As a spearhead force in music research, especially in the area of South East Asia region, the University of the Philippines (UP) Center for Ethnomusicology (UPCE) caters to a gigantic collection of ...audio materials which covers different musics and musical traditions in the Philippines, South East Asia and representative areas from other continents. As an outcome of its former appellation, the “UP Ethnomusicology Archives”, UPCE hosts an ethnomusicological collection of about 2500 hours of recorded music in open reel and cassette tape formats, under the authorship of Jose Maceda whose visionary work of putting together these valuable recorded materials left a treasure for ethnomusicology scholarship and research. In recognition of his influential contribution that made the UCPE an archive and repository of materials on music, philosophy, anthropology and other cognate disciplines, these audio materials, together with field notes, music transcriptions, song texts, photographs, music instruments, music compositions, personal files, about 200 books and journals, all of which he personally initiated and developed as a unified institution resource for music research are called “Jose Maceda Collection”.
From an exercise of “controlled equivocation” (Viveiros de Castro 2004; 2010, 71-74), this article reflects on the place of the concept of music within Mapuche acoustemology. The paper is structured ...in three sections: first, I discuss the conceptual proposals about Mapuche music that authors have developed over the past few decades; second, I review some categories related to sound that are key to the Mapuche language; finally, I analyze the work of authors that openly resist the concept of music and offer thoughts about the position of ethnomusicology in this discussion. Examining approaches to this debate makes me conclude that Mapuche's resistance to the concept of music is another expression of a decolonizing project that invites us to think from the mismatches instead of trying to fill apparent conceptual deficiencies. I propose that it can be more beneficial to reflect on a Mapuche acoustemology, situating the category of music in the peripheries, since positioning it in the center has partly produced normative ethnomusicology. The path I suggest is the opposite: an ethnomusicology that is not taxonomic, but moves the concept of music to the side.
This study is focused on the preservation and transmission measures of Henan Zhuizi---a vocal form in Kaifeng, China. Researchers have used an ethnomusicology and sociology theories to study by doing ...fieldworks. As a result, Henan Zhuizi originated from Kaifeng and spread throughout China in the later period, which is the product of the combination of Sanxian Shu and Daoqing. The development of Henan Zhuizi is divided into three periods: 1) from 1905 to 1926, during this period, Henan Zhuizi was mainly spread in the countryside and around the Xiangguo Temple in Kaifeng. This period has two outstanding characteristics. First, most of the famous Zhuizi artists in this period were from Daoqing, and they became famous after they changed to Zhuizi. The second feature is that the addition of female artists has enriched the original singing of Henan Zhuizi; 2) from 1926 to 1949, during this period, Henan Zhuizi formed the Donglu Zhuizi represented by Shangqiu and Zhoukou; West Road Zhuizi, represented by Zhengzhou, Kaifeng and Xuchang, and North Road Zhuizi, popular in northern Henan; and 3) the development of Henan Zhuizi since 1949 to the current, after the founding of New China, the influence on the registration of Zhuizi artists and some policy related work indirectly gave birth to a large number of new tracks of Henan Zhuizi. Henan Quyi Group, Shangqiu Quyi Troupe and other groups have been established to cultivate a large number of Quyi talents, which has promoted the development of Quyi, especially the development of Henan Zhuizi
Cross-Cultural Work in Music Cognition Jacoby, Nori; Margulis, Elizabeth Hellmuth; Clayton, Martin ...
Music perception,
02/2020, Letnik:
37, Številka:
3
Journal Article
Recenzirano
Odprti dostop
Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western ...music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of “music” and “culture.”
This article gives a brief insight into the work of the study group “Ethnomusicology and Comparative Musicology” of the “Gesellschaft für Musikforschung” (GfM). It spotlights central issues, ...historical moments and developments in the past, and more recent activities of the study group. The first part roughly outlines cornerstones from its founding stages in the post-WWII years, when traditional views of “Völkerkunde” prevailed, to the paradigm shifts of the 1980s and 1990s, as comparative musicology gradually shifted towards ethnomusicological approaches grounded in cultural and social anthropology. The second part highlights the study group’s self-reflexive perspective and its recent engagement with topics such as diversity, anti-racism, and (post-)coloniality in the academic field. Drawing on issues discussed in the context of the “crisis of ethnographic representation,” recent debates and activities in the group are driven by ethical and political discussions regarding the power imbalances that shape ethnomusicological methodologies, practices and discourses within and beyond academia, and are thus closely tied to larger questions of social justice, equity, and inclusion.
The Society for Ethnomusicology will hold its 61st Annual Meeting on November 10–13, 2016, at the Omni Shoreham Hotel in Washington, D.C., co-hosted by Smithsonian Folkways Recordings and The George ...Washington University.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, OILJ, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
The present article charts the appearance and development of an Irish-Celtic (O’Flynn 2014) musical scene in Brazil, a small but tightly knit community of Brazilian amateur and professional musicians ...and music groups which constitutes a good example of what Mark Slobin named “affinity intercultures” (Slobin 1987). From an ethnomusicological perspective, it seeks to provide a portrait of such social and musical phenomenon based on a tripartite approach: 1) the discussion of international literature on the globalization of Irish traditional music as Celtic music around the turn of the Celtic Tiger period (Williams 2010) and the impacts of such process on Brazil; 2) the presentation and analysis of the results of an online survey conducted in the main Facebook community connected to the scene in order to characterize its main sociodemographic and musical characteristics; 3) the ethnographic description of the Rio de Janeiro chapter of such music scene based on its main musical event, the monthly session known as “Irish Session Rio.”
Sonic Signatures is an interdisciplinary collaboration of scholars and music-makers who come together to explore how music makes cities. More specifically, they argue that the musical encounter, ...composed of an array of production and consumption practices, takes on particular and essential meaning at night. Thinking about music as an encounter allows one to appreciate the value and power of migration within the act of music-making.
The majority of voices amplified in the book come from so-called “migrants,” understood as someone who was born in one country and currently lives and works in another. Yet, these words, migration, migrant and migrancy, are more expansive than that as they indicate a range of movement, politics and place-making.
Contributions from Emilie Amrein , André de Quadros, Nick Dunn, Pol Esteve, Jillian Fulton-Melanson, Jacqueline Georgis, Masimba Hwati, Ailbhe Kenny, Seger Kersbergen, Brendan Kibbee, Áine Mangaoang, Derek Pardue, Nick Prior, Austin T. Richie, Willians Santos, Sipho Sithole, Gibran Teixeira Braga, Katie Young.
A great, engaging transdisciplinary contribution to nightlife studies, music and the city.
With the beginning of the so-called “Arab Spring”, the Arab rap scene expanded as a musical form of protest and was also received more internationally. This obscures the fact that this art form has ...existed for a long time and has developed its own linguistic peculiarities. One of the most important is code switching in Maghreb rap; that is, using multiple languages within a song and switching between those languages. An album by the Tunisian Balti and the Algerian Lotfi Double Kanon are examined here as examples with regard to this phenomenon. First, Carol Myers-Scotton's Matrix Language Frame Model used in linguistics to analyze code switching in conversation situations is applied to rap texts. Then it is discussed what function language changes have, that cannot be explained by this model. It becomes apparent that code switching serves the artists under consideration in different ways to build a multifaceted identity as a Maghrebian rapper.
Tserendavaa Dashdorj (b. 1955), a well-traveled khöömiich and state-recognized artist, was searching for his herd of sheep and goats by motorcycle with me sitting in the passenger seat, holding onto ...the rack. We were in the vicinity of his son’s summer encampment (zuslan) and yet the herd was nowhere to be found. So, he drove us to a nearby hill to take a look around the surrounding steppes. Like many of the hills in the area, this one also had a sacred rock cairn (...
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