Carnival combines sacred and secular customs and practices, modelled after the French customs. Festivities in the southern region of Ponce, Puerto Rico date back to Spanish colonial times in the 1850s, introduced by Jose de la Guardia in the form of a masquerade. The title for today's post refers to a "call and response" chant sung during Carnival celebrations on the island. Carnival occurs in the same season as Mardi Gras in New Orleans, LA and Carnaval in Brazil on the week before Ash Wednesday and the start of the Lenten season. More specifically, the series of parades and performances are intended to reflect the end of the winter season and (in terms of Christianity) provide people with a final opportunity to celebrate and indulge before fasting for Lent.  
 
In terms of music, Carnival would not be as effective without its inclusion. Puerto Rico is no exception, as celebrations on the island incorporate a variety of genres: música jíbara, bomba, plena, salsa, and reggaeton, among others. As evidenced in a Spanish documentary video from 2012, this reflects the musical diversity in Puerto and encourages inclusion. Choices for musical selections and representation in the carnival depend on the production team that wins the bid to sponsor the event that year.
 
While Carnival in Puerto Rico derives inspiration from the French cultural tradition, some key aspects on the island allude to Spanish, Latin American and Caribbean customs: most notably, the combination of African, Taino, and European cultures. One of the most significant of these fusions stems from the symbolic use of the vejigante: a fusion of the Spanish words for “bladder” (“vejiga”) and “giant” (“gigante”). It is so named because the people dressed as vejigantes carry inflated cow bladder sacks to mischievously interact with the audience. The origins of the vejigante and Puerto Rican Carnival are quite complex, spanning from either the Medieval era or Spanish colonization. The purpose behind the colorful costume and masks of the vejigante also varies. Two iterations that I have encountered focus on lampooning the Moors, while others describe it as a demon meant to frighten and persuade audiences to go to Church for Lent.
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It also deserves mention that vejigante masks are not restricted to Carnival, nor to Ponce. They are also used as part of the Fiesta de Santiago Apóstol (Festival of St. James the Apostle) in Loiza, which occurs in July. Some may recall that I referred to the cultural traditions in Loiza several years ago in the “Musicology” section of this site. The vejigante mask shown there is primarily constructed from a coconut shell, carved, adorned with pegs for horns, and painted. There are videos online that show how artisans on the island create the masks in that format: the other common version involving paper mache. 

For the past several years, I have been researching the musicological and cultural aspects of African and Latin American studies. As we commemorate the impact of Dr. Martin Luther King Jr., I would like to take a moment to share some examples of pieces by composers inspired by his words and actions. New Morning for the World (1983) by Joseph Schwantner (b. 1943) is an orchestral piece with narrator that features selected text from Dr. King. While most of the text for this work derives from King’s Civil Rights speeches from the 1960s, Schwantner presents this material in fragments to try and offer a more thorough portrayal beyond the “I Have a Dream” speech. Schwanter utilizes texts that concentrate more on chronicling the struggle against oppression and racial inequality. Another piece that deserves mention is “His Light Still Shines” (2002) by contemporary choral composer Moses Hogan (1957-2003). Like New Morning for the World, Hogan incorporates the use of narrator, albeit with a choir. “His Light Still Shines” also serves as a commemoration of the life of Dr. King and his accomplishments, with selected arrangements of spirituals. Most important, Hogan encourages audiences  to neither forget nor diminish the legacy of Dr. King decades after his passing. You can find the recording to this piece here. 

This Thanksgiving I have thinking about the impact that music has had on this holiday: specifically, what might have been performed during the 1620s in the New World. Sources that I have encountered about this topic, like from Kylie Harwell. demonstrate examples from both the Wampanoag Indians and Pilgrims. In terms of music from the Wampanoag, Harwell discusses the significance of the water drum, which was used primarily for ceremonial purposes. This does not suggest, however, that the water drum is strictly a Wampanoag instrument, as different tribes across the United States have also used it. Those looking for details on the overall construction of a water drum should check out this video. It provides a step-by-step tutorial for how to build a Woodland Indian water drum: so named because the water inside the drum determines the timbre and pitch when struck.

There are also extant examples of psalmody brought over from England to the New World. Harwell stresses the importance of the Psalter by Henry Ainsworth from 1612. Dr. Paul Jehle confirms this information via research from the Plymouth Rock Foundation. Jehle notes that, even though the Pilgrims sang these English translations of Biblical Psalms in the New World, Ainsworth originally used the Psalter while living in Amsterdam. One can find examples of psalmody by Ainsworth like in this video. Notice that the presentation of the score features only the melody and text with no added instrumentation. Jehle describes this music, written in the C clef, as a form of resistance against the strict nature of the Church of England. Of course, he also says that the Pilgrims did perform musical instruments and other types of songs outside of church services. Here are some photographs of when I visited Plymouth, MA several years ago, including a snapshot of the "Plymouth Rock."

Today, as we celebrate the Day of the Musician, I would like to congratulate all my musician friends, performers, and collaborators. This year has been especially challenging for everyone, but your contributions to the arts makes all the difference in the world and has motivated people to  keep going. May you all continue to work tirelessly in your efforts to create and inspire current and future generations of people. 

As part of Native American Heritage Month, I would like to devote time in this post to briefly exploring the significance of Native American composers of classical music. As many might recall I have already talked the myriad issues associated with classical music and cultural stereotyping. This has also, unfortunately, been the case for Native American culture. The goal of this post, though, is to demonstrate how American Indian composers approach classical genres while retaining parts of their culture through proper representation.

The first and most important aspect to note is that “Native American” or “American Indian” denotes multiple tribes across the U.S. and should not be perceived in the classical world (or any genre for that matter) as a single group. As Gail Wein notes in her research, the plethora of Native American composers—many of whom either lived on reservations or are of Native American descent—reflect that diversity. They draw inspiration from folktales and customs and incorporate these ideas within classical music genres, like chamber pieces, solo works and symphonies, and choral pieces. Wein cites Louis  Ballard (Quapaw) (1931-2007) as one the first Native American composers to advocate for proper cultural  representation through education. He is best remembered for his pieces Why the duck has a short tail (1967) for narrator and orchestra, as well as his Incident at Wounded Knee (1974) for chamber orchestra. Although audio recordings of music by Ballard are surprisingly difficult to locate (at least, through social media and music streaming services), listeners can still access a few of his pieces, like his Four American Indian Piano Preludes (1963)    

Of course, contemporary Native American composers are aware of the dangers associated with cultural misinterpretation through performance practice in classical music. Jerod Impichchiaachaaha’ Tate (Chickisaw) once spoke about this problem in an interview with the American Composers Forum. He describes the challenge for performing Native American  classical music stems from avoiding stereotypical sounds. As a possible solution, Tate suggests drawing inspiration from Impressionistic music, citing Ravel and Debussy as examples because of their emphasis on musical coloration.    

This year has proven especially difficult for the arts: specifically, for musicians, established institutions, and contemporary composers. Due to the onslaught of the Coronavirus pandemic since March, the music world has had to adapt to the situation as best as possible. This has meant conducting virtual music conferences and concerts online so that everyone around the world can participate and observe the events. In certain cases, the severity of COVID-19 has also led some paying institutions, like the Metropolitan Opera, to present previously recorded broadcasts online to the public for free. Other events that I have observed and attended this year include performances from the Spoleto Festival USA and the Research on Contemporary Composition (ROCC) conference from the University of North Georgia Music Department. Besides demonstrating the direction in which classical music is going in the twenty-first century, that event also highlights the procedures and precautions that composers and musicians today can take to maintain productivity in this era of uncertainty.

I have already talked about how the sociopolitical situations in 2020 (and part of the 2010s for that matter), have helped to provide inspiration for new pieces. In this post, I concentrate on what composers and performers can or should do to stay active in their field despite restrictions. The first, and perhaps most important, obstacle to overcome is learning to work remotely in a virtual setting. This means collaborating and communicating with performers or music commissioners from home via social networking technology, video conferencing, and e-mail. Rehearsals and performances are restricted to remote locations, which has enabled composers and performers to (re)consider and adapt to performance spaces. It also (theoretically) eliminates the possibility of physical travel because the composer is now able to work with performers from other states, cities, or countries without having to leave home. Working virtually on a music project also reinforces the importance of Internet etiquette when it comes to collaboration and commission opportunities. Those wanting more details about that specific topic should check out my post from July 2018.
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I have also witnessed virtual music performances in 2020 where certain musicians or ensembles have had to play under extreme conditions, I refer to performing music in public while wearing masks and applying Social Distancing protocols out of health concerns and safety precautions to prevent the spread of COVID-19. Of course, not all musicians agree with these regulations, openly expressing personal frustration. Still, this opposition in the music world represents but a small percentage of people. The few performance spaces that have reopened in the midst of the virus still implement safety procedures (like temperature checks and hand sanitizing stations) to keep both performers and audiences safe. Working under these conditions, while practicable, can still prove to be a risky decision. From my perspective as a composer, I find that it is best to work and collaborate from home and usually try to avoid face to face interactions unless it is required. 

Earlier this month, I discussed the necessity for classical music to diversify its performance repertoire to include composers from all over the world, with specific focus on Latin America. I also hinted that, given the tumultuous and unpredictable year that is 2020, classical music and its associated institutions (concert halls, opera houses and --unfortunately-- some areas of academia) have faced backlash for cultural exclusivity. While these aspects still hold true to some degree, the contemporary classical music scene is trying to change that perception by becoming more inclusive and self-aware about modern global issues. Contemporary classical music today demonstrates the diversity of styles that apply both acoustic and electronic elements: sometimes with visual media to accompany performances. It also does not have to conform to one subgenre. Based on what I have encountered, composers today can apply tonality, atonality, and avante garde extended performance techniques how they see fit.

It is understood that classical music has a bad historical reputation for espousing ethnocentrism.  However, most contemporary composers are also keenly aware of the pressing and dire events that have transpired over the past few years:  COVID-19, climate change and social justice through anti-racism to name a few. Issues like these have served as inspiration for new works and  important thematic materials that engage the audience by addressing current situations. These materials also provide important programmatic contexts for listeners and viewers because that helps them to understand the music. I also consider some of my works from 2020 as part of this important moment ofof creativity. When the COVID-19 pandemic began infecting the United States in March, for example, I started using that time to write acoustic and electronic works from home: pieces that candidly explored the fear and isolation associated with the effects of the virus and living in self-quarantine.
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That last point brings me to other key questions, which I will address in a later post. How have contemporary composers managed their workflow by creating new pieces in these uncertain times of crises? Given the restrictions imposed by COVID-19 and Social Distancing, how do composers and performers maintain contact in a virtual setting through advancements in technology? How can composers today maintain productivity and engage their audiences if physical concert venues (for the most part) have been closed for months?  

This post will briefly discuss representation and expanding the classical music performance repertoire to include Latin American and Caribbean composers. It is necessary for me to write about this, considering that debates have emerged in the past few years (particularly, this year) concerning the problematic nature of the classical music genre. Many have stressed its lack of diversity by focusing too much on dead European and American composers, to frequent instances of cultural appropriation and racism. As a contemporary classical composer of Puerto Rican descent, I agree with such complaints and realize that concert halls and operas houses must do more to clean up this negative image and treat music by Latin American and Caribbean composers (and other marginalized groups) as more than just a novelty.

I consider this blog post as an addendum to my previous discussion about audio recording preservation. Like that post, I will offer digital online resources that people can use to locate information about Latin American and Caribbean music. With that said, let me begin by referring once again to one of the resources that I talked about last week: the “Audio Recordings” section of the Archivo Virtual Instituto de Cultura Puertorriqueña (ICP). This audio archive features digitized recordings of music by Puerto Rican composers from the nineteenth and twentieth centuries. The segment on nineteenth-century classical music concentrates on danzas from the Romantic era by Manuel Gregorio Tavárez (1843-1883), Juan Morel Campos (1857-1896), and many others. The section dedicated to twentieth-century Puerto Rican classical music features recordings of works by composers like Hector Campos Parsi (1922-1998), Rafael Aponte Ledée (b. 1937), and Ernesto Cordero (b. 1946).

This is not to say that this archive is without problems. I mentioned last week that it does not contain contemporary popular music from the twenty-first century. Perhaps, the same can be said about its selection of contemporary classical music. To my knowledge, I was unable to locate mainland U.S.-based composers from the Puerto Rican diaspora, as well as Afro-Puerto Rican, female, and LGBTQIA composers. In this era, proper representation from these groups is important now more than ever.

In terms of classical music ensembles, the Unitas Ensemble focuses specifically on promoting classical music by Latin American and Caribbean composers. Based in Boston and directed by Lina Gonzalez-Granados, this group specializes in performing pieces by both deceased and living composers from international and stateside Latin American and Hispanophone Caribbean communities. The ensemble also commissions new pieces by Latin American and Caribbean composers to expand and enhance the classical music repertoire. Many of their performances can be accessed through social media.

While this blog post functions mainly to help musicians based in the United States in terms of Latin American  musical representation, I am aware that some Latin American composers  have encountered backlash for their work. Miguel del Águila (the current Composer in Residence for the Orchestra of the Americas) notes that people like the Argentine tango composer Astor Piazolla (1921-1992) were often shunned in their home country for experimenting too much with traditional or popular music genres, while this same experimentation has often been appreciated elsewhere (see latest program from Unitas Ensemble). The problem of underrepresentation, then, must not be perceived as strictly U.S.-centric, but global. In other words, both geographical regions must do their part to accurately and fairly demonstrate works from past and present Latin American composers.