Performing Russia Olson, Laura
2004, 20040731, 2004-07-31, 20030101, Letnik:
7
eBook
This book examines folk music and dance revival movements in Russia, exploring why this folk culture has come to represent Russia, how it has been approached and produced, and why memory and ...tradition, in these particular forms, have taken on particular significance in different periods. Above all it shows how folk "tradition" in Russia is an artificial cultural construct, which is periodically reinvented, and it demonstrates in particular how the "folk revival" has played a key role in strengthening Russian national consciousness in the post-Soviet period.
Laura J. Olson is Assistant Professor of Russian at the University of Colarado, Boulder. She has been researching and performing Slavic folk music since 1987.
'This book offers valuable insights into post-Soviet Russian society, culture, and grass-roots political developments.' - MLR, 102.1, 2007
'Olsen has a talent for clear exposition and cogent summary, as she shows in her survey of the appropriation of folk song in the eighteenth century by the literate cl asses and the main trends in folk-song performance in the nineteenth.'
- MLR, 102.1, 2007
Reds, whites, and blues Roy, William G; Roy, William G
2010., 20100701, 2010, 20100101, Letnik:
45
eBook
Music, and folk music in particular, is often embraced as a form of political expression, a vehicle for bridging or reinforcing social boundaries, and a valuable tool for movements reconfiguring the ...social landscape. Reds, Whites, and Blues examines the political force of folk music, not through the meaning of its lyrics, but through the concrete social activities that make up movements. Drawing from rich archival material, William Roy shows that the People's Songs movement of the 1930s and 40s, and the Civil Rights Movement of the 1950s and 60s implemented folk music's social relationships--specifically between those who sang and those who listened--in different ways, achieving different outcomes.
We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music. Whereas earlier ways of ...classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed - in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music.
History Of The Registration Of Shashmaqam Asqarova, S
Onomazein : revista de linguística y traducción del Instituto de Letras de la Pontificia Universidad Católica de Chile,
12/2023
62
Journal Article
Recenzirano
This article discusses the history of notation of shashmaqom, the contributions of our thinkers and Uzbek folk music. Keywords: Shashmaqom, art, creativity, status, composer, composer.
Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present features the proceedings of the Fiftieth Annual Conference of the Canadian Society for Traditional Music / La ...Société Canadienne pour les Traditions Musicales (formerly the Canadian Folk Music Society / La Société canadienne de musique folklorique) that took place in November, 2006 in Ottawa at Carleton University and the Canadian Museum of Civilization. This publication showcases the diversity of music research currently being conducted by folk and traditional music specialists, ethnomusicologists, and practicing musicians in Canada. The papers are organized in five sections according to common themes in contemporary research in ethnomusicology and folk music studies, and each section is preceded by a short introduction which highlights the section's theme(s) as well as the individual papers. Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present confirms the rich history of the Canadian Society for Traditional Music, a history that comprises enormous changes in scholarly research, musical practice, emergent technologies, changes in doing fieldwork, and shifting identity boundaries over the past fifty years. This volume is intended as a contribution to published literature on ethnomusicological and folklore research in Canada, creating a new resource of historical, contemporary, and scholarly relevance that will appeal to academics and music enthusiasts alike. "Canadian ethnomusicologists' expertise in the realm of First Nations musics, and Anglo, Celtic and French folksong repertories is already well established. This volume shows us the breadth of cultural territory with which 21st-century Canadian scholars of music and scholars of Canadian musics are now engaged, as well as their theoretical and methodological sophistication. "-Kati Szego, School of Music, Memorial University
Sounding the Color Lineexplores how competing understandings of the U.S. South in the first decades of the twentieth century have led us to experience musical forms, sounds, and genres in racialized ...contexts. Yet, though we may speak of white or black music, rock or rap, sounds constantly leak through such barriers. A critical disjuncture exists, then, between actual interracial musical and cultural forms on the one hand and racialized structures of feeling on the other. This is nowhere more apparent than in the South.
Like Jim Crow segregation, the separation of musical forms along racial lines has required enormous energy to maintain. How, asks Nunn, did the protocols structuring listeners' racial associations arise? How have they evolved and been maintained in the face of repeated transgressions of the musical color line? Considering the South as the imagined ground where conflicts of racial and national identities are staged, this book looks at developing ideas concerning folk song and racial and cultural nationalism alongside the competing and sometimes contradictory workings of an emerging culture industry. Drawing on a diverse archive of musical recordings, critical artifacts, and literary texts, Nunn reveals how the musical color line has not only been established and maintained but also repeatedly crossed, fractured, and reformed. This push and pull-between segregationist cultural logics and music's disrespect of racially defined boundaries-is an animating force in twentieth-century American popular culture.
In Roots of the Revival: American and British Folk Music in the 1950s , Ronald D. Cohen and Rachel Clare Donaldson present a transatlantic history of folk's midcentury resurgence that juxtaposes the ...related but distinct revivals that took place in the United States and Great Britain. After setting the stage with the work of music collectors in the nineteenth century, the authors explore the so-called recovery of folk music practices and performers by Alan Lomax and others, including journeys to and within the British Isles that allowed artists and folk music advocates to absorb native forms and facilitate the music's transatlantic exchange. Cohen and Donaldson place the musical and cultural connections of the twin revivals within the decade's social and musical milieu and grapple with the performers' leftist political agendas and artistic challenges, including the fierce debates over "authenticity" in practice and repertoire that erupted when artists like Harry Belafonte and the Kingston Trio carried folk into the popular music mainstream. From mountain ballets to skiffle, from the Weavers in Greenwich Village to Burl Ives on the BBC, Roots of the Revival offers a frank and wide-ranging consideration of a time, a movement, and a transformative period in American and British pop culture.
This study aimed to describe and explain the expression of the ethnic Osing culture in the folk song. The study used a qualitative design by utilizing a hermeneutic approach to understanding the ...meaning. Data were the text of Banyuwangi folk songs collected by document studies and interviews and analyzed by the following steps: data reduction, presentation, interpretation, and conclusion. This study understood the meaning under the level of semantic, reflective, and existential. The findings showed that the Banyuwangi folk songs expressed the ethnic Osing personality, social behavior, and environmental knowledge of the ethnic Osing. Osing people are simple, accepting of reality, obedient to their parents, careful in making decisions, humble, and have futuristic views. The social behavior of the Osing tribe includes getting along at work, maintaining togetherness in ritual traditions, caring for neighbors, and obeying ethics. Osing people know various types of animals, plants, and material objects that surround and fulfill their life needs. This knowledge describes their concern and scope of perception in their interaction with the natural environment. These findings have a significant contribution to anyone interested in recognizing local cultural attitudes and behaviors and developing learning materials and references for further research.
The Ottoman Tanbûr provides a detailed study of the
history of this long-necked lute-like instrument, its role in
Ottoman music, construction and playing technique. Tanbûrs
are played in the art, ...Sûfî, and folk musical traditions along
the Silk Road and beyond. In Turkey, the name tanbûr is
mainly used as a name for the long-necked tanbûr of
Ottoman art music, the Ottoman tanbûr . The origin and
early development of the Ottoman tanbûr is,
notwithstanding its importance, still not fully understood due to
the absence or scarcity of literary and iconographical sources,
while well-preserved Ottoman tanbûrs are rare or
non-existent. The book explores the political and
cultural-historical conditions that contributed to the development
of a distinct Ottoman Art music (Osmanlı san'at mûsîkîsi)
in the seventeenth and eighteenth centuries and the central place
given to the tanbûr . Thereafter, Ottoman art music and the
Ottoman tanbûr suffered from official neglect until the
end of the Ottoman Empire in 1918 and even rejection after the
establishment of the Republic of Turkey in 1923. This situation
changed after the foundation of the first Turkish music
conservatory in 1975 at the Istanbul Teknik Üniversitesi (ITÜ). The
revival of Ottoman art music since the 1990s resulted in a
rehabilitation of Ottoman art music and of the Ottoman
tanbûr whose days had seemed to be numbered.
