Ethnomusicology Forum最新文献

{"title":"Teaching with hip hop in the 7–12 grade classroom: a guide to supporting students’ critical development through popular texts","authors":"Eko Pradipta Kurnaedi, Nur Afifah","doi":"10.1080/17411912.2023.2290233","DOIUrl":"https://doi.org/10.1080/17411912.2023.2290233","url":null,"abstract":"Published in Ethnomusicology Forum (Ahead of Print, 2023)","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"29 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138686176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rahayu Supanggah: the legacy of an Indonesian and global composer","authors":"Marzanna Poplawska","doi":"10.1080/17411912.2023.2282416","DOIUrl":"https://doi.org/10.1080/17411912.2023.2282416","url":null,"abstract":"This article discusses contributions to contemporary gamelan composition by Indonesian composers of Javanese heritage representing two generations: Rahayu Supanggah and his student, Peni Candra Rin...","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dialogues: towards decolonising music and dance studies","authors":"Amanda Hsieh","doi":"10.1080/17411912.2023.2270986","DOIUrl":"https://doi.org/10.1080/17411912.2023.2270986","url":null,"abstract":"Published in Ethnomusicology Forum (Ahead of Print, 2023)","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Loss of place, loss of self: musical heterotopias in Franco’s prisons (1938–1945)","authors":"Elsa Calero-Carramolino","doi":"10.1080/17411912.2023.2268086","DOIUrl":"https://doi.org/10.1080/17411912.2023.2268086","url":null,"abstract":"ABSTRACTAt the end of the Spanish Civil War, the Fascist Government led by General Franco implemented a regime of extensive suppression over the population. As a result, prisons became overcrowded with thousands of political opponents. From 1938—a year before the end of the armed conflict—to 1943, musical practices were considered a crucial component of the propaganda programmes implemented in prisons to control and re-educate the inmates. In response to this official sonic environment, prisoners also cultivated their own musical practices as a means of preserving their self-identities. The initial section of the article offers a brief overview of the living conditions experienced in Spanish prisons during Franco’s regime. In the subsequent part, I delve into the significance of the unofficial musical practices developed by detainees, examining their relationship to concepts such as space, place, heterotopia, and the ‘construction of the self’. Due to the state’s ability to exert epistemic violence by suppressing individuals and groups’ capacity to speak or be heard, these unofficial musical practices can be regarded as cultural artefacts that emerged as a means of resistance against the propaganda enforced by the Franco government.KEYWORDS: Francoismpolitical prisonersprisonssonic environmentheterotopiaidentity AcknowledgementsI would like to express my very great appreciation to Gemma Pérez Zalduondo as my main thesis supervisor, whose expertise and advice in the area has been very valuable to me. Advice given by Professors Erik Levi and Julie Brown during my studies at the Music Department of Royal Holloway, University of London have been a great help in encouraging me to publish in an English journal. I wish to acknowledge the help provided by my British colleagues with the translation of the article. I would like to thank the following institutions for their assistance with the collection of my data: Spanish National Library, Library and Archive of the Spanish General Direction of Prisons, Archive of the Spanish Communist Party, British National Library, British National Archives, Marx Memorial Museum and Worker’s Library and The People’s History Museum of Manchester.My special thanks are extended to the interviewees for sharing their experiences with me: Marcos Ana, José Ajenjo Bielsa, Teresa Bielsa Martínez, Luis Pérez Lara, José Espinosa, and Eduardo Rincón.Disclosure statementNo potential conflict of interest was reported by the author(s).Data availability statementThe data that support the findings of this study are available on request from the author. The data are not publicly available because they contain information that could compromise the privacy of research participants.Notes1 All translations from Spanish sources are mine.2 The numbers associated with political repression in Spain during Francoism is a critical point as the Spanish Government has never published any official information, so the up-to-date information comes fro","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"224 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135475631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The <i>contrasto</i> : observational analysis of an extemporaneous vocal-gestural performance in Tuscany, Italy","authors":"Leonardo D’Amico","doi":"10.1080/17411912.2023.2265400","DOIUrl":"https://doi.org/10.1080/17411912.2023.2265400","url":null,"abstract":"The poesia in ottava rima (‘poetry in octave rhyme’) is a living tradition of improvised-sung poetry widespread in the rural areas of Central Italy. In this article, I describe and interpret the interaction that takes place between two poet-performers and between poet-performers and the audience, highlighting the importance of embodiment and gesture during the poetic duel and the active role of listeners. This paper aims to highlight the strong binding of speech and gesture and the bodily expressiveness of the onstage improvised sung poetic duel, analysing the contrasto as a ‘vocal-gestural performance’. The ultimate aim of this study is to examine the ways in which visual information in the form of gestures contributes to the way musical performance is experienced. Furthermore, we apply insights from ethnomusicology and gesture studies, together with digital video and audio recording and associated analysis software, to the study of contrasto performance.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"65 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135813164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Barrister is Fújì and Fújì is Barrister’: Fújì music, self-making and the politics of genre-making in Lagos, Nigeria","authors":"Oladele Ayorinde","doi":"10.1080/17411912.2023.2260405","DOIUrl":"https://doi.org/10.1080/17411912.2023.2260405","url":null,"abstract":"ABSTRACTThis article explores the nexus between self-making and genre-making in African popular music through the lens of Fújì music, an urban Yoruba popular music from Nigeria. The story of social agents in postcolonial African popular music is at the heart of this genre-making process. Drawing from interviews, archives, and participant observations, I explore the development of Fújì through the agency of Sikiru Ayinde Barrister, the acclaimed pioneer of the genre. Through his continuous search for ‘newness’, Ayinde Barrister launched Fújì as a prestige genre, a type of modernity from below, within the 1970s Lagos social and economic scenes. Ultimately, the interlocking story of Ayinde Barrister and Fújì provides insights into how genre-making in African popular music intertwines processes of self-making in postcolonial Africa.KEYWORDS: Sikiru Ayinde BarristerFújì musicYoruba popular musicpostcolonial African agencyAfrican popular musicgenre-makingself-making AcknowledgmentsThanks to the two anonymous reviewers and the editors for their comments and suggestions to the early draft of this article. I wrote an aspect of this article while an Argelander Fellow and Lecturer (2022) at the Department of Musicology/Sound Studies, University of Bonn, Germany. Thanks to Professor Tobias Janz and Professor Gerrit Papenburg and members of the faculty, staff, and students of the Department of Musicology/Sound Studies at the University of Bonn for the enabling environment that contributed to the development of this article. Thanks to Prof. Russell West-Pavlov and members of the Global South Studies programme at the University of Tübingen, and David Kerr for their comments on the initial draft of this article. Thanks to all the Fújì musicians, journalists, managers, record store operators, and record label owners who contributed to this work. Lastly, thanks to Elder Dayo Odeyemi, Otunba Wale Ademowo, and the family of Sikiru Ayinde Barrister for their support and access to their archives.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Baba Ruka means ‘Ruka's father’, and Ruka is the name of his first daughter. It is common to identify or address people this way in Lagos.2 The term ‘Barrister’ was adopted from the Law profession. The culture of self-naming and adoption of titles from military, academia and other canonic professions have a longstanding history in Nigerian popular music. Bandleaders started renaming and identifying with tiltes like ‘Captain’, ‘Bishop’, ‘Commander’, ‘Barrister’ and ‘Professor’ since the 1940s. Self-naming is one of the longstanding economic strategies and how bandleaders renegotiate and validate themselves.3 Before the late 1970s, Yoruba popular music albums/records were released in Volumes. Thus, a musician could release in a series of Vol. 1 to 10.Additional informationFundingThis article emerged from a broad research project funded by the Andrew Mellon-THInK (Transforming Humanities th","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135385505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Love and rage: autonomy in Mexico City’s punk scene <b>Love and rage: autonomy in Mexico City’s punk scene</b> , by Kelley Tatro, Middletown, Wesleyan University Press, 2022, 232 pp., $25.95(pbk), ISBN 978-0-81958-094-8[also available as an ebook]","authors":"Andrew Green","doi":"10.1080/17411912.2023.2258389","DOIUrl":"https://doi.org/10.1080/17411912.2023.2258389","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136059751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Across the Pacific: the strategic citizenship of Chinese musicians","authors":"Shelley Zhang","doi":"10.1080/17411912.2023.2230498","DOIUrl":"https://doi.org/10.1080/17411912.2023.2230498","url":null,"abstract":"ABSTRACTSince the 1990s, the world has seen an incredible surge of Chinese performers in Western classical music. Unknown to most outside of Chinese musical networks, these musicians often began their training as young children, learning from parents who lost musical ambitions during the Cultural Revolution and who hoped to realise them through their only child. However, as children rapidly developed musical skills and entered conservatories, other career paths became eliminated. Drawing from anthropologist Aihwa Ong’s work on ‘flexible citizenship’ and ethnographic fieldwork in Mainland China, Canada, and the United States, I theorise the ‘strategic citizenship’ of these students and their families. I do so to argue that the strong presence of Chinese instrumentalists in Western classical music has resulted from a desire, even a desperation, amongst many families to negotiate intergenerational traumas and acquire socio-economic stability in the neoliberal age. In this process, transnational Chinese musicians must also contend with issues of precarity and Orientalisms abroad.KEYWORDS: Chinese musiciansone-child policycitizenshiptransnationalismprecarityOrientalism AcknowledgementsThe author thanks Chi-ming Yang, Jim Sykes, Timothy Rommen, Lei X. Ouyang, members of the Dissertation Workshop at the University of Pennsylvania’s Department of Music, members of the Wolf Humanities Center Mellon Research Seminar, fellow panellists and audience participants of the Society for Ethnomusicology’s Annual Conference in 2020, and the anonymous reviewers for their invaluable feedback. This research would not have been possible without the generosity of the author’s interlocutors, who have been anonymized.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Pseudonyms are used for interlocutors in order to protect their privacy.2 I capitalise Mainland China as a proper noun because it signifies a politico-geography with its own identity. Although part of Hong Kong is technically on the mainland, it is not part of what various Chinese and East-Asian peoples call ‘Mainland China’, or guonei 国内. At times, ‘China’ is even omitted as ‘the Mainland’ is a clear signifier in itself. As this article is grounded in ethnography, I acknowledge the colloquial uses of ‘Mainland’ and employ it with the socio-political indexes it carries.3 I use ‘Western art music’ instead of ‘Western classical music’ for purposes of clarity, as the latter may be easily confused with Classical music, the stylistic period (c. 1750–1825). Art music also implies a greater creative range than classical music.4 Many Chinese musicians also pursue post-secondary music studies in Europe. This article focuses on their transpacific experiences between contemporary China and North America.5 My thinking on neoliberalism has been heavily influenced by Aihwa Ong’s Neoliberalism as Exception: Mutations in Citizenship and Sovereignty (2006), Elizabeth Povinelli’s Economie","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136153390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Quietude: a musical anthropology of “Korea’s Hiroshima” <b>Quietude: a musical anthropology of “Korea’s Hiroshima”</b> , by Joshua D. Pilzer, New York, Oxford University Press, 2023, xvii+191 pp.with companion website, £94.00 (hardback), ISBN 9780197615089, and £25.99 (paper), ISBN 9780197615096","authors":"Keith Howard","doi":"10.1080/17411912.2023.2257239","DOIUrl":"https://doi.org/10.1080/17411912.2023.2257239","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136153620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The ancient English morris dance <b>The ancient English morris dance</b> , by Michael Heaney, Oxford, Archaeopress, 2023, 517 pp., £29.99 (pbk), ISBN 978-1-80327-386-0. [Also available as an e-book.]","authors":"Peter Harrop","doi":"10.1080/17411912.2023.2258380","DOIUrl":"https://doi.org/10.1080/17411912.2023.2258380","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135061223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}