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.
Anatolian geography has been a frequent destination for ancient cultures with its rich and deep cultural background. As a result of the historical past is substantial in the formation of Turkish ...traditional music. Bozlak is a substantial musical form which is unmetered in Turkish folk music. This particular musical style can be heard in various regions of Turkey. The aim of this study is to reveal within Turkish folk songs, the importance of Muharrem Ertas and his musical identity as a minstrel, beside his representation of bozlak style. Within this context, some significant issues of his musical identity, region's cultural and historical background will be reflected upon.
