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)。

IF 0.7 2区 艺术学 0 MUSIC
Yannick Wey
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引用次数: 0

摘要

努沙塔拉的现代性“作为新兴社会形态的话语概念”,并“呼吁与提供现代性标准的欧洲和北美不同的现代性轨迹”(173)。此外,本书还再次提醒读者,在埃洛林研究游牧民族萨马-巴夭的桑拜表演的第十六章中,跨文化的音乐流和多变的流派蔑视了民族理想。结尾和后记:Bercerita(分享故事)展示了努桑塔拉与全球和跨国趋势的流行音乐合作。与来自马来西亚、印度尼西亚和菲律宾的当地艺术家的反思和对话,吸引读者进一步探索“努沙tara”一词的模糊含义及其对该地区音乐实践的影响。努沙塔拉制造:流行音乐研究是对该地区和全球流行音乐研究领域的重要贡献。从概念上讲,该卷提供了一个新的努沙塔拉支持的例子在各自的文章,并建立了一个新的实践在东南亚海上流行音乐的研究。与资源,如图片传播的艺术家和专辑的袖子,精选书目的集合,和广泛的索引,学者和学生在流行音乐和跨社会科学的跨学科研究将不仅发现这一卷深刻的,而且令人愉快的阅读。《努沙加拉制造:流行音乐研究》绝对是为数不多的专门研究东南亚海上流行音乐的编辑书籍之一,因此,我希望它能激发更多类似的作品,探索流行音乐中其他不同的问题,在这个地区错综复杂的联系和经常有争议的共享文化空间中。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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.
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CiteScore
0.90
自引率
20.00%
发文量
15
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