Ethnomusicology Forum最新文献

{"title":"The making of a successful Chinese instrumentalist in the West: a case study of the pipa player Wu Man","authors":"Boyu Zhang, C. Lam","doi":"10.1080/17411912.2022.2055600","DOIUrl":"https://doi.org/10.1080/17411912.2022.2055600","url":null,"abstract":"ABSTRACT The trend of pursuing higher education abroad in China has resulted in many Chinese musicians immigrating to the United States, Europe, and other Western countries. Among them is a Chinese traditional instrument pipa player, Wu Man, who has achieved great fame. This article analyses the creative life of Wu Man’s and her artistic outputs and thinking from two vantage points: as that of a famous and respected performer of the pipa and as that of a reflective practitioner whose work might be labelled practice as research, or as we term it ‘research for practice’. We draw on contextual analyses of the social and artistic environments that have shaped Wu Man’s career and her ability to integrate ‘authentic’ musical elements and world musics into new compositional and performative techniques. This article foregrounds Wu Man’s voice through personal interviews to showcase the reflexive approach she uses to shape her artistic practice.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41594059","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":"Sounding Jewish in Berlin: klezmer music and the contemporary city","authors":"Isabel Frey","doi":"10.1080/17411912.2021.2010227","DOIUrl":"https://doi.org/10.1080/17411912.2021.2010227","url":null,"abstract":"craze that emerged in the mid-60s: Latin Bugalú: blending African-American Soul with Cuban dance music. Although popular among the younger Nuyorican musicians, older musicians were more motivated by the commercial success and resultant better pay they could get for Bugalú gigs. In Chapter 9, Miller moves forward to later developments. She focuses on another innovative Nuyorican musician, Ray Barretto and the flute players who worked with him. Here she notes the emergence of female musicians and includes their voices in her research. Miller concludes by arguing that in New York while cubanía thrived, a new, unique and urban performance aesthetic emerged driven by the Cuban and non-Cuban flautists. The city embraced the broader range of approaches to charanga performance with New York bands developing their own signature sounds. There are many ways in which the reader can approach this book. Musicians and Cuban music scholars can learn a great deal from the detailed transcriptions and analysis of which there are many. I thoroughly enjoyed studying these, stopping to play bits and flicking back and forth from one to the next making various comparisons. Miller’s careful, measured explanations directed the reader to notable features of the different players’ approaches to playing. There is a lot of knowledge here that warrants study and re-examination, not just by flute players hoping to embrace the style but all instrumentalists and vocalists who wish to expand their Cuban music vocabulary. It is interesting to see how Miller approaches the task of analysing the music in a way that will provide pertinent information to all readers. She provides a wealth of musical detail with insights into performance practice and techniques. I imagine some of it would be fairly heavy going for non-musicians but throughout there is clarity of thought and careful explanation. Miller weaves together a vast amount of information and detail, keeping the musicians’ voices in the foreground throughout. There is a lot to take in but the book is carefully crafted with reminders of salient points so that the reader does not lose their way. Improvising Sabor is a great example of how to approach a study of musical transformation and identity in a manner which engages both academics and practitioners. Miller has put aside commonly held opinions about performance aesthetic in New York and, from the perspective of the flute within the charanga tradition she has considered the wider world of Cuban music and transformation in New York.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44340338","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":"Improvising sabor: Cuban dance music in New York","authors":"Sara Mcguinness","doi":"10.1080/17411912.2021.1989174","DOIUrl":"https://doi.org/10.1080/17411912.2021.1989174","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49147783","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":"A musico-choreographic analysis of a Cuban dance routine: a performance-informed approach","authors":"S. Miller, Guillermo Davis, S. Bowen","doi":"10.1080/17411912.2021.1978305","DOIUrl":"https://doi.org/10.1080/17411912.2021.1978305","url":null,"abstract":"ABSTRACT McKerrell, in ‘Towards Practice Research in Ethnomusicology’, advocates for performance to be used as ‘a central methodology’, as a ‘translation of artistic performance aesthetics’ and as a ‘research outcome sited in original performance’ (2019). The translational role for performance is demonstrated in this article through a practice-led investigation into the dynamic relationship between improvised music and dance. The research is based on the analysis of a live performance on Cuban television of ‘Los Problemas de Atilana’ by Orquesta Aragón in the early 1960s, where musical gestures are shown to be embodied in the flute and dance solo ‘duet’ performed by Cuban flautist Richard Egües and dancer Rafael Bacallao, revealing the shared memories of a community bound by common cultural experience. Interdisciplinary in nature, analysis is undertaken by a musician-scholar, a film scholar-practitioner and a professional Cuban dancer-animator in order to unearth details of this embodied repertoire, thus translating and making overt culturally implicit knowledge for those outside of the artistic community of practice, and, in some cases, within it. Through re-performance and re-presentation in the form of a recording and animations, the many meanings embodied in the original performance are examined through analytical text, musical notation, visuals, recordings and animation film.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41581302","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":"Towards decolonial pedagogies of world music","authors":"J. Roy","doi":"10.1080/17411912.2021.1985562","DOIUrl":"https://doi.org/10.1080/17411912.2021.1985562","url":null,"abstract":"ABSTRACT Recent scholarship has addressed the roles epistemological colonialism plays in music education. Following several publications on decoloniality in music studies and education, this article discusses how ethnomusicological pedagogies and scholarly practices can engage in unsettling practices of critique and creative action that attend to sites of oppression beyond the reflexes of tokenism, nativism, and other ‘settler moves to innocence’. This article presents some pragmatic directions that come out of the critiques highlighted therein, inspired by pedagogical practices proposed by Chérie Rivers Ndaliko, Marco Cervantes and L.P. Saldaña, and others. This includes a three-module lesson facilitating students through the examination of coloniality in the musical histories of a place, the challenging of coloniality in the practice and consumption of musics today, and the creation of entirely different musical possibilities that re/centre students’ lived experiences, his-/her-/their-stories, and ancestries.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43278318","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":"Parading respectability: the cultural and moral aesthetics of the Christmas bands movement in the Western Cape, South Africa","authors":"G. Ramsey","doi":"10.1080/17411912.2021.1985563","DOIUrl":"https://doi.org/10.1080/17411912.2021.1985563","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45775396","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 Hizz Collective: acoustic disruption and claiming space in the Cairo soundscape","authors":"Tucker M. Wiedenkeller","doi":"10.1080/17411912.2021.2008263","DOIUrl":"https://doi.org/10.1080/17411912.2021.2008263","url":null,"abstract":"ABSTRACT This paper examines Hizz, a collective started in Cairo, Egypt, that acts as record label, venue, gallery and artist residency. Through analysing the music that Hizz produces, its spaces and distribution methods, its organisation as a collective, and its international connections, it argues that Hizz creates new forms of social engagement and defiant politics in Cairo, thereby disrupting engrained aesthetic and social patterns. Hizz reflects a post-revolution creativity, pitted against an authoritarian regime and an elitist neo-liberal dance music scene. The aesthetic of Hizz incorporates ambient, noise and post-punk, Sufi mawlid music, mahraganat, and chaabi, in a way that enacts a conversation between different sonic elements in their surroundings. Such local relevance sees Hizz defying the strict class boundaries that define Egyptian society. This paper combines two years of field work in Cairo following the Hizz collective since their inception in 2017, further interviews, and literature on sound and space.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45415685","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":"Signs of the spirit: music and the experience of meaning in Ndau ceremonial life","authors":"Jennifer Kyker","doi":"10.1080/17411912.2021.1977159","DOIUrl":"https://doi.org/10.1080/17411912.2021.1977159","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48493813","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":"Brithop: the politics of UK rap in the new century","authors":"Simon Gall","doi":"10.1080/17411912.2021.1992598","DOIUrl":"https://doi.org/10.1080/17411912.2021.1992598","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43027314","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":"Musical trail-making in Southern Appalachia","authors":"Laura Turner","doi":"10.1080/17411912.2021.2008262","DOIUrl":"https://doi.org/10.1080/17411912.2021.2008262","url":null,"abstract":"ABSTRACT This article examines the making of, and issues of cultural representation and engagement surrounding, two music heritage tourism trails in the Southern Appalachian region – the Blue Ridge Music Trails of North Carolina and Virginia’s The Crooked Road. Drawing upon ethnographic work, I explore how organisers create and map narratives of musical heritage across the trails’ respective terrains, navigating in the process several challenges pertaining to geography, economics, politics, and ethics. Through this analysis, I offer insight into the broader mechanisms of and tensions that suffuse cultural heritage work aimed at public audiences. More generally, I call for deeper critical engagement with the music trail phenomenon – a multi-sited tourism format within which music, heritage, and place intersect in compelling ways.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47059313","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}