Thematische Bibliographien / Music and anthropology

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Music and anthropology“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 1. August 2024

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Zeitschriftenartikel zum Thema "Music and anthropology"

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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.
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Gumilang, Rizqa, Sri Setiawati und Syahrizal Syahrizal. „KEBERTAHANAN MUSIK ORKES MINANG KINI: KAJIAN ANTROPOLOGI MUSIK PADA MUSIK ORKES TAMAN BUNGA“. Jurnal Budaya Etnika 7, Nr. 2 (19.12.2023): 109. http://dx.doi.org/10.26742/jbe.v7i2.2874.

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ABSTRAK Tulisan ini menggambarkan kelangsungan hidup musik Orkestra Minang saat ini, khususnya Kelompok Musik Orkestra Taman Bunga di kota Padangpanjang, Provinsi Sumatera Barat. Di tengah gempuran industri musik yang berorientasi pasar. Menggunakan premis Kontra Hegemoni Gramsci, bagaimana kelompok ini bertahan dengan ideologi musik mereka. Penelitian ini bertumpu pada pendekatan kualitatif deskriptif. Analisis dalam perspektif Antropologi Musik menjelaskan secara mendalam dan holistik kelangsungan hidup kelompok musik ini. Counter Hegemony sebagai alat analisis dalam melihat apa yang memotivasi kelompok ini untuk memilih genre musik orkestra Minang dan kelangsungan hidup kelompok ini dalam menghadapi industri musik saat ini. Temuan menunjukkan bahwa perjuangan ideologis antara ideologi kelompok ini dan ideologi pasar semakin kuat, menunjukkan adanya kekuatan hegemonik di pasar industri musik di Indonesia. Kegigihan dalam ideologi musik mereka mampu bertahan dengan tidak mengganggu atau mengubah bentuk musik mereka. Prinsip kekeluargaan adalah modal utama bagi kelangsungan hidup kelompok musik ini. Kata kunci: Musik Orkestra Minang, Survival, Antropologi Musik, Kontra Hegemoni ABSTRACT This paper describes the survival of the Minang Orchestra music today, specifically the Taman Bunga Orchestra Music Group in the city of Padangpanjang, West Sumatra Province. In the midst of the onslaught of market-oriented music industry. Using the premise of Gramsci's Counter Hegemony, how this group survives with their musical ideology. The research relies on a descriptive qualitative approach. The analysis in the perspective of Music Anthropology explains deeply and holistically the survival of this musical group. Counter Hegemony as an analytical tool in seeing what motivates this group to choose the genre of Minang orchestra music and the survival of this group in facing the current music industry. The findings show that the ideological struggle between this group's ideology and the market ideology is getting stronger, indicating the presence of hegemonic power in the music industry market in Indonesia. Persistence in their musical ideology is able to survive by not disrupting or changing the shape of their music. The principle of kinship is the main capital for the survival of this musical group. Keywords: Minang Orchestra Music, Survival, Musical Anthropology, Counter Hegemony
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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.
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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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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.
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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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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"

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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”.
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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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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.
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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).
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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.
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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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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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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
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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.
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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"

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

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Angela, Rodel, Hrsg. The seven sins of chalga: Toward an anthropology of ethnopop music. Sofii︠a︡: Prosveta, 2005.

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Museum, Pitt Rivers, Hrsg. Rock music. [Oxford]: Pitt Rivers Museum, University of Oxford, 1997.

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Karbusický, Vladimír. Kosmos, Mensch, Musik: Strukturalistische Anthropologie des Musikalischen. Hamburg: R. Krämer, 1990.

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Parus-Jankowska, Magdalena, und Szymon Nożyński. Miejsca muzyki: Perspektywa interdyscplinarna. Gdańsk: Wydawnictwo Naukowe "Katedra", 2019.

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Maurizio, Agamennone, und Di Mitri Gino L, Hrsg. L' eredità di Diego Carpitella: Etnomusicologia, antropologia e ricerca storica nel Salento e nell'area mediterranea : atti del Convegno, Galatina, 21-23 giugno 2002. Nardò (Lecce): BESA, 2003.

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Buchteile zum Thema "Music and anthropology"

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Kendrick, Robert L. „Anthropology, music, and theater in a seventeenth-century year“. In Cognate Music Theories, 252–65. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003311690-19.

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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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Ntarangwi, Mwenda. „Music, Identity, and Performance in East Africa“. In The Routledge Companion to the Anthropology of Performance, 238–49. New York: Routledge, 2023. http://dx.doi.org/10.4324/b23216-19.

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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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Muszkalska, Bożena. „The Work of Oskar Kolberg from the Perspective of Music Anthropology“. In Pathways in Early European Ethnomusicology, 13–42. Göttingen: Böhlau Verlag Wien, 2024. http://dx.doi.org/10.7767/9783205219187.13.

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Amico, Stephen. „We Don’t Need Another He(te)ro“. In Ethnomusicology, Queerness, Masculinity, 53–69. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15313-6_3.

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AbstractThis chapter explores in greater detail the motivations for and processes of the construction of masculinity within ethnomusicology. Understanding the centuries-long feminization of music in Western culture, anthropology and its methodology—fieldwork—are revealed as utilized in the creation of a specifically academic masculinity. However, while fieldwork is instrumental in the creation of one facet of masculinity (i.e., representation of a self marked by bravado, courage, intrepidness; the ‘anthropologist as hero’), it is argued that for the largely white, privileged male academic, recourse to such stereotypes alone is insufficient. As such, it is intellect and rationality, manifesting via the use and production of Theory (itself coded as masculine) that allow for the maintaining of power over the musical, the racialized Other, and the positivistic, feminized musicologist.
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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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Konferenzberichte zum Thema "Music and anthropology"

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Aleshinskaya, Evgeniya. „Multilingualism in Russian Popular Music Discourse“. In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.5-5.

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Drawing evidence from reviews on Russian musical websites, English-language song lyrics written by native Russian speakers, and multilingual performances in a popular TV show, the paper takes an anthropological approach to explore such forms of blending languages in popular music as mixed professional jargon, a localized variety of global English, and a new mode of interactivity – mixing languages and music(s) as a form of expressing meanings. The data obtained through discourse analysis were supplemented by online interviews with famous Russian musicians available on internet sources, quasi-ethnographic interviews with professional musicians, and a qualitative analysis of audience’s comments on the language choice and meaning of the songs. In this study, multilingualism is viewed as a component of the Russian musician’s linguistic personality. Multilingual practices in popular music reveal such characteristics of the musician’s linguistic personality as professionalism, creativity, commitment to authenticity, global aspirations, and local attachment.
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Kakosimou, Olga. „Singing Fado in Contemporary Lisbon: Questions of Boundedness“. In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.10-3.

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Understanding the oral tradition of fado, requires a profound engagement with the power of its narrativity and its lyrics (Castelo-Branco 1997; Abu-Lughod 1986). Fado is a poetical world of stories being told (sung) and shared in everyday life between those who understand and mainly possess the fado linguagem. It is a broad corpus of words and utterances, pre-existing melodies and repertoires, meanings, and performances, that creates the aesthetic vocabulary of fado and a strong sense of traditionality and boundedness, often disregarded by the global music scene and industry (Gray 2018). This sense also derives from fado’s close interaction with the historical past of Portugal and the collective memory of the community, both performatively and lyrically. However, now that the Portuguese urban song of longing has turned its gaze to globality, especially since 2011 when recognised by UNESCO as an Intangible Cultural Heritage of Humanity, there are severe questions regarding how the traditional language of fado could be in dialogue with contemporary musical trends, and at what price. How might the fadistas negotiate or not their musical and cultural identity in front of new, global audiences? In this paper, I will attempt to sculpt the boundedness of the fado universe. Therefore, fado lyrics will be my point of departure to unfold the storytellings and the set of sign types, mainly symbols and metaphors, that help understand the fadistas’ linguagem and their way of being-in-the-world (Turino 2008). Then, by using original ethnographic material, I will examine the dialogue between fado and the modern music industry.
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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.
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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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Hadzantonis, Michael. „Landscaping Dialects across Greece: Towards an Extended Ethnography“. In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.5-1.

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Greece’s language landscapes both geographically and historically multifarious. The dispersal of these dialects has been complexified by mixing and borrowing, as well as other factors, while their boundedness is blurred throughout the region. Many of these dialects and their applications (such as in miroloi and demotic music) are in significant decline, if not endangerment, and efforts to revitalize these languages are inadequate. Yet, these dialects, as an aggregate, also provide a significant source of local and larger (for example, national) ideology, where they each entextualize such an ideology in their linguistic appropriation. This paper presents work thus far on the ethnography of dialect and ideology throughout Greece. While a full ethnography of Greek dialects is not possible, efforts to build the landscaping of the country’s dialect map will contribute to the understanding of questions such as, how is ideology of Greekness represented through and entextualized in language forms throughout Greece, and beyond. This study draws on the frameworks of linguistic ideologies and entextualization as methodical frameworks. The language documentation has thus far spanned several decades.
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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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Kavouras, Pavlos. „Trickster and Cain: An Allegory of Musical and Linguistic Anthropology“. In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-1.

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In this talk, I will juxtapose the mythological figure of trickster with the biblical figure of Cain. In doing so, my purpose is to shed light on the dynamics of human thinking. Trickster is a potent symbol of humanity. It is found in the oral literatures of tribal peoples worldwide, in the context of which his mode of thinking and acting is amply demonstrated. Trickster became widely known to the Western world as a unique expression of humanity, mainly through the works of the anthropologist Paul Radin and the psychologist Carl Jung. Trickstering is a unique human quality which concerns a one-way logic of being in the world. Trickster’s flow of consciousness moves from a center or point of departure outwards, having no destination, and is defined by the lack of any subject / object differentiation. Trickster stands ideally for abductive logic, to use the philosopher Charles Saunders Peirce’s terminology, as opposed to the other two Peircean kinds of logic, inductive and deductive, which I take to represent together the logic of Cain. In the case of Cain, human thinking is characterized by the subject / object divide, which introduces an epistemological and, eventually, a reflexive dualism, with serious, moral, and ethical implications. Cain’s logic flows from the particular to the whole and vice versa, inductively or deductively, as it is defined and determined by the mental law of ‘Two’ in the thinker’s or actor’s reflexive relationship with the world – his or her physical, social, and spiritual cosmos. After setting the stage for a critical encountering between the primitive trickster and the biblical Cain, I will interpret their exchanges and incompatible expressions regarding their non-reflexive and reflexive ways of being in the world, respectively. Finally, I will turn to music and allegory, attempting to blend these two fundamental components of humanity with the archetypal characters of trickster and Cain. It is in the context of such a dialogue that trickster’s encounter with Cain acquires its musical and allegorical momentum, and sheds light through its abductive othering to the question of interpretation and human consciousness.
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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.
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Mouli, T. Sai Chandra. „Sustaining Folk Literature: A Study“. In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-7.

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Folk literature is integral to all languages. Verbal and nonverbal forms of folk literature are all pervasive. Verbal forms include proverbs, riddles, lullabies, tales, and ballads, among others. The nonverbal form encompasses dances, games, toys, and objects comprising ethnic designs and flavors. A community’s outlook is shaped by these forms. By and large, folk literature in South Indian languages is performance-oriented, and music is an essential component of the same. The written form has a greater status than the oral presentation. Thus ‘highbrow’ or classical literature enjoys greater status than ‘popular’ or ‘folk literature.’ For thousands of years, humans communicated orally, not with the stylus nor pen. With the advent of printing technology, the explosion of electronic media and the inconceivable impact of information technology, folk literature seems to be waning. This has survived on account of performances by people who live in rural areas and who are generally not so well educated. The same technology should be employed to further the study of folk literature and to preserve the folk literature in Asian countries, as elsewhere. Translation of folk literature into a global language such as English assists in preserving this and in offering the language a greater reach. Making use of online tools in the transmission and the sharing of data is imperative. This presentation seeks to focus attention on efforts made in this direction in South India.
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