The cris de Paris according to Marcel Proust, Joseph Mainzer and Georges Kastner; folklore and music theory ca. 1900, and the peddlers’ cries of Amsterdam. To conclude, the call of the night watchman in London, Amsterdam, and Leipzig, with a forgotten night watchman’s call in Schumann's Symphony No. 1. 00:00 Intro 00:35 Marcel Proust (1923): Time lost 02:04 Plainchant and recitative 12:23 Nightwatchman’s calls 16:20 G.A. Heinze and Schumann’s Frühlingssinfonie (1841) Music excerpts: 07:26, 12:19 Jean Péheu, Les cris parisiens: scène d’imitations 191? https://gallica.bnf.fr/ark:/12148/bpt6k127305d 08:25 Claude Debussy, Pelléas et Mélisande, Act 5 (Arkel). D. Ward, Covent Garden, P. Boulez. CBS (1970) 12:41 Orlando Gibbons, The Cries of London. Theatre of Voices, P. Hillier, Fretwork. Harmonia Mundi (2006) 13:36, 14:29 Richard Dering, The City Cries. Theatre of Voices, P. Hillier, Fretwork. Harmonia Mundi (2006) 15:37 Richard Wagner, Die Meistersinger von Nürnberg, Act 2 sc. 5, R. Pape, Bayerisches Staatorchester, W. Sawallisch EMI 7390182 (1993) 16:25, 17:00, 21:58 Robert Schumann, Symfonie Nr. 1. The Hanover Band, R. Goodman. RCA 09026-61931-2 (1994) More on de street cries of Amsterdam in the Dutch version of this episode: https://lodewijkmuns.nl/podcast/spraakmelodieen-en-straatroepen-3/ References: see https://lodewijkmuns.nl/podcast/speech-melodies-and-street-cries-1/

Around the middle of the nineteenth century, the cris de Paris were still mainly regarded as annoying noise. Since then, however, a process was underway to regulate and reduce itinerant street trading. During this process, which takes place over several decades, the street cries are being listened to and described with increasing interest. According to Joseph Mainzer, the cries were an elementary form of folk music; Jean-Georges Kastner saw in them music in the process of coming into being. Kastner’s artistic ambition was to give musical form to ‘the voices of Paris’. Not his own composition, but Gustave Charpentier’s opera Louise can be seen as the realsation of that ambition. 00:00 Intro 00:53 City noise 02:46 Marginalisation and nostalgia 04:35 From annoyance to aesthetics 08:49 Mainzer (1841): street calls as music 12:09 Kastner (1857): Les voix de Paris 19:04 Offenbach (1858): Purchase your pleasure, ladies! 24:10 Charpentier (1900): Louise Music excerpts: 00:37, 04:26, 11:44 Jean Péheu, Les cris parisiens: scène d’imitations 191? https://gallica.bnf.fr/ark:/12148/bpt6k127305d 07:17 Duncan MacLeod, The Cries of Columbia Road 2017 15:03, 16:28 Jean-Georges Kastner, Les voix de Paris. Ensemble Clément Janequin, D. Visse. L’écrit du cri. Harmonia mundi 2009 18:36, 22:08 Jacques Offenbach, Mesdames de la Halle. M. Mesplé, J-Ph. Lafont a.o., Orchestre Philharmonique de Monte-Carlo, Manuel Rosenthal. EMI 1983 23:54 Giacomo Puccini, La bohème. R.C.A. Victor Chorus, R.C.A. Victor Orchestra, Th. Beecham. EMI 1956 24:42, 27:36 Gustave Charpentier, Louise. I. Cotrubas, P. Domingo, Ambrosian Opera Chorus, New Philharmonia Orchestra, G. Prêtre. EMI 1976 References: see https://lodewijkmuns.nl/podcast/speech-melodies-and-street-cries-1/

In everything we say, there is the ‘tone’ in which we say it, or ‘speech melody’. In that speech melody lies a clear, but limited, analogy with music. When we make ourselves heard over a greater distance by calling out, our speech comes closer to singing. Calling or crying played an essential role in itinerant street trade. The peddlers’ calls were a characteristic element of the street soundscape of the major cities. We have remnants of this in the form of musical notation since the 19th century. Another source that goes back much further is the quotations of peddlers’ cries in composed music. Whether an authentic cry has been preserved in these compositions is always open to question. This first of three episodes explores the musicality of speech melody, the cries of street vendors as cultural heritage and musical material, motets of the 13th and 14th centuries, Janequin’s Cris de Paris (1530) and the Cries of London (1600 and 1974). 00:00 Intro 00:37 Speaking, calling, singing 02:18 Street cries 07:14 Musical quotations 09:03 Les cris de Paris 10:37 Fresh strawberries (ca. 1260-1350) 16:57 Clement Janequin (1528) 20:31 The cries of London (ca. 1610 en 1976) Music excerpts: 01:21 D. Auber, Les diamants de la couronne: Air et variations. Selma Kurz (1914) https://www.youtube.com/watch?v=d8RudRkvpqk 05:20 Anonymous, Won't you buy my sweet blooming lavender. Janet Penfold. Songs of the Travelling People. Saydisc 06:16, 08:43 Edward German, Who’ll buy my lavender. Grace Moore (1937) 12:06, 13:32 Anonymous, On parole/A Paris/Frèse nouvele (Montpellier-Codex, ca 1250). Clemencic Consort, R. Clemencic. Motetus. Stradivarius STR 33398 (1996) 15:16 Anonymous, Je commence/Et je feray/Soules viex (Ivrea Codex, ca. 1350). Les Musiciens De Saint-Julien. Je Voy Le Bon Tens Venir. Alpha 189 (2013) 18:50 Clément Janequin, Les cris de Paris. Ensemble Clément Janequin, D. Visse. L'écrit du cri. Harmonia mundi (2009) 21:23 Orlando Gibbons, The Cries of London. Theatre of Voices, P. Hillier, Fretwork. Harmonia Mundi (2006) 24:09 John Cobb, These are the Cries of London Town. Deller Consort, A. Deller (1956). Vanguard Classics (1994) 24:31, 26:07 Luciano Berio, The Cries of London. Swingle II (1976). Decca 425 620-2 (1990) References: see https://lodewijkmuns.nl/podcast/speech-melodies-and-street-cries-1/

A closer look at a recitative from the opera Armide by Jean-Baptiste Lully, a dispute between Rousseau and Rameau, and Gluck’s opera Armide on the same libretto. Also the issue of operatic singing that represents not speaking, but precisely what it is: singing. 00:00 Intro 00:37 Lully: Armide (1686) 11:23 Gluck: Armide (1777) 20:36 A second voice 23:04 Singing by way of singing 27:28 Orpheus Music and sound excerpts: 02:44, 04:07, 08:16 J.-B. Lully. Armide: Enfin il est en ma puissance (Act II, scene 5). Véronique Gens, Les Talens Lyriques, Christophe Rousset. Tragédiennes. Virgin Classics – 00946 346762 2 9 (2006). 12:14, 16:48, 23:03 C.W. von Gluck, Armide: Enfin il est en ma puissance (Act II, scene 5). Véronique Gens, Les Talens Lyriques, Christophe Rousset. Tragédiennes. Virgin Classics – 00946 346762 2 9 (2006). 25:48, 32:13 W.A. Mozart, Le nozze di Figaro: arietta Voi che sapete. Cecilia Bartoli, Wiener Staatsopernchor, Wiener Philharmoniker, Claudio Abbado DGG 477 9124 (1995). 29:35, 33:10, 33:47, 34:23 Chr. W. von Gluck, Orfeo ed Euridice: Deh placatevi. Bernarda Fink, RIAS Kammerchor, Freiburger Barockorchester, René Jacobs HMY2921742.43 (2014). 36:26, 38:40 R. Wagner, Die Meistersinger von Nürnberg: Morgenlich leuchtend in rosigem Schein (Act III). Ben Heppner, Chor der Bayerischen Staatsoper, Bayerisches Staatsorchester, Wolfgang Sawallisch EMI 7390182 (1993). Selected references for episodes 24 and 25: see https://lodewijkmuns.nl/singing-by-way-of-speaking-1

About the human voice, the difference between speaking and singing, speech melody and the Speech to Song Illusion, the strengths and weaknesses of operatic recitative, and emotion as a justification for the absurdity of singing by way of speaking. 00:00 Intro 00:36 The versatile voice 05:40 Speech melody: tones and glides 10:00 Calling out 11:38 The Speech to Song Illusion 16:21 Declamation, recitation, recitative 20:46 Absurd conventions 26:05 Singing as a natural language Music and sound excerpts: 01:32, 04:50 Luciano Berio. Sequenza III. Tony Arnold (2006) Naxos 8.557661-63 02:47, 08:10 Francis Poulenc. La voix humaine. Denise Duval (1959) Warner Classics 0190295738105 03:31 Lemur calls https://www.youtube.com/watch?v=4d3vFI5UpIc 08:41, 19:40 Frédéric Chopin. Prélude op. 28 nr. 4 in e* 12:14, 12:38 Diana Deutsch, The sounds as they appear to you… https://deutsch.ucsd.edu/psychology/pages.php?i=212 15:30 Lodewijk Muns, Impromptu on 'sometimes behave so strangely' 17:16 Jacopo Peri. L’Euridice. Françoise Masset, Les Arts Baroques, Mireille Podeur (1993) Maguelone MAG 358.415 21:45 W.A. Mozart. Cosí fan tutte: Soave sia il vento (No. 10). Bernarda Fink, Véronique Gens, Pietro Spagnoli, Concerto Köln, René Jacobs. Harmonia Mundi HMC95 1663/5 (1999) *Lodewijk Muns, piano On the Speech to Song Illusion, see Lodewijk Muns, Speech melody and the Speech-to-Song Illusion https://lodewijkmuns.nl/music/music-and-language/speech-to-song-illusion/ Selected references for episodes 24 and 25: see https://lodewijkmuns.nl/singing-by-way-of-speaking-1

The activity of spinning, and the movement and sound of the spinning wheel are common motifs in nineteenth-century music. How successful is this music as a “representation” or “depiction” of spinning? And how does it relate to the socio-cultural context of spinning as a craft, and particularly as women's work? 00:00 Intro 00:37 Character pieces 03:27 “Diligent, pious en virtuous”: J.A.P. Schulz 10:02 Haydn: “Knurre, schnurre” 11:57 Schubert’s Gretchen 17:42 Mendelssohn: spinning song or not? 20:40 Wagner: “Summ und brumm” 24:34 Movement timbre, texture 30:38 From Gretchen to Louise For a more extensive discussion and sources, see L. Muns, Purring and Whirring: Music of the Spinning Wheel. Music excerpts: 01:04 B. Godard, Au rouet op. 85 (piano*) 05:41 J.A.P. Schulz, Spinnerlied (piano*) 08:31 J.A.P. Schulz, Die Spinnerin (piano*) 10:43 J. Haydn, Knurre, schnurre, Rädchen, schnurre, from Die Jahreszeiten (Norrington, Oelze, RIAS Kammerchor, Chamber Orchestra of Europe) Hänssler PH07076 12:03, 15:10 F. Schubert, arr. F. Liszt, Gretchen am Spinnrade (piano*) 13:26 F. Schubert, Gretchen am Spinnrade (Auger, Olbertz) Berlin Classics 17:57 F. Mendelssohn, Lied ohne Worte op. 67 nr. 4 (piano*) 20:10 F. Mendelssohn, Lied ohne Worte op. 67 nr. 4 (Rachmaninoff, 1920) Victor 21:54 R. Wagner, Summ und brumm, du gutes Rädchen, from Der fliegende Holländer (Barenboim, Chor der Berliner Staatsoper, Staatskapelle Berlin) Teldec 23:18 R. Wagner, arr. F. Liszt, Spinnerlied aus Der fliegende Holländer (piano*) 26:47 Collage: F. Mendelssohn, Lied ohne Worte op. 67 nr. 4 – 27:06 A. Jungmann, Schnurre, Rädchen, schnurre! op. 294 – 27:35 R. Joseffy, Spinnlied – 27:58 H. Litolff, Zweites Spinnlied op. 104 – 28:28 F. Spindler, Le chant de la fileuse op. 164 – 28:36 H. Ketten, Marguérite au rouet op. 12 – 28:45 B. Godard, Au rouet op. 85 – 29:09 J. Raff, La fileuse op. 157 No. 2 (piano*) 33:08 G. Charpentier, Interlude from Louise, Act II (Prêtre, New Philharmonia Orchestra) Sony S3K 46429 34:08 M. Moessorgskij, Sjveja (The seamstress) (piano*) *Lodewijk Muns, piano

On the question of whether and how music can tell a story. With music by Debussy (prélude La sérénade interrompue), Liszt (Die Loreley), and Chopin (ballades). 00:00 Intro 00:36 Telling stories 02:49 Debussy: La sérénade interrompue 09:56 Programme music 11:16 Can music tell a story? 12:23 Liszt: Die Loreley 24:46 A narrative ‘tone’ in music 29:45 Chopin’s ballades 35:21 The musical narrator Music fragments: 02:55 Claude Debussy, Prélude Livre I No. 9, La serenade interrompue (compl.)* 12:56 Franz Liszt, Die Loreley S. 532 (2nd version) (compl.)* 26:23 Robert Schumann, Fantasie op. 17 (fragment)* 27:23 Friedrich Silcher, Die Loreley (fragment)* 28:29 Franz Liszt, Die Loreley S. 531 (1st version) (fragment)* 30:22 Frédéric Chopin, Ballade No. 4 op. 52 (fragment)* 32:41 D.-F.-E. Auber, Fra Diavolo, Romance (Couplets). Mesplé, Soustrot, Orchestre Philharmonique de Monte-Carlo. His Master's Voice EX 157 27 0068 3 34:28 Frédéric Chopin, Ballade No. 3 op. 47 (fragment)* See also: L. Muns. Concert Song and Concert Speech around 1800. Music & Letters 98, no. 3 (2017): 365–93 . https://doi.org/10.1093/ml/gcx082 ———. Fiction, Truth, and Lies: The Nonassertion Theory of Fiction, Quotation, and Music as Fiction, 2021. https://hcommons.org/deposits/item/hc:28479/ ———. Who’s “I” in Music?: Unmasking the Musical Persona, 2021. https://hcommons.org/deposits/item/hc:43711/

Mickey-mousing – the close synchronisation of music and image, as in classic animated films – has a bad reputation for being a simplistic and pointless duplication of the image. But it becomes interesting when we ask ourselves how exactly the music relates to the world of image and sound. 00:00 Intro 00:35 The cinematic functions of sound 03:00 Breaking through the sound barrier 08:40 “Harmful duplication” 12:18 Tom-and-Jerrying 15:47 Rhythm for ears and eyes 19:11 Animated patterns Music fragments: 04:34 Cathy Berberian. Stripsody. The Unforgettable Cathy Berberian. Classic Options CO-3505. 07:28 Wilfred Jackson en Bert Lewis. Steamboat Willy. Walt Disney Animation Studios. https://www.youtube.com/watch?v=BBgghnQF6E4 10:26 Hanns Eisler. Vierzehn Arten den Regen zu beschreiben op. 70. F.-C. Erben, Kammermusikvereinigung der Deutschen Staatsoper Berlin. Berlin Classics 0092552BC 1997. 12:50 Scott Bradley. The Invisible Mouse. Hanna and Barbera. Tom en Jerry: De collectie dl. 3. Turner s.a. 19:00 Zez Confrey. Kitten on the Keys. Z. Confrey (piano), 1921. https://www.loc.gov/item/00694031/ 20:42 Emmanuel Chabrier. Joyeuse Marche. E. Ysaye, Cincinnati Symphony Orchestra, 1919. Eugène Ysaÿe, violinist and conductor: the complete violin recordings. Sony Classical MHK 62337 Quoted text: Th.W. Adorno and H. Eisler. Komposition für den Film. Frankfurt am Main: Suhrkamp, 2006. E. Hanslick. Vom Musikalisch-Schönen: ein Beitrag zur Revision der Aesthetik der Tonkunst. Leipzig: Weigel, 1854. See also the references to these posts: The Acousmatic Experience https://lodewijkmuns.nl/2020/11/19/acousmatic-experience/ The Archaic Ear https://lodewijkmuns.nl/2020/11/09/the-archaic-ear/ The Fine Art of Mickey-Mousing https://lodewijkmuns.nl/2020/12/06/mickey-mousing/ Rhythm for the Ears and for the Eyes https://lodewijkmuns.nl/2020/12/23/rhythm

What kind of ‘thing’ is music? To what extent do we hear music as sound, as something with a source and a cause? And how do we explain the presence of music in cinema? 00:00 Intro 00:37 Some things are more thingish than others 03:05 The three-dimensionality of sound 04:36 The acousmatic experience 07:55 Is music acousmatic by nature? 15:23 Where does that music come from? Music fragments: 06:24 L. Muns, Le chien acousmatique: petit essai de musique concrète. 08:35 F. Schubert, Sonata in E-flat Major D568 (piano*). 12:36 L. van Beethoven, Sonata in C-sharp Minor op. 27 nr. 2 (Mondschein) (sinus tones/piano*). 17:32 C. Debussy, Pelléas et Mélisande. C. Abbado, Wiener Philharmoniker. DGG 4353442. 20:34 Casablanca (film). Ingrid Bergman, Humphrey Bogart, Dooley Wilson, Max Steiner. Warner Brothers 1943. *Lodewijk Muns, piano Quoted text: R. Scruton, The Aesthetics of Music. Oxford: Clarendon Press 1997 Further references in: L. Muns, ‘The Acousmatic Experience’. Lodewijk Muns (blog). https://lodewijkmuns.nl/2020/11/19/acousmatic-experience/ L. Muns, ‘The Archaic Ear’. Lodewijk Muns (blog). https://lodewijkmuns.nl/2020/11/09/the-archaic-ear/

On abstract and ‘absolute’ music, Eduard Hanslick's auditory kaleidoscope, Heinrich Schenker's primal counterpoint, and Bach's fugues. With a written appendix: ‘Art playing with itself’: the anti-contrapuntal prejudice. https://lodewijkmuns.nl/2024/12/31/counterpoint/ 00:00 Intro 00:36 Two dogmas 05:06 Music without additives 06:28 The auditory kaleidoscope 08:57 ‘Art playing with itself’ 13:22 Complementarity: harmony and counterpoint 17:48 Die Kunst der Fuge 24:22 Metacounterpoint 27:26 Heinrich Schenker's epiphany 34:29 Bach: Prelude and fugue in F major BWV 880 Music fragments: 04:02 J.S. Bach, Sinfonia (Three-part Invention) Nr. 1 BWV 787 13:48 Melody and harmonisations (Google doodle) 16.33 J.S. Bach, Präludium F dur BWV 880, Das wohltemperierte Klavier II nr. 11 20:31 J.S. Bach, Contrapunctus I, Die Kunst der Fuge BWV 1080 25:55 H. Schenker, Zweistimmige Invention op. 5 nr. 1 34:58 J.S. Bach, Präludium und Fuge F dur BWV 880, Das wohltemperierte Klavier II nr. 11 Lodewijk Muns, piano References: see https://lodewijkmuns.nl/2024/12/31/counterpoint/#references