Musicology Australia最新文献_第6页

Wanji-wanji: The Past and Future of an Aboriginal Travelling Song Wanji Wanji：一首原住民旅行歌曲的过去与未来

Musicology Australia Pub Date : 2020-07-02 DOI: 10.1080/08145857.2020.1957302

Myfany Turpin, Calista Yeoh, Clint Bracknell

{"title":"Wanji-wanji: The Past and Future of an Aboriginal Travelling Song","authors":"Myfany Turpin, Calista Yeoh, Clint Bracknell","doi":"10.1080/08145857.2020.1957302","DOIUrl":"https://doi.org/10.1080/08145857.2020.1957302","url":null,"abstract":"Classical Aboriginal culture in Australia consists of many different kinds of ceremonies, including travelling ceremonies that are often shared across linguistic and geographical boundaries. Each of these ceremonies is made up of dozens of different verses. Perhaps the most widely known travelling ceremony is one referred to in some areas as ‘Wanji-wanji’. This was known over half the country and dates back at least 170 years, as evidenced in eleven legacy recordings and fieldwork interviewing more than 100 people across the western half of Australia. Like any oral tradition, the names of such ceremonies vary from place to place and from individual to individual. The extent to which a ceremony was known can thus only be seen through analysis of the music itself, rather than through reference to its names. This study analyses the most widely known verse in this ceremony, which we refer to as the Wanji-wanji verse. We identify the similarities and differences of the Wanji-wanji verse across legacy recordings spanning fifty years across three states. The most significant variation can be seen in the northern and southern peripheries of its ‘broadcast’ footprint. Our fieldwork has involved repatriating audio recordings to their communities of origin and sharing knowledge about the extent to which the ceremony was known. By implication, this activity has equipped custodians with the knowledge and confidence to potentially revive this once immensely popular ceremony.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45571752","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

Kungkarangkalpa Inma Alatjila Kuwari Palyani: Dancing the Seven Sisters Songline Today! Kungkarangkalpa Inma Alatjila Kuwari Palyani：今天和Sonline七姐妹跳舞！

Musicology Australia Pub Date : 2020-07-02 DOI: 10.1080/08145857.2020.1945250

Diana James, I. Williamson

{"title":"Kungkarangkalpa Inma Alatjila Kuwari Palyani: Dancing the Seven Sisters Songline Today!","authors":"Diana James, I. Williamson","doi":"10.1080/08145857.2020.1945250","DOIUrl":"https://doi.org/10.1080/08145857.2020.1945250","url":null,"abstract":"The focus of this article is the cross-cultural translation space of bicultural bilingual performance of Inma, traditional Pitjantjatjara song and dance. The article structure reflects the two languages and cultural concepts of storytelling, song and dance in which the Kungkarangkalpa Inma—Seven Sisters performance was presented at the Centenary of Canberra Indigenous Festival in 2013. This method of bilingual bicultural translation of words, song, dance and choreography was intrinsic to the many acts of translation involved in communicating the power, passion and meaning of a traditional Indigenous Inma performance to a western city audience. Inma song and dance conveys the connectivity of people to their Tjukurpa, the Law and Dreaming of their country. The performance space of translation is one in which people choose to share their culture by performing it in language, written or spoken, song, dance or mime, and translation occurs through intermediaries with some knowledge of both cultures who translate each to the other. The authors acknowledge that the acts of translation involved in translocating the desert Inma to the Canberra stage and the presentation of this in the secondary formats of a dialogue at an academic conference and now in a written article are all abstractions from the real performance of meaning in country of the Tjukurpa. Translation is but a reflection of meaning, a narrowing of the breadth of cultural referends of language, time and place. In this case, through several portals: a condensed city performance, a film of this performance, an oral bilingual conference dialogue and now a written account. This article references these portals and incorporates direct and indirect bilingual speech and reflection in an attempt to convey the importance of Inma song and dance in the cross-cultural communication of Indigenous knowledge of country.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46244619","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: 1

The Fringe or the Heart of Things? Aboriginal and Torres Strait Islander Musics in Australian Music Institutions 边缘还是事物的核心?澳大利亚音乐学院的土著和托雷斯海峡岛民音乐

Musicology Australia Pub Date : 2020-07-02 DOI: 10.1080/08145857.2020.1945253

Clint Bracknell, L. Barwick

{"title":"The Fringe or the Heart of Things? Aboriginal and Torres Strait Islander Musics in Australian Music Institutions","authors":"Clint Bracknell, L. Barwick","doi":"10.1080/08145857.2020.1945253","DOIUrl":"https://doi.org/10.1080/08145857.2020.1945253","url":null,"abstract":"Teetering on the fringe of Australian music scholarship and knowledge institutions, research and teaching of local Indigenous musics hold a marginal place, belying the positioning of Indigenous music-makers at the centre of international representations of Australian culture, and the dynamic local connections of Indigenous music-making to Australian landscapes and social realities. Music’s ubiquity and diversity worldwide show its potential as a tool to manage the changing world in societies of the past and present, yet this potential is largely neglected in contemporary Australia, and our theories and evidence base are limited by the narrow western focus within our knowledge institutions. The sheer weight of institutional investment in purportedly superior European musics prolongs Australia’s characteristic cultural cringe and the trivialization of Indigenous cultures. Recent calls to decolonize music education and decentre the study of western classical music ring hollow in the Australian context because, despite the glossy pictures and stated aspirations, there is a big gap at the heart of our music institutions. Addressing this gap requires not just greater inclusion of Indigenous people and their musics, but also, we argue, advocacy for Indigenous self-determination as core business.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46388169","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

Henry Handel Richardson and Marie Hansen: Musical Lives in Fact and Fiction 亨利·亨德尔·理查森和玛丽·汉森:现实和虚构中的音乐生活

Musicology Australia Pub Date : 2020-01-02 DOI: 10.1080/08145857.2020.1820177

Rachel Solomon

引用次数: 0

Being Distinctive: Cocos Malay Islamic Music in the Cocos (Keeling) Islands, Mainland Australia, and Beyond 与众不同：可可群岛、澳大利亚大陆及其他地区的可可马来伊斯兰音乐

Musicology Australia Pub Date : 2020-01-02 DOI: 10.1080/08145857.2020.1820180

Jenny Mccallum

{"title":"Being Distinctive: Cocos Malay Islamic Music in the Cocos (Keeling) Islands, Mainland Australia, and Beyond","authors":"Jenny Mccallum","doi":"10.1080/08145857.2020.1820180","DOIUrl":"https://doi.org/10.1080/08145857.2020.1820180","url":null,"abstract":"The Cocos (Keeling) Islands, a tiny coral atoll in Australia’s Indian Ocean Territory, are home to around 450 Malays and 150 others. Cocos Malays largely identify as Malay and Muslim and have strong connections with the Malay world (Indonesia and Malaysia) as well as the wider Islamic world. They are also Australian citizens, part of its economy and culture, and have migrated in significant numbers to Western Australia and Sabah, Malaysia. This article focuses on two musical practices, zikir and nasyid, that have become particularly interesting in recent decades in terms of the ways they involve Cocos Malays in interactions with these wider systems, in which the distinctiveness of the particular Cocos version of Malay culture is variously emphasized, valued, overlooked, glossed over, or overcome. In this article I examine the significance of these two practices in the diasporic context of Katanning, Western Australia, where such performances of cultural identity are resignified and become involved in larger systems such as the transnational nasyid industry and multicultural agendas at local and state levels. I propose ‘distinctiveness’ as a valuable concept for understanding the way Cocos Malay culture functions as a minority culture because it recognizes the relationship both of difference from and connection with a wider group, holding these two things in tension. Attention to distinctiveness moves us beyond thinking about assimilation on the one hand or cultural preservation and sustainability on the other, to examining a situation in which both difference and belonging are important, and examining the dynamics that govern the value placed on a community’s distinguishing cultural practices.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2020.1820180","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46903303","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

Music and Diplomacy: The Correspondence of Marshal Jacob Heinrich Flemming and Other Records, 1700–1720. Part II: The Wedding Ceremony of Friedrich August and Maria Josepha in Vienna (1719)* 音乐与外交:雅各布·海因里希·弗莱明元帅的通信和其他记录，1700-1720。第二部分:弗里德里希·奥古斯特和玛丽亚·约瑟夫在维也纳的婚礼(1719年)*

Musicology Australia Pub Date : 2020-01-02 DOI: 10.1080/08145857.2020.1820181

Szymon Paczkowski

{"title":"Music and Diplomacy: The Correspondence of Marshal Jacob Heinrich Flemming and Other Records, 1700–1720. Part II: The Wedding Ceremony of Friedrich August and Maria Josepha in Vienna (1719)*","authors":"Szymon Paczkowski","doi":"10.1080/08145857.2020.1820181","DOIUrl":"https://doi.org/10.1080/08145857.2020.1820181","url":null,"abstract":"In September 1718, Jacob Heinrich von Flemming, the Saxon Field Marshal and the first minister of the Saxon Privy Council, came to Vienna to complete the political negotiations between Austria, Saxony, and Poland that were to lead, inter alia, to the dynastic pact between the Wettins and the Habsburgs. This alliance was embodied in the marriage of Friedrich August (son of August II, king of Poland and elector of Saxony) and Maria Josepha (the eldest daughter of the emperor Joseph I, who died in 1711), which took place in Vienna on 20 August 1719. Flemming spent this time in Vienna not only for the purpose of intense political negotiations, secret meetings, and important public events; he was also actively involved in the social life of the city. He participated in balls, feasts, opera performances, and other entertainments in the salons of the Viennese aristocracy, and he reciprocated the same in his residence. He brought his own private music Capelle from Saxony, which accompanied most social events taking place at his Viennese headquarters. Based on Flemming’s Viennese diaries and other documentation from that time, this article represents the second and final part of a broader study on music and diplomacy through the lens of Flemming’s activities and correspondence. It recreates the musical soundscape surrounding the Saxon marshal in the Austrian capital, showing how Flemming used music as a tool to build trusting relationships (both political and social), and detailing the role the musicians played in fulfilling Flemming’s diplomatic objectives. Archival documents are used to reconstruct hitherto unknown musical aspects of the events surrounding the Vienna wedding of Friedrich August and Maria Josepha, and to provide indications about repertoire performed during Viennese marriage ceremonies of such rank.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2020.1820181","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45210201","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

The Middle of Life: Vocal Works of Benjamin Britten 1953–1958 《生命的中期:本杰明·布里顿的声乐作品1953-1958》

Musicology Australia Pub Date : 2020-01-02 DOI: 10.1080/08145857.2019.1700596

P. Mcmahon

引用次数: 0

Carmen and the Staging of Spain: Recasting Bizet’s Opera in the Belle Epoque 《卡门》与西班牙的舞台：再现贝儿时代的比才歌剧

Musicology Australia Pub Date : 2020-01-02 DOI: 10.1080/08145857.2020.1766009

Paul Watt

引用次数: 0

Widor on Organ Performance, Practice and Technique 管风琴演奏、练习和技术的知识

Musicology Australia Pub Date : 2019-12-09 DOI: 10.1080/08145857.2019.1694391

R. Stove