- Jun 2017
We have interpreted this piece as a call and response between the vocal line and the melody line. Are there other ways to interpret this? We also have not been able to identify what the vocal line means. We presume the language is Central African, but what language might this be? What does the word or phrase mean?
During the Jamaica Musical Passage Workshop, Earl "Chinna" Smith heard a song called "Runaway" within this piece. You can see them interpret it here:
body movement, spirituality, and often, political organizing
This was powerfully illustrated at the end of the Musical Passage Workshop in Jamaica, which concluded with a recognition and celebration of Rastafari elder Sam Clayton through song & dance:
Welcome to the Musical Passage discussion!
We are delighted to hear your thoughts both about the current state of the site and some of the ways we might envision expanding it, particularly in order to include contemporary interpretations of the music.
We participated in a workshop held at the Institute of Jamaica in Kingston on March 17, 2017, during which Rastafari musicians listened to interpretations of Sloane offered here and then played their own versions of the sings. You can watch five videos of the workshop, which include interpretations of Koromanti 2, Koromanti 1, Angola, & Papa, starting here:
We hope to organize other such events involving a variety of musicians in the future. We are curious therefore if you have thoughts about the following questions:
Are there ways we might incorporate such material directly in the site?
Or would it be better to create some kind of other portal or site to showcase this material and other interpretations by musicians? If so, what types of approaches/ tools would be best for this?
We also welcome your thoughts about any other aspects of design or content!
Laurent Dubois, David Garner, and Mary Caton Lingold
a flexible feel inviting improvisation
In the Musical Passage Workshop in Jamaica, Earl "Chinna" Smith did a great improvisation on the piece using slide guitar, which was a really interesting way of engaging with the scales laid out in the piece:
His solo is here about 7 minutes into the video:
a beat divided into 3 parts instead of two
There was an interesting discussion between a scholar named Peter Espeut & Earl "Chinna" Smith about the beat of this song during the Jamaica Musical Passage Workshop (starting about 10:20 in the video below)