For several months I have been preparing to record by “playing” this piece more than “practicing” it —while I decided what to write about its title. The French word “nègre” is “negro” in English, and can be considered both offensive and outdated in modern contexts. Additionally, the title has kindled significant social commentary that has led to discussions about the appropriateness of the title. I eventually asked for ChatGBT’s help composing a disclaimer about the title of Cyril Scott’s Op. 58, No. 5 composition, “Dance Nègre.”
“The title of Cyril Scott's 'Dance Nègre' reflects the historical period in which it was composed, a time when language and societal norms differed significantly from today's standards. It is presented in its original form to preserve the integrity of the historical work and does not endorse any outdated or insensitive views. We acknowledge the progress in our understanding and respect for all cultures and communities."
Cyril Scott‘s “Dance Nègre” Op. 58, No. 5, like many compositions from the early 20th century (published 1908) was influenced by a naive fascination with non-Western cultures. This “dance” was composed during a time when there was a surge of interest in African and African-American culture(s) among European composers and audiences. The title is indicative of the period in which it was composed. Many such pieces, likely including this one were based on Western interpretations and stereotypes of non-Western music, rather than on authentic musical traditions.
I first played this composition during my early high-school years when Mrs. Katherine Jones was still my piano teacher. I will eventually share more of my memories about Mrs. Jones.
This is the first time that I have recorded myself in my studio using both video and audio simultaneously. And, though I have previously used multiple cameras for video productions, this was the first time that I post-processed them to synchronize and display multiple videos at the same time.
I made editing “cuts” between “takes” in the video that observant viewers will notice are not present in the audio track. The explanation is that even though the resultant video was assembled from separate “takes,” by using additional “secret MIDI sauce,” I was able to create/record a continuous piano audio performance from its realtime-recorded MIDI —then, to re-synchronize existing segmented video-tracks to the now continuous audio performance, using visual cues and by being able to align the “waveforms” of the new audio and of the audio paired with/to each video-track.
The stool that I am sitting on in the video is the “Motion Stool” made by Uplift Desks for their “sit-stand” desks. It is adjustable from chair height to being tall enough to provide support when standing. I have several in each of my studios. In the video you may notice that though being very stable, the stool leans and rocks while I am playing to facilitate reaching each end of the keyboard.
You will notice a wireless computer-numeric-keypad on the top-right of the synthesizer-keyboard I am playing. You will see me reach for the keypad multiple times during my performance. I am turning the “pages” of the musical score (PDF file) on the video-monitor in front of me —out of sight of camera views. Reaching is distracting, and disrupts the music’s “flow.” In the future I plan to find a way to use foot-pedals or such, instead…
My performance of this piece differs significantly from most that you will encounter. One notable recording was made from a performer’s piano-roll performance, and the resultant recorded playback tempo is not a reliable indication of the composer’s intent. Partly because of my emotion and also because of the fact that 1908 was still very much still in the “Romantic” period of musical-history, I have disregarded the published editors’ recommendations regarding several aspects of the piece —its presto tempo, and have not played it “very” fast or “as fast as possible” as prescribed. Additionally, I have modified dynamics from those noted in the published manuscript. Overall, “very soft” editors’ markings were played more loudly, partly because of my choice and also for the realities of “contemporary” listening. I previously mentioned “disturbances in the force” (and flow) when I turn music-pages using the numeric-keypad. Live and learn. “Memorize,” you say… Right…
I wish I could share this performance and video with Mrs. Jones.
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