catching up with The Rise and Fall of Mars Hill Church--Allender states he wasn't aware Driscoll plagiarized him because he doesn't read the man's books; Sealy Yates told him it was plagiarism for sure; Driscoll has to date never apologized to Allender for what he did

I would have thought things would be done at "Aftermath" but there seem to be half again as many bonus episodes as the series itself ran.

links for the weekend: German museum removes Damien Hirst exhibit for animal cruelty (to flies); a two-part on state of Seattle arts; Michael Heiser reacts to John Walton on demons; Jon Askonas on how Stewart made Carlson etc

Traditionally I've published "links for the weekend" at the end of a weekend of blogging but this weekend is an exception and if you saw the other news of the weekend you'll know why.

We're opening with a "na na na" about Damien Hirst first.

a riff on title mashups for films and songs

One of my relatives and I ended up coming up with a verbal game years ago of mashing up titles to movies.  The relative came up with “Sleepaway Camp Highlander” and I came up with “I Spit on Your Grave of the Fireflies” and it spiraled into song title mash-ups. 

Hold Your Head Up Ben (the Black Dynamite cartoon catalyzed this one and, btw Ben is a bad movie)

We’ve Only Just Begun Burning Down the House

Kiss Me Deadly Man on the Corner

You Need to Calm Down, Mama

You Can’t Hurry Love Midnight Rambler

Truckin’, Space Trucking  (as in Bond, James Bond of course)

When Doves Cry "TV Dinners"  

Physical Bodies  

Hit Me With Your Best Shot Horse with No Name

Head Games Without Frontiers

Welcome to the Machine, Intruder

Well, Well, Well , Almost Paradise

Lovin’, Touchin’, Squeezin’ Fish Heads

Suite: Judy Blue Eyes Without a Face (even if you haven't seen the old French horror film ...  you can get this one)

You probably get the basic idea by now.  Having songs terribly mismatched in style and content is supposed to be part of the game, or the thread can be musicians who wrote great songs or bad songs or who had some known friendship (i.e. Prince and Billy Gibbons)  ... or bad songs with terrible songs is on the table.  

from the Westminster standards, The Directory for the Publick Worship of God, on singing Psalms--William T Dargan's observation on how lining out first evolved in lower class Scottish Calvinist churches before migrating to what has become the U.S.

I'm afraid that in my enthusiasm to lend the book to a church music director/worship leader I have lent off Lining Out the Word by William T. Dargan.  So I can't give you a strictly bibliographical citation as of the day of posting.  I might have to update this post later.  For now ... 

a germinating idea, an analytical series of all Matiegka's solo guitar sonatas

It's been sticking with me lately that next July will be the 250th anniversary of the birth of Wenzel Thomas Matiegka, a.k.a. Vaclav Matiegka.  To my knowledge no one has written any extended English language discussion of his sonatas and approaches to sonata form beyond the preliminary and very helpful comments of Stanley Yates in his preface to his complete edition of the Matiegka sonatas (published "as" sonatas, because Op. 20 No. 24 isn't included even though I think a case can be made that it, too, is a sonata form).

I've considered blogging through the guitar sonatas of Bogdanovic, Gilardino, Guastavino, Koshkin, Matiegka, Ourkouzounov and Rebay over the years.  I still hope to blog through those sets/cycles of guitar sonatas!  But in light of the upcoming 250th Matiegka may be the priority.  I think I may already be halfway through the blogging project inadvertently.  

There is a newer reason I have thought of blogging through Matiegka's guitar sonatas besides the fact that I actually like them.  It has occurred to me that for we guitarists sonata forms can be even more opaque and inscrutable in analytical terms than the forms often are for student pianists.  Sonata forms and sonatas make up a miniscule body of work proportionally of all the music that has been written on and for the guitar.  It hardly helps that if a musician or theory student who may already struggle with the idea of sonata form(s) actually tries to go to the standard literature there's been  little sustained analysis and no dedicated monograph on, say, Ponce's guitar sonatas.  That seems like a scholastic crime that ought to be fixed!  

That's dithering when I should get to the point, the early 19th century guitarist composers hardly ever wrote "textbook" sonata forms and we shouldn't have expected them to because A. B. Marx and other theorists hadn't even codified "sonata form" in the years between 1806 and 1820. Virtually none of Matiegka's sonatas have sonata forms that are textbook. There's something in each one that has a "rug pull" move of some kind.  It may have been David Leisner who said this year that Matiegka's whole approach to sonata forms is more unpredictable and full of surprises than his contemporaries whose approaches to sonata forms were pedestrian.  

The discographic options are narrowly defined for Matiegka's work for solo guitar but the time is ripe for some long-form analytical writing about his sonatas and his approach to sonata forms.  If doing that gives guitarists and guitar students some help in defining what sonata forms can be and have been then I'll be happy to see what I can contribute.  Having said that, I might try to stockpile material and save the blog-through-Matiegka stuff for the actual 250th anniversary week early next July.

there's a new record label that intends to highlight overlooked female composers--a request that someone tackle a set of May Aufderheide's rags and songs

https://www.theguardian.com/music/2022/aug/07/new-record-label-raises-profile-of-forgotten-female-composers

So ... would they be game to consider recording the complete rags of May Aufderheide?  I haven't seen anyone do a project like that (that I know of). As Edward Berlin and other ragtime historians have noted over the last half century ragtime was a style that was pioneered by African Americans but many a middle-class woman also wrote rags and, as noted previously, I'm not aware that anyone has tackled the project of recording all of Aufderheide's published works.  

Anyway, best wishes to the new label now that my little request has been registered. As much as I love Scott Joplin's music to say that almost any of his near contemporaries who composed rags were "overlooked" by comparison is probably an understatement even if I threw up James Scott and Joseph Lamb as names of known associates who were masters of the style.