Music & Minorities最新文献

{"title":"Writing on Water: The Sounds of Jewish Prayer, by Judit Niran Frigyesi","authors":"Isabel Frey","doi":"10.52413/mm.2023.18","DOIUrl":"https://doi.org/10.52413/mm.2023.18","url":null,"abstract":"","PeriodicalId":332919,"journal":{"name":"Music & Minorities","volume":"184 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116903622","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}

{"title":"Ultimele cântece bătrânești din Olt / Last Old Songs From Olt, by Various Artists, recorded and annotated by Speranţa Rădulescu","authors":"Margaret H. Beissinger","doi":"10.52413/mm.2023.17","DOIUrl":"https://doi.org/10.52413/mm.2023.17","url":null,"abstract":"","PeriodicalId":332919,"journal":{"name":"Music & Minorities","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124140116","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}

{"title":"Stories of Songs, Choral Activism and LGBTQ+ Rights in Europe","authors":"T. Hilder","doi":"10.52413/mm.2023.15","DOIUrl":"https://doi.org/10.52413/mm.2023.15","url":null,"abstract":"This paper attends to choral activism and LGBTQ+ rights in Europe. Drawing on models in a post-Stonewall US context, LGBTQ+ choirs have appeared since 1982 in urban centres throughout Europe, employing a range of repertoire, adopting innovative performance practices, and enacting public interventions. These choirs can affirm positive LGBTQ+ identities, create safer spaces, build local LGBTQ+ communities, offer sites of healing and sharing about different LGBTQ+ experiences, and increase visibility in the aid of LGBTQ+ rights (Balén 2017; De Quadros 2019; MacLachlan 2020). While LGBTQ+ rights may have  become “a powerful symbol of Europe” (Ayoub and Paternotte 2014: 3) in the popular imagination and in the EU public discourse, in the last decade, new nationalist formations, increased violence toward LGBTQ+ people, and divisions within an apparent LGBTQ+ community have rendered queer Europeans at a critical juncture just as the project of Europe itself begins to crumble. As an activist within, and researcher of a European LGBTQ+ choral music scene, I will share with this paper stories of songs, choirs, festivals and choral networks inspired by Rita Felski’s notion of “hooked” (2020). Drawing on several years of ethnographic research in the UK, Italy and Poland, I ask: How have LGBTQ+ choirs shaped and been shaped by the struggle for LGBTQ+ rights locally, nationally and transnationally? What stories do these choirs tell us about the power of songs to bring about wider social transformation? How might LGBTQ+ choirs offer models of care, community and advocacy in a continent in crisis? Discussing an array of issues and cases – the Various Voices festival, the London Gay Men’s Chorus and the Cromatica network – and the potentials of applied methods, I invite us to listen to LGBTQ+ choral singing as a form of activism that continues to transform European 21st century politics and society.","PeriodicalId":332919,"journal":{"name":"Music & Minorities","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121079209","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}

{"title":"Sakthi Vibrations (documentary film), directed by Zoe Sherinian","authors":"Rasika Ajotikar","doi":"10.52413/mm.2021.9","DOIUrl":"https://doi.org/10.52413/mm.2021.9","url":null,"abstract":"","PeriodicalId":332919,"journal":{"name":"Music & Minorities","volume":"815 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128852585","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}

{"title":"Queering the Field: Sounding Out Ethnomusicology, edited by Gregory Barz and William Cheng","authors":"T. Hilder","doi":"10.52413/mm.2021.1","DOIUrl":"https://doi.org/10.52413/mm.2021.1","url":null,"abstract":"","PeriodicalId":332919,"journal":{"name":"Music & Minorities","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128934936","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}

{"title":"Short History of Syrian Street Music in Istanbul","authors":"Evrim Hikmet Öğüt","doi":"10.52413/mm.2021.4","DOIUrl":"https://doi.org/10.52413/mm.2021.4","url":null,"abstract":"Over the last ten years, fluctuations regarding political, legal, social, and economic parameters have transformed the migratory experience of Syrian migrants in Turkey. This transformation has not only affected musicians’ day-to-day lives, but also their musical practices, venues of performance, repertoires, and even the meanings associated with all of these. However, the limited literature on the Syrian musicians’ experience in Turkey does not adequately reflect this transformation. \u0000In the context of a social and economic history of migration between 2015 and 2020, this article will focus on a specific musical practice of Syrian musicians in Istanbul, namely street musicianship. More specifically, based on a basic argument that this practice fulfills multiple economic, social, and political functions in a context marked by a lack of systematic support and institutional means under migratory circumstances, the article will examine various aspects of it. \u0000A detailed examination of this specific practice can provide a basis for a productive discussion leading to a better understanding of the Syrian migratory experience in Turkey. Moreover, every single aspect the article deals with has the potential to provide an understanding of the intricate social relations and issues that involve not only migrant musicians but also many other actors. \u0000First, I will discuss Syrian street music in Istanbul as an emergent practice occurring in migratory conditions. Without ignoring the heterogeneity of migrant and Syrian identities, I attempt to portray Syrian street music and its performers according to various parameters such as their age, gender, musical background, etc. Second, I look at how Syrian musicians use street music to interact with other public space actors, including local and migrant communities, as well as tourists. I will also provide examples that illustrate how these musicians tactically manage these encounters by choosing from their repertoire to suit their respective audiences. Finally, I argue why street musicianship, rather than representing a merely transitional, temporary job for migrants during the early years of their migration, is, in fact, the first step of a career in a newly forming market by migrant musicians.","PeriodicalId":332919,"journal":{"name":"Music & Minorities","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128326080","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}