In memoriam Bruno Nettl Pettan, Svanibor
Muzikološki zbornik,
06/2020, Letnik:
56, Številka:
1
Journal Article
Recenzirano
Odprti dostop
With Bruno Nettl’s passing on 15 January this year, the world of ethnomusicology lost one of its major figures, a scholar who significantly contributed to its affirmation as an academic field ...worldwide, and who inspired and kept supporting generations of ethnomusicologists on their way to new heights. His lectures at the University of Ljubljana’s Faculty of Arts in 2007 raised lots of interest among the professors and students; at that occasion, he presented the Department of Musicology his collection of abstracts. Musicological Annual lost a respected member of its International Advisory Board and the author of the article “What Are the Great Discoveries of Your Field? Informal Comments About the Contributions of Ethnomusicology,” published in 2015. Nettl’s crossdisciplinary scholarship provides a broad and multi-layered picture of both selected musics and of ethnomusicology as a discipline.
Music embodiment, or dance, has long been practiced by the ancient Mayas for religious purposes and, since the Spanish Inquisition, their descendants have maintained and reinvented their dances ...during the patron saint fiestas. Yet, little is mentioned about the collective, music embodiment of the Maya Diaspora. The purpose of this article is to shed light on the music embodiment and collective memory of the Maya Diaspora, focusing on the Maya Q’anjob’al communities in the United States. Such participant-observations have, however, been largely derived from research conducted in rural Alamosa, Colorado and urban Los Angeles, California along with attending the annual National Pastoral Maya Conferences for the past decade. This research reveals that the Maya Q’anjob’al Diaspora often manifest their social dances at the latter-part of their fiestas, which embodies the collective memory of the homeland. The sustainability of the marimba’s music embodiment as a collective memory demonstrates perseverance, and nostalgia for the Maya Q’anjob’al Homeland. I give special thanks to Virves Garcia for his interviews, collaborations, and lessons on cultural, religious, musical, historical, and dance issues in diaspora.
Applied ethnomusicology is a growing trend across arts and humanities, towards the societal usefulness of academic work. In the second half of the twentieth century, it involved a variety of ...activities, such as holding festivals to preserve traditional music. In the 21st century, the second major trend in applied ethnomusicology has emerged i.e. music is seen as a tool to solve social problems. Some of the most common areas in applied ethnomusicology are: trying to realize the rights of deprived cultural and musical groups, protecting musical rights in the form of archival projects, trying to realize cultural and musical rights of minorities, efforts to protect the natural and social environments of musical cultures, participation in crises such as war and health and, cross-cultural music education. Applied ethnomusicology, in its modern sense, has no place in the current discourse in Iran. In other words, no trace of applied ethnomusicology can be found among the approved lectures and post-graduate dissertations in this field. In short, the potential of applied ethnomusicology has been widely neglected in the cultural policy of Iran. Among cultural opportunities offered by applied ethnomusicology include: redefining deprived cultural-musical groups and supporting them within the framework of popular festivals in the country, Establishment of regional music archives in deprived areas in order to have a lasting impact on the musical life of those regions, provide solutions to improve cultural-musical conditions of Afghan immigrants.
Music Traditions, Cultures, and Contexts is a tribute to the ethnomusicologist Beverley Diamond in recognition of her outstanding scholarly accomplishments. The volume includes essays by leading ...ethnomusicologists and music scholars as well as a biographical introduction. The book's contributors engage many of the critical themes in Diamond's work, including musical historiography, musical composition in historical and contemporary frameworks, performance in diverse contexts, gender issues, music and politics, and how music is nested in and relates to broader issues in society. The essays raise important themes about knowing and understanding musical traditions and music itself as an agent of social, cultural, and political change. Music Traditions, Cultures, and Contexts will appeal to music scholars and students, as well as to a general audience interested in learning about how music functions as social process as well as sound.
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