Today is the official launch of JSTOR Daily! It’s a new online magazine that features articles and blog posts that draw upon the wealth of scholarship on JSTOR to contextualize the modern world. Check it out and follow my colleagues on Twitter @JSTOR_Daily for updates.
"What do you play? The Clarinet, you? I play the fucking HAMMER"
I MEAN THE OTHER PLAYER’S FACES THO
the dude in the back knew it was coming, the other dude forgot
The sound of the hammer, which features in the last movement, was stipulated by Mahler to be “brief and mighty, but dull in resonance and with a non-metallic character (like the fall of an axe).” The sound achieved in the premiere did not quite carry far enough from the stage, and indeed the problem of achieving the proper volume while still remaining dull in resonance remains a challenge to the modern orchestra. Various methods of producing the sound have involved a wooden mallet striking a wooden surface, a sledgehammer striking a wooden box, or a particularly large bass drum, or sometimes simultaneous use of more than one of these methods. - Wikipedia
Another recent acquisition will benefit any singers. Exploring Art Song Lyrics: Translation and Pronunciation of the Italian, German, and French Repertoire (Oxford University Press, 2012) by Jonathan Retzlaff with IPA transcriptions by Cheri Montgomery, does just what it says.
Koko Taylor was the definition of a belter. Her powerful voice is perfect for blues. Earthshaker (Alligator Records, 1978) is one of our latest additions to the SLC Music Library’s blues collection. Check it out!
The University of California’s English Broadside Ballad Archive is also a fantastic project, with a dedicated team making previously hard to find (on microfiche or in archive) broadsides available to everyone, and transcribed to modern eyes and ears. Amazing. What we have online is amazing.