Pub Date : 2021-10-18DOI: 10.1080/17411912.2021.1978305
S. Miller, Guillermo Davis, S. Bowen
ABSTRACT McKerrell, in ‘Towards Practice Research in Ethnomusicology’, advocates for performance to be used as ‘a central methodology’, as a ‘translation of artistic performance aesthetics’ and as a ‘research outcome sited in original performance’ (2019). The translational role for performance is demonstrated in this article through a practice-led investigation into the dynamic relationship between improvised music and dance. The research is based on the analysis of a live performance on Cuban television of ‘Los Problemas de Atilana’ by Orquesta Aragón in the early 1960s, where musical gestures are shown to be embodied in the flute and dance solo ‘duet’ performed by Cuban flautist Richard Egües and dancer Rafael Bacallao, revealing the shared memories of a community bound by common cultural experience. Interdisciplinary in nature, analysis is undertaken by a musician-scholar, a film scholar-practitioner and a professional Cuban dancer-animator in order to unearth details of this embodied repertoire, thus translating and making overt culturally implicit knowledge for those outside of the artistic community of practice, and, in some cases, within it. Through re-performance and re-presentation in the form of a recording and animations, the many meanings embodied in the original performance are examined through analytical text, musical notation, visuals, recordings and animation film.
摘要McKerrell在《走向民族音乐学的实践研究》一书中主张将表演作为“一种中心方法论”、“艺术表演美学的翻译”和“基于原始表演的研究成果”（2019）。本文通过对即兴音乐和舞蹈之间动态关系的实践引导调查，展示了表演的翻译作用。这项研究是基于对20世纪60年代初Orquesta Aragón在古巴电视台的“Los Problemas de Atilana”现场表演的分析，在这场表演中，音乐手势体现在古巴长笛演奏家Richard Egües和舞蹈家Rafael Bacallao表演的长笛和舞蹈独奏“二重奏”中，揭示了一个受共同文化体验约束的社区的共同记忆。从本质上讲，分析是跨学科的，由一位音乐家学者、一位电影学者从业者和一位专业的古巴舞蹈家动画师进行，以挖掘这一具体剧目的细节，从而为艺术实践界之外的人，在某些情况下，为艺术实践圈内部的人翻译和创造公开的文化隐性知识。通过录音和动画形式的重新表演和重新呈现，通过分析文本、乐谱、视觉、录音和动画电影来检验原始表演中所体现的许多含义。
{"title":"A musico-choreographic analysis of a Cuban dance routine: a performance-informed approach","authors":"S. Miller, Guillermo Davis, S. Bowen","doi":"10.1080/17411912.2021.1978305","DOIUrl":"https://doi.org/10.1080/17411912.2021.1978305","url":null,"abstract":"ABSTRACT McKerrell, in ‘Towards Practice Research in Ethnomusicology’, advocates for performance to be used as ‘a central methodology’, as a ‘translation of artistic performance aesthetics’ and as a ‘research outcome sited in original performance’ (2019). The translational role for performance is demonstrated in this article through a practice-led investigation into the dynamic relationship between improvised music and dance. The research is based on the analysis of a live performance on Cuban television of ‘Los Problemas de Atilana’ by Orquesta Aragón in the early 1960s, where musical gestures are shown to be embodied in the flute and dance solo ‘duet’ performed by Cuban flautist Richard Egües and dancer Rafael Bacallao, revealing the shared memories of a community bound by common cultural experience. Interdisciplinary in nature, analysis is undertaken by a musician-scholar, a film scholar-practitioner and a professional Cuban dancer-animator in order to unearth details of this embodied repertoire, thus translating and making overt culturally implicit knowledge for those outside of the artistic community of practice, and, in some cases, within it. Through re-performance and re-presentation in the form of a recording and animations, the many meanings embodied in the original performance are examined through analytical text, musical notation, visuals, recordings and animation film.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"160 - 182"},"PeriodicalIF":0.8,"publicationDate":"2021-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41581302","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 : 2021-10-15DOI: 10.1080/17411912.2021.1985562
J. Roy
ABSTRACT Recent scholarship has addressed the roles epistemological colonialism plays in music education. Following several publications on decoloniality in music studies and education, this article discusses how ethnomusicological pedagogies and scholarly practices can engage in unsettling practices of critique and creative action that attend to sites of oppression beyond the reflexes of tokenism, nativism, and other ‘settler moves to innocence’. This article presents some pragmatic directions that come out of the critiques highlighted therein, inspired by pedagogical practices proposed by Chérie Rivers Ndaliko, Marco Cervantes and L.P. Saldaña, and others. This includes a three-module lesson facilitating students through the examination of coloniality in the musical histories of a place, the challenging of coloniality in the practice and consumption of musics today, and the creation of entirely different musical possibilities that re/centre students’ lived experiences, his-/her-/their-stories, and ancestries.
{"title":"Towards decolonial pedagogies of world music","authors":"J. Roy","doi":"10.1080/17411912.2021.1985562","DOIUrl":"https://doi.org/10.1080/17411912.2021.1985562","url":null,"abstract":"ABSTRACT Recent scholarship has addressed the roles epistemological colonialism plays in music education. Following several publications on decoloniality in music studies and education, this article discusses how ethnomusicological pedagogies and scholarly practices can engage in unsettling practices of critique and creative action that attend to sites of oppression beyond the reflexes of tokenism, nativism, and other ‘settler moves to innocence’. This article presents some pragmatic directions that come out of the critiques highlighted therein, inspired by pedagogical practices proposed by Chérie Rivers Ndaliko, Marco Cervantes and L.P. Saldaña, and others. This includes a three-module lesson facilitating students through the examination of coloniality in the musical histories of a place, the challenging of coloniality in the practice and consumption of musics today, and the creation of entirely different musical possibilities that re/centre students’ lived experiences, his-/her-/their-stories, and ancestries.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"31 1","pages":"50 - 69"},"PeriodicalIF":0.8,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43278318","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 : 2021-09-02DOI: 10.1080/17411912.2021.2008263
Tucker M. Wiedenkeller
ABSTRACT This paper examines Hizz, a collective started in Cairo, Egypt, that acts as record label, venue, gallery and artist residency. Through analysing the music that Hizz produces, its spaces and distribution methods, its organisation as a collective, and its international connections, it argues that Hizz creates new forms of social engagement and defiant politics in Cairo, thereby disrupting engrained aesthetic and social patterns. Hizz reflects a post-revolution creativity, pitted against an authoritarian regime and an elitist neo-liberal dance music scene. The aesthetic of Hizz incorporates ambient, noise and post-punk, Sufi mawlid music, mahraganat, and chaabi, in a way that enacts a conversation between different sonic elements in their surroundings. Such local relevance sees Hizz defying the strict class boundaries that define Egyptian society. This paper combines two years of field work in Cairo following the Hizz collective since their inception in 2017, further interviews, and literature on sound and space.
{"title":"The Hizz Collective: acoustic disruption and claiming space in the Cairo soundscape","authors":"Tucker M. Wiedenkeller","doi":"10.1080/17411912.2021.2008263","DOIUrl":"https://doi.org/10.1080/17411912.2021.2008263","url":null,"abstract":"ABSTRACT This paper examines Hizz, a collective started in Cairo, Egypt, that acts as record label, venue, gallery and artist residency. Through analysing the music that Hizz produces, its spaces and distribution methods, its organisation as a collective, and its international connections, it argues that Hizz creates new forms of social engagement and defiant politics in Cairo, thereby disrupting engrained aesthetic and social patterns. Hizz reflects a post-revolution creativity, pitted against an authoritarian regime and an elitist neo-liberal dance music scene. The aesthetic of Hizz incorporates ambient, noise and post-punk, Sufi mawlid music, mahraganat, and chaabi, in a way that enacts a conversation between different sonic elements in their surroundings. Such local relevance sees Hizz defying the strict class boundaries that define Egyptian society. This paper combines two years of field work in Cairo following the Hizz collective since their inception in 2017, further interviews, and literature on sound and space.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"443 - 464"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45415685","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 : 2021-09-02DOI: 10.1080/17411912.2021.1985563
G. Ramsey
{"title":"Parading respectability: the cultural and moral aesthetics of the Christmas bands movement in the Western Cape, South Africa","authors":"G. Ramsey","doi":"10.1080/17411912.2021.1985563","DOIUrl":"https://doi.org/10.1080/17411912.2021.1985563","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"471 - 473"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45775396","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 : 2021-09-02DOI: 10.1080/17411912.2021.1977159
Jennifer Kyker
{"title":"Signs of the spirit: music and the experience of meaning in Ndau ceremonial life","authors":"Jennifer Kyker","doi":"10.1080/17411912.2021.1977159","DOIUrl":"https://doi.org/10.1080/17411912.2021.1977159","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"468 - 470"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48493813","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 : 2021-09-02DOI: 10.1080/17411912.2021.1992598
Simon Gall
{"title":"Brithop: the politics of UK rap in the new century","authors":"Simon Gall","doi":"10.1080/17411912.2021.1992598","DOIUrl":"https://doi.org/10.1080/17411912.2021.1992598","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"465 - 468"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43027314","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 : 2021-09-02DOI: 10.1080/17411912.2021.2008262
Laura Turner
ABSTRACT This article examines the making of, and issues of cultural representation and engagement surrounding, two music heritage tourism trails in the Southern Appalachian region – the Blue Ridge Music Trails of North Carolina and Virginia’s The Crooked Road. Drawing upon ethnographic work, I explore how organisers create and map narratives of musical heritage across the trails’ respective terrains, navigating in the process several challenges pertaining to geography, economics, politics, and ethics. Through this analysis, I offer insight into the broader mechanisms of and tensions that suffuse cultural heritage work aimed at public audiences. More generally, I call for deeper critical engagement with the music trail phenomenon – a multi-sited tourism format within which music, heritage, and place intersect in compelling ways.
{"title":"Musical trail-making in Southern Appalachia","authors":"Laura Turner","doi":"10.1080/17411912.2021.2008262","DOIUrl":"https://doi.org/10.1080/17411912.2021.2008262","url":null,"abstract":"ABSTRACT This article examines the making of, and issues of cultural representation and engagement surrounding, two music heritage tourism trails in the Southern Appalachian region – the Blue Ridge Music Trails of North Carolina and Virginia’s The Crooked Road. Drawing upon ethnographic work, I explore how organisers create and map narratives of musical heritage across the trails’ respective terrains, navigating in the process several challenges pertaining to geography, economics, politics, and ethics. Through this analysis, I offer insight into the broader mechanisms of and tensions that suffuse cultural heritage work aimed at public audiences. More generally, I call for deeper critical engagement with the music trail phenomenon – a multi-sited tourism format within which music, heritage, and place intersect in compelling ways.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"397 - 421"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47059313","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 : 2021-09-02DOI: 10.1080/17411912.2021.1994440
Keith Howard
{"title":"Crossing over the Arirang Pass: Zainichi Korean music.","authors":"Keith Howard","doi":"10.1080/17411912.2021.1994440","DOIUrl":"https://doi.org/10.1080/17411912.2021.1994440","url":null,"abstract":"","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"475 - 478"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46439643","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 : 2021-09-02DOI: 10.1080/17411912.2021.2006075
María B. Batlle Lathrop
ABSTRACT This article discusses Violeta Parra’s work as a woman musician analysing how she contributed to challenging long-standing colonial paradigms in Chilean (and Latin American) music. Through a review of the multifaceted concept of cantora, or female singer of the people, as well as the analysis of four cueca songs, this study offers insights on how Parra negotiated the terms of the Chilean urban folkloric scene of her time. Her trajectory as a folklorist allowed her to vindicate an otherwise disparaged popular culture, and as cantautora, or singer-songwriter, she redefined the gender roles of her time becoming a musical and political referent for her peers, thus offering renovated perspectives on both female musicianship and national identity.
{"title":"Violeta Parra: musical and political legacy of a cantora","authors":"María B. Batlle Lathrop","doi":"10.1080/17411912.2021.2006075","DOIUrl":"https://doi.org/10.1080/17411912.2021.2006075","url":null,"abstract":"ABSTRACT This article discusses Violeta Parra’s work as a woman musician analysing how she contributed to challenging long-standing colonial paradigms in Chilean (and Latin American) music. Through a review of the multifaceted concept of cantora, or female singer of the people, as well as the analysis of four cueca songs, this study offers insights on how Parra negotiated the terms of the Chilean urban folkloric scene of her time. Her trajectory as a folklorist allowed her to vindicate an otherwise disparaged popular culture, and as cantautora, or singer-songwriter, she redefined the gender roles of her time becoming a musical and political referent for her peers, thus offering renovated perspectives on both female musicianship and national identity.","PeriodicalId":43942,"journal":{"name":"Ethnomusicology Forum","volume":"30 1","pages":"358 - 378"},"PeriodicalIF":0.8,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43575368","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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