{"title":"Personal tunes","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0012","url":null,"abstract":"This chapter analyzes the process through which a melody becomes someone’s “personal” tune. The following questions are addressed: How are these associations created and transmitted? How does a tune come to be generally agreed to belong to this or that person? Who are those who tend to become associated with a tune? Which tunes are the most likely to become identified with someone? It is argued that if the Roma of Ceuaş perceive a tune as emotionally charged, this is not so much because of its formal properties as its association with a specific human being.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"42 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":"122689550","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":"Village celebrations","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0003","url":null,"abstract":"This chapter presents a detailed ethnography of the professional activity of the Roma musicians of Ceuaş. Two village celebrations are analyzed: a Hungarian banquet and a Roma wedding. The description focuses on the interactions between the musicians and their clients, on the repertoire played, and on the participants’ emotional experiences. It is argued that the “service” that Roma musicians provide to their customers is generally the same whether they are playing for a Gaje or Roma audience. The comparison between the two gatherings suggests that they share a similar structure, fostering increasingly affective communion between the guests. By the end of these events, musicians arouse bittersweet feelings in their audience by playing slow “table” songs.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"21 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":"132026194","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":"Musical emotions in the Roma community of Ceuaş","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0010","url":null,"abstract":"In this chapter, the three contexts of musical tears (professional service, parties in the Roma neighborhood, funerals) are compared in order to determine whether they have any characteristics in common. The analysis of their differences leads to a concentric model illustrating three different modes on which musical emotions are experienced: “making emotion,” “sharing emotion,” and “expressing emotion.” The analysis of their similarities brings out three invariants of musical emotions: an aesthetic system (sorrowful tunes), “personal” tunes, and a specific way of being (milos, i.e., compassionate, empathic). It is argued that such invariants, since they are unaffected by the performance context, should be viewed as the “focal points” or “deep structures” of the relationship between music and emotion. While this result is local in scope, it makes it possible to sketch a few cross-cultural comparisons.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"5 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":"125600491","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":"Performing sorrow","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0011","url":null,"abstract":"This chapter analyzes the slow “sorrowful” (de jale) tunes that Roma often associate with crying. Three musical parameters characterize this repertoire: (1) the rhythmic and temporal structure (irregular aksak or unmeasured rhythm); (2) the slight asynchronies between the melody and the harmonic accompaniment, which creates a swinging effect; and (3) the complex elaboration of the melodic line, in particular the addition of ornaments and passing notes to create an effect that is known locally as “sweetness.” The analysis is supported by empirical measurements of timing durations, obtained by tracking the musician’s bow’s movements with motion capture techniques.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"90 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":"116953580","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":"After the “service”Time to party in ţigănie","authors":"Filippo Bonini Baraldi","doi":"10.1093/oso/9780190096786.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190096786.003.0005","url":null,"abstract":"This chapter describes the parties that take place in the Roma neighborhood of Ceuaş when professional musicians come back from the “service.” Both familial celebrations and an opportunity to rehearse, these “after-parties” arouse intense emotions in the musicians themselves. These gatherings mark a complete reversal in the musicians’ attitudes and relationships: after serving their customers and arousing their emotions, the musicians now shift their focus onto their own personal lived experiences and memories.","PeriodicalId":427641,"journal":{"name":"Roma Music and Emotion","volume":"21 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":"128211188","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}
京公网安备 11010802042870号
求助内容：
应助结果提醒方式：