German composer Buxtehude in Utrecht cathedral … (but is it Buxtehude?)


24 November 2007.

Today, again to the cathedral of Utrecht, for a classical music concert.

This time, it was Actus III of “Das jüngste Gericht” (The Last Judgment), by German composer Dietrich Buxtehude (1637-1707). However, the German language Wikipedia doubts whether Buxtehude is really the author of this music. The words are fire and brimstone about sinners and their eternal damnation in hell, according to seventeenth century Christian theology.

There were many more vocalists and instrumentalists than at earlier concerts I have heard here.

There were, for solo singing, two sopranos, one alto, a tenor, and a bass. Also, the big choir of the cathedral.

The orchestra, directed by Remco de Graas, consisted of six violins; six alto violins; two cellos; two double basses; one viola da gamba; one bass lute; one bassoon; one clavichord; and an organ of the church.

The big orchestra and choir meant that this time, the music had to be played at a different place than I had heard at earlier concerts with less musicians here. It came from where the altar used to be before the sixteenth century iconoclasm of the Reformation. This made for some acoustics problems.

Numbers in ancient Egypt


29 November 2007.

Egyptian numbersFrom The Times, in London, England:

Why a Nile tadpole means a great deal

Ancient Egypt’s awkward numerical system was based largely on the natural world

George Hart

Recording numbers and quantities was one of the first requirements of the bureaucracy as soon as hieroglyphs had been invented. Items to be accounted for varied from enemies slain in battle and prisoners to how many jars of beer or bunches of onions were needed to accompany the Pharaoh into the afterlife. Inventories of equipment used in temples were kept meticulously and any damage noted down.

The system of writing numbers was logical but cumbersome and took up a lot of space. A vertical or horizontal stroke indicated numbers 1 to 9, a hobble for cattle 10 to 90, a coil of rope 100 to 900 and a lotus 1,000 to 9,000. For higher numerals 10,000 was represented by a finger raised for counting and 100,000 by a tadpole – of which myriads would emerge in the pools left by the Nile’s annual flood. The concept of a million was confined to royal propaganda to convey the sense of the infinite number of years for which the Pharaoh and his monuments would exist. The notation took the form of a god with his arms raised to support the sky.

Where do you find hieroglyphs? See here.

How to read hieroglyphs: here.

Nubian pharaohs: here.

In a landmark article in the March/April 2010 issue of BAR, Orly Goldwasser, professor of Egyptology at the Hebrew University of Jerusalem, explained how the very first alphabet, from which all other alphabets developed, was invented by illiterate Canaanite miners in the turquoise mines of Serabit el-Khadem in the Sinai peninsula. Inspired by Egyptian pictorial hieroglyphs and a desire to articulate their own thoughts in writing, these Canaanites created 22 alphabetic acrophonetic signs scratched into the rock that could express their entire language: here.

Joan Jett interview about rock ‘n roll, women, and the Iraq war


19 November 2007.

This music video from the USA is called Joan Jett -Bad Reputation.

This music video is called Cherry bomb by Joan Jett.

From British daily The Guardian:

Queen of noise

While her friends were into the Osmonds, Joan Jett was strumming along to T Rex. When a woman plays rock’n'roll, she owns her sexuality, she tells Laura Barton. Perhaps that’s why male critics find her so scary. …

The name of Joan Jett has long been tinged with notoriety; the original female rocker [in The Runaways during the 1970s], she has not only enjoyed a successful career with hits such as I Love Rock’n'Roll, Crimson and Clover and Bad Reputation, earning herself a place in Rolling Stone’s 100 Greatest Guitarists of all time – one of only two women to make the list – but she has also been an inspiration to generations of female musicians, from the riot grrrl movement of the early 90s to Britney Spears, who covered I Love Rock’n'Roll in 2002, and now to the cluster of female fans who wait, flushed-faced, to meet her this evening in Brighton. …

In fact few record labels would touch Jett. “It’s hard to imagine, now, the resistance,” she says. “It wasn’t only about girls and rock’n'roll but also my image was so much harder than other girls in rock’n'roll, with the black hair and the leather jacket. We still have all the rejection letters; 23 of them.” The labels gave a variety of reasons: “They’d say, ‘You have no songs’,” Jett gives a lop-sided smirk, “and the tape we sent had I Love Rock’n'Roll, Crimson and Clover, Do You Wanna Touch Me and Bad Reputation. So they didn’t only miss one, they missed four hits … And we’d get a lot of, ‘Drop the guitar, stop hiding behind the guitar, change your image, sing softer songs.’ It was you’re not allowed to be edgy and you’re not allowed to be hard if you’re a girl.” She looks puzzled. “I’m so confused about that.”

Jett and Laguna summoned a new band, The Blackhearts, and decided to form their own label – a gamble that paid off in 1982 when her cover of The Arrows’ I Love Rock’n'Roll occupied the US No1 spot for seven weeks. This week she releases a new album, Sinner, and a cover of a track by The Sweet called AC DC: “It’s a little provocative,” she says with a knowing smile. “It pushes the envelope,” – as indeed does its video, featuring Carmen Electra, whom Jett has been rumoured to be dating.

Another track, Riddles, which samples a speech by Dick Cheney, “is sort of about doublespeak, the 1984 aspect of what’s going on in the world.” Speaking openly about American politics is, she says, “a calculated risk … You saw the reaction to the Dixie Chicks [see also here]! I mean it’s pretty frightening to me to consider the fact that on one hand you live in the Land of the Free and that dissent is part of democracy, and then to be singled out for speaking out when you do.” …

In 2004, Jett joined Howard Dean‘s campaign group as he ran to be the Democratic candidate. “I Googled all the candidates, and I found Howard Dean’s record as governor of Vermont: he’d been governor for 11 years, and worked very well with Republicans and Democrats. He got universal healthcare for all children under 18. He got prescription benefits for the elderly. And he was against the Iraq war, way before anyone else was saying it was wrong.

See also here.

The rise of the rock goddess: here.

We Need Rock! We Need Choice! Music Needs a Woman’s Voice: here.