Pub Date : 2022-05-10DOI: 10.1080/17411912.2022.2062410
Eilidh Whiteford
Turkish community, but not an interest in other networks. Thus, only a minority of Turkish musicians are active in the wider, international ‘world music’ network characterised by the omnipresence of the stage and concert, the detachment from the social functions of music and the importance given to intercultural encounters between musicians. Liselotte Sels’s research is enriched with black and white illustrations, charts, transcriptions, an index and a glossary – the only additional resource I wish I had are audio excerpts, which are unfortunately lacking. The book concerns scholars and musicians interested in the current state of Turkish folk repertoires. Indeed, Sels brilliantly summarises the debates which address some of the issues raised in previous research, including the influence that Kemalist Reforms had on musical language (Stokes 1992) and the lack of studies of the ‘aesthetic crisis of Turkish music’ (Greve 2017). Moreover, Sels’s book fits into the line of case studies of musical practices in diaspora, which abound in the ethnomusicological world, and she is the first researcher to explore the topic in the Belgian context. Her research attests to the status of a traditional music repertoire other than Flemish or Walloon and opens the door to other studies of the musical practices of migrant communities in the country.
{"title":"The folk: music, modernity, and the political imagination","authors":"Eilidh Whiteford","doi":"10.1080/17411912.2022.2062410","DOIUrl":"https://doi.org/10.1080/17411912.2022.2062410","url":null,"abstract":"Turkish community, but not an interest in other networks. Thus, only a minority of Turkish musicians are active in the wider, international ‘world music’ network characterised by the omnipresence of the stage and concert, the detachment from the social functions of music and the importance given to intercultural encounters between musicians. Liselotte Sels’s research is enriched with black and white illustrations, charts, transcriptions, an index and a glossary – the only additional resource I wish I had are audio excerpts, which are unfortunately lacking. The book concerns scholars and musicians interested in the current state of Turkish folk repertoires. Indeed, Sels brilliantly summarises the debates which address some of the issues raised in previous research, including the influence that Kemalist Reforms had on musical language (Stokes 1992) and the lack of studies of the ‘aesthetic crisis of Turkish music’ (Greve 2017). Moreover, Sels’s book fits into the line of case studies of musical practices in diaspora, which abound in the ethnomusicological world, and she is the first researcher to explore the topic in the Belgian context. Her research attests to the status of a traditional music repertoire other than Flemish or Walloon and opens the door to other studies of the musical practices of migrant communities in the country.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"456 - 458"},"PeriodicalIF":0.8,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49190761","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 : 2022-05-04DOI: 10.1080/17411912.2022.2097935
Victor Fan
ticularly the May rituals of Padstow and Helston (Elder Wallace 2001, 1–2). Researchers may also find that in certain contexts, John Skinner’s historical and arguably etic perspective adds additional context to Hagmann’s discussion of historical English exoticisation of Cornwall (Skinner [1797]1985). Additionally, Philip Payton’s seminal text The Cornish Overseas: The Epic Story of Cornwall’s ‘Great Migration’ has come out in a new 2020 edition which includes references to exciting newdevelopments in the studyofCornish diasporic groups (Payton2020). While Lea Hagmann’s Celtic Music and Dance in Cornwall: Cornu-Copia is certainly the excellent resource on Cornish music and dance traditions that Sean Williams suggests that it is in the Forward to the book, it may well prove to be equally significant as the start of a new wave of novel research. For musicologists, ethnomusicologists, and musical scholars who are not focused on Cornish culture, the work may serve to bring Cornish music and dance to their attention and to contribute to their understanding of the breadth of these music and dance traditions within the larger context of the Celtic world, the British Isles, and the European region. For scholars of Cornish music and dance, it seems likely that phrases such as ‘after Hagmann’ and ‘to reference Hagmann’ will become commonplace. It is perhaps a particularly important book in that its strengths lie in its generation of the potential for renewed discussion and investigation.
{"title":"Ngonsoeng jyugo/Anshang yuge [Ballad on the Shore]","authors":"Victor Fan","doi":"10.1080/17411912.2022.2097935","DOIUrl":"https://doi.org/10.1080/17411912.2022.2097935","url":null,"abstract":"ticularly the May rituals of Padstow and Helston (Elder Wallace 2001, 1–2). Researchers may also find that in certain contexts, John Skinner’s historical and arguably etic perspective adds additional context to Hagmann’s discussion of historical English exoticisation of Cornwall (Skinner [1797]1985). Additionally, Philip Payton’s seminal text The Cornish Overseas: The Epic Story of Cornwall’s ‘Great Migration’ has come out in a new 2020 edition which includes references to exciting newdevelopments in the studyofCornish diasporic groups (Payton2020). While Lea Hagmann’s Celtic Music and Dance in Cornwall: Cornu-Copia is certainly the excellent resource on Cornish music and dance traditions that Sean Williams suggests that it is in the Forward to the book, it may well prove to be equally significant as the start of a new wave of novel research. For musicologists, ethnomusicologists, and musical scholars who are not focused on Cornish culture, the work may serve to bring Cornish music and dance to their attention and to contribute to their understanding of the breadth of these music and dance traditions within the larger context of the Celtic world, the British Isles, and the European region. For scholars of Cornish music and dance, it seems likely that phrases such as ‘after Hagmann’ and ‘to reference Hagmann’ will become commonplace. It is perhaps a particularly important book in that its strengths lie in its generation of the potential for renewed discussion and investigation.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"313 - 316"},"PeriodicalIF":0.8,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48508057","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 : 2022-05-04DOI: 10.1080/17411912.2022.2117226
James Nissen
ABSTRACT During the 1990s and 2000s, ‘world music’ became a contentious topic in ethnomusicology, with polarised exchanges of ‘anxious’ and ‘celebratory’ narratives. Recently, this debate has subsided, and many academics and industry actors have discarded the controversial label. However, attempts to simply bury the discourse are futile because the politics of ‘world music’ continues to play out within the industry. The problem with the debate was not necessarily the label itself, but the abstract and generalising narratives which simplified discussion of ‘world music’ production and consumption and excluded the voices of its participants. Applying the concept of ‘envoicement’ to WOMAD, I show that musicians value this festival as a platform for getting their voices — literal and metaphorical — heard. I argue that, by revealing perspectives which problematise past narratives, an ethnographic approach guided by envoicement could help to nuance understandings of the industry and break through the critical deadlock.
{"title":"‘Give us a voice!’: voice, envoicement, and the politics of ‘world music’ at WOMAD","authors":"James Nissen","doi":"10.1080/17411912.2022.2117226","DOIUrl":"https://doi.org/10.1080/17411912.2022.2117226","url":null,"abstract":"ABSTRACT During the 1990s and 2000s, ‘world music’ became a contentious topic in ethnomusicology, with polarised exchanges of ‘anxious’ and ‘celebratory’ narratives. Recently, this debate has subsided, and many academics and industry actors have discarded the controversial label. However, attempts to simply bury the discourse are futile because the politics of ‘world music’ continues to play out within the industry. The problem with the debate was not necessarily the label itself, but the abstract and generalising narratives which simplified discussion of ‘world music’ production and consumption and excluded the voices of its participants. Applying the concept of ‘envoicement’ to WOMAD, I show that musicians value this festival as a platform for getting their voices — literal and metaphorical — heard. I argue that, by revealing perspectives which problematise past narratives, an ethnographic approach guided by envoicement could help to nuance understandings of the industry and break through the critical deadlock.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"236 - 259"},"PeriodicalIF":0.8,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42290214","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 : 2022-05-04DOI: 10.1080/17411912.2022.2093764
Rodrigo Chocano
ABSTRACT Both comparative assessment of the concept of intangible cultural heritage (ICH) and developments in musical sustainability, to ensure the viability of grassroots musical practices, have been important concerns among applied ethnomusicologists over the last decade. This paper identifies some of the challenges in the dialogue between these two approaches from an implementation perspective via the case study of the nomination process of the Feast of the Virgin of Candelaria of Puno, Perú to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The article analyses the incentives for state officers, music practitioners, and other stakeholders in ICH projects to assess their compatibility with musical sustainability frameworks. I argue that the main challenge in aligning these two approaches resides in the conflicting incentive structures both approaches feature. This paper advances current research on musical sustainability, ICH, and applied ethnomusicology by introducing conceptual developments for the analysis of institutional frameworks, partisan agendas, and decision-making processes.
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Pub Date : 2022-05-04DOI: 10.1080/17411912.2022.2117225
Sunday Ofuani
ABSTRACT This article examines the influence of Western art music on the founding of an art music tradition in Nigeria. While the pioneering composers were more Western in approach and style, modern composers’ creative quests for identity and relevance for a local audience have motivated their compositional experiments through intercultural creativity, which Euba [2014. J. H. Kwabena Nketia: Bridging Musicology and Composition. A Study in Creative Musicology. Point Richmond, CA: MRI Press] conceptualised as ‘creative musicology’ or ‘intercultural musicology’. These experiments have resulted in hybrids of Western and indigenous musical features, which in this paper are put in the context of the Igbo ethnic group where Okechukwu Ndubuisi thrived in his art. Indigenous folk music ideals inspired his compositions, which he created with an intercultural approach. This paper has partly emerged from existing studies on Ndubuisi and on intercultural musicology in Africa, and opens new perspectives, for example on pedagogical and performance interculturalism and on Ndubuisi’s creative frameworks, which are omitted both in the literature on him and in other discussions of intercultural and creative musicology in Africa. The study encompasses a sociological argument, theoretical conceptualisation, and musical analysis; it therefore extends the existing scholarship in intercultural and creative musicology.
摘要本文探讨西方艺术音乐对尼日利亚艺术音乐传统形成的影响。虽然早期的作曲家在方法和风格上更加西方化，但现代作曲家对当地观众身份和相关性的创造性追求激发了他们通过跨文化创造力进行的作曲实验，Euba[2014]。J. H. Kwabena Nketia:连接音乐学和作曲。创造性音乐学研究。(Point Richmond, CA: MRI Press)被概念化为“创造性音乐学”或“跨文化音乐学”。这些实验导致了西方和本土音乐特征的混合，在本文中，这是在伊博民族的背景下，奥克丘库乌·恩杜布西在他的艺术中茁壮成长。土著民族音乐的理想启发了他的作品，他用跨文化的方式创作了这些作品。本文部分源于对恩杜布西和非洲跨文化音乐学的现有研究，并开辟了新的视角，例如教学和表演跨文化主义以及恩杜布西的创作框架，这些在关于他的文献和非洲跨文化和创意音乐学的其他讨论中都被省略了。该研究包括社会学论证、理论概念化和音乐分析;因此，它扩展了现有的跨文化和创造性音乐学学术。
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Pub Date : 2022-04-12DOI: 10.1080/17411912.2022.2058577
Uğur Aslan, Songül Karahasanoğlu
ABSTRACT The kemençe instrument is a crucial part of daily life in the Eastern Black Sea region’s culture. Besides the performance of the kemençe, other instruments, dances, and the ideological discourses associated with the instrument show us how local people interact with the landscape of the Eastern Black Sea region. This study examines the space of kemençe by considering its complex cultural relations in and around the province of Trabzon. We use the concept of organonscape to analyse the space of the kemençe through considering the geography and spatial features of the instrument. This concept shows that instruments are important determinants of performance and are created to mark a fluid space in relation to landscape. As a result, the organonscape of the kemençe contains musical practices and shapes the ideological construction of landscapes as spaces where the kemençe is performed.
{"title":"Organonscape, geography, and aural spaces of kemençe in and around Trabzon","authors":"Uğur Aslan, Songül Karahasanoğlu","doi":"10.1080/17411912.2022.2058577","DOIUrl":"https://doi.org/10.1080/17411912.2022.2058577","url":null,"abstract":"ABSTRACT The kemençe instrument is a crucial part of daily life in the Eastern Black Sea region’s culture. Besides the performance of the kemençe, other instruments, dances, and the ideological discourses associated with the instrument show us how local people interact with the landscape of the Eastern Black Sea region. This study examines the space of kemençe by considering its complex cultural relations in and around the province of Trabzon. We use the concept of organonscape to analyse the space of the kemençe through considering the geography and spatial features of the instrument. This concept shows that instruments are important determinants of performance and are created to mark a fluid space in relation to landscape. As a result, the organonscape of the kemençe contains musical practices and shapes the ideological construction of landscapes as spaces where the kemençe is performed.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"260 - 282"},"PeriodicalIF":0.8,"publicationDate":"2022-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48048607","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 : 2022-03-15DOI: 10.1080/17411912.2022.2047751
Ian R. Copeland
ABSTRACT This article considers the recent efforts of a Britain-based record label to license and remix field recordings collected in Malawi by Hugh Tracey. In particular, I argue that the initiative’s charitable ends should be weighed against musical production and marketing practices that shortchange Malawi and Malawians. Drawing on fieldwork, interviews, and discourse analysis in Malawi and South Africa, I ask how the project portrays the source materials it utilises and the uptick in cultural awareness it seeks to engender. Factors I focus on include: characterisations of Tracey and his archive, the musical production process, strategic publicity that accompanied the album’s release, and the project’s charitable and musical impacts in contemporary Malawi. Altogether, the article articulates and advocates for a critical approach to musically tinged humanitarian projects in the global South.
{"title":"Pop goes the postcolony: Britain remixes Hugh Tracey’s Malawi","authors":"Ian R. Copeland","doi":"10.1080/17411912.2022.2047751","DOIUrl":"https://doi.org/10.1080/17411912.2022.2047751","url":null,"abstract":"ABSTRACT This article considers the recent efforts of a Britain-based record label to license and remix field recordings collected in Malawi by Hugh Tracey. In particular, I argue that the initiative’s charitable ends should be weighed against musical production and marketing practices that shortchange Malawi and Malawians. Drawing on fieldwork, interviews, and discourse analysis in Malawi and South Africa, I ask how the project portrays the source materials it utilises and the uptick in cultural awareness it seeks to engender. Factors I focus on include: characterisations of Tracey and his archive, the musical production process, strategic publicity that accompanied the album’s release, and the project’s charitable and musical impacts in contemporary Malawi. Altogether, the article articulates and advocates for a critical approach to musically tinged humanitarian projects in the global South.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"190 - 211"},"PeriodicalIF":0.8,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43994991","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 : 2022-02-11DOI: 10.1080/17411912.2022.2033631
Nicholas Booker
{"title":"Celtic music and dance in Cornwall: cornu-copia","authors":"Nicholas Booker","doi":"10.1080/17411912.2022.2033631","DOIUrl":"https://doi.org/10.1080/17411912.2022.2033631","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"310 - 313"},"PeriodicalIF":0.8,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49047783","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 : 2022-02-10DOI: 10.1080/17411912.2022.2032243
Keith Howard
music for hundreds of years, the rise in popularity of non-Indian music genres within mainstream North Indian society, the often rigid conservatism of the sāran gī musicians themselves, coupled with an influx of increasingly popular alternative accompanying instruments for Hindustani classical music such as violin and harmonium (not to mention the considerable difficulties involved in both learning to play and to maintain the instrument), have all conspired to mark the sāran gī as an endangered species. Nevertheless, the sāran gī endures; and Magriel himself notes that his own latest work demonstrates ‘the apparent paradox that the sāran gī is alive and well, albeit in increasing obscurity’ (29). In summary, Sāran gī Style in Hindustani Music will provide compelling reading for ethnomusicologists, South Asia specialists, North Indian classical music enthusiasts and music analysts alike, whilst being an essential volume for any serious student of the sāran gī.
{"title":"Performing environmentalisms: expressive culture and ecological change","authors":"Keith Howard","doi":"10.1080/17411912.2022.2032243","DOIUrl":"https://doi.org/10.1080/17411912.2022.2032243","url":null,"abstract":"music for hundreds of years, the rise in popularity of non-Indian music genres within mainstream North Indian society, the often rigid conservatism of the sāran gī musicians themselves, coupled with an influx of increasingly popular alternative accompanying instruments for Hindustani classical music such as violin and harmonium (not to mention the considerable difficulties involved in both learning to play and to maintain the instrument), have all conspired to mark the sāran gī as an endangered species. Nevertheless, the sāran gī endures; and Magriel himself notes that his own latest work demonstrates ‘the apparent paradox that the sāran gī is alive and well, albeit in increasing obscurity’ (29). In summary, Sāran gī Style in Hindustani Music will provide compelling reading for ethnomusicologists, South Asia specialists, North Indian classical music enthusiasts and music analysts alike, whilst being an essential volume for any serious student of the sāran gī.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"451 - 454"},"PeriodicalIF":0.8,"publicationDate":"2022-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42733061","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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