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In advance of their November 1 performance, yMusic has “taken over” UMS’s Chamber Arts playlist with works of their own discography, including collaborations with Paul Simon, Ben Folds, and Regina Spektor.

Hear the virtuosity and variety of sounds, ensembles, and works by composers featured in UMS’s Chamber Arts Series. This playlist updates with new tracks regularly, so be sure to follow/subscribe on your preferred streaming service!

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The entire UMS family is deeply saddened to learn that Jessye Norman, legendary American soprano, five time Grammy Award winner, National Medal of Arts and Kennedy Center Honors recipient, and University of Michigan alumna, who passed away on September 30, 2019 in New York at age 74.

Jessye Norman and the Metropolitan Opera Orchestra, April 30, 1991

We honor Norman’s 39-year performance history in Ann Arbor with a playlist of 10 signature recordings of works she performed with UMS, between her first appearance in 1973 with the Philadelphia Orchestra and her final Hill Auditorium recital in 2012.

Listen now on your preferred streaming service:

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More than 100,000 fans are about to be welcomed home to “The Big House” by the beloved, booming voice of Carl Grapentine, who has been the Michigan Marching Band announcer since 1970 and the official game announcer for Michigan Football since 2006.

Grapentine is also an alumnus of the U-M School of Music, Theatre & Dance, and was a host of Chicago’s WFMT-FM classical radio for 33 years. To celebrate the start of a new season at Michigan Stadium, he’s combined his expertise to curate a playlist of sports-inspired classical works and film scores. Choose your preferred streaming service and learn more about each track below:

About the Music

Honegger Rugby
Arthur Honegger’s musical depiction of a rugby match, composed in 1928 and filled with energy and power.

Mozart “Kegelstatt” Trio,
According to the autograph score, Mozart wrote this delightful trio while playing a game of skittles (a pub game related to bowling) at a local Kegelstatt—a skittles parlor.

John Williams “The Quidditch Match” from Harry Potter and the Sorcerer’s Stone
In the first match of the season, Harry caught the golden snitch giving Gryffindor a thrilling victory. Final score: Gryffindor 170—Slytherin 60.

Arnaud Bugler’s Dream
The French composer Leo Arnaud wrote this for a 1958 recording. But it’s forever associated with the Olympic games ever since ABC began using it for its 1968 Olympics coverage.

R. Strauss Olympic Hymn
Richard Strauss had a complicated relationship with the Third Reich. He composed this for the opening of the 1936 Olympic games in Berlin — the games we remember for Jesse Owens’s heroics.

Suk Towards a New Life
Did you know that the Olympic games once included competition in music composition? This was the silver medal winner (no gold was awarded) at the 1932 games in Los Angeles.

Torke Javelin
American composer Michael Torke wrote this in 1994 on a commission from the Atlanta Committee for the Olympics. Premiered by the Atlanta Symphony Orchestra, it was also played at the opening of the 1996 games in Atlanta.

Puccini “Nessun dorma” from the opera Turandot
When the 1990 World Cup final was played in Rome, three soccer fans — Luciano Pavarotti, Placido Domingo, and Jose Carreras — joined forces to give an outdoor concert. Thus, the worldwide phenomenon of The Three Tenors was born. And the BBC used this aria with its climactic “Vincero” (“I will win”) for its World Cup coverage.

Sousa The National Game
John Philip Sousa was an avid baseball fan. He wrote this march for the 50th anniversary of the National League in 1926.

Horner Soundtrack to Field of Dreams
James Horner’s evocative score for the 1989 film starring Kevin Costner, Amy Madigan, and James Earl Jones.

Randy Newman “Wrigley Field” from The Natural
Randy Newman’s sometimes “Copland-esque” score for the 1984 film starring Robert Redford and Glenn Close.

Debussy Jeux
This ballet by Claude Debussy begins with three characters searching for a lost tennis ball. It was written for Diaghilev’s Ballets Russes with choreography by Vaslav Nijinsky. The premiere took place in Paris in May of 1913, two weeks before the premiere of Stravinsky’s The Rite of Spring.

Elbel The Victors
Composed in 1898 by Michigan student Louis Elbel, in celebration of Michigan’s 12-11 victory over the University of Chicago giving Michigan the Western Conference championship. Hence, “Champions of the West.” The first public performance was given by John Philip Sousa’s band in Ann Arbor in 1899.

UMS’s 2019/20 season welcomes back legendary classical and jazz pianists to Ann Arbor, and introduces incredible new talent to our stages. Enjoy listening to our guest artists on our ‘Piano Virtuosos’ playlist, and learn more their upcoming appearances below.

1. Emanuel Ax

In his seventh UMS appearance since 1978, the esteemed pianist joins violinist Leonidas Kavakos and cello superstar Yo-Yo Ma for an evening of Beethoven Trios.

2. Chick Corea

The jazz piano legend brings together bass powerhouse Christian McBride and drum master Brian Blade for a special concert that revisits their acclaimed Trilogy album.

3. Aaron Diehl

The virtuosic jazz pianist joines forces with vocalist Cécile McLorin Salvant, both returning to Ann Arbor for two intimate sets in the Lydia Mendelssohn Theatre. The program features the Great American Songbook, among other compositions growing from that tradition and history.

4. Hélène Grimaud

Renowned French pianist Hélène Grimaud makes her UMS solo recital debut, performing music from her latest album, Memory, featuring works by Debussy, Chopin, Satie, Schumann, Sylvestrov, and Rachmaninoff.

5. Benjamin Grosvenor

“Benjamin Grosvenor may well be the most remarkable young pianist of our time,” according to Gramophone Magazine. The electrifying 27 year-old British virtuoso makes his UMS debut this Spring.

6. Isata Kanneh-Mason

The Royal Academy of Music postgraduate and multiple prizewinning pianist has had a stellar year in 2019, with a new album from Decca, and an international touring schedule alongside her brother, cellist Sheku Kanneh-Mason.

7. Martin Katz

“The gold standard of accompanists” (The New York Times) returns to UMS for a special two-night program, bringing Hugo Wolf’s 53 songs set to the poetry of Eduard Mörike to life alongside four singers in this season’s What’s in a Song.

8. Denis Matsuev

One of most prominent pianists of his generation, Denis Matsuev returns for his third recital and sixth UMS performance in a program of virtuosic works by Liszt and Tchaikovsky.

9. Anne-Marie McDermott

Adding to a 25+ year career as an concert pianist and recording artist, McDermott has championed artistic leadership roles with the Bravo! Vail and Ocean Reef Music Festivals. She joins the New York Philharmonic String Quartet in recital this season.

10. Cédric Tiberghien

An exceptional chamber music collaborator, Tiberghien joins soprano Julia Bullock in the premiere of Zauberland (Magic Land) — a music/theater story of migration from war-torn Syria staged by Katie Mitchell, featuring Schumann’s Dichterliebe performed alongside 16 new songs by Bernard Foccroulle.

11. Tarek Yamani

The Beirut-born pianist and composer taught himself jazz at the age of 19, and brings his Trio to Ann Arbor — fusing the genres of African-American jazz and classical Arabic music.

Yannick Nézet-Séguin and the Orchestre Métropolitain de Montréal

Enjoy the newest orchestral and large ensemble recordings featuring UMS’s 2019-20 season artists.

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Angélique Kidjo

Open your ears to the fresh perspectives of international artists featured in UMS’s 2019/20 season, whose sounds and harmonies have no borders.

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In honor of the 50th anniversary of the Moon landing (July 20, 1969), launch into the UMS Rewind archives with 10 moon-inspired works performed over the course of our 140+ year history.

Listen to our ‘Moon Tunes’ playlist on your preferred music service, and discover their respective programs below:

1894

Pianist Vladimir de Pachmann performs Beethoven’s famed Moonlight Sonata, the work’s first of many times appearing on a UMS presentation. The sonata has been on numerous recital programs by legendary pianists, including Rudolf Serkin, Vladimir Ashkenazy, Alfred Brendel, and Ursula Oppens.
View all programs

1950

Finnish composer and conductor Ossi Elokas leads the Polytech Chorus of Finland in his own work, titled “Kuutamolla” (Moonlight).
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1959

Italian lyric soprano Renata Tebaldi sings “O luna che fa’lume” (Oh moon that makes light) by Vincenzo Davico in her Hill Auditorium recital.
View program

1976

Tebaldi also performed Bellini’s “Vaga luna che inargenti” arietta in her 1959 recital, which was featured again on programs by Luciano Pavarotti in 1976 and by Cecilia Bartoli in 1995.
View all programs

1979

The Nekrasov Russian Folk Orchestra performs Variations on the theme of the Russian Folk Song “Shining Moon” — a work that was presented again 10 years later in 1989 with the Osipov Balalaika Orchestra of Moscow.
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1993

American baritone Thomas Hampson sings “Look Down Fair Moon” by Charles Naginski.
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1999

Percussionist Evelyn Glennie and The King’s Singers present Return of the Moon by composer Peter Klatzow.
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Jazz legend Bill Frisell and his New Quartet perform an arrangement of Henry Mancini’s beloved “Moon River” from Breakfast at Tiffany’s.
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Schoenberg’s famously dark melodrama Pierrot lunaire is performed for the first time in UMS’s history, with soprano Lucy Shelton. The work has only been presented once again, 10 years later in 2009.
View programs

2000

Broadway legend Audra McDonald performs “Stars and the Moon” by Jason Robert Brown, in her first of seven UMS appearances.
View program

Open your ears to new listening experiences:

Now Playing

Journeys

Presenting our global artists featured in the 2019/20 ‘Traditions & Crosscurrents’ series.

Solo Piano

Fall in love with solo works performed by classical and jazz pianists who appear in UMS’s 2019/20 season.

Discover More

Chamber Arts

Discover the virtuosity and variety of sounds, ensembles, and works by composers featured in UMS’s Chamber Arts series.

Highlights include:

• A celebration of young composers by yMusic, featuring works by Caroline Shaw, Missy Mazzoli, Andrew Norman, and other luminaries
• Cellist Sheku Kanneh-Mason, who makes his Ann Arbor debut this Fall
• Max Richter’s global chart-topping “recomposition” of Vivaldi’s The Four Seasons

Jazz Redefined

UMS presents modern jazz masters this season, whose collaborations and unique sound push the ever-evolving genre into new sonic territory.

Highlights include:

• Brooklyn based jazz/funk collective Snarky Puppy opens the season with music from their new album, Immigrance
• Tarek Yamani brings his hypnotic fusion of American jazz and Arabic tarab in his UMS debut
• Multiple Grammy Award winning Chick Corea Trilogy joined by an all-star lineup
• UMS favorites Cécile McLorin Salvant and Aaron Diehl join forces in two sets, improvising on the Great American Songbook

Coming Soon

Sign up for UMS’s weekly newsletter to get notified about new playlist updates and releases. In addition to “guest list” takeovers, UMS will have dynamic playlists that update regularly with new tracks, including:

Up Next

A preview of upcoming performances at UMS, updated the beginning of each month during the concert season.

Renegade

Be adventurous. Open your mind and ears to bold new works — in a safe space to listen.

UMS Rewind

Celebrating 140+ years of UMS’s history presenting legendary artists on the University of Michigan’s great stages.

On April 15, 2016, Simon Shaheen brings to life the Arab music of Al-Andalus and blends it with the ubiquitous art of flamenco in Zafir, a program of instrumental and vocal music and dance that renews a relationship with music from a thousand years ago. Zafir explores the commonalities of music born in the cultural centers of Iraq and Syria that blew like the wind (zafir) across the waters of the Mediterranean to Al-Andalus. There it blended with elements of Spanish music and was brought back across the seas to North Africa, where it flourished in the cities of Morocco, Algeria, and Tunisia.

Photo: Simon Shaheen performs on oud. Courtesy of the artist.

To offer a small taste of the music inspiring Zafir, we have compiled a playlist of music from Andalusia, the Middle East, and North Africa. While the performance will blend these three regions and show off the similarities, we’ll separate the three musical styles out here, so that you can hear how these styles have evolved and changed. Take a listen below!

Andalusia

People might think that dance is the essence of flamenco, but in truth, the heart of flamenco is the song (cante). The Arab roots of flamenco run deep, and although much of the history is obscured, it is clear that flamenco grew out of the unique culture in Andalusia. Scholars believe the word flamenco is derived from colloquial Arabic felag mangu, meaning “fugitive peasant.” The word was first used in the 14th century to refer to Andalusian Gypsies, who were called gitanos or flamencos. Soon, the term flamenco came to be applied to their music.

We’ve compiled a playlist of top flamenco musicians in the past century, which includes Camarón de la Isla, Tomatito, Paco de Lucía, La Niña de los Peines, and Carmen Linares.

Israel, Palestine, Egypt

Simon Shaheen, who will be playing in Zafir, is a virtuosic Palestinian-American violinist and ‘oud player who grew up in Israel. Until the early 1990s, Arab music from this region did not have wide distribution, so the focus was on international stars such as Umm Kulthum, Fairuz, and Farid al-Atrash.

The playlist we’ve created includes the musicians listed above.

Tunisia

Oud. Courtesy of TIMEA.

Sonia M’barek, the vocalist performing for Zafir, is one of Tunisia’s most renowned singers. Her music centers on malouf, a Tunisian style of music that is based on an old Arabic type of poetry called qasidah. It features violins, drums, ‘oud, flutes, and a solo vocalist. The most important structural element of malouf, is the nuba, which was introduced to North Africa by Andalusian Muslims who were forced to leave Spain in the 14th Century.

Here is a playlist of top Tunisian musicians in the past century, which includes El Azifet, Hedi Jouini, Ali Riahi, and Anouar Brahem.

What will you listen for at the performance? Which musical thread interests you most? Share your comments below.

Zafir is at Michigan Theater on April 15, 2016.

Sources

• Tunisia, The Jewel of the Mediterranean. (n.d.) Tunisian Music. Retrieved July 29, 2015 from http://tunisia.oi-dev.co.uk/about-tunisia/culture/tunisian-music
• Noakes, Greg. (1994) Exploring Flamenco’s Arab Roots. Aramco World. Retrieved July 29, 2015 from https://www.saudiaramcoworld.com/issue/199406/exploring.flamenco.s.arab.roots.htm
• Smadhi. Asma (2013) Seven Classic Tunisian Songs. Tunisialive. Retrieved July 29, 2015 from http://www.tunisia-live.net/2013/10/18/seven-classic-tunisian-songs/#sthash.GNvElBIV.dpuf
• New World Encyclopedia. (2013) Flamenco. Retrieved July 29, 2015 from http://www.newworldencyclopedia.org/entry/Flamenco
• Pareles, Jon. (2013). Tradition Performed with a Twist. The New York Times. Retrieved July 29, 2015 from http://www.nytimes.com/2013/05/08/arts/music/sonia-mbarek-at-the-french-institute-alliance-francaise.html
• La Nuvola Bianca. (2015). Malouf, Traditional Tunisian Music. Retrieved July 29, 2015 from http://lanuvolabianca.com/2015/01/10/malouf-traditional-tunisian-music/
• Corrigan, Damian. (2015) Top Five Flamenco Artists. About Travel. Retrieved July 29, 2015 from http://gospain.about.com/od/music/tp/top5artists.htm

Photo: On left, Apollo’s Fire, who perform Bach’s St. John Passion on March 15, 2016. On right, Simon Shaheen, who performs in Zafir on April 15, 2016. Photos courtesy of the artists.

Many people have a “sacred” song—one that especially resonates with or inspires. But what is the meaning of “sacred,” and what about music resonates so deeply? To try to get a sense of the answers to these questions, I asked surveyed a group of University of Michigan students about music that they consider sacred.

For some, a work calls to mind their religious origin and helps them seek a connection with a greater power. Hitomi, recent LSA music graduate, describes her sacred song: “The very first song that came to mind was Ave Maria. I feel that the lyrics evoke spirituality. It’s also a commonly known [religious] piece, so that’s why I associate the melody with connecting with spiritual existence. I experience a sense of serenity and calmness when I listen to Ave Maria. It’s like I’m getting cleansed from all of the negative feelings I might have at the moment.”

For others, like Abigail, a viola performance major, the “sacred” quality of music has to do with the context in which a piece was written. When asked about musical works that are sacred for her, Abigail explains: “Tchaikovsky’s 6th symphony is sacred to me; it’s very emotionally volatile. It’s especially dear to me because it was the last symphony Tchaikovsky wrote before he died, and there’s been so much discussion over what the symphony meant and whether it was a “suicide note.” I feel like the symphony is so emotionally intense that Tchaikovsky definitely had to have been going through something big in his life, but as far as I know, nobody’s really sure exactly what that was. I kind of like the mystery though — it leaves a lot more room for imagination.”

Monica, trumpet player in the Michigan Marching Band, holds a special affinity with the lyrics of her sacred song, Sara Bareilles’s Uncharted. Monica explains, “[The song] is about what to do when confronted with the unknown, when you are afraid of which direction to go in next, and about taking risks for yourself rather than follow what everyone else is doing. My favorite line is ‘compare where you are to where you want to be and you’ll get nowhere.’ [Uncharted is a song] of introspection, agency, and assurance. It suggests that ‘gold’ is not extra valuable just because everyone else seems to want it. Something ‘uncharted’ can be more valuable because you have the opportunity to make it mean as much as you want it to for yourself.”

Some songs are sacred because when we listen to them, they call to mind memories. Penny Stamps School of Art student and acoustic guitar enthusiast Hayden tells the story of her sacred song: “The Moon Song by Karen O made me cry the first time I heard it.” Hayden continues, “I was watching the movie Her on a long flight home from Ireland. I made it my mission to find out what the song [in the movie] was, and to learn it. I don’t really use my ukulele—you’ll usually find me jamming on guitar—but I picked it up so I could learn the Moon Song. [The song is] not even in my vocal range, but it gives me the warm fuzzies whenever I play it. I think that I like it so much because it brought me a dose of joy when I was sad to be a leaving a place where I wanted to stay, and on a mode of transportation that scares me to death. [The song] has that same dose of joy every time I plunk it out on my ukulele.”

Ryan, bassoon player in the Akropolis String Quartet, recalls the childhood memory tied to his sacred song, I Believe I Can Fly by R. Kelly. He says, “This might be a strange choice, especially because I will admit to knowing very few of the lyrics (just the famous chorus), and I haven’t listened to the studio recording of it in years. But, I associate that song with my deep childhood love of the movie Space Jam, starring Michael Jordan and Bugs Bunny. That movie taught me, in equal importance, the necessity of hard work and joy in the pursuit of my dreams (at the time, a career as a basketball player, but eventually music…). Since, the song has become a mental soundtrack much of the work I’ve put forth in life, and I have probably song the chorus out loud in front of people more than anything else I’ve ever heard. Sometimes I sing it in jest, sometimes I sing it sincerely—in private of course.”

Music can be sacred for many reasons. From Bach’s St. John’s Passion performed by Apollo’s Fire to the music of Andalucia in Simon Shaheen’s Zafir performance, there are many definitions of the sacred to explore through UMS performance in the upcoming season.

What’s your “sacred” music? What makes it sacred for you?

Photo: Youssou N’Dour. Photo courtesy of the artist.

Have you heard of Youssou N’Dour before? I certainly hadn’t before looking at the season calendar for UMS.

A few facts: Youssou N’Dour is a Senegalese musician who has collaborated with greats such as Sting, Tracy Chapman, and Bruce Springsteen. One of his most notable accomplishments was collaborating with Axelle Red on the official anthem for the 1998 FIFA World Cup. N’Dour formed his own ensemble, the Super Étoile de Dakar, in the 1980s. Playing the Latin-infused dance music that was popular throughout Africa at the time, the group brought their unique sound to Europe and North America on concert tours, and in 2005, he won his first American Grammy Award for best contemporary world music album.

If you’re someone who loves exploring different kinds of music or music that you’ve never heard before, then, like me, you’ll get hooked on this man’s music. Never mind the fact that a lot of his lyrics are in French and Wolof, a language of Senegal, the melodies and infectious beat will sneak their way into your head and stay there for days.

1. La Cours des Grands

This song is for the soccer fans and French lovers – “La Cours Des Grands” is the official anthem for the 1998 FIFA World Cup and was sung by Youssou N’Dour in collaboration with Axelle Red, a Belgian singer/songwriter. I enjoy this song because it has a very inclusive view and aims to target the worldwide audience of the World Cup. This generally cheerful song is a good mood-lifter, and I’ve added it to my morning playlist to get me ready for the day.

2. 7 seconds

Arguably his most well-known song, “7 seconds” reached No. 1 in France and stayed there for 16 consecutive weeks. It also reached the top spots in several other European countries. The song highlights the diversity of the world and the racism that many continue to face today. The title refers to the first 7 seconds of people’s lives, when they are not aware of differences in skin color, ethnicity, or race. The lyrics include these lines:

“and when a child is born
into this world
it has no concept
of the tone the skin it’s livin’ in”

I, as an Asian-American, don’t feel the impact of racism often, but I do experience it once in a while, and this song really speaks to those instances of my experience. Racism is something people learn in their lifetimes, not a natural trait, and “7 seconds” highlights this fact.

3. Immigres/Bitim Rew

On a less serious note, this song was released on one of Youssou N’Dour’s first albums, Immigres, which contained only 4 songs and helped to land him on the international map. I have to admit, the only word I understand in this song is “Senegal,” but I love the beat and listen to it when I cook because the beat is perfect for stirring, and also because the song manages to put a smile on my face without fail.

4. Undecided

This song is by far my favorite. I heard the song at the right moment a few week ago. As I was at my desk, researching Youssou N’Dour’s music, I got sidetracked by thinking about my future. As a junior, and I’m sure other students can relate to this, I have moments of panic while thinking of my upcoming summer and what in the world I’m doing with my life. I had this plan of blowing recruiters away and acing all of my classes, but in reality, I’m sometimes struggling to meet these expectations. I’m struggling to decide what I want to do and how to do it. I’m struggling because I feel like I’m lost and everyone else seems to know exactly where they belong.

This song came on right in the middle of my mini freak out session. It was so different from the other upbeat Youssou N’Dour songs that it caught my attention, and after listening to the calming tune, enjoying its jazzy feel and, of course, seeing the title “Undecided,” I was hooked. I can’t say that this song gave me an epiphany about my life but it did calm me down during my panic, and now when I listen to it, I feel the sense of calmness washing over me. I close my eyes, sit back, and simply enjoy.

Youssou N’Dour and Super Étoile de Dakar perform at Hill Auditorium on November 14, 2015.

This post is a part of a series of playlists curated by UMS staff, artists, and community. Check out more music here.

Oliver Mtukudzi. Photo courtesy of the artist.

Zimbabwe’s Afropop legend Oliver Mtukudzi performs in Ann Arbor on April 17, 2015.

“Tuku” has created 61 solo albums to date, many of which focus on political and social themes. His band The Black Spirits got its start performing songs protesting the white colonial rule of Zimbabwe in the 1960s and 70s.

Throughout his career, Tuku has refrained from direct political criticism, instead using metaphor to communicate his ideas: “The beauty of the Shona language is that it is endowed with all those rich idioms and metaphor…and the beauty of art is that you can use the power of language to craft particular meaning without necessarily giving it away. So, I used the beauty of Shona to communicate in my own way and people got the message.”

Themes of social change are common in popular African music. In this listening guide, explore some of the history of this connection.

1. Nelson Mandela commissioned the group “Sipho Hotstix Mabuse” to write a campaign theme song for his bid to be South Africa’s first democratically elected president in 1994. Simply titled “Nelson Mandela,” the song speaks frankly about the Mandela’s hopes to promote unity in the country.

2. Angelique Kidjo (who last performed in Ann Arbor in 2013) blends musical traditions from her native Benin with Western popular music, singing in English as well as her childhood languages of Fon and Yoruba. Many of her songs include themes of peace, tolerance, and liberation. In “Kulumbu,” Kidjo speaks about the nececsity for women to participate in conflict resolution after suffering disproportionately during war.

3. The title of Bassekou Kouyate’s song “Jama Ko” translates to “the gathering,” and urges for peace and reconciliation in Mali. Bassekou Kouyate last performed in Ann Arbor as part of our 2013-2014 season.

4. Tuku’s song “Wasakara” describes the corruption and violence of the government of Zimbabwean president Robert Mugabe. He sings, “Admit it, you are wrinkled/You are worn out.”

5. Thomas Mampfuno also criticizes the government in “Mamvemve,” with the lyrics “the country you used to cry for is now in tatters.” Zimbabwe’s political environment is so restrictive that Mampfuno has not visited the country since 2004.

6. In “Ndakuvara,” Mugabe is represented by an ox too stubborn to learn from its elders. Through metaphor, Tuku writes protest as subtext subtle enough to allow him to remain in Zimbabwe.

What did you think about this playlist? What songs would you add?

Photo: Brazilian star Gilberto Gil performs at Hill Auditorium on April 4, 2015 at Hill Auditorium. Photo by Jorge Bispo.

The Brazilian Tropicália movement in the late 1960s is perhaps one of the greatest examples of music’s ability to be a powerful purveyor of change. The music created during this short time was a combination of Brazilian and international popular music; there were “mash-ups” of influences as varied as the Beatles or Jimi Hendrix and rhythmic Brazilian dance music like bossa novas or sambas. Many Brazilians saw this new music genre as “an adulteration of Brazil’s musical birthright by an American aesthetic.”

During this experimental, avant-garde period of musical expression, a military dictatorship loomed, ever present. Within a year, the leaders of the movement were imprisoned and then exiled, but they were not silenced, and others stayed and continued to perform their music. Over the course of the movement, the Tropicalistas began to inspire a generation with their exhilarating music as well as their indestructible spirit.

To offer a small taste of the power of the music created during this brief time, we have chosen some songs performed by four of the main players in the movement: Gilberto Gil, Caetano Veloso, Gal Costa, and Maria Bethania. Take a listen below!

Gilberto Gil is one of the most talented and prolific of the singer-songwriters to come from Tropicália. He has broached a wide variety of issues in his work; for example, he speaks often about social inequality and the conflict between science and religion. The song “Domingo no Parque” is one of Gil’s most popular songs. It was written in 1968 for his Gilberto Gil (Frevo Rasgado) album. The album is typical of Tropicália in its blending of traditional Brazilian styles with American rock and roll, while also mixing Rogério Duprat’s orchestral arrangements with Os Mutantes (mentioned below). Rolling Stone voted the track “Domingo no Parque” as one of Brazil’s greatest songs. Here it is!

Gilberto Gil performed at Hill Auditorium in 2012 and will return for another performance on April 4, 2015.

Caetano Veloso is another well-known singer and composer from that time period. In his 1968 debut album Caetano Veloso, he included a song titled “Tropicália.” The song got the name because of similarities between its content and that of Hélio Oiticica’s installation art piece. In fact, the song was entirely written before that name was assigned to it, and that name was never even meant to be a permanent title for the piece. The name caught on though, and soon it became a label for the entire movement of Tropicália.

Gal Costa is a female vocalist from the time period, and she worked quite frequently with the the other artists listed here. Her eponymous solo debut album in 1969 was hailed a Tropicália classic and was highly influenced by American psychedelic music. “Baby” was written by Caetano Veloso and performed by Costa. She speaks about how English should be learned in Brazil and mentions several pop references as well. A common trait of Tropicália music is that it mixes popular and traditional culture.

Rita Lee, Arnaldo Baptista and Sérgio Dias formed Os Mutantes, a popular Brazilian psychedelic rock band that became linked to Tropicália. The band reunited with different members in 2006, and has been touring and recording new material. Os Mutantes, the album released in 1968, includes compositions by both Caetano Veloso and Gilberto Gil. Gal Costa has also sung on several of their albums.

Even a brief overview of Tropicália shows that this late 1960s brief period of innovation and excitement has remained popular and produced a huge, lasting change in the Brazilian music scene. Teamwork and collaboration were key during this movement, and it was a time to point out flaws in Brazilian culture while working to create a positive change. The movement also provided inspiration to other artists around the world, such as David Byrne and Paul Simon, and many songs have been written in reaction to Tropicália. Artists active during Tropicália have continued to create music even when they have moved away from the original purposes of the movement, and they and their music have become an ever present part of Brazilian culture.

UMS is excited to bring a taste of one of Tropicália’s iconic members to Ann Arbor on April 4, 2015 at 8 pm in Hill Auditorium. We hope that you will come join us in hearing the astoundingly charismatic and influential music of Gilberto Gil.

Sources:

• Cahill, G. (2011, Jun). Tropicalia thunder. Pacific Sun. Retrieved April 8, 2014, from http://search.proquest.com.proxy.lib.umich.edu/docview/874154508?accountid=14667
• Os Mutantes. (n.d.). NPR. Retrieved April 8, 2014, from http://www.npr.org/artists/17080024/os-mutantes
• The Best Tropicalia Albums: Sounds and Colours. (n.d.).The Best Tropicalia Albums: Sounds and Colours. Retrieved April 8, 2014, from http://www.soundsandcolours.com/guides/the-best-tropicalia-albums/
• Tropicalia. (n.d.). PBS. Retrieved April 7, 2014, from http://www.pbs.org/wgbh/cultureshock/flashpoints/music/tropicalia.html

This post is a part of a series of playlists curated by UMS staff, artists, and community. Check out more music here.

We’ve been working with WCBN, the University of Michigan student-run community free-form radio station, to feature playlists from their DJs on UMS Lobby. WCBN broadcasts at 200 watts to the University and its surrounding communities from the Basement of the Student Activities Building in downtown tree-town. Check out their website or Facebook page to learn more!

Veteran DJ Richard Wallace, virtual musical encyclopedia arwulf arwulf and recent UM Music School grad Kirsten Carey have created this playlist to celebrate John Coltrane’s A Love Supreme which turns 50 this year. The Campbell Brothers perform A Love Supreme on Friday, February 20, 2015, 8:00 pm at Michigan Theater.

Selections 1-10 consist of albums released in 1964 and 1965 to give a context to the shifting jazz culture which both gave birth to and was advanced by A Love Supreme. The mid sixties were a watershed point in jazz history: among a certain faction of the jazz community, freer improvisational structures were gaining ground as heads were becoming simpler, more melodic, and harmonically loose. These open structures allowed bebop vocabulary to be completely decontextualized and performers to reduce their improvisations into pure emotional sound. Never before had jazz incorporated so much sonic freedom – and, of course, a visionary like Coltrane saw the opportunities this shift heralded. – Kirsten Carey

John Coltrane’s musicality and spirituality underwent profound transformation in 1957. If at that time Thelonious Monk ushered Trane through a creative threshold, the saxophonist’s progress was accelerated through complete abstinence from alcohol and narcotics. Anchored by a marrows-deep personal relationship with religion – the enzyme of survival for generations of African Americans living in a hostile and indifferent environment – Coltrane’s astonishing evolution brought him into solidarity and alignment with artists who actively pursued a collective course that transcended conventionally accepted notions or standards of entertainment. The list that we provide here represents a glimpse of what is condoned and encouraged among students and volunteers in line with WCBN‘s enduring artistic and educational mission. – arwulf arwulf

This post is a part of a series of playlists curated by UMS staff, artists, and community. Check out more music here.

eigth blackbird. Photo by Luke Ratray.

The Chicago-based chamber ensemble eighth blackbird performs in Ann Arbor on January 17. eighth blackbird is on the new frontier of contemporary music. As Los Angeles Times explains, “the blackbirds are examples of a new breed of super-musicians. They perform the bulk of their new music from memory. They have no need for a conductor, no matter how complex the rhythms or balances… [They are] stage animals, often in motion, enacting their scores as they play them.”

How did chamber music, which originated in the Middle Ages, evolve into the music of the blackbirds? Explore the history with our listening guide:

1. Chamber music originated during the Middle Ages as a form of entertainment for guests in palace chambers. “Mille Regretz” by Josquin des Prez (1450-1521) is an example of the style and structure of sacred music translated to a secular song that describes the pain of a lost love. The earliest chamber music often also included lutes, recorders, and early versions of the violin, viola, and cello.

2. The string quartet, one of the most common chamber ensembles, developed into its current form in the early 17th century. Since then, composers from Haydn to Beethoven to Shostakovich have revered the string quartet’s form because of the challenge of writing four unique parts that constantly change and interact with one another. The string quartet includes two violins, viola, and cello. In this track, listen for Beethoven’s mastery of “counterpoint,” the relationships between the voices.

3. Chamber music in the 20th century brought together new instrument groupings. The brass (featuring two trumpets, trombone, French horn, trombone, and tuba) rose in popularity in the 1940s. Victor Ewald is widely considered to the first composer of brass quintet music.

4. Chamber music concepts extend across genre; though “chamber music” is primarily used to describe classical music, the John Coltrane Quartet exemplifies excellent chamber music playing.

5. eighth blackbird illustrates the vast range of 21st century chamber ensembles. On this track, the group performs Steve Reich’s minimalist composition “Fast: 8:39.”

6. eighth blackbird showcases its virtuosic ensemble connectivity with Thomas Adés’ rhythmically complex “Catch.”

7. eighth blackbird collaborates with electronic music composer Dennis Desantis on the track “strange imaginary remix.”

What did you think about this playlist? Share your thoughts or song suggestions in the comments below.

This post is a part of a series of playlists curated by artists, UMS Staff, and community. Check out more music here.

Dawn of Midi perform at Trinosophes in Detroit on January 31, 2015. Photo by Falkwyn de Goyeneche.

Minimalism can be extraordinarily beautiful. I’ve always been a believer of “less is more.” In the right hands, repetition, simplicity, and homogeneous textures of sound can envelop the listener in deeply meaningful and even spiritual ways.

In the playlist below, I’ve attempted to offer a sampling of minimalist techniques in a cross-section of genre and style, from pioneering tape experiments by Steve Reich (“It’s Gonna Rain,” ca. 1965) to minimalist 1990s electronica from the UK’s Richard D. James (aka Aphex Twin) and the Manchester duo Autechre (selected from their seminal 1995 LP Tri Repetae) to Dawn of Midi, a group with a mesmerizing, “electro-acoustic” sound that will perform at Trinosophes on January 31, 2015.

I have also included some surprises: Jason Moran and The Bandwagon’s cover of American-born innovator Conlon Nancarrow (who composed “Study No. 6” for player piano) and downtown New York experimental post-disco songwriter, cellist, and composer Arthur Russell (who died in 1992 at the age of 40 in relative obscurity).

This playlist represents merely a snapshot of some of my favorite minimalist moments. Hopefully it will encourage and inspire a deeper personal journey of discovery.

Please note: These fascinating (and intricate) soundscapes are best experienced on headphones.

What did you think about this playlist? Share your thoughts or song suggestions in the comments below.