For at least two centuries, and arguably much longer, Ireland has exerted an important influence on the development of the traditional, popular and art musics of other regions, and in particular ...those of Britain and the United States. During the past decade or so, the traditional musics of the so-called Celtic regions have become a focus of international interest. The phenomenal success of shows such as Riverdance (which appeared in 1995, spawned from a 1994 Eurovision Song Contest interval act) brought Irish music and dance to a global audience and played a part in the further commoditization of Irish culture, including traditional music. However, there has been until now, relatively little serious musicological study of the traditional music of Northern Ireland. Northern Ireland remains a divided community in which traditional culture, in all its manifestations, is widely understood as a marker of religious affiliation and ethnic identity. Since the outbreak of the most recent 'troubles' around 1968, the borders between the communities have often been marked by music. For example, many in the Catholic, nationalist community, regard the music of Orange flute bands and Lambeg drums as a source of intimidation. Equally, many in the Protestant community have distanced themselves from Irish music as coming from a different ethnic tradition, and some have rejected tunes, styles and even instruments because of their association with the Catholic community and the Irish Republic. Of course, during the same period many other Protestants and Catholics have continued to perform in an apolitical context and often together, what in earlier times would simply have been regarded as folk or country music. With the increasing espousal of a discrete Ulster Scots tradition since the signing of the Belfast (or 'Good Friday') Agreement in 1998, the characteristics of the traditional music performed in Northern Ireland, and the place of Protestant musicians within popular Irish cult
In the middle decades of the twentieth century, transnational networks sparked a range of cultural projects focused on collecting Indigenous music and folklore in the Americas. Indigenous ...Audibilities follows the social relations that created these collections in four interconnected case studies linking the United States, Mexico, Nicaragua, and Chile. Indigenous collections were embedded in political projects that negotiated issues of cultural diplomacy, national canons, and heritage. The case studies recuperate the traces of marginalized voices in archives, paying special attention to female researchers and Indigenous collaborators. Despite the dominant agendas of national and international institutions, the diverse actors and the multidirectional influences often created unexpected outcomes. The book brings together theories of collection, voice, media, writing, and recording to challenge the transparency of archives as a historical source. Indigenous Audibilities presents a social-historical method of listening, reading, and thinking beyond the referentiality of archived texts, and in the process uncovers neglected genealogies of cultural music research in the Americas.
Studie Zdeňka Vejvody je věnována české lidové taneční hudbě. Autor se zaměřuje na strukturální analýzu hudebního materiálu ve sbírce " Nápěvy prostonárodních písní českých", kterou v roce 1862 ...publikoval Karel Jaromír Erben. Analyticky se zabývá způsobem Erbenovy notace ve vztahu k melodii a rytmu, hudební formě, metru, tempu, textové struktuře a deklamaci.
The present study focuses on the native Hungarian music education in Transylvania, tracing the principles and practical elements of the Kodály concept from kindergarten to higher education. It ...highlights the work of Transylvanian folk music researchers, composers and teachers who helped the Kodály concept to take root in Transylvanian Hungarian music culture through their compositions, theoretical writings, or practical activities. Evidence of this can be found in theoretical writings, compositions, curricula, textbooks, and song anthologies.
Bu araştırma Türkiye’de yayımlanmış olan Türk Halk Müziği (THM) Solfej kitaplarındaki çalışmaların çeşitli yönlerden incelenmesini içermektedir. Çalışma kapsamında Türk Halk Müziği Solfej alanında ...yazılmış ve ulaşılabilen 8 adet kitap ve içeriğinde bulunan 902 adet solfej ve türkü incelenmiştir. Çalışmada nitel araştırma yöntemlerinden olan içerik analizi ve doküman analizi yöntemlerinden faydalanılmıştır. Araştırmanın sonucunda incelenen kitapların tamamında solfej ve örnek THM eserlerinin; vokal açıdan başlangıçta kolay tartımsal- ezgisel unsurlarla, vokal sınırları daha dar ve daha kısa alıştırmalarla başladığı ve zorlaşarak ilerleme gösterdiği, usûl ve tartımsal çeşitlilik açılarından türkülerimizin birçoğunda rastlayabileceğimiz öğeleri içerdiği, ses sahası açısından THM repertuvarında bulunan türkülere benzer içerikler taşıdığı, usûllere yönelik olarak teorik bir anlatım bulunmamakla birlikte bazı kitaplarda kısaca usûl bilgisi verildiği, kitaplardan iki tanesinde solfejler ve örnek türkülerde geçen makâm dizilerine yönelik olarak teorik bilgi bulunduğu fakat diğer kitaplarda ya hiç bilgi verilmediği ya da yalnızca makâm dizisinin gösterildiği, on beş farklı makâm dizisi ve otuz farklı usûl içerdiği, en çok bulunan makâm dizisinin Hüseynî olduğu ve en çok bulunan usûlün ise 4/4’lük usûl olduğu sonuçlarına ulaşılmıştır. Ulaşılan sonuçlar ışığında Türk Halk Müziği Solfej alanına yönelik olarak yapılacak çalışmalara dair önerilerde bulunulmuştur.
One of the earliest documented Scottish song collectors actually to go 'into the field' to gather his specimens, was the Highlander Joseph Macdonald. Macdonald emigrated in 1760 - contemporaneously ...with the start of James Macpherson's famous but much disputed Ossian project - and it fell to the Revd. Patrick Macdonald to finish and subsequently publish his younger brother's collection. Karen McAulay traces the complex history of Scottish song collecting, and the publication of major Highland and Lowland collections, over the ensuing 130 years. Looking at sources, authenticity, collecting methodology and format, McAulay places these collections in their cultural context and traces links with contemporary attitudes towards such wide-ranging topics as the embryonic tourism and travel industry; cultural nationalism; fakery and forgery; literary and musical creativity; and the move from antiquarianism and dilettantism towards an increasingly scholarly and didactic tone in the mid-to-late Victorian collections. Attention is given to some of the performance issues raised, either in correspondence or in the paratexts of published collections; and the narrative is interlaced with references to contemporary literary, social and even political history as it affected the collectors themselves. Most significantly, this study demonstrates a resurgence of cultural nationalism in the late nineteenth century.
The Sultanate of Oman is characterized by a huge and creative musical heritage that remains mostly preserved. One hundred forty-two different traditional musical genres and styles (funun) have been ...registered in the Sultanate. This study aimed to investigate the Omanis’ musical creative achievements and the psychological motives behind Omani musical creative achievements. The present qualitative study adopted ethnographic research. The two study’s questions were answered in two stages: firstly, by analysis of relevant documents of Omani genres, and secondly stage based on analysis of documentary films and direct observations. The study showed that the Omanis created such musical achievements, including many genres, rhythms, instruments, and ways of performing. Furthermore, research has shown psychological motives that motivated Omani people to create these various genres, such as provocation of enthusiasm, meditation, religious motivations, poetic competition, and emotional motivation. For each motive, musical genres have been presented.
Exploring an array of topics, from hybridized Buddhist music to AI singers, this book introduces Japanese music in the modern era. The chapters highlight unique influences, including the ...transformation of traditional genres and the adoption of Western musical practices ranging from classical music to hip hop.
Through a transnational, comparative and multi-level approach to the relationship between youth, migration, and music, the aesthetic intersections between the local and the global, and between agency ...and identity, are presented through case studies in this book. Transglobal Sounds contemplates migrant youth and the impact of music in diaspora settings and on the lives of individuals and collectives, engaging with broader questions of how new modes of identification are born out of the social, cultural, historical and political interfaces between youth, migration and music. Thus, through acts of mobility and environments lived in and in-between, this volume seeks to articulate between musical transnationalism and sense of place in exploring the complex relationship between music and young migrants and migrant descendant’s everyday lives.
O presente artigo traz uma olhada global sobre os repertórios musicais empregados em cerimônias de xamanismo universal em Brasil. O xamanismo universal configura-se como um movimento de resgate de ...saberes indígenas tradicionais, sobretudo em relação ao uso de plantas de poder como veículos para a cura física e espiritual. As músicas produzidas dentro deste contexto apresentam-se como um laboratório vivo em que se encontram tradições musicais latino-americanas em constante diálogo com a modernidade e as ferramentas tecnológicas: a musicalidade indígena amazônica, diversas musicalidades populares tradicionais, ritmos folclóricos, jazz, rock, música indiana, entre outros. A partir da escuta de fonogramas, da observação participante de cerimônias e da experiência como intérprete traça-se um mapa das musicalidades que participam deste universo, destacando suas características estilísticas derivadas de seus respectivos meios culturais.
PDF