Abstract:Learning mugham in post-Soviet Azerbaijan often leads to intimate conversations about eşq, or the irresistible desire for a beloved—the central meaning of sung ghazal poetry and a form of intensity experienced during performances of mugham. In this article, I present an approach I call "affective hermeneutics" that shows how the interpretation of love turns into an affective force that moves beyond the boundaries of the mugham musical model found in standard pedagogy. Moreover, it is my contention that affect in mugham performances becomes a tool to forge post-Soviet subjectivities, characterized by paradox and liminality and best expressed in sounds at the edges of the mugham model.Abstract:Sovet dövründən sonrakı Azərbaycanda muğam öyrənmək oxunan qəzəllərin mərkəzində dayanan və ifa olunan muğamların intensivliyi ilə müşahidə olunan eşq və ya sevgiliyə olan qarşısıalınmaz arzu haqqında səmimi söhbətlərə səbəb olur. Bu məqalədə sevginin interpretasiyasının ənənəvi pedaqogikadakı muğam musiqi modelinin hüdudlarından kənara çıxıb təsirli qüvvəyə çevrildiyini göstərən "təsirli hermenevtika" adlandırdığım bir yanaşmanı təqdim edirəm. Bundan əlavə, muğam ifalarındakı təsirin paradoks və məhdudiyyətlərlə səciyyələndirilən və daha çox muğam modelinin haşiyələrində yaxşı ifadə olunan postsovet subyektivliklərini ələ almaq üçün bir vasitəyə çevrildiyi haqqında fikirlərimi də qeyd edirəm.
{"title":"Affective Hermeneutics: Love, Mugham, and Post-Soviet Azerbaijani Subjectivities","authors":"Polina Dessiatnitchenko","doi":"10.1353/amu.2022.0001","DOIUrl":"https://doi.org/10.1353/amu.2022.0001","url":null,"abstract":"Abstract:Learning mugham in post-Soviet Azerbaijan often leads to intimate conversations about eşq, or the irresistible desire for a beloved—the central meaning of sung ghazal poetry and a form of intensity experienced during performances of mugham. In this article, I present an approach I call \"affective hermeneutics\" that shows how the interpretation of love turns into an affective force that moves beyond the boundaries of the mugham musical model found in standard pedagogy. Moreover, it is my contention that affect in mugham performances becomes a tool to forge post-Soviet subjectivities, characterized by paradox and liminality and best expressed in sounds at the edges of the mugham model.Abstract:Sovet dövründən sonrakı Azərbaycanda muğam öyrənmək oxunan qəzəllərin mərkəzində dayanan və ifa olunan muğamların intensivliyi ilə müşahidə olunan eşq və ya sevgiliyə olan qarşısıalınmaz arzu haqqında səmimi söhbətlərə səbəb olur. Bu məqalədə sevginin interpretasiyasının ənənəvi pedaqogikadakı muğam musiqi modelinin hüdudlarından kənara çıxıb təsirli qüvvəyə çevrildiyini göstərən \"təsirli hermenevtika\" adlandırdığım bir yanaşmanı təqdim edirəm. Bundan əlavə, muğam ifalarındakı təsirin paradoks və məhdudiyyətlərlə səciyyələndirilən və daha çox muğam modelinin haşiyələrində yaxşı ifadə olunan postsovet subyektivliklərini ələ almaq üçün bir vasitəyə çevrildiyi haqqında fikirlərimi də qeyd edirəm.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45416980","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":"Tamil Folk Music as Dalit Liberation Theology by Zoe Sherinian (review)","authors":"Victoria M. Dalzell","doi":"10.1353/amu.2022.0007","DOIUrl":"https://doi.org/10.1353/amu.2022.0007","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46195166","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:The article discusses twenty-first-century Korean composer Unsuk Chin and her aesthetics to demonstrate how Chin's practices in her music present new possibilities beyond previous scholarly research focused on intercultural interpretations. Through biographical research on and musical analysis of Chin's Violin Concerto (2001), the electronic work Xi (1998), and the opera Alice in Wonderland (2007), I argue that Chin's musical ideas suggest a new aesthetic paradigm beyond the application of nationalistic sound. Furthermore this article examines how Chin searches for her own stylistic position. Apart from any references to her Indigenous cultural roots, this paper draws attention to the issue of expressing individualism.Abstract:본 논문은 21세기 한국 출신 작곡가 진은숙과 그의 미학에 대해 논의하면서 음악에서의 작법이 기존 연구에서의 상호문화중심 해석을 넘어 새로운 미적 가능성을 제시하고자 한다. 진은숙의 《바이올린협주곡》 (2001), 앙상블과 전자음악을 위한 《Xi》 (1998), 오페라 《이상한 나라의 앨리스》 (2007)의 음악 분석 및 전기(傳記)연구를 통해, 연구자는 진은숙의 음악 사상은 자신이 속한 국가나 민족주의적인 사운드를 넘은 새로운 미학적 패러다임을 제시한다고 주장한다. 이와 함께 본고는 진은숙이 토착 문화적 뿌리에 대한 언급을 넘어서 자신만의 스타일 구축 포지션 탐색에 관한 질문을 함으로써, 음악적 개별주의 표현에 대한 이슈를 다룬다.
Abstract:The article discusses twenty-first-century Korean composer Unsuk Chin and her aesthetics to demonstrate how Chin's practices in her music present new possibilities beyond previous scholarlyresearch focused on intercultural interpretations。I argue that Chin's musical ideas suggest a new aesthetic paradigm beyond the application of nationalistic sound。Furthermore this article examines how Chin searches for her own stylistic position。Apart from any references to her Indigenous cultural roots, this paper draws attention to the issue of expressing individualism。Abstract:本论文与21世纪韩国作曲家陈恩淑对美学进行了讨论，试图在音乐上的做法超越以往研究的相互文化中心解释，提出新的美的可能性。진은숙的《小提琴协奏曲》(2001)、第xi ensemble和电子音乐为《》(1998),歌剧《爱丽丝梦游仙境》(2007)的音乐分析及电(广泛)通过研究,研究人员진은숙音乐思想是在自己所属的国家或民族主义的声音多是一种新的美学的模式提出的主张。与此同时，本高中的陈恩淑超越了对土著文化根源的提及，而是提出了对自己独有的风格构筑位置的探索相关的问题，来讨论音乐个别主义表现的焦点。
{"title":"Negating Nationalist Frameworks: Aesthetics of Unsuk Chin's Musical Individualism in Twenty-First-Century East Asian Composition","authors":"M. Son","doi":"10.1353/amu.2022.0005","DOIUrl":"https://doi.org/10.1353/amu.2022.0005","url":null,"abstract":"Abstract:The article discusses twenty-first-century Korean composer Unsuk Chin and her aesthetics to demonstrate how Chin's practices in her music present new possibilities beyond previous scholarly research focused on intercultural interpretations. Through biographical research on and musical analysis of Chin's Violin Concerto (2001), the electronic work Xi (1998), and the opera Alice in Wonderland (2007), I argue that Chin's musical ideas suggest a new aesthetic paradigm beyond the application of nationalistic sound. Furthermore this article examines how Chin searches for her own stylistic position. Apart from any references to her Indigenous cultural roots, this paper draws attention to the issue of expressing individualism.Abstract:본 논문은 21세기 한국 출신 작곡가 진은숙과 그의 미학에 대해 논의하면서 음악에서의 작법이 기존 연구에서의 상호문화중심 해석을 넘어 새로운 미적 가능성을 제시하고자 한다. 진은숙의 《바이올린협주곡》 (2001), 앙상블과 전자음악을 위한 《Xi》 (1998), 오페라 《이상한 나라의 앨리스》 (2007)의 음악 분석 및 전기(傳記)연구를 통해, 연구자는 진은숙의 음악 사상은 자신이 속한 국가나 민족주의적인 사운드를 넘은 새로운 미학적 패러다임을 제시한다고 주장한다. 이와 함께 본고는 진은숙이 토착 문화적 뿌리에 대한 언급을 넘어서 자신만의 스타일 구축 포지션 탐색에 관한 질문을 함으로써, 음악적 개별주의 표현에 대한 이슈를 다룬다.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43615009","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:In his edition of the Mahā Paritta Pāli, the late Venerable Acharya Buddhrakkhita—founder of the Theravāda Mahabodhi Society, Bengaluru—wrote that "[chanting] of the suttas is considered a holy act bringing blessings both to listeners and to … reciters. It is a Puñña Kamma, an act of spiritual merit. As such, reciters put forth great effort … on every word that is chanted and in spreading thoughts of Universal Love (Mettā) on the listeners" (2014a, x). In this article, I explore the relationships between chant, mettā, puñña (merit), cosmology, and metaphysics at the society and, following Jim Sykes, present a sonic ontology of in-action metaphysical concepts manifested within chant. I then consider the influences this ontology has through its application to a case study: the dāna round, a monthly visit paid by the society to the cancer department of Victoria Hospital, Bengaluru, throughout which the monks chant for patients. By foregrounding relationships between chant and the supramundane, this article departs from previous work on chant that generally focuses on earthly concepts and benefits.
{"title":"Sonic Benefit: Buddhist Ontologies of Chant and the Supramundane in Bengaluru","authors":"T. Peterson","doi":"10.1353/amu.2022.0003","DOIUrl":"https://doi.org/10.1353/amu.2022.0003","url":null,"abstract":"Abstract:In his edition of the Mahā Paritta Pāli, the late Venerable Acharya Buddhrakkhita—founder of the Theravāda Mahabodhi Society, Bengaluru—wrote that \"[chanting] of the suttas is considered a holy act bringing blessings both to listeners and to … reciters. It is a Puñña Kamma, an act of spiritual merit. As such, reciters put forth great effort … on every word that is chanted and in spreading thoughts of Universal Love (Mettā) on the listeners\" (2014a, x). In this article, I explore the relationships between chant, mettā, puñña (merit), cosmology, and metaphysics at the society and, following Jim Sykes, present a sonic ontology of in-action metaphysical concepts manifested within chant. I then consider the influences this ontology has through its application to a case study: the dāna round, a monthly visit paid by the society to the cancer department of Victoria Hospital, Bengaluru, throughout which the monks chant for patients. By foregrounding relationships between chant and the supramundane, this article departs from previous work on chant that generally focuses on earthly concepts and benefits.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47936685","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:Kömei is a practice of throat-singing that was brought in to Kazakhstan from the Altai region of southern Siberia at the beginning of the twenty-first century and has since been reconfigured as a national sound that is emblematic of the Turkic nomadic origins of Kazakh culture and spirituality. A subject of debate in contemporary Kazakhstani society, kömei is an attribute of ethnomusic that juxtaposes traditional and modern, local and global stylistic elements. This article surveys the history of the kömei revival and modernization, interrogating its appeal as a sonic icon of indigeneity. I argue that by (re)claiming kömei as a vocal vernacular, artists creatively reposition Kazakh music historically and geoculturally and thus project a vision of a nation both connected to its ancient roots and attuned to globalized modernity.Abstract:Көмей—ХХІ ғасырдың басында негізінен Оңтүстік Сібірдің Алтай өңірінен Қазақстанға тасымалданып енгізілген және сол уақыттан бастап қазақ мәдениеті мен руханиятының көшпелі түркілік байырғы бастауларын елестететін мәнді ұлттық дыбыстық рәмізге айналды. Қазіргі қазақстандық қоғамда пікірсайыстың нысанына айналған көмей—дәстүрлі және заманауи, жергілікті Һәм жаһандық сипаттағы стилистикалық элементтерін өз бойына тоғыстырған этномузыканың айырықша түрі. Бұл мақалада көмейдің қайта жаңғыру тарихы зерттеліп, оның байырғы дыбыстық таңба ретінде тартымды әсер ету мәселесі талданады. Мен көмейді вокалдық байырғы тіл деп айта отырып, оны жаңғыртушы өнер иелері қазақ музыкасын тарихи және геомәдени тұрғыдан шығармашылықпен пайымдап, осылайша түпкі тамыр мен жаһандану заманының жаңа реңін қатар ұштастыру арқылы ұлттық танымын айшықтады деп дәлелдеймін.
{"title":"(Re)Claiming a Vocal Vernacular: Revival and Modernization of Kömei in Contemporary Kazakh Music","authors":"Saida Daukeyeva","doi":"10.1353/amu.2021.0018","DOIUrl":"https://doi.org/10.1353/amu.2021.0018","url":null,"abstract":"Abstract:Kömei is a practice of throat-singing that was brought in to Kazakhstan from the Altai region of southern Siberia at the beginning of the twenty-first century and has since been reconfigured as a national sound that is emblematic of the Turkic nomadic origins of Kazakh culture and spirituality. A subject of debate in contemporary Kazakhstani society, kömei is an attribute of ethnomusic that juxtaposes traditional and modern, local and global stylistic elements. This article surveys the history of the kömei revival and modernization, interrogating its appeal as a sonic icon of indigeneity. I argue that by (re)claiming kömei as a vocal vernacular, artists creatively reposition Kazakh music historically and geoculturally and thus project a vision of a nation both connected to its ancient roots and attuned to globalized modernity.Abstract:Көмей—ХХІ ғасырдың басында негізінен Оңтүстік Сібірдің Алтай өңірінен Қазақстанға тасымалданып енгізілген және сол уақыттан бастап қазақ мәдениеті мен руханиятының көшпелі түркілік байырғы бастауларын елестететін мәнді ұлттық дыбыстық рәмізге айналды. Қазіргі қазақстандық қоғамда пікірсайыстың нысанына айналған көмей—дәстүрлі және заманауи, жергілікті Һәм жаһандық сипаттағы стилистикалық элементтерін өз бойына тоғыстырған этномузыканың айырықша түрі. Бұл мақалада көмейдің қайта жаңғыру тарихы зерттеліп, оның байырғы дыбыстық таңба ретінде тартымды әсер ету мәселесі талданады. Мен көмейді вокалдық байырғы тіл деп айта отырып, оны жаңғыртушы өнер иелері қазақ музыкасын тарихи және геомәдени тұрғыдан шығармашылықпен пайымдап, осылайша түпкі тамыр мен жаһандану заманының жаңа реңін қатар ұштастыру арқылы ұлттық танымын айшықтады деп дәлелдеймін.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42861873","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":"Khöömei—Ambassador to the World: An Afterword","authors":"Valentina Süzükei, S. Quirk","doi":"10.1353/amu.2021.0020","DOIUrl":"https://doi.org/10.1353/amu.2021.0020","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43067397","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.2021.0009","DOIUrl":"https://doi.org/10.1353/amu.2021.0009","url":null,"abstract":"","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47002501","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 paper argues that the cultural politics of drone-overtone music ("throatsinging," or "overtone-singing") should more often consider the voices of its heritage bearers, formerly nomadic peoples of the international Altai Mountain range and its adjacent areas, also referred to here as Greater Altai. Drawing on fieldwork in the Mongolian Altai and Russian Altai, it presents a series of mutually implicated local cultural landscapes into which Indigenous heritage bearers place themselves during droneovertone performances. Finally, it juxtaposes these local scapes with those of the Russian, Mongolian, and Chinese states, of nations and federative units within which those peoples now dwell, and of global flows, including those engendered by UNESCO's Intangible Cultural Heritage lists.
{"title":"Cradle of Drone-Overtone and Timbre-Centered Music: Cultural Landscapes of the Indigenous Peoples of the Altai Mountain Range and Its Neighboring Areas","authors":"Carole Pegg","doi":"10.1353/amu.2021.0013","DOIUrl":"https://doi.org/10.1353/amu.2021.0013","url":null,"abstract":"Abstract:This paper argues that the cultural politics of drone-overtone music (\"throatsinging,\" or \"overtone-singing\") should more often consider the voices of its heritage bearers, formerly nomadic peoples of the international Altai Mountain range and its adjacent areas, also referred to here as Greater Altai. Drawing on fieldwork in the Mongolian Altai and Russian Altai, it presents a series of mutually implicated local cultural landscapes into which Indigenous heritage bearers place themselves during droneovertone performances. Finally, it juxtaposes these local scapes with those of the Russian, Mongolian, and Chinese states, of nations and federative units within which those peoples now dwell, and of global flows, including those engendered by UNESCO's Intangible Cultural Heritage lists.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48960547","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:Based on an ethnomusicological approach, including literature with media sources and a self-reflective approach, this article describes the sociopolitical issues related to the practices of khöömii in Mongolia, the regions of Inner Mongolia, Xinjiang (China), and Tyva (Russia). Through different narratives, it explores and analyzes the inscription of khöömii by UNESCO but also traces the historical path by which khöömii was spectacularized and institutionalized, two steps that contributed to the establishment of khöömii as a National Heritage and then as an Intangible Cultural Heritage. The author argues that khöömii has always sparked competition and questions about representation, whether on the political UNESCO's list or as a popular Guinness world record.Abstract:Abstract:Угсаатны хөгжмийн судалгаа, олон нийтийн мэдээллийн хэрэгслийн мэдээн дэх дүн шинжилгээнээс гадна өөрийн үйл ажиллагаандаа хийсэн эргэцүүлэлд үндэслэсэн энэхүү өгүүлэл нь Монгол, Өвөр Монгол, Шинжаан, Тува дахь хөөмийн уламжлалтай холбоотой улс төр-нийгмийн асуудлуудыг авч үзнэ. Тал талын үзэл бодлыг багтаасан тус өгүүлэлд хөөмий хэрхэн ЮНЕСКО-д бүртгэгдсэн явдлыг төдийгүй хөөмийг үндэсний эмблем, дараа нь соёлын биет бус өв болгоход хувь нэмрээ оруулсан хоёр үе шат болох хөөмий яаж "тайзны урлаг" болж, улмаар институтчлэгдсэн түүхэн замналыг өгүүлнэ. ЮНЕСКО-гийн улс төрийн жагсаалтаас ард түмний Гиннесийн Дэлхийн Рекорд хүртэл хөөмий нь ерөөсөө л өрсөлдөөний асуудал, төлөөллийн хэрэг байж ирсэнийг зохиогч дэвшүүлнэ.
{"title":"Khöömii, World Lists, and the Question of Representation","authors":"J. Curtet","doi":"10.1353/amu.2021.0016","DOIUrl":"https://doi.org/10.1353/amu.2021.0016","url":null,"abstract":"Abstract:Based on an ethnomusicological approach, including literature with media sources and a self-reflective approach, this article describes the sociopolitical issues related to the practices of khöömii in Mongolia, the regions of Inner Mongolia, Xinjiang (China), and Tyva (Russia). Through different narratives, it explores and analyzes the inscription of khöömii by UNESCO but also traces the historical path by which khöömii was spectacularized and institutionalized, two steps that contributed to the establishment of khöömii as a National Heritage and then as an Intangible Cultural Heritage. The author argues that khöömii has always sparked competition and questions about representation, whether on the political UNESCO's list or as a popular Guinness world record.Abstract:Abstract:Угсаатны хөгжмийн судалгаа, олон нийтийн мэдээллийн хэрэгслийн мэдээн дэх дүн шинжилгээнээс гадна өөрийн үйл ажиллагаандаа хийсэн эргэцүүлэлд үндэслэсэн энэхүү өгүүлэл нь Монгол, Өвөр Монгол, Шинжаан, Тува дахь хөөмийн уламжлалтай холбоотой улс төр-нийгмийн асуудлуудыг авч үзнэ. Тал талын үзэл бодлыг багтаасан тус өгүүлэлд хөөмий хэрхэн ЮНЕСКО-д бүртгэгдсэн явдлыг төдийгүй хөөмийг үндэсний эмблем, дараа нь соёлын биет бус өв болгоход хувь нэмрээ оруулсан хоёр үе шат болох хөөмий яаж \"тайзны урлаг\" болж, улмаар институтчлэгдсэн түүхэн замналыг өгүүлнэ. ЮНЕСКО-гийн улс төрийн жагсаалтаас ард түмний Гиннесийн Дэлхийн Рекорд хүртэл хөөмий нь ерөөсөө л өрсөлдөөний асуудал, төлөөллийн хэрэг байж ирсэнийг зохиогч дэвшүүлнэ.","PeriodicalId":43622,"journal":{"name":"ASIAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44755236","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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