ETHNOMUSICOLOGY最新文献

{"title":"Musical Evolution and the Other: From State-Sponsored Musical Evolutionism in the USSR to Post-Soviet Crimean Tatar Indigenous Music","authors":"M. Sonevytsky","doi":"10.5406/21567417.66.1.05","DOIUrl":"https://doi.org/10.5406/21567417.66.1.05","url":null,"abstract":"\u0000 In the Soviet Union, logics of evolutionism undergirded the Communist party-state's interventions into many aspects of Soviet life, including the realm of “folk music.” In this article, I draw on the example of the Soviet institutionalization of a Crimean Tatar folk orchestra to demonstrate how Soviet musical evolutionism ordered and constrained vernacular musical practices in ways that have had long-term political consequences, especially concerning the politics of post-Soviet indigeneity. I argue that to delink teleology from musical evolution—akin to how evolution is understood in the physical sciences—would take a fundamental step toward decolonizing music studies. I conclude by comparing the Soviet case to contemporary discourses of musical evolutionism, observing how it risks exiling some musics to a present that is “less evolved.”\u0000 Crimean Tatar language, translated by Adel Khairutdinova, Muslim Umerov, and Ayla Bakkalli","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46335723","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":"Voices of the Rainforest: A Day in the Life of Bosavi Papua New Guinea","authors":"Ingrid T. Monson","doi":"10.5406/21567417.66.1.17","DOIUrl":"https://doi.org/10.5406/21567417.66.1.17","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47286363","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":"Authority, Deference, and Disregard in Catholic Liturgical Music in Central Cameroon","authors":"Byron Dueck","doi":"10.5406/21567417.66.1.04","DOIUrl":"https://doi.org/10.5406/21567417.66.1.04","url":null,"abstract":"\u0000 This article examines Catholic liturgical music in indigenous idioms in central Cameroon, focusing on a Sanctus by composer Jean André Yebnoun Ngann. We consider how musicians enact deference and authority through the sounding materials of music, discussions of music, and social interactions that allow music-making to occur, proposing that all of these might usefully be analyzed with the help of the linguistic concept of deixis. Study of four different performances of the Sanctus reveals how contemporary music-making elaborates forms of deference shaped not only by colonialism and Catholicism but also by older ways of leading and following.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44589498","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":"Let No Man Judge: Remembering the Calypsonian and Containing Risk","authors":"D. Lewis","doi":"10.5406/21567417.66.1.08","DOIUrl":"https://doi.org/10.5406/21567417.66.1.08","url":null,"abstract":"\u0000 When calypsonian Merchant died of HIV-related causes in 1999, his life and death became a conduit for the public discussion of HIV/AIDS in Trinidad and Tobago. Merchant was remembered simultaneously as a womanizing, working-class calypsonian and as a closeted gay man. These public narratives, like narratives of other individuals associated with disease or epidemics, used music to allocate risk to marginalized groups and, by implication, away from much of the general Trinidadian public.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430048","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":"Moving Bodies, Navigating Conflict: Practicing Bharata Natyam in Colombo, Sri Lanka","authors":"Ameera Nimjee","doi":"10.5406/21567417.66.1.14","DOIUrl":"https://doi.org/10.5406/21567417.66.1.14","url":null,"abstract":"Moving Bodies is a detailed and critical examination of the role of the South Indian classical dance form bharatanatyam in the context of war-torn Sri Lanka, specifically as practiced in the capital city, Colombo. Drawing on choreographic analysis, dance ethnography and dance history, Satkunaratnam traces the rise and evolution of bharatanatyam within Colombo, and the different roles and resonances that the dance form has sustained in the face of a changing and frequently violent political backdrop. While there are growing bodies of scholarship considering the history and role of bharatanatyam in India and beyond, as well as reflecting on the history and significance of the twenty-six-year Sri Lankan civil war, apart from an excellent article by martial artist and scholar Janet O’Shea (2016), there is no work hitherto that has brought these two areas of enquiry together. Satkunaratnam’s book fills this gap. At the heart of the book is a reflection on the construction of identity, a process that takes on a particular urgency and significance in the context of a “time and place” made “dangerously transient” by war (46). Key to her discussion is a commitment to understanding identity as inherently fluid, following cultural theorist Homi Bhabha’s insistence on culture as “transnational and translational” (21). At times of war, she argues, the space for the recognition of cultures as shifting and hybridized is submerged by the desire for a fixed cultural signifier that can serve as an identitarian rallying point. The first half of the book considers ways in which “bodies and movement” (6) are represented and refracted in ways beyond their control to serve the specific ideologies and institutions of politics and state. The second half looks at ways that dancers and choreographers negotiate and challenge such imposed identities, reasserting agency through choreographies of resistance. In this way, Satkunaratnam records how bharatanatyam has been classified variously as “Oriental,” “Indian,” “indigenous,” and “Tamil,” depending on the differing agendas and contexts of those imposing the classifications. She highlights, for example, how the experience of the vicious anti-Tamil riots in July of 1983 (“Black July”) “inscribed [bharatanatyam] with significance as a uniquely Tamil practice” in the face of “institutional, national and social exclusion” (49). She shows how, since 1972, bharatanatyam has been included within the mandatory “aesthetics” module of Sri Lankan state education, as a signifier, she suggests, of a Sri Lanka that is “multicultural” and accepting of diversity. And yet, a little probing reveals the limits of this inclusion and the extent to which it can serve to contribute still further to segregation along ethnic lines and an ultimate positioning of bharatanatyam as “Other.” In the second half of the book, she explores how creative choreography can subvert the very fixity that nationalism clings to, permitting a sense of choice in a space","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45322713","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":"Motivating Traditional Musicians to Learn a Heritage Language in Gaelic Nova Scotia","authors":"H. Sparling, P. MacIntyre, S. Baker","doi":"10.5406/21567417.66.1.09","DOIUrl":"https://doi.org/10.5406/21567417.66.1.09","url":null,"abstract":"\u0000 It is urgent that we learn how to motivate learners of threatened heritage languages. Motivational theories, however, are weakened when they consider heritage languages in isolation from the rest of the culture in which they are enmeshed. By drawing on psycholinguist Zoltán Dörnyei's L2 Motivational Self System to analyze interviews with ten traditional musicians from Nova Scotia with varying degrees of Gaelic fluency, we find that musical knowledge inspires and enriches their language learning and vice versa. It is the interviewees’ holistic understanding of Gaelic culture, as well as the culture's links to community and heritage, that motivates them.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43698729","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":"Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century","authors":"Ann E. Lucas","doi":"10.5406/21567417.66.1.12","DOIUrl":"https://doi.org/10.5406/21567417.66.1.12","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42578801","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":"Gagaku, Ensemble OnoTeruhisa Fukuda, maître de shakuhachi. Offrande musicale","authors":"Jay Keister","doi":"10.5406/21567417.66.1.18","DOIUrl":"https://doi.org/10.5406/21567417.66.1.18","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41811897","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":"Gamelan Girls: Gender, Childhood, and Politics in Balinese Music Ensembles","authors":"J. Mcintosh","doi":"10.5406/21567417.66.1.11","DOIUrl":"https://doi.org/10.5406/21567417.66.1.11","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44045733","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":"Issues in African American Music: Power, Gender, Race, Representation","authors":"S. Graham","doi":"10.5406/21567417.66.1.13","DOIUrl":"https://doi.org/10.5406/21567417.66.1.13","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41855912","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}