Статті в журналах: "Music and anthropology"

1

Han, Sallie, and Jason Antrosio. "Music - Anthropology - Life." Anthropology News 58, no. 3 (May 2017): e200-e210. http://dx.doi.org/10.1111/an.578.

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2

Suppan, Wolfgang. "La antropología musical: informe sobre sus objetivos y trabajos de investigación." Anuario Musical, no. 53 (January 24, 2019): 257. http://dx.doi.org/10.3989/anuariomusical.1998.i53.283.

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Desde 1951 en que el filósofo alemán Hans Plessner publicó su artículo «Anthropology of Music», se ha intentado descubrir desde diferentes disciplinas cómo se interrelacionan el ser humano y la música. Los libros Sound and Symbol (1956) y Man the Musician (1973) de Viktor Zuckerkandl, Anthropology of Music (1964) de Alan B. Merriam, How Musical is Man? de John Blacking (1973), Der musizierende Mensch. Eine Anthropologie der Musik (1984) y Música humana (1986) de Wolfgang Suppan constituyen los pasos más importantes hacia una nueva e interdisciplinaria ciencia de la música. Pero el pensar sobre la necesidad de la música por parte del hombre y la sociedad aparece ya en las antiguas filosofías de China y Grecia. Nuestro estudio y repaso bibliográfico sobre el desarrollo de la investigación antropológico-musical toma asimismo en consideración al jesuíta español P. Antonio Eximeno y Pujades, quien en el siglo XVIII publicó en sus poco conocidos libros importantes ideas sobre nuestra temática.

3

Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

4

Hikiji, Rose Satiko Gitirana. "Video, Music and Shared Anthropology." Visual Anthropology 23, no. 4 (July 15, 2010): 330–43. http://dx.doi.org/10.1080/08949468.2010.485009.

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5

Kovačević, Ivan, and Marija Ristivojević. "The anthropology of music: contemporary theoretical perspectives." Issues in Ethnology and Anthropology 9, no. 4 (February 26, 2016): 1067. http://dx.doi.org/10.21301/eap.v9i4.13.

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The anthropological study of music focuses on meanings which music hah and produces in a specific sociocultural context. Preferences toward a certain genre of music are tightly linked to the preference of certain cultural values, so music represents an important factor of identification in everyday life. In Serbian ethnology and anthropology music was long viewed as part of Serbian traditional culture, so the interests of researchers focused on “traditional music”. In the 1980’s first papers analyzing music which went outside the traditional frameworks appeared (new folk music – turbofolk), and this tendency has increased in the last ten years.

6

Borsos, Balázs. "Ecology + Anthropology = Ecological Anthropology?" Acta Ethnographica Hungarica 62, no. 1 (June 2017): 31–52. http://dx.doi.org/10.1556/022.2017.62.1.2.

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7

Rasic, Milos. "Anthropology of music: Paradigms and perspectives." Zbornik Akademije umetnosti, no. 4 (2016): 133–44. http://dx.doi.org/10.5937/zbakum1604133r.

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8

Deschenes, Bruno. "Toward an Anthropology of Music Listening." International Review of the Aesthetics and Sociology of Music 29, no. 2 (December 1998): 135. http://dx.doi.org/10.2307/3108385.

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9

Hagstrom, Kristina, and Anna Frisk. "Musica Sveciae--Folk Music in Sweden." Ethnomusicology 41, no. 3 (1997): 579. http://dx.doi.org/10.2307/852773.

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10

Toropova, Alla V. "Formation of a Scientific and Educational Model of Musical-Psychological Anthropology." Musical Art and Education 8, no. 3 (2020): 65–81. http://dx.doi.org/10.31862//2309-1428-2020-8-3-65-81.

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The article presents an understanding of the value attitudes and methodological approaches to the construction of the educational discipline “Musical-psychological anthropology”, developed by the author and tested in the educational process at the Faculty of Musical Arts of the Institute of Fine Arts of Moscow Pedagogical State University. The directions of development in the discipline content the ideas and aspirations by E. B. Abdullin are outlined. The connection of the actual problems of pedagogy and psychology of music education with the experience of setting tasks for the project activities of graduate students in the course of Musical-psychological anthropology is shown. Some research results of graduate students which contribute to the development of Music-Psychological Anthropology as an interdisciplinary field and academic discipline at a university, focused on current problems of music education, as well as on the development of professional reflection of music teachers are presented.

11

Li, Jia. "Towards the Feasibility of Instituting a Philippine Digital Audio Library: A Case Study." Journal of ICT In Education 8, no. 2 (July 4, 2021): 1–12. http://dx.doi.org/10.37134/jictie.vol8.2.1.2021.

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

12

Tan, Shzr Ee. "Special issue: Decolonising music and music studies." Ethnomusicology Forum 30, no. 1 (January 2, 2021): 4–8. http://dx.doi.org/10.1080/17411912.2021.1938445.

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13

Stone-Davis, Férdia J. "Making an Anthropological Case: Cognitive Dualism and the Acousmatic." Philosophy 90, no. 2 (February 20, 2015): 263–76. http://dx.doi.org/10.1017/s0031819115000017.

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

14

Lewis, Jerome. "Music and Rituals." Anthropology Today 15, no. 1 (February 1999): 20. http://dx.doi.org/10.2307/2678212.

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15

Vereshchahina-Biliavska, Olena Ye, Olesia V. Cherkashyna, Yuliia O. Moskvichova, Olena M. Yakymchuk, and Olena V. Lys. "Anthropological view on the history of musical art." Linguistics and Culture Review 5, S2 (July 16, 2021): 108–20. http://dx.doi.org/10.21744/lingcure.v5ns2.1334.

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

16

Zhou, Hao. "An analysis of the effectiveness of using multicultural music concepts in Chinese college music education." Advances in Education, Humanities and Social Science Research 3, no. 1 (December 28, 2022): 65. http://dx.doi.org/10.56028/aehssr.3.1.65.

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

17

Crowley, Daniel J., and John E. Kaemmer. "Music in Human Life: Anthropological Perspectives on Music." Ethnohistory 43, no. 2 (1996): 335. http://dx.doi.org/10.2307/483403.

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18

Porter, James, and Paivikki Suojanen. "Finnish Folk Hymn Singing: Study in Music Anthropology." Journal of American Folklore 98, no. 389 (July 1985): 354. http://dx.doi.org/10.2307/539951.

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19

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

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20

Saari, Seppo, and Paivikki Suojanen. "Finnish Folk Hymn Singing: Study in Music Anthropology." Ethnomusicology 34, no. 1 (1990): 161. http://dx.doi.org/10.2307/852370.

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21

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

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22

Shannon, Jonathan H. "Introduction." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 775–78. http://dx.doi.org/10.1017/s0020743812000864.

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

23

Lipták, Dániel. "Hungarian Ethnomusicologist Oszkár Dincsér (1911–1977) as a Pioneer of Musical Anthropology." Studia Musicologica 59, no. 1-2 (June 2018): 79–97. http://dx.doi.org/10.1556/6.2018.59.1-2.7.

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

24

Montero-Diaz, Fiorella. "Making music Indigenous: popular music in the Peruvian Andes." Ethnomusicology Forum 29, no. 3 (September 1, 2020): 406–8. http://dx.doi.org/10.1080/17411912.2020.1858917.

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25

Machin-Autenrieth, Matthew. "Music in Portugal and Spain: experiencing music, expressing culture." Ethnomusicology Forum 27, no. 3 (September 2, 2018): 370–72. http://dx.doi.org/10.1080/17411912.2018.1543029.

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26

Zhang, Chao. "A Brief Analysis of Orff's Music Teaching Concept." Review of Educational Theory 2, no. 3 (July 2, 2019): 21. http://dx.doi.org/10.30564/ret.v2i3.873.

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

27

James, Nicholas. "Music, Performance and Identity." Anthropology Today 11, no. 1 (February 1995): 21. http://dx.doi.org/10.2307/2783322.

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28

Kuligowski, Waldemar. "Nacjonalizm zwyczajnych ludzi. Etnicyzowanie tradycji muzycznej na przykładzie festiwalu w Gučy." Slavia Meridionalis 11 (August 31, 2015): 157–71. http://dx.doi.org/10.11649/sm.2011.009.

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

29

Krüger, Simone. "Facing the Music: Shaping Music Education from a Global Perspective." Ethnomusicology Forum 19, no. 2 (November 2010): 273–75. http://dx.doi.org/10.1080/17411912.2010.511056.

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30

O'Brien-Rothe, Linda, and T. M. Scruggs. "Nicaraguan Folk Music from Masaya: Musica Folklorica de Masaya." Ethnomusicology 38, no. 2 (1994): 376. http://dx.doi.org/10.2307/851755.

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31

NTARANGWI, MWENDA. "Live in Dar es Salaam: Popular Music and Tanzania's Music Economy byAlex Perullo." American Ethnologist 40, no. 1 (February 2013): 233–34. http://dx.doi.org/10.1111/amet.12015_16.

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32

EL-GHADBAN, YARA. "Facing the music: Rituals of belonging and recognition in contemporary Western art music." American Ethnologist 36, no. 1 (February 2009): 140–60. http://dx.doi.org/10.1111/j.1548-1425.2008.01105.x.

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33

Romenskaya, L. A., A. A. Nizhnik, and E. V. Oster. "Ontology conception of music (experience in modeling categorical discourse of Christian anthropology of music)." Alma mater. Vestnik Vysshey Shkoly, no. 7 (July 2018): 67–71. http://dx.doi.org/10.20339/am.07-18.067.

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34

Castelo-Branco, Salwa El-Shawan. "Music in Egypt: Experiencing Music, Expressing Culture." Ethnomusicology 53, no. 2 (April 1, 2009): 343–45. http://dx.doi.org/10.2307/25653075.

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35

Stock, Jonathan P. J. "Music in China: Experiencing Music, Expressing Culture." Ethnomusicology 53, no. 1 (January 1, 2009): 156–58. http://dx.doi.org/10.2307/25653054.

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36

Peters, Karen A. "Music in Bulgaria: Experiencing Music, Expressing Culture." Ethnomusicology 50, no. 3 (October 1, 2006): 498–500. http://dx.doi.org/10.2307/20174473.

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37

Eyerman, Ron. "Music and Gender.:Music and Gender." American Anthropologist 105, no. 4 (December 2003): 875. http://dx.doi.org/10.1525/aa.2003.105.4.875.

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38

JILEK, WOLFGANG. "Music and Trance: A Theory of the Relations between Music and Possession . GILBERT ROUGET." American Ethnologist 14, no. 3 (August 1987): 598–99. http://dx.doi.org/10.1525/ae.1987.14.3.02a00450.

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39

BORN, GEORGINA. "On Musical Mediation: Ontology, Technology and Creativity." Twentieth-Century Music 2, no. 1 (March 2005): 7–36. http://dx.doi.org/10.1017/s147857220500023x.

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

40

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.

41

Koskoff, Ellen, Per Hage, and Frank Harary. "Structural Models in Anthropology." Ethnomusicology 30, no. 1 (1986): 167. http://dx.doi.org/10.2307/851847.

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42

Koskoff. "My Music." Ethnomusicology 63, no. 1 (2019): 1. http://dx.doi.org/10.5406/ethnomusicology.63.1.0001.

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43

Weintraub, Andrew N., and Michael Tenzer. "Balinese Music." Ethnomusicology 38, no. 2 (1994): 364. http://dx.doi.org/10.2307/851752.

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44

Koskoff, Ellen, W. Jay Dowling, and Dane L. Harwood. "Music Cognition." Ethnomusicology 32, no. 1 (1988): 155. http://dx.doi.org/10.2307/852236.

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45

Kaeppler, Adrienne L., and Richard Moyle. "Tongan Music." Ethnomusicology 33, no. 2 (1989): 354. http://dx.doi.org/10.2307/924416.

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46

Smith, Barbara B., and Mervyn McLean. "Maori Music." Ethnomusicology 44, no. 2 (2000): 329. http://dx.doi.org/10.2307/852537.

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47

Weems, Mary E. "Universe Music." Qualitative Inquiry 9, no. 6 (December 2003): 955. http://dx.doi.org/10.1177/1077800403009006007.

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48

Sarrazin, Natalie, and David J. Elliott. "Music Matters: A New Philosophy of Music Education." Ethnomusicology 40, no. 3 (1996): 517. http://dx.doi.org/10.2307/852476.

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49

Kaufman Shelemay, Kay. "Music, Memory and History." Ethnomusicology Forum 15, no. 1 (June 2006): 17–37. http://dx.doi.org/10.1080/17411910600634221.

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50

Harris, Rachel. "Music and Cultural Rights." Ethnomusicology Forum 19, no. 1 (June 2010): 128–30. http://dx.doi.org/10.1080/17411911003656050.

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Статті в журналах з теми "Music and anthropology"

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