?This looks really exciting Martha - there's so much to research on barrel
organ music in the Americas and the Caribbean. The tradition still continues in
Cuba as I've seen it in Palma Soriano (charanga festival). I won't be in New
Orleans more's the pity but do keep me in the loop! I'd love to know more about
the repertoire.
All best wishes
Sue
Dr Sue Miller
Reader in Music
School of Film, Music and Performing Arts
Leeds Beckett University, 212 Caedmon Hall,
Headingley Campus, Leeds LS6 3QW
Email: S.M.Miller@xxxxxxxxxxxxxxxxxx
Tel: 0113 81 21840
[Leeds Beckett
University]<http://www.leedsbeckett.ac.uk/school-of-film-music-and-performing-arts/>
________________________________
From: iaspm_19c-bounce@xxxxxxxxxxxxx <iaspm_19c-bounce@xxxxxxxxxxxxx> on behalf
of Martha Tupinambá de Ulhoa <mulhoa@xxxxxxxxx>
Sent: 29 January 2019 01:05
To: iaspm_19c@xxxxxxxxxxxxx
Subject: [iaspm_19c] IASPM-US 2019 at New Orleans
Dear all, any of you going to New Orleans for the IASPM-US 2019?
I had a paper accepted titled "Pop entertainment music in mid-19th century".
Port cities in the 19th-century were known for their busy and noisy exchange,
not only of commercial goods, but also of cultural practices. Like what
occurred in New Orleans, Rio de Janeiro was also the stage for the invention of
one instance of what Joseph Roach called "circum-Atlantic world", this time
with the contribution of "Ethiopian" (as described by Reverend Kidder during a
visit to Rio in the 1840s), and Iberian elements, in practices dislocated from
Paris, then the hegemonic cultural center of the world. Among the sounds
filling Rio's narrow streets and church squares were the grinding tunes of
street organs, alongside yells advertising goods and work songs, all of them
performed or operated by slave laborers. Using as data all 287 occurrences of
"barrel organ" or "street organ", in a single Rio de Janeiro newspaper, between
1821 and 1858, this presentation will discuss its repertoire, and its
performance context, from a musicology perspective. Preliminary results show
the street organ being used from mechanical playhouses soundtrack to the
accompaniment of church services. Also, there is evidence, of at least one
tune, ubiquitously played over and over by street organs, making its way into
what could be called entertainment pop music. The concluding analytical
interpretation will comment on issues of music, technology and identity,
contributing to expand some of the well-established popular music history
narratives.
Cheers,
Martha Tupinambá de Ulhôa
PPGM - UNIRIO
+55 21 2287-3775 / celular/WhatsApp: +55 21 99993-3775
http://lattes.cnpq.br/5378800627543781
https://unirio.academia.edu/MarthaUlhoa/Papers
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