![]() There’s truth, lies, and there’s ChatGPT [Realms o.Let's remember April [cherry blossoms, leaves, and.Grace Kelly can unchain my heart anytime anywhere.Louis Armstrong and the Snake-Charmin’ Hoochie-Coo.Japan is changing, female employment increasing [K.How the chatster conjured up a fake citation, step.Friday Fotos: An eclectic mix from the last few we.Beyond ChatGPT: The return of secretaries, in the.Taking stock of your life, backstage, who's more n.Is the "civilized" world afflicted with “workism”?.Being a girl, a geisha, a wife, a mother, and a Yo.What's Sutan's favorite toy? [Hey, Mr.Six versions of "Unchain My Heart," a lesson in co.Peter Thiel’s second thoughts about funding Elieze.ChatGPT about Jack, a pumpkin, Aurora, Merlin, a c.Percent of large-scale AI results coming from acad.The instrument is a zurna, a double-reed instrument common "in central Eurasia, Western Asia and parts of North Africa." ![]() This next version sounds out of tune to me, but not, I suspect, to the musician who is playing it. More recently, Sol Bloom, the entertainment director for the 1893 Chicago Columbian Exposition, claimed he wrote the melody for an attraction called “A Street in Cairo.” Bloom never copyrighted the song, so many other composers used the melody, including Irving Berlin in a song called “In My Harem.” The best known of the copyrighted versions is James Thornton’s “The Streets of Cairo,” but the melody is perhaps better known for its many bawdy versions. It may derive from an Algerian or Arabic song, “Kradoutja,” that was popular in France in the 1600s. The subject melody of “Bach Goes East” is familiar, but its origins are hard to pin down. It comprises three fugues: “Bach Goes to Sea,” “Bach Goes East,” and “Bach Goes North.” Carry on Bach premiered at a lunchtime concert in The Duke’s Hall at the Academy on June 26, 1974. 1954) while an oboe student at the Royal Academy of Music in London. And, on the evidence, equally fertile.Ĭarry on Bach was composed by Paul Arden-Taylor (b. For all practical purposes we can consider it to be nearly as old and widely dispersed as dirt. It may even be a Middle Eastern song, or a mutation of one, that came to Europe via North Africa through Moorish Spain or was brought back from one of the Crusades. This song may thus have been in the European meme pool 250 years before Arban found it. Wekerlin noted that the first phrase of that song is almost identical to Kradoutja, a now-forgotten Arabic or Algerian melody that had been popular in France since 1600. ![]() It is thus in the service of a truncated ethnic inclusiveness that he included an “Arabian Song”-or, more likely, the one-and-only “Arabian Song” he knew.īeyond this, the opening five notes of this song are identical to the first five notes of Colin Prend Sa Hotte, published in Paris in 1719. Thus we find a “German Song,” a “Neapolitan song” and a “Swiss Song,” a “French Air” and an “Italian Air,” a “Russian Hymn” and an “Austrian Hymn,” as well as “Blue Bells of Scotland” and “Yankee Doodle.” In compiling his collection of melodies Arban clearly wanted to present music from all the civilized nations he could think of. ![]() It is the only song identified with the Orient in Arban’s collection, but other tunes have national or ethnic identification. When we consider the lyrics this tune has attracted, its use in cartoons to accompany snake charming, and its title, it seems to be a musical icon of the Mysterious Licentious Orient, which had fascinated European peoples at least since the Crusades.
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