(Also see Música)


CONTENTS of Music History 102:

As is usual with information on the history of Western music, this site has been organized according to the eras of history:



Jacques Loussier (born Angers, France, EU, Oct 26, 1934) started playing piano at the age of ten; when Loussier was just sixteen, he entered the Conservatoire Nationale de Musique in Paris where he studied with Professor Yves Nat (1, 6). From the outset, creating the beginnings of the Loussier sound, he played piano in restaurants and dance halls as an accompanist to chanson singers such as Charles Aznavour and Catherine Sauvage (4).
In 1959 Loussier formed the Play Bach Trio (Loussier arranger, piano and organ, Pierre Michelot bass, and Christian Garros percussion) which used Bachs compositions as the basis for jazz improvisation,recording (9) for Decca between 1960 and 1963: the trio achieved sound special effects (7) with Loussier double tracking some pieces on electronic organ (8,
10) and piano and, later, recording some of Loussier arrangements of Bachs concerti with the Royal Philharmonic Orchestra (1, 4). The trio toured extensively, eventually selling over six million LPs in fifteen years, and then disbanded (2, 4,  5).
Loussier is a licensed pilot who used to fly his own light plane and have many contributions as composer, miscellaneous crew and self composer in filmography from the 1960s (


        More about Jacques Loussier
        Music from the Movies: David Arnold
        Play Bach!, Loussiers´ Trio


        Disk Discussion

Session conducted by Les Tomkins featuring The Modern Jazz Quartet Milt Jackson, John Lewis, Percy Heath and Connie Kay.The following blindfold test was carried out in 1964 but time would hardly change the opinions expressed here. They could well have been uttered today - or even tomorrow. Jazz lives on!

    Kernfeld B(Ed)(1994): «Jacques Loussier», 717.
    Tomkins L(1964) «Session conducted by by Les Tomkins featuring The Modern Jazz Quartet Milt Jackson, John Lewis, Percy Heath and Connie Kay»,
        In: Date:  Sat, 30 Sep 2006 14:09:49 -0300
    Kernfeld B(Ed)(1994): «Organ», 939-942.
    Lon 3365 [1963], In: Kernfeld B(Ed)(1994): 717.
    Sears A(1994) «A Walk on the Wild Side The Story of Jazz Organ», The Story of Jazz Organ

        Date: Sat, 30 Sep 2006 14:00:33 -0300

    Bach: Cantatas BWV 84, 209, 202 ~ Johann Sebastian Bach (July 11, 2000)

        Music Sampler (audio)

        Cantata BWV 84 Ich bin vergnügt mit meinem Glücke

        Italian Translation: "Io son contento della mia buona sorte",


The Royal Philarmonic Orchestra of London

    Franz Haydn




Hayden String Quartet Op.76 Nº 3 "Kaiser" 4th. mov.(Presto) (audio)

More links

    Haydn Good site. Extensive information.
    Joseph Haydn and the Classical Era Another good site with many links.





Go to OperaGlass: Opera List

Go to OperaGlass: Main Page


Jazz in Italy


                            Tullio Mobiglia
     The Complete TULLIO MOBIGLIA
(1941 - 1946)








Brahms Johannes

                   Brahms, Capriccio, opus 76 no 2






The Music of  Gustav Holst

Holst: “As a rule I only study things which suggest music to me ... recently the character of each planet suggested lots to me, and I have been studying astrology ...” Writing to a friend in 1913, Holst confirmed the insiration for his Suite for Large Orchestra, a reminder, if any were needed, that these “Planets” are not the celestial objects"

    (1914-16) The Planets Op. 32

- Mars, the Bringer of War

- Venus, the Bringer of Peace

- Mercury, the Winged Messenger

- Jupiter, the Bringer of Jollity

- Saturn, the Bringer of Old Age

- Uranus, the Magician

- Neptune, the Mystic


Nottingham Philharmonic Orchestra

        The Planets


Intimations of Immortality

    Gerald Finzi (1901 - 1956)       

          Guido of Arezzo

                The Hand of Guido

                  The Hand of Guido (also known as the Guidonian Hand) is based on the solmization which Guido is credited with having developed c.1025.


                                                UT, A DEER, A FEMALE DEER?

                  Guido d'Arezzo was also famous for his techniques of teaching sight singing. He is credited with the invention of solmization, assigning syllables for each of the six tones of the hexachord to the first syllable of each verse of the St. John Hymn, a musical piece that was very well known at the time.

St. John Hymn "Ut queant laxis" [ca. 800 A.D.]













Ut queant laxis


That [ut] your servants



Resonare fibris


May freely sing [resonare]



Mira gestorum


The miracles



Famuli tuorum


Of your deeds



Solve poluti


Remove [solve] all stains [of sin]



Labii reatum,


From their unclean lips [Labii],



Sancte Ioannes!


Saint John!

                  This is where we get Ut [later changed to Do] Re, Mi, Fa, Sol, and La, sometimes also called Ela. The name solmization comes from the fourth and fifth syllables, sol-mi. Later, when the seventh tone of the diatonic scale was added into popular use, the initials of the Latin words in the last line of the song, Sancte Ioannes, were combined, for Si, later changed to Ti. (see The Hand of Guido)

     The Royal Philarmonic Orchestra of London (Victor Pellegrini and Juan Cerro  -guitar; José Menese -lyrics) García Lorca


  History of "Tango"

      Dictionary of "Lunfardo"      

            Slang spoken by the lower classes -immigrants and poor working people- in Buenos Aires


        Famous Tangos

          El día que me quieras

          La cumparsita

          A media luz




                              Adios Nonino

                          Balada para un loco











Arabic Contributions to Spanish Music, Song and Dance by HABEEB SALLOUM, Senior Global Correspondent


Nocturnal Ethnographies: Following Cortázar in the Milongas of Buenos Aires

[…] Milongas, in the current tango lexicon, are the tango joints--a space and a time when and where tango bodies get together to produce tanguidad (tanguity, tango-ness). They are the physical site of the corporeal, temporary encounter of the practitioners of the tango dance. The milongas of Buenos Aires are a slippery landscape. They are invisible to eyes untrained in tango and elusive to those who do not keep up with current milonga tips


Music of Argentina

     The music of Argentina is known mostly for the tango , which developed in Buenos Aires and surrounding areas, as well as Montevideo , Uruguay

Argentina, officially the Argentine Republic , is the second largest country in South America, constituted as a federation of 23 provinces and an autonomous city, Buenos Aires. It is the eighth largest country in the world by land area and the largest among Spanish-speaking nations, though Mexico,...

Uruguay , is a country located in the southeastern part of South America. It is home to 3.46 million people, of whom 1.1 million live in the capital Montevideo and its metropolitan area. An estimated 88–94% of the population are of mostly European and/or mixed descent.

Folk , pop and classical music are also popular, and Argentine artists like Mercedes Sosa  and Atahualpa Yupanqui  contributed greatly to the development of nueva canción . Argentine rock has also led to a defiant rock  scene in Argentina. Folk music  called música folklórica or folklore in Spanish, from transliteration of the English folklore  


Andean Music, the Left, and Pan-Latin Americanism: The Early History (en inglés) , Fernando Rios (University of Illinois, Urbana-Champaign)

    In late 1967, future Nueva Canción (“New Song”) superstars Quilapayún debuted in Paris amid news of Che Guevara’s capture in Bolivia. The ensemble arrived in France with little fanfare. Quilapayún was not well-known at this time in Europe or even back home in Chile, but nonetheless the ensemble enjoyed a favorable reception in the French capital.


Domenico Zipoli Italian musician

[…] he started a three months crossing bound for Rio of Plata (in Argentina). After a violent storm he and the others disembarked in July at Buenos Aires, and after 15 days set out for Cordoba. By 1724 he had completed with distinction the required three years each of philosophy and theology at the Jesuit Colegio Maximo and university in Cordoba. He continued his musical activities, as organist, choirmaster and printer, which may have delayed the completion of his studies. He was ready to receive priest's orders in 1725, but died (of tuberculosis) without them for lack of a bishop in Cordoba to ordain him that year.


Music and Politics 

   Toward a Political Anthropology of Mission Sound: Paraguay in the 17th and 18th Centuries GUILLERMO WILDETranslated from the

  Spanish by Eric Ederer

       Any consideration of pre-Enlightenment art, particularly music, presents similar difficulties to taking on any of the so-called “aesthetic experiences” of non-Western societies. The globalizing concept of “aesthetics” inevitably becomes entangled with other notions of greater historical and ideological charge that configure a contemporary worldview—artistic individuality, creative will, and “the work of art,” among others.