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
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.
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.
Tanbûrs are long-necked lute-like instruments played in the art, Sûfî, and folk musical traditions along the Silk Road and beyond. This book provides a detailed study of the history of the tanbûr, ...its role in Ottoman music, construction and playing technique.
Can musicians really make the world more sustainable? Anthropologist Mark Pedelty, joined an eco-oriented band, the Hypoxic Punks, to find out. In his timely and exciting book,Ecomusicology, Pedelty ...explores the political ecology of rock, from local bands to global superstars. He examines the climate change controversies of U2's 360 Degrees stadium tour-deemed excessive by some-and the struggles of local folk singers who perform songs about the environment. In the process, he raises serious questions about the environmental effects and meanings on music.Ecomusicologyexamines the global, national, regional, and historical contexts in which environmental pop is performed. Pedelty reveals the ecological potentials and pitfalls of contemporary popular music, in part through ethnographic fieldwork among performers, audiences, and activists. Ultimately, he explains how popular music dramatically reflects both the contradictions and dreams of communities searching for sustainability.
The British Folk Revival is the very first historical and theoretical work to consider the post-war folk revival in Britain from a popular music studies perspective. Michael Brocken charts the ...revival from its origins in left-wing political ideology through to the convergence of folk and pop during the 1950s and 1960s, and the fragmentation and constriction of the revival since the 1970s. The book will create lively debate among the folk music fraternity and popular music scholars, as well as folklorists and ethnomusicologists.
