The Kerala state in India offers a huge assemblage of various percussion eccentricities. Each percussion instrument sustains and preserves its own attributes: some drums accompany visual arts, others create a vibrant world of percussion music, and a few maintain both attributes. Almost all instruments are related to ceremonial pursuance and worship customs. Mizhavu is a single-headed drum from Kerala that employs these kinds of ceremonial pursuance. The purpose of the instrument, which had also been used in temples in Tamil Nadu, is to accompany the Kūṭiyāṭṭam and Kuttu performances in the great temples (mahakshetras) for the pleasure of God’s souls and the invocation of their powers. Kūṭiyāṭṭam and Kuttu – Kerala’s Sanskrit drama performing art forms – have been recognized as Intangible Cultural Heritage due to 2000 years of tradition. As ‘visual sacrifice’ staging scenes from the Ramayana and Mahabharata, they combine dance with theatre performance, Sanskrit verses (slokas), and percussive music in a ritualistic context. The main supporting percussion instrument (mizhavu) serves as deva vādyam – an instrument for the deities. Its classification as a one-headed drum covered with skin (avanaddha vadya of the dardura type) goes back to the Natya Shastra of Bharatamuni – some 2000 years ago. Definitions as kettledrum (bhanda vadya) trace it back to Kautilya’s Arthasastra. The Buddhist Pali Tripitaka refers to pot drums (kumba toonak). Tamil epics mention a muzha or kuta muzha drum. Publications in recent decades nearly mention that drum. Production methods, forms, and material of the drum have changed over the ages. Attached to the artistic heritage of a certain Brahmin caste – the Nampyar – the drum has spent a long period in the environment of temple theatres. Since 1966, it has been taught to pupils of all castes at the Kerala Kalamandalam, Thrissur District. P.K.K. Nambiar worked as the first mizhavu teacher in the later added Kūṭiyāṭṭam department. He was followed by his pupil K. Eswaranunni, the first mizhavu guru from another caste, fighting for acceptance among members of Chakyar and Nampyar families. As a passionate master with numerous awards and performance experience all over the world, K. Eswaranunni has trained most of the contemporary mizhavu percussionists, who are still performing all over India as well as abroad. This paper gives an overview of the instrument and shows how the mizhavu is described by both gurus in their books written in Malayalam and by both authors including their personal relations to the drum.
{"title":"Kerala´s Ancient Mizhavu Drum: Transformations and Sustainability","authors":"K. S. Vijayan, K. Bindu","doi":"10.30819/aemr.8-4","DOIUrl":"https://doi.org/10.30819/aemr.8-4","url":null,"abstract":"\u0000 The Kerala state in India offers a huge assemblage of various percussion eccentricities. Each percussion instrument sustains and preserves its own attributes: some drums accompany visual arts, others create a vibrant world of percussion music, and a few maintain both attributes. Almost all instruments are related to ceremonial pursuance and worship customs. \u0000Mizhavu is a single-headed drum from Kerala that employs these kinds of ceremonial pursuance. The purpose of the instrument, which had also been used in temples in Tamil Nadu, is to accompany the Kūṭiyāṭṭam and Kuttu performances in the great temples (mahakshetras) for the pleasure of God’s souls and the invocation of their powers. Kūṭiyāṭṭam and Kuttu – Kerala’s Sanskrit drama performing art forms – have been recognized as Intangible Cultural Heritage due to 2000 years of tradition. As ‘visual sacrifice’ staging scenes from the Ramayana and Mahabharata, they combine dance with theatre performance, Sanskrit verses (slokas), and percussive music in a ritualistic context. The main supporting percussion instrument (mizhavu) serves as deva vādyam – an instrument for the deities. Its classification as a one-headed drum covered with skin (avanaddha vadya of the dardura type) goes back to the Natya Shastra of Bharatamuni – some 2000 years ago. Definitions as kettledrum (bhanda vadya) trace it back to Kautilya’s Arthasastra. The Buddhist Pali Tripitaka refers to pot drums (kumba toonak). Tamil epics mention a muzha or kuta muzha drum. Publications in recent decades nearly mention that drum. \u0000Production methods, forms, and material of the drum have changed over the ages. Attached to the artistic heritage of a certain Brahmin caste – the Nampyar – the drum has spent a long period in the environment of temple theatres. Since 1966, it has been taught to pupils of all castes at the Kerala Kalamandalam, Thrissur District. P.K.K. Nambiar worked as the first mizhavu teacher in the later added Kūṭiyāṭṭam department. He was followed by his pupil K. Eswaranunni, the first mizhavu guru from another caste, fighting for acceptance among members of Chakyar and Nampyar families. As a passionate master with numerous awards and performance experience all over the world, K. Eswaranunni has trained most of the contemporary mizhavu percussionists, who are still performing all over India as well as abroad. This paper gives an overview of the instrument and shows how the mizhavu is described by both gurus in their books written in Malayalam and by both authors including their personal relations to the drum. \u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"413 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79989343","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}
Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.
{"title":"Vinay Mishra and the Artistry of the Harmonium","authors":"Lahiru Gimhana Komangoda","doi":"10.30819/aemr.8-5","DOIUrl":"https://doi.org/10.30819/aemr.8-5","url":null,"abstract":"\u0000 Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. \u0000This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. \u0000The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed. \u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"148 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73706687","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 book review highlights the specific features of an important publication about Siberian traditions. The author spent much time and energy in compiling convincing material. The reviewer goes through some details regarding the contents and structure of this publication.
{"title":"Revie of ``Storytelling in Siberia: The Olonkho Epic in a Changing World''","authors":"G. Jähnichen","doi":"10.30819/aemr.8-9","DOIUrl":"https://doi.org/10.30819/aemr.8-9","url":null,"abstract":"\u0000 This book review highlights the specific features of an important publication about Siberian traditions. The author spent much time and energy in compiling convincing material. The reviewer goes through some details regarding the contents and structure of this publication.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84638440","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 short review essay refers to the book of Kirsten Seidlitz ‘Musik XXABSTRACT Politischer Konflikt aus der Türkei – Kurdische, alevitische und linke Musik in Deutschland [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music in Germany], which was published in 2020 by the German Transcript Verlag in Bielefeld. It is written in German and addresses many important questions regarding political conflicts and their impact on music among various different Turkish people living in Germany. Migration and political participation are heatedly debated in recent times and also a part of cultural exchange.
这篇简短的评论文章引用了Kirsten Seidlitz的《Musik XXABSTRACT Politischer Konflikt aus der t rrkei - Kurdische, alevitische und linke Musik in Deutschland》(来自土耳其的音乐和政治冲突——德国的库尔德人、阿勒维人和左翼音乐)一书，该书于2020年由比勒费尔德的德国转录出版社出版。它是用德语写的，并提出了许多关于政治冲突及其对生活在德国的不同土耳其人的音乐影响的重要问题。近年来，移民和政治参与成为人们热议的话题，也是文化交流的一部分。
{"title":"Book Review of ‘Kirsten Seidlitz. 2020. Musik & Politischer Konflikt aus der Türkei – kurdische, alevitische und linke Musik in Deutschland’ [Music and Political Conflict from Turkey – Kurdish, Alevi, and Leftist Music In Germany]. Bielefeld: Transcript.","authors":"G. Jähnichen","doi":"10.30819/aemr.7-8","DOIUrl":"https://doi.org/10.30819/aemr.7-8","url":null,"abstract":"\u0000 This short review essay refers to the book of Kirsten Seidlitz ‘Musik XXABSTRACT Politischer Konflikt aus der Türkei\u0000– Kurdische, alevitische und linke Musik in Deutschland [Music and Political Conflict from Turkey –\u0000Kurdish, Alevi, and Leftist Music in Germany], which was published in 2020 by the German Transcript\u0000Verlag in Bielefeld. It is written in German and addresses many important questions regarding political\u0000conflicts and their impact on music among various different Turkish people living in Germany. Migration\u0000and political participation are heatedly debated in recent times and also a part of cultural exchange.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78617081","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 opera Madame White Snake (hereafter Madame), co-commissioned by Opera Boston and Beijing Music Festival, premiered at Boston Cutler Majestic Theater in February 2010. It was the first commissioned opera by Opera Boston.1 Based on the story from the famous Chinese ancient myth Bai She Zhuan 2 (in Chinese: 白蛇传), this opera’s libretto was created by a Singaporean American librettist, who has shed the story’s “traditional skin and taking on modern trappings” (Smith, 2019: 27) on purpose. When sniffing at male librettists’ discourses about female characters’ vulnerable and tragic lives in their operas, opera Madame’s initiator and librettist Cerise Lim Jacobs argues that women should seize the initiative to make their own decisions in life. The white snake, in her mind, ought to be a whole woman who is powerful and demonic, and yet, is also nurturing and caring, is capable of deep and intense love. In the first section of this article, I introduce the original legend’s background and the story outline in its operatic adaptation; I also trace back the opera’s commissioning process. After providing the background information of the story and the operatic version, then, in the second section I analyze the opera in terms of its transtextual figural gender construction in her characterization through comparative studies of the white and green snakes’ images from the sources of literary works, traditional xiqu scripts and operatic librettos. Referring to Lim’s personal growth and migrating history, as well as she and her husband co-founded charitable foundation’s missions and its recent IDEA (Inclusion, Diversity, Equity, and Access) opera grant program partnering with Opera America, I aim to examine her gender construction of the “female” roles in the opera from the perspectives of feminism, interracial marriage; and heterosexual, transsexual, and homosexual relationships.
{"title":"The Transtextual Gender Construction in the Opera Madame White Snake","authors":"Fang Bo","doi":"10.30819/aemr.7-1","DOIUrl":"https://doi.org/10.30819/aemr.7-1","url":null,"abstract":"\u0000 The opera Madame White Snake (hereafter Madame), co-commissioned by Opera Boston and Beijing\u0000Music Festival, premiered at Boston Cutler Majestic Theater in February 2010. It was the first\u0000commissioned opera by Opera Boston.1 Based on the story from the famous Chinese ancient myth Bai She\u0000Zhuan 2 (in Chinese: 白蛇传), this opera’s libretto was created by a Singaporean American librettist, who\u0000has shed the story’s “traditional skin and taking on modern trappings” (Smith, 2019: 27) on purpose.\u0000When sniffing at male librettists’ discourses about female characters’ vulnerable and tragic lives in their\u0000operas, opera Madame’s initiator and librettist Cerise Lim Jacobs argues that women should seize the\u0000initiative to make their own decisions in life. The white snake, in her mind, ought to be a whole woman\u0000who is powerful and demonic, and yet, is also nurturing and caring, is capable of deep and intense love.\u0000In the first section of this article, I introduce the original legend’s background and the story outline in its\u0000operatic adaptation; I also trace back the opera’s commissioning process. After providing the background\u0000information of the story and the operatic version, then, in the second section I analyze the opera in terms of\u0000its transtextual figural gender construction in her characterization through comparative studies of the white\u0000and green snakes’ images from the sources of literary works, traditional xiqu scripts and operatic librettos.\u0000Referring to Lim’s personal growth and migrating history, as well as she and her husband co-founded\u0000charitable foundation’s missions and its recent IDEA (Inclusion, Diversity, Equity, and Access) opera grant\u0000program partnering with Opera America, I aim to examine her gender construction of the “female” roles in\u0000the opera from the perspectives of feminism, interracial marriage; and heterosexual, transsexual, and\u0000homosexual relationships.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"126 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76703101","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 article looks at an epic song performed by Hmong in Laos from a perspective of oral composition by analyzing a wedding song Leuangtengdong. Through detailed musical and textual transcription, several compositional devices are identified and discussed. My study explores oral composition of the song focusing on its material and structure. I argue that music plays an important role in its oral composition: material-wise, music functions both as formulaic music-text association/unity and by careful music-text interactions; structure-wise, the song is organized in a multi-layered framework realized by the hierarchical music-text formulas, with music-text ‘theme’ in critical structural positions.
{"title":"Understanding an Epic Song of the Hmong in Laos From The Perspective of Oral Composition","authors":"Zhang Xun","doi":"10.30819/aemr.7-6","DOIUrl":"https://doi.org/10.30819/aemr.7-6","url":null,"abstract":"\u0000 This article looks at an epic song performed by Hmong in Laos from a perspective of oral composition\u0000by analyzing a wedding song Leuangtengdong. Through detailed musical and textual transcription,\u0000several compositional devices are identified and discussed. My study explores oral composition of the\u0000song focusing on its material and structure. I argue that music plays an important role in its oral\u0000composition: material-wise, music functions both as formulaic music-text association/unity and by\u0000careful music-text interactions; structure-wise, the song is organized in a multi-layered framework\u0000realized by the hierarchical music-text formulas, with music-text ‘theme’ in critical structural positions.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"89 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80353998","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 Symphony Orchestra of India (SOI) is India's only professional symphony orchestra. In this paper, I explore the roles and meanings of the SOI. First, I situate it locally within its home city of Mumbai, positioning it within discourses of social class, status, and globally-minded aspiration. I argue that local values and ideologies surrounding professional musicianship compromise attempts to embed orchestral musicking in the city. I then move on to place the SOI within discourses of nation building, questioning the role of the orchestra as a marker of national development. I suggest that Mumbai's transnational middle class and elite communities, as well as the SOI's multinational corporate donors, consider investment in an orchestra a part of India's wider political and economic development. I point to tensions that are created as India's local and national government resist the notion of the orchestra as a marker of modernity and instead champion Indian arts and cultures as foundational to India's nationhood. Finally, I explore the SOI's transnational networks, looking at its role within cultural diplomacy and soft power. I show that, whilst the SOI has made significant steps in 'reaching out' and finding a place within transnational cultural networks, its efforts are hampered by its failure to 'stand out'; to forge its own national identity as an Indian symphony orchestra.
{"title":"Symphonies, Status and Soft Power: The Symphony Orchestra of India","authors":"H. Marsden","doi":"10.30819/aemr.7-2","DOIUrl":"https://doi.org/10.30819/aemr.7-2","url":null,"abstract":"\u0000 The Symphony Orchestra of India (SOI) is India's only professional symphony orchestra. In this paper, I\u0000explore the roles and meanings of the SOI. First, I situate it locally within its home city of Mumbai,\u0000positioning it within discourses of social class, status, and globally-minded aspiration. I argue that local\u0000values and ideologies surrounding professional musicianship compromise attempts to embed orchestral\u0000musicking in the city. I then move on to place the SOI within discourses of nation building, questioning the\u0000role of the orchestra as a marker of national development. I suggest that Mumbai's transnational middle\u0000class and elite communities, as well as the SOI's multinational corporate donors, consider investment in an\u0000orchestra a part of India's wider political and economic development. I point to tensions that are created as\u0000India's local and national government resist the notion of the orchestra as a marker of modernity and instead\u0000champion Indian arts and cultures as foundational to India's nationhood. Finally, I explore the SOI's\u0000transnational networks, looking at its role within cultural diplomacy and soft power. I show that, whilst the\u0000SOI has made significant steps in 'reaching out' and finding a place within transnational cultural networks,\u0000its efforts are hampered by its failure to 'stand out'; to forge its own national identity as an Indian symphony\u0000orchestra.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87797966","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 focuses on the process of genre formation in the evolution of popular music of the Philippines’. From the phenomenon of the perception discrepancy of popular music genres among different stakeholders, this paper gives to attention at providing an alternative theory to explore how the Philippines’ popular music genres have been established. Applying Joe Peter’s theory of cultural hybridism, this paper specifically attempts at exploring how foreign genres have been fused with local cultures and musical components, aiming at a vocality of expressing the Philippines’ national identity, which is key in articulating Philippines’ popular music genres in their actual sense. Rather than a parodic emulation of foreign music products, genre fluidity is a unique reflection of the artistic wisdom of Philippines’ musicians in the pursuit of forming a voice of their own, a continuation of their nationalist movement in their popular music idioms.
{"title":"Genre Localization in Current Popular Music of the Philippines","authors":"L. Jia","doi":"10.30819/aemr.7-3","DOIUrl":"https://doi.org/10.30819/aemr.7-3","url":null,"abstract":"\u0000 This paper focuses on the process of genre formation in the evolution of popular music of the Philippines’.\u0000From the phenomenon of the perception discrepancy of popular music genres among different stakeholders,\u0000this paper gives to attention at providing an alternative theory to explore how the Philippines’ popular music\u0000genres have been established. Applying Joe Peter’s theory of cultural hybridism, this paper specifically\u0000attempts at exploring how foreign genres have been fused with local cultures and musical components, aiming\u0000at a vocality of expressing the Philippines’ national identity, which is key in articulating Philippines’ popular\u0000music genres in their actual sense. Rather than a parodic emulation of foreign music products, genre fluidity\u0000is a unique reflection of the artistic wisdom of Philippines’ musicians in the pursuit of forming a voice of\u0000their own, a continuation of their nationalist movement in their popular music idioms.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72803510","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 of the publication by Ziying You on ‘Folk Literati, Contested Tradition, and Heritage in Contemporary China: Incense is Kept Burning’, which was released by Indiana University Press in Bloomington in the year 2020. The topic is highly sensitive to current efforts in reworking writings on historical developments in China. This review is important due to the fact that it allows many people to access details of the topic and to start a future discourse about some of the arising questions on heritage and historical values as well as about grassroot intellectuals and existing power structures.
{"title":"Review of ‘Ziying You. 2020. Folk Literati, Contested Tradition, and Heritage in Contemporary China: Incense is Kept Burning’","authors":"Corey Moore","doi":"10.30819/aemr.7-10","DOIUrl":"https://doi.org/10.30819/aemr.7-10","url":null,"abstract":"\u0000 This is a short review of the publication by Ziying You on ‘Folk Literati, Contested Tradition, and Heritage\u0000in Contemporary China: Incense is Kept Burning’, which was released by Indiana University Press in\u0000Bloomington in the year 2020. The topic is highly sensitive to current efforts in reworking writings on\u0000historical developments in China. This review is important due to the fact that it allows many people to\u0000access details of the topic and to start a future discourse about some of the arising questions on heritage\u0000and historical values as well as about grassroot intellectuals and existing power structures.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88577246","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 article deals with the provocative questions of repatriating recordings stored in large and small archival institutions, mainly audio or video recordings, to source communities. While this topic is often, disputed within the framework of sound and audio-visual archivists, it is rather rarely, investigated with academic vigor based personal experience in the field of music research. This paper attempts to start closing the knowledge gap and exchange ideas between those with practical experience and those with musicological background but not necessarily intense experiences. The article provides an in-depth understanding of the term ‘home-coming’ and how this term relates to future activities and directions to be considered by museums and archival institutions. These insights might be of great benefit in sustaining and developing today’s archival institutions in Asia and Europe.
{"title":"Home-Coming: The Repatriation of Historical Recordings","authors":"Ling Jia Sui","doi":"10.30819/aemr.7-7","DOIUrl":"https://doi.org/10.30819/aemr.7-7","url":null,"abstract":"\u0000 This article deals with the provocative questions of repatriating recordings stored in large and small archival\u0000institutions, mainly audio or video recordings, to source communities.\u0000While this topic is often, disputed within the framework of sound and audio-visual archivists, it is rather\u0000rarely, investigated with academic vigor based personal experience in the field of music research. This paper\u0000attempts to start closing the knowledge gap and exchange ideas between those with practical experience\u0000and those with musicological background but not necessarily intense experiences.\u0000The article provides an in-depth understanding of the term ‘home-coming’ and how this term relates to\u0000future activities and directions to be considered by museums and archival institutions. These insights might\u0000be of great benefit in sustaining and developing today’s archival institutions in Asia and Europe.\u0000\u0000","PeriodicalId":36147,"journal":{"name":"Asian-European Music Research Journal","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89415925","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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