Pub Date : 2021-05-04DOI: 10.1080/17411912.2021.1950023
Mina Yang
edited by Alison McQueen Tokita and David W. Hughes, 105–26. Aldershot: Ashgate. DeNora, Tia. 2000. Music in Everyday Life. Cambridge: Cambridge University Press. Evans-Pritchard, E. E. 1962. ‘Anthropology as History’. In Essays in Social Anthropology, edited by E. E. EvansPritchard, 46–65. London: Faber and Faber. Finnegan, Ruth. 2007. The Hidden Musicians: Music-Making in an English Town. Middletown, CT: Wesleyan University Press. Flavin, Philip. 2008. ‘Sokyoku-jiuta: Edo-Period Chamber Music’. In The Ashgate Research Companion to Japanese Music, edited by Alison McQueen Tokita and David W. Hughes, 169–96. Aldershot: Ashgate. Hesmondhalgh, David. 2013. Why Music Matters. Oxford: Wiley. Howard, Keith. 1991. ‘John Blacking: An Interview Conducted and Edited by Keith Howard’. Ethnomusicology 35 (1): 55–76. ———. 2014. ‘Politics, Parodies, and the Paradox of Psy’s “Gangnam Style”’. Romanian Journal of Social Sciences 1 (2015): 13–29. Jin, Jie. 2011. Chinese Music. Cambridge: Cambridge University Press. Josephson, David. 1991. ‘“A Common-Sense View of All Music”: Reflections on Percy Grainger’s Contribution to Ethnomusicology and Music Education’. Ethnomusicology 35 (2): 263–8. Kassabian, Anahid. 2013. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley and Los Angeles: University of California Press. Kim, Suk-Young. 2018. K-pop Live: Fans, Idols, and Multimedia Performance. Stanford: Stanford University Press. Komodo, Haruko. 2008. ‘The Musical Narrative of The Tale of the Heike’. In The Ashgate Research Companion to Japanese Music, edited by Alison McQueen Tokita and David W. Hughes, 77–103. Aldershot: Ashgate. Lipsitz, George. 2011. ‘Midnight at the Barrelhouse: Why Ethnomusicology Matters Now’. Ethnomusicology 55 (2): 185–99. Mithen, Steven. 2005. The Singing Neanderthals: The Origins of Music, Language, Mind and Body. Cambridge, MA: Harvard University Press. Pian, Rulan Chao. 1967. Sonq Dynasty Musical Sources and Their Interpretation. Harvard-Yenching Monograph Series 16. Cambridge, MA: Harvard University Press. Pinker, Steven. 2009. How the Mind Works. New York: Norton and Norton. Reily, Suzel Ana, ed. 2006. The Musical Human: Rethinking John Blacking’s Ethnomusicology in the TwentyFirst Century. Aldershot: Ashgate. Sachs, Curt. 1943. The Rise of Music in the Ancient World, East and West. New York: W.W. Norton & Co. Savage, Patrick, Hiromi Matsumae, Hiroki Oota, Mark Stoneking, Thomas E. Currie, Atsushi Tajima, Matt Gillan and Steven Brown. 2015. ‘How “Circumpolar” is Ainu Music? Musical and Genetic Perspectives on the History of the Japanese Archipelago’. Ethnomusicology Forum 24 (3): 443–67. Turino, Thomas. 2008.Music as Social Life: The Politics of Participation. Chicago: University of Chicago Press.
{"title":"Extreme exoticism: Japan in the American musical imagination","authors":"Mina Yang","doi":"10.1080/17411912.2021.1950023","DOIUrl":"https://doi.org/10.1080/17411912.2021.1950023","url":null,"abstract":"edited by Alison McQueen Tokita and David W. Hughes, 105–26. Aldershot: Ashgate. DeNora, Tia. 2000. Music in Everyday Life. Cambridge: Cambridge University Press. Evans-Pritchard, E. E. 1962. ‘Anthropology as History’. In Essays in Social Anthropology, edited by E. E. EvansPritchard, 46–65. London: Faber and Faber. Finnegan, Ruth. 2007. The Hidden Musicians: Music-Making in an English Town. Middletown, CT: Wesleyan University Press. Flavin, Philip. 2008. ‘Sokyoku-jiuta: Edo-Period Chamber Music’. In The Ashgate Research Companion to Japanese Music, edited by Alison McQueen Tokita and David W. Hughes, 169–96. Aldershot: Ashgate. Hesmondhalgh, David. 2013. Why Music Matters. Oxford: Wiley. Howard, Keith. 1991. ‘John Blacking: An Interview Conducted and Edited by Keith Howard’. Ethnomusicology 35 (1): 55–76. ———. 2014. ‘Politics, Parodies, and the Paradox of Psy’s “Gangnam Style”’. Romanian Journal of Social Sciences 1 (2015): 13–29. Jin, Jie. 2011. Chinese Music. Cambridge: Cambridge University Press. Josephson, David. 1991. ‘“A Common-Sense View of All Music”: Reflections on Percy Grainger’s Contribution to Ethnomusicology and Music Education’. Ethnomusicology 35 (2): 263–8. Kassabian, Anahid. 2013. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley and Los Angeles: University of California Press. Kim, Suk-Young. 2018. K-pop Live: Fans, Idols, and Multimedia Performance. Stanford: Stanford University Press. Komodo, Haruko. 2008. ‘The Musical Narrative of The Tale of the Heike’. In The Ashgate Research Companion to Japanese Music, edited by Alison McQueen Tokita and David W. Hughes, 77–103. Aldershot: Ashgate. Lipsitz, George. 2011. ‘Midnight at the Barrelhouse: Why Ethnomusicology Matters Now’. Ethnomusicology 55 (2): 185–99. Mithen, Steven. 2005. The Singing Neanderthals: The Origins of Music, Language, Mind and Body. Cambridge, MA: Harvard University Press. Pian, Rulan Chao. 1967. Sonq Dynasty Musical Sources and Their Interpretation. Harvard-Yenching Monograph Series 16. Cambridge, MA: Harvard University Press. Pinker, Steven. 2009. How the Mind Works. New York: Norton and Norton. Reily, Suzel Ana, ed. 2006. The Musical Human: Rethinking John Blacking’s Ethnomusicology in the TwentyFirst Century. Aldershot: Ashgate. Sachs, Curt. 1943. The Rise of Music in the Ancient World, East and West. New York: W.W. Norton & Co. Savage, Patrick, Hiromi Matsumae, Hiroki Oota, Mark Stoneking, Thomas E. Currie, Atsushi Tajima, Matt Gillan and Steven Brown. 2015. ‘How “Circumpolar” is Ainu Music? Musical and Genetic Perspectives on the History of the Japanese Archipelago’. Ethnomusicology Forum 24 (3): 443–67. Turino, Thomas. 2008.Music as Social Life: The Politics of Participation. Chicago: University of Chicago Press.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"331 - 335"},"PeriodicalIF":0.8,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2021.1950023","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47498079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/17411912.2021.1939754
Luis Achondo
ABSTRACT Palestino is a football team founded by Palestinian immigrants in Chile in 1916. This article examines how a group of Palestino supporters with no Palestinian heritage understand their sonic practices of football fandom. I argue that they conceptualise their vocalisations as indexing an imaginary wherein the Palestinian experience in the Middle East is marked by struggle and resilience. Disjunctive pro-Palestine images have led them to imagine the feeling of resistance that the Israeli-Palestinian conflict must stir up among Palestinians abroad – an experience they seek to ground in their vocalisations in order to sonically dominate rivals, cheer for Palestino, and express solidarity with and raise awareness about Palestine. In addition to foregrounding the potentials and constraints of sounds that are not overtly political, the article demonstrates the affordances of vocal expressions to bundle transnational elements with local practices and inhabit the resulting imaginative space via performance.
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Pub Date : 2021-05-04DOI: 10.1080/17411912.2021.1953795
Fiorella Montero-Diaz, Abigail Wood
In 1980, Peru was plunged into a bloody internal war confronting the state and two armed groups: Sendero Luminoso (Shining Path) and the Movimiento Revolucionario Túpac Amaru (MRTA). The Shining Path was a communist Maoist terrorist group whose stated aim was to replace ‘bourgeois democracy’ with a ‘new democracy.’ It claimed to fight against the elites to empower the campesinos (‘Indigenous peasants’). However, they lost track of their initial aims, and ultimately committed atrocities against the campesinos themselves, soldiers, trade unionists, and other civilians. Their violence was met with escalating violence from Peru’s state armed forces, and many lives were lost. The conflict spanned nearly 20 years claiming over 70,000 lives and traumatising the entire country. In the aftermath, violence was replaced by silence along with distrust, disunity and distance between the Andes and Lima, the capital – a silence that only music seemed to break. Trauma bled through lyrics and notes when it was banished from political and public discourse. This violence began when I was born and continued until after I left my country at 17. My whole life in Peru was framed by conflict, violence, fraught silence, loss, racism and segregation exacerbated by the conflict, and the trauma it left me, my family, and the whole country. I cannot deny or escape this beginning in life, but I can attempt to understand and work for change. I have made it my academic purpose to study the role of music as a tool for conflict transformation, particularly during and after periods of hyper violence and social division – music as an unflinching outlet when our speech is silenced by tears, fears and impotence. Yet society must also look beyond the positive potential and impact of music, to also consider its potential association with manipulation, amassing power, and stoking violence. Where words fail and the state does not help, music can play many roles, including in acknowledging trauma, promoting understanding of the roots of conflict, negotiating social guilt, facilitating public debate, contributing to reconciliation, expressing a collective sense of cultural survival, and preserving social memory (Fast and Pegley 2012; O’Connell and Castelo-Branco 2010; Ritter and Daughtry 2007; Urbain 2008). But it can also be a painful reminder of a violent past, and thus a site of tension between the competing desires to remember and to forget. How, when, and why do these roles play out? How has music been used to understand, remember and transform social conflict?
1980年，秘鲁陷入了一场血腥的内战，面对国家和两个武装组织:光辉道路(Sendero Luminoso)和革命运动Túpac Amaru (MRTA)。光辉道路是一个毛主义恐怖组织，其宣称的目标是用“新民主主义”取代“资产阶级民主”。它声称要与精英斗争，以赋予campesinos(“土著农民”)权力。然而，他们失去了最初的目标，最终对农民自己、士兵、工会会员和其他平民犯下了暴行。他们的暴力遭遇了秘鲁国家武装部队不断升级的暴力，许多人丧生。这场冲突持续了近20年，夺走了7万多人的生命，给整个国家带来了创伤。之后，暴力被沉默所取代，同时还有不信任、不团结和安第斯山脉与首都利马之间的距离——似乎只有音乐才能打破这种沉默。当创伤被排除在政治和公共话语之外时，它在歌词和音符中流淌。这种暴力从我出生时就开始了，一直持续到我17岁离开祖国之后。我在秘鲁的一生充满了冲突、暴力、令人担忧的沉默、损失、种族主义和因冲突而加剧的种族隔离，以及它给我、我的家人和整个国家带来的创伤。我不能否认或逃避生命的这个开端，但我可以试着去理解并为改变而努力。我的学术目标是研究音乐作为冲突转化工具的作用，特别是在极度暴力和社会分裂期间和之后——当我们的言语被眼泪、恐惧和无能所压制时，音乐作为一种坚定的出口。然而，社会也必须超越音乐的积极潜力和影响，考虑到它与操纵、积聚权力和煽动暴力的潜在联系。在言语失败、国家无能为力的情况下，音乐可以发挥多种作用，包括承认创伤、促进对冲突根源的理解、协商社会内疚、促进公共辩论、促进和解、表达集体文化生存感和保存社会记忆(Fast and Pegley 2012;O 'Connell and Castelo-Branco 2010;Ritter and Daughtry 2007;班2008)。但它也可能是对暴力过去的痛苦提醒，因此是记忆和遗忘这两种相互竞争的欲望之间的紧张场所。这些角色是如何、何时以及为什么发挥作用的?音乐是如何被用来理解、记忆和改变社会冲突的?
{"title":"Music and sound in times of violence, displacement and conflict","authors":"Fiorella Montero-Diaz, Abigail Wood","doi":"10.1080/17411912.2021.1953795","DOIUrl":"https://doi.org/10.1080/17411912.2021.1953795","url":null,"abstract":"In 1980, Peru was plunged into a bloody internal war confronting the state and two armed groups: Sendero Luminoso (Shining Path) and the Movimiento Revolucionario Túpac Amaru (MRTA). The Shining Path was a communist Maoist terrorist group whose stated aim was to replace ‘bourgeois democracy’ with a ‘new democracy.’ It claimed to fight against the elites to empower the campesinos (‘Indigenous peasants’). However, they lost track of their initial aims, and ultimately committed atrocities against the campesinos themselves, soldiers, trade unionists, and other civilians. Their violence was met with escalating violence from Peru’s state armed forces, and many lives were lost. The conflict spanned nearly 20 years claiming over 70,000 lives and traumatising the entire country. In the aftermath, violence was replaced by silence along with distrust, disunity and distance between the Andes and Lima, the capital – a silence that only music seemed to break. Trauma bled through lyrics and notes when it was banished from political and public discourse. This violence began when I was born and continued until after I left my country at 17. My whole life in Peru was framed by conflict, violence, fraught silence, loss, racism and segregation exacerbated by the conflict, and the trauma it left me, my family, and the whole country. I cannot deny or escape this beginning in life, but I can attempt to understand and work for change. I have made it my academic purpose to study the role of music as a tool for conflict transformation, particularly during and after periods of hyper violence and social division – music as an unflinching outlet when our speech is silenced by tears, fears and impotence. Yet society must also look beyond the positive potential and impact of music, to also consider its potential association with manipulation, amassing power, and stoking violence. Where words fail and the state does not help, music can play many roles, including in acknowledging trauma, promoting understanding of the roots of conflict, negotiating social guilt, facilitating public debate, contributing to reconciliation, expressing a collective sense of cultural survival, and preserving social memory (Fast and Pegley 2012; O’Connell and Castelo-Branco 2010; Ritter and Daughtry 2007; Urbain 2008). But it can also be a painful reminder of a violent past, and thus a site of tension between the competing desires to remember and to forget. How, when, and why do these roles play out? How has music been used to understand, remember and transform social conflict?","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"181 - 184"},"PeriodicalIF":0.8,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2021.1953795","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44900182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/17411912.2021.1944253
H. Malcomson
ABSTRACT Music provides unique opportunities to interrogate difficult issues including narcoviolence. Scholarly and media representations of those working for Mexican organised criminal groups are often one-dimensional, and fail to engage fully with their human experience. Drawing on music-focused ethnographic research, I argue in this article that subjects who participate in organised crime are made grievable and human through the portraits that commissioned rappers empathetically create of them. I explore how narco rap songs portray organised criminals as brave, respectable, able to cope with emotional trauma and attain redemption, while effacing physical suffering and guilt. I interrogate how commissioned rappers read and empathise with their clients, create appropriate songs, and negotiate the moral dissonances this work creates, particularly when religious figures are invoked. I conclude that the human complexity of those working for organised criminal groups and their ethical struggles must be engaged with if we are to propose action on drug trafficking and related activities.
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Pub Date : 2021-05-04DOI: 10.1080/17411912.2021.1939088
Rachel Beckles Willson
ABSTRACT The role of the mobile phone among people on the move has featured in several disciplinary discussions in recent years, but it remains relatively neglected by ethnomusicology. Exploring the gap, this article draws observations from Media and Communications Studies, Migration Studies and Anthropology to bear on a participatory music education project that the author led among unaccompanied migrating minors in Sicily 2017–2019. It interrogates the ethics of music research among migrant communities particularly when it involves participatory work such as performing, recording and publishing music. It also examines how Africans are caught up in, and negotiate, the racist colonial legacies that continue to inform musical consumption in Italy. The central arguments of the article are that mobile phones empower participants in their day-to-day lives and music-making, but have complex social consequences; and that within a macro socio-economic sphere, phones link participants ever more tightly and more powerfully into the historical chain of mass production that is exploiting humanity and the environment. Ethnomusicologists would do well to turn their attention more critically towards phones and related audio technologies, and reflect on the very deep socio-political entanglement in which all our networked lives – migratory or settled – are caught.
{"title":"Migration, music and the mobile phone: a case study in technology and socio-economic justice in Sicily","authors":"Rachel Beckles Willson","doi":"10.1080/17411912.2021.1939088","DOIUrl":"https://doi.org/10.1080/17411912.2021.1939088","url":null,"abstract":"ABSTRACT The role of the mobile phone among people on the move has featured in several disciplinary discussions in recent years, but it remains relatively neglected by ethnomusicology. Exploring the gap, this article draws observations from Media and Communications Studies, Migration Studies and Anthropology to bear on a participatory music education project that the author led among unaccompanied migrating minors in Sicily 2017–2019. It interrogates the ethics of music research among migrant communities particularly when it involves participatory work such as performing, recording and publishing music. It also examines how Africans are caught up in, and negotiate, the racist colonial legacies that continue to inform musical consumption in Italy. The central arguments of the article are that mobile phones empower participants in their day-to-day lives and music-making, but have complex social consequences; and that within a macro socio-economic sphere, phones link participants ever more tightly and more powerfully into the historical chain of mass production that is exploiting humanity and the environment. Ethnomusicologists would do well to turn their attention more critically towards phones and related audio technologies, and reflect on the very deep socio-political entanglement in which all our networked lives – migratory or settled – are caught.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"226 - 245"},"PeriodicalIF":0.8,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2021.1939088","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46943094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/17411912.2021.1968669
Phil Alexander, Alexander Cannon, Henry Stobart, F. Wilkins
{"title":"Editorial","authors":"Phil Alexander, Alexander Cannon, Henry Stobart, F. Wilkins","doi":"10.1080/17411912.2021.1968669","DOIUrl":"https://doi.org/10.1080/17411912.2021.1968669","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"179 - 180"},"PeriodicalIF":0.8,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43103505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/17411912.2021.1941174
Abigail Wood
ABSTRACT From warning sirens to loud booms in the sky; from tweaked radio playlists to the silence of a military funeral, sound is central to the civilian experience of wartime in Israel. Drawing upon public discourse among Jewish-Israelis during periods of armed conflict with Hamas militants in Gaza during 2012 and 2014, this article explores practices of civilian listening and sounding during times of national emergency. More than just making the ears prick, wartime sounds are implicated in an assemblage of bodily action: stimulating the body to move, prompting vocal responses and serving as a focal point for conversation. Recent work in ethnomusicology has sought to theorise soundscapes and listening practices during wartime – yet most work to date has focused on combatants. Building on previous literature in sound studies and on civil preparedness, in this article I focus on wartime regimes of civilian listening, arguing that embodied listening and sounding practices index a reconfiguration of the relationship between the state and its citizens, characterised by mutually co-constructed vigilance, and articulating consensual models of disciplined citizenship that help to sustain collective resilience, yet which also reinforce ethnonational divisions in society and bolster neoliberal practices of securitisation.
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Pub Date : 2021-05-04DOI: 10.1080/17411912.2021.1957700
J. O'connell
ABSTRACT When does war end and peace begin? Does commemoration serve indelibly to bracket conflict from post–conflict? In this article, I argue that memorial rituals serve to extend an ongoing conflict by concealing retribution in the guise of reconciliation. With specific reference to the centennial commemoration of the Gallipoli Campaign (2015), I focus on a musical performance of the iconic number entitled: Çanakkale Türküsü (lit. ‘The Dardanelles Folksong’) sponsored by the Turkish Navy, which was broadcast on Turkish television to mark the centennial celebration of the Gallipoli landings. The message of the performance is one of power, a resurgent Turkey on the high seas of world diplomacy – and also one of normality, a tacit recognition that war is every day. Significantly, the musical arrangement of the famous folksong is socially organised to emphasise consensus and inclusiveness. Further, the musical performance reinforces the theme of reconciliation between old enemies from abroad and new enemies at home. That the event was scheduled to coincide with the centennial commemoration of the Armenian deportations is no coincidence. In this way, a song of reconciliation might become a song of retribution by extending a longstanding conflict into an era that is apparently post conflict.
{"title":"Conflict after conflict: music in the memorialisation of the Gallipoli Campaign","authors":"J. O'connell","doi":"10.1080/17411912.2021.1957700","DOIUrl":"https://doi.org/10.1080/17411912.2021.1957700","url":null,"abstract":"ABSTRACT When does war end and peace begin? Does commemoration serve indelibly to bracket conflict from post–conflict? In this article, I argue that memorial rituals serve to extend an ongoing conflict by concealing retribution in the guise of reconciliation. With specific reference to the centennial commemoration of the Gallipoli Campaign (2015), I focus on a musical performance of the iconic number entitled: Çanakkale Türküsü (lit. ‘The Dardanelles Folksong’) sponsored by the Turkish Navy, which was broadcast on Turkish television to mark the centennial celebration of the Gallipoli landings. The message of the performance is one of power, a resurgent Turkey on the high seas of world diplomacy – and also one of normality, a tacit recognition that war is every day. Significantly, the musical arrangement of the famous folksong is socially organised to emphasise consensus and inclusiveness. Further, the musical performance reinforces the theme of reconciliation between old enemies from abroad and new enemies at home. That the event was scheduled to coincide with the centennial commemoration of the Armenian deportations is no coincidence. In this way, a song of reconciliation might become a song of retribution by extending a longstanding conflict into an era that is apparently post conflict.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"283 - 301"},"PeriodicalIF":0.8,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2021.1957700","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43530247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-10DOI: 10.1080/17411912.2020.1865178
S. Millar, Evropi Chatzipanagiotidou
ABSTRACT During the Northern Ireland conflict (1968–1998), paramilitary groups were supported and sustained by a sociocultural apparatus that helped legitimise their position within the community and disseminate their political message. From the use of flags and murals, to loyalist and republican parades, working-class vernacular culture revealed who was in control of various districts within the Province. For many working-class Protestants, loyalist songs were a key component of this culture, connecting the past and the present. Unlike the better-known marching band scene, which is a huge public spectacle, the loyalist song scene is much more private. Performed in a closed setting, within local bars and clubs, loyalist songs are reproduced for internal consumption rather than outward expression. Yet, in addition to celebrating a particular loyalist culture, such songs also serve an important function in authenticating and legitimising paramilitary groups, connecting them to older organisations, whose legacy they draw upon. This paper focuses on one such song, exploring how ‘The Ballad of Billy McFadzean’ is used to connect the Ulster Volunteer Force of the 1960s onwards, with the 1913 organisation of the same name. In so doing, the paper attempts to illustrate the political utility of song and how songs can be used to launder and legitimise conflict, as well as those engaged in political violence.
{"title":"From Belfast to the Somme (and back again): loyalist paramilitaries, political song, and reverberations of violence","authors":"S. Millar, Evropi Chatzipanagiotidou","doi":"10.1080/17411912.2020.1865178","DOIUrl":"https://doi.org/10.1080/17411912.2020.1865178","url":null,"abstract":"ABSTRACT During the Northern Ireland conflict (1968–1998), paramilitary groups were supported and sustained by a sociocultural apparatus that helped legitimise their position within the community and disseminate their political message. From the use of flags and murals, to loyalist and republican parades, working-class vernacular culture revealed who was in control of various districts within the Province. For many working-class Protestants, loyalist songs were a key component of this culture, connecting the past and the present. Unlike the better-known marching band scene, which is a huge public spectacle, the loyalist song scene is much more private. Performed in a closed setting, within local bars and clubs, loyalist songs are reproduced for internal consumption rather than outward expression. Yet, in addition to celebrating a particular loyalist culture, such songs also serve an important function in authenticating and legitimising paramilitary groups, connecting them to older organisations, whose legacy they draw upon. This paper focuses on one such song, exploring how ‘The Ballad of Billy McFadzean’ is used to connect the Ulster Volunteer Force of the 1960s onwards, with the 1913 organisation of the same name. In so doing, the paper attempts to illustrate the political utility of song and how songs can be used to launder and legitimise conflict, as well as those engaged in political violence.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"246 - 265"},"PeriodicalIF":0.8,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2020.1865178","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43969535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/17411912.2021.1938447
Shzr Ee Tan
ABSTRACT This reflective article addresses current flashpoints around different/conflicting projections on decolonial music initiatives around the world, including conversational fronts in multiple, intersectional contexts. I speak first from my own positionality as a woman scholar-musician-educator of postcolonial and transnational Singaporean heritage working primarily in the UK as a member of a minority community: I recall surreal experiences of music education in Southeast/East Asia before examining more recent attempts to diversify music curricula and music representation in the UK. My perspectives are necessarily shot with privilege (Chinese, academic, institutional) as well as with continued, lived experiences of structural racisms – a term I use in the plural. I pose questions about musical choice, agency and personal boundaries in these ambiguous and fraught spaces – increasingly recalibrated in new ways by social media and shifting global tectonic plates platforming the rise of East Asia (particularly, China) as a source of economic and musical opportunity. Here, understandings of intersectionality crucial, where the highlighting of perspectives from the Global South alongside new configurations of the Global North have also become necessary alongside considerations of academic privilege and aspirational cosmopolitanism.
{"title":"Whose decolonisation? Checking for intersectionality, lane-policing and academic privilege from a transnational (Chinese) vantage point","authors":"Shzr Ee Tan","doi":"10.1080/17411912.2021.1938447","DOIUrl":"https://doi.org/10.1080/17411912.2021.1938447","url":null,"abstract":"ABSTRACT This reflective article addresses current flashpoints around different/conflicting projections on decolonial music initiatives around the world, including conversational fronts in multiple, intersectional contexts. I speak first from my own positionality as a woman scholar-musician-educator of postcolonial and transnational Singaporean heritage working primarily in the UK as a member of a minority community: I recall surreal experiences of music education in Southeast/East Asia before examining more recent attempts to diversify music curricula and music representation in the UK. My perspectives are necessarily shot with privilege (Chinese, academic, institutional) as well as with continued, lived experiences of structural racisms – a term I use in the plural. I pose questions about musical choice, agency and personal boundaries in these ambiguous and fraught spaces – increasingly recalibrated in new ways by social media and shifting global tectonic plates platforming the rise of East Asia (particularly, China) as a source of economic and musical opportunity. Here, understandings of intersectionality crucial, where the highlighting of perspectives from the Global South alongside new configurations of the Global North have also become necessary alongside considerations of academic privilege and aspirational cosmopolitanism.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"140 - 162"},"PeriodicalIF":0.8,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17411912.2021.1938447","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45637858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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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