Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz最新文献_第2页

Sanlele ‘Jumping’ on the Road of Glocalization: Sounds of Okinawa Tropical Champuru Culture and the World Youth Uchinanchu 三乐在全球本土化道路上“跳跃”:冲绳热带Champuru文化与世界青年Uchinanchu之声

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.03

Huang Wan

{"title":"Sanlele ‘Jumping’ on the Road of Glocalization: Sounds of Okinawa Tropical Champuru Culture and the World Youth Uchinanchu","authors":"Huang Wan","doi":"10.30819/5319.03","DOIUrl":"https://doi.org/10.30819/5319.03","url":null,"abstract":"\u0000 Sanlele, a three-stringed musical instrument emerged in 2004 in Okinawa, is a hybrid musical\u0000instrument in-between Hawaiian ukulele and Okinawan sanshin. San, means three, comes from\u0000Okinawan sanshin. The term ‘lele’, means jumping, has a direct connection with Hawaiian\u0000ukulele. If this is true, the sanlele thus can be understood literally as ‘jumping sanshin’. During\u0000the process of hybridizing, the sanlele developed at least four versions, reflecting everchanging\u0000aesthetic preferences by musical instrument makers. This paper bases on regular fieldwork made\u0000since 2018. It argues that if taking performer into consideration, it is clearly to see that sanlele’s\u0000meaning is flexibly constructed and invoked in any performance. Through ‘switched meanings’\u0000in performance, the sanlele switches on or off a connection with Okinawa and Hawaii. There are\u0000several backgrounds contributing to its ‘jumping’ on the road of ‘glocalization’ (R. Robertson\u00001995), including the Okinawan unique tropical champuru cultural spirit, the Worldwide Youth\u0000Uchinanchu Festival, and oversea Uchinanchu’s identity rethinking on the road of a\u0000‘transnational homing’(Katie Walsh 2006). To make, to play, and to listen to the sanlele, can be a\u0000chance for musical instrument makers, performers, and people who use it to open up in dialogues\u0000with histories and cultures of Okinawa, Hawaii, and beyond.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128217996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Banquets, Power, and Identity - Mediation of Power and Identity through Royal Feasts and Banquets in Persia 宴会、权力和身份——通过波斯的皇家宴会和宴会来调解权力和身份

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.14

Sahereh Astaneh

{"title":"Banquets, Power, and Identity - Mediation of Power and Identity through Royal Feasts and Banquets in Persia","authors":"Sahereh Astaneh","doi":"10.30819/5319.14","DOIUrl":"https://doi.org/10.30819/5319.14","url":null,"abstract":"\u0000 Feasting and banquets played a significant role in defining and strengthening cultural identity.\u0000Archaeological-historical studies demonstrated that feasting and banquets were more than a time\u0000for celebration and consuming food and wine, they could be of political importance and they\u0000have played a major role in the negotiation of power and identity. Indeed, they have contributed\u0000to historical transformations. The richest source of banquets in ancient Persia dates back to\u0000‘Chogha Mish’, the largest pre-Sassanian site in the Susiana area, in the western province of\u0000Khuzestan, a state located in today’s Iran. Artifacts from ancient Persia, especially from the\u0000Achaemenid (539–330 BC) and its successor the Sassanid Empire, have proven to contain\u0000extremely valuable information to shine light on the nature of the royal banquets.\u0000This paper examines artefacts and a mural from different Persian eras depicting such royal\u0000banquets. It focuses on these remnants of culture which allow a glimpse into the Persian past.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126049984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Guqin Playing Now: Re-inventing the Past as a Creative Way of Sustaining an Instrumental Practice 现在的古琴演奏:重新发明过去作为一种维持器乐练习的创造性方式

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.02

Hoh Chung Shih

{"title":"Guqin Playing Now: Re-inventing the Past as a Creative Way of Sustaining an Instrumental Practice","authors":"Hoh Chung Shih","doi":"10.30819/5319.02","DOIUrl":"https://doi.org/10.30819/5319.02","url":null,"abstract":"\u0000 Guqin (古琴) music, a cultural practice of the Classical Chinese literati which survived and had\u0000seen a surge of interest globally in the early 21st century, can be understood as an interactive\u0000whole consisting of the instrument and the performer. The musical interface, its music notation\u0000focuses heavily on the instrumental spatial-motor relationship with the performer, with sound as\u0000product of this psychosomatic interaction. This paper will examine the various layers of this\u0000interaction between: a) notation and movement and sound; b) topography of instrument body\u0000and physicality of performers’ hand on it; c) physicality and psychology of performance, leading\u0000to questions of musicality, authenticity in expression, and intentions or functions of guqin music.\u0000By comparing particular works (such as 山居吟 and 潇湘水云) across score collections from\u0000different periods (such as 神奇秘谱 1425, 大还阁琴谱 1673, 五知斋琴谱1722), and highlighting\u0000certain peculiar fingering position and combinations in earlier music against recent transcriptions\u0000of popular music, I will raise questions on possible musical purposes and expressions in relation\u0000to the proposed performer-instrument interaction perspective, so as to further understand the\u0000evolving nature of this music making over time. This creative interaction in sonic terms as sound\u0000and as music, performance practice and musical expression as culture and aesthetics, are some\u0000aspects of what I wish to present on an ongoing reinvention of guqin as instrument and music.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132608283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Exploring Ethiopian Instrumental Music and Musicians 探索埃塞俄比亚器乐和音乐家

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.20

Timkehet Teffera

{"title":"Exploring Ethiopian Instrumental Music and Musicians","authors":"Timkehet Teffera","doi":"10.30819/5319.20","DOIUrl":"https://doi.org/10.30819/5319.20","url":null,"abstract":"\u0000 In many Ethiopian traditional cultures, vocal music dominates the musical repertoire. It is only\u0000in a handful of traditional contexts, where solely instrumental music becomes part of the\u0000repertoire. Contrary to this, however, the modern music domain in Ethiopia offers a wide range\u0000of instrumental music. The root of instrumental music in Ethiopia is, most probably, connected\u0000with the emergence of independent/private bands in the early 1960s. These modern bands with\u0000highly trained Ethiopian musicians, among others, offered ‘light-music’ in hotels and restaurants.\u0000In the initial periods, their repertoire mainly entailed re-arranged international melodies. The\u0000advancement of the modern music paved a way to increasing musical creativity over the decades\u0000to follow. My presentation will attempt to look at instrumentals performed with western music\u0000instruments, of which the large part derives from already existing traditional and modern songs.\u0000Representative musical pieces will be given special focus in terms of their instrumentation, rearrangement,\u0000melodic and metro-rhythmic structures, form and style along with their function,\u0000meaning and understanding.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123735142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Rituals with Music and Food, Food with Music and Rituals 音乐和食物的仪式，音乐和仪式的食物

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.15

G. Jähnichen

引用次数: 0

Digital Representations of Chinese Teahouse Music 中国茶馆音乐的数字表现

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.17

Corey Moore

引用次数: 0

From Japan to China: Another Interpretation of Taiko 从日本到中国:太鼓的另一种诠释

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.05

Li Yujie

引用次数: 0

The Annah Rais Pratuokng and the Practical Appearance of Re-invented Musical Instruments 阿娜尔·里斯普拉图金与再发明乐器的实用外观

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.07

Ahmad Faudzi Musib

{"title":"The Annah Rais Pratuokng and the Practical Appearance of Re-invented Musical Instruments","authors":"Ahmad Faudzi Musib","doi":"10.30819/5319.07","DOIUrl":"https://doi.org/10.30819/5319.07","url":null,"abstract":"\u0000 The Annah Rais pratuokng is a traditional musical instrument of the Bidayuh. It is also known as\u0000a simple idiochord chordophone. It is made of a petung bamboo, and the sound faculty is\u0000equivalent to the functions of the Bidayuh community gong set. The sound radiator meaning is\u0000made up of tawak, satuk and canang. A similar tube zither made of bamboo,\u0000named pretong or sretong, is used by the Bidayuh of Bau. The three-string sound radiators\u0000are kromong, canang, gong, plus the tawak and gedabak. Pratuokng sound radiators are like the\u0000gongs of the Bidayuh. According to Horsbourgh's observation, \"... gongs... are both a musical\u0000instrument and a representation of wealth”2. The Annah Rais Bidayuh gong set, privately owned\u0000by the villagers, can be typically played every year for ritual practice as well as for entertainment\u0000during the Gawai celebration on the first and second June. The audio collection of the Ethnology\u0000Section of the Sarawak Museum provides similar recordings from other occasions than played\u0000duringGawai Panggah. Also, some groups’ celebrations among the Bidayuh Biata, Bidayuh\u0000Selakau, and Lara, Bidayuh Lara were recorded. Few recordings were collected in Annah Rais\u0000between 1988 and 1998, which still maintain the same settings as those recorded in Kupuo Saba\u0000of Annah Rais to this date. In the context of the use of gongs during celebrations, the\u0000representations of gong tones can also be found on a pratuokng. One point of debate in the\u0000literature about tube zithers is, whether the voice functions found in the gong collection mimic\u0000the string voices found on the pratuokng or the other way round. Does this fact serve as a\u0000featured phenomenon to the actual appearance of re-invented musical instruments? Does it\u0000contribute to its sustainable appearance today?\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129276179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

To Stamp One's Feet: Resurgence of the Artesa as an Identity Reassessment in Afro-Descendant Communities of Costa Chica, Mexico 跺脚:Artesa的复兴作为对墨西哥哥斯达黎加非洲后裔社区身份的重新评估

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.11

C. Rodríguez

{"title":"To Stamp One's Feet: Resurgence of the Artesa as an Identity Reassessment in Afro-Descendant Communities of Costa Chica, Mexico","authors":"C. Rodríguez","doi":"10.30819/5319.11","DOIUrl":"https://doi.org/10.30819/5319.11","url":null,"abstract":"\u0000 An artesa is a large zoomorphic stamping platform in the shape of a cattle related animal (horse,\u0000bull or cow) made of one piece of parota tree wood (Enterolobyum Cyclocaroum). Until the midtwentieth\u0000century, most collective Afro-descendant celebrations in Costa Chica region (Mexico)\u0000implied a fandango de artesa, where stamping dance on an artesa –along with other musical\u0000instruments and singing– was the center of the festivity. Nevertheless, since then fandangos\u0000began to gradually fall into neglect until practically disappear. In the 1980s, through the\u0000intervention of some anthropologists, the fandango underwent into a process of resurgence.\u0000Firstly, immersed in the agenda of the institutional programme ‘Our Third Root’ -dedicated to\u0000the cultural recognition of Afro-descendants- and later on embraced by a local movement\u0000concerned with ‘Afro-Mexican’ political recognition, artesa resurgence went through substantial\u0000changes. This process brought new functions, meanings, performative formats, construction and\u0000esthetical values to this musical instrument. Based on regional field-work this paper explores\u0000artesa’s recent status as a selective cultural process where a re-interpretation and a new narrative\u0000have shaped a particular resurgence of this instrument and its contexts of appearance.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127696980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Gäwula: The Invention of a Hybrid Drum in Sri Lanka Gäwula:斯里兰卡混合鼓的发明

Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz Pub Date : 2021-11-21 DOI: 10.30819/5319.10

Eshantha Peiris

{"title":"Gäwula: The Invention of a Hybrid Drum in Sri Lanka","authors":"Eshantha Peiris","doi":"10.30819/5319.10","DOIUrl":"https://doi.org/10.30819/5319.10","url":null,"abstract":"\u0000 In the late 1990s, the Sri Lankan drummer Piyasara Shilpadhipathi invented a new drum that he\u0000named ‘gäwula’ The gäwula was conceived of as a hybrid between two traditional Sri Lankan\u0000drums, namely the double-conical-shaped gäṭa beraya and the barrel-shaped dawula, which are\u0000associated with two different regional ritual traditions. A double-headed drum that is tied around\u0000the drummer’s waist, the gäwula features the timbres of the gäṭa beraya on one drumhead and\u0000those of the dawula on the other drumhead. As prescribed by the drum’s inventor, the gäwula\u0000can be played either with two bare heads or with one bare hand and a stick in the other hand,\u0000similar to the dawula. Shilpadhipathi also composed a vocabulary of drum-patterns that can be\u0000played on the gäwula and created a systematic method for learning to play it.\u0000This article discusses the production of the gäwula, the ideologies behind its invention, and the\u0000contexts within which it has been practised and performed. Using the history of the gäwula as a\u0000case study, this paper explores how cultural discourses and individual agency can influence the\u0000invention of new musical instruments.\u0000\u0000","PeriodicalId":167203,"journal":{"name":"Wie wir leben wollen. Kompendium zu Technikfolgen von Digitalisierung, Vernetzung und Künstlicher Intelligenz","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128014025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0