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Artykuły w czasopismach na temat „Humanities -> music -> ethnomusicology”

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Data publikacji: 25 lipca 2024

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1

Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn". Journal of the Royal Musical Association 135, nr 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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Dahlig, Piotr. "THE SIGNIFICANCE OF UKRAINIAN ETHNOMUSICOLOGY FOR THE DEVELOPMENT OF THIS BRANCH OF HUMANITIES IN POLAND". Problems of music ethnology 18 (22.12.2023): 5–16. http://dx.doi.org/10.31318/2522-4212.2023.18.294818.

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The article is built as a comparative study which demonstrates a similarity of problems and clear parallelism of the Ukrainian and Polish ethnomusicology. The term „ethnomusicology” was invented in the Ukraine (1928) and it functioned in Poland already in the 1930s. The Ukrainians had begun systematic recordings of folk songs still in the Austrian Galicia at the beginning of the 20th c., in Poland the same action was undertaken in the interwar period. The system of analysis of ethnic melodies, elaborated in the Ukraine in the first decades of the 20th c., is echoed in Poland in the 1950s. We need not to speak of the influence or imitation but this wave shows rather a common cultural core and it proves to the fact that in the Ukraine the significance of study on folk music and traditional songs was more crucial for survival of national consciousness than in Poland, and thus the importance of folk song study was in the Ukraine, at least among its intellectual elites, perceived socially earlier than in Poland. Moreover, in the 20th and 21st centuries, the Ukrainian and Polish ethnomusicologists held common interests of and publish contributions to the study on music traditions of cultural bordelands, Carpathian Mountains, music instruments, song repertoires with its precious, unique cartography

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Moore, Robin, Luis Ricardo Silva Queiroz, John Bimbiras, Caroline Rohm i Ashley Thornton. "Ethnomusicology and Higher Education: Challenges, Trends, and Lessons from the Humanities". Ethnomusicology 65, nr 3 (1.10.2021): 413–43. http://dx.doi.org/10.5406/ethnomusicology.65.3.0413.

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Abstract Many authors in recent years note threats to humanistic studies within higher education. They express concern about the overproduction of PhD graduates, the increasing costs of higher education, and other topics. Ethnomusicologists are undoubtedly aware of such issues, yet as a society SEM has not engaged with related publications, nor has it collected much data on specific challenges to our own field. This essay synthesizes literature on trends within the humanities and considers its potential relevance for ethnomusicology. Then, based on interviews with faculty, as well as a 2018 survey circulated to current and former students on the SEM LISTSERV, it briefly considers the state of our discipline in terms of core training, student support, student placement, and other topics. The data suggest that many issues confronting ethnomusicologists resonate with those in other disciplines and that we would benefit from engagement with nationwide dialogues involving the future of graduate studies. Suggestions proposed are many and include an orientation of research toward issues impacting communities near one’s university, greater focus on team-based inquiry rather than individual scholarship, more active collaborations across disciplines, diverse professional training, more attention to shaping the content of K–12 education, communication with diverse audiences, and a research focus on areas of broad public concern whenever possible.

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Cooley, Allen, Hellier, Pedelty, Von Glahn, Titon i Post. "Call and Response: SEM President's Roundtable 2018, “Humanities' Responses to the Anthropocene”". Ethnomusicology 64, nr 2 (2020): 301. http://dx.doi.org/10.5406/ethnomusicology.64.2.0301.

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Fournet, Adele. "Bit Rosie: A Case Study in Transforming Web-Based Multimedia Research into Digital Archives". American Archivist 84, nr 1 (1.03.2021): 119–38. http://dx.doi.org/10.17723/0360-9081-84.1.119.

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ABSTRACT This article is a case study in transforming web-based multimedia research initiatives into digital institutional archives to safeguard against the unstable nature of the Internet as a long-term historical medium. The study examines the Bit Rosie digital archives at the New York University Fales Library, which was created as a collaboration between a doctoral researcher in ethnomusicology and the head music librarian at the Avery Fisher Center for Music and Media. The article analyzes how the Bit Rosie archives implements elements of both feminist and activist archival practice in a born-digital context to integrate overlooked women music producers into the archives of the recorded music industry. The case study illustrates how collaboration between cultural creators, researchers, and archivists can give legitimacy and longevity to projects and voices of cultural resistance in the internet era. To conclude, the article suggests that more researchers and university libraries can use this case study as a model in setting up institutional archival homes for the increasing number of multimedia initiatives and projects blossoming throughout the humanities and social sciences.

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6

Samarasinghe, Kamani. "A Review of the International Music Conference Themed “Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being”". Journal of Research in Music 2, nr 1 (31.01.2024): 54–62. http://dx.doi.org/10.4038/jrm.v2i1.26.

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The 5th International Conference of Faculty of Music, University of the Visual & Performing Arts 2023 (ICFM-2023) was held in the Faculty of Music premises in Colombo from 22 to 23 November 2023 with the main theme ‘Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being’, brought together an assembly of over a hundred scholars and researchers from India and Sri Lanka and some other countries. The conference featured nineteen sessions delving into various dimensions of the musical landscape with the hope of fostering profound discussions across diverse areas such as music education, pedagogy, musicology, ethnomusicology, performing arts, music and technology, well-being and society, interdisciplinary connections in humanities, social and library sciences, exploring performing arts (including dance, theater and beyond), intangible cultural heritage with a focus on preservation and promotion, and visual art with interdisciplinary expression. Additionally, the program explored theoretical and practical aspects of music and dance therapy. Most participants shared their latest research in person, while some presented online. This conference enriched the knowledge of the participants as well as provided a platform for presenting studies on music and allied subject-related topics. Future music symposia can also introduce a wide variety of sessions to promote and inspire future researchers.

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7

Shelemay, Kay Kaufman. ": Ethnomusicology and Modern Music History . Stephen Blum, Philip V. Bohlman, Daniel M. Neuman." American Anthropologist 94, nr 3 (wrzesień 1992): 740–41. http://dx.doi.org/10.1525/aa.1992.94.3.02a00560.

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8

Stige, Brynjulf. "Dancing the Drama and Singing for Life: On Ethnomusicology and Music Therapy". Nordic Journal of Music Therapy 17, nr 2 (lipiec 2008): 155–71. http://dx.doi.org/10.1080/08098130809478206.

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9

Vrekalić, Andreja. "The boundaries of disciplines in Croatia: on ethnomusicology in music therapy and vice versa". Nordic Journal of Music Therapy 25, sup1 (30.05.2016): 154. http://dx.doi.org/10.1080/08098131.2016.1180206.

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Loeb, Laurence D. ": Worlds of Music: An Introduction to the Music of the World's Peoples . Jeff Todd Titon. ; Problems of Ethnomusicology: Constantin Brailoiu . A. L. Lloyd." American Anthropologist 88, nr 1 (marzec 1986): 247–48. http://dx.doi.org/10.1525/aa.1986.88.1.02a00850.

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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, nr 4 (grudzień 1992): 991. http://dx.doi.org/10.1525/aa.1992.94.4.02a00690.

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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 (17.11.2022): 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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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival". European Journal of Cultural Studies 20, nr 2 (27.04.2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.

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This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.

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14

Rakočević, Selena. "Tracing the discipline: Eighty years of ethnochoreology in Serbia". New Sound, nr 42 (2013): 58–86. http://dx.doi.org/10.5937/newso1341058r.

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The interest for traditional dance research in Serbia is noted since the second part of the 19th century in various ethnographical sources. However, organized and scientifically grounded study was begun by the sisters Danica and Ljubica Janković marked by publishing of the first of totally eight volumes of the "Folk Dances" [Narodne igre] in 1934. All eight books of this edition published periodically until 1964 were highly acknowledged by the broader scientific communities in Europe and the USA. Dance research was continued by the following generation of researchers: Milica Ilijin, Olivera Mladenović, Slobodan Zečević, and Olivera Vasić. The next significant step toward developing dance research began in 1990 when the subject of ethnochoreology was added to the program of basic ethnomusicological studies at the Faculty of Music in Belgrade and shortly afterward in 1996 in the Academy of Arts in Novi Sad. Academic ethnochoreological education in both institutions was established by Olivera Vasić. The epistemological background of all traditional dance research in Serbia was anchored mostly in ethnography focused on the description of rural traditions and partly in traditional dance history. Its broader folkloristic framework has, more or less, strong national orientation. However, it could be said that, thanks to the lifelong professional commitment of the researchers, and a relatively unified methodology of their research, ethnochoreology maintained continuity as a scientific discipline since its early beginnings. The next significant milestone in the development of the discipline happened when traditional dance research was included in the PhD doctoral research projects within ethnomusicological studies at the Faculty of Music in Belgrade. Those projects, some of which are still in the ongoing process, are interdisciplinary and interlink ethnochoreology with ethnomusicology and related disciplines. This paper reexamines and reevaluates the eighty years long tradition of dance research in Serbia and positions its ontological, epistemological and methodological trajectories in the broader context of its relation to other social sciences/humanities in the contemporary era of interdisciplinarity and postdiciplinarity.

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Slobin, Mark. "Ethnomusicology: From Ethnography to Cultural Studies: Cassette Culture: Popular Music and Technology in North India . Peter Manuel. ; The Arabesk Debate: Music and Musicians in Modern Turkey . Martin Stokes. ; Moving away from Silence: Music of the Peruvian Altiplano and the Experience of Urban Migration . Thomas Turino." American Anthropologist 96, nr 3 (wrzesień 1994): 701–3. http://dx.doi.org/10.1525/aa.1994.96.3.02a00250.

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Van Bockhaven, Vicky. "Decolonising the Royal Museum for Central Africa in Belgium's Second Museum Age". Antiquity 93, nr 370 (8.07.2019): 1082–87. http://dx.doi.org/10.15184/aqy.2019.83.

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In December 2018, the Royal Museum for Central Africa (RMCA) in Tervuren, Belgium, reopened its doors after a renovation project that started nearly 20 years ago. Founded by the infamous King Leopold II, the RMCA contains cultural and natural history collections from Belgium's former colonies of Congo, Rwanda and Burundi, as well as other parts of Africa and beyond. Today, a new ‘Welcome pavilion’ leads the visitor through a monumental subterranean corridor to the historic building's basement and to an introduction to the history of the collections. The exhibition halls on the ground level have been refurbished, including the old colonial maps painted on the walls, while in the Crocodile Room, the original display has been retained as a reminder of the museum's own history. The largest halls now present displays linked to the scientific disciplines and themes within the museum's research remit (Figure 1): ‘Rituals and Ceremonies’ (anthropology), ‘Languages and Music’ (linguistics and ethnomusicology), ‘Unrivalled art’, ‘Natural History’ (biology), ‘Natural resources’ (biology, geology) and ‘Colonial History and Independence’ (history, political science). Eye-catching developments include: a room featuring some of the statues of a racist style and subject matter, which were formerly exhibited throughout the museum, and are now collected together in a kind of ‘graveyard’ (although this symbolic rejection is not properly explained); a new Afropea room focusing on diaspora history; a section on ‘Propaganda and representation’ (Imagery), a Rumba studio and a Taxolab. In place of racist statues, and occupying a central position in the Rotunda, is a new sculpture by Aimé Mpane named ‘New breath, or burgeoning Congo’. The accompanying label states that this piece “provides a firm answer” to the remaining allegorical colonial sculptures in the Rotunda by “looking at a prosperous future”. Alas, this answer is not as clear as is claimed and its message may be lost on many visitors.

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Swartz, Anne. "Polish Folk Music: Slavonic Heritage, Polish Tradition, Contemporary Trends. By Anna Czekanowska. Cambridge Studies in Ethnomusicology. Cambridge: Cambridge University Press, 1990. xii, 226 pp. Illustrations. Maps. Musical Examples. Bibliography. Discography. Index." Slavic Review 51, nr 2 (1992): 366–67. http://dx.doi.org/10.2307/2499562.

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Tingey, Carol. "Music of Afghanistan: professional musicians in the city of Herat. by John Baily. (Cambridge Studies in Ethnomusicology.) pp. xiv, 183, 16 illus., 3 maps and cassette tape. Cambridge etc., Cambridge University Press, 1988. £32.50." Journal of the Royal Asiatic Society of Great Britain & Ireland 121, nr 2 (kwiecień 1989): 372–73. http://dx.doi.org/10.1017/s0035869x0010975x.

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Kippen, James. "Khyāl: creativity within North India's classical music tradition. By Bonnie C. Wade (Cambridge Studies in Ethnomusicology.) pp. xxii, 314, 13 pl., 2 maps, Cassette. Cambridge, etc., Cambridge University Press., 1985. £37.50. (cassette, £6. 95 + VAT)." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, nr 1 (styczeń 1986): 144–46. http://dx.doi.org/10.1017/s0035869x00139589.

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BUTTERWORTH, JAMES. "Javier F. León and Helena Simonett (eds.), Views from the South: A Latin American Music Reader (Urbana, IL: University of Illinois Press in collaboration with the Society for Ethnomusicology, 2016), pp. xi + 449, £28.99, pb". Journal of Latin American Studies 50, nr 3 (sierpień 2018): 773–75. http://dx.doi.org/10.1017/s0022216x18000615.

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TREECE, DAVID. "Peter Fryer, Rhythms of Resistance: African Musical Heritage in Brazil (London: Pluto Press, 2000), pp. xiii+267, £45.00, £14.00 pb. Charles A. Perrone and Christopher Dunn (eds.), Brazilian Popular Music and Globalization (Gainesville, FL: University Press of Florida, 2001), pp. xii+288, $55.00, hb. Suzel Reily (ed.), Brazilian Musics, Brazilian Identities (British Journal of Ethnomusicology Vol. 9/1, 2000), pp. v+167, £15.00, pb." Journal of Latin American Studies 35, nr 1 (luty 2003): 163–214. http://dx.doi.org/10.1017/s0022216x03486720.

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