Instruments in motion: flutes, harmonicas and the interplay of sound and silence in colonial Micronesia

IF 0.4 4区 历史学 Q3 ANTHROPOLOGY
Brian Diettrich
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引用次数: 1

Abstract

This article explores musical instruments in colonial Micronesia in their sonic, material and historical contexts. Using archival and oral sources and museum artefacts this study investigates the movements of instruments, including the abandonment of some and the acceptance of other types within Micronesian communities in the late 19th and early 20th centuries. The study argues for critical attention to the interplay of sound and silence within imperial enterprises in the Pacific, and it addresses the agency of musicians and listeners within a musical and material modernity. Specifically, this study also provides the first in-depth, comparative investigation of indigenous flutes from the Caroline Islands, as well as the first detailed cultural study of nose flutes from Chuuk in the Federated States of Micronesia. Through the investigation of historical flutes and colonial-derived instruments such as the harmonica I query how we understand the movements of things in their material and aesthetic forms, and I argue for the role of musical instruments in the unfolding of Pacific pasts and presents.
运动中的乐器:在密克罗尼西亚殖民地,笛子、口琴和声音与寂静的相互作用
这篇文章探讨了密克罗尼西亚殖民地的乐器在他们的声音,材料和历史背景。本研究利用档案和口述资料以及博物馆文物,调查了19世纪末和20世纪初密克罗尼西亚社区中乐器的运动,包括一些乐器的放弃和其他类型乐器的接受。该研究主张对太平洋地区帝国企业中声音与沉默的相互作用给予批判性关注,并探讨了音乐和物质现代性中音乐家和听众的作用。具体来说,这项研究还首次对加罗林群岛的土著笛子进行了深入的比较调查,并首次对密克罗尼西亚联邦丘克的鼻笛进行了详细的文化研究。通过对历史长笛和口琴等殖民衍生乐器的调查,我质疑我们如何理解物质和美学形式下事物的运动,并论证乐器在太平洋过去和现在的发展中所扮演的角色。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.50
自引率
16.70%
发文量
5
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