This is a short review-essay on the book “Tìm Hiểu Âm Nhạc Tài Tử XXABSTRACT Cải Lương” by Kiều Tấn. Ho Chi Minh City: Nhà xuất bản tổng hợp Thành phố Hồ Chí Minh.
这是一篇关于 Kiều Tấn 所著《Tìm Hiểu Âm Nhạc Tài Tử XXABSTRACT Cải Lương 》一书的简短评论文章。胡志明市：Nhà xuất bản tổngợp Thành phố Hồ Chí Minh.
{"title":"Review-Essay on The Book “Tìm Hiểu Âm Nhạc Tài Tử XXTITEL Cải Lương” By Kiều Tấn. 2023. Ho Chi Minh City: Nhà Xuất Bản Tổng Hợp Thành Phố Hồ Chí Minh","authors":"Gisa Jähnichen","doi":"10.30819/aemr.13-10","DOIUrl":"https://doi.org/10.30819/aemr.13-10","url":null,"abstract":"\u0000 This is a short review-essay on the book “Tìm Hiểu Âm Nhạc Tài Tử XXABSTRACT Cải Lương” by Kiều Tấn. Ho Chi Minh City: Nhà xuất bản tổng hợp Thành phố Hồ Chí Minh.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"12 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141270955","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}
Ordos is a prefecture-level city of the Inner Mongolia Autonomous Region. Besides the famous Genghis Khan’s Remembrance Place as its significant feature of the past, it also features some gur songs of the Mongolian grassland. Although little known to the world, Gur songs have long served in Mongolian rulers’ circles from ancient times. Through reconstruction, revitalization, and re-textualization over three millennia, Gur songs are regarded to represent local Mongolian culture as they are deeply rooted in Hanggin (a special district of the city) of Ordos. Crises of a heritage solely built on a single inheritor are emerging: Will the cultural memory of the community decay after the demise of the ‘inheritor’? Will there be a memory gap? Does the orally transmitted ritual music preserve the cultural memory of the Mongolian community in the process? How does the century-old music tradition find its connection to Ordos, a city with an urbanization history of under 20 years? This discussion queries the reconstitution of memory through an ethnography of this Mongolian heritage example in Ordos, expecting to be a critical inspection for the persistence of the cultural memory of the community.
{"title":"Memory of the Grassland: How to Keep Singing Mongolian Gür Songs in Today’s Ordos City, China","authors":"Wu Ruiping [武瑞平], Chow Ow Wei [曹爾威]","doi":"10.30819/aemr.13-1","DOIUrl":"https://doi.org/10.30819/aemr.13-1","url":null,"abstract":"\u0000 Ordos is a prefecture-level city of the Inner Mongolia Autonomous Region. Besides the famous Genghis Khan’s Remembrance Place as its significant feature of the past, it also features some gur songs of the Mongolian grassland. Although little known to the world, Gur songs have long served in Mongolian rulers’ circles from ancient times. Through reconstruction, revitalization, and re-textualization over three millennia, Gur songs are regarded to represent local Mongolian culture as they are deeply rooted in Hanggin (a special district of the city) of Ordos. Crises of a heritage solely built on a single inheritor are emerging: Will the cultural memory of the community decay after the demise of the ‘inheritor’? Will there be a memory gap? Does the orally transmitted ritual music preserve the cultural memory of the Mongolian community in the process? How does the century-old music tradition find its connection to Ordos, a city with an urbanization history of under 20 years? This discussion queries the reconstitution of memory through an ethnography of this Mongolian heritage example in Ordos, expecting to be a critical inspection for the persistence of the cultural memory of the community.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"31 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141271010","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}
After the establishment of the People's Republic of China in 1949, a group of guqin players from the folk were integrated into official music research and educational institutions. Under the guidance of the cultural policies advocated by the new regime, they created a considerable number of new guqin compositions that reflected the characteristics of the times. This paper primarily focuses on the historical and morphological study of nine guqin pieces composed by Yu Shaoze [喻绍泽] (1903-1988), the earliest professional guqin music teacher in the west China, between 1956 and 1966.In the historical research section, the article examines the historical context of these works from two perspectives: the personal circumstances of the guqin player and the socio-political atmosphere in China. In the musicological research section, the article studies these works within the author-work relationship to investigate how the guqin player's performance experience shaped the forms of these compositions. Simultaneously, it explores how the author responded to the political demands and tastes of the Chinese authorities regarding music compositions during the 1950s and 1960s in his creative process.
{"title":"Research On Guqin Composition In Mainland China In The 1950s And 1960s: Some Works Of Yu Shaoze [喻绍泽]","authors":"Zeng He [曾 Loo Fung Chiat [卢芳洁]","doi":"10.30819/aemr.13-8","DOIUrl":"https://doi.org/10.30819/aemr.13-8","url":null,"abstract":"\u0000 After the establishment of the People's Republic of China in 1949, a group of guqin players from the folk were integrated into official music research and educational institutions. Under the guidance of the cultural policies advocated by the new regime, they created a considerable number of new guqin compositions that reflected the characteristics of the times. This paper primarily focuses on the historical and morphological study of nine guqin pieces composed by Yu Shaoze [喻绍泽] (1903-1988), the earliest professional guqin music teacher in the west China, between 1956 and 1966.In the historical research section, the article examines the historical context of these works from two perspectives: the personal circumstances of the guqin player and the socio-political atmosphere in China. In the musicological research section, the article studies these works within the author-work relationship to investigate how the guqin player's performance experience shaped the forms of these compositions. Simultaneously, it explores how the author responded to the political demands and tastes of the Chinese authorities regarding music compositions during the 1950s and 1960s in his creative process.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"104 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141272554","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}
Nurzhan Sartbekova, Alina Dyushenalieva, Yulong Jiang, Rui Wang
The musical culture of the Kyrgyz people is a valuable heritage that reflects its traditions, history, and spiritual values. This study is relevant because in the modern pedagogical process the emphasis on the integration of national cultural features, including music, is becoming increasingly important. It promotes multicultural education and the development of students’ national identity. The purpose of this study was to develop ways to integrate the musical culture of the Kyrgyz people into modern pedagogical education and recommendations for their optimisation. The following methods were used in the study: analytical, specifically, historical analysis; comparative; method of synthesis; as well as methods of generalisation and systematisation. The most revealing was the historical analysis, through which the historical context of the development of Kyrgyz musical culture and its influence on education in different periods of history was studied. The results of the study suggested that the inclusion of elements of musical culture of the Kyrgyz people in the pedagogical process can serve as an effective tool for the development of students’ cultural self-awareness, as well as the development of their emotional and social competence. However, to achieve the best results, clearly formulated methods are needed that consider the specifics of Kyrgyz musical culture and the features of the modern pedagogical process. Among such techniques, the following were identified: cultural immersion, integrated lessons, project-oriented method, organisation of creative working groups, case method, creation of interactive music laboratories, differentiated approach, and application of the method of critical analysis in lessons. The findings of this study can be useful for teachers, students at pedagogical universities, researchers in the field of pedagogy and ethnomusicology, as well as educational authorities.
{"title":"Musical Culture of the Kyrgyz People","authors":"Nurzhan Sartbekova, Alina Dyushenalieva, Yulong Jiang, Rui Wang","doi":"10.30819/aemr.13-4","DOIUrl":"https://doi.org/10.30819/aemr.13-4","url":null,"abstract":"\u0000 The musical culture of the Kyrgyz people is a valuable heritage that reflects its traditions, history, and spiritual values. This study is relevant because in the modern pedagogical process the emphasis on the integration of national cultural features, including music, is becoming increasingly important. It promotes multicultural education and the development of students’ national identity. The purpose of this study was to develop ways to integrate the musical culture of the Kyrgyz people into modern pedagogical education and recommendations for their optimisation. The following methods were used in the study: analytical, specifically, historical analysis; comparative; method of synthesis; as well as methods of generalisation and systematisation. The most revealing was the historical analysis, through which the historical context of the development of Kyrgyz musical culture and its influence on education in different periods of history was studied. The results of the study suggested that the inclusion of elements of musical culture of the Kyrgyz people in the pedagogical process can serve as an effective tool for the development of students’ cultural self-awareness, as well as the development of their emotional and social competence. However, to achieve the best results, clearly formulated methods are needed that consider the specifics of Kyrgyz musical culture and the features of the modern pedagogical process. Among such techniques, the following were identified: cultural immersion, integrated lessons, project-oriented method, organisation of creative working groups, case method, creation of interactive music laboratories, differentiated approach, and application of the method of critical analysis in lessons. The findings of this study can be useful for teachers, students at pedagogical universities, researchers in the field of pedagogy and ethnomusicology, as well as educational authorities.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"43 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141270290","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}
The often as “ornamental” syllables named language elements refer to song-text particles, sometimes also named ‘vocables’, or appellations interspersed among the lyrics during the actual singing process of the singer. It appears to some extent in the Zhuang singer's singing of songs in various regions. Unfortunately, these syllables are often overlooked in textual records because most of them cannot be interpreted in terms of their actual lexical meaning when they are independent of the wording of the phrase. The specific expressions of the singers play an essential role and are an inseparable part of Zhuang songs. If the core text of the lyrics is like the beam of the house, then the vocables are the bricks of the wall. The combination of the two can build a house of Zhuang songs. Based on audio data of Zhuang songs collected the border and junction areas of western Guangxi, this study compares the difference between the songbook texts written by the singers that need a memory tool and the actual singing syllables used. For that, the authors interviewed the singers, analyzing the changes produced in sound by the vocables or short sentences in the singing process and summarizing their laws and functions within the singing events.
{"title":"The Sound and Function of Different Language Particles in Zhuang Songs of Some Western Areas in Guangxi","authors":"A. F. Musib, Lin Zhi [林芝]","doi":"10.30819/aemr.13-5","DOIUrl":"https://doi.org/10.30819/aemr.13-5","url":null,"abstract":"\u0000 The often as “ornamental” syllables named language elements refer to song-text particles, sometimes also named ‘vocables’, or appellations interspersed among the lyrics during the actual singing process of the singer. It appears to some extent in the Zhuang singer's singing of songs in various regions. Unfortunately, these syllables are often overlooked in textual records because most of them cannot be interpreted in terms of their actual lexical meaning when they are independent of the wording of the phrase. The specific expressions of the singers play an essential role and are an inseparable part of Zhuang songs. If the core text of the lyrics is like the beam of the house, then the vocables are the bricks of the wall. The combination of the two can build a house of Zhuang songs. Based on audio data of Zhuang songs collected the border and junction areas of western Guangxi, this study compares the difference between the songbook texts written by the singers that need a memory tool and the actual singing syllables used. For that, the authors interviewed the singers, analyzing the changes produced in sound by the vocables or short sentences in the singing process and summarizing their laws and functions within the singing events.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"30 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141268984","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}
This research project explores the creative potential and sustainable innovation of designing and developing musical instruments using recycled materials, specifically focusing on involving the elderly community. In an era where environmental sustainability is paramount, and the elderly population is often overlooked in creative endeavors, this study aims to bridge these two aspects, offering a unique and inclusive approach to music and recycling. The primary objective of this research is to investigate the feasibility of using recycled materials to construct functional and aesthetically pleasing musical instruments while actively engaging the elderly, music experts, geriatric specialists, product design experts, and technicians in the design and development process. By leveraging their accumulated knowledge, wisdom, and artistic sensibilities, this project seeks to empower and enrich the lives of the elderly while contributing to reducing waste and environmental conservation. Results indicate that the elderly participants derive numerous physical, cognitive, and emotional benefits from their involvement in the project, including enhanced motor skills, cognitive stimulation, and a sense of accomplishment. Additionally, the musical instruments produced demonstrate impressive innovation, sound quality, and aesthetics, underlining the viability of using recycled materials in the design of musical instruments.
{"title":"Design and Development Of Musical Instruments from Recycled Materials for the Elderly in Phitsanulok Province In the Northern Part Of Thailand","authors":"Vich Boonrod","doi":"10.30819/aemr.13-3","DOIUrl":"https://doi.org/10.30819/aemr.13-3","url":null,"abstract":"\u0000 This research project explores the creative potential and sustainable innovation of designing and developing musical instruments using recycled materials, specifically focusing on involving the elderly community. In an era where environmental sustainability is paramount, and the elderly population is often overlooked in creative endeavors, this study aims to bridge these two aspects, offering a unique and inclusive approach to music and recycling. The primary objective of this research is to investigate the feasibility of using recycled materials to construct functional and aesthetically pleasing musical instruments while actively engaging the elderly, music experts, geriatric specialists, product design experts, and technicians in the design and development process. By leveraging their accumulated knowledge, wisdom, and artistic sensibilities, this project seeks to empower and enrich the lives of the elderly while contributing to reducing waste and environmental conservation. Results indicate that the elderly participants derive numerous physical, cognitive, and emotional benefits from their involvement in the project, including enhanced motor skills, cognitive stimulation, and a sense of accomplishment. Additionally, the musical instruments produced demonstrate impressive innovation, sound quality, and aesthetics, underlining the viability of using recycled materials in the design of musical instruments.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"101 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141272417","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}
This is a short review-essay of “Correa Cáceres, Juan Sebastián. 2023. The Aulos in Classical and Late Antiquity. Acculturation, Diffusion, and Syncretism in Socio-Musical Processes of the Mediterranean. Edited in Berlin by LOGOS. It takes a detailed look into each chapter of this book.
这是一篇关于 "Correa Cáceres, Juan Sebastián.2023.古典和晚期古代的奥罗斯。地中海社会音乐进程中的文化适应、传播和同构。柏林 LOGOS 编辑。该书详细介绍了本书的每个章节。
{"title":"Review Essay of “Correa Cáceres, Juan Sebastián. 2023. The Aulos in Classical and Late Antiquity. Acculturation, Diffusion, and Syncretism in Socio-Musical Processes of the Mediterranean. Berlin: Logos","authors":"Xu Xin [徐欣]","doi":"10.30819/aemr.13-11","DOIUrl":"https://doi.org/10.30819/aemr.13-11","url":null,"abstract":"\u0000 This is a short review-essay of “Correa Cáceres, Juan Sebastián. 2023. The Aulos in Classical and Late Antiquity. Acculturation, Diffusion, and Syncretism in Socio-Musical Processes of the Mediterranean. Edited in Berlin by LOGOS. It takes a detailed look into each chapter of this book.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"120 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141271869","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}
This essay considers diverse applications of the term ‘global’ in higher education music pedagogies across unevenly-calibrated playing fields in different classrooms across geo-cultural territories, and different geocultural voices within the same classroom. Particularly, I question motivations for self-cultivation and assumptions about cultural canons, as well as musical and educational doxa, from the perspectives of transnational East and Southeast Asian participants. Often, their encounters of an idealised ‘Global North’, ‘Global West’ or even ‘New Global Self’ can lead to surprising articulations and expectations superficially parsed as ‘politically conservative’ – due to both insufficient/uneven decolonisation and the presence of post-critical, post-decolonial pragmatics. In trying to find a common ground for meaningful conversations between parties whose education journeys have been wildly different and unequally made, I push for grounded and co-curated learnings via intersubjective interrogations of how diverse lived experiences, structural privileges and conscious investment in one’s own personal development can lead to the same shared musical moment in the classroom. I look for collective and care-sensitive extrapolations from these shared moments into broader insights on deconstructing systemic 'difference, commonality and intersectionality in empathetic and community-centred ways.
{"title":"Uneven Worlds, New Minoritizations, Intersectional Privilege: Questioning Different Kinds Of ‘Global’ In Musical Transmission","authors":"Tan Shzr Ee [陈诗怡]","doi":"10.30819/aemr.13-2","DOIUrl":"https://doi.org/10.30819/aemr.13-2","url":null,"abstract":"\u0000 This essay considers diverse applications of the term ‘global’ in higher education music pedagogies across unevenly-calibrated playing fields in different classrooms across geo-cultural territories, and different geocultural voices within the same classroom. Particularly, I question motivations for self-cultivation and assumptions about cultural canons, as well as musical and educational doxa, from the perspectives of transnational East and Southeast Asian participants. Often, their encounters of an idealised ‘Global North’, ‘Global West’ or even ‘New Global Self’ can lead to surprising articulations and expectations superficially parsed as ‘politically conservative’ – due to both insufficient/uneven decolonisation and the presence of post-critical, post-decolonial pragmatics. In trying to find a common ground for meaningful conversations between parties whose education journeys have been wildly different and unequally made, I push for grounded and co-curated learnings via intersubjective interrogations of how diverse lived experiences, structural privileges and conscious investment in one’s own personal development can lead to the same shared musical moment in the classroom. I look for collective and care-sensitive extrapolations from these shared moments into broader insights on deconstructing systemic 'difference, commonality and intersectionality in empathetic and community-centred ways.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"21 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141272211","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}
The historical development of folk music lays the foundations for modern compositions, the study of previous experience can help to qualitatively develop the modern musical sphere, emphasizing the uniqueness of traditional art. The main purpose of this study is to identify and analyse the characteristic features of the music of Kazakhstan, as well as to generalize the available knowledge. In the presented work, archive materials of several ethnographic expeditions of the folklore laboratory Kurmangazy Kazakh National Conservatory in the Torgai-Kostanay region, made from 1975 to 1989, are considered. It is taken into account that many widespread traditional musical cultures, representing a single integral, within themselves will have several ramifications. In this regard, Kazakh traditional music is not an isolated case, as it is currently divided into the following folk-professional schools: Sary-Arka, Jetysu, Kyzylorda and Western Kazakhstan. The name of each listed tradition is associated with territorial identification. For several years in Kazakhstani musicology, up to the present day, many researchers have been engaged in the study of the above-mentioned regional traditions. The works of the second half of the XX century were analysed, as well as the main differences and aspects of music writing. The paper identifies the influence of the main factors that contributed to the creation of the works, as well as a generalized analysis of the composers’ stylization. The study will provide a better understanding of the features and aspects of musical folklore, which helps to popularize and raise awareness of the subject.
{"title":"Traditional Music of Kazakhstan in the Second Half of the 20th Century: Using the Example of Folk Song Art in the Northern Region of Kazakhstan","authors":"S. Tatkenova, Mussilim Amze","doi":"10.30819/aemr.13-6","DOIUrl":"https://doi.org/10.30819/aemr.13-6","url":null,"abstract":"\u0000 The historical development of folk music lays the foundations for modern compositions, the study of previous experience can help to qualitatively develop the modern musical sphere, emphasizing the uniqueness of traditional art. The main purpose of this study is to identify and analyse the characteristic features of the music of Kazakhstan, as well as to generalize the available knowledge. In the presented work, archive materials of several ethnographic expeditions of the folklore laboratory Kurmangazy Kazakh National Conservatory in the Torgai-Kostanay region, made from 1975 to 1989, are considered. It is taken into account that many widespread traditional musical cultures, representing a single integral, within themselves will have several ramifications. In this regard, Kazakh traditional music is not an isolated case, as it is currently divided into the following folk-professional schools: Sary-Arka, Jetysu, Kyzylorda and Western Kazakhstan. The name of each listed tradition is associated with territorial identification. For several years in Kazakhstani musicology, up to the present day, many researchers have been engaged in the study of the above-mentioned regional traditions. The works of the second half of the XX century were analysed, as well as the main differences and aspects of music writing. The paper identifies the influence of the main factors that contributed to the creation of the works, as well as a generalized analysis of the composers’ stylization. The study will provide a better understanding of the features and aspects of musical folklore, which helps to popularize and raise awareness of the subject.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"20 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141269064","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}
This paper specifically focuses on a specific type of long-term fieldwork that is closely linked to the inheritance cycle. This study employs a historical and longitudinal approach to investigate the history and two instances of revival that took place in 2016 and 2021 of the Bamboo Horse in Dongpu village, situated in the Hailufeng region of Guangdong province. The two revivals occurred for distinct purposes: one was to participate in the ceremony in 2016, while the other was for the Intangible Cultural Heritage project in 2021. This study identified and examined the pattern of inheritance and conducted a comparative analysis to identify the variations and similarities across different periods of replay. The significance of this paper lies in its extensive and ongoing fieldwork, which involves continuous observation and contemplation of a specific subject. Over time, this research sheds light on how our perception and comprehension of this particular type of drama evolve. Furthermore, the consistent performance and status of Bamboo Horse are closely intertwined with the intrinsic nature of this ritualistic form of drama, and the change of the function of the drama in different contexts.
{"title":"Multi-Contextual Revival, Hidden Inheritance Cycle, and Fieldwork Methodology Behind the Case of Dongpu Bamboo Horse in Guangdong","authors":"Yin Xiang [尹翔] [尹翔]","doi":"10.30819/aemr.13-9","DOIUrl":"https://doi.org/10.30819/aemr.13-9","url":null,"abstract":"\u0000 This paper specifically focuses on a specific type of long-term fieldwork that is closely linked to the inheritance cycle. This study employs a historical and longitudinal approach to investigate the history and two instances of revival that took place in 2016 and 2021 of the Bamboo Horse in Dongpu village, situated in the Hailufeng region of Guangdong province. The two revivals occurred for distinct purposes: one was to participate in the ceremony in 2016, while the other was for the Intangible Cultural Heritage project in 2021. This study identified and examined the pattern of inheritance and conducted a comparative analysis to identify the variations and similarities across different periods of replay. The significance of this paper lies in its extensive and ongoing fieldwork, which involves continuous observation and contemplation of a specific subject. Over time, this research sheds light on how our perception and comprehension of this particular type of drama evolve. Furthermore, the consistent performance and status of Bamboo Horse are closely intertwined with the intrinsic nature of this ritualistic form of drama, and the change of the function of the drama in different contexts.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"40 51","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141270247","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}
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