ETHNOMUSICOLOGY最新文献_第2页

Government-Mandated Coolness: Education Policy, the Koto, and Music Teacher Retraining in Japan 政府强制的冷静:日本的教育政策、Koto和音乐教师再培训

1区艺术学

ETHNOMUSICOLOGY Pub Date : 2023-10-01 DOI: 10.5406/21567417.67.3.04

Garrett Groesbeck

引用次数: 0

The Female Voice of Iran 伊朗女性之声

1区艺术学

ETHNOMUSICOLOGY Pub Date : 2023-10-01 DOI: 10.5406/21567417.67.3.16

Armaghan Fakhraeirad

{"title":"The Female Voice of Iran","authors":"Armaghan Fakhraeirad","doi":"10.5406/21567417.67.3.16","DOIUrl":"https://doi.org/10.5406/21567417.67.3.16","url":null,"abstract":"Since the Islamic Revolution in 1979, Iranian women have been subjected to a variety of control and limitation measures. These include a ban on female solo singing in public, a prime example of the radical socio-cultural changes of the post-revolutionary era. The Female Voice of Iran is an interview-based documentary with elements of ethnofiction that tells the story of Iranian women singers who, despite limitations and discrimination, continue to strive to achieve their musical dreams. The film is directed by Andreas Rochholl, a trained singer, director, cinematographer and cultural entrepreneur based in Berlin. Together with Berlin-based associate producers Yalda Yazdani, an Iranian ethnomusicologist and curator, and Sebastian Leitner, also the film's editor, the team traveled to several regions of Iran to interview fourteen singers from different ethnic backgrounds. The singers featured in the film represent a variety of Iran's different music genres, including Iranian classical music, folk, jazz, and pop. Besides the conventional use of talking head interviews, the singers appear in some of the directed scenes throughout the film.In the film, Rochholl and Yazdani are presented as two travelers leaving Berlin to Iran carrying a golden camel statue that symbolizes the talisman of a fictional woman singer named Negar. There is no view of Negar throughout the film, but her presence is often represented in dramatic voiceovers and in some imaginary dialogues between the golden camel and the singers. The narrative of the film is centered around Negar's dream, which can be heard at the start of the film: “Female voices from all over Iran coming out of isolation, connecting and uniting.” She states that she aims to bring women together to sing in her garden in Isfahan, a city in the middle of Iran. The travelers set out to make Negar's dream come true by visiting the singers in various regions of Iran.Their journey begins in Bushehr, a port city in the south of Iran, where they meet Baran Mozafari, one of the first Bushehri women who brought celebratory southern folk songs to the stage. In a directed scene positioned alongside a musical performance, Mozzafari shares aspects of her musical background, ideas about music, and personal life. This combination of interviews, performances and ethnofictional narratives is used for the remaining thirteen Iranian women singers from eight different ethnic groups. Continuing along the golden camel's path throughout Iran, the filmmakers meet the rest of the singers and encourage them to connect with one another in Negar's garden. As they move from one region to the next, the film illustrates the cultural and natural diversity of the country as well as the diversity of Iran's urban areas. The majority of the locations feature traditional and classical music from each region.Rather than highlighting the hardships and challenges of being a woman singer, the film stresses the passion for the work and the dream of bein","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204482","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}

引用次数: 0

Audible States: Socialist Politics and Popular Music in Albania 听得见的国家:阿尔巴尼亚的社会主义政治和流行音乐

1区艺术学

ETHNOMUSICOLOGY Pub Date : 2023-10-01 DOI: 10.5406/21567417.67.3.14

Matthew Knight

{"title":"Audible States: Socialist Politics and Popular Music in Albania","authors":"Matthew Knight","doi":"10.5406/21567417.67.3.14","DOIUrl":"https://doi.org/10.5406/21567417.67.3.14","url":null,"abstract":"This sophisticated work of political theory and bureaucratic ethnography covers Albanian “light music” over six decades, particularly focusing on 1950–2010. In its sustained analysis of the Foucauldian governmentality underpinning socialist and capitalist cultural orders, Tochka's book is a valuable contribution to the anthropology of postsocialist states. The author focuses on the annual Festival of Song (Festivali i Këngës), a prestigious state competition that originated in the early socialist period and now determines which song Albania will send to the Eurovision Song Contest. The festival provides Tochka a stepping-off point for copious candid interviews with cultural administrators, composers, singers, and listeners. The author, who extensively perused state broadcast archives, notes that the Festival of Song's style of light music, comparable to Russian estrada pop, has received far less academic attention than socialist folkloric ensembles. Nevertheless, it too was subject to bureaucratic oversight within socialist cultural policy—a centrally “planned economy of symbolic production” (2)—and arguably appealed to a much wider audience.Albania was a political outlier, pursuing a policy of isolation even from other socialist regimes and resisting liberalizing “thaws” well into the 1980s—significantly longer than its neighbors; it also managed to keep a musical “gray economy” very miniscule, giving its government nearly complete control over musical consumption into the 1980s. But in line with other socialist countries, its “masses” were seen as uneducated, primitive, and in need of civilizing. This book devotes major attention to “social gardeners,” the music intellectuals and policy-makers responsible for guiding the masses toward the desired future. Tochka reminds the reader that states are not unitary actors but implement their policies through individuals in a multitude of localized contexts. While Albania was among the strictest of socialist regimes, it could not solely resort to coercion and also employed symbolic-ideological strategies in the realm of cultural production to buttress its legitimacy. The light music featured at the yearly festival promoted themes of national unity, the struggle against enemies, and the promises of socialism; winning selections tended to be serious epic lyrical works, but the runners-up would invariably be crowd-pleasing love songs.While Tochka acknowledges state repression, he also points out that composers and other musicians viewed themselves as creative actors, not simply cogs in an oppressive machine. The discourse of individual creativity was very important for light song composers in the socialist era, and the Festival of Song was a prized venue for them to display their work and build a reputation. Through the necessary collaboration between composers, lyricists, singers, and performers, even inadvertent challenges to state ideology would be ironed out in committee well before broadcasts. The aut","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204478","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}

引用次数: 0

Teaching Talent: Beginning and/as Method in Two American Violin Studios 教学天赋:两个美国小提琴工作室的开端和/作为方法

1区艺术学

ETHNOMUSICOLOGY Pub Date : 2023-10-01 DOI: 10.5406/21567417.67.3.03

Lindsay Wright

引用次数: 0

A Season of Singing: Creating Feminist Jewish Music in the United States 一个季节的歌唱:创造女权主义的犹太音乐在美国

1区艺术学

ETHNOMUSICOLOGY Pub Date : 2023-10-01 DOI: 10.5406/21567417.67.3.13

Miranda Crowdus

{"title":"A Season of Singing: Creating Feminist Jewish Music in the United States","authors":"Miranda Crowdus","doi":"10.5406/21567417.67.3.13","DOIUrl":"https://doi.org/10.5406/21567417.67.3.13","url":null,"abstract":"Sarah Ross's A Season of Singing: Creating Feminist Jewish Music in the United States documents the important work of feminist Jewish singer-songwriters in the United States from the 1960s to the early twenty-first century. The author combines a thorough historical overview with ethnographic fieldwork and reflection, including poignant moments of autoethnography. This methodological approach yields a sophisticated reading of broad social, political, and religious contexts. Drawing on an array of relevant theoretical frameworks, including the feminist theology of Judith Plaskow, Ross teases out the intricacies of what she identifies as the “feminist Jewish music scene.”Ross shows how these actors, whom the author identifies as the core of the feminist Jewish singer-songwriter scene, played pivotal roles in creating and sustaining feminist Jewish music and, by extension, developed new outlets for feminist-oriented Jewish community and practices. In the ethnographically oriented parts of the text, practitioners in the Reform, Reconstructionist, and Jewish Renewal movements, such as Debbie Friedman, are thoroughly discussed in a sensitive and humane way, to the point that the reader feels as if they are in conversation with the respondents. Ross shows how feminist Jewish singer-songwriters drew on secular musical movements, such as American folksong (popularized by singers like Joni Mitchell and Joan Baez), to optimize the transformative potential of music as a vehicle for feminist ideals and community cohesion. Ross's sophisticated analysis offers fresh insights into how new materials—composed for the transmission of both tradition and innovation—served as pedagogical tools that, in the eyes of its creators, could be reconceptualized and utilized by Jewish communities within and beyond the United States. This was achieved through a common language as well as a shared “kavannah” (spiritual energy) communicated through musical charisma and spiritual dynamism in performance. The power of communal singing is cited, among other things, as a tool for inspiration and cultural sustainability and as a transformer of ritual practices and experiences.The book's rich cultural analysis and close biographical narrative is bolstered by in-depth chordal and melodic analyses. This level of music and song-text analysis, often absent in recent scholarship in ethnomusicology, amplifies the author's points with nuanced musical data that reveal much regarding (a) the singer-songwriters’ aesthetic choices, (b) textual interpretation and feminist ideals communicated through the music-text interplay, and (c) the musical rapprochement with the American folk song genre. Ross brings to light a compelling array of musical works by American Jewish feminists—including songs, performances, ensembles, and other initiatives—that might otherwise be overlooked in the history of Jewish music in the United States. A striking example, among many, is Ross's account of the formation of the","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204477","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}

引用次数: 0

From the Editor 来自编辑

1区艺术学

ETHNOMUSICOLOGY Pub Date : 2023-10-01 DOI: 10.5406/21567417.67.3.01

Kate Brucher

引用次数: 0

More than Gold: Embodying the Human Cost of Mining in Maroon Popular Music 不仅仅是黄金:在栗色流行音乐中体现采矿的人类成本

IF 0.7 1区艺术学

ETHNOMUSICOLOGY Pub Date : 2023-07-01 DOI: 10.5406/21567417.67.2.05

C. Campbell

引用次数: 0

Seeger Lecture, Society for Ethnomusicology Virtual Meeting 2021 Seeger讲座，民族音乐学会2021年虚拟会议