YEARBOOK FOR TRADITIONAL MUSIC最新文献

{"title":"<b><i>Ya Lalla: Jewish Saharans Singing to Birth</i> (https://yalalla.org.uk/) and <i>Past and Present Musical Encounters Across the Strait of Gibraltar: Ya Lalla: A Sonic &amp; Visual Spotlight on Women’s Resistance and Celebrations of Transmission</i></b><b>(https://www.musicalencounters.co.uk/vanessa-exhibit)</b>. Website and online exhibit curated by Vanessa Paloma Elbaz.","authors":"SAMANTHA M. COOPER","doi":"10.1017/ytm.2023.5","DOIUrl":"https://doi.org/10.1017/ytm.2023.5","url":null,"abstract":"Ya Lalla: Jewish Saharans Singing to Birth (https://yalalla.org.uk/) and Past and Present Musical Encounters Across the Strait of Gibraltar: Ya Lalla: A Sonic &amp; Visual Spotlight on Women’s Resistance and Celebrations of Transmission (https://www.musicalencounters.co.uk/vanessa-exhibit). Website and online exhibit curated by Vanessa Paloma Elbaz.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135436068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Journals","authors":"Jeffrey Allen, Caitlyn Jenkins, A. Moustakis, Emily Poltorac, Mayank Bansal, Caitlyn Dignard, Jayson Pomfret, Nisha S. Simon, Mark H. Swartz","doi":"10.24908/iqurcp16459","DOIUrl":"https://doi.org/10.24908/iqurcp16459","url":null,"abstract":"Following an introduction reflecting on undergraduate student publishing by Mark Swartz, Scholarly Publishing Librarian at Queen’s University, the panelists introduced the scope of their respective journals, Qapsule, Queen's Law Journal, and Politicus, and what motivates each journal representative to contribute to publishing initiatives at Queen’s University.\u0000Questions posed by the moderator to the panelists facilitated discussion and addressed the various aspects of the journal publishing process including the article review process, journal awareness and marking strategies, and undergraduate student publishing opportunities. The audience participated by asking questions of the panelists throughout the session.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"23 1","pages":"153 - 153"},"PeriodicalIF":0.5,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49642867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"An Artistic Product of Globalised Singapore? The Damaru Pan-Indian Folk Drumming Ensemble","authors":"Jinxing Lai","doi":"10.1017/ytm.2022.22","DOIUrl":"https://doi.org/10.1017/ytm.2022.22","url":null,"abstract":"Abstract Damaru is a Singaporean Indian folk drumming ensemble that promotes pan-Indian identity and Indian folk drumming in the city-state. This article examines how Damaru navigates and carves a niche in Singapore’s multicultural milieu with the concept of a pan-Indian folk drumming ensemble, and how drummers create artistic products that engage an audience of different sociocultural backgrounds. An analysis of two of Damaru’s rhythmic compositions suggests that drumming, mixing Indian folk drums and rhythmic patterns, and performing the rhythmic patterns in sequence have helped Damaru’s rhythmic compositions reach a broader audience, enabling the ensemble to win state grants and performance opportunities.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"54 1","pages":"119 - 140"},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47634352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"YTM volume 54 issue 2 Cover and Front matter","authors":"","doi":"10.1017/ytm.2022.3","DOIUrl":"https://doi.org/10.1017/ytm.2022.3","url":null,"abstract":"","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":" ","pages":"f1 - f9"},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43566610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Long Hu Wu Shi (Kung Fu Stuntmen). 2020. Directed by Wei Junzi, 92 minutes. Hong Kong and Beijing, China: Hong Kong Stuntman Association and Acme Image (Beijing) Film Cultural Co.","authors":"Priscilla Tse","doi":"10.1017/ytm.2022.13","DOIUrl":"https://doi.org/10.1017/ytm.2022.13","url":null,"abstract":"Introduction Long Hu Wu Shi (Kung Fu Stuntmen) is a documentary about the stunt industry in Hong Kong-made action movies. Released in 2021 in the People’s Republic of China, it was co-produced by the Hong Kong Stuntman Association (HKSA) and Acme Image (Beijing) Film Cultural Co., Ltd.. The director, Wei Junzi (b.1978), is a film expert in mainland China with special interest inHong Kong cinema. A first-time director,Wei has published several books on Hong Kong cinema. In 2016, he read an article on the closure of the last rooftop martial arts school in Hong Kong that inspired him to express his resentment in writing. Eric Tsang Chi-wai (b. 1953), a filmmaker and former stuntman in Hong Kong, really liked his essay and introduced him to Chin Kar-lok (b. 1965), the HKSA president and later the producer of this film. Chin invited Wei to the 2017 spring festival dinner of the association, where he met many famous and unknown action film heroes and then decided to make this documentary to tell their stories (Ka 2021). Wei chose a fresh perspective—that of stunt stars rather than directors—to narrate a history of Hong Kong action film. He highly values the interviewees’ own voices and more than thirty interviewees appear in the film. In fact, the film is filled with mostly interview footage with no voice-over narration and little use of intertitles. Most of the interviewees were born in the 1950s and became active in the stunt industry between the mid-1960s and early 1990s. While the film presents a large amount of information, a few dominant themes emerge: transmedia cultural production, histories of Chinese opera and action movies in Hong Kong, masculinity, and transnationality.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"54 1","pages":"190 - 195"},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44174129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Playing the Flute in Shanghai: The Musical Life of Dai Shuhong [沪上箫声:戴树红先生的音乐人生]. 2021. Directed by Helen Rees and Aparna Sharma, 84 minutes. In Chinese with English subtitles. Colour, DVD. Produced by Pan Records, PAN 9609.","authors":"Simon Debierre","doi":"10.1017/ytm.2022.24","DOIUrl":"https://doi.org/10.1017/ytm.2022.24","url":null,"abstract":"De Huangjin Shidai.” (Kung Fu Stuntmen: There would have been no golden time of Hong Kong kungfu films without them). Sanlian Lifeweek (Sanlian Shenghuo Zhoukan), 21 September 2021. https://www.lifeweek.com.cn/art icle/138521. Steimer, Laura. 2021. Experts in Action: Transnational Hong Kong–Style Stunt Work and Performance. Durham: Duke University Press. Wichmann, Elizabeth. 1991. Listening to Theatre: The Aural Dimension of Beijing Opera. Honolulu: University of Hawaii Press. Yung, Bell. 1989.Cantonese Opera: Performance as Creative Process. New York: Cambridge University Press. Yung, Sai-shing. 2006. “Moving Body: The Interactions Between Chinese Opera and Sction Cinema.” InHong Kong Connections: Transnational Imagination in Action Cinema, ed. Meaghan Morris, Siu Leung Li, and Stephen Chan Ching-Kiu, 21–34. Durham: Duke University Press. Zhang Guoji. 2021. “Longhu Wushi Chenglong Man Paixi Wu Chuxian? Qian Jiale Jiehua Zhi Ju Xi Muhou Gongcheng” (Kung Fu Stuntmen: Jackie Chan was not interviewed because he was too busy with his own films? Chin Kar-lok explained that Chan was a fervent supporter behind the scene). HK01, 11 November 2021. https://www.hk01.com/sns/article/681996.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"54 1","pages":"195 - 199"},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45480720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Celtic Music Festivals in Portugal: Europeanisation, Urban Regeneration, and Regional Development","authors":"Susana MORENO-FERNÁNDEZ, Salwa EL-SHAWAN CASTELO-BRANCO","doi":"10.1017/ytm.2022.29","DOIUrl":"https://doi.org/10.1017/ytm.2022.29","url":null,"abstract":"Abstract This article addresses the interceltic festivals of Porto (1986–2008) and Sendim in Terra de Miranda (since 2000), situated in northwestern and northeastern Portugal, respectively, from the perspective of European heritage festivals. It examines how these two festivals were used to promote tourism, urban regeneration, rural development, image-making, and place branding. We argue that the interceltic festivals of Porto and Sendim are entangled with the Europeanisation of Portugal, involving new possibilities for identification with Europe’s Atlantic fringe, a space that is symbolised by the Celtic imaginary.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"54 1","pages":"99 - 118"},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46142828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Burda: Reweaving the Mantle, Renovating Arab Music Tradition between Egypt and the Arab Levant","authors":"Maria M. RIJO LOPES DA CUNHA","doi":"10.1017/ytm.2022.20","DOIUrl":"https://doi.org/10.1017/ytm.2022.20","url":null,"abstract":"Abstract This article critically considers how the musical piece, “Al-Burda,” has introduced ground-breaking formal and rhythmic innovations within Arab contemporary traditional music. I explore the centrality of Mustafa Said’s musical adaptation of Arabic prosody in generating new rhythmic modes whilst highlighting Said’s claims of continuity with an Arab literary and musical tradition through the musical adaptation of the poetics of mu’arada, which means building upon pre-existing models. This article draws upon postcolonial theory as a fundamental tool of analysis for the underpinning socio-political commentary present at every stage of creation and production of “Al-Burda.”","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"54 1","pages":"141 - 164"},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44774813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"YTM volume 54 issue 2 Cover and Back matter","authors":"","doi":"10.1017/ytm.2022.11","DOIUrl":"https://doi.org/10.1017/ytm.2022.11","url":null,"abstract":"","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"54 1","pages":"b1 - b2"},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47287552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Avanegar: A History of Music Transcription in Iran. 2022. Produced, filmed, and edited by Behrouz Jamali, 60 minutes. DVD. Washington DC: Dimension Media.","authors":"Payam Yousefi","doi":"10.1017/ytm.2022.12","DOIUrl":"https://doi.org/10.1017/ytm.2022.12","url":null,"abstract":"Avanegar is an educational film that outlines the history of musical transcription in Iran. The film begins in the thirteenth century and makes its way to the twentieth century outlining the important figures and documents regarding the transcription of music in Iran. In this regard, the title Avanegar is quite a fitting as it means “transcriber” in the Persian language. Mohsen Mohammadi, scholar of Iranian music, both compiled the research for the film and narrated this history on camera.1 While the film is narrated in Persian, English subtitles and the depiction of rare historical documents makes the film both accessible and informative to a wide audience. Staff notation today is an inseparable part of music in Iran. Today, within the local classical tradition staff notation plays a seminal role both in pedagogy and creative practice alongside the traditional oral methods. Avanegar tells both the story of the earliest encounters of Iranian music with notation methods, as well as the subsequent adoption of them by various musicians. The films’ narrative of musical transcription in Iran is broken up into four broad parts that provide overviews on: (1) medieval musical transcriptions in the Islamic World from the thirteenth to the fifteenth century; (2) European travelogues and songbooks collections on Persian music from the seventeenth century to the nineteenth century; (3) the adoption ofWestern notation by Iranian musicians in the first half of the twentieth century; and (4) the musicological transcriptions by Iranian musicologists in the post-WWII period. The opening section features the thirteenth century transcription methods of Safi al-Din al-Urmawi. While not examples of staff notation, Mohammadi explains how these early transcriptions mark the earliest attempts in the Islamic world to document melodies on paper, using letters to represent pitch and numerical values to designate duration. A transcription from Safi al-Din’s original manuscript is displayed for audiences unfamiliar with these documents. Subsequently, medieval Islamic scholars Qutb al-Din al-Shirazi (the thirteenth century) and Abd al-Qader Maraqi (the fifteenth century) are introduced through their works that used this method. The continuation of this method is traced to the seventeenth and eighteenth centuries Ottoman courts to the figure of Demetrius Cantemir (d.1723). A strength of this section is its discussion of the","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"54 1","pages":"187 - 189"},"PeriodicalIF":0.5,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48330803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}