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Books on the topic 'Folk music – Sri Lanka'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Ratnatunga, Manel. Folk tales of Sri Lanka. New Delhi: Sterling Publihsers, 1985.

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2

Music of Sri Lanka. Colombo: Vijitha Yapa Publications, 2008.

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3

Ratnatunga, Manel. Tales from Sri Lanka: Folk and history. Colombo: Vijitha Yapa Publications, 2006.

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4

Wasala, Rohana R. Some traditional festivals of Sri Lanka. Colombo: S. Godage & Bros., 2013.

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5

Masks of Sri Lanka and mask, and Kolam dancing. [Sri Lanka: s.n.], 2005.

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6

Rituals, folk beliefs, and magical arts of Sri Lanka. Colombo: S. Godage & Brothers, 2000.

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7

Troughton, Joanna. The quail's egg: A folk tale from Sri Lanka. London: Blackie, 1988.

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8

The quail's egg: A folk tale from Sri Lanka. London: Blackie, 1988.

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9

Ratnatunga, Manel. Best loved folk tales of Sri Lanka: Legends and folklore. New Delhi: Sterling Publishers, 1999.

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10

Jemīl, Es Ec Em. Kirāmattu itayam: Ilaṅkai Muslimkaḷin̲ nāṭṭuppur̲a iyal : folklore of the muslims of Sri Lanka. 2nd ed. Kol̲umpu: Muslim Peṇkaḷ Ārāycci Ceyal Mun̲n̲aṇi, 2008.

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11

Abeywickrama, Maya. Harmonious illusions: A study of Western influence on the music of Sri Lanka. Colombo: Vijitha Yapa Publications, 2006.

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12

Manaranjanie, K. D. Lasanthi. Music and healing rituals of Sri Lanka: Their relevance for community music therapy and medical ethnomusicology. Colombo: S. Godage & Brothers, 2013.

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13

Gamini de S. G. Punchihewa. "Wanderlust": Introducing the nooks and corners of history, legends, folk-tales, heritage around Sri Lanka. Pannipitiya, Sri Lanka: Stamford Lake, 2008.

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14

illustrator, Mohan Vijay, ed. Folk tales from the Serendib: A collection of Sinhala stories heard in rural Sri Lanka. Toronto: Tamarind Tree, 2016.

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15

Martin Wickramasinghe Trust (Rajagiriya, Sri Lanka) and Martin Wickramasinghe Museum of Folk Culture (Văligama, Sri Lanka), eds. From the cradle: Glimpses of Sri Lankan folk culture portrayed at the Martin Wickramasinghe Museum of Folk Culture. Rajagiriya: Martin Wickramasinghe Trust, 2006.

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16

Claus-Bachmann, Martina. Traditional music culture in Sri Lanka - Dance (CD-ROM): A multimedial-interactive journey to an unfamiliar music culture. Giessen: ulme-mini-verlag, 2000.

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17

Claus-Bachmann, Martina. Traditional Music Culture in Sri Lanka - Drum (CD-ROM): A multimedial-interactive journey to an unfamiliar music culture. Giessen: ulme-mini-verlag, 2000.

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18

Joy, Flora. Exploring cultures and their stories: Stories from Uganda, Bolivia, Sri Lanka, Korea, Bulgaria, Germany, and Macedonia. Torrance, Calif: Frank Schaffer Publications, 1996.

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19

Jayanetti, Jē. Mārṭin Vikramasiṃha Jana Kautuhāraya: At pota. Rājagiriya: Mārṭin Vikramasiṃha Bhārahāra Maṇḍalaya, 2010.

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20

Disanayaka, J. B. Studies in Sinhala literacy: Traditional knowledge as reflected in folklore. Colombo: National Association for Total Education, Sri Lanka, 1990.

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21

Malm, Krister. The baila of Sri Lanka and the calypso of Trinidad: The mediaization of two kinds of music with topical texts, with special reference to their communicative properties. Stockholm, Sweden: Swedish National Collections of Music, 1985.

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22

Piyasena, S. Kalu Jūliyē ridī jubiliya saha jemis gē nidahasa. Koḷamba: Phāsṭ Pabliṣin, 2009.

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23

Folk Tales of Sri Lanka. Learners Press Private Limited, 1996.

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24

Ratnatunga, M. Folk Tales of Sri Lanka (Macmillan Folk Tales). Macmillan Education Ltd, 1990.

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25

Carpenter, Carl, and Anthony Cimino. Best Loved Folk Tales of Sri Lanka (Legends and Folklore). 2nd ed. Sterling Publishers Pvt.Ltd ,India, 2001.

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26

Musical Gift: Sonic Generosity in Post-War Sri Lanka. Oxford University Press, 2018.

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27

Sykes, Jim. Musical Gift: Sonic Generosity in Post-War Sri Lanka. Oxford University Press, Incorporated, 2020.

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28

Field, Garrett. Modernizing Composition: Sinhala Song, Poetry, and Politics in Twentieth-Century Sri Lanka. University of California Press, 2017.

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29

Rohiṇi, Paraṇavitāna, Sri Lanka. Saṃskr̥tika Kaṭayutu Piḷibanda., and Śrī Laṅka Kalā Maṇḍalaya. Folklore Panel., eds. Folk tales of Sri Lanka: A project of the folklore panel, 2001. Battaramulla: Dept. of Cultural Affairs, 2002.

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30

Paranavitana, Rohini. Folk Tales of Sri Lanka ; A Project of the Folklore Panel - 2001. Department of Cultural Affairs, 2002.

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31

Modernizing composition: Sinhala song, poetry, and politics in twentieth-century Sri Lanka. 2017.

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32

Merrick, Gordon. Now Let's Talk about Music. Open Road Integrated Media, Inc., 2014.

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33

Merrick, Gordon. Now Let's Talk about Music. Open Road Integrated Media, Inc., 2014.

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34

Merrick, Gordon. Now Let's Talk about Music. Open Road Integrated Media, Inc., 2014.

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35

Morris, Paul. One Sound: Traditional Buddhist Music from Tibet, China, Vietnam, Korea, Sri Lanka, and Japan with Book. Ellipsis Arts, 2000.

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36

Kalalaya School of Dance & Music (Colombo, Sri Lanka), ed. Kalalaya. [Colombo: Sri Lanka Tamil Women's Union, 1999.

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37

Muzik dan lagu-lagu tradisional Melayu: Orkes Hamzah Dolmat, Orkes Keroncong Maroeti, Orkes Sri Maharani Ghazal. Perpustakaan Universiti Malaya, 1998.

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38

Sykes, Jim. The Island Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.003.0010.

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In this chapter, the author discusses the historical development of Sinhala music in the nineteenth and twentieth centuries in Sri Lanka (called Ceylon until 1972) in relation to colonial surveillance and conceptions of Sri Lanka as an island space. The chapter theorizes “islands” for music studies and compares Sri Lankan discussions on indigeneity and “movements to” the island with those on the Caribbean. The chapter considers mid-twentieth century anxieties that the Sinhalese “have no music” because their music is “too hybrid.” It then argues that in recent decades, music has been a crucial way for Sinhala nationalists to indigenize the Sinhalese, eschewing the longstanding narrative that their ancestors came from North India, through the figure of Ravana (the “evil king” in the Hindu Ramayana epic) that allows them to draw a link between Sinhala culture and the indigenous Väddas.

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39

Sykes, Jim. The Musical Gift. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.001.0001.

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The Musical Gift tells Sri Lanka’s music history as a story of giving between humans and nonhumans, and between populations defined by ethnic and religious difference. Author Jim Sykes argues that the genres we currently recognize as Sri Lanka’s esteemed traditional musics were not originally about ethnic or religious identity but were gifts to gods intended to foster protection and/or healing. Noting that the currently assumed link between music and identity helped produce the narratives of ethnic difference that drove Sri Lanka’s civil war (1983–2009), Sykes contends that the promotion of histories of cultural interaction, exchange, and respect for difference through musical giving has a role to play in post-war reconciliation. The Musical Gift includes a study of how NGOs used music to promote reconciliation in Sri Lanka, the first ethnography of the plight of musicians during the war in the Tamil-dominated north and of Sinhala Buddhist drummers in the south, and a theorization of the relations between musical gifts and commodities. Eschewing a strict binary between the gift and identity, Sykes claims that the world’s music history is largely a story of entanglement between these paradigms. Drawing on fieldwork conducted widely across Sri Lanka over a span of eleven years, The Musical Gift brings anthropology’s canonic literature on “the gift” into music studies fully for the first time, while engaging with anthropology’s “ontological turn” and the “new materialism” in religious studies.

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40

Sykes, Jim. The Cartography of Culture Zones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.003.0006.

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This chapter criticizes the “cartography of culture zones”—the standard way cultural history is described in Sri Lanka—which locates traditional cultures in ethnically defined, regionally based culture zones. First, the chapter expands on the book’s previous exploration of Sinhala and Tamil musics by introducing the musics of Sri Lankan Muslims (an ethnic and religious category), Christians (a heterogenous religious category), Burghers (Eurasians), Kaffirs (Sri Lankans of African descent), and Väddas (the indigenous population). The chapter argues that scholars tend to adopt the European-derived idea that music belongs distinctly to humans with cultural histories rigidly demarcated along ethnic, religious, and regional lines. The chapter then traces histories of musical connection between Sri Lankan communities and culture zones. All the same, the chapter avoids debunking Sinhala Buddhist music as “Hindu” in character (a mistake of colonial era scholarship). The chapter respects difference while arguing for the importance in the Sri Lankan public sphere of recognizing connections.

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41

Sykes, Jim. Beravā Secrecy and the Hoarding of Musical Gifts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.003.0004.

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This chapter provides an introduction to Sinhala Buddhist music-making, focusing on the domain of drumming in religious ritual. These genres, with their accompanying dances, have become the most esteemed traditional music genres in Sri Lanka. The chapter also considers the ways that nationalism has influenced the use and placement of these genres, discussing a riot that broke out when Sinhala students agitated for Sinhala drumming to be performed at the head of a graduation ceremony at the Tamil-dominated University of Jaffna. The chapter provides basic information on drumming for the caste of drummers, dancers, and ritualists called the Beravā, and discusses the life and work of my drum teacher, a performer of the low-country Sinhala drum (pahata rata beraya, yak beraya).

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42

Sykes, Jim. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.003.0001.

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The introduction to The Musical Gift discusses problems (for music studies and the world at large) with assuming there is an inherent connection between music, the self, expression, and identity. The chapter argues that while many scholars have noted the historical emergence of these links in European modernity, there is a tendency in scholarly research and public culture to subordinate “ontologies of the otherwise” to European-derived notions of the link between music and identity. The author argues that while music scholars have spent much time questioning what music is, the same energy has not been devoted in music studies to what a self is, how sound relates to the self differently in different contexts, and what this should mean for music history. The chapter raises questions about Buddhist notions of “not-self” and karma, setting the stage for a consideration of “musical giving” in Sri Lanka that is explored in Chapter 1.

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