Vol. 1 Nos. 1-2 Published for the CIMA by the Music Research Institute, Richmond CA USA October 1999 Intercultural The Bulletin of the Centre for Intercultural Music Arts, London, U.K.

CIMA Council of Management Steven Stanton, Chair compositions in which elements of Akin Euba, Director Robert Kwami, Deputy Director non-Western traditional music are Lucy Duran Editorial Note combined with those of Western Maxine Franklin Susan Jackson art music require a scholarly Cynthia Tse Kimberlin approach which integrates John Mayer The aim of Intercultural Musicology techniques of with Richard Nzerem Malcolm Troup is to provide a forum for discourse that those of historical musicology. Mike Wright includes the development of a theoretical framework for the nascent The editors are particularly International Advisory Council field of intercultural musciology. interested in materials dealing with Charles Camilleri (Malta) S. A. K. Durga (India) interculturalism after 1950 and Samha El-Kholy (Egypt) This field includes the study of (a) welcome contributions that generate Cynthia Tse Kimberlin (USA) one’s own indigenous music culture Fernando Maglia (Argentina) discourse on the concept of Sun Xing-Qun (China) using techniques applicable to other intercultural musicology (e.g., Valerie Ross (Malaysia) music cultures (b) music cultures Klaus Hinrich Stahmer (Germany) research reports, previews and Justinian Tamusuza (Uganda) other than one’s indigenous culture (c) reviews of performances, notes on Mike Wright (U.K.) music created by combining elements the works of and from various cultures, and (d) other performers, biographical data on Co-Editors forms of intercultural activity, for Cynthia Tse Kimberlin & Akin Euba composers and performers, example, the study of performers who theoretical concepts bearing upon specialize in non-indigenous music creative methods in intercultural idioms. music, information on new writings and recordings). Diversity of By this definition, intercultural perspectives necessary for an musicology is a broad based field that international readership are includes elements of ethnomusicology CONTENTS welcome but the opinions and historical musicology. For expressed by individual authors Editorial Note...... 1 example, it embraces not only studies may not necessarily reflect that of Articles ...... 2 of traditional musics worldwide but the editors. Review ...... 15 also writings of Asian and African Reports...... 19 scholars on Western art music. It also Intercultural Musicology will be Announcement...... 21 includes scholarship that allows published twice a year (May and Contributors...... 22 multiple perspectives from those who November) beginning October Advertisements...... 23 seek to enhance and expand our 1999. Guidelines for prospective CIMA Archival List ...... 24 c u r r e n t t h i n k i n g a b o u t authors are listed hereunder. ethnomusicology and historical musicology. For example, studies of Guidelines for Authors 2 Intercultural M usicology O ctober 1999

1. Submit one copy of material related to your contribution on hard Please address correspondence to Articles copy and also on diskette, if possible either of the editors. on an "ASCII" file using Word Cynthia Tse Kimberlin Non-European Musical Perfect or Microsoft Word for IBM Music Research Institute, Compositions Today: PC compatible computer. P.O. Box 7036 2, 2. Manuscripts must be typed Point Richmond, CA 948 07 Reflections of an on one side of the sheet and double U.S.A. Argentine spaced (including footnotes, e-mail: kimberln@ crl.com quotations, song texts, references by Fernando Maglia (Argentina) cited, indented materials and Akin Euba, Translated by Orlando Musumeci captions for illustrations). Department of Music, , A General Historical background 3. Manuscripts should be in Pittsburgh, PA 1526 0 I would first like to give a English and observe British or U.S.A. I conventions of usage, e-mail: aeuba+ @ pitt.edu background of Argentina regarding its spelling and punctuation. If a * * * people and ethnic groups and also manuscript is submitted in another the conquests that took place in the language, an English translation must country in historical times. be included. The Centre for Intercultural Music Arts, a British Charity, was founded The Spanish colonization of 4. The text should not exceed in 198 8 . The Centre aims to Argentina, beginning in the fifteenth 2000 words (or roughly 8 pages promote intercultural music and century, led to successive waves of double spaced format on 8 − " x 11" music theatre and to educate the migration from Spain to Argentina sheets). public in their creation and and this not only exerted a strong performance. influence of European civilization but 5. References cited are carried gave Argentina its particular cultural within the text, e.g. (Kimberlin 1995: The Centre was inaugurated in identity. 134) by listing the author's surname response to the challenges posed by and the publication date and page composers and performers who are Following the Spanish conquest, the number(s) of the source of the exploring new dimensions in music Indians who originally inhabited information. by integrating elements from different Argentina (such as the Mapuches, cultures. Tobas, Tehuelches, Guaraníes, 6 . Bibliographic citations must Onas, Matacos and Coyas) were be typed on a separate sheet. Give The Centre believes that composers decimated by disease, by the violation the complete citation using the from non-western cultures are likely of their environment and lifestyles format illustrated below: to become increasingly influential in and by being mercilessly slaughtered. the world of music and that musical They were thus reduced to small Hood, Mantle interculturalism and other creative marginalized groups, like expatriates 196 0 "The Challenge of ideas generated from or inspired by in their own land. 'Bi-Musicality' ". non-western sources will be among Ethnomusicology 4/2 the major events of the 21st century. Gradually, after centuries of living together, the indigenous races intermarried with the Spanish and Nketia, J.H.K. The Centre organizes an became the Criollo (a name originally 198 6 "Perspectives on African international biennial symposium and used for Spanish persons born in Musicology", in Africa and the festival on the theme “New America). The new Criollo people West: Legacies of Empire. Intercultural Music” and also represented a synthesis of divergent Isaac James Mowoe and publishes a series of books under the cultures and were (in theory) Richard Bjornson, eds. general title of Intercultural Music. The series is edited by Cynthia Tse s u p p o r t e r s o f A r g e n t i n e Kimberlin and Akin Euba. independence. Tan, Sooi Beng * * * 1993 Bangsawan: A Social and The Spanish immigration was Stylistic History of the Popular followed by the Italian and, to a lesser Malay Opera. New York: extent, the Turkish, German, French, Oxford University Press Arabic, and Jewish. There has more 3 Intercultural M usicology O ctober 1999 recently been an Asian migration intercultural origins, was born in the The situation of Argentina and other which continued the process. This suburbs; its roots include nineteenth Latin American composers process gave rise to the policy of century song, the Italian opera, the reinforces the process of cultural "pigmentocracy", whereby the status Spanish zarzuela, southern Criollos transplantation. The education of of persons in society is determined traditions and African-derived these composers is considered according to racial origin and which rhythms. The strength and originality incomplete unless they have studied defines the social and cultural of the tango summarize a way of life in the leading European centres structure of Argentina. In the colonial and reflect the fundamental character including Paris, Rome, Cologne, and period, the Spanish held political of Argentine culture. Berlin. This slavish dependence on power, the Criollos practised Europe is so pervasive that even the agriculture and reared cattle, while The trends described above indicate "nationalist" school established and the Indians and Blacks were a polarization between rural/popular supported by certain composers, marginalized and enslaved and city/"academic" culture which mainly in Europe (Rimsky-Korsakov, respectively. becomes increasingly pronounced Dvorak, Bartó k, Stravinsky) is during the twentieth century. embraced in various guises by Cultural Identity and Artistic Furthermore, the cultural landscape Argentine composers. Within the Production has slowly but surely been subjected nationalist trend, some Latin The Spanish language and the to the concept of "the global village" American composers replaced Catholic rite were imposed on the promoted by the multinational Russian, Bulgarian and Hungarian country by the political authority of broadcasting media. folk songs with native American the viceroyalty and this led to the songs while retaining the formal introduction of Spanish cultural The Artist as a Reflection of the structures and compositional elements, including the guitar, the Society techniques of the European musical symbol of Spain. The guitar The situation of the composer in the composers. Others achieved to a became the favorite instrument of the context of these trends needs to be greater or lesser extent real synthesis Criollo, providing company during examined. First, we should identify between local elements and the their long voyages and accompanying his or her fields of activity. On the international language. Among the their verse, songs and improvisations one hand we have popular music most successful of these were Luis (payadas). It was in this manner that which embraces the aesthetics, Gianneo, Juan José Castro and Spanish influence was grafted mannerisms and instruments of "the Alberto Ginastera (Argentina); definitively into the autochthonous global village" while, on the other Silvestre Revueltas and Carlos music and became the foundation of hand, there is a series of sub-genres Chávez (Mexico); Heitor Villa-Lobos Argentine folk music. with substantial influence within the and Radamés Gnattali (Brazil); Argentine society. The most Acario Cotapos (Chile): José At a different level, current fashions representative or widespread of these Ardévol (Cuba). from the Spanish metropolis were are rock, "national rock", jazz and pop eagerly embraced by the political (all of which may be categorized as The Second Half of the Twentieth authorities of Buenos Aires and by "global village" types) and folk music Century: Acceleration, Assimilation the governing aristocracies and their and tango (which are of national and Synthesis courtiers. They reproduced in origin). The latter two may be further During the second half of the Argentina cultural gestures that subdivided into rural and urban types twentieth century there arose a belonged to another world, with respectively. remarkable musical movement some very strange consequences. whose central paradigm was the Later, in the wake of the last Italian Parallel with these, the "classical- aesthetic vanguard. This movement, migrations, nineteenth century Italian academic" types have given rise to popularly known as the avant-garde, opera entered Argentina and thus various institutions inherited from was a result of many factors. First, broadened the range of artistic Europe, namely symphony after the Second World War, there possibilities available in Buenos Aires , theatres, conservatories was a quick succession of new trends and other cities. These trends and organizations especially in Europe and the USA. conclude with the emergence of the whose repertoires are devoted to the These trends were promoted through tango and reflect the profile of a European masters. This musical festivals, competitions and concerts. nascent urban culture. micro-universe is complemented by a Secondly, there was continued pedagogy and instructional literature improvement in recording and The tango, a type of dance-song with based on inherited systems. playback technology, making 4 Intercultural M usicology O ctober 1999 available LPs, cassettes, analog and on the history and development of argument, the origins of the digital Ds tapes, DVDs, and CDs. human culture. vernacular traditions are so remote Thirdly, there was an economic from contemporary life styles that boom and general prosperity in The Latin American Composer they represent no more than an Europe during the 1950s, 196 0s and Today: Cultural Identity and exotic recourse. According to Juan 1970s. Aesthetic Patterns Carlos Paz (1971) "The cultivated The great diversity of aesthetics and Latin American artist is infinitely The main stylistic streams that trends described above produces closer to Picasso, Joyce, Schoenberg, sustained this changing panorama reactions in Latin American Proust, Max Bill, Webern, Tzara, originating from various sources and composers that are varied, dissimilar Arp, Pound, Vantongerloo, and Le representative compositions, not only and even antagonistic. In the Courbusier than he is to the became classics of the twentieth "classical-academic" music world of Araucanians, Coyas, and those century but are also a universal Buenos Aires (the major creative aborigines from the Amazon region, heritage. There are many categories centre of Argentina or at least its the Bolivian altiplano, the Cuban of this music, namely polytonality, meeting point), there is a noticeable 'manigua' (jungle) and the Mexican atonality, serialism, integral serialism, passion for information gathering indigenous elements". microtonality; concrete, electronic, (the collection of scores, recordings e l e c t r o a c o u s t i c , a l e a t o r i c , and videos) and its dissemination There are those who agree with experimental, acusmatic, spectral, through lectures. This process was Tolstoy: "portray your village and you micro-polyphonic, poly-stylistic, aimed towards documenting the latest will portray the world". minimalist, stochastic and mixed and most novel ideas coming out of music; music hall, new-complexity, the European and North American An inventory of Argentine works of new-atonality, new-romanticism, and centres. Buenos Aires is also one of at least the last century shows trends, musical deconstructivism. the cities most visited by orchestras, ranging from (great) operas that ensembles, performers, philosophers present musical aesthetics influenced In the meantime, innovations of very and composers from all over the by German expressionism or French different origins came to American globe. Thus, at the cryptic instant of impressionism to tonal nationalist shores. The substance of these creating or -- in Stravinsky's words -- works of remarkable ingenuity. There innovations were, in many cases, the "inventing" music, the Argentine are also diverse forms of synthesis logical outcome of an evolutionary musician has the same information showing intelligence, sensibility and process that took place in an alien and knowledge as the composer maturity. cultural context and were not living in London, Paris or New York understood by the local population. (and, paradoxically, even more in The aforementioned social and The pace of Latin American history some cases). Add to all that the cultural reality has its own differs from that of Europe with vernacular "aesthetic culture broth". shortcomings and deficiencies but, at respect to economic development the same time, it reflects a way of life, and cultural policies. In view of Some questions arise. What degree an attitude and a character that are these considerations, the wealth of of differentiation should Latin unmistakably ours. The apparent Europe became too seductive to be American musicians pursue? Is it conflict in our cultural identity ignored. possible to create a Latin American (brilliantly resolved in such genres as school similar to the Polish or folk music, tango and jazz) could be In other arts (for example literature) Viennese school? Should Latin summarized as arising from an Latin America clearly defines its American musicians adopt "universal" autochthonous popular (indigenous) trajectory through such personalities foreign techniques in their totality? tradition confronting a "refined" as Garcia Márquez in Colombia; European education. Is it inevitable Cortázar, Borges, Sábato and These questions are over-simplified that this conflict should block or Marechal in Argentina; Vargas Llosa and their elaboration is beyond the inhibit our musical creativity or could in Peru; O. Paz, Rulfo and Fuentes scope of this article. But even so they it be an impelling force that enhances in Mexico; Carpentier and Martí in generate divided opinions and our potential? Cuba; J.C. Onetti in Uruguay; R. responses. There are those who Bastos in Paraguay; and P. Neruda in defend the "universal improvement" Two archetypes, paradoxically both Chile. These artists identify, of art within a global conception. European, provide noteworthy synthesize and re-signify local Their argument is centered on the models for different types of phenomena and, by developing these alleged fusion of "authentic" Latin engagement. The first, represented phenomena, turn them into works of American traditions with elements by Schoenberg, leans towards an universal value that make their mark considered foreign. According to this abstract aesthetic while at the same 5 Intercultural M usicology O ctober 1999 time maintaining contact with the Gregorian and Vedic Chants part of the rituals of worship. There historical heritage. The second, are striking structural parallels represented by Bartó k, is rooted in by S. A. K. Durga (India) between Gregorian and Vedic chants. folklore and comprises elements Since a chant without a text is quite distilled from the exquisite fruit of A study of the similarities of inconceivable, both intentionally use the homeland. In addition to these Gregorian and Vedic chants in their sacred texts. It is the syntactic models, various musical languages performance, musical style, structure structure of the text and its meaning have developed in Latin America, and purpose reveal the universal which shape the melody, which in some having original and concept of music as being divine and turn, enhances the prayerful quality imaginative mixtures while others that the origins of Western and of the chants. Everything in have more puristic and homogeneous Indian classical musics lie in their Gregorian and Vedic chants is techniques. Finally, there are religious musics. Up until now, this intended to give peace, that peace composers who take their cues from area of study has not been explored necessary for and integral to prayer. Europe or the USA and sincerely in detail though casual mention is Both types of chants were originally and honestly see themselves as made by S. M. Tagore: "there is performed exclusively for worship maintaining the continuity of similarity between plain chant and services. l a n g u a g e s w i t h u n i v e r s a l vedic chanting" (Hindu Music, manifestations. These approaches 18 8 2:407). What is chant? Chant is the generic end up by equating the efforts of all designation for a body of traditional who engage in art because art In both Western and Indian religious music such as Vedic chant, accommodates every initiative, philosophy and theology, music has Gregorian chant, Byzantine chant, original or sublime, provocative or important ontological and Jewish chant, Ambrosian chant, etc. eclectic. Equilibrium, imagination, epistemological dimensions. There Although these various repertories synthesis; looking to the past or to is a theology of sound whereby the differ, they have one trait in the future, technique and inspiration, "Word of God" is the force by which common: the purely melodic content and form, the conscious and God creates and interacts with us. In character of the music or the absence the unconscious; freedom as limit, practice, this definition of sound of harmony/counterpoint. rigour as horizon. All of these are the includes the use of music. For Performance is exclusively vocal and permanent parameters of art. example, the Gospel of John 1:1-2 sung in unison. Gregorian chant was recognises God both as the word and arranged by Pope Gregory who ruled Finally, if we consider the general through the word (sound). In keeping from 590-6 04 A.D. He assigned situation of South America, where with Jewish custom, Christ and the chants to specific occasions of the economic conditions for artistic Apostles sang a hymn at the ‘last liturgical year according to a broadly production are not ideal, it is supper’ (Matthew 26 :30). In the light conceived plan. Gregorian chant is remarkable that there is such a of this theology of sound, the image also known as Roman chant, Plain proliferation of composers, of Christ singing implies God both as chant, Plainsong and Cantus planus. ensembles, groups, concerts, and the singer and as the sound. Gregorian chant is one of several courses. All that implies intrinsic branches of Christian chant that creative activity -- copious and varied A parallel concept is found in Hindu developed in western Europe -- that daily establishes a musical theology. The theory of Nada or probably characterized by one and patrimony of evident value. In its sound which is casual sound, om, is the same archetype-- the use of the rich and heterogeneous aesthetic, the foundation of the Indian concept Latin language. Originally, the multiculturality appears not only as of music. God is said to have been official language of the church, even one of many possible roads but also manifested first as sound; and sound, in Rome, was Greek and it was not a necessary one, perhaps as the linguistically and musically, is until the third or fourth century that aesthetic of the future. considered the matrix of creation. this was replaced by Latin in the western part of the Christian world. Reference Cited The history of music in Indian and Very likely, the just mentioned Western countries began as a result archetype goes back to this period. Paz, Juan Carlos of religious music’s facility to Out of it grew the four branches, or 1971 Introduction to the Music of communicate with the Supreme as they are often called. dialects of Our Time. Buenos Aires: Ed. Being. Gregorian and Vedic chants Western chant: Gregorian in Rome, Sudamericana. are performed in Catholic churches Ambrosian in Milan, Gallican in *** and Hindu temples, respectively, as France and Mozarabic in Spain. 6 Intercultural M usicology O ctober 1999

Vedic chant of India is also of four recitation. The Rg and Yazur vedas ‘Amen’. Both Gregorian and Vedic types -- the Rg veda, Yazur veda use only three notes (low, middle and chants are surcharged with exalted (with two branches - Krishna Yazur high). Three of the four authentic emotions, sublime sentiments and veda and Sukla Yazur veda), modes used in Gregorian chant are mystic moods, creating a spiritual Samaveda and Atharva veda. found in Vedic chant. atmosphere.

According to Hindu mythology, the Musically speaking, common features Since the philosophy and purpose of date of vedas go back thousands of found in both Gregorian and Vedic music in worship are essentially the years. The Hindu God Krishna is chants are that both: same in Christianity and Hinduism, said to have studied Vedic chant. the coincidence of the musical Vedic chants are in Sanskrit and the 1. are melodic; structures and vocal styles in author of Vedic chant is not known. 2. are sung forms of prayer; Gregorian chant and Vedic chant is Up until now, Vedic chants are taught 3. are sung in the Phrygian diatonic significant. Taken in religious aurally, although the Vedic chant (C major), Dorian and Mixolydian context, the similarities seem to texts with notation have been modes; confirm the validity of a belief, both published. Vedic chant forms part 4. feature recurring melodic phrases; in a universal God whom all humans of the Hindu temple ritual. Willi 5. have a common theory of the role are capable of experiencing in some Apel in his work Gregorian Chant of the dominant note; way and in the universal power of remarks that "Paleographic evidence 6 . have limited melodic range sung specific sounds through music to permits us to trace the Gregorian mostly in descending order; elicit that experience. From that melodies back to the period around 7. are sung in unison (monophonic). perspective, Gregorian chant and 8 00, and to think of them as having 8 . The styles of chanting in both are: Vedic chant are not fundamentally received their final form during the a. Syllabic - Singing one syllable different. Century from 750 to 8 50" (1958 :54). (occasionally two) per note is typical of many antiphons and parts of the References Cited The tonal basis of Gregorian chant is ordinary of the Mass (especially the a system of eight known as Credo). The Rg and Yazur vedas are Apel, Willi Church modes. Each mode is an syllabic and chanted as one note per 1958 Gregorian Chant, actual segment of the diatonic letter or sometimes two notes per Bloomington: Indiana University (C-major) scale with one of its tones letter. Press. playing the role of a central tonic tone comparable to C. The central b. Neumatic - Semi-syllabic chanting Pragnanananda, Swami tone is called finalis of which there (two or four notes per syllable) is 196 2 Historical Development of are four: D E F and G. The octave found in other parts of the ordinary, Music, Calcutta: K.L. range is called ambitus. In each of in the introit and the communion of Mukhopadhyaya. these belong two modes which differ the proper of the Mass. It is also the in their ambitius, one of them starts style in which yazur veda and parts of Tagore, S M with the final and extends to its upper sama veda are performed. 18 8 2 Hindu Music. Calcutta: I.C. octave while the other starts a fourth Bose &Co. . below the final and extends to the c. Mellismatic - Florid melodies * * * fifth above. Those of the former (several notes per syllable) are typical types are called authentic and the of the solo chants in the Gradual, The Music of OPEYE: Free latter plagal modes. The four Alleluia, and Offertory of the Mass authentic modes are called Phrygian, and responsorials of the office. The Improvisation as a Vehicle Lydian, Dorian and Myxolydian. In Sama veda is chanted with florid for Intercultural Music Vedic chant scales -- Bilaval or melodies similar to the Alleluia. by Henry Kuntz (USA) Sankarab ar an a, K af i or Karaharapriya or Bharavi or Thodi -- Repetition of the melody and use of Background are used which are similar to the vowel extension in Gregorian and diatonic scale C Major and the Vedic chants result in a more sublime Opeye is a free-improvising music Phrygian and Dorian scales of the prayerful mood as overtones are and performance group based in Church Modes. Kamaj or perceived more powerfully. At the Berkeley, California whose current Harikambodi which corresponds to end of the Vedic chant and members are Ben Lindgren the Mixolydian mode. is also Gregorian chant, the concept of (doublebass, , and percussion), sparingly used. The scales are peace is inculcated through the text Brian Godchaux (violin, viola, identified only by Samavedic Shanti mantra (om Shanti) and mandolin, and percussion), John 7 Intercultural M usicology O ctober 1999

Kuntz (ukeleles, guitar, mandolin, improvise? Free improvisation, we time-space frame where ordinary , and percussion), Esten understand as a non-idiomatic time is in fact suspended and only Lindgren (trombone, trumpet, approach to playing -- an attitude each moment is the most important drums, and percussion), and Henry about what we are doing -- which is to moment, and not the final outcome; Kuntz (tenor , musette, say that although we remain attentive although it follows that (in a wood , toy violins, gamelan, and to all of our music experience, we are compositional sense) the final percussion). not playing music that is tied by outcome may be quite satisfying necessity or design to any particular depending upon how organic the The essence of Opeye's music is pure style or idiom. Spontaneous process itself has been. But being in process -- from nothing, something; composition, on the other hand, is the process is what is most important. but not from nothing. Through the actual organizing of sound Our only goal in this regard is true family backgrounds, we share material, that which takes place at the co-creation: we would like each archetypal memories of Louisiana beginning and end of each "piece" player to be as independently creative and especially of New Orleans -- and in and between the lines of as possible while at the same time actual, mythical, and spiritual home improvisation. It is the notions which remaining indispensable to the of jazz (Africa in hiding). We have formalize newly-created sound and creation of the whole music. sought out new cultural experiences the ways in which that sound is in places as far away as Central and showcased. Although our music is Intercultural Musical Concepts and South America, Southeast Asia, improvised, we bring all of our Improvisation India, Indonesia, Europe and the compositional knowledge to the How do intercultural musical Pacific. We have sought to assimilate forefront because all music -- concepts integrate themselves into aspects of Native American music improvised or written -- makes use of music of this sort, free improvisation? and ritual. It is from this extended the same compositional devices; There are at least five approaches: palette -- the collective, open-ended there are no new ones, I think, on the nature of jazz and the rich concepts planet, only new ways of using those (1) Feeling or sensibility. Some years of world music systems -- that the already known with extended sonic, ago, while attending indigenous music of Opeye is drawn. rhythmic, and harmonic ideas. This festivals in Chiapas, Mexico, I is not to say, however, that an noticed that the music, along with its Because the natural tendency of improvisational approach is simply obviously different harmonic and improvisation is likewise toward the reverse of a compositional one structural components, had a discovery and creation, basic musical where -- making use of similar fundamentally different feeling to it language is continually being devices -- we play from scratch to than almost any music with which I reshaped and reinvented as well. It is d e t e r m i n e a n e q u a l l y was familiar. This had to do with the at this point that Opeye stands at the (compositionally coherent) satisfying fact that its practitioners still literally center of its own universe of "world" outcome. We like the "outcome" or had their feet on the ground, that the music, a place of assimilation and final impression to be satisfying; but music -- usually existing as a part of a distillation of sound-sense experience to play as a free improvisor is to be a ritualistic context which had called it beyond the merely eclectic -- player always in process and always into being -- had no pretensions reflected upon, changed, and in relation in this manner both to about itself. No one was getting changing even at each newly arrived oneself and to the other players, and famous playing it, no one was going at sound-moment. Opeye's music is it places one in a state of mind not to New York! It was the most founded upon a new world creative unlike that described in various "grounded" music I had ever heard, aesthetic: one's own experiences and accounts of trance, dream, or and it reflected a sensibility that I background are central, but the shamanic reality, demanding an have sought to bring to my own fetters of provincial cultures are extremely fine-tuned alertness, music ever since and that we have thrown off -- we have all become heir response, flexibility, and ongoing sought to bring to the music of to every tradition: Shared humanity creativity from each of the players at Opeye. in all its richness and diversity -- and all times. (Contrary to popular the future is likewise embraced. opinion, the ability to improvise and (2) Addition of instruments from to improvise creatively is built on a other cultures. We separate these F r e e I m p r o v i s a t i o n a n d great deal of practice; the practice of instruments, however, from their Spontaneous Composition improvisation is itself a practice.) more-or-less defined idiomatic What does it mean, then, to The musicians, of necessity, move usages and play them for explorative spontaneously compose or freely into another state of BE-ing, another purposes in an undefined 8 Intercultural M usicology O ctober 1999 non-idiomatic context. the ritualized context of Opeye's instrumentalists who are extending music adds an extra-musical aspect free-form musical concepts begun by (3) Introduction of other-cultural to this intercultural exchange. In musicians of the Association for the timbres. performance, we make extensive use Advancement of Creative Music of masks, textiles, paintings, and (AACM) in Chicago in the 196 0s and (4) Integration of other tonal systems unorthodox costume changes; all of by the many free-wheeling English or aspects of those systems into open which add a cross-cultural visual and European improvisors who burst form. In many of the musics of component to the music while at the on the scene in the 1970s. Indonesia -- in Bali, Java, Sumatra, same time heightening its dream-like for example -- or in Tibetan music and ritual qualities. For the audience, In unusual multi-tracked recordings (which I experienced in a very direct there is the possibility of entering with I explore possibilities for new way in Nepal), or in any number of the musicians into a living shadow improvisational archetypes: radically musics that might be mentioned, a play, full of magic, fantasy, surprise divergent and open forms realized great deal of these musics' power lies and, at times, surprising humor: a with unlikely instruments and in their specific tonal systems and in free-play of multi-cultural archetypes u n h e a r d - o f in s t r u m en t al the qualities of tone produced by the and ambiguities. combinations. With Opeye , as on types of instruments they employ. Moss' Comes Silk I have sought to And so by bringing instruments such Historical Precedents Realized in highlight the peculiarly ritualistic and as gamelan, xylophones, musette, and My Music inherently shamanistic aspects of free the like into Opeye's music, we are As the director of Opeye, my improvisation. One One & One directly adding certain of these personal background in music has contains the first solo tenor timbres as well as whole tonal systems been fundamental to the group's saxophone music to be recorded and or aspects of the same to the approach and I would like to end this widely disseminated by me and is also improvisational mix. article with a brief account of that the first time I have worked in a background. As publisher of Bells context exclusively electronic in (5) Integration of other musical (1973-79), my beliefs regarding free nature. forms. On the simplest level, this has jazz and free improvisation found a to do with passing motivic (idiomatic) forum for discussion in this References Cited interjection and reference, but in a internationally known newsletter- broader sense it encompasses review and recognized authority in Bailey, Derek. influences that affect the way in which the field. I first appeared on record 1992 Improvisation: Its Nature the music itself unfolds. The (playing tenor saxophone) on guitarist and Practice in Music Revised contrapuntal form of early New Henry Kaiser 's Ice Death (1977). In edition. New York: Da Capo Orleans jazz is an obvious example of 1979, I began my own record label, Press. (First published by such an influence in our music, Humming Bird Records, and have Moorland Publishing, England though (despite its African roots) it is released a number of recordings of in conjunction with Incus perhaps not strictly speaking, ‘other- solo, group, and multi-tracked free Records, 198 0). cultural’ in origin. Thai classical improvisations. My performances on music, however, would be such an a number of instruments from other Kuntz, Henry (Ed) influence, namely in the manner in countries and cultures are adapted 1973-1979 Bells: A Newsletter- which Thai for use in modern musical settings. Review of Improvised Music incorporates simultaneous levels of My travels to Mexico, Central and (Nos. 1-32). ongoing improvisational motivic and South America, Asia, and Indonesia rhythmic development as a means of gave me opportunities to record, Litweiler, John. obtaining an overall complexity of study, and draw upon aspects of 1990 The Freedom Principle: form and structure. We also relate to music, ritual, dance, and Jazz After 1958 . New York: various types of "festival forms" performance. Native American Da Capo Press, (New York: common to any number of cultures, dance, music, and ritual in California Morrow, 198 4). places as diverse as Bolivia and Bali, have also served as a major influence. wherein two or more musical events Discography occur simultaneously and by design These experiences allowed me to Moss 'Comes Silk (HB CD 1). within the same physical space. formulate a perspective in thinking Humming Bird Records, 116 9 about music. Jazz writer John Grizzly Peak Blvd., Berkeley, CA Extra-Musical Dimension Litweiler, in his book The Freedom 94708 , U.S.A. 1997. Henry Kuntz: In addition to these five approaches, Principle (1990) describes me as one tenor saxophone, Chinese musette, of a number of independent multi- 9 Intercultural M usicology O ctober 1999

Nepalese bamboo , Bolivian composers (see for example Nketia Its harmonic idiom may be and Balinese bamboo flutes, Mexican 1994, Labi 198 7-1997, Labi u.d. and tonal, atonal, consonant or Indian violin, toy violin , Javanese Uzoigwe u.d.). dissonant in whole or in part, gamelan, percussion; Ben Lindgren: depending on the preferences doublebass, Balinese gamelan; Brian In developing the theme of African of the composer, the mood or Godchaux: viola, Balinese gamelan pianism, I stated in a previous essay impressions he wishes to create "Selunding", percussion ; Esten that techniques used "in the or how he chooses to reinforce, Lindgren: trombone, trumpet, p er f o r m an ce of (Af r ican ) heighten or soften the Hawaiian conch shell trumpet, steel xylophones, thumb , plucked jaggedness of successive guitar, ukelele, percussion; John lutes, drum chimes ... and the percussion attacks. In this Kuntz: steel guitar, mandolin, polyrhythmic methods of African respect the African composer ukelele, Javanese gamelan , wind-up instrumental music in general would does not have to tie himself toy xylophone, percussion. form a good basis for an African down to any particular school of pianistic style" (198 9a:151). writing if his primary aim is to One: Circle-Cycle (HB CD 2): explore the potential of African Henry Kuntz: Tenor Saxophone. Furthermore, I identified some of rhythmic and tonal usages. Humming Bird Records. 1998 . the ingredients of an African pianism as (a) thematic repetition (b) direct Although the concept of African One & One: 12 Paths To Knowledge borrowings of thematic material pianism is mainly defined by the (HB CD 3): Henry Kuntz: tenor (rhythmical and/or tonal) from works of composers of African saxophone, Chinese musette, African traditional sources (c) the origin, the concept is by no means Nepalese bamboo flute; Don Marvel: use of rhythmical and/or tonal motifs exclusive to them. As I have time machine, Prophet Sampler, old which, although not borrowed from previously indicated (Euba 198 9a: turntable, live signal processing and specific (identifiable) traditional 116 ,137) all works that are based mixing. Humming Bird Records. sources, are based on traditional upon or derived from African 1998 . idioms (d) percussive treatment of traditions, irrespective of the origins * * * the piano (Euba 198 9a:152). I later of their composers, belong to the added a fifth ingredient, namely neo-Africanist school of composition. "making the piano 'behave' like Towards an African instruments (Euba 1993:8 ). Origins of African Pianism: The African Pianism Christian Influence Nketia (1994:iii) provides further The Church played a significant role by Akin Euba () insight into the theory of an African in the rise of neo-African art music pianism: and one of the principal modes of transmitting this music, the staff he concept of an African pianism T African pianism refers to a style notation, was introduced to Africa by first entered my creative of piano music which derives its Christian missionaries.1 Western consciousness in the 196 0s and has characteristic idiom from the keyboard instruments first gained since then been articulated not only procedures of African popularity in Africa as an almost in my creative work but also in my percussion music as exemplified indispensable aspect of church scholarly writing (see for example in bell patterns, drumming, worship. The missionaries were also Euba 1970, 198 7 198 9a:149-154, xylophone and mbira music. It responsible for pioneering Western- 198 9b, 1993:8 ). I have staged recitals may use simple or extended type systems of education in Africa on the theme of African pianism in rhythmic motifs or the lyricism and, in the mission schools, the Bayreuth (198 9), Glasgow (198 9), of traditional songs and even typical day began with morning London (1990 and 1994), Pittsburgh those of African popular music assembly, during which hymns were (1993), Bronxville, New York (1996 ), as the basis of its rhythmic Ann Arbor, Michigan (1997) and phrases. It is open ended as far Tampa, Florida (1997), mainly as the use of tonal materials is performed by myself and mostly concerned except that it may 1 The presence of the staff notation and other featuring my own compositions. draw on the modal and elements of Western art music in the Islamic countries of Africa, such as Egypt, needs to be cadential characteristics of explained in other ways than by the impact of The concept of African pianism has traditional music. Christianity, for example the proximity of North been endorsed by other African Africa to Europe and the centuries-old interaction between Europe and North Africa. 10 Intercultural M usicology O ctober 1999 sung to the accompaniment of musical instruments presumably to Chopin. keyboard instruments. maintain a close relationship to their prototypes (as do speech languages, It should be noted that "crossovers" Admittedly, the keyboard for example) but begin to diverge and abound and what I deem to be instrument that was commonly found assume new structural features, characteristic of the piano writing of a in the churches was the pipe organ or functions, idioms and so forth when composer, genre or epoch is not harmonium; the acoustic piano was adapted to local conditions. Total restricted to them. There are less common. Some of the big divergence (as, for example, in the examples of percussive usages in the churches do however have acoustic case of speech languages when an Romantic period, for example the pianos, either as a stand-by (in case of independent language emerges from opening of the third movement of the the failure of electricity) or for use a prototype) probably occurs (if at all) Grieg piano concerto and the end of during choir rehearsals. only after several millennia. It is the first subject group in the first necessary to state this because there movement of the Rachmaninoff In the mission schools, music may be persons who are skeptical piano concerto no. 2 in C minor education (mostly consisting of choral about the concept of an African (Rachmaninoff 1990:154-155; the last singing) frequently featured the pianism because, in their perception, four measures of page 154 and the keyboard as a means of piano music by Africans seem little first of page 155). Conversely, accompaniment. When African different from that of their Bartok now and then used the governments assumed primary contemporaries in Europe and cantabile approach, as for example responsibility for educational policies, America. The migration of the in the opening of the first movement the keyboard was retained as an Western piano to Africa (probably of the third piano concerto. aspect of music education and some dating no earlier than the middle of Furthermore, the use of counter schools (notably Achimota College in the nineteenth century, when melodies ( a contrapuntal device) is Accra, Ghana and King's College in Christianity entered West Africa) is an important feature of Chopin's Lagos, Nigeria) developed advanced comparatively recent and we are still pianism. systems of music education that too close to the point of culture permitted the training of pianists and contact for any substantial Another distinct pianistic art is jazz other musicians who later took up differences in structural features, pianism with its special use of music as a career. functions, idioms and so forth to percussiveness and off-beat phrasing occur. (although these traits are typical of A Theory of Migration jazz in general and not confined to its The presence of the Western piano The Variability of Pianism: The pianistic art). Someone once in Africa may be explained through a African Practice in it s Global remarked to me that jazz pianism theory of migration. Musical Context exists in various categories and that instruments migrate around the The possibility of an African pianism there is no single jazz pianism. world and often assume new may be argued on the basis of the identities and generate new musical diversity of preexisting pianisms. In In terms of geo-cultural possibilities, idioms. My favorite example of the history of pianistic writing, there exists a Burmese pianism that is migration is that of the instruments of composers have demonstrated a closely related to Burmese traditional the Western symphony , range of possibilities that enable us to music, as if the piano were made to most of which migrated to Europe name a pianism for an epoch, a genre 'behave' like Burmese instruments.3 from the Middle East (Sachs or even an individual composer. For 1940:26 0) giving birth to a variety of example, Bach pianism (with its In view of the ingredients for an cultural and artistic manifestations, emphasis on clear, crisp, African pianism outlined above, the for example the development of the contrapuntal lines) is clearly different closest models are Bartok pianism4 symphony and of techniques of from Bartok pianism (typified by and jazz pianism. orchestration, that did not previously chordal textures and percussive exist. The hourglass drum, which has articulation2). Chopin pianism is The preceding discussion shows that a fairly wide global distribution, also characterized by a cantabile style in originated from the Middle East and the right hand combined with is today the most important drum of arpeggios in the left, although this 3 I am grateful to Andrew Weintraub who drew the Yoruba of Southwestern Nigeria, pianism is typical of other composers my attention to this idiom. who have developed the drum into a of the Romantic era and not exclusive highly sophisticated speech surrogate. 4 Bartok seems to be a role model for African composers in general. See, for example, El- Kholy 1993: 29; Elsner 1993: 172; and Maconie At the point of culture contact, 2 Mason 1959: 468 1976: 14. 11 Intercultural M usicology O ctober 1999 the piano can accommodate a wide There have also been various from Africa, Great Britain and the variety of idioms and that it is recitals either devoted to or including USA. possible to use the Western the works of African composers and keyboard as an alternative to African particular mention must be made of References Cited instruments in the performance of the efforts of South African artists African music. such as Michael Blake (a composer Euba, Akin and pianist who has performed piano 1970 "Traditional Elements as the The Prospects of an African works by Ayo Bankole and myself in Basis for New African Art Pianism South Africa and in Austria) and Jill Music". African Urban Notes Interest in neo-African art music has Richards (a highly gifted pianist who, 5/4. developed steadily in recent years together with Susan Mouton, 1975 Scenes from Traditional Life and this augurs well for the prospects violoncello and Catherine van de for piano. Ife Music Editions of an African pianism. I will cite a few Geest-Montavon, violin, gave a 2. Ile-Ife: University of Ife examples to demonstrate current concert of chamber music by African Press. attention being received by African composers in South Africa in 198 7 Wakar Duru: Studies in composers. In 1992 the Kronos November 1998 ). The British West African Pianism 1-3 for Q uartet released Pieces of Africa, a Indian pianist, Maxine Franklin, gave piano. Unpublished score. CD devoted to the works of African a recital devoted to keyboard music 198 9a Essays on Music in Africa 2: composers. In view of the Kronos' by African and African-American Intercultural Perspectives. reputation the CD has received wide composers at the Horniman Bayreuth: Bayreuth African circulation and this was the first time Museum, London on 5 October Studies Series. that it became generally known that 1998 . On October 25 of the same 198 9b Scenes from Traditional Life there were modern composers in year, the African-American pianist for piano. Played by Peter Africa. Before then, apart from the Darryl Hollister gave a recital Schmalfuss. Elekoto Music works of Samuel Coleridge-Taylor, similarly devoted to the works of Centre EMC LP 0001. Fela Sowande, Gamal Abdel-Rahim, African and African-American 1993 Modern African Music: A and Halim El-Dabh, practically composers in Boston, Massachusetts. Catalogue of Selected nothing was known about neo- Archival Materials at Iwalewa- African art music. C o m p l e m e n t a r y t o t h e s e Haus, University of Bayreuth, performance activities have been Germany. Bayreuth: In May 1995, Prof. Dr. Klaus various writings of which the recently Iwalewa-Haus. Hinrich Stahmer organized a week- published International Dictionary of long festival of modern African Black Composers (Floyd 1999) is an El-Kholy, Samha music at the Wü rzburg Hochschule especially significant landmark. Also 1993 "Gamal Abdel-Rahim: and later in the same year, several noteworthy is the new series New Biographical Notes and List African composers (Tamusuza, Labi, African Music Project, devoted to the of Works." In Festschrift for Uzoigwe and myself for example) works of African composers and Gamal Abdel-Rahim. Edited were featured in AFRICA 95, a edited by Klaus Stahmer, which is by Samha El-Kholy and John three-month long festival of African published by Verlag , Robison. Cairo: The arts that took place in various parts of Berlin. Binational Fulbright the United Kingdom. As a direct Commission in Egypt. result of the latter event, Gyimah The Department of Music, Labi was commissioned by the University of Pittsburgh, under its Elsner, Jurgen Liverpool Philharmonic Orchestra to project A Bridge Across: Intercultural 1993 "Orient and Occident as write a concerto for six pianos and Composition, Performance, Reflected in the Works of orchestra, which was premiered by Musicology, of which I am the Gamal Abdel-Rahim." In them (with the Piano Circus) in director, will host the first ever Festschrift for Gamal Abdel- Liverpool in November 1996 . In the international symposium and festival Rahim. Edited by Samha El- same year, a Berlin television crew on the theme of African pianism Kholy and John Robison. visited Ghana to make an hour-long from 7 to 9 October 1999. The event Cairo: The Binational television programme on modern art is titled "Towards an African Pianism: Fulbright Commission in music in Ghana, which was later Keyboard Music of Africa and the Egypt. broadcast in Germany. Diaspora" and will feature composers, performers and scholars Floyd Jr, Samuel A. (Ed) 12 Intercultural M usicology O ctober 1999

1999 International Dictionary of Undated Studies in African background, Blake went to school in Black Composers. Chicago Pianism: Talking Drums for Cape Town, played the organ for and London: Fitzroy Piano Solo Op.11. church services as a teenager and Dearborn Publishers. Unpublished score. studied piano privately: "I think I Undated Studies in African started making up pieces at the age of Kronos Q uartet Pianism: The Nigerian nine or ten, when I started the piano; 1992 Pieces of Africa. One CD. Dances for Piano Solo. then there was a competition to write Electra Nonesuch 79275-2 Unpublished score. the School Song, which I won. In * * * high school I wrote lots of pastiches Labi, Gyimah in the style of Chopin, Bach and 198 7-1997 others. I never heard a note of Five Dialects in African Michael Blake: 'modern’ music, the education system Pianism. Unpublished A Profile being what it was". score. Undated Towards an African As a B.Mus. student at the University Pianism: The Creativity, of the Witwatersrand he was by Christine Lucia (South Africa) Performance, Interpretation contemporary with Kevin Volans and Dissemination of New and Paul Simmonds; his teachers African Keyboard Music: It was early in 1995 when I first included June Schneider and Jeanne Two Pieces in African encountered the name Michael Z aidel-Rudolph. Here again there Pianism: Analysis of Dialects Blake, as author of the Volans entry was little exposure to composers of 2 and 3. Unpublished in the encyclopedia Contemporary the twentieth century: "when I got to manuscript. Composers (Morton & Collins, St Wits I wondered who these people James Press 1992: 952). In July 1997 were, so I used to take home piles of Maconie, Robin I met his work as a composer records - Schoenberg, Ives, Varèse". 1976 "Taking . . ." The Times through a performance of his two- Despite the lack of incentive to Educational Supplement. piano piece Reverie at the compose, Blake "spent one weekend London 27 August. Grahamstown Arts Festival. When concocting a piece - lots of clusters, he arrived at Rhodes University in fists, feet, bum - it was very liberating. Mason, Colin August that year as Visiting We put it on at a lunch-hour concert 1959 "Bartó k, Béla". In Grove's Composer I discovered his skill as a under a false [German] name - it Dictionary of Music and pianist - not a virtuoso of the war-torn went down a treat!". It was the first Musicians I. Edited by Eric classics (we have more than our fair public concert at Wits of student Blom. New York: St Martin's share of these in South Africa compositions, organised by Blake Press. already) but an intelligent and and his peers. But it was within a competent interpreter of new music restrictive climate: "nobody wanted to Nketia, J.H. Kwabena that none of us had ever heard play contemporary music and there 1994 African Pianism: Twelve before. It later emerged that this was little feedback. It felt isolating, Pedagogical Pieces. Accra, talent for finding and exposing claustrophobic". Ghana: Afram Publications. interesting new music extended to many composer and performer A few years in downtown Rachmaninoff, Serge colleagues in Britain, Europe and the Johannesburg followed, making new 1990 Piano Concertos Nos. 1, 2 USA, for whom he had given friends in theatre, film, literature, art, and 3 in Full Score. New numerous first performances, from music, meeting the unholy trinity York: Dover Publications. whom he commissioned works, and (sex, drugs, rock’n’ roll), stirring up with whom he had mounted revivals controversy through concerts of Sachs, Kurt of little-known twentieth-century contemporary music Blake 1940 The History of Musical music. organised. During this time he heard Instruments. New York: a lot of live jazz and popular music - Norton. And this really sums him up - writer, the music of compatriots from 'the composer, pianist, entrepreneur of back of the moon’. After receiving Uzoigwe, Joshua new music. How did this come an ominous army camp call-up which Undated Studies in African about? he knew would involve taking up Pianism: Lustra Variations arms against civilians in Soweto (all for Piano Solo. Unpublished Born in 1951 into a humble middle- white males were conscripted into score. class family and a Methodist compulsory military service), Blake 13 Intercultural M usicology O ctober 1999 left the country, early in 1977. percussive delicacy of the prepared Meyer, de Klerk, Ndodana, left the "Closing the curtains, putting out the sounds. country, like Blake, knowing that this light, and going off to Europe" is how meant their voice was even less likely it felt to him at the time, a mood One of Blake’s few orchestral pieces, to be heard. Writing of this paradox reflected in the last piece he wrote Kwela, for chamber orchestra, was Bongani Ndodana says: "Unlike their before he left, Night Musics. premiered in 1992. He describes it [South African] predecessors Priaulx as a "reworking" of the popular street- Rainier and John Joubert... their It wasn’t easy arriving in Britain: "The music style from the Cape Town of musical language is rooted in first thing I did was stop composing; his youth. It resembles, he says, "a indigenous music, embodying what there were just so many other people fabric - a constant interweaving or could be described as a distinctively doing it". Blake spent twenty years in highlighting of strands or chunks of African aesthetic. The sad irony, London: paying the bills with part- musical material". Reviews of his though, is that their music is hardly time teaching while going to concerts, music during the London years ever heard, let alone performed in listening to a thousand good frequently talk about its "drawing on their country of birth, even though it programmes of music on radio, traditional African music", and has a pertinent relevance in defining acquiring records, CDs, books and although there is nothing new about a uniquely South African voice on the scores (he has the best private library using the folk music of one’s country international scene". of 20th-century musicalia I have yet or someone else’s (this has been seen), playing new music with friends, done by classical musicians since the By the same token, the African and gradually getting back into days of Bach), it has often become a classical tradition which did exist in composition. "The urge to compose political issue among critics, and South Africa - the choral tradition of never went away... I started listening indeed among composers black composers from Caluza at the to African music, and gradually themselves. Blake does not see what turn of the century to Khumalo at the found a [new] way of putting pieces he is doing as politically incorrect or present time - was equally unknown together". Blake had not been correct, but as part of the process of among all composers of the (white) unaware of African music before he finding his voice as a composer. It avant-garde, partly because it was not left South Africa, but once he was was an early commission for a an instrumental tradition - its settled in Britain he regularly asked documentary film on African exponents do not have access to Andrew Tracey, Director of the weaving that got him going: "the instruments - but mainly because it International Library of African director gave me a transcription of was notated in tonic solfa. This made Music in Grahamstown, to send him Shona mbira music and I arranged it (and still makes) it essentially an in- tapes so that he could become for harpsichord. This, by the way, house tradition, hugely popular familiar with a greater variety of styles predates Volans’ Mbira and was not among the black middle class but from different parts of Africa. "I done in a consciously ‘intercultural’ inaccessible to most conservatoire- suppose it was partly a sense of trying way. But it did sow the seed". Well trained musicians. Coming back after to identify myself. England was very aware of the issue of cultural twenty years, Blake is discovering the alienating, competitive, foreign". appropriation, Blake takes the view choral tradition for himself and that all composers appropriate, finding some common ground, in the One of the first pieces to emerge was absorbing everything they hear, and it sense that contemporary African Gang o’notes, a "study for prepared has more to do with ‘selective choral composers are - like him - still piano" written for the South African exposure’ to music he feels empathy in the process of finding an authentic Broadcasting Corporation (SABC) with (certain kinds of African voice that identifies them as Africans, Contemporary Music Festival of instrumental music, work by still waiting to be embraced by the 198 3. While was to some Feldman, Cage, Ives, Satie, even non-African musical Establishment extent the model, the improvisations Bach) and less to do with cultural within a holistic musical environment. of jazz pianist Art Tatum were the engineering. inspiration for this piece. "The Like Blake, composers such as treatment of the instrument favours Most South African white composers Mnomiya, Choncho, Khumalo and timbral ‘bands’ - registers of the piano in the 1970s and eighties did not Mjana are also trying to find their way prepared in a specific way alternating share Blake’s fondness for into a new South African aesthetic. with totally unprepared registers", says experimental European and But Blake’s view is that "Black the composer, and it was described American music and African composers don’t see themselves as by most people who heard it as traditional music, and most of those intercultural", and he is probably ‘African’, probably because of the who did, like Volans, Scherzinger, right. At the present moment in 14 Intercultural M usicology O ctober 1999

South African composition intermittent stream of consciousness, African music. The group presented interculturalism is still something of a as in Reverie. nearly fifty concerts and broadcasts, European concept, not fully commissioned around twenty-five understood by everyone in the same The stream of consciousness idea new works, and gave over fifty first way. It implies a self-conscious makes an interesting counterpoint to performances in the UK. process of musical ‘fusion’ and is a Blake’s way of thinking ahead in a big issue for some composers and new piece. He consciously prepares Commissions Blake himself their sponsors, whereas the gradual his material - the elements which he obtained in the London years succumbing to change through thinks he will use in a composition. included his Q uintet for exposure to new music - the norm Take French Suite, for example: a Lesley Schatzberger and the among the country’s choral theme that features in the first Fitzwilliam Q uartet and his Carpet of composers - is more akin to Blake’s movement is almost a scale, which he Memory for Trio Basiliensis, both way of working. His advice to describes as "elemental", and it is composed for period instruments. students - "everybody has something from this kind of material that Blake Composing mainly with colleagues in to say... you don’t have to write a prefers to "make a piece" as he calls it. mind, the piano duo has been a fairly masterpiece" - also strikes a chord He eschews the dissonance of constant feature for him, as with the way many choral composers serialism - "if it’s dissonant it’s passed performer and composer. But he write. "Everyone has a song inside its sell-by date... Rather than the does not play the conventional them", said Phelelani Mnomiya, dissonance of modernism or repertoire: a concert with Roy addressing a group of young serialism I have found more in Stratford in 198 6 included Lutyens, composers at a workshop organised common with the radical simplicity of Gershwin, Schubert, Billy Mayerl, by Blake in 1998 . late Beethoven, or Cage". and his own Let us run out of the rain, which is based on kalimba tunes An avid listener to and discoverer of After he co-founded Metanoia in the of Petauke composers in Z imbabwe. music of all kinds, Blake has an 198 0s - a small group of London His duo with Sally Rose in the mid- uncanny way of remembering music, musicians which played a wide range 1990s unearthed rarely-played pieces even after only one hearing. This of works for unlikely ensembles such and arrangements by Gottschalk, ‘absorbency’ has helped him develop as trumpet and prepared piano with Grainger, Nancarrow, Lambert, an acute sense for how compositions live electronics and tape, or tenor sax, Stravinsky and promoted new music work, useful not only to him as a amplified cello and electric organ - by Tom Johnson, Howard composer but also as a teacher of one leading London critic wrote: Skempton, Volans and others. composition, analysis and the history "Wednesday brought a rarity to the of twentieth-century music in his Purcell Room, a recital... the first of With South African pianist Jill current part-time role at Rhodes its kind I have been called upon to Richards, herself a long-time University. His interest in analysis review in thirty-five years". This champion of new music from Africa, led him to do a Master’s degree at passion - it’s a kind of a gift - for he has recently explored music that is Goldsmith’s College, University of promoting new or rare music is even more ‘on the edge’. Their London in the late 1970s, and to something he has brought back with forthcoming tour of Europe in some extent it shows in his own him from London to the little East September 1999 will include four work, which has a transparency, a Cape town of Grahamstown, where composers whom Blake sees as spareness, that is almost self-analytical he is director of the campus-based belonging to a South African post- and also makes his style difficult to ensemble newmusic@ rhodes and modern tradition: Volans, Martin define. People hear Feldman, Cage, President of the newly-formed Scherzinger, Bongani Ndodana and Debussy, Stravinsky, African music. national organisation NewMusicSA. himself. (He read a very well- But direct influences as such are received paper on this subject, at the often only apparent as techniques - a From 198 6 to 1997 Blake was artistic 1998 South African Musicological fondness for interlocking rhythm director of London New Music, Society Congress.) One of his and hocketing, and for what he calls which presented regular concerts in current composition projects is a overlaying or mapping. Sometimes Britain and Europe. Representing series of piano duo paraphrases of this comes through as rather some of the most important work he music by South African choral extrovertly ‘structural’, as in the solo did outside South Africa, these composers like Mzilikazi Khumalo piano work French Suite, even concerts included the complete and Phelelani Mnomiya, the aim of though "the form is not African but works of Ruth Crawford Seeger, a which is to help bridge the gap the elements are". At other times his series of concerts built around the between black and white classical music has a far more intimate, various versions of Satie’s Socrate composers mentioned earlier in this reflective quality, like a gentle, and a season of experimental South article. 15 Intercultural M usicology O ctober 1999

Contemporary music in South tuning ad lib) (198 5; revised chamber orchestra (1994) Africa is in a far less focused or 1994) French Suite for piano (1994) developed state than the other Let us run out of the rain for two to Carpet of Memory for voice-flute contemporary arts - literature, film, play at one piano or (or recorder), bass viol & television, dance, theatre, fine art, harpsichord (198 6 ; revised harpsichord (or flute, cello says Blake. Its uneven and separate 1993); version for string and piano, or piano trio) development over the years has made quartet (1991): version for (1994; 1996 ; 1998 ) it lag behind: "we’re crashing around percussion quartet(vibraphone A Toy for piano (1995) looking for models in a field which and marimba, 4 players) Reverie for two pianos (1995-96 ; has in many ways been the least (1996 ) revised 1999) ploughed of any of the creative arts in Self Delectative Songs for Three Venda Children’s Songs for South Africa", says Blake. Returning clarinet/, guitar (easy) (1996 ) to the field of his youth, Blake has trumpet/flugelhorn, piano, More Toys for piano (1997) taken on the yoke with enthusiasm marimba/vibraphone and cello Night Songs for piano (1997) and discernment, quietly challenging (198 6 ) San Polyphony for organ (1998 ) opinions, promoting new ideas, Cum martelli incrudena (after 13th Carol of the Three Outas (Soweto bringing together musicians who live century anonymous) for elastic Remix) for string orchestra in separate worlds, teaching, giving scoring (198 7) (1998 ) recitals, and, when he has the time, Thirteen Inventions for two pianos The Furiosus (film music) (1998 ) composing new music. (music for the dance Pythagoras Redoubled by In Progress The Colour Fields (film music) Selected Compositions by Michael Mark Lintern Harris) (198 8 ) Journal 1997 for two pianos Blake The Seasons for two , guitar, percussion, violin and Pan Polyphony for steel band Scenes from Ushaka and Ngcwele, Unpublished cello (198 7-8 8 ) Vaal Music (film music) for flute, Honey Gathering Song for flute Ngcwele, Ngcwele for two piano, percussion, viola and and piano (music for the pianos cello (1976 ) dance For the Off by Gill The Art of Weaving (film music) Clarke) (198 9) Bardic Edition’s UK address is: 6 for harpsichord (1976 ) Flute Q uartet (transcription of Fairfax Crescent, Aylesbury, Night Musics (previously called A Honey Gathering Song) Buckinghamshire, HP20 2ES, Speck of the White Moon) for for flute, violin, viola and cello England; tel/fax + 44 1296 428 6 09; flute, clarinet, keyboards, (198 9) e-mail info@ bardic-music.com; percussion, viola and cello Hindewhu for two classical website http://www.bardic-music (1977) clarinets or soprano Strange Land (after J S Bach) for (198 9-90) References Cited clarinet/bass clarinet, Q uintet for bass clarinet (or accordion/harmonium, guitar clarinet in A) and string Morton, Brian and Pamela Collins and violin (music for the quartet (1990) (Eds) dance by Scott Clark) Kwela for chamber orchestra 1992 Contemporary Composers. (198 8 ) (1992); version for string Chicago: St. James Press. Nuages Gris (after Liszt) for two orchestra (1998 ) clarinets, guitar, percussion, Leaf Carrying Song for oboe Ndodana, Bongani violin and cello (198 9) d’amore & guitar 1997 Q uoted from Mail and (1991-93) Guardian, May 9-15. * * * Published by Bardic Edition Carol of the Three Outas for SSA Gang’ o notes for prepared piano a cappella (1993) Review Essay (198 3) Mysteries for percussion quartet Taireva for muted flugelhorn, (1993-96 ) prepared piano and tape The Ballad of Poui, Cantata for Beyond Crossover: (1978 -198 4) soloists, children’s chorus Akin Euba’s Spirit for flute (198 5) (SSAA), piano and percussion Intercultural Opera Hommage à MDCLX X X V for (or two percussionists) (1994) harpsichord (in meantone Out of the Darkness for piano & 16 Intercultural M usicology O ctober 1999

Chaka: An Opera in Two Chants. music. 1 preoccupations, the development of Composed by Akin Euba from African opera and the practice of an epic poem by Léopold Sédar One need not indulge in a naive intercultural composition among Senghor. City of Birmingham progressivist bias or a cult of them. The drama concerns the Touring Opera conducted by authenticity to appreciate the historical Chaka, described in Euba's Simon Halsey. Compact Disc: proliferation of this more vigorous liner notes as “a nineteenth-century and more informed musical king of the Z ulu who achieved fame Music Research Institute MRI- interculturalism. While Milhaud’s as a brilliant military strategist and 0001CD, 1998 . experience of early jazz, despite his empire builder but who was also concerted efforts to embrace the notorious for crimes against Reviewed by Barbara White (USA) music, was necessarily limited to a humanity.”2 The libretto is built somewhat sophisticated form of around Léopold Sédar Senghor’s It is almost second nature to view armchair ethnomusicology, epic poem of the same name and this century’s musics as a succession contemporary composers benefit also incorporates Senghor’s “Man of styles and techniques: the from unprecedented access to and the Beast,” Yoruba praise poetry, establishment of the guitar-band style superior training in diverse idioms. and textual additions by the led to the development of dance- Akin Euba is a pioneer in this field: composer. Taking place just before band highlife, twelve-tone methods active as a composer and Chaka’s death, the first section, or gave birth to integral serialism, and ethnomusicologist and distinguished “chant,” concerns his violent the growing popularity of swing in both African and European misdeeds, as described in Chaka’s arrangements virtually necessitated traditions, he has long been engaged encounter with the operatic that the pendulum veer toward the in intercultural musical activity. Both personification of colonialism called improvisational intricacies of bop. In his scholarly works and his “White Voice.” The second chant is the last year of the century, we might compositions display his genuine, a prolonged dream sequence in profit from 20/20 hindsight and deep understanding of varied musical which Chaka recalls his beloved enrich our historical view with a fuller “tongues.” While earlier intercultural Noliwe, whom he killed, while the understanding of our era’s complex compositions sometimes imply that a soloists and chorus praise the dying cultural dynamics. While musical composer has applied a layer of man. Chaka evidences a clearly cross-pollination and collision are by picturesque decoration to his episodic structure, a restrained but no means confined to the twentieth inherited idiom, Euba has fully effective sort of theatricality, and a century, it is undeniable that digested both European and African marked temporal compression. The increased mobility and widespread conventions. For him, neither pertinent events occur before the technology have engendered a “sea of tradition is mere frosting; both are opera begins, and as a result the change” in the musical landscape. meat and potatoes. spectator witnesses an exploration of We have easier access to the world’s morality, conveyed primarily musics than ever before, and our This depth of experience shows in through dialogue and music, as ideas about what “music” is and how Euba’s opera Chaka, which has been Chaka expires. it might be practiced and performed in numerous versions disseminated are gradually changing. since 1970 and was recently released The opera calls for more than thirty- Concert programming, university on compact disc in a performance by five performers, including vocal curricula, and funds-granting the City of Birmingham Touring soloists in both Western and African institutions are beginning to Opera. Chaka brings together a traditions, children’s chorus, embrace a more catholic view of number of Euba’s long-standing children’s ensemble, a music-making. At the same time, Western chamber ensemble, intercultural dialogue seems to be Western percussion, and African percussion. Not surprisingly, the affecting individual musicians more 1 See, for example, Elizabeth Brown's deeply: composers like Elizabeth Migration ( Live Vol. 2, CRI CD musical “raw materials” are dizzyingly Brown, Chen Yi, Anthony Davis, and 646, 1993) in which Brown performs on the diverse. Euba incorporates along with a Western string trio, or percussion patterns from Yoruba, Evan Z iporyn have distinguished Anthony Davis' opera X: The Life and Times of themselves in multiple musical Malcolm X (Gramavision R2-79470, 1992), Ewe and Ashanti traditions; Yoruba traditions and have worked to which incorporates composed and improvised praise poetry; references to European integrate diverse idioms into their musics from jazz and classical traditions. Chen classical music; and twelve-tone Yi's experience spans Chinese music and procedures. The composer wisely Western classical tradition, both of which she has explored in her compositions; similarly, has studied gamelan seriously and combined Western instruments with 2 All succeeding quotations without individual gamelan orchestra. footnotes are taken from the liner notes. 17 Intercultural M usicology O ctober 1999 exploits the players’ strengths rather grooves appear and reappear, between the two languages; at the than asking them to “cross over”: for offering fertile ground for the same time, however, the English the most part, instead of grafting incorporation of additional materials. portions of the libretto suffer a bit by African drumming patterns, say, on The coordination of layers is not comparison with the genuinely to Western instruments, he relies controlled, except for fundamental songlike Yoruba texts. More upon musicians’ considerable skills in considerations, such as ensuring that importantly, as much as this their respective traditions. Thus the the performers start and stop at the declamation complements Senghor’s intercultural aspect lies primarily in proper intervals. Euba notes that this complex, challenging poetry, one the ways in which Euba combines sort of juxtaposition is common in craves singing after a while, and pre-existing traditions. Generally, Yorubaland; to Western listeners, it fortunately, Euba does include some the component musics retain their will also recall the open structures of “real songs,” especially in the second identities, but the composer tweaks the American experimentalists. In chant. “Kí ló se tó ò jó ” (“Why do each one as needed to serve his own any case, this free coordination is you not dance”), for chanter and ends, and one occasionally notes a compelling to the ear, particularly chorus, is based on an infectious call- compositional sleight of hand in given the preponderance of ostinati. and response pattern. “Noliwe’s which, for example, the drumming One hears both a repeating pattern Scene,” Euba’s reworking of the group and the brass instruments are (usually, this is a traditional traditional operatic mad scene, blended into a virtual ensemble. drumming figure) and, layered on top exhibits a hauntingly surreal text, a of it, a freer, less regular music memorable melodic contour, and a Similarly, while the listener might (performed most often by a vocal striking use of the soprano’s highest anticipate a certain incongruity in the soloist). The result is a rich texture register. combination of twelve-tone and an engaging rhythmic complexity. procedures and West African There is a moment in the second The indeterminate, speechlike drumming patterns, Euba’s chant where a Yoruba praise poem is nature of the vocal writing virtually employment of twelve-tone technique overlain by a similar text in English: dictates that the instrumental music is idiosyncratic and apt: although the the combined effect of two languages, play a crucial role in structuring the total chromatic is often in circulation, two vocal styles, and the backdrop of drama. Indeed, Euba incorporates a the composer’s straightforward traditional drumming patterns is number of recurring, recognizable gestural language is familiar and stunning. figures which serve this purpose, and intelligible. Moreover, while I doubt he would object to my calling functional is generally absent, Euba’s three modes of vocal writing them leitmotifs. This emphasis on the musical argument relies largely are speech; a form of speech-song in the orchestra recalls not only upon centricity, which is established which contour is suggested but Wagner’s instrumental writing, but by homophonic textures, quasi- rhythm is free; and a more metric, also the recurring “screw theme” in diatonic voice leading, and markedly composed-out singing style. (The Britten’s The Turn of the Screw and regular phrasing. Indeed, the second of these is inspired in part by Bartok’s unnerving half-step figure in opening of the Prelude, which is the chant mode of Yoruba music, Bluebeard’s Castle. One example is based on a twelve-tone row, sounds which also appears in its traditional the aforementioned “conscience more tonal than serial: the brass incarnation, delivered by a Yoruba theme,” which appears regularly introduce a figure centered around b- chanter.) Euba’s speech-song is an throughout both chants. It opens the flat and its upper and lower appropriate vehicle for his libretto. opera in its characteristic brass dominant, outlining the most diatonic Because the setting is largely syllabic “costume,” and it recurs, not of intervals and even suggesting the and generally approximates the coincidentally, during Chaka’s debate famous opening of The Flying contours of spoken language, it with White Voice over his violent Dutchman. As a result, one easily remains intelligible throughout; thus actions, which Chaka claims result recognizes each ensuing iteration of the listener is able to appreciate from his “love of [his] black-skinned this motif, known as the “conscience Senghor’s text and follow the people.” With its characteristic brass theme.” dramatic action. In moving from timbre and its clear linear contour, speech to song and exploring the the conscience theme is as Euba has devised a distinctive boundary between the two forms of memorable as a pop music “hook,” method for combining his materials: utterance, the singers deliver an yet it appears in numerous guises: the most often, he notates individual unusually fluid, convincing theme is constantly repositioned, passages precisely but allows them to performance. This technique also weaving a subtle but unequivocal be coordinated freely. A number of forges a certain correspondence reminder of its significance through 18 Intercultural M usicology O ctober 1999 the entire opera. Noliwe, too, has a transformation is intriguing, and again where Euba combines drumming characteristic music, which first demands a certain retrospective patterns, a call-and-response figure appears in the Prelude, played by the listening, but a full, nuanced sung by the chanter and the chorus, solo horn: later she bases her heart- interpretation is elusive. Indeed, this and periodic statements of the rending song on its melody. is a danger in the reception of any conscience theme in the winds. This intercultural work, for while passage is musically compelling and These leitmotifs engender a certain traditional opera’s ambiguity may be expressively terrifying: the layers of musical richness and also raise a embraced as a sign of semiotic European and African musics evoke number of interpretative issues. The fecundity, the meaning of an the indigenous culture and its near conscience theme might be extremely eclectic work like Chaka is erasure by the colonialist presence; at understood, at least at first, as purely even more difficult to penetrate. The the same time, the last appearance of formal— in other words, as a motif likelihood that a listener will the conscience theme recalls the without any extra-musical meaning. misinterpret— or worse, fail to questionable acts of the Janus-like Yet a listener equipped with Euba’s interpret— is heightened when the Chaka. program note knows to identify the materials are so diverse. Indeed, as a theme with its stated referent. Westerner with only modest The performance is impressive: Similarly, one might not connect the experience in African idioms and no conductor Simon Halsey admirably horn’s first solo with Noliwe until the understanding of the Yoruba structures the freely coordinated correspondence is made explicit language, I am certain my own sections, making each episode come later in the opera. This suggests that interpretation of Chaka is less alive. Daniel Washington as Chaka, repeated listening will bear complete, less sophisticated, than the Richard Halton as White Voice, interpretative fruit, and indeed, as the opera deserves. Chorus Leader Sarah Jane Wright, conscience theme weaves its way Praise Chanter Joláadé Pratt, and the through the musical fabric, one Paradoxically, in this very danger lies Song Leader (not identified in the senses a certain interplay of formal the appeal of Euba’s endeavor, liner notes) contribute compelling structure and signification. The especially when the composer plays characterizations and fine singing. instrumental material may be heard with the slippery correspondence Maureen Brathwaite, while possessed as the foundation for the vocal roles, between syntax and signification. of a rich, expressive voice, is miscast as an independent voice commenting During the first chant, White Voice as Noliwe. One wonders how the on the action, as a marker of addresses Chaka pompously and fiendishly difficult “Noliwe’s Scene” time— perhaps even as a combination reverently, singing, “To accept would sound sung by a lighter voice, of these. suffering with a dutiful heart is with less vibrato (as Euba suggests). redemption.” The voice is Brathwaite fares much better in the To be sure, such ambiguity pervades accompanied by an organ sound— the second portion of her scene, which is the interpretation of any music sole instance of this timbre in the more songlike and lies more drama, for the genre necessarily opera, played by a synthesizer— and comfortably in her tessitura. incorporates a provocative and messy an explicit, unprecedented cadential complex of signifiers. Yet the formula. This incongruous moment The production of the compact disc challenge is more pronounced when stands out, as if enclosed in quotation is exemplary, especially considering one considers Euba’s incorporation marks, and the result is frighteningly the formidable challenges presented of “found musics.” His references to witty. The anomalous, bald cadence by recording such a hodgepodge of the “dies irae” theme, he explains, and righteously religious declaration instruments and singers. The are “meant to emphasize the slyly evoke the colonialist presence balance is very good, with two missionary aspect of the White which haunts the opera. In fact, one exceptions: the important bass figure Voice.” The theme is entirely might hear this instance of in the Prelude is drowned out recontextualized in its first conventional tonal closure as a beneath the percussion, and the appearance: Euba describes it as metaphor for that more dangerous lovely ornamented woodwind figures having been “Africanized.” Played by and disturbing sort of containment in “Noliwe’s Song” are almost the winds in the high register, the and control. This is the only case obscured in the mix. theme sounds to a Western listener where Euba foregrounds style so like an insouciant dance. Later it blatantly, and it works well. I would In our haste to comprehend the reappears in a more Berliozian like to hear him explore, in future intercultural contribution of Chaka, setting, in the brass. Significantly, this pieces, more disjunct, ironic, one vital contribution threatens to be passage accompanies Chaka’s subversive moments like these. A overlooked: the inclusion of young description of his people’s suffering more subtle, but equally striking, performers. Euba incorporates an under colonialism. The juxtaposition occurs in the finale, atenteben (Ghanaian bamboo flute) 19 Intercultural M usicology O ctober 1999 ensemble, played by students from c o n c e r t s e r i e s a n d Intercultural Music and Other St. Paul’s Girls School, as well as the scholarly/composers’ sessions. Symbols of Ethiopia in the children’s chorus from St. Alban’s Special thanks must be given to 1990s” (Cynthia Tse Church of England Secondary Professor Denis Smalley, Chair of Kimberlin, USA) School. The composer assigns them the Department of Music, Dr. Steve C “The Intercultural Nexus age-appropriate material to Stanton, Senior Lecturer and Chair Between the Music of Motown perform— music that is both of the CIMA Council of and the Beatles” (Kimasi rewarding and challenging. At a time Management and the administrative Browne, USA) when the increasing accessibility of staff of the Department. Proceedings C “Intercultural Music Education diverse musics is unfortunately will be published in Intercultural Within a Nation: Some counterbalanced by the dismantling Music 4. Problems and Strategies in of music education programs (in the South Africa” (Gustav United States at least), Euba’s At the Opening Ceremony, Akin Twerefoo, Ghana) inclusion of young players is most Euba, Executive Director of CIMA C “Primary School Children [in welcome. introduced Steve Stanton, who L o n d o n ]: C o m p o s i n g , welcomed the 35 participants. The Performing and Learning to Chaka has much to teach us about ceremony concluded with a Listen to Contemporary Music” interculturalism, African art music performance by the distinguished (Susan Jackson, U.K.) and the shaping of drama through bägänna (10-string plucked lyre) C “NETIEM: Network for text and music. Anyone concerned player, Alemu Aga, from Ethiopia Promoting Intercultural with these issues should study it followed by a reception. Education through Musics in closely. Southern Africa” (Elizabeth Countries represented included Oehrle, South Africa) Chaka was performed and recorded Canada, Egypt, Ethiopia, Germany, C “Bosal, Kanzo, Pridezye: A in the United Kingdom, and the Ghana, Haiti, India, Israel, Japan, Model for Teaching and compact disc was published in the Malaysia, Malta, Nigeria, Uganda, the Understanding Haitian Vodun, United States by the Music Research United Kingdom, and the USA. The Its Dance and Music” (Gerdes Institute. A sixteen-page booklet, largest number of participants outside Fleurant, Haiti) including Euba's liner notes and the U.K. came from South Africa as C “Transferring Traditional transcriptions of the Yoruba texts, is evidenced by new opportunities Music and Dance into the informative. afforded this country since Classroom: Towards a Model * * * independence. And for the first from South Africa” (Carol time, Haiti was represented by two Muller, South Africa) participants who enlightened us about C “The Music of John Mayer”. Reports Vodun (or Voodoo as it is popularly With Mayer present at this known in the West) as publications session, John Robison (USA) The Fourth Biennial about the practice of Vodun in Haiti discussed Mayer’s compositions I n t e r n a t i o n a l C I M A were not readily available in countries illustrated with excerpts from Symposium and Festival 1996 outside Haiti until very recently. And chamber, orchestral, choral and attendees were privileged to learn piano works. more about composers who are well C “Innovation, Modernization by Cynthia Tse Kimberlin (USA) known in their own countries but not and Tradition: Solo as yet recognized worldwide. It is Composition in Post-Mao Sixteen countries participated in the hoped that this and future symposia China” (Frederick Lau, USA) 4th Biennial International and festivals will rectify this lacuna. Symposium and Festival April 15-19, Five composers’ sessions provided a 1996 , organized jointly by the Centre Four scholarly sessions focused on forum for composers and scholars to for Intercultural Music Arts and the neglected aspects in the interpretation examine and perform excerpts from Department of Music at The City of musical traditions, models for their own compositions or the University, London, U.K. Akin education, and contemporary compositions of others: Euba and Cynthia Tse Kimberlin approaches to composition. C “Perspectives on a Multi- with tremendous support from the Presentations included: Cultural Approach to Music Department organized the C “Make Army Tanks for War Composition in South Africa”. into Church Bells for Peace: Gerrit C. Olivier (South Africa) 20 Intercultural M usicology O ctober 1999 discussed his Concerto for Organ music of other cultures served works of others. Composers and/or and Orchestra, Fantasy for Two as catalyst for his own performers included Yumi Hara Pianos, and Requiem for soloists, compositions. Cawkwell; Valerie Ross; Bill Alves organ and chorus. performed excerpts from his C Yumi Hara Cawkwell (Japan) Suite; Randy Raine-Reusch C “Sonority, Structure and discussed methodologies used performed his own compositions and Rhythm”. Using a revised in composing her music. traditional compositions on Thai Schenkerian, or linear-structural instruments notably the mouth analysis, Roy Travis (USA) C organ and zither. discussed the conditions under Randy Raine-Reusch (Canada) which a chord-form may serve presented his own perspective on Klaus Hinrich Stahmer performed as a tonic sonority, how the composing music, learning to play an his compositions including Two melodic structure unfolds that instrument, and the state of Snakes Dance. Alemu Aga sonority, and how the overall intercultural music in southeast Asia. presented four songs accompanying rhythm is affected by the himself on the bägänna performing prolongations of one or more of Samha El-Kholy (Egypt) showed a Sine Fitret (About the Creation), Tew another member of the video accompanied by her Semagn Hagere (Listen to Me My structure. commentary on the ballet Osiris by Fellow Countrymen), Medinana the renowned composer Gamal Z elesegna (The Futility of Life), and C “World Music: The Old and A b d e l - R a h i m w h i c h w a s Aba Gragn Motte (Death of the Left the New”. Charles Camilleri choreographed and performed by the Hand Man). And the last group of (Malta) talked about his Cairo Ballet at Luxor. works performed were composed by compositions in general and the Charles Camilleri. evolution of his creative Five well attended, certainly processes during the course of stimulating and often provocative Concert. Six the 20th century. evening concerts included the: traditional compositions from Sunda, West Java were performed by C “From Practice to Theory-To International Celebrity Concert titled students of the Department of Music, Practice”. Valerie Ross “Fusing Elements from Africa, India City University. (Malaysia) discussed Tathagata and the West” presented at the * * * which premiered in the Concert Hall of the Guildhall School presence of H. M. Q ueen of Music and Drama, London and T h e F i f t h B i e n n i a l Elizabeth II in 1992. funded by an anonymous donor. I n t e r n a t i o n a l C I M A The program included the World C “Pleng: Composing for a Justly Premiere of the “Concerto for Violin, Symposium and Festival 1998 Tuned Gender Barung”. Bill Tabla and Piano” by Roy Travis Alves (USA) discussed aspects (USA) with Erich Gruenberg (U.K.) of the creative processes violin, Z akir Hussain (India) tabla, involved in his composition and Daniel Adni (Israel) piano. by Akin Euba (Nigeria) Slendro Suite for gender barung, gender panerus, , John Blacking Memorial Concert Although some 'regulars' were and cello. featured music for oboe, English horn, flute, recorder, and piano by absent from the fifth CIMA biennial, the event was notable for the C Justinian Tamusuza (Uganda) Ali Osman Alhag (Sudan/Egypt), discussed seven of his John Mayer (India/U.K.), Simon presence of a sizeable number of new compositions of which Mu Hovannesian (Armenia), Violeta comers from various parts of the Kkubo Ery’ Omusaalaba and Dinescu (Romania) and Osvaldo globe. Twadaagana Ku Lw’ Omwana Lacerda (Brazil). The compositions for were were performed by John Robison The event took place from 30 March commissioned by the Kronos (USA) oboe/English horn/recorder, to 3 April, 1998 and was attended by Q uartet. Gillian Mayer (U.K.) piano, and thirty-one participants from twelve James MacDowell (U.K.) flute. countries, namely China, Ghana, Germany, Japan, Malta, Nigeria, C Klaus H. Stahmer (Federal Republic of Germany) gave a Two Composers’ Concerts featured Peru, South Africa, South Korea, p e r s o n a l i z e d v i e w o f composers and/or musicians Uganda, United Kingdom and the intercultural music and how the presenting their own works or the USA. As in previous years, the main 21 Intercultural M usicology O ctober 1999 theme was "New Intercultural Music" Structure and Materials from the using live or recorded illustrations. and there were three aspects to the Solutions of Differential Equations" These sessions featured Leigh Landy event: scholarly sessions, composers' (Rajmil Fischman, Peru) (U.K.), Sachiko Masuda (Japan), sessions and live concerts. The 2. "Indian, Javanese and African Elaine Barkin (USA), Jody Diamond scholarly sessions comprised three Compositional Techniques in Jazz- (USA), whose topic was "An sub-themes, listed below together Based Music" (Tom Ross, USA) American's Music for Javanese with the various papers presented 3. "African Melodies and European Gamelan: A Case Study ", Rajmil under them. Forms: Compositional Style and Fischman, (Peru), June Boyce- Technique in Sowande's Works" Tillman (U.K.) and Sibylle Pomorin Sub-Theme One: "Twentieth (Bode Omojola, Nigeria) (Germany). Jody Diamond further Century Compositional Processes presented a video session titled and Techniques" "Karya: Portraits of Four Indonesian Sub-Theme Two: “Juxtaposition of Composers." Session 1 Intercultural Music and Political Identity” There were four live concerts, one of 1. "Borrowing or Stealing? which was devoted to various Celebration or Global Village? "The Conflict Between the Concepts composers performing their own Interculturality in Contemporary of National Identity and works. The other concerts were given Music from a Composer's Point of Interculturalism in Contemporary by the Timeline Ensemble, led by View." (Leigh Landy, U.K.) African Art Music: The Case of Barak Schmool (U.K.); Kim Hee- 2. "Interculturalism in Modern Ghana's Cultural Policy and the Sun (South Korea) on the traditional Azerbaijan, c. 196 0 - 1998 : The National Symphony Orchestra" zither, kayagum, accompanied by Music of Franghiz Ali-Z adeh and (George Dor, Ghana) Keith Howard (U.K.) on the changgo Her Contemporaries". (John drum; and by John Robison (USA) Robison, USA) Sub-Theme Three: “Redefining oboe, Laura Falzon (Malta) flute and 3. "A Voice from Africa: Cross- Boundaries in Intercultural Music” Chadd Merrigan (USA) piano. This Cultural Influences and Techniques last concert featured works by in the Music of Stefans Grové (b. Session I William Grant Still, Roger Z ahab, 1922), Doyen of South African Ton-that Tiet, Feim Ibrahimi, Jiri Composers of Art Music" (Gerrit 1. "Including Diversity: Intercultural Temi, Simon Hovanessian, Elaine Olivier, South Africa) Issues in Higher Education Course Barkin, Fikret Amirov, Charles 4. "A Sense of Order at a Higher Design" (June Boyce-Tillman, U.K.) Camilleri, J.H. Kwabena Nketia and Level: The Influence of African 2. "Black Classical Music in British myself. Polyphony and Indonesian Gamelan Schools: A Preliminary Study" on the Recent music of Gyorgy (Robert Kwami, Ghana) The fifth CIMA biennial was Ligeti" (Amy Bauer, USA) 3. "Re-evaluating the Musical, cosponsored and hosted by the Cultural and Racial Boundaries and Department of Music, City Session II Stereotypes of the Steelband World" University, London, and, on behalf (Rachel Hayward, U.K.) of myself and the other members of 1. "Contemporary Intercultural the CIMA Council of Management, Composers from Ethiopia: Ashenafi Session II I would like to take this opportunity Kebede and Ezra Abate Iman" to express our deep gratitude to (Cynthia Tse Kimberlin, USA) 1. "The Tradition of Innovation in Professor Denis Smalley, Chair of 2. "African Art Music: Analyzing Its Indonesian Music" (Jody Diamond, the Department, and to Dr Steve Intercultural Framework" (Daniel USA) Stanton, Senior Lecturer and Avorgbedor, Ghana) 2. "Music Making as an Expression Chairman of CIMA. 3. "Chinese Pipa Pieces Composed of a Changing Asian American * * * in the 20th Century": (Wu Ben, Identity: The Music of Liu Q i-chao China) and Lee Pui ming" (Weihua Z hang, 4. "Collaborations with Balinese USA) Announcements Composers" (Elaine Barkin, USA) Sixth Biennial International Session III In the composers' sessions, each Symposium and Festival 2000 1. "Derivation of Organic Musical person discussed his or her music 22 Intercultural M usicology O ctober 1999

perspectives. MRI Press in Richmond, California. The sixth biennial international She is a member of the CIMA symposium and festival of the CIMA Individuals who wish to submit Council of Management and the will take place from 17-19 April papers should send the following with International Advisory Council of the 2000. The event is jointly organized their completed application form not CIMA. and will be hosted by the Music and later than 1 December 1999: Drama Group, Institute of a) the title of the paper including Henry Kuntz studied the flute and Education, University of London. related theme reference number subsequently taught himself to play b) an abstract of approximately 300 several instruments, notably the Objectives words saxophone. He later studied the 1. To promulgate information about South American and composers and performers of For further information please instruments of the Balinese gamelan. intercultural music and their contact: From 1973 to 1979, he published the activities. internationally known newsletter- 2. To provide a forum for discussion Dr. Robert Kwami review, Bells. He is a member of among composers, scholars, Centre for Intercultural Music Arts OPEYE, a free improvisational performers, educators, critics, c/o Music and Drama Group performance group. publishers, promoters, and others Institute of Education involved in intercultural idioms of University of London music. 20 Bedford Way, London Christine Lucia, who was born in 3. To facilitate the process of WC1H 0AL L o n d o n , E n g l a n d , h o l d s d e v e l o p m e n t , s t u d y a n d United Kingdom. qualifications from Oxford and understanding of new intercultural Durham Universities. After idioms of music. Telephone: (44-171) 6 12 6 740 emigrating to South Africa in 1974, Fax: (44-171) 6 12-6 741 she worked as a concert pianist and Format E-mail: r.kwami@ ioe.ac.uk music critic, and taught at Rhodes, The event will include: * * * Natal and Durban-Westville 1. Composers sessions, where Universities. Since 1997 she has been individual composers discuss their a Professor and Chair of the work. A Note on the Department of Music and 2. Scholarly sessions, consisting of Musicology, Rhodes University, papers based on themes listed below. Contributors Grahamstown. 3. Live concerts.

Composers’ Sessions Fernando Maglia, composer and Individuals who wish to be S.A.K. Durga is the Director of the guitarist, is a Professor Superior of considered for participation are Center for Ethnomusicology, guitar at the Conservatorio de Musica required to submit their biographies Madras, India and is author of de Bahia Blanca (Buenos Aires), (including a sample list of works and several books, the latest of which is Argentina. His works have been details of performances) not later titled Ethnomusicology: A Study of performed in Argentina, Germany, than 1 December 1999. Intercultural Musicology (Madras: United Kingdom, Chile, France and Center for Ethnomusicology, 1996 ). the USA. He is a member of the Scholarly Sessions Dr Durga also specializes in the International Advisory Council of the The symposium organizers invite performance of Karnatic vocal music CIMA. papers for consideration. Papers and is a member of the International Advisory Council of the CIMA. should be on topics relevant to the Barbara White studied at following themes: Harvard/Radcliffe and the University 1. Intercultural music education and Akin Euba is the Andrew W. of Pittsburgh, where she received the social, technological, economic and Mellon Professor of Music, PhD in music composition and political (STEP) change; University of Pittsburgh, and Director theory. Her music-analytical studies 2. Collaborative efforts in of the CIMA. concern interculturalism, jazz, intercultural music in the 1990s and contemporary opera and gender. She b eyo n d : co m p osition and Cynthia Tse Kimberlin, author of is an Assistant Professor of Music at performance; numerous articles on African music, Princeton University. 3. Intercultural composition at the is Executive Director of the Music *** turn of the century: historical Research Institute and Publisher of 23 Intercultural M usicology O ctober 1999

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CIMA Archival List1

The following is a partial list of archival materials held by the Centre for Intercultural Music Arts, London. They will become part of the Archive of Intercultural Music which CIMA plans to develop. The purpose of the archival list is fourfold: to focus on the global nature of interculturalism; to clarify and exemplify the definitions and concepts of interculturalism discussed in Intercultural Musicology and the companion series of books Intercultural Music; to inform the public about the wide variety of materials included in the CIMA collection; and to make the composers accessible to others.

The letter code accompanying the entries identify the media of the various items in the CIMA collection. The codes are as follows:

AC audio cassette LP phonograph recording CD compact disc ORT open reel tape SM sheet music DL descriptive literature, including interviews, programme notes and bio-data PG photographs

Basic information (e.g. language of song text, instrumentation of work, date of composition, publication details) will accompany all entries, except for those cases where such information is unknown, unavailable or inapplicable.

Abdel-Rahim, Gamal (Egypt), 1924-198 8 Contemplations for solo clarinet. SM Das Feuer und die Worte for tenor (or soprano) and piano. Arabic. SM Duo for violin and cello. SM, AC (Basma Abdel-Rahim, Salah El Din). Egyptian Aspects for choir and orchestra. Arabic. AC Egyptian Folk Songs for children's choir. Arabic. AC Erwachen, a cantata for baritone, chorus and orchestra. German. AC Hassan and Naima, a ballet suite for orchestra. AC Improvisation on a Pedlar's Tune for solo cello. SM AC (Salah El Din). Little Suite for Strings. AC Prism of Light for solo clarinet SM Rhapsody for cello and piano. SM Sonata for violin and piano. SM, AC (Basma Abdel-Rahim, Hatem Nadim). Suite for flute, harp and percussion. SM The Lotus Pond for flute and piano. SM Variations on an Egyptian Folk Song for piano. SM, AC (Timothy Peake).

Ashenafi Kebede (Ethiopia/USA)), 1938 -1998 Dance romantic - Hungarian State String Orchestra (196 7) AC Ethiopian pathos - Hungarian State String Orchestra (196 7) AC Eye-ye - Soliloquy I for voice, flute, and (1974) - two versions AC Fantasy for Aerophones: Ethiopian Washint and Japanese Shakuhachi [also known previously as Minuet for Flutes & Pipes (In the spirit of Ethiopian Washint and Embilta) [196 7] - keyboard synthesizer AC, DL, SM Koturasia for Koto, Violin and B-Flat Clarinet with Idiophonic Interjection in the Japanese Low Hira-joshi

1 With the exception of the Ashenafi Kebede entry, the list is reprinted from Intercultural Music 1. Edited by Cynthia Tse Kimberlin and Akin Euba. London and Bayreuth: Centre for Intercultural Music Arts and Bayreuth African Studies Series. 25 Intercultural M usicology O ctober 1999

Tonality (1974). 2 versions. a. Fusako Yoshida, koto; Barbara Brewer, Bb clarinet; Maynard Goldman, violin AC, SM b. Florida State U., Fusako Yoshida, koto; Frank Kowalsky, Bb clarinet; Elwyn Adams, violin AC, SM, DL Mot (Death) - Soliloquy II for voice, flute, and koto (1974) - two versions AC, SM, DL Nirvana Fantasy for X ylophone, Clarinet, Shakuhachi & Orchestra AC Pizzicati orientale - Hungarian State String Orchestra (196 7) AC The Shepherd Flutist (196 7) - two versions. a. Hungarian State String Orchestra featuring Lorant Kovacs, flute AC. b. Keyboard synthesizer AC, DL Trio Concertina for Clarinet, Japanese Koto, Violin & Chamber Orchestra AC

Aziz, Razak Abdul (Malaysia) Ten Nyanyi Settings for soprano, alto soli, SATB, chamber orchestra (reduced for two pianos) SM

Bankole, Ayo (Nigeria), 1935-1976 Cantata No. 4, “Festac” for soloists, chorus and mixed ensemble of African and Western instruments. Yoruba. SM Fun Mi Nibeji for SATB. Yoruba. SM Orisa Bi Ofun Kosi for SATB. Yoruba. SM Sonata No. 2 in C, “The Passion” for piano. AC (Timothy Peake). SM. Ife Music Editions 7. Ile-Ife: University of Ife Press, 1977 Three Part-Songs for female choir. Yoruba. SM. Ife Music Editions 3. Ile-Ife: University of Ife Press, 1975. Three Yoruba Songs for baritone and piano. Yoruba. SM. Ife Music editions 6 . Ile-Ife: University of Ife Press, 1977. Toccata and Fugue for organ. SM. Ife Music Editions 8 . Ile-Ife: University of Ife Press, 1978 .

Blake, Michael (South Africa) Let Us Run out of the Rain for piano (4 hands). AC. SM Self Delectative Songs for clarinet in B-flat/bass clarinet, trumpet/flugelhorn, cello, vibraphone/marimba, piano. AC. SM The Seasons for 2 clarinets in B-flat, bass clarinet, violin, cello, guitar, percussion. AC. SM.

Camilleri, Charles (Malta) African Dreams for piano. AC (Timothy Peake). SM. Aylesbury, Bucks: Roberton, 1975. Astralis: Piano Suite. SM. South Croydon, Surrey: Alfred Lengnick, 198 4. Four Ragamats for piano. Aylesbury, Bucks: Roberton, 1975. Piano Improvisation books 1-5. SM (tutors) South Croydon, Surrey: Alfred Lengnick, 198 2-8 9. Prelude and Dance for 3 percussionists. SM. Waterloo, Ontario: Waterloo Music Company, 1978 Sonatina Folkloristica (1957) for piano. SM. South Crodon, Surrey: Alfred Lengnick, 198 7. Sonatina Modale (1957-58 ) for piano. SM. South Croydon, Surrey: Alfred Lengnick, 198 9 Sonatina Serena (1957) for piano. SM. South Croydon, Surrey: Alfred Lengnick 198 9 Three African Sketches for piano. SM. Aylesbury, Bucks: Roberton, 1974. Times of Day: Five Southern Impressions for piano Aylesbury, Bucks: Roberton, 1974.

El-Dabh, Halim (Egypt) b. 1921 Mekta' in the Art of Kita' I/II for piano. SM. New York: Edition Peters 196 1. Mekta' in the Art of Kita' III for piano. AC (Timothy Peake). SM. New York: Edition Peters 196 5.

Euba, Akin (Nigeria) b.1935 Four Pictures from Oyo Calabashes (196 4, revised 1991) for piano. SM. AC (Akin Euba) Igi Nla So (196 3) for Yoruba drums and piano. SM. Ibadan: Oriki Publications (n.d.) Olurounbi (196 7) for symphony orchestra. AC. (Portland Maine Symphony Orchestra conducted by Arthur 26 Intercultural M usicology O ctober 1999

Bennett Lipkin). Saturday Night at the Caban Bamboo (196 4, revised in 1991) for piano. SM. AC. (Akin Euba) Scenes from Traditional Life (1970) for piano. LP (Peter Schmalfuss). Elekoto Music Centre EMC LP 0001, 198 9. AC. (Akin Euba). SM. Ife Music Editions 2. Ile-Ife: University of Ife Press 1975 Six Yoruba Folk Songs arranged for female voice and piano. AC (Yewande Ankrah, Akin Euba) SM. Ife Music Editions 1. Ile-Ife: University of Ife Press 1975. String Q uartet (1957).SM The Wanderer (196 0) for cello and piano SM. Three Yoruba Songs (196 3) for baritone, piano, and iyaalu drum. Yoruba. SM. Ibadan: Oriki Publications (n.d.) Wakar Duru: Studies in African Pianism 1-3 (198 7). LP (Peter Schmalfuss). Elekoto Music Celtre EMC LP 0001, 198 9. AC (Lady Beth Brown) Wind Q uintet. AC (Bavarian Wind Q uintet).

Hosokawa, Toshio (Japan) Streichquartet Nr. 2 (198 4). SM

Katsantonis, Adamos (Cyrus) Tachia for string quartet. SM

Labi, Gyimah (Ghana) Dialects 2 0p. 21 for piano. AC (Kwesi Ampene). SM: Ghana University Press, 198 9 Dialects 3 op. 22 for piano. SM Ghanaian Symphony No. 1. for orchestra. AC Visions of Space (198 2) for flute, bass clarinet and piano. SM

Maceda, José (Philippines) Ading (1978 ) for instruments and 100 voices. SM List of compositions 196 3-198 8 . AC, DL Pagsamba (196 8 ) for 116 instruments and 125 voices, SM

Malcolm, Carlos (Cuba) Beny More Redivivo (1973) for string quartet. SM

Nketia, J. H. Kwabena (Ghana) b. 1921 Antubam for cello and piano SM. Bolga Sonata for violin and piano. SM Canzona for flute, oboe and piano. SM Contemplation for piano SM Dagarti March for piano SM Four Akan Solo Songs for voice and piano SM Suite for Flute and Piano (1959). SM, AC (Laura Falzon, Timothy Carey). Volta Fantasy for piano SM. AC (Eric Moe)

Okelo, Anthony (Uganda) Kyrie from Missa Maleng for SATB and African instruments.Acholi. SM, Ife Music Editions 4. Ile-Ife: University of Ife Press, 1976 , Larakaraka for string quartet and African instruments. SM Magnificat for a cappella SATB. Latin. SM. Ife Music Editions 10. Ile-Ife University of Ife Press 1978 . Missa Mayot for a cappella SATB. Latin. SM. Ife Music Editions 9. Ile-Ife University of Ife Press, 1978 .

Ross, Valerie (Malaysia) b. 1958 String Q uartet no. 1 SM Tathagata (1992) for conductor, lute, tzeng, clarinet in B-flat, tenor trombone, harmonium (as found in Indian ensembles), tabla, temple bell/clapper, harp, voice (Cantonese opera singer), female voice, 2 male voices, violin, ye-hu (similar to er-hu), tambura and lighting designer. SM, AC, VC (conducted 27 Intercultural M usicology O ctober 1999

by Michael Finnissy).

Satoh, Somei (Japan), b. 1947 Birds in Warped Time II for violin and piano. SM The Heavenly Spheres are Illuminated by Lights for female voice, percussion and piano. SM

Sowande, Fela (Nigeria), 1905-198 7 African Suite for Strings. AC Art Songs for Tenor. AC Folk Symphony. AC Kyrie for organ. AC Laudamus Te for organ. AC Negro Spirituals and Part Songs. English. AC Oh Render Thanks (1959), a hymn-anthem for SATB and organ. English. SM Oyigiyigi: Introduction, Theme and Variations on a Yoruba Folk Theme for organAC, SM. New York: Ricordi, 1958 . Pastourelle for organ. AC. Plainchant for organ. AC Prayer for organ. AC Roll De Ol' Chariot arranged for SATB and piano. English. SM Sacred Idioms of the Negro for organ. SM

Travis, Roy (USA) African Sonata (196 6 ) for piano. AC (Timothy Peake). LP (Richard Grayson). Orion Master Recordings ORS73121, 1973. SM. Berkeley, Los Angeles, London: University of California Press, 1973. Biographical notes (198 3). DL Duo Concertante (196 7) for violin and piano. AC (Eric Gruenberg, Daniel Adni). LP (Isidor Lateiner, Edith Grosz). Orion Master Recordings ORS73121, 1973. SM. Berkeley, Los Angeles, London: University of California Press, 1970. Summary of recent activities (198 8 ). DL Switched-On Ashanti for African instruments, flutes and synthesizers. AC (Kwasi Badu, Laura Falzon, Roy Travis). LP (Kwasi Badu, Gretel Shanley, Roy Travis). Orion Master Recordings ORS73121, 1973.

Turkson, Ato (Ghana) d. 1993 Benediction in E-flat for choir and organ. SM Pianoforte Studies in Compositional Techniques.. SM Senerade in C (196 6 ) for string orchestra. SM Sonata for violin and piano op. 16 . AC, SM Symphony No. 1 for orchestra. SM Three Piano Pieces. SM Three Piano Sketches. SM Three Pieces for Flute and Piano. AC (Laura Falzon, Timothy Carey). SM. Ife Music Editions 5. Ile-Ife: University of Ife Press, 1975 Three Pieces for Oboe and Piano. SM.

Uzoigwe, Joshua (Nigeria) Four Igbo Folk Songs for female voice and piano ( with optional maraccas). Igbo. SM. AC. Four Nigerian Dances for Piano. SM

Weddington, Maurice (USA) Seul op. 38 for bass clarinetist. SM, AC 28 Intercultural M usicology O ctober 1999

All enquiries regarding the items on this list should be directed to:

Dr Robert Kwami, Centre for Intercultural Music Arts, c/o Music and Drama Group, Institute of Education, University of London, 20 Bedford Way, London WC1H 0AL England

Telephone 0171-6 12-6 740 Fax 0171-6 12-6 741 Email r.kwami@ ioe.ac.uk * * * 29 Intercultural M usicology O ctober 1999

Intercultural Musicology Bulletin of the Centre for Intercultural Music Arts London, U. K. Published by MRI Press ©1999 P. O. Box 70362 Point Richmond, CA 94807-0362 USA ISSN 1526-8039