Hi Derek, thanks for the reminder. "Ethiopian" was used by North
American Reverend
Kidder during a visit to Rio in the 1840s. It meant black Africans. The
term Ethiopian was used also by Carl Friedrich Philipp von Martius
(1794–1868) in an essay entitled “Como se deve escrever a história do
Brasil” (“How the History of Brazil is to be written”) to refer to one of
the three elements related to color/race which contributed to the formation
of the population in Brazil (besides the black or Ethiopian, the color of
copper or American, and white or Caucasian) .
Anyway, speaking in the US I should try to clarify some similarities (for
instance, the coming and going of city slaves, with the possibility, even
if remote, of buying one's liberty, present in New Orleans by influence of
Cuban slavery system), but also diferences, specially of sociabilities and
repertoire (maybe the example could be New Orleans Mardi Grass versus Rio's
samba school, but both practices were not present during the time frame I
am dealing with now). I didn't find much on New Orleans musical practices
during the 19th century, though. Especially, because I am trying to focus
on the middle decades.
Hi Sue, if you are interested in the repertoire, as soon as I have
something more defined, it would great to share and discuss it...
By the way, I will be visiting my daughter in Manchester during from 30
March to 20 April. It might be possible to visit for some coffee and
chat...
Cheers,
PPGM - UNIRIO
+55 21 2287-3775 / celular/WhatsApp: +55 21 99993-3775
http://lattes.cnpq.br/5378800627543781
https://unirio.academia.edu/MarthaUlhoa/Papers
Em ter, 29 de jan de 2019 às 10:02, Derek B Scott <derekbscott@xxxxxxxxx>
escreveu:
Unfortunately, owing to my having to make two trips across the Atlantic
this year I won't be at IASPM-US in New Orleans.
Your paper sounds really interesting, Martha. I wanted to ask if the
'Ethiopian' elements were black or blackface (or, indeed, a mixture)? In
the UK and the USA, 'Ethiopian' entertainment almost invariable indicated a
blackface minstrel show.
Best wishes,
Derek
—
Derek B. Scott
Professor of Critical Musicology
University of Leeds
LEEDS LS2 9JT
derekbscott@xxxxxxxxx
<http://www.leeds.ac.uk/music/>
https://ahc.leeds.ac.uk/music/staff/451/professor-derek-b-scott
<https://outlook.office.com/owa/redir.aspx?REF=h_E7Ua6e029Fr32oEQzD15_82vRIHdZjrJD6vNpydD1CKTZ6ZmTTCAFodHRwOi8vbXVzaWMubGVlZHMuYWMudWsvcGVvcGxlL2RlcmVrLXNjb3R0Lw..>
On Tue, Jan 29, 2019 at 1:05 AM Martha Tupinambá de Ulhoa <
mulhoa@xxxxxxxxx> wrote:
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
------------------------------
(Pt-BR) Antes de imprimir, pense pense em seu compromisso com o Meio
Ambiente. Nós preservamos o Meio Ambiente! E você? A UNIRIO não envia
e-mails que solicitem senhas, dados bancários, informações pessoais,
cadastramento ou recadastramento em sistemas.
(EN) Before printing, think about your commitment to the
environment. We preserve the environment! And you? UNIRIO does not send
emails requesting passwords, banking information, personal information,
registration or re-registration systems.
