Bravo Ted, this is superb writing and research. I love the illustrations.
In Orlando Figes book The Europeans, he writes about the importance of Spain and Russia as European points of contact with the so-called 'Oriental' world. If you haven't read it, I think it is very relevant to what you are writing about now.
It's no coincidence to me that the South of Spain has one of the richest musical traditions in the world, even though it is very hard to encounter in an authetic form. You're much more likely to find it in Seville's edgy 3000 Viviendas estate or in a music contest in Granada's prison than some overpriced restaurant in the caves of Granada. I live in Spain, and many flamenco musicians identify with Black Americans, on the basis that both are treated as an underclass and use music to maintain their dignity and express the pain of living in difficult cirumstances.
"Not long ago, many Spanish scholars denied these non-European influences on their music, but that never made much sense."
I think there is a central lie to every nation or culture, and the central lie to Spain is the denial African heritage, ancient and recent (I mean just look at the guitar!) In fact the ritual of re-enacting the Reconquista annually strikes me as a way of maintaining this delusion, as what is lost in the spectacle is that when the Catholics conquered Spain they did not drive out or execute the bulk of the population but demanded them to convert. In this sense the Moors never really left Spain but - as is almost always the case - they simply changed alligence and religion (and not just Muslims, but Jews also, who were able to coexist in the Moors more tolerant civilization than the one that followed it).
So much of Spanish culture from its food, ceramics, quadrant gardens, language (aceite, alfombra, azucar, Hola etc.) dance, clothes, and music, is heavily influenced by African culture. I think you're onto something with this strand of research. You seem to understand something about Europe that very few Europeans truly acknowledge.
One of the best articles on music I've read, and I've been reading them since 1956.
Music crosses borders and gets adapted. The Maghreb was always a part of the Mediterranean world and Troubadours began in Languedoc on the border of the Pyrenees. Just as "La Dolce Stil Nuovo" began in Sicily and was transformed by Florentine poets into the sonnet, the prevailing short poetic form until the 20th century.
The cultural stew of America has been simmering for a millennium.
Morris Dancers etymologically certainly are from "Moorish," but in their case it may be more deeply connected to Celtic symbols of Light and Dark. Gets really dark this time of year in Northwestern Europe.
There is also the example of African musicians who travelled in Europe and were invited to visit King Malcolm’s court in Edinburgh in 1487. They never left and by 1510 there was a thriving African Scottish community in Edinburgh. (Catholic Association for Racial Justice)
Amazing story. The man portayed in the painting by Jan Mostaert is not Vicente Lusitano, but assumed to be a member of the court of emperor Charles V. Since this is the only known portrait from this period of an African man in clothing of Western European royal courts, it sometimes appears as an illustration in articles about Lusitano.
I read your compelling piece about African influences on European music this morning while I was listening to a CD. Specifically, I was listening to Christian Hommel’s recording of J.S. Bach’s Concerto in A major for oboe d’amore, strings and basso continuo (BVW 1055). I cannot imagine better circumstances. This was real serendipity. If I did have any doubt or reservations about your post, they would have floated away with the sound. The African influences are that evident. This was were audible proof of African influence on Bach.
So you used to buy music from his catalogue too! Yes he had his own music label, Original Music. I still have some of those recordings that are mainly African music from Nigeria, Kenya, Ghana, Congo, Sierra Leone et al. He was a very learned man and lacked any pretension. You are right someone should do a bio. He certainly deserves to be remembered in this way.
As a teenager, I was fascinated by the exchange of musical ideas in the Iberian Peninsula. I even did a research project on it in school. Listening to Spanish music CDs felt like being a detective, discovering musical evidence from Africa, Arabic, Roman, Indian, Byzantine – you name it, it's there. Thank you for this article and particularly for introducing me to the music of Lusitano.
This is amazing. Could be a great appendix to Douglas Murray's book the War on the West, where at the end he begins to describe how the West (in general) has always uniquely valued learning from and gleaning from other cultures. This is very clear in its music, as you point out!
Bravo Ted, this is superb writing and research. I love the illustrations.
In Orlando Figes book The Europeans, he writes about the importance of Spain and Russia as European points of contact with the so-called 'Oriental' world. If you haven't read it, I think it is very relevant to what you are writing about now.
It's no coincidence to me that the South of Spain has one of the richest musical traditions in the world, even though it is very hard to encounter in an authetic form. You're much more likely to find it in Seville's edgy 3000 Viviendas estate or in a music contest in Granada's prison than some overpriced restaurant in the caves of Granada. I live in Spain, and many flamenco musicians identify with Black Americans, on the basis that both are treated as an underclass and use music to maintain their dignity and express the pain of living in difficult cirumstances.
"Not long ago, many Spanish scholars denied these non-European influences on their music, but that never made much sense."
I think there is a central lie to every nation or culture, and the central lie to Spain is the denial African heritage, ancient and recent (I mean just look at the guitar!) In fact the ritual of re-enacting the Reconquista annually strikes me as a way of maintaining this delusion, as what is lost in the spectacle is that when the Catholics conquered Spain they did not drive out or execute the bulk of the population but demanded them to convert. In this sense the Moors never really left Spain but - as is almost always the case - they simply changed alligence and religion (and not just Muslims, but Jews also, who were able to coexist in the Moors more tolerant civilization than the one that followed it).
So much of Spanish culture from its food, ceramics, quadrant gardens, language (aceite, alfombra, azucar, Hola etc.) dance, clothes, and music, is heavily influenced by African culture. I think you're onto something with this strand of research. You seem to understand something about Europe that very few Europeans truly acknowledge.
One of the best articles on music I've read, and I've been reading them since 1956.
Music crosses borders and gets adapted. The Maghreb was always a part of the Mediterranean world and Troubadours began in Languedoc on the border of the Pyrenees. Just as "La Dolce Stil Nuovo" began in Sicily and was transformed by Florentine poets into the sonnet, the prevailing short poetic form until the 20th century.
The cultural stew of America has been simmering for a millennium.
Morris Dancers etymologically certainly are from "Moorish," but in their case it may be more deeply connected to Celtic symbols of Light and Dark. Gets really dark this time of year in Northwestern Europe.
There is also the example of African musicians who travelled in Europe and were invited to visit King Malcolm’s court in Edinburgh in 1487. They never left and by 1510 there was a thriving African Scottish community in Edinburgh. (Catholic Association for Racial Justice)
Amazing story. The man portayed in the painting by Jan Mostaert is not Vicente Lusitano, but assumed to be a member of the court of emperor Charles V. Since this is the only known portrait from this period of an African man in clothing of Western European royal courts, it sometimes appears as an illustration in articles about Lusitano.
Oh my god!! That music! “Heu me Domini” by Vicente Lusitano… sounds so modern! You got me reading up on 16th century chromaticism… fascinating stuff!
“Western song styles became dominant because they were the most multicultural musical idioms in the world” - a cool tenet!
I read your compelling piece about African influences on European music this morning while I was listening to a CD. Specifically, I was listening to Christian Hommel’s recording of J.S. Bach’s Concerto in A major for oboe d’amore, strings and basso continuo (BVW 1055). I cannot imagine better circumstances. This was real serendipity. If I did have any doubt or reservations about your post, they would have floated away with the sound. The African influences are that evident. This was were audible proof of African influence on Bach.
The Russian poet Pushkin’s grandfather was an African, and a favorite at the Court of Peter the Great.
"Diversity was their strength. It still is."
Sad how some rant against this "idea."
Interesting. History always manages to topple our prejudices. Thanks.
So you used to buy music from his catalogue too! Yes he had his own music label, Original Music. I still have some of those recordings that are mainly African music from Nigeria, Kenya, Ghana, Congo, Sierra Leone et al. He was a very learned man and lacked any pretension. You are right someone should do a bio. He certainly deserves to be remembered in this way.
This is a fascinating story, Ted. The images are also amazing.
As a teenager, I was fascinated by the exchange of musical ideas in the Iberian Peninsula. I even did a research project on it in school. Listening to Spanish music CDs felt like being a detective, discovering musical evidence from Africa, Arabic, Roman, Indian, Byzantine – you name it, it's there. Thank you for this article and particularly for introducing me to the music of Lusitano.
Thanks for sharing! Super interesting history 👌
This is amazing. Could be a great appendix to Douglas Murray's book the War on the West, where at the end he begins to describe how the West (in general) has always uniquely valued learning from and gleaning from other cultures. This is very clear in its music, as you point out!
Interesting you should mention Elvis Presley, who was of Melungeon ancestry, a mix of white, Native American, and black.