iiinova — where your digital self keeps evolving

Reposted by Jon Silpayamanant โจน ศิลปยามานันท

Dark Jaguar @darkjaguar64.bsky.social · 17/08/2026

"Asexual" is now a flagged word in government documents. Of course, this makes it hard to discuss biologically asexual creatures in nature, but they only care about fighting the "woke", so whatever problems this causes, they're still going to do it. Be alert! #asexuality pen.org/banned-words...

pen.org

Federal Government's Growing Banned Words List Is Chilling Act of Censorship

Banned words list 2025: The federal government is banning a growing number of words to comply with executive orders from President Trump.

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Saw Peep Pan-Asian Ensemble @sawpeep.bsky.social · 28/07/2026

We are excited to be a part of the Artsreach MeX Project 2026/2027 season! For more info about the program, visit this link: "Kentucky Performing Arts ArtsReach MeX Project Elevates Local Artists and Organizations" www.kentuckyperformingarts.org/blog/kentuck... @silpayamanant.bsky.social

Image of a social media post by Artsreach MeX Project showing the 2026/2027 Season at Kentucky Performing Arts.

Darryl Tucker Presents "Strolling with the Divine"
August 4-7, 6:30-8:30 PM
August 8-9, 4:00-8:00 PM
on sale now

"Body Politics Presented by Shasparay Irvin Hosted by Fairen Kia of Love Thy Belly"
September 4-5, 2026
The Kentucky Center - MeX Theater
on sale tba

Louisville Hivemind Artist Collective Presents "Very Berry Dead by Jose Perez IV"
April 5-11, 2027
The Kentucky Center - MeX Theater
on sale tba

Saw Peep Pan-Asian Ensemble Presents "The Adventures of Hanuman, the Monkey King"
May 17-23, 2027
The Kentucky Center - MeX Theater
on sale tba

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Saw Peep Pan-Asian Ensemble @sawpeep.bsky.social · 27/07/2026

Photos from Saw Peep Pan-Asian Ensemble's performance of "Hanuman Crossing the Ocean" at the Henry Clay Theatre at the inaugural Louisville Fringe Puppet Slam! Jul 24, 2026 Shadow puppets/music by Jon Silpayamanant @silpayamanant.bsky.social View the photos here: www.facebook.com/share/p/1BcQ...

Image showing a collage of photos. Upper left, silhouettes of Hanuman, a monkey-like figure facing a Naga/serpent. Upper right is an image of members of Saw Peep standing in front of the projection screen taking bows before the audience.

Bottom left is an image of members of Saw Peep sitting on the floor of the theater stage behind the screen surrounded percussion instruments like gongs and metallophones, and shadow puppets laying on the floor. Middle bottom image is Hanuman facing a giant Ogre: this is a view from the audience where the stage and full screen can be seen as well as some members of Saw Peep who are performing behind the screen. Right bottom image is artist director Jon Silpayamanant behind the screen looking at the camera holding the puppet of the naga/serpent. In the center of that image is a "+5" indicating there are more images to be seen. However, this is a screenshot of a facebook post where those images may be seen.

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 20/07/2026

Digital Arabic Maqām Archive Launch Presented by Dr. Khyam Allami خَيّام اللامي Digital launch happens next week; this presentation will be shared online. 📅 Tuesday, July 21, 2026 | 6PM - 8PM 📍 Engineering Lecture Hall (ELH), Masri Building 🌐 Open to the public www.instagram.com/p/Da2keB3qw_z/

Flyer for Digital Arabic Maqām Archive Launch
Join the Music Intelligence Lab for the launch of their exciting project, the Digital Arabic Maqām Archive.
The Digital Arabic Maqām Archive (DiArMaqAr) is an innovative open-source online platform and machine-readable corpus of Arabic maqām theory.
It is designed as a resource for students, musicians, composers, musicologists, educators, researchers, coders/developers (including AI agents/LLMs) and anyone interested in the rich music theory of the Arabic-speaking region.
Presented by Dr. Khyam Allami خَيّام اللامي
📅 Tuesday, July 21, 2026 | 6PM - 8PM
📍 Engineering Lecture Hall (ELH), Masri Building
🌐 Open to the public
Originally posted here:
https://www.instagram.com/p/Da2keB3qw_z/

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 13/07/2026

Just added a little over a hundred more works to the Southeast Asian Composers Solo Keyboard pieces bringing the total number of works to about 750! doi.org/10.6084/m9.f...

"Solo Keyboard Repertoire - Southeast Asian Composers
Jon Silpayamanant
https://www.doi.org/10.6084/m9.figshare.20405514
(19 July 2022; updated 03 December 2024)
For much of Southeast Asia, Western styled composition is a relatively new phenomenon. This masks the fact that for several centuries in many parts of the region, there has been a European presence and the use of forced musical labor for slave ensembles in colonies and trade ports.1
With eleven countries and several dozens of regions, nearly 700,000,0002 residents, and around 1200 spoken languages and dialects,3 Southeast Asia’s classical music history is similarly diverse."

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 10/07/2026

I've been reconstructing my performance history after a website crash/loss of data pre-pandemic. I've re-catalogued most of the events from 2000-2009 and seeing all the dance events it reminded me of this tweet I posted in reply to a long thread about how dance music works, a couple years ago. 1/2

Image of Jon Silpayamanant and text that says

"Jon Silpayamanant โจนาทาน ศิลปยามานันท์ | Mae Mai
@Silpayamanant

"Dance musician here who's literally played hundreds (if not thousands) of dance events in the US, & I can assuredly say even informally trained pros have just as wildly inaccurate ideas about how dance music works outside a very narrow ethnocentric range."

and

"Not having a working familiarity of Pop musics outside of the Anglo-American music industry means not understanding different ways dance & groove can function. Imagine teaching a theory of chords/progressions but only having major triads at your disposal."

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 09/07/2026

Currently reading Juliet Hess's "Popular Music Education: A Way Forward or a New Hegemony?" (Chapt 2 of "The Bloomsbury Handbook of Popular Music Education: Perspectives and Practices") This last part! doi.org/10.5040/9781...

"Viewing this model through an anti-colonial framework highlights similar concerns to those raised about the Western classical model. If we conceptualize colonialism as something “imposed and dominating” (Dei 2006: 3), some popular music education simply privileges recordings or chord charts over classical scores for students to replicate, developing particular skills through the process. Like its Western classical counterpart, popular music pedagogy does not necessarily focus on creativity but rather on replication, with an emphasis on the learning process. The formal structure, replication focus, and limits to creativity are no less hegemonic than the classical paradigm (Georgii-Hemming and Westvall 2010; Moir 2017). Moreover, in sometimes privileging the informal musical processes of predominantly white, male, rock musicians, the replication approach parallels the classical model’s focus on reproducing the music of white, male composers, neglecting the contributions of women and people of color and reinscribing coloniality through clearly demarcating superior and inferior musical styles, practices, and musicians."

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Saw Peep Pan-Asian Ensemble @sawpeep.bsky.social · 05/07/2026

Saw Peep Pan-Asian Ensemble had a wonderful time performing the 'Louisville American 250: "Dawn's Early Light"! So many wonderful and powerful stories/music by Indigenous peoples, Black Americans, and a wide variety of other groups to shed light on different types of celebrations!

Dawn's Early Light
July 4th 2026
at Locust Grove

Approach July 4th with Intention

Honor America's 250™ with local indigenous elders; spiritual, religious, and cultural leaders; community breakfast; dancers, singers, drumming; and more...

Independence Bank
America 250 Louisville
Locust Grove

Dawn's Early Light
Full Schedule

5:00am - Sacred Fire Lit & Silent Reflection
6:30am - Sunrise & Silence Broken By Indigenous Drum
6:45am - Jingle Dress Dancers
7:00am - Libation Pouring with Ed White
7:10am - Celebration of the Ancestors Led by Harlina Trumbo & Akoben Rooted
7:30am - Sankofa Singers perform Black Gospel Spirituals
7:45am - Interfaith Blessing
8:00am - Singing Resistance Performs Communal Songs
8:30am - La Casita Center Land Acknowledment & Song
9:00am - Asia Institute Crane House
8:00am-10:00am - Community Breakfast

Locust Grove
561 Blankenbaker Lane

America 250 Celebration Louisville

Independence Bank

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 05/07/2026

In 2006 I started writing previews of music events that got published at Indianapolismusic . net (RIP) and the first one I submitted was this write-up for the Yakshagana dance-drama "Gadayuddha" [1] 1/11

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 02/07/2026

I'll be on the radio (90.5 WUOL) at 11:30am playing Jeremy Beck's Quartet for flute, clarinet, cello, and piano. If you won't be able to listen, you can always hear our recording (1st 4 tracks) on Jeremy's new album "Chamber Music" which was released in May. www.youtube.com/playlist?lis...

youtube.com

Jeremy Beck Chamber Music - YouTube

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 24/06/2026

Who remembers when Minari won the Golden Globe award for "Best Foreign Film" because it wasn't allowed to b nominated for a "Best Motion Picture" award? Yeah, more of the same. It's close to the 100 year anniversary of "Race records" as a marketing category for the early 20th c recording industry.

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 24/06/2026

"The Grammys have a long history of creating separate categories for artists who are not White or American right around the moment those artists start threatening to win the big awards." "New Asian pop Grammy sparks backlash" asamnews.com/2026/06/23/g...

asamnews.com

New Asian pop Grammy sparks backlash – AsAmNews

Asian pop artists face a new Grammy category critics say echoes past attempts to sideline non‑white musicians and steer them away from major awards.

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Kitti 🎀 PINK CLOUDING ERA!!! @kittileecreates.bsky.social · 14/06/2026

Just to be a petty bitch, here’s the statement from the Nepali aspec community on the “new” ace flag: www.reddit.com/r/asexuality... And here’s a co-signed one from multiple Spanish speaking countries: www.reddit.com/r/asexuality...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 10/06/2026

The cello group "Cetallica" performing movement II, "Isaan," of my Two Thai Tunes for cello - and without sheet music! So Awesome! Thanks to Zachary Sweet, Lisa Caravan, Daniel Ketter, the Cello Teaching Repertoire Consortium, and Ithaca Suzuki Music Education! www.youtube.com/watch?v=3HZB...

youtube.com

"II. Isaan" from Jon Silpayamanant's "Two Thai Tunes" for cello

YouTube video by Jon Silpayamanant

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Oren Ambarchi_Black Truffle @orenambarchi.bsky.social · 05/06/2026

DEWA ALIT master of radical Balinese gamelan returns with BAUR BENTUR where the magical sound-world of Alit’s GAMELAN SALUKAT perform alongside virtuoso pianist SRI HANURAGA, a stunning next step in Alit’s radical combination of tradition & innovation. Preorder: dewaalit.bandcamp.com/album/baur-b...

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Elizabeth Hopkinson @hidden-grove.bsky.social · 05/06/2026

Who would be interested in seeing a picture book that explains being ace in child friendly terms? Please complete my interest survey: www.surveymonkey.com/r/R653GRY Here are some sample pictures for the book by Anna Hopkinson #ace #pride #books

Girl (white with brown pigtails). Thought bubbles of mum (white with brown hair) and dad (white and bald)

Girl and cat on bed with ace colours bedspread. Pictures of a blond elf in a green cloak and a nun with a cat

White female with dark hair in four different outfits

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Marian Wilson Kimber @mwilsonkimber.bsky.social · 08/06/2026

Hey musician hive mind! Anyone know any good literature (scholarly, medical) documenting regular injuries of musicians who perform too much? Or what policies standard union contracts include to prevent them? (Needed to convince a *bad word deleted* administrator.)

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Rachel Bayer @rachelbayer.bsky.social · 08/06/2026

Still buzzing from our @aroaceresearch.bsky.social talk! It was such a pleasure to reflect with @joejukes.bsky.social on why we love geography, and share some of our work with such an engaged audience. If you'd like to learn more about Asexual Geographies, check out our co-written article here:

journals.sagepub.com

New directions for asexual geographies - Joe Jukes, Rachel Bayer, 2025

Thinking geographically involves empirically contextualizing and critically contesting the situatedness of relational life. Thinking asexually, meanwhile, means...

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Saw Peep Pan-Asian Ensemble @sawpeep.bsky.social · 02/06/2026

We'll see you soon at the Louisville Philippine Independence Day Festival! Saturday, June 13, 2026 4-8pm Fourth Street Live! crane-house.org/event/philip... @silpayamanant.bsky.social

Poster for the upcoming Philippine Independence Day Festival in Louisville, Kentucky. The event is on Saturday June 13 on Fourth Street Live! from 4-8PM.

The flyer has photos of performers including their names: Nokee Bucayu, Hotel Bourre Bonne; Jon Penaflorida, Kaylee Plunkett, Crestview Company; Umi Naughty; Robby Gomez; Loresa Lanceta; Jirah Dicapua; Reymart Tasic; Lou Filipino Choral Ensemble; Cultura Philippines; Hui Kaululehua; and Saw Peep.

The bottom row of the poster includes a QR code and list of sponsors including their logos. Sponsors, in order from left to right are: Asia Institute - Crane House; Fourth Street Live!; Cultura Philippines; and the Louisville Downtown Partnership.

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Diana Chan @thingsbydiana.bsky.social · 01/06/2026

Happy Pride! 🌈 Our Ace Dragon is back - with a brand new design!!

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Reposted by Jon Silpayamanant โจน ศิลปยามานันท

Blackbird @blackbirb.bsky.social · 31/05/2026

Reminder, as we approach Pride Month, that it is perfectly fine and okay to respond to any kind of attempt to use asexuality or asexual people as an excuse for puritan bullshit with a big ol' FUCK OFF. We're not useless little babies who need to be white knighted by you fucking freaks.

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Anthony "ThePkmnYPerson" Staffenhagen @not-lana-loud.bsky.social · 21/05/2026

There should be more #aromantic and #asexual representation in children's TV so kids don't think falling head over heels in love with someone is something you're 100% going to do someday. That's what I used to think because it's how TV made it seem.

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 31/05/2026

Love how Kawabata Maiko frames diversifying orchestra repertoire/practice in her "Racism and Diversity in Orchestral Practice" chapter of "East Asian Voices of Resistance Against Racism in Music." ethicspress.com/products/eas...

"Grace Wang (2015) coined the term “innate capacity” to describe the
belief that certain types of music originate from, and therefore belong
to, certain groups or places. According to this logic, only musicians of
Okinawan heritage and African American heritage could have
performed this programme authentically – which is obviously absurd.
If orchestral musicians could be retrained to absorb skills of what Jon
Silpayamanant (2023) has called “polymusicality and hybridization,”
such as improvisation or the traditional music of, say, China or
Azerbaijan, then orchestral practice itself could be diversified. The point
is that diversifying orchestral repertoire and diversifying orchestral
practice ought to go hand in hand. "

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 27/05/2026

Glad my DAW and Colonialism resource is helping frame issues in Music Technology. Here's a paragraph from a recent 2026 piece that cites (footnote 9) it, by Stefano Barone "The digital infrastructures of music scenes: Perspectives from the Global South" Open access here: doi.org/10.1177/2753...

"A final point to be made regards the criticisms, from musicians, scholars, and activists in the Global South, of DAWs’ “technocolonialism” (Castanheira, 2020). These criticisms broadly refer to the fact that the affordances of globally used DAWs are limited by the aesthetic canons of Northern “high” music (and by the neoliberal capitalist mode of production and circulation established by societies in the Global North).9 An example of this situation is the equal temperament of Northern scales used as standard in DAWs’ piano rolls (their composition interfaces) and tuners, which make these programs less suitable to produce music that responds to different melodic and harmonic principles and conventions. The idea of technocolonialism suggests that a predatory, colonizing history is embedded in technology that is supposed to be neutral (Allami, 2022; Castanheira, 2020). It relegates the use of non-Northern musics to embellishments, forms of “sonic tourism” that convey an aura of exoticism to global music genres born in the Global North, but makes it inconvenient to compose music coming from different traditions. Even considering the points made above when discussing Azonto's cosmopolitanism (Shipley, 2013), we should take these critiques seriously as they demonstrate how the power unbalance between the Global North and the Global South is, to some extent, inscribed in the very digital infrastructure that fashions contemporary globalization."

Text from endnote 9:
"9. Musician and independent researcher Jon Silpayamanant has been collating a bibliography on this topic in his website: https://silpayamanant.wordpress.com/bibliography/daw-colonialism/ "

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 25/03/2026

My Timeline of Music Notation gets a mention in Sean Williams' latest book "Music at the Threshold from the Sacred to the Dangerous" ( Oxford University Press | doi.org/10.1093/9780... ). Screenshot is from the online edition (print edition not available till May).

$Left column has a cover image of the book followed by a partial view of the contents. Right column: "Front Matter A Note on Musical Transcription Get access Arrow Sean Williams https://doi.org/10.1093/9780197761762.002.0006 Pages xxi–xxii Published: 16 March 2026 Extract The only musical notation that I provide in this book is Western staff notation. Is that a problem? Frankly, it is. I struggle with the fact that just a fraction of the world’s people can read music notation; that limits my transcriptions’ accessibility to just a few readers. Furthermore, most of the world’s musical traditions do not fit in the limited twelve tones afforded by staff notation. I have considered other systems, such as cipher notation, and discarded them. Please, please, if notation interests you, I urge you to explore Jon Silpayamanant’s fascinating WordPress site that features his Timeline of Music Notation ( https://silpayamanant.wordpress.com/timeline-of-music.../ ). It decenters Western staff notation and points to a much longer, deeper history of how people have tracked music by visual means. If you cannot read Western staff notation—or even if you can!—the best practice is to simply look up the examples online and listen to them rather than struggling through the notation. I have kept the transcriptions in, but with misgivings. Subject: Ethnomusicology, Music, Sound Studies, Music Cultures Collection: Oxford Scholarship Online$

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 05/03/2026

About 20 new entries to the Indonesian Cello/Strings bibliography--including 7 articles and monographs on keroncong cello pedagogy and analysis! The cello world is truly so big once we get out of strictly Western repertories and styles. silpayamanant.wordpress.com/cello/sea-vl...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 21/02/2026

Another project I'm working on currently--a resource page for flute and cello works by Latin American composers! silpayamanant.wordpress.com/composition/...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 19/02/2026

Here's a breakdown of the unique composers from Global Cello events (2023-2025). Interestingly, this masks diasporic & ethnicity info. For ex., the Central Eu composer is Austro-Persian & six N American composers are Armenian Am, Black Haitian-Am, Black Belizean-British, Filipino Am, & Indian Am.

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 19/02/2026

Since starting the Global Cello series a little over a couple years ago, I've performed 76 pieces on 15 different events & recitals! I've been breaking down the composers' demographics by region, gender, ethnicity & the works by date, form & style, and difficulty levels and thought I'd share this.

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 13/02/2026

Was thinking about Rissa SoFar's recent Facebook post about K-pop's roots being in Black culture, and realized I needed to include that post in my resource, "K-Pop, Appropriation, & American Imperialism," which I'd forgotten this was still set to private. silpayamanant.wordpress.com/k-pop-approp...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 11/02/2026

Hadn't updated the "DAW, Music Production, and Colonialism" bib in a while but I just added about a dozen pieces I've come across recently. Can't believe I didn't add my "Sound Archives, Music Production, and Colonialism" resource in there now too! silpayamanant.wordpress.com/bibliography...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 07/02/2026

Something I always keep in mind, especially as this was my experience as a young student and a reason I founded the Saw Peep Pan-Asian Ensemble and Global Cello projects! p105 of Lucy Green's "Popular music education in and for itself, and for ‘other’ music" doi.org/10.1177/0255...

"For children of school age, not only does „popular music‟ change every few weeks, but there is evidence that some pupils conceal their „real‟ musical tastes when at school, in favour of appearing to be a part of the mass mediated music of the Top 40. This may be particularly so in the case of children from minority cultures.2 It is therefore reasonable to suggest that mass music provides a „safe‟, if not always authentic, cultural space which pupils can inhabit, and behind which they can conceal private cultural identities."
From page 105 of Lucy Green's "Popular music education in and for itself, and for ‘other’ music: current research in the classroom" https://doi.org/10.1177/0255761406065471

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 06/02/2026

Joshua Han's 2026 "On the politics of 'music theory' and the implications of its importation into research on music and meaning" Open access here: doi.org/10.1515/jwl-...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 06/02/2026

Currently working on a database and resource page for solo cello works by women composers. I'm still in the A's but already have 60 works by 30 composers. This may take a while! 😆

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 01/02/2026

I've almost doubled the number of entries in the music notation timeline this year alone--and it's hard to believe that in a year this resource will have been online for a decade! silpayamanant.wordpress.com/timeline-of-...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 03/01/2026

Seen in a comment in the music theory group. Lot's to be said about the whole post, but the highlighted part is one of the many reasons I refer to these communities as "safe spaces for colonialist harmony"-as if the entire body of music theoretical works deals only with [invariably Western] harmony.

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 28/12/2025

*Phew* I haven't read something like this since the last time I read an 18th/19th century European music history/theory treatise. JK--this is a pretty common sentiment at this (and other) online music theory forums and I come across this daily. www.facebook.com/groups/87619...

Image text:
"Vasiliy Antipov
Experience shows that whenever a post like this is published in a group, a certain type of “progressive” immediately rushes in and begins asking, with feigned astonishment, something along the lines of: “But what about the drumming of a savage or a cannibal on a tambourine — why isn’t that included here on an equal footing with Western European music?”
And here comes their other favorite trick: they will seriously pretend that there exists yet another “layer of musical culture” — say, cannibals jumping around a fire — and on that basis declare Kharlap’s observations irrelevant, outdated, or biased.
And you won’t even be able to tell them the obvious truth: that, at this point in history, Western European civilization has produced the most powerful and the most relevant body of musical culture. The moment you say that, you will instantly be accused of supremacism.
Such is one of the characteristic pathologies of contemporary society."

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 17/12/2025

Saw Peep is halfway through its COLLIDER Residency and I've been enjoying the smaller talks given in the studio as much as the big workshops we've given. Pics from the Shadow Puppet workshop (12/14), Asian Fiddles (12/13) and Music Notations of Asia (12/10) presentations! www.lfpl.org/collider

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 28/11/2025

I know, I probably shouldn't bother. 😑 Comment here: www.facebook.com/groups/87619...

Image text:

"Chad Grimes
Shortcomings?????? Then you would know that African, Indian, Asian, and Afro-Cuban has a long history of NO notation! Western history of music went out of their way to further develop a music notation system and actually have a system that every style of music in the world can notate their styles. Musicians in western style of music have spent their entire lives learning and appreciating all styles of music. Way more than Asian and Indian music history is learning western!"

Jon Silpayamanant
Chad Grimes Here's a timeline of over 1800 entries documenting the long history of nearly 5000 years of "No notation" in "African, Indian, Asian, and Afro-Cuban."
https://silpayamanant.wordpress.com/timeline-of-music-notation/ "

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 25/10/2025

"As I'm compiling a bibliography of primary sources about orchestras and ensembles of enslaved musicians I've decided to map their locations." silpayamanant.wordpress.com/2025/10/25/m...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 24/10/2025

I keep forgetting to post on the micro-platforms. Here's the beginnings of a South Asian Music Theory & Treatises Bibliography I started last summer. Eventually I would like to include info and links to translations as well. silpayamanant.wordpress.com/south-asian-...

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Reposted by Jon Silpayamanant โจน ศิลปยามานันท

Saw Peep Pan-Asian Ensemble @sawpeep.bsky.social · 28/09/2025

Raqs Maqom: Dances & Music of Central & West Asia Sun-Oct 19-2PM World Affairs Council Lobby 223 S 5th St, Louisville Free-limited seating; RSVP: worldaffairscouncilofkentucky-bloom.kindful.com/e/see-paw-ra... Raqs Maqom: collaboration between Crescent Moon Dance Co. & Saw Peep Pan-Asian Ensemble

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 09/09/2025

Always makes me chuckle when r/musictheory mods just refer folks to r/GlobalMusicTheory. 😅 www.reddit.com/r/musictheor...

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 05/09/2025

Some of my more scholarly work is contributing to the expansion of string pedagogy in surprising ways. Esteban Hernández Parra's recent dissertation "Resuena Abya Yala: Otherwise Practices in Bowed Strings Learning and Performance" cites 1 of my pieces abt slave orchestras! hdl.handle.net/2022/33684

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'This is what cellist and researcher Jon Silpayamanant (2020) describes as “how Imperialism and the Trans-Atlantic and Trans-Pacific slave trade enriched European countries to the point that they could afford to create a music ecosystem with large scale and expensive orchestras, operas, and ballet companies which might not have emerged absent those conditions”'

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Reposted by Jon Silpayamanant โจน ศิลปยามานันท

Saw Peep Pan-Asian Ensemble @sawpeep.bsky.social · 24/08/2025

Next Friday, Aug 29, we'll be at the World Affairs Council's inaugural WorldFest Kick-Off Reception. We hear it's already sold out, but you can come see us at WorldFest mainstage on Saturday at 3-4pm! www.sawpeep.com/events/ @silpayamanant.bsky.social @divyakrthk.bsky.social

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Reposted by Jon Silpayamanant โจน ศิลปยามานันท

Global Music Notation @globalmusnotation.bsky.social · 24/08/2025

Examples of bird songs from Simeon Pease Cheney's 1892 "Wood Notes Wild: Notations of Bird Music" (Cheney died in 1890, so this was published posthumously). Images are from pages 39, 94, and 101. Cheney's book is downloadable here: archive.org/details/wood...

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Reposted by Jon Silpayamanant โจน ศิลปยามานันท

Global Music Notation @globalmusnotation.bsky.social · 24/08/2025

200+ more entries added to the Timeline of Music Notation since the last update. 1700+ entries total now! silpayamanant.wordpress.com/timeline-of-... A number of Korean notations; systems for animal songs (esp. for birds/whales); accordion/free reed tabs; & some dutar/fiddle/folk instr. tabs.

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Jon Silpayamanant โจน ศิลปยามานันท @silpayamanant.bsky.social · 29/07/2025

Love how the implication here is that there are "non-ethnic" instruments. It's the classic way to normalize supraethnic/macro-ethnic (e.g. Western/European instruments) phenomena as neutral and/or universal. www.reddit.com/r/composer/c...

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