Zeitschriftenartikel: „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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6

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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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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Li, Jia. „Towards the Feasibility of Instituting a Philippine Digital Audio Library: A Case Study“. Journal of ICT In Education 8, Nr. 2 (04.07.2021): 1–12. http://dx.doi.org/10.37134/jictie.vol8.2.1.2021.

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As a spearhead force in music research, especially in the area of South East Asia region, the University of the Philippines (UP) Center for Ethnomusicology (UPCE) caters to a gigantic collection of audio materials which covers different musics and musical traditions in the Philippines, South East Asia and representative areas from other continents. As an outcome of its former appellation, the “UP Ethnomusicology Archives”, UPCE hosts an ethnomusicological collection of about 2500 hours of recorded music in open reel and cassette tape formats, under the authorship of Jose Maceda whose visionary work of putting together these valuable recorded materials left a treasure for ethnomusicology scholarship and research. In recognition of his influential contribution that made the UCPE an archive and repository of materials on music, philosophy, anthropology and other cognate disciplines, these audio materials, together with field notes, music transcriptions, song texts, photographs, music instruments, music compositions, personal files, about 200 books and journals, all of which he personally initiated and developed as a unified institution resource for music research are called “Jose Maceda Collection”.

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Stone-Davis, Férdia J. „Making an Anthropological Case: Cognitive Dualism and the Acousmatic“. Philosophy 90, Nr. 2 (20.02.2015): 263–76. http://dx.doi.org/10.1017/s0031819115000017.

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AbstractThis paper examines Roger Scruton's acousmatic account of music, situating it in relation to the anthropology that accompanies it. It suggests that in order to adequately maintain the anthropology Scruton desires (a cognitive rather than an ontological dualism), and to take full account of the parallel he draws between musical and inter-personal understanding (through gesture), the materiality of music needs to be more fully into his account of musical understanding.

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Vereshchahina-Biliavska, Olena Ye, Olesia V. Cherkashyna, Yuliia O. Moskvichova, Olena M. Yakymchuk und Olena V. Lys. „Anthropological view on the history of musical art“. Linguistics and Culture Review 5, S2 (16.07.2021): 108–20. http://dx.doi.org/10.21744/lingcure.v5ns2.1334.

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Research in the field of music anthropology as a separate science began to appear only in the last century. Currently, there are only a small number of studies on musical anthropology in the scientific literature. The purpose of the study is a theoretical generalisation of the manifestations of anthropological thinking in the musical art of classicism, romanticism, and avant-garde, carried out on the basis of contemporary scientific publications. The research methodology is based on the principles of analytical, historical, cultural, and comparative methods, which cover the aspects of musical anthropology of different eras. During the study, the authors considered the manifestations of anthropological thinking in the musical art of classicism, romanticism, and avant-garde, as well as modern scientific publications on musical anthropology. The authors concluded that synthetic, epic-dramatic genres of poetic ballads and poems had a particular influence on the musical composition of the Romantic era. These genres led to the emergence of a number of new compositional structures in the instrumental music of the Romanticism. This study can be used during lectures and practical classes in higher education institutions that specialise in the study of music; it can also be used by students for independent study of musical anthropology.

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Tan, Shzr Ee. „Special issue: Decolonising music and music studies“. Ethnomusicology Forum 30, Nr. 1 (02.01.2021): 4–8. http://dx.doi.org/10.1080/17411912.2021.1938445.

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Zhou, Hao. „An analysis of the effectiveness of using multicultural music concepts in Chinese college music education“. Advances in Education, Humanities and Social Science Research 3, Nr. 1 (28.12.2022): 65. http://dx.doi.org/10.56028/aehssr.3.1.65.

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The concept of multicultural music view is founded on music anthropology, which is an aesthetic idea in music that fully acknowledges the distinctions between many ethnic music cultures and explores culture via music. The development of pertinent music aesthetic general education courses, art practice activities, and multicultural music concepts in non-artist colleges with a high cultural literacy audience has a significant impact on student's overall development, the creation of a positive social climate, and the solidity of national cultural confidence.

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Shannon, Jonathan H. „Introduction“. International Journal of Middle East Studies 44, Nr. 4 (12.10.2012): 775–78. http://dx.doi.org/10.1017/s0020743812000864.

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Scholars of the Middle East and North Africa in all disciplines can learn much about their favored topics of interest through the study of music and related cultural practices. However, professional and often personal limitations have precluded awareness of the rich potential that music offers for analyses of Middle Eastern and North African societies. Typically music and the performing arts have been the purview of specialists in ethnomusicology, anthropology of music, and performance studies. Music and other sonic phenomena have been routinely marginalized if not ignored by scholars in Middle East studies, who, to a surprising extent, have reproduced conservative Muslim opinion regarding music by leaving it out of their analyses. Even the majority of ethnographic texts on the region depict Middle Easterners as living in near silence. When scholars have explored the ways in which music and expressive culture might shed light on their areas of expertise, they have tended to apply the conceptual tools of their home disciplines to the study of music: hence we have the sociology and anthropology of music, the history and politics of music and performance, and so on. Music in these studies remains a (usually passive) expression of more fundamental forces, reproducing the marginal position that music, and the arts in general, typically enjoy in Western societies—at best serving as an analytic tool but too seldom understood as an agent itself.

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Poluan, David, Syahrul Syah Sinaga und Udi Utomo. „The Role of Society and Artists in the Preservation of Bamboo Music in Minahasa“. Edumaspul: Jurnal Pendidikan 7, Nr. 1 (01.03.2023): 1719–24. http://dx.doi.org/10.33487/edumaspul.v7i1.6420.

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Musik Bambu merupakan kelompok orkes musik instrumen tradisional yang berasal dari suku Minahasa, Sulawesi Utara. Penelitian ini berfokus pada dua jenis Musik Bambu di Minahasa, yaitu Musik Bambu Melulu, dan Musik Bambu Klarinet. Penelitian ini bertujuan untuk mengetahui upaya pelestarian Musik Bambu yang dilakukan oleh Pelaku seni dan Masyarakat di desa Tumaratas dua, kecamatan Langowan Barat, kabupaten Minahasa, dan desa Liwutung. Kecamatan Pasan, Kabupaten Minahasa Tenggara. Penelitian ini menggunakan jenis penelitian kualitatif dengan kajian etnomusikologi. Etnomusikologi merupakan disiplin ilmu yang memayungi beberapa disiplin ilmu lain seperti musikologi, organologi, dan antropologi. Hasil yang didapati adalah terdapat perbedaan dalam upaya pelestarian yang dilakukan oleh masyarakat dan pelaku seni di desa Tumaratas Dua, dan desa Liwutung. Musik Bambu Melulu yang merupakan jenis Musik Bambu pertama di Minahasa masih dipertahankan keasliannya oleh pelaku seni di Desa Tumaratas Dua meskipun dihadapi oleh tantangan perkembangan zaman. Meskipun banyak ancaman yang dihadapi dalam pelestaran Musik Bambu Melulu, masyarakat di desa Tumaratas Dua juga masih menggunakan Musik Bambu Melulu dalam acara/kegiatan-kegiatan desa. Di sisi lain, Musik Bambu Klarinet di desa Liwutung hingga saat ini masih dilestarikan oleh pelaku seni dan masyarakat disana. Upaya-upaya yang dilakukan adalah perubahan organologi, pengembangan aransemen, dan keterelibatan masyarakat dari kalangan muda hingga dewasa dalam Musik Bambu Klarinet.Kata Kunci: Pelestarian, Perubahan, Musik Tradisional Abstract Bamboo Music is a group of traditional musical instrument orchestras originating from the Minahasa tribe in North Sulawesi. This research focuses on two types of Bamboo Music in Minahasa: Melulu Bamboo Music and Clarinet Bamboo Music. This study aims to determine the efforts to preserve Bamboo Music carried out by performers and the community in Tumaratas Dua village, West Langowan sub-district, Minahasa district, and Liwutung village. Pasan District, Southeast Minahasa Regency This study combines qualitative research with ethnomusicological studies. Ethnomusicology is a discipline that covers several other disciplines, such as musicology, organology, and anthropology. The results found that there were differences in the conservation efforts carried out by the community and artists in Tumaratas Dua village and Liwutung village. Melulu Bamboo Music, which is the first type of Bamboo Music in Minahasa, is still maintained by artists in Tumaratas Dua Village, despite the challenges of the times. Even though there are many threats to the performance of Melulu Bamboo Music, the community in Tumaratas Dua village still uses Melulu Bamboo Music in village events and activities. On the other hand, the Clarinet Bamboo Music in Liwutung village is still being preserved by artists and the people there. The efforts made are organological changes, arrangement development, and community involvement from young people to adults in Clarinet Bamboo Music.Keywords: Preservation, Change, Traditional Music

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Lewis, Jerome. „Music and Rituals“. Anthropology Today 15, Nr. 1 (Februar 1999): 20. http://dx.doi.org/10.2307/2678212.

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Zhang, Chao. „A Brief Analysis of Orff's Music Teaching Concept“. Review of Educational Theory 2, Nr. 3 (02.07.2019): 21. http://dx.doi.org/10.30564/ret.v2i3.873.

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Orff music teaching method is one of the most famous and widely used music education systems in the world, named after Karl Orff, a famous German musician. It endows the music education with humanity and fraternity under the perspective of anthropology, which has a profound impact on music education in primary and secondary schools all over the world. During the process of Chinese folk music teaching in primary and secondary schools, we should draw on the advantages of Orff's music teaching philosophy and promote the national characteristics of Chinese music teaching.

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Crowley, Daniel J., und John E. Kaemmer. „Music in Human Life: Anthropological Perspectives on Music“. Ethnohistory 43, Nr. 2 (1996): 335. http://dx.doi.org/10.2307/483403.

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Porter, James, und Paivikki Suojanen. „Finnish Folk Hymn Singing: Study in Music Anthropology“. Journal of American Folklore 98, Nr. 389 (Juli 1985): 354. http://dx.doi.org/10.2307/539951.

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Miller, Terry E., und Paivikki Suojanen. „Finnish Folk Hymn Singing: Study in Music Anthropology“. Yearbook for Traditional Music 17 (1985): 216. http://dx.doi.org/10.2307/768448.

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Saari, Seppo, und Paivikki Suojanen. „Finnish Folk Hymn Singing: Study in Music Anthropology“. Ethnomusicology 34, Nr. 1 (1990): 161. http://dx.doi.org/10.2307/852370.

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Suppan, Wolfgang, und Paivikki Suojanen. „Finnish Folk Hymn Singing. Study in Music Anthropology“. Jahrbuch für Volksliedforschung 31 (1986): 201. http://dx.doi.org/10.2307/848358.

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Hytönen-Ng, Elina. „Book review: Perspectives on Anthropology of Music and Dance from the British Isles“. Suomen Antropologi: Journal of the Finnish Anthropological Society 47, Nr. 2 (31.07.2023): 109–11. http://dx.doi.org/10.30676/jfas.119749.

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Tsetsos, Markos. „Ideology, humanness, and value. On Adorno’s Stravinsky“. Muzikologija, Nr. 34 (2023): 95–107. http://dx.doi.org/10.2298/muz2334095t.

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Theodor W. Adorno?s critique of Igor Stravinsky has itself been repeatedly criticised. Following the same line, the present article takes as its point of departure the philosophical anthropology of Helmuth Plessner, which challenges the premises of Marxist anthropology, on which Adorno based his critique of Stravinsky. Far from regressing to the inhuman and primitive, Stravinsky?s music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition, thus becoming more ?human?, i.e. meaningful and expressive, than Adorno could have even conceived. Additionally, an account is provided of some groundbreaking musical qualities that underpin the artistic value of Stravinsky?s music, which Adorno also contested.

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Kuligowski, Waldemar. „Nacjonalizm zwyczajnych ludzi. Etnicyzowanie tradycji muzycznej na przykładzie festiwalu w Gučy“. Slavia Meridionalis 11 (31.08.2015): 157–71. http://dx.doi.org/10.11649/sm.2011.009.

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Normal people’s nationalism. Ethnicization of music tradition for instance some festival in GučaSince the 1980’s ethnology and social and cultural anthropology have witnessed an increasing number of studies and debates on nationalism in the light of popular culture. In the light of theory formulated by Hobsbawm, Gellner, Hayes and Comaroff nationalism is effect not big symbols and official politics, but rather popular entertainment, media and normal practices normal people in its normal life. Traditional primordial concepts of nationalism are deep regressive.In this paper, I discuss a few contradictions in the relationship between tradition, nationalism and music. An excellent example illustrating specific nature of these contradictions is Dragačevski sabor trubača (Guča Trumpet Festival) in Guča, Serbia and particular music genre – brass music. In my opinion there are three distinctive discourses/narrations about history and meaning this festival and specific kind of music: dominating Serbian discourse, ‘weak’ Gypsy discourse, and researcher’s discourse. This study is effect an ethnographic fieldwork conducted in 2010 by an author and large group of students from Institute of Ethnology and Cultural Anthropology Adam Mickiewicz University Poznań, Poland.

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Peng, Yixuan. „Conceptual and Theoretical Exploration of Music Tourism“. Academic Journal of Management and Social Sciences 2, Nr. 3 (20.05.2023): 164–66. http://dx.doi.org/10.54097/ajmss.v2i3.8757.

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Music is an important aspect of tourism. “City of Music" is a label that many cities want to acquire based on the fact that it is a way to attract new tourist traffic. Not only does music have a positive function in terms of identity and belonging, but music tourism is increasingly recognized as an industry with economic and social impact. Based on the theoretical foundation of music sociology and cultural anthropology, the importance of music in contemporary tourism and human cultural exchange is further elucidated by sorting out and integrating the concept of music tourism.

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Lipták, Dániel. „Hungarian Ethnomusicologist Oszkár Dincsér (1911–1977) as a Pioneer of Musical Anthropology“. Studia Musicologica 59, Nr. 1-2 (Juni 2018): 79–97. http://dx.doi.org/10.1556/6.2018.59.1-2.7.

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There are marked differences between Hungarian and American ethnomusicology in incentives, aims, interests, and methods. Hungarian research was based in the early twentieth century on study of musical form, while the Americans approached music in terms of social context and functions. However, Hungarians from the mid-1930s onward moved toward an increasing interest in the social aspects of folk music. Oszkár Dincsér, a lesser known researcher of Kodály's school, exemplifies this trend in his 1943 study of chordophone instruments in the Csík (in Romanian: Ciuc) County region of Transylvania Két csíki hangszer. Mozsika és gardon (Two instruments from Csík. Fiddle and gardon). A comparison with Alan P. Merriam's fundamental work The Anthropology of Music (1964) reveals that Dincsér's study includes almost every topic and approach set out by Merriam twenty years later. Although Dincsér's scholarly career ended with his emigration in 1944, he remains an important forerunner of musical anthropology.

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Montero-Diaz, Fiorella. „Making music Indigenous: popular music in the Peruvian Andes“. Ethnomusicology Forum 29, Nr. 3 (01.09.2020): 406–8. http://dx.doi.org/10.1080/17411912.2020.1858917.

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Machin-Autenrieth, Matthew. „Music in Portugal and Spain: experiencing music, expressing culture“. Ethnomusicology Forum 27, Nr. 3 (02.09.2018): 370–72. http://dx.doi.org/10.1080/17411912.2018.1543029.

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James, Nicholas. „Music, Performance and Identity“. Anthropology Today 11, Nr. 1 (Februar 1995): 21. http://dx.doi.org/10.2307/2783322.

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Krüger, Simone. „Facing the Music: Shaping Music Education from a Global Perspective“. Ethnomusicology Forum 19, Nr. 2 (November 2010): 273–75. http://dx.doi.org/10.1080/17411912.2010.511056.

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O'Brien-Rothe, Linda, und T. M. Scruggs. „Nicaraguan Folk Music from Masaya: Musica Folklorica de Masaya“. Ethnomusicology 38, Nr. 2 (1994): 376. http://dx.doi.org/10.2307/851755.

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NTARANGWI, MWENDA. „Live in Dar es Salaam: Popular Music and Tanzania's Music Economy byAlex Perullo“. American Ethnologist 40, Nr. 1 (Februar 2013): 233–34. http://dx.doi.org/10.1111/amet.12015_16.

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EL-GHADBAN, YARA. „Facing the music: Rituals of belonging and recognition in contemporary Western art music“. American Ethnologist 36, Nr. 1 (Februar 2009): 140–60. http://dx.doi.org/10.1111/j.1548-1425.2008.01105.x.

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Romenskaya, L. A., A. A. Nizhnik und E. V. Oster. „Ontology conception of music (experience in modeling categorical discourse of Christian anthropology of music)“. Alma mater. Vestnik Vysshey Shkoly, Nr. 7 (Juli 2018): 67–71. http://dx.doi.org/10.20339/am.07-18.067.

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Zamotin, M. P. „Music as a Research Object of Cultural Anthropology by George Herzog“. Discourse 6, Nr. 1 (05.03.2020): 49–61. http://dx.doi.org/10.32603/2412-8562-2020-6-1-49-61.

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Introduction. Being a universal art form, music in cultural anthropology was understood as a key element of human life throughout the world, represented in a variety of genres, ways of processing sounds, creating harmony, creating song folklore that reflects all aspects of human life. Ethnomusicology, as a unique research field, combined an interest in music both in the form of art and in its sociocultural context. This paper is devoted to the research activity of J. Herzog, thanks to whose efforts the study of folk “primitive” music went beyond musicology and diversified the subject area of cultural anthropology. The relevance of this study is due to the fact that the name of Herzog and his views are not well known in Russia, except for specialized areas of ethnographic and musicological nature.Methodology and sources. As a methodological basis, a comparative historical methodology and a structural-functional method are used to study scientific texts and subsequent processing and generalization of the theoretical constructs of G. Herzog. A biographical method wasused as well to understand the context of time and reveal the scientist’s intellectual genesis.Results and discussion. One of the pioneers in the field of ethnomusicology, G. Herzog used transcription methods and sound analysis in combination with theories and methods of the Boas school, which included the concept of diffusion and the method of field work. Interdisciplinary cooperation in the study of primitive and folk music was an important step for the researcher, since this approach brought the study of folk music to a new level of conceptualization. Herzog was interested in explaining and classifying primitive music and songs in terms of the “root” terms and concepts used by his informants.Conclusion. The interdisciplinary approach in the use of methods for fixing and interpreting musical material in ethnomusicological research by G. Herzog made it possible to overcome the evolutionary linear methodology of studying the musical culture of primitive peoples and draw attention to the context of performance and performers.

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Castelo-Branco, Salwa El-Shawan. „Music in Egypt: Experiencing Music, Expressing Culture“. Ethnomusicology 53, Nr. 2 (01.04.2009): 343–45. http://dx.doi.org/10.2307/25653075.

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Stock, Jonathan P. J. „Music in China: Experiencing Music, Expressing Culture“. Ethnomusicology 53, Nr. 1 (01.01.2009): 156–58. http://dx.doi.org/10.2307/25653054.

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Peters, Karen A. „Music in Bulgaria: Experiencing Music, Expressing Culture“. Ethnomusicology 50, Nr. 3 (01.10.2006): 498–500. http://dx.doi.org/10.2307/20174473.

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BORN, GEORGINA. „On Musical Mediation: Ontology, Technology and Creativity“. Twentieth-Century Music 2, Nr. 1 (März 2005): 7–36. http://dx.doi.org/10.1017/s147857220500023x.

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This article develops a theoretical analysis of music and mediation, building on the work of Theodor Adorno, Tia DeNora and Antoine Hennion. It begins by suggesting that Lydia Goehr’s account of the work concept requires such a perspective. Drawing on Alfred Gell’s anthropology of art, the article outlines an approach to mediation that incorporates understandings of music’s social, technological and temporal dimensions. It suggests that music’s mediations have taken a number of historical forms, which cohere into assemblages, and that we should be alert to shifts in the dominant forms of musical assemblage. In the latter part of the article, these tools are used to conceptualize changing forms of musical creativity that emerged over the twentieth century. A comparison is made between the work concept and jazz and improvised electronic musics. Three contemporary digital music experiments are discussed in detail, demonstrating the concepts of the provisional work and of social, distributed and relayed creativity. Throughout, key motifs are mediation, creativity, and the negotiation of difference.

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Erlmann, Veit. „:Music and Digital Media: A Planetary Anthropology“. Journal of Anthropological Research 79, Nr. 3 (01.09.2023): 401–3. http://dx.doi.org/10.1086/725747.

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Eyerman, Ron. „Music and Gender.:Music and Gender.“ American Anthropologist 105, Nr. 4 (Dezember 2003): 875. http://dx.doi.org/10.1525/aa.2003.105.4.875.

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JILEK, WOLFGANG. „Music and Trance: A Theory of the Relations between Music and Possession . GILBERT ROUGET“. American Ethnologist 14, Nr. 3 (August 1987): 598–99. http://dx.doi.org/10.1525/ae.1987.14.3.02a00450.

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Koskoff, Ellen, Per Hage und Frank Harary. „Structural Models in Anthropology“. Ethnomusicology 30, Nr. 1 (1986): 167. http://dx.doi.org/10.2307/851847.

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Chenyu, Wang. „Context of the existence of Chinese national music: ethnomusicological and anthropological analysis“. OOO "Zhurnal "Voprosy Istorii" 2020, Nr. 12-3 (01.12.2020): 216–29. http://dx.doi.org/10.31166/voprosyistorii202012statyi67.

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The article is devoted to the study of the anthropology of Chinese national music. The history of the development of musical art and musical culture in China, role and place of musical anthropology in Chinese scientific thought is revealed. The research is based on ethnomusicological and anthropological approaches. The analysis of the practice of conducting ethnomusicological research in China, as well as the history of the development of ethnomusicology, as a separate scientific direction, is performed.

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VanHandel, Leigh. „The War of the Romantics: An Alternate Hypothesis Using nPVI for the Quantitative Anthropology of Music“. Empirical Musicology Review 11, Nr. 2 (10.01.2017): 234. http://dx.doi.org/10.18061/emr.v11i2.5474.

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This response offers an alternate interpretation for the data described in Joseph Daniele's 2016 article "A tool for the quantitative anthropology of music: Use of the nPVI equation to analyze rhythmic variability within long-term historical patterns in music." I examine Daniele's argument that there is an overall rising trend in rhythmic variability in German composition from 1600-1950, and offer an alternate, historically informed explanation based on the re-examination of the data. The rising trend does not appear to be consistent throughout time, and rather than being the result of the waning influence of Italian music on German music, I suggest an alternative hypothesis concerning documented differences between late 19th century German composers and their compositional styles.

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Bastos, Rafael José de Menezes Bastos. „Musicalidade e ambientalismo na redescoberta do Eldorado e Caraíba: uma Antropologia do encontro Raoni-Sting“. Revista de Antropologia 39, Nr. 1 (06.06.1996): 145–89. http://dx.doi.org/10.11606/2179-0892.ra.1996.111626.

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ln 1989, Raoni, Chief of the Txukahamae Indians of Brazil, and the rock star Sting traveled to Europe to raise funds for the protection of Indian rights in the Amazon. Thereafter, Raoni appeared in concerts with Sting and other popular music celebrities. ln this context, music appears as the signifier of a language that has in environmentalism its meanings. Ethically, thes encounters problematized the authenticity of their participants, while politically they raised the question of national sove reignty in the Amazon. This picture will be exarnined as an encounler between two socio-cultural uni erses through music; the capitalist Western nation/states and the Xinguano- Txukahainae. In the former, popular music will be exarnined as the codifier of individualist-universalist ideology. in the second, music will be seen as linked to politics. An analysis of Raoni's shamanic status will provide evidence of this Xinguano pertinence. The paper intends to contribute to the ethnography of the colonial encounter, seeing contradiction as its basic rationale.

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