Journal articles on the topic '190409 Musicology and Ethnomusicology'
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1
Al Harthy, Majid Hamdoon. "Ethnomusicology: Issues and Possibilities." Journal of Arts and Social Sciences [JASS] 6, no. 2 (June 1, 2015): 5. http://dx.doi.org/10.24200/jass.vol6iss2pp5-14.
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This study investigates and analyzes the relationship between the development of the field of Ethnomusicology in United States, since the 1950s, and its predecessor known as Comparative Musicology, which emerged during the last two decades of 19th century Germany. Tracing the theoretical bases for Comparative Musicology, it becomes clear that certain fundamental issues caused researchers to distance themselves from the ideologies of traditional musics that, eventually, led to the emergence of Ethnomusicology. Furthermore, by exploring certain aspects of Comparative Musicology and Ethnomusicology, one cannot but notice the central role publications played in the establishment of both fields. However, unlike Comparative Musicology, which adopted a comparative approach to analysis; modern ethnomusicology called for the embracement of the musics of the «other» and the recognition of their contextual uniqueness before comparing them to other musical systems. Thus, the modern ethnomusicologist always seeks to associate him/herself to the musics of the «other» not only for the sake of understanding musical elements and structures, but also in order to gain a deeper understanding of the social and cultural aspects of the communities producing the music.
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Leisio, Timo. "Ethnomusicology vis-a-vis Musicology." Ethnomusicology 38, no. 3 (1994): 412. http://dx.doi.org/10.2307/852106.
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Ghirardini, Cristina. "Perspectives on a 21st Century Comparative Musicology: Ethnomusicology or Transcultural Musicology?" Ethnomusicology 65, no. 1 (January 1, 2021): 187–89. http://dx.doi.org/10.5406/ethnomusicology.65.1.0187.
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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn." Journal of the Royal Musical Association 135, no. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.
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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the subdisciplines of music study – notably musicology, ethnomusicology, music sociology and popular music studies – so as to render problematic the music/social opposition and achieve a new interdisciplinary settlement, one that launches the study of music onto new epistemological and ontological terrain. In proposing this direction, the article points to the limits of the vision of interdisciplinarity in music research that is more often articulated, one that – in the guise of a turn to practice or performance – sutures together the historically inclined, humanities model of musicology with the micro-social, musicologically inclined aspects of ethnomusicology. The article suggests, moreover, that this vision obscures other sources of renewal in music scholarship: those deriving from anthropology, social theory and history, and how they infuse the recent work gathered under the rubric of a relational musicology. As an alternative to the practice turn, a future direction is proposed that entails an expanded analytics of the social, cultural, material and temporal in music. The last part of the article takes the comparativist dimension of a relational musicology to four topics: questions of the social, technology, temporality and ontology.
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Guin, Elisabeth Le, and Margaret Cayward. "Californian Musicology." Journal of Musicology 29, no. 1 (January 1, 2012): 85–100. http://dx.doi.org/10.1525/jm.2012.29.1.85.
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Craig Russell's book makes important contributions to the study of European music as it was brought to, implemented in, and shaped by the mission communities of Alta California. This field of inquiry by its nature questions received notions of musical historiography, especially as it pertains to the relationship of documentary and ethnographic evidence. Documents are sparse at best for much of this music, and those that survive represent the musical traditions of the Spanish colonizers. In disciplinary terms, this translates into an interrogation of the relationship between musicology and ethnomusicology. The authors, each representing one of these two fields, present a dialogue between the text under review and other existing work on California mission music and on the ethics and epistemology of postcolonial musicology. Further questions are duly raised about how Russell handles the great complexity of the mission situation, as regards colonial power relations, the applicability (or lack thereof) of Eurocentric historicity, and the delicate matter of representing the viewpoint of the California Indians involved in musical negotiations of culture under the mission system.
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Agawu. "Trends in African Musicology: A Review Article." Ethnomusicology 56, no. 1 (2012): 133. http://dx.doi.org/10.5406/ethnomusicology.56.1.0133.
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Feng, Lina. "Literature Review of the Application of Audio Testing Software to Chinese Musicology." Applied Mechanics and Materials 347-350 (August 2013): 1074–78. http://dx.doi.org/10.4028/www.scientific.net/amm.347-350.1074.
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In this paper, the extensive application of audio testing software to Chinese musicology was reviewed. New audio testing software developed by Chinese musicologists include DEAM and GMAS , which along with imported audio testing software such as Solo Explore 1.0, Speech Analyzer3.0.1 have been widely applied by Chinese musicologists to ethnomusicology, archeology of music, folk music as well as musical entertainment. With the support of audio testing software, Chinese musicology has made much progress.
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Pasichnyk, Volodymyr. "Scientific Biography of Volodymyr Hoshovskyi: to the Centenary Jubilee." Ethnomusic 18, no. 1 (December 2022): 9–24. http://dx.doi.org/10.33398/2523-4846-2022-18-1-9-24.
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The article deals with the scientific biography of V. Hoshovskyi, mostly con- cerning the 50-year period of his creative life, spanning the years of 1946–1996. The circumstances of his life are discussed, which influenced the upbringing and profes- sional background, among other. his manners and lifestyle, studies in gymnasium and University, the vast scientific educational background and erudition. The utmost importance is given to ethnography studies, musical dialectology and Slavic studies. The biography outline of V. Hoshovskyi spans several distinctive periods. First – Trans-Carpathian (1946–1960), concerned which ethnography, musical aesthetics, regional studies and elaboration of the principles of ethnomusicology, including the music dialectological studies. Second – Lviv period (1961–1974), which pinnacled his elaborate studies in music dialectology and comparative Slavic studies. The important part of this period is the formation in his scientific studies the basics of cybernetic ethnomusicology. The third period spans 1975–1996, which can be subdivided into two sub peri- ods: the Armenian one (1975–1986), which is specifically concerned with elaboration of cybernetic ethnomusicology, and the Lviv one, which spans the last decade in life of the musicologist – 1986–1996 and is concerned with further elaborations in cy- bernetic ethnomusicology, as well as public relations and musicology courses by V. Hoshovskyi. We can stress that V. Hoshovskyi were not only the promoter of up to-the-mo- ment tendencies of European musicology, but also the elaborator and promoter of some innovative studies. The scientific studies of V. Hoshovsky has became the notable contribution in all-Ukrainian and European musical culture. Keywords: Volodymyr Hoshovskyi, ethnography, ethnomusicology, music dia- lectology, Slavic studies, cybernetic ethnomusicology.
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Burckhardt Qureshi, Regula. "Is Complex Music Socially Significant? Doing Ethnomusicology in South Asia." Canadian University Music Review, no. 15 (March 1, 2013): 44–69. http://dx.doi.org/10.7202/1014392ar.
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In this article, four cases of ethnomusicological research on South Asian music are presented to substantiate the social essentiality (Wesentlichkeit) of music, and therefore the complementary role of a socially-grounded approach to studying complex musical traditions. Historiographically, it is argued that this social orientation progresses logically from, and is in keeping with, the growing cosmopolitan reality of musical scholarship and of music itself. Ethnomusicology draws resourcefully from its rich, inter-disciplinary heritage of musicology, music theory, anthropology, and area studies to yield tools of musical description and analysis that are culturally appropriate, culture-specific and yet cross-cultural, this paving a foundation for a truly comparative—and "Adlerian"— musicology.
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Medic, Ivana. "Applied musicology: A “manifesto”, and a case study of a lost cultural hub." Muzikologija, no. 33 (2022): 87–102. http://dx.doi.org/10.2298/muz2233087m.
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In this article I present a ?manifesto? of the new discipline of applied musicology, which is closely related to the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES), supported by the Serbian Science Fund. Here I wish to outline some of the main aims and goals of this project and offer a broader insight into what applied musicology should strive to become. In the second part of the article, I present a case study of the Belgrade neighbourhood of Savamala where I conducted fieldwork before formulating the concept of applied musicology; nevertheless, this research is completely aligned with the aims and purposes of the new discipline, and it has helped me to turn my intuitive insights into a comprehensive theoretical concept.
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Chan, Clare Suet Ching. "Editorial." Malaysian Journal Of Music 9 (December 28, 2020): i—vi. http://dx.doi.org/10.37134/mjm.vol9.11.2020.
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The Malaysian Journal of Music, Volume 9, presents ten articles on issues in ethnomusicology, musicology, composition, music education, popular music and music technology. These issues derive from countries including Japan, Korea, The Philippines, Thailand, Indonesia, the United States and Malaysia.
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Cohen, Judah M. "Whither Jewish Music? Jewish Studies, Music Scholarship, and the Tilt Between Seminary and University." AJS Review 32, no. 1 (April 2008): 29–48. http://dx.doi.org/10.1017/s0364009408000020.
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In this essay, I explore the history of what has conventionally been described as “Jewish music” research in relation to parallel developments in both ethnomusicology and Jewish studies in the American academic world during the twentieth century. As a case study, I argue, the issues inherent in understanding Jewish music's historical trajectory offer a complex portrait of scholarship that spans the discourses of community, practice, identity, and ideology. Subject to the principles of Wissenschaft since the second half of the nineteenth century, Jewish music study has constantly negotiated the lines between the scholar and practitioner; between the seminary, the conservatory, and the university; between the good of science, the assertion of a coherent Jewish narrative in history, and the perceived need to reconnect an attenuating Jewish populace with its reinvented traditions; and between the core questions of musicology, comparative musicology, theology, and modern ethnomusicology.
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Strohm, Reinhard. "The Balzan Musicology Project towards a global history of music, the study of global modernisation, and open questions for the future." Muzikologija, no. 27 (2019): 15–29. http://dx.doi.org/10.2298/muz1927015s.
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The contribution outlines the Balzan Musicology Project (2013-2017) and the published papers arising from its 14 international workshops on global music history. The approach of the project is described as post-eurocentric, uniting music history and ethnomusicology. 29 of the papers address processes of music and modernisation in many countries, pinpointing not only ?Westernisation? but also transculturalism and transnational media. Open questions for a future musicology concern the history concept itself, and the fair distribution of resources and sharing opportunities to all those concerned.
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Vesic, Ivana, and Danka Lajic-Mihajlovic. "The dominant currents in the research of music in Serbia: An overview of the Institute of Musicology SAS’s early history (1947-1965)." Muzikologija, no. 25 (2018): 49–76. http://dx.doi.org/10.2298/muz1825049v.
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This paper is dedicated to the investigation of the initial period of the Institute of Musicology SAS, the first scientific institution of this kind in Serbia (and Yugoslavia), in order to give an insight into the development of national musicology and ethnomusicology. The results of earlier research about the topic have been expanded by means of the analysis of documents from the archive of the Institute of Musicology SASA. The organization of the Institute?s functioning, general research orientation, key topics, methodological choices and the significance of individual researchers were considered in detail. This diachronically oriented overview of research into music throughout the 20th century enabled us to pointing out the continuities and innovations after World War II and the Institute?s foundation.
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Pettan, Svanibor. "In memoriam Bruno Nettl." Musicological Annual 56, no. 1 (June 30, 2020): 9–13. http://dx.doi.org/10.4312/mz.56.1.9-13.
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With Bruno Nettl’s passing on 15 January this year, the world of ethnomusicology lost one of its major figures, a scholar who significantly contributed to its affirmation as an academic field worldwide, and who inspired and kept supporting generations of ethnomusicologists on their way to new heights. His lectures at the University of Ljubljana’s Faculty of Arts in 2007 raised lots of interest among the professors and students; at that occasion, he presented the Department of Musicology his collection of abstracts. Musicological Annual lost a respected member of its International Advisory Board and the author of the article “What Are the Great Discoveries of Your Field? Informal Comments About the Contributions of Ethnomusicology,” published in 2015. Nettl’s crossdisciplinary scholarship provides a broad and multi-layered picture of both selected musics and of ethnomusicology as a discipline.
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Clayton, Martin R. L. "Free Rhythm: Ethnomusicology and the Study of Music Without Metre." Bulletin of the School of Oriental and African Studies 59, no. 2 (June 1996): 323–32. http://dx.doi.org/10.1017/s0041977x00031608.
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Like many other rhythmic terms, ‘free rhythm’ is widely enough used to be recognized as part of the vocabulary of musicology, without ever having been convincingly studied or even denned. In general, this term and its various synonyms refer to music without metrical organization. ‘Free rhythm’ is an important musical phenomenon which has been largely neglected by the field of ethnomusicology. This paper discusses the deeper theoretical and methodological problems underlying this neglect.
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Alegre, Lizette, and Guadalupe Caro. "Ethnomusicology and musicology, a dialogue: Aproaching interdiscipline research in Mexican archaeoacustics." Journal of the Acoustical Society of America 128, no. 4 (October 2010): 2330. http://dx.doi.org/10.1121/1.3508238.
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Harris, Rachel. "Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. By Andrew F. Jones. [Durham, NC and London: Duke University Press, 2001. ix+213 pp. ISBN 0-8223-2694-9.]." China Quarterly 175 (September 2003): 849–51. http://dx.doi.org/10.1017/s0305741003360473.
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Yellow Music is one of the rare publications in the field of ethnomusicology whose cross-over appeal is immediately apparent. This book will provide new perspectives for students of modern Chinese history, placing music centre stage in the cultural and political debates of the interwar period. It is less a study in musicology than a study of the cultural and political debates surrounding the musical recordings of the time.
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Mitsui, Tôru. "Musicology, ethnomusicology and popular music studies: two conferences in Japan in 2002." Popular Music 22, no. 3 (October 2003): 375–77. http://dx.doi.org/10.1017/s0261143003003246.
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The Musicological Society of Japan celebrated its fiftieth anniversary by holding an international congress on 2–4 November 2002 in Shizuoka, a city which is not far from Tokyo, whose skyline is backed by the imposing Mount Fuji. 470 people were registered as participants, out of whom about 100 were from abroad. The conference coincided with the International Convention of Street Performance in the same city.
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APPLEGATE, CELIA. "EDITORIAL." Eighteenth Century Music 12, no. 1 (February 17, 2015): 3–7. http://dx.doi.org/10.1017/s1478570614000323.
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As a historian engaged with musicology, it seems to me that the discipline is in its golden age. The royal road from the musical past to the musical present built in the first century or so of its academic existence no longer contains all the traffic. But thanks to the earlier efforts at disciplinary definition, musicologists share an enormous amount of knowledge, understand what colleagues are doing and are able to face the challenge of understanding music-making outside of the Western cultures from which the field of musicology – and ethnomusicology – emerged. Rarely has a discipline been so well equipped for the task of deconstructing itself. But deconstruction (of canons, grand narratives and the like) accompanies construction: musicology has built and expanded, adding on more sources and more methods rather than abandoning the old ones. Given this happy state, it seems worthwhile to reconsider some of the cultural work that writing about music did before the discipline cohered in the nineteenth century, so that we can consider from a longer perspective why people tried to ‘discipline’ musical knowledge in the first place.
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Schneider, Albrecht. "Comparative and Systematic Musicology in Relation to Ethnomusicology: A Historical and Methodological Survey." Ethnomusicology 50, no. 2 (April 1, 2006): 236–58. http://dx.doi.org/10.2307/20174451.
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Stojanovic, Dragana. "The inscription of the feminine body in the field of sound: Vocal expression as a platform of feminine writing (écriture féminine)." Muzikologija, no. 18 (2015): 115–29. http://dx.doi.org/10.2298/muz1518115s.
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This paper brings together several theoretical issues relevant both to the fields of musicology/ethnomusicology and feminist/gender studies - above all, the issue of the status of the voice within the complexity of a body-textuality tension, and the issue of mapping the strategies of feminine writing in the contemporary vocal performance. Through the analysis of chosen case studies it highlights the possibility of making an alteration, transformation and re-signification of a firm structural linguistic/social order in the field of sound, thus creating a space for a feminine body to be heard.
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Lajić Mihajlović, Danka, and Bojana Radovanović. "Black (metal) epics: Remediation of tradition in the case of Gavranovi from Serbia." Metal Music Studies 8, no. 2 (June 1, 2022): 225–43. http://dx.doi.org/10.1386/mms_00076_1.
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Prompted by the emergence of Serbian black metal supergroup Gavranovi and their two singles released in 2020, this article offers an interdisciplinary and intertextual reading of this project. In this article, collaborative efforts of musicology and ethnomusicology are employed in interpreting the new readings of Serbian epic tradition in the context of extreme metal, as well as its positioning in the history of Serbian extreme metal scene in general. By using the gusle, a traditional instrument, as well as the postulates of Serbian epic poetry, Gavranovi participate in contemporary remediation of tradition, which will be examined through the lens of (inter)textual analysis.
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Cornelius, Steven. "Stephen Cottrell, Professional Music-Making in London: Ethnography and Experience (Aldershot: Ashgate, 2004), ISBN 0 7546 0887 5 (hb), 0 7546 0889 1 (pb)." Twentieth-Century Music 2, no. 2 (September 2005): 312–16. http://dx.doi.org/10.1017/s1478572206240295.
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I read Stephen Cottrell's broad-ranging ethnography Professional Music-Making in London with both great interest and disquiet. Cottrell has made a significant scholarly contribution in successfully outlining the myriad social, political, economic, and artistic forces that comprise that city's classical music performance culture. His model, which offers potential bridges between ethnomusicology and musicology, will prove useful in any number of locales and theoretical studies. My disquiet arose from the fact that the author details a musical world of frustration, dead ends, and downright failure. Twenty years ago, and an ocean away, I escaped a similar professional existence in New York City.
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Sliužinskas, Rimantas. "LITHUANIAN ETHNOMUSICOLOGY AT THE TURNS OF CENTURIES: HISTORICAL OVERVIEW AND PERSPECTIVES." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 42–60. http://dx.doi.org/10.33287/222004.
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The purpose of this submitted scientific article is based on emphasizing of historical overview and perspectives of Lithuanian ethnomusicology at the turns of the 19th, 20th and 21st centuries. The target of this investigation is defined on analysis of actual historical publications and research trends and directions in Lithuanian ethnomusicology. The methods of this represented exploration are formed on the basis of historical method, where some well-known stereotypes have to be re-thought. Systemic method is also important here to understand the whole scientific context of contemporary and historical investigations on Lithuanian singing folklore, traditional choreography and instrumental music. The structurally analytical method allows maximal profoundly holding out the contemporary outlook concerning previous actual investigations on this theme. The scientific newness of the presented article is determined by new facts concerning the evaluation of Lithuanian folklore heritage research, dissemination and propagation process during last 150 years. The actual facts discovering from large period of historical times in Lithuanian ethnomusicology might be understood as also important novelty of this our scientific work. Conclusions. Lithuanian ethnomusicology historically may be presented as quite closed system of internal musical folklore studies in defined Lithuanian ethnic regions and in Lithuania in general. Right now we have very new situation with open cultural and intercultural contacts between neighbouring and even far-away located states and cultures. It is important to develop scientific studies of Lithuanian ethnomusicology at present in two main directions. The first direction is to continue deep and complex studies of our local and regional Lithuanian musical folklore. The second direction is to look for contacts in interdisciplinary studies. We will be able to understand the motivation of particular our musical folklore forms, connecting our knowledge with linguists, historics, archaeologists, etc. And, of course, we have not to forget, that ethnomusicology is a part of musicology in general. So, we have to be well educated in theory and history of music, both traditional and professional ones.
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Amico, Stephen. "“We Are All Musicologists Now”; or, the End of Ethnomusicology." Journal of Musicology 37, no. 1 (January 1, 2020): 1–32. http://dx.doi.org/10.1525/jm.2020.37.1.1.
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Situated in the context of current examinations of academic disciplinarity, this article contributes to the decades-long discussions (or debates) regarding the status of ethnomusicology, arguing forcefully for the (sub-)discipline’s cessation. A focus on ethnomusicology’s very prefix, “ethn-”, exposes the field’s historical and continuing reliance upon colonialist ideology, continually reproduced in relation to both ethnicity (constructed in relation to interrelated discourses of authenticity, technology, and gender) and ethnography. Highlighting the extent to which a field-defining ideological-methodological matrix has led to the production of a theoretical narrowness predicated upon and engendering the construction of “Others,” it is commitment to inter-, trans-, or post-disciplinarity (rather than disciplinary dogmatism) that is shown to promise a vital and relevant space for explorations of sound and music within current and future university spaces. Ultimately, given the inherent restrictions and limitations suggested by prefixes or qualifiers of any sort, it is the appellation musicology that may best serve as a (provisional) marker for interdisciplinary inquiry, its very re-appropriation (from its own historical circumscriptions) serving as an act rife with symbolic significance.
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Lazo, Silvia. "A Discussion of the Power of Science to Complement Ethno+musicological Studies: Insights from Interdisciplinary Musicology." Revista História: Debates e Tendências 18, no. 1 (December 15, 2017): 31. http://dx.doi.org/10.5335/hdtv.18n.1.7304.
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In the animal kingdom, competition and hierarchical arrangements relative to members of the same sex are extremely common, with males competing for the top “alpha male” position and females ranked below them. Despite the widespread occurrence of hierarchical self-organization among animals and humans, ethno+musicologists often shy away from phylogenetic inferences and borrowing resources from biology, psychology, and anthropology. Is this a reflection of scholarly bias or a sense of unease with interdisciplinary, indirect, and large-scale data? This paper explores some answers to this question and suggests interdisciplinary connections for both ethnomusicology and musicology through the examination of biological and cultural frameworks with respect to social dominance.
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Barber, Sarah B., Gonzalo Sánchez, and Mireya Olvera. "Sounds of Death and Life in Mesoamerica: The Bone Flutes of Ancient Oaxaca." Yearbook for Traditional Music 41 (2009): 94–110. http://dx.doi.org/10.1017/s074015580000415x.
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Music archaeology is an inherently collaborative endeavour, bringing together experts from an array of fields to draw inferences about the physical and social aspects of music in ancient societies. As several authors have noted (Hickmann 2002; D. Olsen 2007), music archaeology requires both data and expertise from scholars in fields as disparate as musicology, ethnography, archaeology, art history, epigraphy, and history. In this paper, we demonstrate the efficacy of an interdisciplinary approach to music archaeology by presenting the case study of a bone flute from Oaxaca, Mexico. Employing perspectives from anthropological archaeology, iconography, ethnomusicology, and materials conservation, we describe the entire research process: from the discovery of an ancient musical instrument to interpretations about the social context of ancient music itself.
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Barros, Camila Monteiro de, and Lígia Maria Arruda Café. "The relevance of music information representation metadata from the perspective of expert users." Transinformação 25, no. 3 (December 2013): 213–23. http://dx.doi.org/10.1590/s0103-37862013000300004.
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The general goal of this research was to verify which metadata elements of music information representation are relevant for its retrieval from the perspective of expert music users. Based on a bibliographical research, a comprehensive metadata set of music information representation was developed and transformed into a questionnaire for data collection, which was applied to students and professors of the Graduate Program in Music at the Federal University of Rio Grande do Sul. The results show that the most relevant information for expert music users is related to identification and authorship responsibilities. The respondents from Composition and Interpretative Practice areas agree with these results, while the respondents from Musicology/Ethnomusicology and Music Education areas also consider the metadata related to the historical context of composition relevant.
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Perkola, Kristina. "The Beginnings of Research in Ethnomusicology and Historical Musicology in Kosovo: Background, Research and Main Publications." Arti musices 53, no. 1 (2022): 129–43. http://dx.doi.org/10.21857/yrvgqtwv09.
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Kaeppler, Adrienne L. "Musicology plus (Or minus) Anthropology Does Not Equal Ethnomusicology. Adrienne Kaeppler's Response to Richard Moyle's Response." Ethnomusicology 34, no. 2 (1990): 275. http://dx.doi.org/10.2307/851688.
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Ottenheimer, Harriet. ": Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology . Bruno Nettl, Philip V. Bohlman." American Anthropologist 94, no. 4 (December 1992): 991. http://dx.doi.org/10.1525/aa.1992.94.4.02a00690.
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Romero, Brenda M. "Musical Semiotics as a Tool for the Social Study of Music. By Óscar Hernández Salgar. Translated by Brenda M. Romero." Ethnomusicology Translations, no. 2 (July 1, 2016): 1–33. http://dx.doi.org/10.14434/emt.v0i2.22335.
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Recent studies on musical signification have been characterized by an apparently insurmountable gap between disciplines that focus on the musical text as sound (music theory, musicology), those that focus on the hearing subject (cognitive sciences, psychology of music), and those that focus on social discourses about music (ethnomusicology, anthropology, sociology). This article argues that the most recent theoretical advances in music semiotics provide means to overcome this gap. After a brief examination of some key concepts in music semiotics, the author identifies three approaches to this problem: the semiotic-hermeneutic approach, the cognitive-embodied approach, and the social-political approach. This classification allows him to introduce a brief methodological proposal for the study of musical signification from different academic perspectives.Originally published in Spanish in Cuadernos de Música, Artes Visuales, y Artes Escénicas 7, no. 1 (January 2011):39-77.
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Alpatova, A. S. "OLIGOTONICS AND CHASMATONICS IN TRADITIONAL SONGS OF NORTH AMERICAN INDIANS (on the 145th anniversary of the birth of Natalie Curtis)." Arts education and science 1, no. 2 (2020): 181–89. http://dx.doi.org/10.36871/hon.202002022.
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The article is dedicated to the memory of the famous American ethnomusicologist Natalie Curtis Burlin (1875–1921), who made a significant contribution to the study of traditional music of North American Indians. This is the first experience in Russian musicology that addresses the theoretical issues of studying Native American vocal music. The main research problem of the article is the identification of the basic qualities of oligotonics and chasmatonics in traditional songs of North American Indians by the example of expeditionary records of Natalie Curtis. The author reveals that unichords, dichords and trichords, both in themselves and in their combinations, have semantic, symbolic and structure- forming significance for the formation of intonational structure of traditional Indian songs (lullaby, medicine, song-insert in mythological legend). The methodological base was formed by approaches of modern ethnomusicology (analysis of song genres of traditional ethnic music) and music theory (theory of mode and modal archetypes).
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Aslanov, Teyyub. "Tasnif as a Representative Genre of Mugham of Azerbaijan." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 2 (December 22, 2022): 120–26. http://dx.doi.org/10.31866/2616-7581.5.2.2022.269636.
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The purpose of the research is to reveal in the diachronic aspect some principles of development of the mugham genre tasnif. The research aims also to study some features of the musical language of tasnifs and investigate the role of singers and performers of folk instruments in the development of the mugham of Azerbaijan. The research methodology is aimed at using the methods of historical musicology and the application of certain methodological principles of ethnomusicology in the study of the musical language of Tasnif. The scientific novelty of the research. The article presents some new facts related to the creation and implementation of tariffs. Conclusions. Tasnifs are vocal-instrumental musical works with a certain point basis, melodic and formal structure. Outstanding Azerbaijani singers played an important role in the development of this genre. In the Soviet period, tasnifs created by singers were presented under the name of folk songs.
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Golden, Michael. "Musicking as ecological behaviour: an integrated ‘4E’ view." idea journal 17, no. 02 (December 1, 2020): 230–47. http://dx.doi.org/10.37113/ij.v17i02.349.
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In this article, I bring together research from ethnomusicology, ecology, neuroscience, ‘4E’ cognition theory and evolutionary musicology in support of the idea that musicking, human musicking in particular, can best be understood as an emergent ecological behaviour. ‘Ecological’ here is used to mean an active process of engaging with and connecting ourselves to our various environmental domains – social, physical and metaphysical – and although I will focus on musicking, these concepts may apply to other artistic behaviours as well. The essential ideas from the Santiago theory of cognition, the work of Maturana and Varela and one of the foundations of contemporary 4E cognition theory, are that we as living beings ‘bring forth’ both the inner and outer worlds we experience, and this process (cognition) is common to all life. Music is also a process (not an object), one that emerges from properties of life itself and serves to link body/mind and environment. Understood this way, ‘co-constructing body-environments’ applies to the arts in general.
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Marsh, Kathryn. "Music as dialogic space in the promotion of peace, empathy and social inclusion." International Journal of Community Music 12, no. 3 (December 1, 2019): 301–16. http://dx.doi.org/10.1386/ijcm_00002_1.
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This article considers ways in which music can contribute to the development of social synchrony in situations of social uncertainty generated by global conflict and widespread population movements. Noting Lederach’s view that conflict resolution has an aesthetic and creative dimension, music can be seen to form a dialogic space in which shared meanings can be co-created and through which multiple and sometimes conflictual viewpoints can be expressed in order to facilitate peace-building. At the same time, the dialogic spaces entailed in musical interactions can promote empathy, whether these are initiated by individuals in naturally occurring social settings or on a larger scale by institutions committed to developing social inclusion or promoting conciliation. In exploring these issues, I draw on my current research involving newly arrived forced and voluntary migrant children and young people in Australia, in addition to research from the fields of music education, ethnomusicology, evolutionary musicology, psychology, refugee studies and peace studies.
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Zamotin, M. P. "Music as a Research Object of Cultural Anthropology by George Herzog." Discourse 6, no. 1 (March 5, 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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Hatipova, Inna. "Semantic Properties of the Rhythmic and Modal-Intonational Elements of Folkloric Origin in the Piano Creations of the Composers from the Republic of Moldova." Intertext, no. 1/2 (57/58) (October 2021): 152–59. http://dx.doi.org/10.54481/intertext.2021.1.18.
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The national character of piano pieces written by composers of the Republic of Moldova, its means and forms of expression are a recurring topic in the analysis of autochthonous piano repertoire. From this standpoint, the present study reviews some piano pieces by Moldovan composers that have become a part of concert and pedagogical repertoire. Bearing in mind the varied character of approaches to folklore in the autochthonous piano works, the author identifies the main tendencies in the development of musical language of Moldovan composers and characterizes their attitude towards the folk base of musical material. Factual basis for the review of particularities of thematic material is included in the article in the form of music score excerpts, selected according to the methodologies generally accepted in musicology and ethnomusicology. In the analysis of character and tempo, a distinction is made between cantilena and virtuoso pieces: it is shown that while cantilena pieces have a close connection to the genre of doina, the virtuoso ones are inspired by Moldovan folk dances. The author also underlines that the style originality of the works reviewed in the article stems mainly from the folk elements that have impregnated naturally in their language, becoming an inherent component of musical canvas.
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Strohm, Reinhard. "Globale Musikgeschichte – der lange Weg." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 102, no. 1 (November 1, 2022): 469–82. http://dx.doi.org/10.1515/qufiab-2022-0022.
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Abstract The paper is an overview of the musicological research project „Towards a global history of music“, which was carried out between 2013 and 2017 on the basis of a Balzan Prize for Musicology (2012), with the assistance of international music research institutes and their specialists. A main outcome of the project are three collective volumes of papers, published in 2018, 2019 and 2021, respectively. The project has viewed the variety of musical experiences around the world as a historical unfolding, to be explored via a „long path“ through both geography and history. It has queried the enlightenment idea of a fundamental unity of all music (universalism), and the often fragile status of musical-cultural identities on the regional or national levels. It has sought to join methodologies of ethnomusicology and historical research, and has observed that the concepts of music and historiography themselves are less than universal. To the discourses of globalisation and modernisation, the project has added the alternative of transculturality, allowing for more neutral or participatory interpretations of cultural encounter. Summarising this research, tensions between nation and migration, regionalism and adaptation, ‚radial‘ and ‚imposed‘ globality are shown. The paper proposes to expand such studies into non-scientific practice and to find new institutional bases, which would benefit further global understanding and sharing.
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Koskoff, Ellen. "(Left Out in ) Left (the Field ): The Effects of Post-Postmodern Scholarship on Feminist and Gender Studies in Musicology and Ethnomusicology, 1990-2000." Women and Music: A Journal of Gender and Culture 9, no. 1 (2005): 90–98. http://dx.doi.org/10.1353/wam.2005.0009.
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Milanovic, Biljana. "Music and collective identities." Muzikologija, no. 7 (2007): 119–34. http://dx.doi.org/10.2298/muz0707119m.
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This paper presents some introductory observations on the ways in which the opposition between the modern and post-modern understanding of social identities can be overcome in the context of musicology. It is based on the consideration of identities as dynamic and changeable categories, as well as on the importance of the relation between individual and collective positionings, on the complexities of the multiple identifications and on the understanding of music as a social construction of identity. Due attention is paid to basic theoretical and methodological aspects in the interdisciplinary analysis of ?self? and ?other?. In music, the problems of self-presentation appropriation, difference, power, control, authenticity, hybridity, as well as other issues that blur the boundaries between musicology, ethnomusicology and the studies of popular music, are made relevant by these interdisciplinary terms. Both the modern and post-modern understanding of identity can first be placed in the context of the binary questions: ?How to construct the identity and maintain it?? and ?How to avoid the construction of the fixed identity and thus leave the door open for the possibility of change??. It seems that the deconstruction of these opposite approaches has now grown in importance. This paper focuses especially on that kind of theorizing about music and socio-cultural identities. The views of Georgina Born and David Hesmondhalgh, that older and recent models of music representation are not ?either/or? categories but rather complement each other, are especially singled out. These authors show by numerous examples that music can invariably both reflect existing identities and construct new ones. They conclude that possible shortcomings, such as the danger of essentialism in the earlier approach, and of later reductionism, could be avoided by carefully using the homology and process models of music representation. Their typology of music articulation of a socio-cultural identity, however, leaves the opposition between ?real? and ?imagined? intact. The theoretic analysis of other disciplines leads us to conclusion that these categories were the result of different images, whose opposite poles existed in the contrary approaches of ?realism? and ?radical constructivism?. In this context, the analysis of Milan Subotic in the field of social theory is singled out as a ?middle-way? position between these opposite sides. This approach in musicology could be most helpful in keeping an equal distance from both ?imagination? and ?reality?. Where society is concerned, reality is, after all, imagined. However, this invention is certainly not an arbitrary one, but rather an effort to label social processes as a social reality, from the perspective of the ?longue dur?e?. Therefore, it is especially important to maintain an historical approach in the study of music, something that is often lacking in post-modern narratives. Since the relation between collective identities and music is a complex and diverse subject, theoretical and methodological approaches must be further developed in the context of separate and specific topics of research. Finally, musicology itself is a construct of musical representation in the performative processes and praxis of music. In that respect, the reconciliation between the antagonisms highlighted in this paper could be achieved in the concurrence of historical narrative and contemporary critique.
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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture." Jurnal Humaniora 30, no. 1 (February 24, 2018): 27. http://dx.doi.org/10.22146/jh.32137.
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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of rhyme delivered with his idiosyncratic, deep and intense range of voices. Dylan is the official son of the legacies of social, communal, and ritual music-making that mirrors contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodies of medieval troubadours, and the blessed rhythms of Christianity and Judaism. The study is an attempt to illustrate how musicology and ethnomusicology in particular can contribute to understanding Dylan as a ‘performing artist’ within the postmodern paradigm. Thus, the study seeks to establish Dylan as a phenomenal, prolific postmodernist artist, as well as an anarchist. The power and originality of Dylan’s music constitute a prima facie case that his performances should be considered postmodernist art.
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Alkhayat, Marwa Essam Eldin. ""Are My Songs Literature?": A Postmodern Appraisal of Bob Dylan's American Popular Music Culture." Jurnal Humaniora 30, no. 1 (February 24, 2018): 27. http://dx.doi.org/10.22146/jh.v30i1.32137.
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The current study is a postmodern appraisal of Bob Dylan’s artistic career and vocal gestures to examine the way melody in popular music works in relation to speech and singing, the grand and the ordinary. It historicizes Bob Dylan’s protest music of the 1960s within the paradigm of folk music culture. Dylan’s music is full of riffs, blues sequences, and pentatonic melodies—all heavily part and parcel of blues, folk, gospel, and country music. It is the music that dwells on the pleasures of repetition, of circularity, and of the recurring familiar tune integrated within Dylanesque poetics of rhyme delivered with his idiosyncratic, deep and intense range of voices. Dylan is the official son of the legacies of social, communal, and ritual music-making that mirrors contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodies of medieval troubadours, and the blessed rhythms of Christianity and Judaism. The study is an attempt to illustrate how musicology and ethnomusicology in particular can contribute to understanding Dylan as a ‘performing artist’ within the postmodern paradigm. Thus, the study seeks to establish Dylan as a phenomenal, prolific postmodernist artist, as well as an anarchist. The power and originality of Dylan’s music constitute a prima facie case that his performances should be considered postmodernist art.
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Lajic-Mihajlovic, Danka. "Traces of music carved in wax: The collection of phonographic recordings from the Institute of Musicology SASA." Muzikologija, no. 23 (2017): 239–58. http://dx.doi.org/10.2298/muz1723237l.
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Phonographic recordings made on wax plates by composer Kosta P. Manojlovic and ethnologist Borivoje Drobnjakovic from 1930 to 1932 represent the oldest collection of field sound recordings in Serbia. The biggest part of the collection is preserved at the Institute of Musicology SASA. In 2017 digitalization of the recordings from those plates was completed, which made the sound content of the collection finally available to researchers. This paper presents and analyses the collection as an anthology of historical sound documents, as an incentive for contemporary ethnomusicological research and as an addition to studying the history of ethnomusicology in Serbia. After an elaboration on the prehistory of documentary field recordings of traditional music, it has been pointed to procurement of a phonograph for the Ethnographic Museum in Belgrade in 1930. There were two major expeditions, organized in 1931 and 1932 in what was then known as ?Southern Serbia?, administratively the Vardar Banovina, a province of the Kingdom of Yugoslavia (now Republic of Macedonia and the Autonomous Province of Kosovo and Metohija of the Republic of Serbia). 180 plates were made, less than a third by Drobnjakovic, and all the others by Manojlovic. Further recordings were suspended due to certain problems with masters printing; even some later attempts of dubbing did not give a complete solution. In 1964 the Institute of Musicology SASA was given an incomplete collection. Today it is comprised of 140 wax plates. It has been pointed that, primarily, traditional secular music was recorded, followed by few examples of church music. The collection is represented by the acoustic source, performance formation, repertoire, genre, style. Additionally, gender, age and professions of the singers and players were also discussed. It has been pointed to the potentials of the collection and its relevancy for the research of music and identity relation, music and migration relation, for studies of heritage and activities at the field of preserving traditional music. Given the specificity of the area from which the collection predominantly originates, it can have a significant value for social engagement in overcoming conflicts with music. Finally, the attainability of wax plates now serves as an incentive for reassessing the role of Kosta P. Manojlovic in cultural history and research of traditional music in Serbia and in the region.
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Milanovic, Biljana. "Petar Konjovic’s contribution to the constitution and the beginnings of the Institute of Musicology of the Serbian Academy of Sciences and Arts." Muzikologija, no. 25 (2018): 15–48. http://dx.doi.org/10.2298/muz1825015m.
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In the text I deal with the period of establishment and the beginnings of the work of the Institute of Musicology of the Serbian Academy of Sciences, which is marked by the role of composer and music writer Petar Konjovic (1883- 1970), who founded and was the first director of the Institute (1947-1954). I examined and problematized Konjovic?s efforts to establish and manage the institution, which were inseparable from his role of Fellow of the Academy and Secretary of the Department of Fine Arts and Music of the Serbian Academy of Sciences (1948-1954), through the analysis of archival documentation. The basic assumption that I started from was related to the interdependence between (1) the establishment of an institutional order and (2) the disciplining of scientific research in the direction of the emergence of musicology and ethnomusicology in the local context. In particular, issues related to the Institute?s relationship with the wider organizational environment and research policy of the SAN, as well as the role and support of its significant individuals in the process of the institutionalization of music science were especially highlighted. The problem of acquiring legitimacy in clearly hierarchical relationships proved to be very complex, since the Institute represented, on the one hand, a scientific unit of the Academy of Arts, that is, the Department of Fine Arts and Music, which, on the other hand, was marked by the inheritance of marginalized status of artists in comparison to other entities within the SAN. The formation of scientific tasks and objectives and the questions related to their realization were shaped in such a context. I analyzed these problems within three subchapters. The first of them provides basic information on the reorganization of the Serbian Academy of Sciences within the framework of the cultural policy of the new regime and deals with the aspects of the formal establishment of the Institute (1947) and the contextualization of the first programmatic projections of its work. The second question relates to the diverse problems that accompanied the delay of the start of the Institute?s activities, while the final subchapteris dedicated to the period from hiring the first associates to the end of Konjovic?s directorship (1948-1954). Konjovic?s strategies pointed to his simultaneous stability and flexibility in the design of thematic areas and methodological approaches. The policy of the scientific-research work of the Institute of Musicology from Konjovic?s time can be outlined in several general aspects: reliance on pre-war experiences, without the destruction of inherited value canons, but with constant changes in the direction of widening the scope of processed material through research of hitherto neglected creative personalities, performing practices and institutions; melographed and studied folklore material from various rural and urban areas, including different national and ethnic communities; the establishment of completely new thematic areas in the local context that destabilize the concept of purely national science; the emphasis on interdisciplinarity and openness to communication and exchange of scientific and methodological experiences in the international context. Konjovic?s position at the Serbian Academy of Sciences, his experience in managing various institutions, persistence and strategically planned actions, his high criteria and consideration in the selection of associates, managing without ideological divergences from his position of the bourgeois pre-war intellectual, but also his patient waiting for certain decisions of the competent instances, were crucial for the constitution and survival of the Institute of Musicology, within which the platform of musicological and ethnomusicological disciplines in Serbia was established in just a few years.
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Sloboda, John A., and Jane Ginsborg. "25 years of ESCOM: Achievements and challenges." Musicae Scientiae 22, no. 2 (March 19, 2018): 147–60. http://dx.doi.org/10.1177/1029864918764574.
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This reflection on the first 25 years of ESCOM’s activities is in two parts. In the first part we analyse the country and discipline spread of contributors to its journal Musicae Scientiae and its formal membership. In the second we address the choice of “cognitive sciences of music” as the initial focus of both Society and journal by comparing the topics of early meetings and publications with those that are current now. Journal contributors and members are both concentrated in a small number of countries. When corrected for population size, the countries with the highest levels of activity are, in order: Finland, Estonia, UK, Sweden, Germany, Belgium, Switzerland, and Austria. This has not changed substantially over the duration of ESCOM’s existence. In contrast, there have been significant changes in the disciplinary spread of contributions, psychology becoming increasingly popular in recent years to the near exclusion of some other disciplinary approaches including ethnomusicology, computational modelling and theoretical musicology. Current topics include performance and composition, emotion, musical development, perception, music therapy and well-being, music learning, preferences, cognition, and neuropsychological approaches. An early aspiration of the Society was that the wide range of disciplines represented by the cognitive sciences of music might eventually converge, but this has proved difficult to achieve. An increasing convergence on the use of English as its normative language, however, has provided ESCOM with both new challenges and some opportunities.
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Vasic, Aleksandar. "Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century as a subject of musicology research." Muzikologija, no. 6 (2006): 317–42. http://dx.doi.org/10.2298/muz0606317v.
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The beginning of 2006 marked two decades since the death of Stana Djuric-Klajn, the first historian of Serbian musical literature. This is the exterior motive for presenting a summary of the state and results of up-to-date musicology research into Serbian musical criticism and essay writings during the XIXth and the first half of the XXth century, alongside the many works dedicated to this branch of national musical history, recently published. In this way the reader is given a detailed background of these studies ? mainly the authors' names, books, studies, articles, as well as the problems of this branch of Serbian musicology. The first research is associated with the early years of the XXth century, that is, to the work of bibliography. The pioneer of Serbian ethnomusicology, Vladimir R. Djordjevic composed An Essay of the Serbian Musical Bibliography until 1914, noting selected XIXth century examples of Serbian literature on music. Bibliographic research was continued by various institutions and experts during the second half of the XXth century: in Zagreb (today Republic of Croatia); the Yugoslav Institute for Lexicography, Novi Sad (Matica srpska); and Belgrade (Institute for Literature and Art, Slobodan Turlakov, Ljubica Djordjevic, Stanisa Vojinovic etc). In spite of the efforts of these institutions and individuals, a complete analytic bibliography of music in Serbian print of the last two centuries has unfortunately still not been made. The most important contributions to historical research, interpretation and validation of Serbian musical criticism and essay writings were given by Stana Djuric-Klajn, Dr Roksanda Pejovic and Dr Slobodan Turlakov. Professor Stana Djuric-Klajn was the first Serbian musicologist to work in this field of Serbian music history. She wrote a significant number of studies and articles dedicated to Serbian musical writers and published their selected readings. Prof. Klajn is the author and editor of the first and only anthology of Serbian musical essay writings. Her student Roksanda Pejovic published two books (along with numerous other factually abundant contributions), where she synthetically presented the history of Serbian criticism and essay writings from 1825 to 1941. Slobodan Turlakov, an expert in Serbian criticism between the World Wars, meritorious researcher and original interpreter, especially examined the reception of music of great European composers (W. A. Mozart, L. v. Beethoven, F. Chopin, G. Verdi, G. Puccini etc) by Serbian musical critics. Serbian musical criticism and essay writings were also the focus of attention of many other writers. The work quotes comments and additions of other musicologists, but also historians of theatre, literature and art philosophers, aestheticians, sociologists, all members of different generations, who worked or still work on the history of the Serbian musical criticism and essay writings. The closing section of the text suggests directions for future research. Firstly, it is necessary to begin integral bibliographical research of texts about music published in our press during the cited period. That is a project of capital significance for national science and culture; realization needs adequate funding, the involvement of many academic experts, and time. Work on bibliography will also enable the collection and publication of sources: books and articles by Serbian music writers who worked before 1945. A separate problem is education of scholars. To study musical literature, a musicologist needs to be knowledgeable about the history of Serbian literature, aesthetic theory, and theatre, national social, political and cultural history, and methodology of literary study. That is why facilities for postgraduate and doctorial studies in musicology are necessary at the Faculties of Philology and Philosophy.
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Madyar-Novak, Vira. "Fields of Activity of Volodymyr Goshovskyi (Dedicated to the Centenary of the Scientist)." Problems of music ethnology 17 (November 17, 2022): 16–26. http://dx.doi.org/10.31318/2522-4212.2022.17.270895.
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In the conditions of the Russian occupation, when Ukraine is fighting for independence, the commemoration of the centennial anniversary of one of the “titans” of Ukrainian ethnomusicology, Volodymyr Hoshovsky (1922–1996), acquires special national significance.
The article reviews the spheres of activity of the scientist throughout his life starting from his childhood. The diverse upbringing and education of the European level formed V. Hoshovsky’s interest in the exact sciences and humanities, as well as in art, even in his childhood. This diversity of interests allows you to respond to changing life circumstances and master a new profession.
After receiving a doctorate in philology and ethnography at the Charles University in Prague (1944), V. Hoshovsky prepared to become a scientist and became a polyglot. His main linguistic studies fell on the Prague period: work at the Institute of Slavic Studies, teaching at the Modern Languages Club, brilliant proposals and scientific prospects for the future.
Ethnographic studies took place in Uzhhorod in 1946–1948. V. Hoshovsky headed the ethnographic department of the Uzhhorod Historical and Ethnographic Museum, began an in-depth survey of the folk culture and lifestyle of the villages of the Transcarpathian region, and organized a number of large exhibitions.
The strengthening of ideological pressure and the closing of the ethnographic department led to the search for a new field of activity and realization as a professional musician. V. Hoshovsky obtained a second higher education – this time – in music. He graduated from the Lviv State Conservatory named after M.V. Lysenko (1953), as in Prague, having chosen two specialties. As a result, he became the first professional guitarist and the first professional conductor of an orchestra of folk instruments in Transcarpathia. A passion for musical aesthetics and musicology was added to the performances. His musical activity was very intense.
Since 1955, V. Hoshovsky entered the field of ethnomusicology, which turned into his life’s work. His research on folk music evolved, delineating three periods. In the early period (Uzhhorod, 1955–1961), the scientist focused on regional studies: he carried out numerous field surveys of Transcarpathian villages, began the study of the history of musical folklore of Transcarpathia, studied the kolomyika in the context of Slavic studies, and engaged in the discovery of the musical dialects of Transcarpathia.
In the mature period (Lviv, Yerevan, 1962–1986) V. Hoshovsky significantly expanded the range of scientific interests, reached the level of Carpathian studies, Slavic studies and cybernetic ethnomusicology, completed studies in the field of musical dialectology, significantly updated the research methodology by involving the methods of linguistics, semiotics, genetics, cybernetics, etc. The main his works were the anthology “Ukrainian Songs of Transcarpathia” (1968), the monograph “On the Origins of Folk Music of the Slavs” (1971), the two-volume collection of Klyment Kvitka’s works “K.V. Kvitka. Selected Works” (1971, 1973), development of UNSACAT (on the basis of Lviv analytical maps, and in cooperation with Armenian programmers), computer research of Ukrainian, Slovak, Armenian and Azerbaijani folk music. In the later period (Lviv, Uzhhorod, 1986–1996) he focused on the coverage of certain ethnomusicological issues and memories.
The review made it possible to come to the conclusion that the realization of V. Hoshovsky in the field of linguistics and ethnography laid an interest in scientific work. The switch to the musical sphere made it possible to wait out the ideological pressure. Fascination with ethnomusicology marked a return to the bosom of science, but at a new level: with the unification of all previously acquired knowledge and experience. The breadth of scientific interests, familiarity with modern methods of research in various fields of science, the possibility of studying the latest European specialized literature in the original language distinguished this scientist among contemporary ethnomusicologists and provided space for bold experiments.
As for pedagogical and social work, they formed a supporting line to the philological, musical, and ethnomusicological spheres of V. Hoshovsky’s activities. On the one hand, they stimulated public interest in certain issues, and on the other hand, they contributed to the education of followers who formed the musical, performing and ethnomusicological future of Ukraine.
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Zakic, Mirjana. "The ethnomusicological endeavors of Danica and Ljubica Jankovic." Muzikologija, no. 17 (2014): 245–58. http://dx.doi.org/10.2298/muz1417245z.
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The pioneering efforts of Ljubica (1894-1974) and Danica (1898-1960) Jankovic consisted of their systematic research and collecting of traditional dance practice (folk dances), the methodological transcription, analysis and systematizing of dances, as well as the theoretical interpretations of numerous aspects of traditional dance. Their work resulted in the establishment of Serbian ethnochoreology in the first half of the twentieth century. As the extent of their activity in terms of transcribing musical material in the form of the accompaniment to folk dances has not yet been fully grasped by ethnomusicologists so far, the goal of this paper is to present the results and to stress the contributions of Danica and Ljubica Jankovic to the processes of the foundation and subsequent development of ethnomusicology in Serbia. These contributions are to be seen in eight public volumes of Folk Dances (1934-1964), whose methodological frame follows several important empirical and theoretical scientific approaches: firstly, analytical descriptive methodology of research, based on intense fieldwork (resulting in 800 transcribed dances and melodies from former Yugoslavia); secondly, excellent acquaintance with international trends in the field of ethno-musicology, as well as with concepts of research concerning Serbian folk culture; lastly, their inter-textual and interdisciplinary approach that essentially looks for correlates between dance, music and the context of performance. In this paper I shall elaborate in detail on the comments and significant interpretations of vocal and instrumental melodies that accompany folk dances made by the Jankovic sisters. These comments refer to stylistic and genre characteristics, melodic and metro-rhythmic attributes, the features of rural and urban melodies, the local characteristics of songs and instruments, changes in the diachronic flow, and to the characteristic relations of choreological and musical structural elements.