{"title":"Other occasions when musical emotions can arise in ţigănie","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0006","url":null,"abstract":"This chapter presents a detailed ethnography of other situations in which musicians—either professional, semiprofessional, or amateur—, cry openly while playing music. These are smaller celebrations and spontaneous parties in the Roma neighborhood of Ceuaş. The chapter first describes a baptism, and then more intimate musical gatherings taking place at the musicians’ homes. The comparison of all these situations reveals the main factors that trigger the musicians’ emotional outbursts: a particular social context (at home with friends), alcohol, and “personal” tunes.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126530036","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":"Funerals and the politics of emotion","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0008","url":null,"abstract":"This chapter presents a detailed ethnography of the funeral rituals of the Roma of Ceuaş. It describes how a funeral ceremony unfolds and how musicians participate in it. The ethnographic description points to the instable and open-ended distinction between the “relatives” (neamuri) of the deceased and the “outsiders” (străini). These two groups interact on an essentially emotional level: the former are under pressure to express their grief to the latter, who are themselves on the lookout for these expressions of feeling. The chapter highlights the key differences between the tears of the neamuri, who cry “with full throat,” and those of the străini, who “cry inside.” The final part of the chapter presents an interpretation of the Roma funerals. Ritual actions, including wailing and playing music, seek to nudge the relationships between the living and the dead, and the neamuri and the străini, toward the positive emotional poles of piety and pity (milă) and away from the negative poles of fear and shame (laja).","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130848055","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":"The soundscape of a funeral wake","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0009","url":null,"abstract":"This chapter completes the analysis and interpretation of the Roma funeral ritual. It shows how the wailing of the women and the instrumental tunes performed by the musicians arouse feelings of compassion and empathy (milă) in the participants. Each sonic element of the funeral wake is analyzed separately, relying on textual and musical transcriptions. Drawing on hypotheses coming from both anthropology and the cognitive sciences, it claims that the “icons of crying” (sobs, hiccups, strangled voice, etc.) can be related to the innate process of emotional contagion. Conversely, the enunciative strategies of a lament call for more elaborate empathy processes, because they require a level of understanding of the kinship network described. As for the instrumental music, the chapter suggests that its emotional impact is based on a combination of both the affective qualities attributed to the different genres and the associations that exist between a tune and a person.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125371349","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":"The professional ethics of the Roma musicians of Ceuaş","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0002","url":null,"abstract":"Chapter 1 describes how the Roma musicians of Ceuaş conceive of their professional activity. In their opinion, when they are paid to perform they should “provide a service” and must endeavor to give satisfaction to everyone present. The chapter focuses on how musicians perceive their relationship with their clients. This is based on a key prescription: “to stay in your place.” This expression means abiding by a certain moral code, as much as it implies a particular standard of behavior. Musicians should both “keep their word” and “stay calm”: they should fulfill their contractual obligations without allowing themselves to get carried away by the atmosphere of revelry. This strict professional ethics is not specific to the musicians of Ceuaş and can be observed in other Roma communities of eastern Europe.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131812923","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":"Toward an anthropological approach to musical empathy","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0015","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0015","url":null,"abstract":"This chapter proposes an anthropological approach to musical empathy, relying on Alfred Gell’s notion of agency. It is claimed that: (1) musical emotions are best approached as empathetic phenomena, as opposed to cognitive acts involving the decoding of a message; (2) it is possible to distinguish between different types of musical empathy, depending on the type of agency relationship: “empathy with the musical being,” “empathy with the artist,” “empathy with musical memory-images,” and “intersubjective musical empathy”; (3) the representation of a network of agency can reveal the role played by the performance context in the emotions attributed to music; (4) The notion of agency makes it possible to consider “personal” tunes as “distributed persons,” as opposed to signs of persons; (5) the highly ornamented de jale (“sorrowful”) tunes can be seen as “sonic agents,” or “sonic beings” arousing in the listeners feelings of attachment, rapture, and loss.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115087066","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":"How to make music work, how to arouse emotions","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0004","url":null,"abstract":"This chapter proposes some more general thoughts on the professional activity of the Roma musicians of Ceuaş. First, the following question is addressed: How do the professional relationships that form the context of musicians’ work affect their mental representation and organization of the musical repertoire? It is claimed that Roma musicians base their approach and organization of music on its potential efficacy. The more the musicians can tailor their music to their customers’ “national,” “regional,” or “personal” preferences, the more effective their action. The chapter then focuses on how musicians arouse bittersweet emotions in their clients. This is achieved through finely calibrated “personal tunes” that bring the past alive with a rush of memories and eventually make customers cry. Finally, it is argued that during the “service” there can be moments when musicians openly express their emotions. Musicians’ emotional involvement can be interpreted either as a form of freedom, depending on the circumstances, or as an extreme form of subordination to their clients.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123803618","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":"Conclusion","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0016","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0016","url":null,"abstract":"This final chapter summarizes the main achievement of this research on the “musical tears” of the Roma of Ceuaş. It shows what light it sheds, more generally, on European Roma communities and on the question of musical emotions. The chapter raises the question of how the gap between laboratory research and fieldwork can be reduced, and poses the foundations of an interdisciplinary approach to musical emotions.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131743809","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":"A musical experience of being inwardly torn apart","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0007","url":null,"abstract":"This chapter describes what the Roma of Ceuaş experience when they cry along with music, at home with a few friends or during the small parties they held in their neighborhood. The focus is on the various local terms used by the Roma themselves, such as dor (grief), jale (sorrow), and supărare (irritation/sorrow, anger/pain, vexation/regret). Music arouses these feelings by bringing their loved ones to mind at the sound of “their” personal tunes. It is suggested that the tears associated with the supărare cannot simply be understood as an expression of nostalgia, ancestor worship, or a ritual of brotherhood among Roma. It is rather a cathartic practice, associated with the feeling of being psychologically torn apart between two contradictory experiences: a heightened sense of togetherness and a sharp awareness of being separated from loved ones.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134516719","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":"Being milos","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0013","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0013","url":null,"abstract":"This chapter examines the semantic ramifications of the Romanian term milă (pity, compassion, empathy) and the type of intersubjective relationships it evokes. It is shown that in Ceuaş the milă structures several types of relationships: those that are based on disinterested generosity and compassion; on social obligation and the power dynamics of the Roma community; and on the clever subterfuges that are required of Roma interacting with Gaje. According to the Roma of Ceuaş, “being milos” (empathic) is a central feature of their identity and it explains why they cry so often with music. It is suggested that the Roma of Ceuaş may be considered an “emotional minority,” at odds with the organization of affects in the Gaji (non-Roma) society.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133820580","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":"What is musical empathy?","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0014","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0014","url":null,"abstract":"This chapter starts with a review of the definitions, meanings, and uses of the concept of empathy in the domains of ethnomusicology, interpersonal relationships, aesthetics, and embodied musical cognition. The following five issues are then addressed: (1) How does the notion of empathy impact the classic theories of musical emotion? (2) It is possible to define different types of musical empathy, depending on the nature of its referent? (3) Do different performance contexts foster different types of musical empathy? (4) What light do theories of empathy shed on the process of association between persons and tunes? (5) Is there any connection between an empathic disposition and the musical form of de jale (“sorrowful”) tunes?","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131156951","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}
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