Pub Date : 2021-06-01DOI: 10.33906/musicologist.851319
O. Loko, F. John
This is a comparative study on Mase musicin two Ogu communities;Akarakumoand Lagon-Thogliin Badagry Lagos, Nigeria. Issues relating to the origin, relevance, structure, form and development of Mase music in both communities were investigated for documentation and archival purposes. Data is drawn from oral interviews, participant observation and available literature. Respondents were selected among leaders and members of the visited Mase groups. Selected samples of Mase songs were transcribed into staff notation and analysed for documentation. The study revealed that Mase music and its variants were created by YedenouAdjahoui from Benin Republic. The instrumental ensemble of Mase music includes Apotin, Aze, Alekle-daho, Alekle-pevi, Apesin-daho, Apesin-pevi, Ogan, Ayaand hand clapping.
{"title":"A COMPARATIVE STUDY ON OGU MASE MUSIC OF AKARAKUMOANDLAGON-THOGLI BADAGRY, LAGOS STATE.","authors":"O. Loko, F. John","doi":"10.33906/musicologist.851319","DOIUrl":"https://doi.org/10.33906/musicologist.851319","url":null,"abstract":"This is a comparative study on Mase musicin two Ogu communities;Akarakumoand Lagon-Thogliin Badagry Lagos, Nigeria. Issues relating to the origin, relevance, structure, form and development of Mase music in both communities were investigated for documentation and archival purposes. Data is drawn from oral interviews, participant observation and available literature. Respondents were selected among leaders and members of the visited Mase groups. Selected samples of Mase songs were transcribed into staff notation and analysed for documentation. The study revealed that Mase music and its variants were created by YedenouAdjahoui from Benin Republic. The instrumental ensemble of Mase music includes Apotin, Aze, Alekle-daho, Alekle-pevi, Apesin-daho, Apesin-pevi, Ogan, Ayaand hand clapping.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42410686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-11DOI: 10.33906/musicologist.752422
Chinedum N. Osinigwe
,
，
{"title":"IGBO POPULAR MUSIC: A HISTORICAL AND SOCIOLOGICAL DISCOURSE WITH THE INTENT OF REDEFINING ITS MUSICAL TYPOLOGIES SINCE 1960","authors":"Chinedum N. Osinigwe","doi":"10.33906/musicologist.752422","DOIUrl":"https://doi.org/10.33906/musicologist.752422","url":null,"abstract":",","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47108745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-04DOI: 10.33906/musicologist.775821
K. K. Koay
{"title":"Broken-Continuity in Saariaho’s Terra Memoria","authors":"K. K. Koay","doi":"10.33906/musicologist.775821","DOIUrl":"https://doi.org/10.33906/musicologist.775821","url":null,"abstract":"","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45061158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-30DOI: 10.33906/musicologist.703903
Erin Kirk
As musicologists and scholars of American art music, we are forever indebted to Aaron Copland and Leonard Bernstein for their music, their conducting, teaching, and lecturing, and especially for their writings. It is still a relatively recent phenomenon in the history of music to possess writings from composers that explain, not only their own works, but their perspective on all aspects of the musical world in which they lived. One significant topic which both Copland and Bernstein addressed was the process by which a uniquely American sound began to develop and shape the music of the twentieth century. Through a thorough examination of their writings, supporting research from other scholars, and original analysis of key musical works, this article will trace the beginnings of a nationalistic thread in American art music and identify the musical traits that communicate such nationalism. Both Copland and Bernstein identified influential figures in the development of an American sound, such as Antonin Dvorák, Nadia Boulanger, Charles Ives, George Gershwin, Aaron Copland, Virgil Thomson, William Schuman, Roy Harris, and Carlos Chávez. Also, jazz, folk music, and Latin American music were highly influential to the art music of the twentieth century. Looking back throughout history, there is rarely one defining moment when music changes completely. It is usually a combination of many and varied factors that occur throughout a period of time. In this study, identifying the causes and influences in the development of an American nationalistic sound, we have the distinct benefit of taking cues from some of the most influential figures in twentieth century art music who blessed musicians, music-lovers, and scholars with their words, eloquently bringing to light the serendipitous events that created the art music of the last century.
{"title":"The Development of an American Sound: From the Perspective of Twentieth Century Masters, Aaron Copland & Leonard Bernstein","authors":"Erin Kirk","doi":"10.33906/musicologist.703903","DOIUrl":"https://doi.org/10.33906/musicologist.703903","url":null,"abstract":"As musicologists and scholars of American art music, we are forever indebted to Aaron Copland and Leonard Bernstein for their music, their conducting, teaching, and lecturing, and especially for their writings. It is still a relatively recent phenomenon in the history of music to possess writings from composers that explain, not only their own works, but their perspective on all aspects of the musical world in which they lived. One significant topic which both Copland and Bernstein addressed was the process by which a uniquely American sound began to develop and shape the music of the twentieth century. Through a thorough examination of their writings, supporting research from other scholars, and original analysis of key musical works, this article will trace the beginnings of a nationalistic thread in American art music and identify the musical traits that communicate such nationalism. Both Copland and Bernstein identified influential figures in the development of an American sound, such as Antonin Dvorák, Nadia Boulanger, Charles Ives, George Gershwin, Aaron Copland, Virgil Thomson, William Schuman, Roy Harris, and Carlos Chávez. Also, jazz, folk music, and Latin American music were highly influential to the art music of the twentieth century. Looking back throughout history, there is rarely one defining moment when music changes completely. It is usually a combination of many and varied factors that occur throughout a period of time. In this study, identifying the causes and influences in the development of an American nationalistic sound, we have the distinct benefit of taking cues from some of the most influential figures in twentieth century art music who blessed musicians, music-lovers, and scholars with their words, eloquently bringing to light the serendipitous events that created the art music of the last century.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47519620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-30DOI: 10.33906/musicologist.712316
Federica Nardella
This paper investigates the sarki song form, composed in the late nineteenth century, discussed with regards to the linguistic registers that characterised the use of Turkish in the same period. It considers the production and circulation of this popular vocal repertoire in relation to reforms in language education and an intense, public conversation about the place of Turkish in a society on the verge of a controversial modernity. My aim has been to suggest new ways of thinking about the role of song in supporting or subverting – and occasionally, both – language practice and efforts at standardisation, as well as considering it in the more general framework of language debate. The material chosen is a small group of songs appeared in the newspaper Ma’lumât in December 1895. By particularly focusing on the way that various registers interweave in the texts, I have suggested that we look at this repertoire as a reflection of wider linguistic/cultural tensions. While Ottoman-period Turkish has often been regarded as an unreadable, impenetrable language belonging to the elites, the case of the sarki and its urban, newspaper reading public suggests that we should begin looking at it as a language spectrum encapsulating a multitude of registers, chosen according to the intended meaning and occasion. I propose to consider song in its capacity to maintain affections and authority, as well as providing a tool for self-mapping in history and tradition. In the late Ottoman scenario, this translates into reconsidering notions of cultural and social schisms in favour of a fluidity in both language and music practice, that is manifest in the sarki text.
{"title":"The Late Ottoman Şarkı and the Interweaving of Registers: Towards an Ideology of Song","authors":"Federica Nardella","doi":"10.33906/musicologist.712316","DOIUrl":"https://doi.org/10.33906/musicologist.712316","url":null,"abstract":"This paper investigates the sarki song form, composed in the late nineteenth century, discussed with regards to the linguistic registers that characterised the use of Turkish in the same period. It considers the production and circulation of this popular vocal repertoire in relation to reforms in language education and an intense, public conversation about the place of Turkish in a society on the verge of a controversial modernity. My aim has been to suggest new ways of thinking about the role of song in supporting or subverting – and occasionally, both – language practice and efforts at standardisation, as well as considering it in the more general framework of language debate. The material chosen is a small group of songs appeared in the newspaper Ma’lumât in December 1895. By particularly focusing on the way that various registers interweave in the texts, I have suggested that we look at this repertoire as a reflection of wider linguistic/cultural tensions. While Ottoman-period Turkish has often been regarded as an unreadable, impenetrable language belonging to the elites, the case of the sarki and its urban, newspaper reading public suggests that we should begin looking at it as a language spectrum encapsulating a multitude of registers, chosen according to the intended meaning and occasion. I propose to consider song in its capacity to maintain affections and authority, as well as providing a tool for self-mapping in history and tradition. In the late Ottoman scenario, this translates into reconsidering notions of cultural and social schisms in favour of a fluidity in both language and music practice, that is manifest in the sarki text.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42711380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-30DOI: 10.33906/musicologist.698859
Ines Körver
According to a Brazilian saying, choro is the father of samba and the grandfather of bossa nova. Starting off as a way of interpreting European music with an African twist, it developed from a lower middle-class style played for fun and without monetary ambition to one of Brazil’s most revered genres, played by all classes. Choro fell in and out of fashion various times: It was declared to be the embodiment of Brazilianness in the 1920s, 1930s, and 1970s, and almost vanished twice (in the 1950s and 1960s, and from the 1980s into the early 1990s), because it was considered old-fashioned. When exactly choro saw the light of day, is a matter of discussion. This will be described in the article. We come to the conclusion that choro can claim to be 150 years old and has now reached its most diverse stage so far. It boasts a fairly good infrastructure with institutes, schools, concerts, jam sessions, sheet music, method books, books, an online magazine, CDs, films, radio broadcasts, TV productions, websites, and diligent studies, both by instrumentalists and scholars. Furthermore, it is by now played on all inhabited continents.
{"title":"150 Years of Choro – Where Are We Now?","authors":"Ines Körver","doi":"10.33906/musicologist.698859","DOIUrl":"https://doi.org/10.33906/musicologist.698859","url":null,"abstract":"According to a Brazilian saying, choro is the father of samba and the grandfather of bossa nova. Starting off as a way of interpreting European music with an African twist, it developed from a lower middle-class style played for fun and without monetary ambition to one of Brazil’s most revered genres, played by all classes. Choro fell in and out of fashion various times: It was declared to be the embodiment of Brazilianness in the 1920s, 1930s, and 1970s, and almost vanished twice (in the 1950s and 1960s, and from the 1980s into the early 1990s), because it was considered old-fashioned. When exactly choro saw the light of day, is a matter of discussion. This will be described in the article. We come to the conclusion that choro can claim to be 150 years old and has now reached its most diverse stage so far. It boasts a fairly good infrastructure with institutes, schools, concerts, jam sessions, sheet music, method books, books, an online magazine, CDs, films, radio broadcasts, TV productions, websites, and diligent studies, both by instrumentalists and scholars. Furthermore, it is by now played on all inhabited continents.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44236767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-30DOI: 10.33906/MUSICOLOGIST.527269
Marijana Markovikj, Eleonora Serafimovska, Ganka Cvetanova, V. Serafimovska
Macedonian folk songs, as a part of Macedonian traditions and culture, represent an integral part of Macedonian history marked by resistance, military feats, and tendencies for maintaining the Macedonian national identity. This paper is focused on the issue of whether two Macedonian folk songs With Torments I was Born and Listen Patriots created in the course of the 19 th century – a period marked with active struggle for liberation and independence of the Macedonian nation – additionally intensify the emotions provoked by the storyline and action of the films, in which they have been incorporated. During the research process, the authors of the paper used the mechanism of cognitive appraisal as a model for content analysis, as well as psychological and ethnomusicological analysis of the resulting data. The units of content analysis were the sequences of scenes of the film, in which the two Macedonian folk songs were used. The selected songs and films, as well as the interaction between the sound and visual senses, clearly present the deep relationship between music and emotions in a specific, identity-related context. The findings of the study are in favor of the thesis that Macedonian folk songs, created as a result of the centuries-old struggle of the Macedonian people, when used in Macedonian films, intensify the patriotic emotions of the viewers and strengthen the concept of uniqueness in the Macedonian identity, due to the processes of repetition and revitalization of collective memories.
{"title":"The Role of Macedonian Folk Songs Featured in Macedonian Films in Amplifying the Emotions","authors":"Marijana Markovikj, Eleonora Serafimovska, Ganka Cvetanova, V. Serafimovska","doi":"10.33906/MUSICOLOGIST.527269","DOIUrl":"https://doi.org/10.33906/MUSICOLOGIST.527269","url":null,"abstract":"Macedonian folk songs, as a part of Macedonian traditions and culture, represent an integral part of Macedonian history marked by resistance, military feats, and tendencies for maintaining the Macedonian national identity. This paper is focused on the issue of whether two Macedonian folk songs With Torments I was Born and Listen Patriots created in the course of the 19 th century – a period marked with active struggle for liberation and independence of the Macedonian nation – additionally intensify the emotions provoked by the storyline and action of the films, in which they have been incorporated. During the research process, the authors of the paper used the mechanism of cognitive appraisal as a model for content analysis, as well as psychological and ethnomusicological analysis of the resulting data. The units of content analysis were the sequences of scenes of the film, in which the two Macedonian folk songs were used. The selected songs and films, as well as the interaction between the sound and visual senses, clearly present the deep relationship between music and emotions in a specific, identity-related context. The findings of the study are in favor of the thesis that Macedonian folk songs, created as a result of the centuries-old struggle of the Macedonian people, when used in Macedonian films, intensify the patriotic emotions of the viewers and strengthen the concept of uniqueness in the Macedonian identity, due to the processes of repetition and revitalization of collective memories.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48383982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-30DOI: 10.33906/MUSICOLOGIST.557795
V. Vicente
By the year 2010, both Turkey and Egypt had achieved tremendous success in growing their tourism markets, in part by turning to Sufi spiritual and musical practices, which had by then been internally rehabilitated after being historically met with suspicion or outright suppression even as they gained a global following in the New Spiritualties and World Music arenas. Taking the case of the so-called ‘whirling dervish show,’ this article traces how its characteristic ‘dance’ was strategically used to promote tourism and how rituals featuring it were adapted for presentation to ever-bigger audiences coming from abroad. Based on ethnographic research conducted in Cairo and throughout Turkey, the article demonstrates how binary distinctions between tourist and pilgrim, sacred and profane, and local and foreign , become quickly blurred or contested at these shows and in other sacred settings involving travel. Further embedding the musical ethnographer within these vagaries, the article seeks two main ends: to call for an ethnomusicological method that better accounts for tourists and their subjective experiences and, thereby, to also encourage more open reflexive framework in which the fieldworker working in tourist and tourist-like settings can better take stock of their own positionality while in situ and when engaging in the writing of ethnography.
{"title":"Itineraries of Enlightenment: Whirling Dervish Shows, Ethnographic Reflexivity, and Tourism in Egypt and Turkey","authors":"V. Vicente","doi":"10.33906/MUSICOLOGIST.557795","DOIUrl":"https://doi.org/10.33906/MUSICOLOGIST.557795","url":null,"abstract":"By the year 2010, both Turkey and Egypt had achieved tremendous success in growing their tourism markets, in part by turning to Sufi spiritual and musical practices, which had by then been internally rehabilitated after being historically met with suspicion or outright suppression even as they gained a global following in the New Spiritualties and World Music arenas. Taking the case of the so-called ‘whirling dervish show,’ this article traces how its characteristic ‘dance’ was strategically used to promote tourism and how rituals featuring it were adapted for presentation to ever-bigger audiences coming from abroad. Based on ethnographic research conducted in Cairo and throughout Turkey, the article demonstrates how binary distinctions between tourist and pilgrim, sacred and profane, and local and foreign , become quickly blurred or contested at these shows and in other sacred settings involving travel. Further embedding the musical ethnographer within these vagaries, the article seeks two main ends: to call for an ethnomusicological method that better accounts for tourists and their subjective experiences and, thereby, to also encourage more open reflexive framework in which the fieldworker working in tourist and tourist-like settings can better take stock of their own positionality while in situ and when engaging in the writing of ethnography.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70076476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-30DOI: 10.33906/MUSICOLOGIST.560186
S. Ziegler
In the focus of this paper are historical sources of Turkish music kept in institutions and archives in Berlin. They are, first and foremost, due to the work of Kurt Reinhard (1914–1979), professor at the Free University in Berlin (1948–1977) and director of the Berlin Phonogramm-Archiv (1952–1968). From 1955 onwards, he intensively did fieldwork in Turkey, often together with his wife Ursula, and published and lectured on Turkish music. Today Reinhard’s sound recordings are preserved in the Phonogramm-Archiv in the Ethnological Museum in Berlin, together with ample documentation, photos, writings, correspondence, and personal documents. Additional materials, including recordings and publications of his students and colleagues, preserved in the Institute for Comparative Musicology of the Free University, have also been given to the Phonogramm-Archiv. These historical documents form a unique collection of cultural heritage of Turkish music, which includes examples of music and dance from the late 1950’s through the end of the 20th century. In my article I shall briefly introduce the different Berlin institutions and provide information on the sound collections of Turkish music recorded in Turkey by Reinhard, his wife, his students, and colleagues from 1955 onwards.
{"title":"Historical Sources of Turkish Music in Berlin: The Kurt Reinhard Collections in the Berlin Phonogramm-Archiv","authors":"S. Ziegler","doi":"10.33906/MUSICOLOGIST.560186","DOIUrl":"https://doi.org/10.33906/MUSICOLOGIST.560186","url":null,"abstract":"In the focus of this paper are historical sources of Turkish music kept in institutions and archives in Berlin. They are, first and foremost, due to the work of Kurt Reinhard (1914–1979), professor at the Free University in Berlin (1948–1977) and director of the Berlin Phonogramm-Archiv (1952–1968). From 1955 onwards, he intensively did fieldwork in Turkey, often together with his wife Ursula, and published and lectured on Turkish music. Today Reinhard’s sound recordings are preserved in the Phonogramm-Archiv in the Ethnological Museum in Berlin, together with ample documentation, photos, writings, correspondence, and personal documents. Additional materials, including recordings and publications of his students and colleagues, preserved in the Institute for Comparative Musicology of the Free University, have also been given to the Phonogramm-Archiv. These historical documents form a unique collection of cultural heritage of Turkish music, which includes examples of music and dance from the late 1950’s through the end of the 20th century. In my article I shall briefly introduce the different Berlin institutions and provide information on the sound collections of Turkish music recorded in Turkey by Reinhard, his wife, his students, and colleagues from 1955 onwards.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49066761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-30DOI: 10.33906/MUSICOLOGIST.563206
Daniela Ivanova-Nyberg
This text is the result of an ethnochoreological and anthropological investigation of folk dance practices at Balkan Fest in San Diego, California (2013 et seq.), in which the Bulgarian community plays a central role. Although Balkan Fest has already been approached in one of my earlier works, and the California Bulgarian community has been addressed in a paper discussing the ‘re-discovery’ of Bulgarian folk dance, there was no focus on transnational and transcultural approaches (and experiences) in these works, which are addressed in the present text; these approaches are adopted here for setting the context and supporting my analysis. Balkan Fest reveals “ways of belonging”, in which Bulgarian music and dance play an important role. This article proposes that, to many of the festival’s attendees, the festival’s campground became a space (a ‘village,’ a ‘home’) where one is physically absent, but spiritually and emotionally present in one’s country of origin. Besides being a playground – both metaphorically and literally – the festival offers various activities for children to retain their Bulgarian ethnic identity (although raised as Bulgarian-Americans). Simultaneously, this is a California ‘Balkan Fest,’ in which people of different backgrounds meet, and where the dance floor becomes a venue for the convergence of various dance traditions.
{"title":"Transnationality, Transculturality and Ethnicity: A Look at Balkan Fest, San Diego, California","authors":"Daniela Ivanova-Nyberg","doi":"10.33906/MUSICOLOGIST.563206","DOIUrl":"https://doi.org/10.33906/MUSICOLOGIST.563206","url":null,"abstract":"This text is the result of an ethnochoreological and anthropological investigation of folk dance practices at Balkan Fest in San Diego, California (2013 et seq.), in which the Bulgarian community plays a central role. Although Balkan Fest has already been approached in one of my earlier works, and the California Bulgarian community has been addressed in a paper discussing the ‘re-discovery’ of Bulgarian folk dance, there was no focus on transnational and transcultural approaches (and experiences) in these works, which are addressed in the present text; these approaches are adopted here for setting the context and supporting my analysis. Balkan Fest reveals “ways of belonging”, in which Bulgarian music and dance play an important role. This article proposes that, to many of the festival’s attendees, the festival’s campground became a space (a ‘village,’ a ‘home’) where one is physically absent, but spiritually and emotionally present in one’s country of origin. Besides being a playground – both metaphorically and literally – the festival offers various activities for children to retain their Bulgarian ethnic identity (although raised as Bulgarian-Americans). Simultaneously, this is a California ‘Balkan Fest,’ in which people of different backgrounds meet, and where the dance floor becomes a venue for the convergence of various dance traditions.","PeriodicalId":29680,"journal":{"name":"Musicologist","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42217703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：