Welcome back to Parsons Playlists! Today’s playlist features a selection of music featuring songs that mention the color green in their titles curated by our Music Library Associate, Melanie.
It’s almost time for St. Patrick’s Day (March 17th) and the first day of Spring (March 20th), so I have had the color green on the brain of late. Herewith, a collection of songs that mention the color green in their titles. Enjoy!
Our exhibit highlights items (both physical and streaming) from UR’s collection as well as information about traditional Chilean instruments and dance. It also includes thumbnail biographical info on several Chilean musicians.
Here’s a little info on the music with some links to items in the library’s collection and a few video clips for good measure!
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The traditional music of Chile is a rich mixture of Spanish and Pre-Columbian influences.
Some of the traditional instruments commonly used in Chile include Andean instruments such as
* The charango – a small stringed instrument of the lute family. It was traditionally made from armadillo shell, but is more commonly made of wood today. It has 10 strings.
The Cueca is considered to be the “most traditional music and dance of Chile” and is officially the country’s national dance. While cueca’s origins are not entirely certain, indigenous, African and Spanish influences are evident.
It is a partner dance which is indented imitate the courtship of a rooster and hen. Men usually wear a traditional Chilean cowboy costume while women traditionally don a flowered dresses with an apron.
In the 1960s and 1970s, Chilean songwriters like Victor Jara and Violeta Parra used the tonada as a foundation of the “Nueva Canción,” explicitly political music that blended Chilean folk music with progressive politics, similar to the way Bob Dylan and Joan Baez led a political folk revival around the same time in the U.S.
The foundations of nueva canción were laid by Violeta Parra (1917-1967) who was a popular folk singer-songwriter and musicologist who researched and recovered the poetry and songs of rural Chile.
Víctor Jara (1932-1973) was a legendary Chilean folk singer and political activist who also pioneered nueva canción. His activism led to his murder by the Pinochet dictatorship in 1973.
Jara’s life and work continue to be celebrated by Latin American artists as well as globally known bands like U2 and The Clash. The 2018 documentary film The Resurrection of Víctor Jara is a great introduction to his life and legacy and is available to UR students, faculty and staff as a streaming video resource.
Here’s a trailer for the documentary:
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Claudio Arrau (1903-1991) was a Chilean pianist known for his interpretations of a vast repertoire, especially the works of Bach, Beethoven, Schubert, Chopin, Schumann, Liszt and Brahms.
He is widely considered to be one of the greatest pianists of the twentieth century.
Here are a couple of library resources about his life and work:
This playlist began as a discussion with a friend online a couple months ago. I had shared a song that I’d had stuck in my head and my friend said that it was their least favorite song by the group because (and I quote) “SHA LA LA is a terrible lyric 🙂”. The discussion that followed was all in good fun, but led me to want to research songs that have nonsense syllables in them just to prove that “sha la la” is NOT (necessarily) a terrible lyric.
Vocals like “sha la la” in songs are called non-lexical vocables. Basically, they are nonsense syllables which may or may not be mixed together with meaningful text and they appear in all manner of different musics. This, of course, led to me being extra geeky and having a lot of fun creating a playlist highlighting a variety of different songs that use nonsense syllables in this way. In point of fact, it goes all the way back to at least the middle ages with songs using things like “fa la la” in them – but I decided to stick to more modern examples for playlist purposes. Which means this playlist starts with some scat singing (from circa the 1920s-1940s) and goes on from there.
Your mileage may vary in terms of your tolerance of the non-lexical vocable, but I maintain that sometimes one doesn’t need an actual word to create musical meaning and that non-lexical vocables can be super fun!
Ravi Shankar was a master of the sitar and composer and one of the best known Indian musicians in the world. His rich musical career spanned nine decades and he spent much of his career bridging the gap between the musical cultures of West and East.
Born in 1920 to a Bengali Brahmin family, Shankar was the youngest of seven brothers. At the age of 13, he joined his brother Uday Shankar‘s Compaigne de Danse et Musique Hindou (Company of Hindu Dance and Music) as a dancer and spent several years touring India and Europe with his brother’s group. The extensive touring allowed Ravi to learn about Western classical music and jazz while he travelled.
In 1938, Shankar gave up dancing to study sitar playing under court musician Allauddin Khan. After completing his studies in 1944, Shankar worked as a composer – working several genres including for Indian films like The Apu Trilogy and serving as musical director of All India Radio.
During this period, Shankar founded the Indian National Orchestra, and composed for it; in his compositions he combined Western and classical Indian instrumentation.
Sitar of Pandit Ravi Shankar (1920–2012). Commissioned by Shankar from the instrument maker Nodu Mullick in Calcutta. Made in 1961. (Gift to the British Museum from Shankar’s family )
Concurrently, Shankar’s international fame was on the rise. In 1954, he performed in the Soviet Union. In 1956, he played his debut solo concerts in Western Europe and the U.S. Within two decades, he was probably the most famous Indian musician in the world.
Shankar was not one-dimensional and his great genius was his openness to other musical traditions. His liberal musical outlook brought him into musical collaborations with a diverse set of musicians. He was so confidently grounded in his own tradition, that he felt unthreatened and completely secure in presenting it to the world as well as by collaborating with others. This is most remembered in his teaching of, and collaboration with the Beatles, above all George Harrison (who became Shankar’s student).
Guitarist George Harrison poses for a portrait with Indian sitar virtuoso Ravi Shankar in circa 1975. Credit: Michael Ochs Archives/Getty Images
Ravi Shankar also worked with classical musicians like Yehudi Menuhin, Zubin Mehta and Philip Glass. He composed music for several films, including Richard Attenborough’s Gandhi, for which he received an Academy Award nomination and also composed three concertos and a symphony for sitar and Western orchestra as well as pieces pairing the sitar with the Western flute and the Japanese koto.
Lata Mangeshkar is the best-known and respected female singer in the history of Indian film music. She is probably best known as a playback singer for Bollywood films. Playback singers often record songs for use in films.
The Indian Hindi-language film industry is referred to as Bollywood and is based in Mumbai (formerly Bombay) and is one of the largest centers of film production in the world. The word is a portmanteau of “Bombay” and “Hollywood”. The most popular commercial genre of Bollywood is the masala film, which freely mixes action, comedy, drama, romance, and melodrama along with musical numbers. Masala films can generally be considered musicals. Indian cinema has been the largest producer of musicals in the world since the 1960s, when it exceeded America’s musical film output. Playback singers record songs for the film soundtracks, and the actors lip-sync said songs for the cameras.
Poster for the 1947 Hindi film Aap ki sewa mein which features an early example of Mangeshkar’s work
Lata Mangeshkar is said to have recorded more film songs than any other singer. She has recorded songs in over a thousand (!!) Hindi films and has sung songs in over thirty-six regional Indian languages and foreign languages, though primarily in Marathi, Hindi and Bengali.
Music really has been the driving force in Mangeshkar’s life. Her father Pandit Deenanath Mangeshkar was a classical singer and theatre actor. She received her first lessons in music from her father and was performing as an actress in her father’s plays by the age of five. She is the elder sister of singers Asha Bhosle, Hridaynath Mangeshkar, Usha Mangeshkar and Meena Mangeshkar, all accomplished musicians and singers in their own right.
In 1942 when Mangeshkar was 13, her father died of heart disease and Lata immediately joined the Bollywood film industry as an actress-singer to help support her family.
Here is a Youtube clip from Azaad a 1955 film which features Mangeshkar’s voice:
Lata Mangeshkar has received many awards and honors during the course of her career. India’s highest award in cinema, the Dadasaheb Phalke Award, was bestowed on her in 1989 by the Government of India. She also has been awarded the Bharat Ratna, India’s highest civilian honor.
In 1974, The Guinness Book of Records listed Mangeshkar as the most recorded artist in the history, stating that she had reportedly recorded “not less than 25,000 solo, duet and chorus backed songs in 20 Indian languages” between 1948 and 1974. (The actual number of songs she has recorded is a matter of some dispute. Regardless, she is certainly ONE of the most recorded artists in the world.)
Here is a Youtube clip of the song “Tujhe Dekha To Ye Jaana Sanam” (“My love, when I saw you then I realized” per Google translate) sung by Mangeshkar and Kumar Sanu from the 1995 Bollywood film Dilwale Dulhania Le Jayenge (transl. The Big-Hearted Will Take the Bride, per Wikipedia):
In addition to singing, Mangeshkar has composed music for five films and also produced four films. Her career spans over seven decades now and she has only recently begun to show signs of slowing down (a bit) at the age of 91. Her influence on Indian film and popular music is profound.
Here is a small sampling of library resources concerning Lata Mangeshkar, Bollywood, and Indian popular music:
Indian classical music is the classical music of the Indian subcontinent. It has deep roots in Hinduism.
Saraswati is the goddess of music and knowledge in the Hindu tradition.
In general, Indian classical music has three foundational elements:
1) Raga: a series of five or more musical notes used to form a melody — similar to modes or scales in Western music. Raga make much more use of microtones than Western music (many notes fall in between notes in Western scales in terms of pitch). Raga are often associated with specific times of day and/or seasons.
2) Tala: a rhythmic pattern that determines the larger rhythmic structure of a piece. Tala literally means “clap”.
3) Improvisation around a raga is the basis for most Indian classical music.
Indian classical music has two major traditions:
* North Indian music is also called Hindustani is influenced by Arabic and Persian musical practice as a result of the Islamic conquest of the region in the Middle Ages. Hindustani music emphasizes improvisation and exploration of all aspects of raga and gives slightly more prominence to instrumental forms.
Here are a couple of links to catalog records for Music Library resources featuring Hindustani music:
– India: Hindustani Music (streaming via Alexander Street)
– North Indian Classical Music (CD)
* South Indian music is also called Carnatic music. It is much more oriented toward vocal music (even when instruments are played alone, they are played in a style meant to imitate singing). Improvisation is employed but Carnatic music also makes use of composed devotional pieces.
Here are a couple of links to catalog records for Music Library resources featuring Carnatic music:
– Flowers of Southern Indian Classical Carnatic Music(CD)
– Ragas from South India (streaming via Alexander Street)
The types of instruments used in North and South Indian music also differ.
Hindustani music makes use of the sitar, sarod, tabla and tampura.
A sampling of instruments most commonly used in Hindustani music
Carnatic music makes use of instruments like the vina, mridamgam, and shruti.
A sampling instruments most commonly used in Carnatic music
One might also stop by Parsons Music Library and check out our current display on the Music of India which will be available to visit until the end of February!
Welcome to the third installment of Parsons Playlists, back after a hiatus and featuring a Halloween playlist from Music Library Associate, Melanie Armstrong.
Melanie says: “Since Halloween 2020 is going to be a bit … different, I – your friendly neighborhood Music Library Associate – made a playlist in that vein.
I’ve left out some of the more obvious Halloween playlist picks (like “Thriller“, or “Spooky“, or “Ghostbusters“), and hope you’ll enjoy this idiosyncratic selection! I’ve included some songs for the Halloween blue moon (the first Halloween blue moon since 1944) among other things.”
Welcome to our second installment of Parsons Playlists. Our second playlist is from Music Library Associate, Melanie Armstrong and is a tribute to songwriter Adam Schlesinger, whose career was cut short on April 1st, 2020 due to complications from Covid-19.
Melanie says: “I first became aware of Adam Schlesinger’s work when I discovered the band Fountains of Wayne in the early 2000s. But come to find out, I had already heard his amazing pop sensibility thanks to the title song of the 1996 movie That Thing You Do!. He wrote music for many other TV, Broadway and film projects and also for the musical TV series Crazy Ex-Girlfriend, which happens to be one of my very favorite recent TV shows. I also threw in a couple of TV Christmas songs since I blog about holiday programs with my husband. So please enjoy this sampling of his amazing and alas too short career! This music will definitely make you smile though, and that’s quite a legacy to leave behind.”
As your friendly neighborhood blog editor/Music Library Associate, I thought I would kick things off for this academic year with a post in honor of British composer Gustav Holst‘s 143rd birthday.
“Beni Mora” was inspired by a vacation trip Holst made to Algeria in 1908. In letters home to his wife, he called Algeria a mix of East and West where mosques and hijab wearing women were juxtaposed with advertisements for American cinematography (source: GustavHolst.info). He even went so far as to go bicycling in the Algerian portion of the Sahara desert — quite a vacation!
A photo of an Algerian street scene circa 1908
There was a fascination with “the orient” as a broad concept (literally broad stretching from North Africa to India to Japan) in Europe and America in the late 19th and early 20th centuries which led to a bit of an artistic fad for “Orientalsm” across various artistic media with varying success.
I’m not sure how someone actually from Algeria would feel about this “cigar box” type portrayal from the early 20th century
The work premiered in 1912 and definitely reflects a mixture of East and West there is definitely a westernized sense of the “Oriental” evident, but not in a way that feels disrespectful of the culture that inspired it.
A snippet of a working manuscript in Holst’s handwriting.
“Beni Mora” consists of three movements – two dances and a finale subtitled “In the Street of Ouled Nails”.
The first dance starts off with a languid, almost cinematic feel — winds blowing across lonesome sand dunes are definitely evoked to my Western ear and builds to a louder, bigger feeling section that sounds to me like a lost outtake from the soundtrack to Lawrence Of Arabia (which of course was written much later!).
The second movement starts with an interesting syncopated percussion motif and makes use of orchestral tone color, having various melodic lines thread through different sections of the orchestra and groupings of instruments.
The third movement was directly inspired by a repetitive flute tune that Holst overhead during his Algerian travels. This 8 note flute melody becomes the hypnotic basis for this movement and is repeated many times while other harmonies, instruments and musical themes swirl in and amongst and around the repeating flute motif in a manner that suggests the changing scene as people come and go on their daily business on an Algerian street and also help keep the motif interesting. Some music critics have even referred to this movement as “proto” minimalist because of the 163 plus repetitions of that flute motif.
Frederick Arthur Bridgman (American, 1847-1928), “A Street Scene in Algeria”, oil on canvas
I first discovered “Beni Mora” in 2003 when I was living in Cheltenham while working at the Holst Birthplace Museum and fell in love with its blend of exoticism and romanticism that causes it to sound like a miniature film score. This feels like something that really would fit right in on a film soundtrack from a 1930s or 40s serial (or an Indiana Jones movie), which also appeals to me. I admire Holst’s curiosity about other cultures as evidenced in his incorporation of his Algerian vacation experience and musical style (as he perceived it) into this musical travelogue.
(Fun fact: Holst was also fascinated by the culture of the Indian subcontinent and wrote choral works and chamber operas exploring myths and legends of India, even going so far as to teach himself Sanskrit so he could read Hindu texts in their original language! Yay cultural curiosity!)
Of course, one should also listen to “The Planets” (it’s very famous and beloved for a reason), but I think “Beni Mora” provides a great way to delve further into the output of an early 20th century composer whose total output is well worth exploring! (Especially since the Music Library has a version that can be streamed — access is a wonderful thing!)
Statue honoring Gustav Holst in his hometown of Cheltenham, England
The Beatles‘ Sgt. Pepper’s Lonely Hearts Club Band album was released on June 1, 1967 in the UK and on June 2, 1967 in the US. It became the soundtrack for the fabled “Summer of Love” both influencing and reflecting the flower powered youth culture of the time, but its appeal has proven to be timeless.
The Beatles stopped touring in August of 1966, and took some time off. The group reconvened in November of that year and spent over 400 hours in the studio between November 1966 and April 1967 completing the album. (This was a far cry from their first foray into EMI Studios to record their first album in 1963 — that entire album was recorded in less than 24 hours!) This studio time led to all sorts of interesting musical experimentation and since the group had decided they were done with touring, there was no need to worry about whether the songs could be produced live on stage. The album as a whole is a fascinating almalgamation of harmonium, harpsichord, brass band, fairground noises, harp, psychedelia, Leslie speaker tweaking, multi-tracking, tape loops, full orchestra, crashing apocalyptic piano chords, dog whistles and more. The Beatles’ musical ideas required lots of technical innovation from producer George Martin and studio engineers.
The eclectic mix of songs was loosely held together by the “concept” of a fictional Edwardian alter-ego Sgt. Pepper Band and the songs are wonderfully joyful. From the psychedelic marching band music that introduces us to Sgt. Pepper’s Lonely Hearts Club Band, to the psychedelic imagery of “Lucy in the Sky With Diamonds” ( title inspired by a drawing by John Lennon’s young son, Julian), to the music hall whimsy of McCartney’s “When I’m Sixty-Four”, to the spiritual tone of Harrison’s sitar-laced “Within You Without You”, to the amazing shifting tones, full orchestral crescendo and avant garde surrealism of “A Day In The Life” (one of the greatest ever Lennon/McCartney collaborations in this author’s opinion), there is much to enjoy, right through to the startling tape loop ending inserted into the run-out groove of the original LPs (and included on CD reissues if you wait for it). The Beatles drew inspiration from varied sources like an 1843 circus poster (“Being For The Benefit Of Mr. Kite”), a TV cornflakes commercial (“Good Morning, Good Morning”), news stories about runaway teens (“She’s Leaving Home”) or car accidents (“A Day in the Life”).
An alternate take from the Sgt. Pepper cover photo session
There is just as much to enjoy in a perusal of the album art itself. The cover features a pop art inspired collage of various folks (famous and not so famous) that the Beatles chose as inspirational to them, elaborate gatefold sleeve packaging (with bonus cardboard mustaches and pseudo-military insignia in early pressings) and includes the lyrics to all of the songs printed on the back cover, something that had never been done before with a pop album.
Sgt. Pepper signaled that pop & rock music could also be considered high art or even progressive social expression and more than just disposable entertainment. Musicologists cite Sgt. Pepper as continuing the musical maturation of the Beatles as a group that began with Revolver and Rubber Soul. It was also extremely influential on the development of progressive rock with its emphasis on studio experimentation, elaborate instrumentation and insistence on pushing the boundaries beyond conventional subject matter and track lengths. The album has been an influence on countless others since its release in 1967.
Here’s a sampling of a few of (many) parody takeoffs on the iconic cover:
