Abstract:Toshio Hosokawa’s The Maiden from the Sea, based on the noh drama Futari Shizuka, is an innovative opera that culminates unusually in a voiceless performance of noh dance. Considering this moment from the dual perspective of contemporary authored music and traditional noh choreography, this article shows that, in the dance, the opera paradoxically distances itself from its noh source play while simultaneously approximating the multidisciplinarity of noh performance itself. I analyze the dance in filmed performances by Ryoko Aoki, the noh shite (principal actor) for whom the opera was written, to address the range of factors beyond music and choreography that are engaged in transposing the “total” art of noh performance into the “synthetic” context of opera performance.
{"title":"Staging Noh Performance in Contemporary Opera: The Dance of the Shite in Toshio Hosokawa’s The Maiden from the Sea (2017)","authors":"Paulo Brito","doi":"10.1353/amu.2023.0004","DOIUrl":"https://doi.org/10.1353/amu.2023.0004","url":null,"abstract":"Abstract:Toshio Hosokawa’s The Maiden from the Sea, based on the noh drama Futari Shizuka, is an innovative opera that culminates unusually in a voiceless performance of noh dance. Considering this moment from the dual perspective of contemporary authored music and traditional noh choreography, this article shows that, in the dance, the opera paradoxically distances itself from its noh source play while simultaneously approximating the multidisciplinarity of noh performance itself. I analyze the dance in filmed performances by Ryoko Aoki, the noh shite (principal actor) for whom the opera was written, to address the range of factors beyond music and choreography that are engaged in transposing the “total” art of noh performance into the “synthetic” context of opera performance.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"54 1","pages":"119 - 92"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43809038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ambient Sufism: Ritual Niches and the Social Work of Musical Form. Richard C. Jankowsky. Chicago: University of Chicago Press 2021. Chicago Studies in Ethnomusicology. xix + 244 pp., 9 figures, 10 tables, 20 musical examples, glossary, bibliography, index. ISBN: 9780226723334 (hardcover), $95.00; ISBN: 9780226723471 (paperback), $27.50; ISBN: 9780226723501 (ebook), $26.99. Accompanying website: https://sites.tufts.edu/ambientsufism/.
{"title":"Ambient Sufism: Ritual Niches and the Social Work of Musical Form by Richard C. Jankowsky (review)","authors":"Rachel Colwell","doi":"10.1353/amu.2023.0008","DOIUrl":"https://doi.org/10.1353/amu.2023.0008","url":null,"abstract":"Ambient Sufism: Ritual Niches and the Social Work of Musical Form. Richard C. Jankowsky. Chicago: University of Chicago Press 2021. Chicago Studies in Ethnomusicology. xix + 244 pp., 9 figures, 10 tables, 20 musical examples, glossary, bibliography, index. ISBN: 9780226723334 (hardcover), $95.00; ISBN: 9780226723471 (paperback), $27.50; ISBN: 9780226723501 (ebook), $26.99. Accompanying website: https://sites.tufts.edu/ambientsufism/.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"54 1","pages":"151 - 154"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43861393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ricardo D. Trimillos, Daniel M. Neuman, Dave Fossum, J. Kinzer, Paulo Brito, Vincenzo Della Ratta, Meghan Hynson, Nate Renner, Rachel Colwell, L. Harrison
Abstract:This article examines a series of ambiguities and apparent contradictions surrounding a copyright lawsuit over the song “Mühür Gözlüm,” penned by Turkish singer-poet Ali İzzet Özkan but reinvented and popularized by another famous performer, Neşet Ertaş. It argues that these ambiguities emerge because of how Ertaş engaged with a series of institutions: rural traditions, state folklore, and copyright. These institutions enact distinct music ontologies that sometimes overlap and sometimes clash. This account highlights Ertaş’s agency in navigating this complex situation, thereby clarifying how individuals negotiate the kinds of ontological pluralism that often emerge in (post) colonial or modernizing contexts.Abstract:Bu makale, aşık Ali İzzet Özkan tarafından kaleme alınan ancak başka bir ünlü sanatçı Neşet Ertaş tarafından yeniden keşfedilip popüler hale getirilen “Mühür Gözlüm” adlı türkünün telif hakkı davasıyla ilgili bir dizi muğlaklıkları ve belirgin çelişkileri incelemektedir. Bu belirsizliklerin, Ertaş’ın kırsal gelenekler, devlet folkloru ve telif hakları hukuku gibi farklı müesseselerle nasıl ilişki kurduğundan kaynaklandığını iddia eden bu çalışmada, söz konusu müesseselerin bazen örtüşen ve bazen de çatışan farklı müzik ontolojilerini temsil ettiği vurgulanıyor. Ertaş’ın bu karmaşık durumlar sırasında yön bulmadaki failliğine dikkat çeken bu yaklaşım, böylece bireylerin genellikle (post) kolonyalizm veya modernleşme bağlamlarında ortaya çıkan ontolojik çoğulculuk türlerini nasıl müzakere ettiklerine açıklık getiriyor.
摘要：这篇文章探讨了围绕歌曲《Mühür GözlüM》版权诉讼的一系列模糊和明显的矛盾，这首歌由土耳其歌手兼诗人AliïzzetÖzkan创作，但由另一位著名表演者Neşet Ertaş重新创作和推广。它认为，这些模糊性的出现是因为Ertaş如何参与一系列机构：农村传统、国家民间传说和版权。这些机构制定了不同的音乐本体论，有时重叠，有时冲突。这篇报道强调了埃尔塔什在驾驭这一复杂局面中的作用，从而澄清了个人如何谈判在（后）殖民或现代化背景下经常出现的本体论多元主义。摘要：在这篇文章中，爱Ali IzetÖzkan被引用了，但另一位著名艺术家Neşet Ertaş正在调查一系列不确定性和具体的差异，这种情况下的相对权利被称为“保护性观察”。在这项研究中，Ertaş的红外传统、国家民间传说和心灵感应权利被评估为与不同的音乐家有关，有时会在冲突中展示不同的音乐本体。Ertaş'ın bu karmaşık durumlar sırasında yön bulmadaki failliğine dikkatçeken bu yaklaşım，böylece bireylerin genellikle。
{"title":"From the Editor","authors":"Ricardo D. Trimillos, Daniel M. Neuman, Dave Fossum, J. Kinzer, Paulo Brito, Vincenzo Della Ratta, Meghan Hynson, Nate Renner, Rachel Colwell, L. Harrison","doi":"10.1353/amu.2023.0000","DOIUrl":"https://doi.org/10.1353/amu.2023.0000","url":null,"abstract":"Abstract:This article examines a series of ambiguities and apparent contradictions surrounding a copyright lawsuit over the song “Mühür Gözlüm,” penned by Turkish singer-poet Ali İzzet Özkan but reinvented and popularized by another famous performer, Neşet Ertaş. It argues that these ambiguities emerge because of how Ertaş engaged with a series of institutions: rural traditions, state folklore, and copyright. These institutions enact distinct music ontologies that sometimes overlap and sometimes clash. This account highlights Ertaş’s agency in navigating this complex situation, thereby clarifying how individuals negotiate the kinds of ontological pluralism that often emerge in (post) colonial or modernizing contexts.Abstract:Bu makale, aşık Ali İzzet Özkan tarafından kaleme alınan ancak başka bir ünlü sanatçı Neşet Ertaş tarafından yeniden keşfedilip popüler hale getirilen “Mühür Gözlüm” adlı türkünün telif hakkı davasıyla ilgili bir dizi muğlaklıkları ve belirgin çelişkileri incelemektedir. Bu belirsizliklerin, Ertaş’ın kırsal gelenekler, devlet folkloru ve telif hakları hukuku gibi farklı müesseselerle nasıl ilişki kurduğundan kaynaklandığını iddia eden bu çalışmada, söz konusu müesseselerin bazen örtüşen ve bazen de çatışan farklı müzik ontolojilerini temsil ettiği vurgulanıyor. Ertaş’ın bu karmaşık durumlar sırasında yön bulmadaki failliğine dikkat çeken bu yaklaşım, böylece bireylerin genellikle (post) kolonyalizm veya modernleşme bağlamlarında ortaya çıkan ontolojik çoğulculuk türlerini nasıl müzakere ettiklerine açıklık getiriyor.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"54 1","pages":"1 - 119 - 120 - 144 - 145 - 148 - 148 - 151 - 151 - 154 - 155 - 158 - 159 - 161 - 27 - 28 - 3 - 4 -"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66189050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines a series of ambiguities and apparent contradictions surrounding a copyright lawsuit over the song “Mühür Gözlüm,” penned by Turkish singer-poet Ali İzzet Özkan but reinvented and popularized by another famous performer, Neşet Ertaş. It argues that these ambiguities emerge because of how Ertaş engaged with a series of institutions: rural traditions, state folklore, and copyright. These institutions enact distinct music ontologies that sometimes overlap and sometimes clash. This account highlights Ertaş’s agency in navigating this complex situation, thereby clarifying how individuals negotiate the kinds of ontological pluralism that often emerge in (post) colonial or modernizing contexts.Abstract:Bu makale, aşık Ali İzzet Özkan tarafından kaleme alınan ancak başka bir ünlü sanatçı Neşet Ertaş tarafından yeniden keşfedilip popüler hale getirilen “Mühür Gözlüm” adlı türkünün telif hakkı davasıyla ilgili bir dizi muğlaklıkları ve belirgin çelişkileri incelemektedir. Bu belirsizliklerin, Ertaş’ın kırsal gelenekler, devlet folkloru ve telif hakları hukuku gibi farklı müesseselerle nasıl ilişki kurduğundan kaynaklandığını iddia eden bu çalışmada, söz konusu müesseselerin bazen örtüşen ve bazen de çatışan farklı müzik ontolojilerini temsil ettiği vurgulanıyor. Ertaş’ın bu karmaşık durumlar sırasında yön bulmadaki failliğine dikkat çeken bu yaklaşım, böylece bireylerin genellikle (post) kolonyalizm veya modernleşme bağlamlarında ortaya çıkan ontolojik çoğulculuk türlerini nasıl müzakere ettiklerine açıklık getiriyor.
{"title":"Neşet Ertaş and the Ontologies of Turkey’s Folk Music","authors":"Dave Fossum","doi":"10.1353/amu.2023.0002","DOIUrl":"https://doi.org/10.1353/amu.2023.0002","url":null,"abstract":"Abstract:This article examines a series of ambiguities and apparent contradictions surrounding a copyright lawsuit over the song “Mühür Gözlüm,” penned by Turkish singer-poet Ali İzzet Özkan but reinvented and popularized by another famous performer, Neşet Ertaş. It argues that these ambiguities emerge because of how Ertaş engaged with a series of institutions: rural traditions, state folklore, and copyright. These institutions enact distinct music ontologies that sometimes overlap and sometimes clash. This account highlights Ertaş’s agency in navigating this complex situation, thereby clarifying how individuals negotiate the kinds of ontological pluralism that often emerge in (post) colonial or modernizing contexts.Abstract:Bu makale, aşık Ali İzzet Özkan tarafından kaleme alınan ancak başka bir ünlü sanatçı Neşet Ertaş tarafından yeniden keşfedilip popüler hale getirilen “Mühür Gözlüm” adlı türkünün telif hakkı davasıyla ilgili bir dizi muğlaklıkları ve belirgin çelişkileri incelemektedir. Bu belirsizliklerin, Ertaş’ın kırsal gelenekler, devlet folkloru ve telif hakları hukuku gibi farklı müesseselerle nasıl ilişki kurduğundan kaynaklandığını iddia eden bu çalışmada, söz konusu müesseselerin bazen örtüşen ve bazen de çatışan farklı müzik ontolojilerini temsil ettiği vurgulanıyor. Ertaş’ın bu karmaşık durumlar sırasında yön bulmadaki failliğine dikkat çeken bu yaklaşım, böylece bireylerin genellikle (post) kolonyalizm veya modernleşme bağlamlarında ortaya çıkan ontolojik çoğulculuk türlerini nasıl müzakere ettiklerine açıklık getiriyor.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"54 1","pages":"28 - 59"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48730622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article highlights several performance personas—including novelty and Islamic piety—at work in the career of Fauziah Gambus, a female gambus player in a highly androcentric musical scene. I argue that gendered assumptions and stereotypes have not restricted her but have instead enabled her to gain more popular success and notoriety than many of her Malaysian male counterparts. In unpacking her career, I examine how Fauziah synthesizes a variety of self-promotion strategies to achieve success beyond traditional gambus music channels.Abstract:Artikel ini membincangkan beberapa persona ekspresif—termasuk kebaruan dan ketakwaan Islam—yang relevan dalam kerjaya Fauziah Gambus, pemain gambus perempuan dalam masyarakat muzik yang kebanyakannya termasuk lelaki. Saya berpendapat bahawa andaian dan stereotaip jantina tidak menghadkan Fauziah tetapi sebaliknya membolehkan kejayaan yang lebih popular daripada ramai pemuzik gambus lelaki. Semasa saya meneliti kerjayanya, saya belajar macamana Fauziah menggabungkan pelbagai strategi promosi diri untuk mencapai kejayaan di luar laluan-laluan muzik gambus tradisional.
{"title":"The Exceptional Fauziah Gambus: Negotiating Novelty, Piety, and Self-Promotion in an Androcentric Malaysian Musical Scene","authors":"J. Kinzer","doi":"10.1353/amu.2023.0003","DOIUrl":"https://doi.org/10.1353/amu.2023.0003","url":null,"abstract":"Abstract:This article highlights several performance personas—including novelty and Islamic piety—at work in the career of Fauziah Gambus, a female gambus player in a highly androcentric musical scene. I argue that gendered assumptions and stereotypes have not restricted her but have instead enabled her to gain more popular success and notoriety than many of her Malaysian male counterparts. In unpacking her career, I examine how Fauziah synthesizes a variety of self-promotion strategies to achieve success beyond traditional gambus music channels.Abstract:Artikel ini membincangkan beberapa persona ekspresif—termasuk kebaruan dan ketakwaan Islam—yang relevan dalam kerjaya Fauziah Gambus, pemain gambus perempuan dalam masyarakat muzik yang kebanyakannya termasuk lelaki. Saya berpendapat bahawa andaian dan stereotaip jantina tidak menghadkan Fauziah tetapi sebaliknya membolehkan kejayaan yang lebih popular daripada ramai pemuzik gambus lelaki. Semasa saya meneliti kerjayanya, saya belajar macamana Fauziah menggabungkan pelbagai strategi promosi diri untuk mencapai kejayaan di luar laluan-laluan muzik gambus tradisional.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"54 1","pages":"60 - 91"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49072012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"24 Bars to Kill: Hip Hop, Aspiration, and Japan’s Social Margins by Andrew B. Armstrong (review)","authors":"Nate Renner","doi":"10.1353/amu.2023.0007","DOIUrl":"https://doi.org/10.1353/amu.2023.0007","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"54 1","pages":"148 - 151"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43629725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the symbolic role of gongs in the final mortuary ritual of the Jarai, an Indigenous ethnic group inhabiting the Central Highlands of Vietnam (Tây Nguyên). After describing the gongs of the Jarai, I outline the final mortuary ritual as celebrated by the Jarai Arap subgroup, and I provide my own interpretation of the symbolic role of gongs within this ritual as well as that of several other elements and practices. My analysis points out that the music of gongs has the function of enabling the process of transmigration to the afterlife within the context of the final mortuary ritual.
摘要:本文考察了锣在越南中部高地土著民族加莱族(t y Nguyên)最后的丧葬仪式中的象征作用。在描述了Jarai的锣之后，我概述了Jarai Arap亚群所庆祝的最后的殡葬仪式，并提供了我自己对锣在这个仪式中的象征作用的解释，以及其他一些元素和实践。我的分析指出，在最后的丧葬仪式的背景下，锣声音乐具有使人转世到来世的功能。
{"title":"On the Threshold between Different Worlds: The Symbolic Role of Gongs in the Final Mortuary Ritual of the Jarai (Central Highlands of Vietnam)","authors":"Vincenzo Della Ratta","doi":"10.1353/amu.2023.0005","DOIUrl":"https://doi.org/10.1353/amu.2023.0005","url":null,"abstract":"Abstract:This article examines the symbolic role of gongs in the final mortuary ritual of the Jarai, an Indigenous ethnic group inhabiting the Central Highlands of Vietnam (Tây Nguyên). After describing the gongs of the Jarai, I outline the final mortuary ritual as celebrated by the Jarai Arap subgroup, and I provide my own interpretation of the symbolic role of gongs within this ritual as well as that of several other elements and practices. My analysis points out that the music of gongs has the function of enabling the process of transmigration to the afterlife within the context of the final mortuary ritual.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"54 1","pages":"120 - 144"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47605009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From the Editor","authors":"Ricardo D. Trimillos","doi":"10.1353/amu.2022.0010","DOIUrl":"https://doi.org/10.1353/amu.2022.0010","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":"53 1","pages":"1 - 4"},"PeriodicalIF":0.3,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41702094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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