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"Musicians Anecdotes."
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Singing at Langemarck in the German Political Imaginary, 1914–1932
This article reconstructs the history of the famous anecdote about the battle at Langemarck, where German youth allegedly sang “Deutschland, Deutschland über alles” as they hurled themselves against British soldiers, bayonet in hand. Variants, including in poetry and other creative genres, helped to shape a public discourse about bravery. I also reconstruct the discourse on music and war in music journals and daily newspapers, suggesting possible influences on the German High Command, where the anecdote originated. The musical establishment initially ignored this lore—so remote was music in the concert hall from community music-making, including on the battlefield. Yet the enormous weight given to propaganda efforts eventually led musicians to write about and respond compositionally to the Deutschlandlied. The article concludes by examining the conflicting political meanings of the Langemarck anecdote in the decades after World War I.
Journal Article
Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch
Beginning with the \"open secret\" of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss \"sensationalist\" rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.
Journal Article
On jazz : a personal journey
\"I began listening to music before I could walk. Our family gramophone was the old-fashioned kind that played a stack of 78 rpm records. The first ran for around three and a half minutes, then another dropped onto the turntable, and so on. Five discs gave my mother some uninterrupted time for housework, while I sat listening to the music. Then I was quite happy to do the same thing all over again. And again. When my father came home from his final wartime RAF posting in Hong Kong, he brought back a box of records. My parents were married in 1952, and this mix of music that had travelled halfway around the world with him started off our family collection. There was swing by Earl Hines and Fats Waller together with classical sounds from Walter Gieseking and Benno Moiseiwitsch. I was born in 1953, and apparently it wasn't too long before Fats Waller's records started making a big impression on me - mainly songs such as 'Your Feet's Too Big' and 'Twenty Four Robbers' rather than the instrumentals like 'Honeysuckle Rose'. In due course, I sang along to my favourites, and somewhere around the age of five, started picking out the melodies with one finger on the piano\"-- Provided by publisher.
Book
Musical amusements
Un jour, pendant que le garçon assis à la gauche a été distrait par une conversation, l'autre, « Justin », ait pris un poil de son archet propre et l'a noué au coin de la partition de son ami (il était perforé à trois trous).
Journal Article
Fire in the Water, Earth in the Air
From Buddy Holly and the Crickets to the Flatlanders, Terry Allen, and Natalie Maines, Lubbock, Texas, has produced songwriters, musicians, and artists as prolifically as cotton, conservatives, and windstorms. While nobody questions where the conservatives come from in a city that a recent nonpartisan study ranked as America's second most conservative, many people wonder why Lubbock is such fertile ground for creative spirits who want to expand the boundaries of thought in music and art. Is it just that \"there's nothing else to do,\" as some have suggested, or is there something in the character of Lubbock that encourages creativity as much as conservatism? In this book, Christopher Oglesby interviews twenty-five musicians and artists with ties to Lubbock to discover what it is about this community and West Texas in general that feeds the creative spirit. Their answers are revealing. Some speak of the need to rebel against conventional attitudes that threaten to limit their horizons. Others, such as Joe Ely, praise the freedom of mind they find on the wide open plains. \"There is this empty desolation that I could fill if I picked up a pen and wrote, or picked up a guitar and played,\" he says. Still others express skepticism about how much Lubbock as a place contributes to the success of its musicians. Jimmie Dale Gilmore says, \"I think there is a large measure of this Lubbock phenomenon that is just luck, and that is the part that you cannot explain.\" As a whole, the interviews create a portrait not only of Lubbock's musicians and artists, but also of the musical community that has sustained them, including venues such as the legendary Cotton Club and the original Stubb's Barbecue. This kaleidoscopic portrait of the West Texas music scene gets to the heart of what it takes to create art in an isolated, often inhospitable environment. As Oglesby says, \"Necessity is the mother of creation. Lubbock needed beauty, poetry, humor, and it needed to get up and shake its communal ass a bit or go mad from loneliness and boredom; so Lubbock created the amazing likes of Jimmie Dale Gilmore, Butch Hancock, Terry Allen, and Joe Ely.\"
eBook
50 licks : myths and stories from half a century of the Rolling Stones
\"Part oral history, part photo album, and 100 percent Rolling Stones, [this book features] a fresh look at all the classic stories, along with exclusive interviews, rare photos, and memorabilia\"--P. [4] of cover.
Book
Carl Philipp Emanuel Bach, Portraits, and the Physiognomy of Music History
Taking as its point of departure C. P. E. Bach's extensive, and newly reconstructed, portrait collection, this essay explores the ways in which history in the late eighteenth century was conceived at the meeting point between the portrait collector, the physiognomist, and the anecdotist. Exploring the network of ideas and cultural practices by focusing on the collecting of individual countenances and their visual and literary representations, this article argues that anecdote, annotation, physiognomical analysis, and the visual discipline of portraiture were fundamental to the late eighteenth-century conception of music history. Further, it argues that C. P. E. Bach's activity as a portrait collector may be understood as a significant music-historiographical project in its own right, one which played an important role in the work of contemporary, and later, music historians.
Journal Article