{"title":"Ulrich Morgenstern和Ardian Ahmedaja编辑:《演奏多部分音乐:欧洲的独奏和合奏传统》(欧洲之声四)。维也纳:Böhlau,2022年。319页,视听实例清单,撰稿人说明,索引。ISBN:978-3-205-21409-0和ISBN 978-3-205-21410-6(电子书)。","authors":"Yannick Wey","doi":"10.1017/ytm.2022.26","DOIUrl":null,"url":null,"abstract":"modernity in Nusantara “as a discursive concept for emergent social formations” and to “call for different trajectories of modernity than those of Europe and North America that have provided the standards of modernity” (173). And once again, readers are also reminded of the transcultural musical flows and fluid genres that defy national ideals exemplified in Chapter Sixteen of Ellorin’s study of the nomadic sea-faring ethnic minority Sama-Bajau’s Sangbai performance. The Coda and the Afterword: Bercerita (Sharing Stories) demonstrate Nusantara’s popular music engagements with global and transnational trends. The reflections and the conversations with various local artists from Malaysia, Indonesia, and the Philippines draw readers to further explore the ambiguous meaning of the term “Nusantara” and its implications on musical practices in the region. Made in Nusantara: Studies in Popular Music is an essential contribution to the field of popular music studies in the region and globally. Conceptually, the volume provides a fresh take on Nusantara supported by examples in the respective essays, and establishes a new praxis in the study of popular music in maritime Southeast Asia. With resources such as a spread of pictures featuring artists and album sleeves, a collection of selected bibliography, and an extensive index, both scholars and students in popular music and across the interdisciplinary studies of social sciences will not only find this volume insightful but also enjoyable to read. Made in Nusantara: Studies in Popular Music is definitely one of the few edited volumes dedicated to the study of popular music in maritime Southeast Asia and for that reason, I hope that it will inspire many more similar works that explore other different issues in popular music in the intricately connected and the often-contested shared cultural space of the region.","PeriodicalId":43357,"journal":{"name":"YEARBOOK FOR TRADITIONAL MUSIC","volume":"54 1","pages":"169 - 171"},"PeriodicalIF":0.7000,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Ulrich Morgenstern, and Ardian Ahmedaja, eds. Playing Multipart Music: Solo and Ensemble Traditions in Europe (European Voices IV). Vienna: Böhlau, 2022. 319 pp., list of audiovisual examples, notes on contributors, index. ISBN: 978-3-205-21409-0 and ISBN 978-3-205-21410-6 (e-book).\",\"authors\":\"Yannick Wey\",\"doi\":\"10.1017/ytm.2022.26\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"modernity in Nusantara “as a discursive concept for emergent social formations” and to “call for different trajectories of modernity than those of Europe and North America that have provided the standards of modernity” (173). And once again, readers are also reminded of the transcultural musical flows and fluid genres that defy national ideals exemplified in Chapter Sixteen of Ellorin’s study of the nomadic sea-faring ethnic minority Sama-Bajau’s Sangbai performance. The Coda and the Afterword: Bercerita (Sharing Stories) demonstrate Nusantara’s popular music engagements with global and transnational trends. The reflections and the conversations with various local artists from Malaysia, Indonesia, and the Philippines draw readers to further explore the ambiguous meaning of the term “Nusantara” and its implications on musical practices in the region. Made in Nusantara: Studies in Popular Music is an essential contribution to the field of popular music studies in the region and globally. Conceptually, the volume provides a fresh take on Nusantara supported by examples in the respective essays, and establishes a new praxis in the study of popular music in maritime Southeast Asia. With resources such as a spread of pictures featuring artists and album sleeves, a collection of selected bibliography, and an extensive index, both scholars and students in popular music and across the interdisciplinary studies of social sciences will not only find this volume insightful but also enjoyable to read. Made in Nusantara: Studies in Popular Music is definitely one of the few edited volumes dedicated to the study of popular music in maritime Southeast Asia and for that reason, I hope that it will inspire many more similar works that explore other different issues in popular music in the intricately connected and the often-contested shared cultural space of the region.\",\"PeriodicalId\":43357,\"journal\":{\"name\":\"YEARBOOK FOR TRADITIONAL MUSIC\",\"volume\":\"54 1\",\"pages\":\"169 - 171\"},\"PeriodicalIF\":0.7000,\"publicationDate\":\"2022-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"YEARBOOK FOR TRADITIONAL MUSIC\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/ytm.2022.26\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"YEARBOOK FOR TRADITIONAL MUSIC","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/ytm.2022.26","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Ulrich Morgenstern, and Ardian Ahmedaja, eds. Playing Multipart Music: Solo and Ensemble Traditions in Europe (European Voices IV). Vienna: Böhlau, 2022. 319 pp., list of audiovisual examples, notes on contributors, index. ISBN: 978-3-205-21409-0 and ISBN 978-3-205-21410-6 (e-book).
modernity in Nusantara “as a discursive concept for emergent social formations” and to “call for different trajectories of modernity than those of Europe and North America that have provided the standards of modernity” (173). And once again, readers are also reminded of the transcultural musical flows and fluid genres that defy national ideals exemplified in Chapter Sixteen of Ellorin’s study of the nomadic sea-faring ethnic minority Sama-Bajau’s Sangbai performance. The Coda and the Afterword: Bercerita (Sharing Stories) demonstrate Nusantara’s popular music engagements with global and transnational trends. The reflections and the conversations with various local artists from Malaysia, Indonesia, and the Philippines draw readers to further explore the ambiguous meaning of the term “Nusantara” and its implications on musical practices in the region. Made in Nusantara: Studies in Popular Music is an essential contribution to the field of popular music studies in the region and globally. Conceptually, the volume provides a fresh take on Nusantara supported by examples in the respective essays, and establishes a new praxis in the study of popular music in maritime Southeast Asia. With resources such as a spread of pictures featuring artists and album sleeves, a collection of selected bibliography, and an extensive index, both scholars and students in popular music and across the interdisciplinary studies of social sciences will not only find this volume insightful but also enjoyable to read. Made in Nusantara: Studies in Popular Music is definitely one of the few edited volumes dedicated to the study of popular music in maritime Southeast Asia and for that reason, I hope that it will inspire many more similar works that explore other different issues in popular music in the intricately connected and the often-contested shared cultural space of the region.