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Perspectives on Cultural Appropriation in Classical Piano Music: a Brief Analysis of Select Works Spanning the 17Th to the Early 20Th Centuries

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Perspectives on Cultural Appropriation in Classical Piano Music: a Brief Analysis of Select Works Spanning the 17Th to the Early 20Th Centuries Perspectives on Cultural Appropriation in Classical Piano Music: A Brief Analysis of Select Works Spanning the 17th to the Early 20th Centuries by Mikhail Johnson, M.M., M.M., BSc. A DMA Document In Piano Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of The Requirements for The Degree of DOCTOR OF MUSICAL ARTS Approved Dr. Nataliya Sukhina Chair of Committee Dr. Carla Davis Cash Dr. Christopher J. Smith Dr. Mark Sheridan Dean of the Graduate School May 2021 © 2021, Mikhail Johnson Texas Tech University, Mikhail Johnson, May 2021 ACKNOWLEDGMENTS I would like to express tremendous gratitude to Dr. William Westney for his graciousness, support, expertise, counsel, instruction and guidance to definitively selecting this topic. Secondly, sincere gratitude to Joseph Williams for his generous support. Providing documents and articles of recent and evolving discourse, which became central to this document. To the committee members, Dr. Nataliya Sukhina, Dr. Carla Cash and Dr. Christopher Smith for their patience and guidance in ensuring that the arguments of this document are precise and fully supported, congruent to the goals it ought to achieve. Finally, I would like to extend thanks to all those who have showed any form of support throughout this process and have contributed in any way to making this process a successful one. ii Texas Tech University, Mikhail Johnson, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS…………………………………………………………. ii ABSTRACT……………………………………………………………………….. iv LIST OF FIGURES……………………………………………………………….. v 1. INTRODUCTION………………………………………………………………. 1 2. CULTURAL APPROPRIATION AND ITS NUANCES………………………. 3 Review of Literature……………………………………….. 9 3. ANALYSIS OF SELECTED WORKS AND THEIR CONNOTATIONS TOWARD CULTURAL APPROPRIATION....................................................... 12 SCARLATTI- Sonata in D minor K. 141………………………….. 12 Analysis…………………………………………………….. 12 Appropriation Implications………………………………… 17 MOZART- Alla Turca from Sonata No. 11 in A major K. 331…… 20 Analysis……………………………………………………. 23 Appropriation Implications………………………………… 28 DEBUSSY- Pagodes from Estampes……………………………… 33 Analysis……………………………………………………. 36 Appropriation Implications………………………………… 42 Debussy on the other end of the cultural advocacy spectrum- Golliwog’s Cakewalk and The Little Nigar…….. 44 Analysis……………………………………………………. 47 Appropriation Implications ………………………………... 50 Perpetuation of the appropriation narrative ……………….. 53 4. HOW TO RESPOND TO CULTURAL APPROPRIATION…………………... 56 5. CONCLUSION………………………………………………………………….. 66 BIBLIOGRAPHY …………………………………………………………………. 69 iii Texas Tech University, Mikhail Johnson, May 2021 ABSTRACT In the industry of classical music, the discourse surrounding cultural appropriation has been negligible to non-existent or reduced to mere exoticism; a fascination with the ‘Other’. Only in recent years, many of the modern-day composers have been receiving the brunt of reprimand when their acts of appropriation have led to poor cultural advocacy. This paper analyzes of select piano works spanning the 17th (1600) to early twentieth centuries (1910). I will explain where cultural appropriation has occurred in these works, its nuances and repercussions. Reviewing Scarlatti and Spanish flamenco music, Mozart and Turkish Ottoman mehter music, and Debussy with Javanese gamelan and African-American ragtime, we find Scarlatti on the side of good cultural advocacy, Mozart on the poor side of cultural advocacy, and Debussy on both sides of this continuum. Also discussed is how poor cultural advocacy affected minority musicians of the 20th century and beyond. This document reveals that while not all appropriation is bad, it has been occurring for centuries. We must acknowledge appropriation is all its forms and should no longer support the narrative that cultural borrowing is mere exoticism. It must be addressed alongside appropriation. Although we may not be able to change the past, through three thematic principles: Acknowledge—Decenter—Care, pianists, composers, and pedagogues can utilize anti-racist methodology to move forward. Facilitating the dissemination of piano music that is not only of high artistic merit, but most importantly, safeguarding the highest degree of cultural advocacy toward the affiliated cultures. iv Texas Tech University, Mikhail Johnson, May 2021 LIST OF FIGURES 1. Sonata K. 141 (mm. 1-5) ………………………………………………... 13 2. Sonata K. 141 (mm. 33-36) ……………………………………………... 14 3. Sonata K. 141 (mm. 153-157) …………………………………………... 14 4. Sonata K.141 (mm. 23-39) Andalucian cadence (shown with Roman numerals) and the chromatic hovering (circled) ………………………… 15 5. Sonata K.141 (mm.47-52) ……………………………………………….. 17 6. Sonata K.141 (mm.71-82) call (dashed) and response (solid) prose …….. 17 7. Mozart K. 331 (mm. 1-12) ……………………………………………….. 23 8. Mozart K. 331 (mm. 1-4) re-arranged ……………………………………. 24 9. Rhythms used by the Mehta: top staff represents the nakkare rhythm and the bottom staff represents two versions of the rhythm used by all the other percussion. ...……...………………………………………………... 24 10. Mozart K. 331 (mm. 25-32) ...……………………………………………. 25 11. The formal structure of the Alla Turca movement ...…………………….. 26 12. Mozart K. 331(mm. 40- 53) ...………………………………………….... 27 13. Mozart K.331(mm. 109-116) ...………………………………………..…. 28 14. Debussy Pagodes (mm.1-6) ...……………………………………..……... 37 15. The tuning of the Slendro scale compared with the tempered tuning system ..…………………………………………………………………... 37 16. Debussy Pagodes (mm. 7-12) countermelody shown by arrow …………. 39 17. Debussy Pagodes (mm. 16-22) …………………………………………... 39 18. Debussy Pagodes (mm.22-30) …………………………………………… 40 19. Debussy Pagodes (mm. 35-43) …………………………………………... 41 20. Debussy Pagodes (mm. 81-85) …………………………………………... 41 21. Bertha Upton’s illustration of the Golliwog doll with two rose-cheeked wooden dolls clothed in the stars and stripes of the American flag. …….. 46 22. Debussy Golliwog’s Cakewalk (mm.1-14) …………………………….... 48 v Texas Tech University, Mikhail Johnson, May 2021 23. Debussy Golliwog’s Cakewalk (mm.58-72) ……………………………... 49 24. Debussy The Little Nigar (mm. 1-18) …………………………………….. 50 25. Debussy’s own cover illustration for his suite Children’s Corner ………... 52 vi Texas Tech University, Mikhail Johnson, May 2021 CHAPTER 1 INTRODUCTION It was George Santayana that said, “Those who cannot remember the past are condemned to repeat it!”. Over the course of the late 20th to 21st centuries, there has been growing discourse as to what is considered cultural appropriation in the general popular music industry. However, in the classical music industry, this discourse has been negligible to non-existent or reduced to mere exoticism; a fascination with the ‘Other’. Only in recent years, many of the modern-day composers have been receiving the brunt of reprimand when their acts of appropriation have led to poor cultural advocacy. How did it get to this point where appropriation seem so commonplace? Because many of the historical acts of music making for the past two hundred years have not undergone scrutiny for potential appropriation, the generations that followed were doomed to repeat it without fail, or fear of reproach. The purpose of this research is to delve into the classical piano repertoire and investigate the past for these instances of cultural appropriation, the nuances therein (good and bad), bring them to light in a concrete way, and to make clear that this trajectory of appropriation has been centuries in the making. This research also seeks to edify present- day composers, performers, and pedagogues to engage, navigate and respond to these matters in a nuanced, careful, informed, and intentional way. This will ensure classical music that utilizes elements from other cultures, are disseminated not merely on high artistic merit, but most importantly, are elevating the represented cultures with authenticity 1 Texas Tech University, Mikhail Johnson, May 2021 and integrity. As a result, safeguarding the highest degree of cultural advocacy toward these cultures moving forward. Throughout this document I will employ terms and language, particularly in the section on Debussy, which would be highly inappropriate if used in any other context outside of this document. However, since the document seeks to address the myriad and most nuanced circumstances in which cultural appropriation occurs and their repercussions, as the author who is of African-Caribbean descent, it is imperative all content be expressed and quoted in their original forms. This is to acknowledge and emphasize unequivocally the highly racist connotations and dispositions of these appropriative instances contextually. What this document will highlight is that cultural appropriation is very complex. Within the 21st century classical music industry it ought to be recognized that appropriation has been built into these art forms for centuries. As public artists, in the 21st century, we must acknowledge and deal with this appropriation with intent and great care. 2 Texas Tech University, Mikhail Johnson, May 2021 CHAPTER 2 CULTURAL APPROPRIATION AND ITS NUANCES The topic of cultural appropriation is a very complex, nuanced and wide ranging one. It primarily involves a person or a culture extracting and utilizing intellectual and cultural property, the expressions of these properties, their artifacts, history and ways of knowledge, that is not from their own culture.1 Notwithstanding the topic’s complex nature, the music examples analyzed in this document, will
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