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Thematische Bibliographien / Music and anthropology

Auswahl der wissenschaftlichen Literatur zum Thema „Music and anthropology“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 5. März 2023

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Dissertationen
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Buchteile
Konferenzberichte

Zeitschriftenartikel zum Thema "Music and anthropology":

1

Han, Sallie, und Jason Antrosio. „Music - Anthropology - Life“. Anthropology News 58, Nr. 3 (Mai 2017): e200-e210. http://dx.doi.org/10.1111/an.578.

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Suppan, Wolfgang. „La antropología musical: informe sobre sus objetivos y trabajos de investigación“. Anuario Musical, Nr. 53 (24.01.2019): 257. http://dx.doi.org/10.3989/anuariomusical.1998.i53.283.

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Desde 1951 en que el filósofo alemán Hans Plessner publicó su artículo «Anthropology of Music», se ha intentado descubrir desde diferentes disciplinas cómo se interrelacionan el ser humano y la música. Los libros Sound and Symbol (1956) y Man the Musician (1973) de Viktor Zuckerkandl, Anthropology of Music (1964) de Alan B. Merriam, How Musical is Man? de John Blacking (1973), Der musizierende Mensch. Eine Anthropologie der Musik (1984) y Música humana (1986) de Wolfgang Suppan constituyen los pasos más importantes hacia una nueva e interdisciplinaria ciencia de la música. Pero el pensar sobre la necesidad de la música por parte del hombre y la sociedad aparece ya en las antiguas filosofías de China y Grecia. Nuestro estudio y repaso bibliográfico sobre el desarrollo de la investigación antropológico-musical toma asimismo en consideración al jesuíta español P. Antonio Eximeno y Pujades, quien en el siglo XVIII publicó en sus poco conocidos libros importantes ideas sobre nuestra temática.

3

Mackinlay, Elizabeth, und Peter Dunbar-Hall. „Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System“. Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

4

Hikiji, Rose Satiko Gitirana. „Video, Music and Shared Anthropology“. Visual Anthropology 23, Nr. 4 (15.07.2010): 330–43. http://dx.doi.org/10.1080/08949468.2010.485009.

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5

Kovačević, Ivan, und Marija Ristivojević. „The anthropology of music: contemporary theoretical perspectives“. Issues in Ethnology and Anthropology 9, Nr. 4 (26.02.2016): 1067. http://dx.doi.org/10.21301/eap.v9i4.13.

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The anthropological study of music focuses on meanings which music hah and produces in a specific sociocultural context. Preferences toward a certain genre of music are tightly linked to the preference of certain cultural values, so music represents an important factor of identification in everyday life. In Serbian ethnology and anthropology music was long viewed as part of Serbian traditional culture, so the interests of researchers focused on “traditional music”. In the 1980’s first papers analyzing music which went outside the traditional frameworks appeared (new folk music – turbofolk), and this tendency has increased in the last ten years.

6

Borsos, Balázs. „Ecology + Anthropology = Ecological Anthropology?“ Acta Ethnographica Hungarica 62, Nr. 1 (Juni 2017): 31–52. http://dx.doi.org/10.1556/022.2017.62.1.2.

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Rasic, Milos. „Anthropology of music: Paradigms and perspectives“. Zbornik Akademije umetnosti, Nr. 4 (2016): 133–44. http://dx.doi.org/10.5937/zbakum1604133r.

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Deschenes, Bruno. „Toward an Anthropology of Music Listening“. International Review of the Aesthetics and Sociology of Music 29, Nr. 2 (Dezember 1998): 135. http://dx.doi.org/10.2307/3108385.

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9

Hagstrom, Kristina, und Anna Frisk. „Musica Sveciae--Folk Music in Sweden“. Ethnomusicology 41, Nr. 3 (1997): 579. http://dx.doi.org/10.2307/852773.

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10

Toropova, Alla V. „Formation of a Scientific and Educational Model of Musical-Psychological Anthropology“. Musical Art and Education 8, Nr. 3 (2020): 65–81. http://dx.doi.org/10.31862//2309-1428-2020-8-3-65-81.

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The article presents an understanding of the value attitudes and methodological approaches to the construction of the educational discipline “Musical-psychological anthropology”, developed by the author and tested in the educational process at the Faculty of Musical Arts of the Institute of Fine Arts of Moscow Pedagogical State University. The directions of development in the discipline content the ideas and aspirations by E. B. Abdullin are outlined. The connection of the actual problems of pedagogy and psychology of music education with the experience of setting tasks for the project activities of graduate students in the course of Musical-psychological anthropology is shown. Some research results of graduate students which contribute to the development of Music-Psychological Anthropology as an interdisciplinary field and academic discipline at a university, focused on current problems of music education, as well as on the development of professional reflection of music teachers are presented.

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Dissertationen zum Thema "Music and anthropology":

1

Bérubé, Michelle. „Healing Sounds: An Anthropology of Music Therapy“. Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38559.

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Music therapy has been recognized as a legitimate health practice in Canada since after the Second World War. While research shows the emotional, social and health benefits of music therapy, researchers have failed to agree on the reason music can be beneficial to health. I argue that affect could be the key to understanding the myriad ways in which music, and music therapy, can have a positive effect on health. Through the lens of affect theory, I explore embodiment, relationship-building and aesthetic creation as three areas in which music can allow the harnessing of affect towards health goals. I note music’s powerful affect on the human body and movement, and the ways in which these affects are mobilized towards specific clinical goals. I explore the various human-to-human and human-to-sound relationships that are mobilized, created or strengthened through music therapy interventions, and how they relate to health and to the affect of “becoming”. Finally, I note the strong evidence for musical and aesthetic creation as a part of self-care, both by music therapists and by their clients, and argue for a broader understanding of how creativity impacts health, by allowing people to affect their environments and “become themselves”.

2

Stokes, Martin. „Anthropological perspectives on music in Turkey“. Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303568.

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3

Born, Georgina Emma Mary. „The ethnography of a computer music research institute : modernism, post modernism, and new technology in contemporary music culture“. Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/1349616/.

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The thesis is a socio-cultural study of IRCAM, a large, state-funded computer music research institute in Paris directed by the avant garde composer Pierre Boulez. The approach is primarily ethnographic, supported by broader historical analysis. The aim is to provide a critical portrait of musical modernism and post modernism as expressed by IRCAM and its milieu; and to place this in historical perspective by combining anthropology with cultural history. Theoretically, the thesis examines the contradictory position of the contemporary musical avant garde: established in official cultural spheres, yet lacking wider public appeal and cultural influence. In this context, the central problem is how IRCAM continues to legitimise itself. The thesis opens with a discussion of literature on the critical sociocultural study of music, on the sociology of culture (especially the work of Bourdieu and Williams), and on the avant garde and modernism. Chapters 2 to 4 provide the basic account of the institution, including status distinctions, stratification, and power structures. Three local historical influences on IRCAM are outlined: the American computer music network, the French national context, and Boulez's history and ideas. Chapters 5 to 8 analyse IRCAM's musical, scientific and technological work, examining the gaps between aims and actuality, ideology and practice. The character of IRCAM's dominant, 'dissident' and 'vanguard' projects are explored. The classification systems that structure the institute's internal conflicts and ideological differences are drawn out (Ch. 6). Chapters 7 and 8 focus in on computer music production, and describe the mediations and phenomenology of this and related software research. One composer's visit is detailed, and the social and technological problems inherent in this work are analysed. Chapter 9 provides an analysis of the main historical aesthetic traditions which inform IRCAM culture - modernism and post modernism - and develops an hypothesis of their discursive character and interrelation. This is related back to IRCAM culture, and throws light on the inter- and intra-subjective differentiation of IRCAM intellectuals, which in turn allows an analysis of mechanisms in the social construction of aesthetics and technology at IRCAM. The preceding analyses generate insight into the representation of modernism and post modernism within IRCAM. The Conclusions describe major developments at IRCAM after fieldwork. The legitimation of IRCAM is linked to its institutional and ideological forms: particularly its processes of self-legitimation, resting on the discursive authority of its own internal vanguard, and the universalising character of advanced computer music discourse. Finally, there is consideration of IRCAM's place in long term cultural processes, and of the implications for theorising cultural reproduction and change.

4

Thomas, Kara Rogers. „Music in the mountains music and community in western North Carolina /“. [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162262.

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Thesis (Ph.D.)--Indiana University, 2004.
Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0291. Adviser: John H. McDowell. Title from dissertation home page (viewed Oct. 12, 2006).

5

Bowsher, Andrew John. „Authenticity and the commodity : physical music media and the independent music marketplace“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.

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This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independent marketplace for physical music media, authenticity is a multi-local, multi-vocal phenomenon. A nexus of economic rationales, design, reproduction-technologies, histories and personal conduct interact in an ongoing process that authenticates music commodities and their marketplace. This means that particular commodities are sought out over others on account of the multi-local authenticities they anchor. The thesis firstly demonstrates how the independent music scene safeguards claims to authentic identities by constructing an opposition to the mainstream, drawing on discourses of ethical production and consumption, sound technologies, spaces of consumption and cultural production. Secondly, I will uncover how physical music media and sound-reproduction technologies are assessed as effective providers of authentic musical reproductions according to their historical contingencies and performative material capacities. Thirdly, I develop the notion of the scene (Shank 1994) from its previously genre-fixed perspective to encompass multiple musical styles operating within a common social network of producers, retailers and collectors. The pluralistic scene I describe utilises multiple musical genres and nuanced notions of materiality and authenticity to establish their complex hierarchy of sonic and technological experiences.

6

Farrell, Gerard James. „Indian music and the west : a critical history“. Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309508.

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7

Tsukada, Kenichi. „Luvale perceptions of Mukanda in discourse and music“. Thesis, Queen's University Belfast, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356917.

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8

Thorne, Stephanie B. „A Cultural View of Music Therapy: Music and Beliefs of Teton Sioux Shamans, with Reference to the Work of Frances Densmore“. Digital Commons @ Butler University, 1999. http://digitalcommons.butler.edu/grtheses/253.

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At the end of World War II, doctors trained in the western bio-medical tradition integrated music into their practice as a means of helping soldiers recover, both mentally and physically, from the atrocities experienced while overseas. For many, music was a solace, opening up the peaceful memories of home and family and pushing aside the war-torn landscapes. By establishing interpersonal relationships between the therapist and the patient, as well as patient-to-patient in group settings, music enabled feelings and emotions to flow freely. The mind was given a structured pattern to bridge the gap of the psychological and physiological experience. It was then that music therapy was introduced into the western practices of biological medicine

9

Loten, Sarah. „The aesthetics of solo bagpipe music at the Glengarry Highland Games“. Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9502.

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The purpose of this study is to examine the aesthetics of solo bagpipe music at the Glengarry Highland Games in Maxville, Ontario, in order to understand how people perceive and receive their world. My ethnography of aesthetics of solo bagpipe music has involved a selected group of musicians that has participated in the piobaireachd and ceol beag contests at these games. Piobaireachd is the classical tradition of the Great Highland bagpipe, and ceol beag is the "light" music which consists of dance songs or marches. The first chapter explores the "arrangements" of power in this community. By "arrangements" of power, I refer to the informal understandings between people about the hierarchies, prestige and power in bagpipe activities of their community. The second chapter examines the various traditions in the aesthetics of solo piping. I problematize the notion of "tradition" by examining it as a human construction that is continuously reinterpreted as it is passed down from generation to generation. The third chapter explores the local knowledge of some of the pipers taking part in the competitions. By "local knowledge", I mean the body of knowledge that is formed collectively, over time, and comes to represent the main ideas and expectations the pipers have about their music. Since Maxville, with the Glengarry Highland Games, is considered, according to the pipers, to be the "spiritual center" of piping, this choice of location has been ideal for understanding sound structures, behaviours, practices, and attitudes that are inherent in this cultural activity.

10

Cohen, Sara. „Society and culture in the making of rock music in Merseyside“. Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383995.

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Bücher zum Thema "Music and anthropology":

1

M, Murphy Keith, und Throop C. Jason, Hrsg. Toward an anthropology of the will. Stanford, Calif: Stanford University Press, 2010.

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Regine, Allgayer-Kaufmann, Weber Michael 1960- und Kubik Gerhard 1934-, Hrsg. African perspectives: Pre-colonial history, anthropology, and ethnomusicology. Frankfurt am Main: Peter Lang, 2008.

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Regine, Allgayer-Kaufmann, Weber Michael 1960- und Kubik Gerhard 1934-, Hrsg. African perspectives: Pre-colonial history, anthropology, and ethnomusicology. Frankfurt am Main: Peter Lang, 2008.

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Dobberstein, Marcel. Musik und Mensch: Grundlegung einer Anthropologie der Musik. Berlin: D. Reimer, 2000.

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Allgayer-Kaufmann, Regine. African perspectives: Pre-colonial history, anthropology, and ethnomusicology. Frankfurt am Main: Peter Lang, 2008.

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Grosos, Philippe. L'existence musicale: Essai d'anthropologie phénoménologique. Lausanne: Age d'homme, 2008.

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Kaemmer, John E. Music in human life: Anthropological perspectives on music. Austin: University of Texas Press, 1993.

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Kānprachum Pračham Pī thāng Mānutsayawitthayā (8th 2010 Bangkok, Thailand). Phūkhon, dontrī, chīwit. Krung Thēp Mahā Nakhō̜n: Sūn Manutsayawitthayā Sirinthō̜n, 2010.

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Żerańska-Kominek, Sławomira. Muzykalne dzieci Wenus i inne studia z antropologii muzyki. Warszawa: Wydawnictwo DiG, 2014.

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Statelova, Rozmari. The seven sins of chalga: Toward an anthropology of ethnopop music. Sofii︠a︡: Prosveta, 2005.

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Buchteile zum Thema "Music and anthropology":

1

Schaefer, John Philip Rode. „Middle Eastern Music and Popular Culture“. In A Companion to the Anthropology of the Middle East, 493–508. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118475683.ch25.

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Murphy, David. „Extreme Neo-Nationalist Music Scenes at the Heart of Europe“. In A Companion to the Anthropology of Europe, 425–39. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118257203.ch25.

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Balve, Johannes. „Die Musik als Modell“. In Ästhetik und Anthropologie bei Alfred Döblin, 127–72. Wiesbaden: Deutscher Universitätsverlag, 1990. http://dx.doi.org/10.1007/978-3-663-14668-1_8.

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Stollberg, Arne. „„… daß die Musick bald einen arsch bekommt“: Mozarts musikalische Anthropologie“. In Figuren der Resonanz, 197–236. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-63528-5_5.

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„Musicology, Anthropology, History“. In Music and Historical Critique, 283–99. Routledge, 2017. http://dx.doi.org/10.4324/9781315090993-16.

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„Musicology, Anthropology, History“. In The Cultural Study of Music, 35–48. Routledge, 2013. http://dx.doi.org/10.4324/9780203821015-8.

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„Musicology, Anthropology, History“. In The Cultural Study of Music, 81–94. Routledge, 2012. http://dx.doi.org/10.4324/9780203149454-12.

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„Music, poetry and dance“. In The Anthropology of Numbers, 103–14. Cambridge University Press, 1990. http://dx.doi.org/10.1017/cbo9780511621680.010.

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Reyes-Whittaker, Gabriel. „Musical Anthropology“. In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0008.

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This chapter presents the author's conversation with composer, violinist, and musical anthropologist Elisabeth Waldo, which took place October 17, 2015, at her home, the Rancho Cordillera del Norte, in Northridge. The author suggests that Waldo's work, differed from other works that were classified under the label “exotica” in that she went deeper into the archaeological and anthropological aspects of the music rather than simply making the music sound exotic in a general sense. As the author investigated her music further, he realized that she took this approach on many of her other records as well, all while showing off her symphonic abilities as well as her skills on the violin.

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„Lyrics and Anthropology“. In Canadian Pentecostals, the Trinity, and Contemporary Worship Music, 229–40. BRILL, 2017. http://dx.doi.org/10.1163/9789004343320_010.

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Konferenzberichte zum Thema "Music and anthropology":

1

Kersalé, Patrick. „At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”“. In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the structure of Khmer melodic percussion orchestras. The analysis of some graphic details, related to other frescoes and bas-reliefs of Angkor Wat, also makes it possible to propose a dating. The study embodies one of an anthropological ethnomusicology, while also incorporating a discourse analysis, so to frame the uncovering of new historiographers of music and instrumentation, so to re describe musical discourses, more so to shed new light on melodic percussion of Angkorian music.

2

Huang, Miao. „The perspective of the Anthropology of music of Gannan xingguo“. In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.70.

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Yu, Linhan. „Different Theoretical Logic Study of Ethnomusicology and the Anthropology of Music“. In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.259.

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Liu, Xiaoyan. „Research on Chinese national music based on the perspective of Musical Anthropology“. In 2015 3rd International Conference on Education, Management, Arts, Economics and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemaess-15.2016.33.

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Ayala, Susana. „Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia“. In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.

6

Attri, Shalini, und Yogesh Chander. „Reproducing Meaning: A Dialogic Approach to Sports and Semiotics“. In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-3.

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The wide variety of the components of signs stems from verbal communication to visual gestures, ciphers, images, music, and Morse code. Barthes’ Semiotic Theory restructured the theory of analyzing signs and allowed for a new understanding and interpretation of signs through seeing diverse cultures and societies. Saussure’s definition of the sign as a combination of signifier and signified led Barthes to further elucidate sign as connotative (cultural) and denotative (literal) processes. Semiotics can be applied to all aspects of life, as meaning is produced not in isolation but in totality, establishing multiple connotations and denotations. In the article “The World of Wrestling” published in Mythologies (1957), Barthes focused on images portrayed by the wrestler resulting in understanding of the wrestler’s image and the image of spectator. In Morse code, gestures can make any sport a spectacle of suffering, defeat and justice, representation of morality, symbols, anger, smile, passion etc., from which derive denotative and connotative meanings. Similarly, Thomas Sebeok identifies sign as one of six factors in communication, and which makes up the rich domain of semiotic research. These are message, source, destination, channel, code, and context. The present paper will focus on a dialogic relation between semiotics and sports, thus making it a text that reproduces meaning and represents certain groups. It focuses on various aspects of semiotics and their relation to sports. The paper also contemplates the versions and meanings of signs in sports that establish sport as an act of representation.

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Nguyen Thi, Yen. „The Three-Tiered World (Tam Phu) of the Tay People in Vietnam through the Performance of Then Rituals“. In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.13-3.

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The Tay people represent an ethnic minority in the mountainous north of Vietnam. As do Shaman rituals in all regions, the Shaman of the Tay people in Vietnam exhibit uniqueness in their languages and accommodation of their society’s world view through their ‘Then’ rituals. The Then rituals require an integration of many artistically positioned and framed elements, including language (poetry, vows, chanting, the dialogue in the ritual), music (singing, accompaniment), and dance. This paper investigates The Art of Speaking of the Tay Shaman, through their Then rituals, which include use of language to describe the imaginary journey of the Shaman into the three-tiered world (Muong fa - Heaven region (Thien phu); Muong Din - Mountain region (Nhac phu); Muong Nam - Water region (combination of Thuy phu and Dia phu) to describe dealings with deities and demons, and to describe the phenomenon of possession. The methodic framework of the paper thus includes discussions of in the comparison between the concept of the three-storey world in the Then ritual of the Tay people with the concept of Tam Tu phu in the Len dong ceremony of the Kinh in Vietnam. Thereby, it clearly shows the concept of Tay people of the universe, the world of gods, demons, the existence of the soul and the body, and the existence of human soul after death. The study contributes to Linguistics and Anthropology in that it observes and describes the world views of a Northern Vietnamese ethnicity, and their negotiation with spirituality, through languages of both a spiritualistic medium and society.

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Yu, Linhan. „Study on the Gradient and Difference of the Anthropology of Music and Ethnomusicology in the Perspective of Epistemology“. In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.258.

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Lv, Bin. „From the Perspective of Musical Anthropology to See Fuzhou Tea-picking Opera Music and Cultural Pattern Inheritance Trajectory“. In 2018 8th International Conference on Social science and Education Research (SSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sser-18.2018.132.

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Wang, Jin. „Internet Dynamic Communication Network Modeling of Qiang Flute Culture Research from the perspective of Music Anthropology based on Loop Signal Detection“. In 2022 3rd International Conference on Electronics and Sustainable Communication Systems (ICESC). IEEE, 2022. http://dx.doi.org/10.1109/icesc54411.2022.9885417.

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