YEARBOOK FOR TRADITIONAL MUSIC最新文献

{"title":"YTM volume 53 Cover and Back matter","authors":"","doi":"10.1017/ytm.2021.2","DOIUrl":"https://doi.org/10.1017/ytm.2021.2","url":null,"abstract":"","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"b1 - b3"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42763471","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 Unorthodox Voice: The Rise of Female Qinshi, Their Challenges, and Their Pursuits","authors":"Huan Li","doi":"10.1017/ytm.2021.5","DOIUrl":"https://doi.org/10.1017/ytm.2021.5","url":null,"abstract":"Abstract (English/Chinese) Jinghu is the lead accompaniment instrument in the Peking opera ensemble. Qinshi are the accompanists who play jinghu. Traditionally, jinghu was regarded as a male instrument; female qinshi first appeared in educational institutions subsidised by the People’s Republic of China in the 1950s. Nevertheless, till now, the-all-male jinghu performance history and standards influenced by the virile ethos have deeply influenced contemporary female qinshi’s performances and recognition of their musicality and contributions to jinghu performance. In this article, I explore the rise of female qinshi, their challenges to jinghu performance conventions, and their contributions to contemporary jinghu performance.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"71 - 101"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44606095","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":"Dialogue on Multimedia Resources, Music Education, and My People Tell Stories","authors":"Danielle D. Brown, Lonán Ó Briain","doi":"10.1017/ytm.2021.25","DOIUrl":"https://doi.org/10.1017/ytm.2021.25","url":null,"abstract":"Prior to the COVID-19 pandemic, many of us working in universities or colleges were politely encouraged to consider online delivery alongside face-to-face teaching, while emails, video calls, and social networking offered supplementary links to collaborators in the field. Since early 2020, however, we have experienced unprecedented pressures to convert our lessons into online and hybrid formats, we have rapidly familiarised ourselves with the pyrotechnics of hosting large-scale Zoom or Microsoft Teams video calls with colleagues and students, and the Internet has become our primary site for collecting ethnographic data. While we juggled the task of inspiring or at least retaining the attention of our students with maintaining our own personal health and wellbeing, these sink-or-swim conditions have distracted from essential moves to decolonise our curricula. As the first waves of the pandemic subside in places—especially in richer countries that are hoarding vaccines and accruing wealth through medical patents—longer term opportunities for blended approaches to research and teaching are beginning to appear on the horizon. The multimedia reviews section of the Yearbook for Traditional Music includes critical reviews of digital resources. Some resources are already familiar to readers (e.g., YouTube [Gidal 2008]—published when this was the website reviews section); others are more specific to geographical regions, musical cultures, or time periods (e.g., a podcast series on themusical history of northern India in the lateMughal empire [Widdess 2020]). Under the exceptional time pressures of the past eighteenmonths, I (LonánÓBriain) have tended to go to themost prominent publications and online resources in ethnomusicology when preparing a lecture on a musical culture beyond my areas of expertise. This habit deserves attention if we are tomakemeaningful steps towards greater diversity, equity, and inclusion (DEI) in the discipline. Danielle Brown (Founder and CEO of My People Tell Stories) is one person encouraging us to pause and reconsider.1 Rather than commission a review of her company’s website and multimedia resources—which I recommend to readers investigating autoethnography, storytelling in ethnomusicology, and employment for music scholars outside of academia—we had a conversation about these issues over","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"203 - 208"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49256237","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":"Subhas Chanda. The Imdadkhani Baj: India’s Premier Sitar Gharana. Sangeet Natak Akademi and Akansha Publishing House, 2020. xi, 97 pp., appendix, with CD. ISBN 978-8183705493 (hardback).","authors":"Sagnik Atarthi","doi":"10.1017/ytm.2021.14","DOIUrl":"https://doi.org/10.1017/ytm.2021.14","url":null,"abstract":"","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"170 - 172"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47024590","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":"Ethnomusicology Today. Produced by Society for Ethnomusicology. Edited by Trevor S. Harvey. In English. URL: https://www.ethnomusicology.org/members/group_content_view.asp?group=156353&id=534562","authors":"Lea Hagmann","doi":"10.1017/ytm.2021.26","DOIUrl":"https://doi.org/10.1017/ytm.2021.26","url":null,"abstract":"","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"208 - 210"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44801059","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 Act of Singing: Women, Music, and the Politics of Truth and Reconciliation in Indonesia","authors":"Andrew N. Weintraub","doi":"10.1017/ytm.2021.6","DOIUrl":"https://doi.org/10.1017/ytm.2021.6","url":null,"abstract":"Abstract (English/Indonesian) In this article, I show how the Dialita women’s choir uses music to contest the ongoing denial of state-sponsored violence that followed the Indonesian tragedy of 1965–66, particularly as it impacted women. More specifically, Dialita uses their experiences and positionalities as women to perform an alternative collective memory for younger generations of Indonesians. Composed in prison, Dialita’s musical repertoire memorialises the affects and effects of imprisonment, exile, trauma, and survival. Due to government censure and public condemnation, the songs had been silenced by the Indonesian state and hidden underground from the public since the Indonesian tragedy. In the early 2000s, the women of Dialita formed a musical group and courageously began performing in public, collaborating with young musicians and recording the songs. I contend that women’s collective singing is an act of critical remembrance, opening a new front in struggles for truth and reconciliation, especially when juridical appeals and strategies have been rebuffed.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"1 - 44"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43021506","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":"Jing Wang. Half Sound, Half Philosophy: Aesthetics, Politics, and History of China’s Sound Art. Bloomsbury Academic, 2021. xiv, 232 pp., glossary of terms, bibliography, index. ISBN 978-1501333484 (hardback) and ISBN 978-1501333507 (e-book, 240 pp.).","authors":"G. Barrett","doi":"10.1017/ytm.2021.16","DOIUrl":"https://doi.org/10.1017/ytm.2021.16","url":null,"abstract":"Bell Yung is an Emeritus Professor at the University of Pittsburgh, and an affiliate professor at the University of Washington. He has published ten books and over 100 journal articles, book chapters, and reviews, in English and in Chinese. His most recent article was “From Humble Beginnings toQinMaster: The Remarkable CrossFertilisation of Folk and Elite Cultures in Yao Bingyan’s Dapu Music” (2021).","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"175 - 177"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46623049","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":"“That is Why I am Telling this Story”: Musical Analysis as Insight into the Transmission of Knowledge and Performance Practice of a Wapurtarli Song by Warlpiri Women from Yuendumu, Central Australia","authors":"Georgia Curran, Calista Yeoh","doi":"10.1017/ytm.2021.4","DOIUrl":"https://doi.org/10.1017/ytm.2021.4","url":null,"abstract":"Abstract Insights into the knowledge, performance, and transmission of songs are pivotal in ensuring the survival of traditional Aboriginal songs. We present the first in-depth musical analysis of a Wapurtarli yawulyu song set sung by Warlpiri women from Yuendumu, Central Australia, recorded in December 2006 with a solo lead singer accompanied by a small group. Our musical analysis reveals that there are various interlocking parts of a song, and this can make it difficult for current generations to learn songs. The context of musical endangerment and the musical analyses presented in our study show that contemporary spaces for learning yawulyu must consider the complex components that come together for a song set to be properly performed.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"45 - 70"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43480255","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":"Hilde Roos. The La Traviata Affair: Opera in the Age of Apartheid. Oakland, California: University of California Press, 2018. xiii, 271 pp., list of illustrations, note on terminology, appendices, notes, bibliography, index. ISBN 978-0520299887 (hardback) and ISBN 978-0520971516 (e-book).","authors":"L. Watkins","doi":"10.1017/ytm.2021.7","DOIUrl":"https://doi.org/10.1017/ytm.2021.7","url":null,"abstract":"Since the advent of democracy in 1994, music scholarship in South Africa has taken an editorial turn as more and more scholars such as Christine Lucia, Stephanus Muller and now Hilde Roos, focus on the neglected area of a particular kind of musical style regimented by the racist politics of colonialism and apartheid. In just about all music styles, fromWestern classical music through pop and traditional music, apartheid sought to organise respective population groups around specific music genres. Thus it was that certain styles of music, such as opera, in the case of Roos’ book, were reserved for white people, or, as they said during apartheid, “Europeans.” The focus of her book, The Eoan Group based in Cape Town, was established by Helen Southern-Holt in District Six in 1933. The Eoan Group focused on areas such as social work, ballet, and drama, but it was opera which set the stage for a great many encounters which speak to the personal, the historical, and the musicological. Under the leadership of Joseph Manca, who joined the music section of The Eoan Group as choral conductor in 1943, the first opera production was staged on 10 March 1956. The Eoan Group consisted of members of a population group identified as “coloured” by the apartheid government. Members were mostly blue-collar workers who had a passion for performing European operas and American musicals. Among them were Sophia Andrews and Vera Gow who excelled even as they were denied training by the best possible teachers in Cape Town. Performances by The Eoan Group received either praise or derision. Their class and “race” made it easy to invite comments such as them being musical despite adequate training or being able to thrive despite their “lack of education.” They were either caught in the apartheid projections of its henchmen, such as Manca, or, in perceptions of their fortuitous relationship with the apartheid government and “white money.” The book describes how most performers of The Eoan Group lived with these essentialist norms while negotiating the restrictions imposed around the production and reception of a music style, opera. Roos’ book addresses the issue of musical performance which unfolded, developed, and eventually perished as a result of apartheid policies and the resistance by some of the oppressed to these policies. Using Verdi’s opera, “La Traviata,” as the basis for her Yearbook for Traditional Music (2021), 53, 155–177","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"155 - 157"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46768081","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":"Musicking and Dancing Imbalu at Namasho: Enacting Indigenous Education Among the Bagisu, Uganda","authors":"D. D. Makwa","doi":"10.1017/ytm.2021.28","DOIUrl":"https://doi.org/10.1017/ytm.2021.28","url":null,"abstract":"Abstract This paper discusses how the activities during which people gather to create, perform, and transmit imbalu circumcision music and dance at Namasho Cultural Site (NCS) become a platform for the Bagisu of the Balutseshe clan to tutor boys about society’s gender ideology, social histories, and rituals of the sacred swamp, thus turning the place into a communal classroom for imparting this knowledge. Due to the changing context of contemporary Bagisu, I argue for efforts to archive these events to make them accessible by future generations in order to uphold imbalu performances as a mechanism of knowledge production and dissemination.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"53 1","pages":"127 - 154"},"PeriodicalIF":0.5,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46631547","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}