespeare in Song. I entered the Jonsson Performance Hall when there was almost no one there at the time. I decided to stay in the back so that I would interrupt as few people as possible. On the stage there were choral bleachers, a grand piano off to the left and several music stands to the right. From these the performers would recite a few lines that would bookend each song.
Audience:
At the start of the performance the performance hall was about one-third full. The audience was mostly comprised of parents who had come to see their kids in action. There were some students, though many seemed to be there on assignment, I saw at least one other person taking notes. Most seemed to believe this occasion was informal, I only saw one group of people who dressed up for the occasion. Most of the audience seemed to have just come in their regular clothes.
Some thing that I found interesting about the audience is that they never knew when it was appropriate to clap. No one clapped too early because we no one knew when the performance was over. Since each song was introduced and then followed up by some more lines, people withdrew from clapping until they were instructed by the conductor. At first it seemed that people were confused, were they to clap after every recital, every song? Thankfully, the audience soon learned to clap whenever the conductor turned to face them.
Performers:
I was surprised buy the period costumes. For some reason I expected them to be in choir robes. They entered the performance hall in a single file line with the pianist first and the conductor last. Through out the performance, people would make their way up to the front of the bleachers to either give a solo or a recitation.
Music:
I hope that you will forgive me for the dryness of the following words, but I am trying to be as objective and descriptive as possible.
The music was vocals accompanied by a piano only. Many of the songs began with a soloist and then went on to a section that included the rest of the choir. The themes of the songs were either about love or on the tragedy of death. Most songs began with the pianist playing a tone and looking at the conductor. Generally songs began with a soloist and then went on the main part of the song. I noticed in more somber songs, the melody was played in parts that were offset in a round and that the more light hearted songs were sung in one harmonious melody. Tempos were mostly as expected, with the happier songs faster than the sadder ones, although I noticed that the songs did not vary much in tempo once they were started. Since the songs were originally meant to be stuck among the action in a play, they are short, single themed and they establish themselves very quickly with little build up. They were as a whole homophonic with a few moments of polyphony.
Conclusions:
Unfortunately, I left in a hurry so that I would not miss my ride, but as I was leaving, I noticed a lot of conversation between the parents and a few of the performers. Most of the songs were about two minutes in length and the concert seemed to go by rather quickly; the event seems rushed despite the recitations. Perhaps that was a good thing, better to let the performance flow along rather than have it sag.
Saturday, March 27 had been sunny and warm with a few clouds, but as show time approached. The clouds moved in and the air was noticeably cooler. It was a Saturday evening and I expected for there to be more people out at the time. The courtyard was deserted, but I presume that the sudden change in the weather discouraged a few from wandering about.
I was early in arriving to the theatre and I arrived just as the ushers were set to hand out programs to Shakespeare in Song. I entered the Jonsson Performance Hall when there was almost no one there at the time. I decided to stay in the back so that I would interrupt as few people as possible. On the stage there were choral bleachers, a grand piano off to the left and several music stands to the right. From these the performers would recite a few lines that would bookend each song.
Audience:
At the start of the performance the performance hall was about one-third full. The audience was mostly comprised of parents who had come to see their kids in action. There were some students, though many seemed to be there on assignment, I saw at least one other person taking notes. Most seemed to believe this occasion was informal, I only saw one group of people who dressed up for the occasion. Most of the audience seemed to have just come in their regular clothes.
Some thing that I found interesting about the audience is that they never knew when it was appropriate to clap. No one clapped too early because we no one knew when the performance was over. Since each song was introduced and then followed up by some more lines, people withdrew from clapping until they were instructed by the conductor. At first it seemed that people were confused, were they to clap after every recital, every song? Thankfully, the audience soon learned to clap whenever the conductor turned to face them.
Performers:
I was surprised buy the period costumes. For some reason I expected them to be in choir robes. They entered the performance hall in a single file line with the pianist first and the conductor last. Through out the performance, people would make their way up to the front of the bleachers to either give a solo or a recitation.
Music:
I hope that you will forgive me for the dryness of the following words, but I am trying to be as objective and descriptive as possible.
The music was vocals accompanied by a piano only. Many of the songs began with a soloist and then went on to a section that included the rest of the choir. The themes of the songs were either about love or on the tragedy of death. Most songs began with the pianist playing a tone and looking at the conductor. Generally songs began with a soloist and then went on the main part of the song. I noticed in more somber songs, the melody was played in parts that were offset in a round and that the more light hearted songs were sung in one harmonious melody. Tempos were mostly as expected, with the happier songs faster than the sadder ones, although I noticed that the songs did not vary much in tempo once they were started. Since the songs were originally meant to be stuck among the action in a play, they are short, single themed and they establish themselves very quickly with little build up. They were as a whole homophonic with a few moments of polyphony.
Conclusions:
Unfortunately, I left in a hurry so that I would not miss my ride, but as I was leaving, I noticed a lot of conversation between the parents and a few of the performers. Most of the songs were about two minutes in length and the concert seemed to go by rather quickly; the event seems rushed despite the recitations. Perhaps that was a good thing, better to let the performance flow along rather than have it sag.
Monday, March 29, 2010
Don Pasquale, Quel Gaurdo Il Cavaliere, Donizetti
The song begins with many staccato bursts from several aerophones and some chordophones. The chordophone in this instance are plucked and not played with a bow in order to give a scampering, light-hearted effect. The chordophones are repeatedly played in this manor through the piece. The instrumentation is mainly chordophones, violins and cellos, mostly. But a flute can be heard from time to time. The instrumentation is complex, especially since there is a single singer in the composition. There are so many instruments that the stage is crowded. Yet with all the other instruments the soloist remains the center of attention, as she is the person who is front and center and the only one with the spotlight.
The singer’s part is very ornamented and wavers between periods of joyous staccato and sweeping, vibrato filled notes that correspond to longer notes played by the chordophones. When the chordophones are plucked, she is staccato, so the instruments are clearly meant to follow her singing. In the middle she sings something that recalls laughter. The mood of the entire piece is jovial and sanguine. Toward the end of the song, the chordophones and the singer play longer notes faster, signaling the climax of the song. And of course, such a jovial song ends on a high note.
The singer’s part is very ornamented and wavers between periods of joyous staccato and sweeping, vibrato filled notes that correspond to longer notes played by the chordophones. When the chordophones are plucked, she is staccato, so the instruments are clearly meant to follow her singing. In the middle she sings something that recalls laughter. The mood of the entire piece is jovial and sanguine. Toward the end of the song, the chordophones and the singer play longer notes faster, signaling the climax of the song. And of course, such a jovial song ends on a high note.
Wednesday, March 10, 2010
Music Ethnography: Polka
The space is small, intimate and darkly lit, perfect setting for a raucous Saturday night. The perfume of caraway seeds fills the air. Intermittently, people come in and disappear to the back, no doubt to check out the pastry case. Few people leave Henk’s without a pastry box. Here one can find the accordion player Allen and his comedy/polka show (Polka Performance). This place is the Dallas version of European culture. Where else can you see a man in lederhosen next to a man in a kilt and have them be perfectly dressed for dinner? Where else can people who have just arrived form an Irish festival cone in to enjoy a German beer in the company of Texans? Where can the accordion player begin his set with ZZ Top and then go on to play zydeco and ended with a song called Guacamole (with the aid of maracas)?
Methodology:
In researching this report I used mostly print sources, mostly music history anthologies. The performance and subsequent interview were done at Henk’s European Deli and Black Forest Café, just off Northwest Highway and Greenville Avenue in Dallas, Texas. The interview was done in an informal way, in between songs. The Interviewee was also the performer.
Background History:
The music form now known as Polka originates in the former state of Bohemia in central Europe (Polka, 1073). Most of it is now the Czech Republic. For most of its history, polka did not have a name; rather it was an unnamed set of folk dances that were native to the region. The name polka is assumed to come from the Czech word for “Polish Girl” (Polka, 1073). The choice of this term is little understood and few know why they chose this name for a Czech art form. Polka rhythm is in half time (2/4) and is often syncopated (Polka, 1073). Traditional (European) instruments include bagpipes, bases, violins, violas and the ubiquitous accordion (Czechoslovakia, 158). The accordion is the instrument most closely linked to polka in America.
Many countries have other ethnic variations of the Polka. In America it is common in communities that abound in German, Polish and Czech immigrants. These areas include vast swaths of the Midwest and Texas. There is something known as the “Polka Belt”, that includes portions of the upper Midwest and on eastward (Bohlman, 282). In Texas, the two main types of Polka are Polish and Czech varieties.
Ideas about Polka:
The “idea” of Polka does not exist, so much as other forms of music because it is not a “high art” per-se. Even in Texas, it was still seen as a “blue collar” form of music, preformed by the agricultural workers (Gutierrez, 167). In other words it was (and still is) for the enjoyment of the community. The Polka is in fact one genre of music that was common to the people of central Europe. It was primarily meant to be played for dancing.
Activities about Polka:
The obvious activity surrounding Polka is dancing. The rhythms of the Polka make it and dancing inseparable. It reached its peak of popularity in the middle of the 19th century when it began to sweep European dance halls. Immigrants soon brought the polka to America, where it became extremely popular, even among non-immigrants. Prior to the arrival of the polka, the waltz was prevalent in dancehalls all across Europe and America (Broyles, 144). The polka was new and novel for the time. It seemed new and crisp while the waltz began to seem dated (Broyles, 144). The polka was faster (two-step) than the waltz and allowed for greater freedom of movement (Broyles, 144). The Polish polka is most commonly seen in weddings, which are very important in this culture (Griffith, 177-80). At weddings, hired musicians would often play for days on end and they were only allowed few breaks, in which the guests (usually the women) would assume the role of musicians (Griffith, 180). Czech Polkas were not reserved for such occasions. Often they claim that “Every Czech is a musician” (Griffith, 183). Often they were held every weekend in living rooms or on outdoor dance floors. Over time, official dance halls were built and the house parties were turned into inter-communal occasions (Griffith, 186).
Polka Repertoire:
Polish Polka is a common occurrence, often played in religious or nationalistic reasons (Griffith, 176). Czech Polka is more of special occasion thing, although these “occasions” are many and often (Griffith, 184-5). I can make a few generalizations based on the performance I saw shortly before my interview. Polka does include lyrics that are often repetitive and often are meant to be humorous and inspire audience participation with calls and response. The lyrics can also cross language barriers (Bohlman, 293).
Material Culture and Instrumentation:
Polish Polka is chordophone biased, with the main instrument being the fiddle and often accompanied with the cello or with some sort of bass (Griffith, 177). The Polish Polka never has accordions, something which they are very strict with, because they see it as an unwanted Czech influence. They did, however, occasionally allow the stray clarinet (Griffith, 177). Czech Polka prefers a larger band that includes lots of brass instruments, in the “German” style. It is not uncommon to see tubas, trombones, trumpets, saxophones, clarinets and a piano, if the occasion was special enough (Griffith, 184). They can all be used in a single performance. However, the accordion is still the defining characteristic of Czech Polka as is indispensable in its composition.
Polka Branches Out:
On a historical note, during the Mexican-American war, well-to do Mexicans listened to polka as a mild protest against Santa Anna (Gutierrez, 153). In Texas, the two main Polka playing ethnic groups adapted their traditional music when polka rhythms and instrumentation were blended with Mexican music to create a new form of music often called Conjunto/Tejano (Hartman, 10). The Czechs were responsible for introducing the accordion to Norteño music, which can now be heard in nearly every song. Also there is the characteristic polka rhythm that also permeates the genre. In the words of Alex, my interviewee, Mexican music added a “little spice, a little pepper, a little chili powder, a little paprika” (interview) to traditional Polka.
The Performance:
The performance that I saw was sort of a mutated polka/comedy act (Polka Performance). Allen was very keen on mixing popular music with Polka by playing popular songs with an accordion. There was also a large emphasis on audience participation. The audience was encouraged to clap along with the beat, sing out loud and on occasion play the maracas or washboard (Polka Performance). And of course suggestions were always welcome. The instrumentation was minimalistic, an accordion (electrified) and Allen’s voice (Polka Performance). He also used many voices and costumes (Elvis comes to mind) to keep the show lively.
Conclusion:
As I walked out of the restaurant where I listened to Allen perform, I noticed that I could hear the trademark “um-pah” and accordion of traditional (Texas Czech) polka, but this in Spanish, coming out of a pool bar (Polka Performance). Although the Dallas of today may seem to have no history, it has the amazing ability to house two different yet related cultures on two sides of the same street. In unexpected ways, Polka made its way both into a campy Euro-deli and a Mexican bar. What a more eloquent example of how cultures could be so similar any yet so different.
Works Cited:
Allen. "Interview." Personal interview. 06 Mar. 2010.
Bohlman, Philip V. "Immigrant, Folk, and Regional Musics in the 20th Century." Ed. David Nicholls. The Cambridge History of American Music. Cambridge, UK: Cambridge UP, 1998. 282-83. Print.
Broyles, Michael. "Immigrant, Folk, and Regional Musics in the 19th Century." Ed. David Nicholls. The Cambridge History of American Music. Cambridge, UK: Cambridge UP, 1998. 144-45. Print.
Griffith, Carolyn F. "Czech and Polish Music In Texas Before World War II." Ed. Lawrence Clayton and Joe W. Specht. The Roots of Texas Music. College Station: Texas A&M UP, 2003. 176-87. Print.
Gutierrez, Jose A. "Chicano Music: Evolution and Politics to 1950." Ed. Lawrence Clayton and Joe W. Specht. The Roots of Texas Music. College Station: Texas A&M UP, 2003. 153-67. Print.
Hartman, Gary. "The Roots Run Deep: An Overview of Texas Music HIstory." Ed. Lawrence Clayton and Joe W. Specht. The Roots of Texas Music. College Station: Texas A&M UP, 2003. 10. Print.
Polka Preformance. Cond. Allen. Henk's European Deli, Dallas. 06 Mar. 2010. Performance.
"Polka." The World of Music: An Illustrated Ecncyclopedia. Vol. 3. New York: Abradale, 1963. 1073. Print.
Vinton, John, ed. "Czechoslovakia." Dictionary of Contemporary Music. New York: E. P. Dutton Inc, 1974. 158. Print.
Methodology:
In researching this report I used mostly print sources, mostly music history anthologies. The performance and subsequent interview were done at Henk’s European Deli and Black Forest Café, just off Northwest Highway and Greenville Avenue in Dallas, Texas. The interview was done in an informal way, in between songs. The Interviewee was also the performer.
Background History:
The music form now known as Polka originates in the former state of Bohemia in central Europe (Polka, 1073). Most of it is now the Czech Republic. For most of its history, polka did not have a name; rather it was an unnamed set of folk dances that were native to the region. The name polka is assumed to come from the Czech word for “Polish Girl” (Polka, 1073). The choice of this term is little understood and few know why they chose this name for a Czech art form. Polka rhythm is in half time (2/4) and is often syncopated (Polka, 1073). Traditional (European) instruments include bagpipes, bases, violins, violas and the ubiquitous accordion (Czechoslovakia, 158). The accordion is the instrument most closely linked to polka in America.
Many countries have other ethnic variations of the Polka. In America it is common in communities that abound in German, Polish and Czech immigrants. These areas include vast swaths of the Midwest and Texas. There is something known as the “Polka Belt”, that includes portions of the upper Midwest and on eastward (Bohlman, 282). In Texas, the two main types of Polka are Polish and Czech varieties.
Ideas about Polka:
The “idea” of Polka does not exist, so much as other forms of music because it is not a “high art” per-se. Even in Texas, it was still seen as a “blue collar” form of music, preformed by the agricultural workers (Gutierrez, 167). In other words it was (and still is) for the enjoyment of the community. The Polka is in fact one genre of music that was common to the people of central Europe. It was primarily meant to be played for dancing.
Activities about Polka:
The obvious activity surrounding Polka is dancing. The rhythms of the Polka make it and dancing inseparable. It reached its peak of popularity in the middle of the 19th century when it began to sweep European dance halls. Immigrants soon brought the polka to America, where it became extremely popular, even among non-immigrants. Prior to the arrival of the polka, the waltz was prevalent in dancehalls all across Europe and America (Broyles, 144). The polka was new and novel for the time. It seemed new and crisp while the waltz began to seem dated (Broyles, 144). The polka was faster (two-step) than the waltz and allowed for greater freedom of movement (Broyles, 144). The Polish polka is most commonly seen in weddings, which are very important in this culture (Griffith, 177-80). At weddings, hired musicians would often play for days on end and they were only allowed few breaks, in which the guests (usually the women) would assume the role of musicians (Griffith, 180). Czech Polkas were not reserved for such occasions. Often they claim that “Every Czech is a musician” (Griffith, 183). Often they were held every weekend in living rooms or on outdoor dance floors. Over time, official dance halls were built and the house parties were turned into inter-communal occasions (Griffith, 186).
Polka Repertoire:
Polish Polka is a common occurrence, often played in religious or nationalistic reasons (Griffith, 176). Czech Polka is more of special occasion thing, although these “occasions” are many and often (Griffith, 184-5). I can make a few generalizations based on the performance I saw shortly before my interview. Polka does include lyrics that are often repetitive and often are meant to be humorous and inspire audience participation with calls and response. The lyrics can also cross language barriers (Bohlman, 293).
Material Culture and Instrumentation:
Polish Polka is chordophone biased, with the main instrument being the fiddle and often accompanied with the cello or with some sort of bass (Griffith, 177). The Polish Polka never has accordions, something which they are very strict with, because they see it as an unwanted Czech influence. They did, however, occasionally allow the stray clarinet (Griffith, 177). Czech Polka prefers a larger band that includes lots of brass instruments, in the “German” style. It is not uncommon to see tubas, trombones, trumpets, saxophones, clarinets and a piano, if the occasion was special enough (Griffith, 184). They can all be used in a single performance. However, the accordion is still the defining characteristic of Czech Polka as is indispensable in its composition.
Polka Branches Out:
On a historical note, during the Mexican-American war, well-to do Mexicans listened to polka as a mild protest against Santa Anna (Gutierrez, 153). In Texas, the two main Polka playing ethnic groups adapted their traditional music when polka rhythms and instrumentation were blended with Mexican music to create a new form of music often called Conjunto/Tejano (Hartman, 10). The Czechs were responsible for introducing the accordion to Norteño music, which can now be heard in nearly every song. Also there is the characteristic polka rhythm that also permeates the genre. In the words of Alex, my interviewee, Mexican music added a “little spice, a little pepper, a little chili powder, a little paprika” (interview) to traditional Polka.
The Performance:
The performance that I saw was sort of a mutated polka/comedy act (Polka Performance). Allen was very keen on mixing popular music with Polka by playing popular songs with an accordion. There was also a large emphasis on audience participation. The audience was encouraged to clap along with the beat, sing out loud and on occasion play the maracas or washboard (Polka Performance). And of course suggestions were always welcome. The instrumentation was minimalistic, an accordion (electrified) and Allen’s voice (Polka Performance). He also used many voices and costumes (Elvis comes to mind) to keep the show lively.
Conclusion:
As I walked out of the restaurant where I listened to Allen perform, I noticed that I could hear the trademark “um-pah” and accordion of traditional (Texas Czech) polka, but this in Spanish, coming out of a pool bar (Polka Performance). Although the Dallas of today may seem to have no history, it has the amazing ability to house two different yet related cultures on two sides of the same street. In unexpected ways, Polka made its way both into a campy Euro-deli and a Mexican bar. What a more eloquent example of how cultures could be so similar any yet so different.
Works Cited:
Allen. "Interview." Personal interview. 06 Mar. 2010.
Bohlman, Philip V. "Immigrant, Folk, and Regional Musics in the 20th Century." Ed. David Nicholls. The Cambridge History of American Music. Cambridge, UK: Cambridge UP, 1998. 282-83. Print.
Broyles, Michael. "Immigrant, Folk, and Regional Musics in the 19th Century." Ed. David Nicholls. The Cambridge History of American Music. Cambridge, UK: Cambridge UP, 1998. 144-45. Print.
Griffith, Carolyn F. "Czech and Polish Music In Texas Before World War II." Ed. Lawrence Clayton and Joe W. Specht. The Roots of Texas Music. College Station: Texas A&M UP, 2003. 176-87. Print.
Gutierrez, Jose A. "Chicano Music: Evolution and Politics to 1950." Ed. Lawrence Clayton and Joe W. Specht. The Roots of Texas Music. College Station: Texas A&M UP, 2003. 153-67. Print.
Hartman, Gary. "The Roots Run Deep: An Overview of Texas Music HIstory." Ed. Lawrence Clayton and Joe W. Specht. The Roots of Texas Music. College Station: Texas A&M UP, 2003. 10. Print.
Polka Preformance. Cond. Allen. Henk's European Deli, Dallas. 06 Mar. 2010. Performance.
"Polka." The World of Music: An Illustrated Ecncyclopedia. Vol. 3. New York: Abradale, 1963. 1073. Print.
Vinton, John, ed. "Czechoslovakia." Dictionary of Contemporary Music. New York: E. P. Dutton Inc, 1974. 158. Print.
Monday, March 8, 2010
A (Mostly) Anxiety Free Interview
Let me begin by saying that I am not a very sociable person and have a lot of difficulty talking to people I don’t know. This, for as long as I can remember has been a major impediment to me because it has made conducting interviews nearly impossible. So it was setting up and carrying out my interview that I had the most difficulty with.
Knowing that I could not bear to set up a formal, sit-down interview, I knew that it would have to be massively informal and as quick as possible. For this reason among many I chose to have my interview be at the same time as my performance attendance. I chose Henk’s European deli because I knew that they were the only place in town that had live polka music on a regular basis. And on the occasions that I have been there, the scene was very intimate and the performers definitely wanted participation from the audience and would be happy to answer a few of my questions.
I had my interview last Saturday night. I had to come on the bus because no one could give me a ride. But really that is more fun, which made it an adventure. Or at least I preferred to thin k of it that way, if only to relieve my anxiety. I came in, ordered the Bavarian omelet and patiently waited for the funky polka tunes to start. I was thrilled to see that the performer took suggestions and since his main instrument was an accordion, I could not help but ask if he knew any Weird Al Yankervic (which of course, he did). After which, I asked him a few quick questions about how Polka came to Texas and how it has changed. In summation, polka originated in Germany, Poland and Czechoslovakia and the immigrants form those countries came and brought their music to Texas and once here it mixed with the Mexican music.
Knowing that I could not bear to set up a formal, sit-down interview, I knew that it would have to be massively informal and as quick as possible. For this reason among many I chose to have my interview be at the same time as my performance attendance. I chose Henk’s European deli because I knew that they were the only place in town that had live polka music on a regular basis. And on the occasions that I have been there, the scene was very intimate and the performers definitely wanted participation from the audience and would be happy to answer a few of my questions.
I had my interview last Saturday night. I had to come on the bus because no one could give me a ride. But really that is more fun, which made it an adventure. Or at least I preferred to thin k of it that way, if only to relieve my anxiety. I came in, ordered the Bavarian omelet and patiently waited for the funky polka tunes to start. I was thrilled to see that the performer took suggestions and since his main instrument was an accordion, I could not help but ask if he knew any Weird Al Yankervic (which of course, he did). After which, I asked him a few quick questions about how Polka came to Texas and how it has changed. In summation, polka originated in Germany, Poland and Czechoslovakia and the immigrants form those countries came and brought their music to Texas and once here it mixed with the Mexican music.
Thursday, March 4, 2010
Polka
Polka originates in the former state of Bohemia in central Europe. Most of it is now the Czech Republic. For most of its history, polka did not have a name; rather it was just a bunch of peasant dances that were native to the region. The name polka is supposed to come from the Czech word for Polish Girl. The choice of this term is little understood and few know why they chose this name for a Czech dance.
Polka and dancing are linked at the hip. It is not so much a music style as it is a vehicle for dance. It reached its peak of popularity in the middle of the 19th century when it began to sweep European dance halls. Immigrants soon brought the polka to America, were it became extremely popular, even among non-immigrants. Polka also exists in German and Polish forms. It proliferates in communities that abound in German polish and Czech immigrants. These areas include vast swaths of the Midwest and Texas. In Texas, polka rhythms and instrumentation were blended with Spanish music to create a new form of music often called Tejano music.
Polka rhythm is in half time (2/4) and is often syncopated. Traditional instruments include bagpipes, bases, violins, violas and the ubiquitous accordion. The accordion is the instrument most closely linked to polka in America.
Polka and dancing are linked at the hip. It is not so much a music style as it is a vehicle for dance. It reached its peak of popularity in the middle of the 19th century when it began to sweep European dance halls. Immigrants soon brought the polka to America, were it became extremely popular, even among non-immigrants. Polka also exists in German and Polish forms. It proliferates in communities that abound in German polish and Czech immigrants. These areas include vast swaths of the Midwest and Texas. In Texas, polka rhythms and instrumentation were blended with Spanish music to create a new form of music often called Tejano music.
Polka rhythm is in half time (2/4) and is often syncopated. Traditional instruments include bagpipes, bases, violins, violas and the ubiquitous accordion. The accordion is the instrument most closely linked to polka in America.
Monday, February 22, 2010
Japanese Noh Theater
The following is a list of elements that characterize Japanese Noh Theater.
· It is comprised of 3 sections, the actors, orchestra (hayashi) and chorus.
· The music is nonpulsatile and has its origins in Buddhist chant.
· There are only two types of instruments: an aerophone called a Nohkan and three distinct membranophones called the taiko (cylindrical drum), the o-tsuzumi (drum played on the lap), and the ko-tsuzumi (played resting on the shoulder).
· Each of the drums has a different timbre and each are used to (somewhat) simulate words.
· The most important drum is the ko-tsuzumi, which has a hollow timbre, but it can be varied by how tightly the drummer holds the strings on the side.
· The Nohkan has a reedy timbre and is played by overblowing.
· Since there is no rehearsal or beat to keep, each of the musicians must hear what the other is doing in order to keep the music going.
· Each of the drums plays a different pattern, but they are not played polyrhythmically.
· Noh music and acting is very stylized and minimalistic, what is commonly called Zen.
· Noh Choruses are always all male, with a soloist who begins a song with a cry and then extends it over the performance.
http://www.youtube.com/watch#playnext=1&playnext_from=TL&videos=oIqt_Rf9YuM&v=zUhtCLKFMx0
· It is comprised of 3 sections, the actors, orchestra (hayashi) and chorus.
· The music is nonpulsatile and has its origins in Buddhist chant.
· There are only two types of instruments: an aerophone called a Nohkan and three distinct membranophones called the taiko (cylindrical drum), the o-tsuzumi (drum played on the lap), and the ko-tsuzumi (played resting on the shoulder).
· Each of the drums has a different timbre and each are used to (somewhat) simulate words.
· The most important drum is the ko-tsuzumi, which has a hollow timbre, but it can be varied by how tightly the drummer holds the strings on the side.
· The Nohkan has a reedy timbre and is played by overblowing.
· Since there is no rehearsal or beat to keep, each of the musicians must hear what the other is doing in order to keep the music going.
· Each of the drums plays a different pattern, but they are not played polyrhythmically.
· Noh music and acting is very stylized and minimalistic, what is commonly called Zen.
· Noh Choruses are always all male, with a soloist who begins a song with a cry and then extends it over the performance.
http://www.youtube.com/watch#playnext=1&playnext_from=TL&videos=oIqt_Rf9YuM&v=zUhtCLKFMx0
Monday, February 15, 2010
Classical Hindustani Music: Priya Purushothaman
Thankfully, I was able to find a short video of a Hindustani concert where the instruments are clearly displayed. In keeping with the vocally based nature of Hindustani music, there are only three instruments in the ensemble. Most visible were the tabla, a pair of drums played with the hands. In the background, we see a large chordophone that is called a tanpura in Northern India and a tambura in Southern India. The instrument that played the most melodiously was the harmonium, an aerophone that could be compared to a western accordion. According to our textbook, it is a descendent of organ imported into India from Europe.
The song begins with a drone, as does most classical Hindustani music. What differs in this song is that the drone is played by both the harmonium and the tanpura at the same time. The tanpura is strummed but its sound is regular. The harmonium acts somewhat like a back-up singer as how it is mostly in the background, but occasionally comes to the forefront to add an ornament to the vocalist’s song. The vocals begin with a series of long and exaggerated notes. The beating of the tabla is the last element to arise, yet it begins the main part of the song. The vocals might be classified as repetitive, but I did perceive some deviations through out the song that might have been improvisations of raga. Towards the end of the song, there are small variations before a refrain of the main phrase of the melody. This brings the song to a close.
http://www.youtube.com/watch#v=tz1WUBYgL0g&feature=related
The song begins with a drone, as does most classical Hindustani music. What differs in this song is that the drone is played by both the harmonium and the tanpura at the same time. The tanpura is strummed but its sound is regular. The harmonium acts somewhat like a back-up singer as how it is mostly in the background, but occasionally comes to the forefront to add an ornament to the vocalist’s song. The vocals begin with a series of long and exaggerated notes. The beating of the tabla is the last element to arise, yet it begins the main part of the song. The vocals might be classified as repetitive, but I did perceive some deviations through out the song that might have been improvisations of raga. Towards the end of the song, there are small variations before a refrain of the main phrase of the melody. This brings the song to a close.
http://www.youtube.com/watch#v=tz1WUBYgL0g&feature=related
Monday, February 8, 2010
Guess Who? It's Googoosh!
Googoosh’s music is very musically similar to western popular music. Instead of the complex heterophonic melodies found in classical Middle Eastern music, there is western style homophony. The song that I listened to is called Shab Shishey.
The song begins with a short glissando with an instrument I assume is a guitar and some instruments that I believe to be violins based on their respective timbres. These are the main instruments in the composition. The violins play the main melody and are accompanied by a lower toned chordophone that sounds like a cello or a base. The melody has conjunct motion and often wavers in between pitches, but not in trill like manor. An aerophone that could be a flute also accompanies the violins by closely following their melody. The guitar plays a rhythmic role and can be heard in the back ground keeping the beat with steady jangly strumming. Along with the guitar there is some sort of idiophone that makes a clacking sound that is reminiscent of a castanet.
But all other music aside, Googoosh is best known for her singing. From the tone of the vocals, I figured that this was a love song. It is not similar to religious Middle Eastern music because the vocals are not chanted. Her vocals are, in contrast to the instrumental melody, in conjunct motion. They also feature the signature melismas of Middle Eastern singing styles. I assume that many of the aspects that I found familiar from this music come from the fact that Iran has many cultural differences from the rest of the Middle East.
http://www.youtube.com/watch?v=CZKtelBD534
The song begins with a short glissando with an instrument I assume is a guitar and some instruments that I believe to be violins based on their respective timbres. These are the main instruments in the composition. The violins play the main melody and are accompanied by a lower toned chordophone that sounds like a cello or a base. The melody has conjunct motion and often wavers in between pitches, but not in trill like manor. An aerophone that could be a flute also accompanies the violins by closely following their melody. The guitar plays a rhythmic role and can be heard in the back ground keeping the beat with steady jangly strumming. Along with the guitar there is some sort of idiophone that makes a clacking sound that is reminiscent of a castanet.
But all other music aside, Googoosh is best known for her singing. From the tone of the vocals, I figured that this was a love song. It is not similar to religious Middle Eastern music because the vocals are not chanted. Her vocals are, in contrast to the instrumental melody, in conjunct motion. They also feature the signature melismas of Middle Eastern singing styles. I assume that many of the aspects that I found familiar from this music come from the fact that Iran has many cultural differences from the rest of the Middle East.
http://www.youtube.com/watch?v=CZKtelBD534
American Music? Qu'est-que-ce?
Allow me to begin with a question: what is American Culture? This was the question that I was attempting to answer last Friday. Today’s America does not have the traditional and ethnic cultures that can be found in China. Although we are a “Melting Pot”, in America assimilation is inevitable. So what could I say to these students who came half way around the world to find the essence of American Culture?
We broke the ice by talking about schools, as most students do when they first meet. Apparently they are at college studying economics and business type stuff, yet they all do some sort of fine art thing. And that was the first difference between Chinese and American culture. American respect art, but we are inclined to cut it out of eternally stretched budgets. I guess in Western cultures, there is a grater divide in between the “Fine Arts” and “the Sciences”. I did find it strange that they studied business and Classical Peeking Opera. For some reason, in my mind they are incompatible.
It was a shame that we could not play traditional American music. If we only had a few spare steel guitars handy. Our best approximations about what American music was were centered in the popular music of today and its roots in jazz and rhythm and blues. But here is a thought—what else could we talk about? America is a land of immigrants, thus any ethnic music can be considered American, as long as that ethnicity lives in America. So, popular music is definitely American, as it bound us all, despite our ancestry and thus gave us a common language from which to speak.
We broke the ice by talking about schools, as most students do when they first meet. Apparently they are at college studying economics and business type stuff, yet they all do some sort of fine art thing. And that was the first difference between Chinese and American culture. American respect art, but we are inclined to cut it out of eternally stretched budgets. I guess in Western cultures, there is a grater divide in between the “Fine Arts” and “the Sciences”. I did find it strange that they studied business and Classical Peeking Opera. For some reason, in my mind they are incompatible.
It was a shame that we could not play traditional American music. If we only had a few spare steel guitars handy. Our best approximations about what American music was were centered in the popular music of today and its roots in jazz and rhythm and blues. But here is a thought—what else could we talk about? America is a land of immigrants, thus any ethnic music can be considered American, as long as that ethnicity lives in America. So, popular music is definitely American, as it bound us all, despite our ancestry and thus gave us a common language from which to speak.
Monday, February 1, 2010
On Romancero Gitano by Mario Castelnuovo-Tedesco
The Romancero Gitano was crated in 1951 by Mario Castelnuovo-Tedesco to commemorate the poet Garcia Lorca. Since this was written as an opera, l will assume that this was intended to be a Classical or Art piece of music.
This was the only part of the program to utilize vocals, and in that way was the centerpiece of the concert. While most of the compositions of the night were instrumental ensemble, the Romancero Gitano was four singers accompanied only by a single guitarist.
Overall, the songs were polyphonic in nature, with the female vocals playing the primary melody and the male the second. Often the two melodies would intersect, creating short harmonies (homophony) and then diverge. Typically, female vocals would begin, at an up tempo, slow down, and then be overtaken by male vocals. A cycle of voices would ensue. The Guitar would interweave in between the vocals and create melodies of its own. It can be said that the vocals are punctuations in the Guitar’s harmony, the guitar being the main component and focus of the music.
The house was full on that night, a surprising fact given the unfriendliness of the weather. I remember seeing ice on the grass when I left around ten PM. The majority of the audience was composed of UTD students, most there for a class requirement. If they had not come on their own volition, then they appeared to have enjoyed themselves, based on the levels of applause. Particularly popular was the third portion of the program, the jazz ensemble.
http://www.youtube.com/watch?v=AjdFQG6gmQs
This was the only part of the program to utilize vocals, and in that way was the centerpiece of the concert. While most of the compositions of the night were instrumental ensemble, the Romancero Gitano was four singers accompanied only by a single guitarist.
Overall, the songs were polyphonic in nature, with the female vocals playing the primary melody and the male the second. Often the two melodies would intersect, creating short harmonies (homophony) and then diverge. Typically, female vocals would begin, at an up tempo, slow down, and then be overtaken by male vocals. A cycle of voices would ensue. The Guitar would interweave in between the vocals and create melodies of its own. It can be said that the vocals are punctuations in the Guitar’s harmony, the guitar being the main component and focus of the music.
The house was full on that night, a surprising fact given the unfriendliness of the weather. I remember seeing ice on the grass when I left around ten PM. The majority of the audience was composed of UTD students, most there for a class requirement. If they had not come on their own volition, then they appeared to have enjoyed themselves, based on the levels of applause. Particularly popular was the third portion of the program, the jazz ensemble.
http://www.youtube.com/watch?v=AjdFQG6gmQs
Wednesday, January 27, 2010
Musical Ethnography
So, after much searching and agonized consideration, I chose Polka Music for my Musical Ethnography.Although polka is not a major genre in the Dallas, Ft. Worth area, there is still a small and dedicated fan base. KNON, a small independent radio station, plays polka music on Sunday afternoons. Personally, I have heard Polka music being played live at two area restaurants. I will form the min body of my paper from these two examples of polka culture in the area. I know that many people will choose music that they have grown up with or are otherwise familiar with. I wished to research a music that I know virtually nothing about because it would give me the opportunity to do explore a different culture and not feel weird about "intruding" into an others culture.Polka music is much more common in cities with larger German and Eastern European populations such as Austin and San Antonio. However, the few German and Eastern Europeans in the area have held on to some vestige of their traditional music. Although I am unfamiliar with polka, the instrumentation and the musical structure are very similar to traditional Mexican Music. The use of the accordion is prominent in both. As well are the rhythms and beats. So polka, although new to me, will still be cognizant for me. Polka, in other words wont be totally alien, and thus won’t be as easy to ride off as a curiosity.
Saturday, January 16, 2010
Music Cultures: New York No Wave Movement
To be frank, most of the music that I listen to does not fit into any musical culture. Mostly, I listen to “post-bands” that are although influential, self contained in terms of music culture.
To mind I do believe that one music culture that has influenced me was the short lived mid-1970’s “No Wave” movement of New York City.
The fundamentals of No Wave are not strictly defined because it is very difficult to find two artists who are similar in terms of sound. Many would describe the music as “atonal”, but I assert that this is not a fair criticism of the music. By stating that No Wave atonal, critics assume that No Wave was supposed to be another form of Rock and Roll, however nothing can be farther from the truth. No Wave is in fact a repudiation of Rock and Roll. By crating jarring and chaotic soundscapes and using trance-inducing rhythms, the No Wave artists were in attempt to subvert both the self-indulgent epics of Progressive Rock and the sped-up bubblegum of Punk. Some notable No Wave artists include Lydia Lunch, James White and the Blacks, Glen Branca, Teenage Jesus and the Jerks, DNA, The Contortions and Sonic Youth.
The No Wave movement was not confined to music. Often artisans of one medium would try their chances with other forms of expression.
More than anything, perhaps No Wave was an attitude. Aggressive, dysfunctional, possibly nihilistic, possibly sociopathic, it was art and not art. Art, as in established art, was blasphemy to No Wave, who saw the destruction of art as an institution as a noble cause. For all these reasons it was meaningful to me because through it I realized that I’m just not that good at being a well-adjusted, likable person. But, hey, I’ll always have NY 1977.
To mind I do believe that one music culture that has influenced me was the short lived mid-1970’s “No Wave” movement of New York City.
The fundamentals of No Wave are not strictly defined because it is very difficult to find two artists who are similar in terms of sound. Many would describe the music as “atonal”, but I assert that this is not a fair criticism of the music. By stating that No Wave atonal, critics assume that No Wave was supposed to be another form of Rock and Roll, however nothing can be farther from the truth. No Wave is in fact a repudiation of Rock and Roll. By crating jarring and chaotic soundscapes and using trance-inducing rhythms, the No Wave artists were in attempt to subvert both the self-indulgent epics of Progressive Rock and the sped-up bubblegum of Punk. Some notable No Wave artists include Lydia Lunch, James White and the Blacks, Glen Branca, Teenage Jesus and the Jerks, DNA, The Contortions and Sonic Youth.
The No Wave movement was not confined to music. Often artisans of one medium would try their chances with other forms of expression.
More than anything, perhaps No Wave was an attitude. Aggressive, dysfunctional, possibly nihilistic, possibly sociopathic, it was art and not art. Art, as in established art, was blasphemy to No Wave, who saw the destruction of art as an institution as a noble cause. For all these reasons it was meaningful to me because through it I realized that I’m just not that good at being a well-adjusted, likable person. But, hey, I’ll always have NY 1977.
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