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Editor’s Introduction 编辑器的介绍
Q3 Arts and Humanities Pub Date : 2016-01-02 DOI: 10.1080/10611959.2016.1274951
Marjorie Mandelstam Balzer
Through shared music, people claim and bring to life diverse, overlapping, and situational identities. Music has special resonance for indigenous peoples making valiant efforts to keep their languages, spirituality, and rituals alive, and for post-Soviet groups proclaiming state-level national identities. The articles featured here represent varied approaches to this issue. Ethnonational identities vie with other kinds of expressions of self-worth and beauty. Music both transcends ethnic boundaries and stimulates ethnic identity. Three of the four articles in this issue came to me as original manuscripts sent by their authors within the past year, beginning with the delightful unsolicited article by Oksana Dobzhanskaia. The book chapter by the dean of ethnomusicologists, Eduard Alekseev, is a classic I have long wanted to publicize in English. The theme of music and identity has been chosen to complement our recent issue (vol. 54, no. 3) “Art, Identity, and Ethnicity.” The lead article, by ethnomusicologist and veteran fieldworker Oksana Eduardovna Dobzhanskaya, plunges us into the archaic world of music as natural sound, the building blocks of early music, which have implications for common circumpolar shamanic cultural roots. The cultural-linguistic group highlighted in the article are Samodeic speakers, once called infelicitously in the literature and by linguists “Samoyedic [literally Self-Eater].” They are the West Siberian Nenets, Enets, Nganasan, and Sel’kup in Dobzhanskaya’s text. The Anthropology & Archeology of Eurasia, vol. 55, no. 1, 2016, pp. 1–6. © 2016 Taylor & Francis Group, LLC ISSN: 1061-1959 (print)/ISSN 1558-092X (online) DOI: 10.1080/10611959.2016.1274951
通过共享音乐,人们主张并赋予生活不同的、重叠的和情境的身份。对于那些勇敢努力保持自己语言、精神和仪式活力的土著人民,以及那些宣布国家级民族认同的后苏联群体,音乐有着特殊的共鸣。这里的文章代表了解决这个问题的不同方法。民族认同与其他类型的自我价值和美的表达相冲突。音乐既超越了民族界限,又激发了民族认同。本期四篇文章中有三篇是作者在过去一年内寄给我的原稿,首先是奥克萨娜·多布赞卡娅那篇令人愉快的主动投稿文章。民族音乐学院院长爱德华·阿列克谢耶夫(Eduard Alekseev)撰写的这本书的章节是我一直想用英语宣传的经典作品。我们选择了音乐与身份的主题来补充我们最近的一期(第54卷,第54期)。3)“艺术、身份和种族”。由民族音乐学家和资深田野工作者Oksana Eduardovna Dobzhanskaya撰写的第一篇文章,将我们带入了作为自然声音的古老音乐世界,这是早期音乐的基石,它暗示了共同的极地萨满教文化根源。这篇文章中强调的文化语言群体是萨摩代人,在文学和语言学家中曾被不恰当地称为“萨摩耶迪人”。在Dobzhanskaya的文本中,他们是西伯利亚西部的涅涅茨人,埃涅茨人,Nganasan和Sel 'kup。《欧亚大陆的人类学与考古学》第55卷第1期。《科学》,2016,第1 - 6页。©2016 Taylor & Francis Group, LLC ISSN: 1061-1959(印刷)/ISSN 1558-092X(在线)DOI: 10.1080/10611959.2016.1274951
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引用次数: 1
The Yakut Folk Song: A Brief Ethnographic-Musical Sketch 雅库特民歌:一个简短的民族志音乐小品
Q3 Arts and Humanities Pub Date : 2016-01-02 DOI: 10.1080/10611959.2016.1263484
E. Alekseyev
The author reviews the many genres of Yakut (Sakha) folk music, arguing that its richness is illustrated through the vitality and adaptability of song [toyuk], epos [olonkho], prayer [algys], and improvisational circle dance chanting [okhuokhai]. Some traditionally multi-media and multi-vocal forms, such as shamanic dramas and full-length epic singing, have been rechanneled, with their creative spirit being inherited by the most varied manifestations of Yakut artistic culture—words, painting, and music.
作者回顾了雅库特(萨哈)民族音乐的许多流派,认为其丰富性是通过歌曲[toyuk],史诗[olonkho],祈祷[algys]和即兴圆圈舞吟诵[okhuokhai]的活力和适应性来说明的。一些传统的多媒体和多声音形式,如萨满戏剧和长篇史诗歌唱,被重新引导,其创作精神被雅库特艺术文化中最多样化的表现形式-文字,绘画和音乐所继承。
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引用次数: 1
Style and Genre Aspects of Kazym Khanty Bear Festival Songs Kazym hanty Bear节日歌曲的风格和体裁方面
Q3 Arts and Humanities Pub Date : 2016-01-02 DOI: 10.1080/10611959.2016.1263489
O. Vasylenko
The bear festival of the Kazym Khanty represents a multicomponent cultural and religious phenomenon, featuring key ritual and mythic symbols of the Khanty world, closely correlated to the richest level of Ob’-Ugrian musical depth. Relevant literature encompasses significant works by ethnographers, musicologists, and culturologists from the eighteenth through nineteenth centuries. Nevertheless, the style and genre aspects of analyzing ritual bear-honoring songs of the Kazym Khanty has been insufficiently studied. The article explores the genre and musical component of the bear festival as a unified traditional culture conceptual text. Classification of the ritual songs requires studying the rite’s dramaturgy, integrated structurally. The ritual bear complex and its actions can be structurally analyzed according to genre and by ethnic group. Theoretical interpretation and musical style typology can be derived using a hierarchy of Kazym Khanty bear songs. Aleatoric principles [from Latin, aleatorius or playful] pertain to songs within a genre group in a specific order, as in the preliminary moments of a shamanic séance, thus indicating the musical structure of the bear festival in each concrete situation. Homogeneity characterizes melodies that are sacral and profane. The entire rite forms a stylistic series: sequential (a horizontal axis, within phrases, genre groups and songs), and diachronic (a multi-temporal vertical axis). Intonation enables a unified environment that integrates song arrangement. The bear festival is therefore envisioned as a style and genre system.
卡齐姆汗特人的熊节代表了一种多元的文化和宗教现象,具有汗特世界的关键仪式和神话符号,与鄂布乌格里亚音乐深度的最丰富水平密切相关。相关文献包括18至19世纪的民族志学家、音乐学家和文化学家的重要作品。然而,分析卡齐姆汉蒂礼乐歌的风格和体裁方面的研究还不够充分。本文将熊节作为一个统一的传统文化概念文本,探讨其体裁和音乐成分。礼歌的分类需要研究礼歌的戏剧性,在结构上进行整合。仪式承载情结及其行为可以按体裁、按族群进行结构分析。理论解释和音乐风格类型学可以用卡齐姆汉蒂熊歌曲的层次来推导。Aleatoric principles[源自拉丁语,aleatorius或playful]指的是某一音乐流派中按特定顺序排列的歌曲,如萨满式萨摩赛的开场曲,从而表明了熊节在每个具体情境中的音乐结构。同质性是神圣和亵渎的旋律的特征。整个仪式形成一个风格系列:顺序(横轴,在短语,流派组和歌曲中)和历时(多时间垂直轴)。Intonation实现了一个统一的环境,集成了歌曲的编排。因此,熊节被设想为一种风格和流派系统。
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引用次数: 2
The Musical Treasure-Trove of Uzbekistan: The Phenomenon of Uzbek Classical Music 乌兹别克斯坦的音乐宝库:乌兹别克古典音乐现象
Q3 Arts and Humanities Pub Date : 2016-01-02 DOI: 10.1080/10611959.2016.1263486
Otanazar Matyakubov
This article, derived from a chapter in the book Musical Treasure-Trove of Uzbekistan, addresses the history, sources, theory, and practice of the Uzbek classical music called makom [maqâm]. The author argues that Uzbek classical music has an unbroken, complex, and philosophical legacy that has come down to us as a living tradition from numerous sources in the wider region of Central Asia. He illustrates his innovative interpretation with diverse music samples and elaborate analysis of makom terminology.
本文摘自《乌兹别克斯坦音乐宝库》一书中的一章,讲述了乌兹别克斯坦古典音乐makom [maq]的历史、来源、理论和实践。作者认为,乌兹别克古典音乐具有完整的、复杂的和哲学的遗产,作为一种生活的传统,从中亚广大地区的众多来源流传下来。他用不同的音乐样本和对makom术语的详细分析来说明他的创新诠释。
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引用次数: 0
Editor's Introduction 编辑器的介绍
Q3 Arts and Humanities Pub Date : 2015-10-02 DOI: 10.1080/10611959.2015.1230458
M. Balzer
Scholars have many ways to push the boundaries of archeology and further the field. One is to establish an entire new line of cultural grouping or humanoid existence, something newsworthy and rare. Another, more common practice is to expand the known areal of a given established cultural tradition. Further possibilities include deepening time horizons, and creating new understandings of migrations of peoples. Uncovering class, gender, rural–urban, and nomadic–settled differences can become pathways toward new frameworks. Collaborative use of multiple technologies and disciplines to create new synergistic learning is yet another important way to advance archeologically based knowledge. These only begin to touch the surface of a field that is constantly expanding through attention to minute details. In the archeology of Russia, and more broadly, in Russian-influenced archeology throughout the whole Soviet and post-Soviet territory, attention to detail, collaborative mixes of multiple disciplines, and flexible understanding of changing migration or class patterns in Eurasia have long been established standards. They require communication across countries, access to museum collections, and complex technologies that are not always easily available. However, the superb record of diligent archeological research continues, and is represented by the première journal Rossiiskaia Arkheologiia. The articles in this issue, recently published in Rossiiskaia Arkheologiia, represent several ways to push the boundaries of archeologically dominant knowledge. The first, by Vladimir Iu. Koval,
学者们有很多方法来突破考古学的界限,并进一步发展考古领域。一种是建立一种全新的文化分组或类人存在,这是有新闻价值且罕见的。另一种更常见的做法是扩大既定文化传统的已知领域。进一步的可能性包括加深时间范围,并对各国人民的移徙产生新的理解。揭示阶级、性别、城乡和游牧民族定居的差异可以成为通往新框架的途径。协同使用多种技术和学科来创造新的协同学习是推进考古学基础知识的另一个重要途径。这些只是开始触及一个领域的表面,这个领域通过对微小细节的关注而不断扩大。在俄罗斯考古学中,更广泛地说,在整个苏联和后苏联领土上受俄罗斯影响的考古学中,对细节的关注,多学科的协作混合,以及对欧亚大陆不断变化的移民或阶级模式的灵活理解,长期以来一直是既定的标准。它们需要各国之间的交流,博物馆藏品的访问,以及并不容易获得的复杂技术。然而,孜孜不倦的考古研究的卓越记录仍在继续,并以《俄罗斯考古》(Rossiiskaia Arkheologiia)杂志为代表。本期的文章最近发表在《俄罗斯考古》(Rossiiskaia Arkheologiia)上,代表了几种突破考古学主流知识界限的方法。第一本,弗拉基米尔·刘(Vladimir Iu)著。Koval,
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引用次数: 0
Female Elite Burial from the Upper Don Hunnic Time Settlement of Mukhino 2: A Bioarcheological Reconstruction 上敦匈奴时期穆奇诺2号聚落的女性精英墓葬:生物考古重建
Q3 Arts and Humanities Pub Date : 2015-10-02 DOI: 10.1080/10611959.2015.1114874
Mariia V. Dobrovol'skaia, G. L. Zemtsov, A. Mastykova, M. B. Mednikova
The article examines female burial 1, discovered at the multiple-layered settlement of Mukhino 2 (Zadonskii raion of Lipetsk oblast) on the left bank of the Snova River not far from where it flows into the Don River. Anthropological research of the skeletal remains has shown that they belong to a woman twenty to twenty-nine years of age. Burial 1 from the Mukhino 2 settlement is accompanied by grave goods typical of burials of the “barbarian” nobility in the Hunnic period, indicating a high social rank of the buried woman. Her attire is analogous to cultural traditions of the sedentary population of the Late Antique centers of the northern Black Sea region. Based on the grave goods, the Mukhino entombment can be dated to the end of the D2 period through the beginning of the D2/D3 in the “barbarian” European chronology, approximately the years 430–50. Morphological characterization of the postcranial skeleton suggests her refinement. Comparison with previously examined Sarmatian and Alanic female samples from the “elite rafts” of the Klin-Iar complex helps to identify certain similar features. It has been established from isotopic and elemental analysis data that animal proteins did not predominate in the buried woman's dietary structure, while plants of the C4 photosynthesis type (millet?) comprised a considerable portion, indicating a sedentary lifestyle. This assumption finds additional corroboration in the results of paleobotanical research on regional finds. Skeletal remains reveal a complex of features pointing to a possible southern origin for the buried woman.
这篇文章研究了女性的墓葬,这是在离流入顿河不远的斯诺瓦河左岸的Mukhino(利佩茨克州的Zadonskii地区)多层定居点发现的。对遗骸的人类学研究表明,这些遗骸属于一名20至29岁的女性。穆克希诺定居点的墓葬伴随着匈奴时期“野蛮人”贵族的典型墓葬用具,表明被埋葬的女性具有很高的社会地位。她的服装类似于黑海北部地区古代晚期定居人口的文化传统。根据墓葬的物品,Mukhino墓葬可以追溯到“蛮族”欧洲年表中D2时期的末期到D2/D3时期的开端,大约是430-50年。颅后骨骼的形态学特征表明她很精致。与先前从克林-伊尔复合体的“精英筏”中提取的萨尔马提亚和亚兰亚女性样本进行比较,有助于确定某些相似的特征。从同位素和元素分析数据可以确定,动物蛋白质在被埋葬的女性的饮食结构中并不占主导地位,而C4光合作用类型的植物(小米?)占相当大的一部分,表明她的生活方式是久坐不动的。这一假设在区域发现的古植物学研究结果中得到了进一步的证实。骨骼残骸显示出复杂的特征,表明被埋葬的女性可能来自南方。
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引用次数: 1
Editorial Board EOV 编辑委员会EOV
Q3 Arts and Humanities Pub Date : 2015-10-02 DOI: 10.1080/10611959.2015.1252207
Sources used: Original manuscripts, plus articles from Etnograficheskoe obozrenie (Ethnographic Review); Rossiiskaia arkheologiia (Russian Archeology); Trudy Instituta etnografii (Works of the Institute of Ethnography); Sbornik Muzeia antropologii i etnografii (Collection of the Museum of Anthropology and Ethnography); Voprosy filosofii (Problems of Philosophy); Voprosy istorii (Problems of History); Novoe v etnografii (New in Ethnography); Nauka i religiia (Science and Religion); Obshchestvennye nauki (Social Sciences); Issledovaniia po prikladnoi i neotlozhnoi etnologie (Studies in Applied and Urgent Ethnology); Vostok (The East); Federalizm; Panorama-Forum. Articles in this issue are translated by arrangement with the copyright holders.
来源:原始手稿,加上Etnograficheskoe obozrenie(人种学评论)的文章;俄罗斯考古学;Trudy Instituta etnografii(人种学研究所著作);Sbornik Muzeia anthropologii i etnografii(人类与民族志博物馆收藏);哲学问题;历史问题;Novoe v etnografii(新民族志);科学与宗教;社会科学;应用民族学与紧急民族学研究;东方;Federalizm;Panorama-Forum。本刊文章经与版权方安排翻译。
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引用次数: 0
An Alan Burial from the Era of the Great Migration of Peoples on the Middle Don 中顿河民族大迁徙时期的艾伦葬
Q3 Arts and Humanities Pub Date : 2015-10-02 DOI: 10.1080/10611959.2015.1216214
V. Berezutskii, A. Medvedev
The article discusses a burial in a catacomb discovered in a barrow at the village of Losevo in Pavlovsk raion, Voronezh oblast. In terms of the rite and accompanying grave goods, it is practically identical to the T-shaped catacombs of the area along the lower reaches of the Don River from the fourth century CE. The burial could have been that of an Alan who had survived a pogrom by Huns and fled northward into remote areas of the forest-steppe along the Don.
这篇文章讨论了在沃罗涅日州巴甫洛夫斯克地区Losevo村的一个古墓中发现的一处地下墓穴。就仪式和陪葬品而言,它与公元4世纪顿河下游地区的t形地下墓穴几乎完全相同。这可能是一个艾伦人的葬礼,他在匈奴人的大屠杀中幸存下来,向北逃到了顿河沿岸的森林草原的偏远地区。
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引用次数: 0
On One Type of Early Sarmatian Incense Burner 论一种早期撒马西亚香炉
Q3 Arts and Humanities Pub Date : 2015-10-02 DOI: 10.1080/10611959.2015.1216215
A. Skripkin
The article features a rarely encountered type of incense burner of a cubic form from the burial sites of the Early Sarmatian culture. Only three instances of such incense burners in the burials of the second and first centuries BCE are known in the Volga—Don region. This type of incense burner becomes widely prevalent at a later time, starting with the mid-second century BCE, in burials of the Late Sarmatian culture. The context of the finds of early cubic incense burners allows us to assume that migrations of nomads into the region of the Volga—Don steppes in the Early and Late Sarmatian period originated from a close territory.
这篇文章的特点是一种罕见的立方体香炉,来自早期萨尔马西亚文化的墓地。在伏尔加-顿河地区,人们只知道在公元前2世纪和1世纪的墓葬中有3个这样的香炉。这种类型的香炉在后来的一段时间开始广泛流行,从公元前二世纪中期开始,在晚期萨尔马西亚文化的葬礼中。早期立方体香炉发现的背景使我们能够假设,在早期和晚期的萨尔马时期,游牧民族迁移到伏尔加-顿河大草原地区,起源于一个封闭的领土。
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引用次数: 1
The Main Line of Defensive Fortifications at Rostislavl'-Riazanskii 罗斯提斯拉夫尔-里亚赞斯基的防御工事主线
Q3 Arts and Humanities Pub Date : 2015-10-02 DOI: 10.1080/10611959.2015.1114872
V. Koval
This article presents the results of cross-cutting an embankment and ditch at the Rostislavl' fortified settlement, the remnants of a town mentioned in the chronicles. After identifying sectional profiles of the trenches, for every 20–30 centimeters, it was possible to discern hard-to-detect remnants of timber from log constructions that had completely decayed and been displaced by native soil (yellow loam). It was established that the embankment visible today is the ruins of a wood and timber wall. This approach has clarified the sequence of the backfilling of soil into the log constructions and the description of this soil after the timber had rotted. This permitted us to establish traces of four successive walls rebuilt repeatedly. Radiocarbon analysis of the charcoal from under the wall foundations and study of the objects and ceramics from the extensions to the wall have allowed stages of fort construction to be dated to the late thirteenth through fifteenth centuries. The founding placement of the fortification of Rostislavl' in the second half of the twelfth through the first half of the thirteenth centuries is documented.
这篇文章展示了在Rostislavl'强化定居点(编年史中提到的一个城镇的遗迹)横切堤坝和沟渠的结果。在确定了堑壕的剖面后,每隔20-30厘米,就有可能辨别出原木建筑中难以检测的残余木材,这些木材已经完全腐烂并被原生土壤(黄壤土)所取代。人们确定,今天可见的堤防是一堵木头和木墙的废墟。这种方法明确了木材结构中土壤回填的顺序以及木材腐烂后土壤的描述。这使我们能够确定四个连续的城墙反复重建的痕迹。对墙体基础下的木炭进行放射性碳分析,对墙体延伸部分的物品和陶瓷进行研究,可以确定堡垒的建造阶段可以追溯到13世纪末到15世纪。罗斯提斯拉夫尔防御工事的建立地点在十二世纪下半叶到十三世纪上半叶有文献记载。
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引用次数: 0
期刊
Anthropology and Archeology of Eurasia
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