Pub Date : 2023-10-01DOI: 10.5406/21567417.67.3.04
Garrett Groesbeck
Abstract In 1998, Japan's Ministry of Education amended the country's national curriculum to require the inclusion of traditional Japanese instruments in kindergarten through twelfth grade (K-12) music education. Over the last two decades, Japanese ethnomusicologists, music education scholars, and performers of hōgaku (musical genres with roots in premodern Japan) have begun to grow a body of literature and pedagogical techniques aimed at helping K-12 music teachers, mostly untrained in hōgaku, fulfill this requirement. In this article, I explore the innovations of this new hōgaku pedagogy and argue that coolness, a concept widely deployed in Japanese economic, political, and media discourse, is central to its understanding.
{"title":"Government-Mandated Coolness: Education Policy, the Koto, and Music Teacher Retraining in Japan","authors":"Garrett Groesbeck","doi":"10.5406/21567417.67.3.04","DOIUrl":"https://doi.org/10.5406/21567417.67.3.04","url":null,"abstract":"Abstract In 1998, Japan's Ministry of Education amended the country's national curriculum to require the inclusion of traditional Japanese instruments in kindergarten through twelfth grade (K-12) music education. Over the last two decades, Japanese ethnomusicologists, music education scholars, and performers of hōgaku (musical genres with roots in premodern Japan) have begun to grow a body of literature and pedagogical techniques aimed at helping K-12 music teachers, mostly untrained in hōgaku, fulfill this requirement. In this article, I explore the innovations of this new hōgaku pedagogy and argue that coolness, a concept widely deployed in Japanese economic, political, and media discourse, is central to its understanding.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204476","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 : 2023-10-01DOI: 10.5406/21567417.67.3.16
Armaghan Fakhraeirad
Since the Islamic Revolution in 1979, Iranian women have been subjected to a variety of control and limitation measures. These include a ban on female solo singing in public, a prime example of the radical socio-cultural changes of the post-revolutionary era. The Female Voice of Iran is an interview-based documentary with elements of ethnofiction that tells the story of Iranian women singers who, despite limitations and discrimination, continue to strive to achieve their musical dreams. The film is directed by Andreas Rochholl, a trained singer, director, cinematographer and cultural entrepreneur based in Berlin. Together with Berlin-based associate producers Yalda Yazdani, an Iranian ethnomusicologist and curator, and Sebastian Leitner, also the film's editor, the team traveled to several regions of Iran to interview fourteen singers from different ethnic backgrounds. The singers featured in the film represent a variety of Iran's different music genres, including Iranian classical music, folk, jazz, and pop. Besides the conventional use of talking head interviews, the singers appear in some of the directed scenes throughout the film.In the film, Rochholl and Yazdani are presented as two travelers leaving Berlin to Iran carrying a golden camel statue that symbolizes the talisman of a fictional woman singer named Negar. There is no view of Negar throughout the film, but her presence is often represented in dramatic voiceovers and in some imaginary dialogues between the golden camel and the singers. The narrative of the film is centered around Negar's dream, which can be heard at the start of the film: “Female voices from all over Iran coming out of isolation, connecting and uniting.” She states that she aims to bring women together to sing in her garden in Isfahan, a city in the middle of Iran. The travelers set out to make Negar's dream come true by visiting the singers in various regions of Iran.Their journey begins in Bushehr, a port city in the south of Iran, where they meet Baran Mozafari, one of the first Bushehri women who brought celebratory southern folk songs to the stage. In a directed scene positioned alongside a musical performance, Mozzafari shares aspects of her musical background, ideas about music, and personal life. This combination of interviews, performances and ethnofictional narratives is used for the remaining thirteen Iranian women singers from eight different ethnic groups. Continuing along the golden camel's path throughout Iran, the filmmakers meet the rest of the singers and encourage them to connect with one another in Negar's garden. As they move from one region to the next, the film illustrates the cultural and natural diversity of the country as well as the diversity of Iran's urban areas. The majority of the locations feature traditional and classical music from each region.Rather than highlighting the hardships and challenges of being a woman singer, the film stresses the passion for the work and the dream of bein
{"title":"The Female Voice of Iran","authors":"Armaghan Fakhraeirad","doi":"10.5406/21567417.67.3.16","DOIUrl":"https://doi.org/10.5406/21567417.67.3.16","url":null,"abstract":"Since the Islamic Revolution in 1979, Iranian women have been subjected to a variety of control and limitation measures. These include a ban on female solo singing in public, a prime example of the radical socio-cultural changes of the post-revolutionary era. The Female Voice of Iran is an interview-based documentary with elements of ethnofiction that tells the story of Iranian women singers who, despite limitations and discrimination, continue to strive to achieve their musical dreams. The film is directed by Andreas Rochholl, a trained singer, director, cinematographer and cultural entrepreneur based in Berlin. Together with Berlin-based associate producers Yalda Yazdani, an Iranian ethnomusicologist and curator, and Sebastian Leitner, also the film's editor, the team traveled to several regions of Iran to interview fourteen singers from different ethnic backgrounds. The singers featured in the film represent a variety of Iran's different music genres, including Iranian classical music, folk, jazz, and pop. Besides the conventional use of talking head interviews, the singers appear in some of the directed scenes throughout the film.In the film, Rochholl and Yazdani are presented as two travelers leaving Berlin to Iran carrying a golden camel statue that symbolizes the talisman of a fictional woman singer named Negar. There is no view of Negar throughout the film, but her presence is often represented in dramatic voiceovers and in some imaginary dialogues between the golden camel and the singers. The narrative of the film is centered around Negar's dream, which can be heard at the start of the film: “Female voices from all over Iran coming out of isolation, connecting and uniting.” She states that she aims to bring women together to sing in her garden in Isfahan, a city in the middle of Iran. The travelers set out to make Negar's dream come true by visiting the singers in various regions of Iran.Their journey begins in Bushehr, a port city in the south of Iran, where they meet Baran Mozafari, one of the first Bushehri women who brought celebratory southern folk songs to the stage. In a directed scene positioned alongside a musical performance, Mozzafari shares aspects of her musical background, ideas about music, and personal life. This combination of interviews, performances and ethnofictional narratives is used for the remaining thirteen Iranian women singers from eight different ethnic groups. Continuing along the golden camel's path throughout Iran, the filmmakers meet the rest of the singers and encourage them to connect with one another in Negar's garden. As they move from one region to the next, the film illustrates the cultural and natural diversity of the country as well as the diversity of Iran's urban areas. The majority of the locations feature traditional and classical music from each region.Rather than highlighting the hardships and challenges of being a woman singer, the film stresses the passion for the work and the dream of bein","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204482","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 : 2023-10-01DOI: 10.5406/21567417.67.3.14
Matthew Knight
This sophisticated work of political theory and bureaucratic ethnography covers Albanian “light music” over six decades, particularly focusing on 1950–2010. In its sustained analysis of the Foucauldian governmentality underpinning socialist and capitalist cultural orders, Tochka's book is a valuable contribution to the anthropology of postsocialist states. The author focuses on the annual Festival of Song (Festivali i Këngës), a prestigious state competition that originated in the early socialist period and now determines which song Albania will send to the Eurovision Song Contest. The festival provides Tochka a stepping-off point for copious candid interviews with cultural administrators, composers, singers, and listeners. The author, who extensively perused state broadcast archives, notes that the Festival of Song's style of light music, comparable to Russian estrada pop, has received far less academic attention than socialist folkloric ensembles. Nevertheless, it too was subject to bureaucratic oversight within socialist cultural policy—a centrally “planned economy of symbolic production” (2)—and arguably appealed to a much wider audience.Albania was a political outlier, pursuing a policy of isolation even from other socialist regimes and resisting liberalizing “thaws” well into the 1980s—significantly longer than its neighbors; it also managed to keep a musical “gray economy” very miniscule, giving its government nearly complete control over musical consumption into the 1980s. But in line with other socialist countries, its “masses” were seen as uneducated, primitive, and in need of civilizing. This book devotes major attention to “social gardeners,” the music intellectuals and policy-makers responsible for guiding the masses toward the desired future. Tochka reminds the reader that states are not unitary actors but implement their policies through individuals in a multitude of localized contexts. While Albania was among the strictest of socialist regimes, it could not solely resort to coercion and also employed symbolic-ideological strategies in the realm of cultural production to buttress its legitimacy. The light music featured at the yearly festival promoted themes of national unity, the struggle against enemies, and the promises of socialism; winning selections tended to be serious epic lyrical works, but the runners-up would invariably be crowd-pleasing love songs.While Tochka acknowledges state repression, he also points out that composers and other musicians viewed themselves as creative actors, not simply cogs in an oppressive machine. The discourse of individual creativity was very important for light song composers in the socialist era, and the Festival of Song was a prized venue for them to display their work and build a reputation. Through the necessary collaboration between composers, lyricists, singers, and performers, even inadvertent challenges to state ideology would be ironed out in committee well before broadcasts. The aut
这本复杂的政治理论和官僚民族志著作涵盖了阿尔巴尼亚60多年的“轻音乐”，特别关注1950-2010年。托奇卡的书持续分析了支撑社会主义和资本主义文化秩序的福柯式治理，对后社会主义国家的人类学做出了宝贵贡献。作者关注的是每年一度的歌曲节(Festivali i Këngës)，这是一项起源于社会主义早期的著名国家比赛，现在决定阿尔巴尼亚将向欧洲歌唱大赛提交哪首歌。音乐节为托奇卡提供了一个与文化管理者、作曲家、歌手和听众进行大量坦诚访谈的跳板。作者广泛阅读了国家广播档案，注意到宋节的轻音乐风格，与俄罗斯埃斯特拉达流行音乐相媲美，受到的学术关注远远少于社会主义民俗合奏。然而，它也受制于社会主义文化政策的官僚监督——一种集中的“象征性生产的计划经济”(2)——可以说它吸引了更广泛的受众。阿尔巴尼亚在政治上是一个异类，它奉行孤立政策，甚至与其他社会主义政权隔离，直到20世纪80年代，它一直抵制自由化的“解冻”——比邻国要长得多;它还设法将音乐“灰色经济”保持在非常小的规模，使其政府几乎完全控制了20世纪80年代的音乐消费。但与其他社会主义国家一样，它的“大众”被视为未受教育、原始、需要教化。这本书主要关注“社会园丁”，即那些负责引导大众走向理想未来的音乐知识分子和政策制定者。Tochka提醒读者，国家不是单一的行为体，而是通过个体在众多的局部环境中实现其政策。虽然阿尔巴尼亚是最严格的社会主义政权之一，但它不能仅仅诉诸强制，而且还在文化生产领域采用象征-意识形态战略来支持其合法性。一年一度的节日上播放的轻音乐宣扬了民族团结、与敌人斗争和社会主义承诺的主题;获奖作品往往是严肃的史诗抒情作品，但亚军总是令人喜爱的情歌。虽然托奇卡承认国家的压迫，但他也指出，作曲家和其他音乐家将自己视为有创造力的演员，而不仅仅是压迫机器中的齿轮。在社会主义时代，个人创作的话语对轻歌作曲家来说是非常重要的，歌会是他们展示作品和建立声誉的重要场所。通过作曲家、作词人、歌手和表演者之间必要的合作，即使是无意中对国家意识形态的挑战，也会在广播之前在委员会中得到解决。作者描述了专业主义话语如何有效地培养内化的、有纪律的审美倾向:“高度发展的特定领域的艺术规范……不要机械地监督个人的行为，而是将潜在的破坏性象征性行为(例如，侵略性的声乐风格，或重复的旋律)的个体实例视为非专业而不是颠覆性的”(125)。托奇卡并没有将“发声”等同于反对权力，他认为对艺术在反国家颠覆中的作用的普遍理解被夸大了。相反，他断言，艺术家直接挑战体制或因此受到惩罚的“壮观的镇压时刻”是“极其罕见的”(89)，尽管它们不成比例地抓住了许多评论家的想象力。他呼吁对日常音乐创作进行更深入的考察，而不是追溯所有社会主义创作作品，寻找“隐藏的异议”(152)或共谋的迹象。书中有超过一半的篇幅是对社会主义时期的分析，而其余的篇幅则追溯了社会主义对2010年代早期的影响。重要的历史时刻包括1962年在苏联培养的新一代官僚精英的影响下举行的第一届宋节;1972年的音乐节，试图通过吸收更多的外国流行风格来解放轻音乐领域，但却导致了保守派的强烈反对，解雇，甚至逮捕;以及20世纪80年代末和90年代初的节日，在这期间，变革和自由的主题预示着重大的政治经济转变。 在整个过程中，托奇卡分析了一些代表性歌曲的文本和音乐编曲，展示了它们如何反映了有关建设社会主义、民间传统在阿尔巴尼亚身份中的地位、赢得“青年”或欧洲一体化的相关辩论;然而，没有得分的例子，音乐理论术语被保持在最低限度，使这本书非常适合非音乐家。这本书没有网站或播放列表，但托奇卡指出，书中提到的所有歌曲都可以很容易地在网上找到。资本主义时代出现了新的创造性类型:业余作曲家兼制作人和未来的流行歌星。便利的私人录音室吸引了许多人进入一个以自我推销和个人创业精神为明显标志的领域。尽管如此，一些专业作曲家继续受到社会主义理想的艺术提升，审美复杂性和音乐学院训练的优越性的启发。对他们来说，歌会仍然是一个重要的场所，可以在市场之外展示他们的创作技巧，但私人赞助的节日往往吸引更广泛、更年轻的观众。在简短的结语中，托奇卡重申了他的主要论点:“声音”和能动性不是同义词;对音乐/声音的政治监督必然要求将权力下放给有自己议程的声音专家;我们需要仔细观察任何一种状态下与声音制造和消费相关的话语、基础设施和实践。最后，托奇卡警告我们要仔细倾听对话者的声音，并对将世界划分为“自由”和“不自由”社会的理想政治类型的认识论影响持怀疑态度。随着左倾学者们被迫重新思考他们对“新冷战”时期苏联遗产的理解，这最后一个论点可能是当今最具挑战性的。Audible States对音乐政治经济进行了颇具争议的分析，它将成为了解东欧和文化政策的必读读物。
{"title":"Audible States: Socialist Politics and Popular Music in Albania","authors":"Matthew Knight","doi":"10.5406/21567417.67.3.14","DOIUrl":"https://doi.org/10.5406/21567417.67.3.14","url":null,"abstract":"This sophisticated work of political theory and bureaucratic ethnography covers Albanian “light music” over six decades, particularly focusing on 1950–2010. In its sustained analysis of the Foucauldian governmentality underpinning socialist and capitalist cultural orders, Tochka's book is a valuable contribution to the anthropology of postsocialist states. The author focuses on the annual Festival of Song (Festivali i Këngës), a prestigious state competition that originated in the early socialist period and now determines which song Albania will send to the Eurovision Song Contest. The festival provides Tochka a stepping-off point for copious candid interviews with cultural administrators, composers, singers, and listeners. The author, who extensively perused state broadcast archives, notes that the Festival of Song's style of light music, comparable to Russian estrada pop, has received far less academic attention than socialist folkloric ensembles. Nevertheless, it too was subject to bureaucratic oversight within socialist cultural policy—a centrally “planned economy of symbolic production” (2)—and arguably appealed to a much wider audience.Albania was a political outlier, pursuing a policy of isolation even from other socialist regimes and resisting liberalizing “thaws” well into the 1980s—significantly longer than its neighbors; it also managed to keep a musical “gray economy” very miniscule, giving its government nearly complete control over musical consumption into the 1980s. But in line with other socialist countries, its “masses” were seen as uneducated, primitive, and in need of civilizing. This book devotes major attention to “social gardeners,” the music intellectuals and policy-makers responsible for guiding the masses toward the desired future. Tochka reminds the reader that states are not unitary actors but implement their policies through individuals in a multitude of localized contexts. While Albania was among the strictest of socialist regimes, it could not solely resort to coercion and also employed symbolic-ideological strategies in the realm of cultural production to buttress its legitimacy. The light music featured at the yearly festival promoted themes of national unity, the struggle against enemies, and the promises of socialism; winning selections tended to be serious epic lyrical works, but the runners-up would invariably be crowd-pleasing love songs.While Tochka acknowledges state repression, he also points out that composers and other musicians viewed themselves as creative actors, not simply cogs in an oppressive machine. The discourse of individual creativity was very important for light song composers in the socialist era, and the Festival of Song was a prized venue for them to display their work and build a reputation. Through the necessary collaboration between composers, lyricists, singers, and performers, even inadvertent challenges to state ideology would be ironed out in committee well before broadcasts. The aut","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204478","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 : 2023-10-01DOI: 10.5406/21567417.67.3.03
Lindsay Wright
Abstract This article closely examines two violinists’ first notes—two beginnings animated by contrasting American conceptions of music and musicality. Each beginning occurs in a lesson: one follows Japanese pedagogue Shinichi Suzuki's assertion that music is like language, universally accessible and collectively enjoyed; another exemplifies a more “traditional” approach embracing individuality and differing aptitudes. Through a detailed ethnographic analysis of the events before, during, and after these first notes, this project (1) theorizes musical “beginning,” (2) demonstrates the benefits of video-based microethnography for ethnomusicology, and (3) argues that conceptions of “talent” profoundly influence musicians’ achievements, even and especially in the beginning.
{"title":"Teaching Talent: Beginning and/as Method in Two American Violin Studios","authors":"Lindsay Wright","doi":"10.5406/21567417.67.3.03","DOIUrl":"https://doi.org/10.5406/21567417.67.3.03","url":null,"abstract":"Abstract This article closely examines two violinists’ first notes—two beginnings animated by contrasting American conceptions of music and musicality. Each beginning occurs in a lesson: one follows Japanese pedagogue Shinichi Suzuki's assertion that music is like language, universally accessible and collectively enjoyed; another exemplifies a more “traditional” approach embracing individuality and differing aptitudes. Through a detailed ethnographic analysis of the events before, during, and after these first notes, this project (1) theorizes musical “beginning,” (2) demonstrates the benefits of video-based microethnography for ethnomusicology, and (3) argues that conceptions of “talent” profoundly influence musicians’ achievements, even and especially in the beginning.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206387","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 : 2023-10-01DOI: 10.5406/21567417.67.3.13
Miranda Crowdus
Sarah Ross's A Season of Singing: Creating Feminist Jewish Music in the United States documents the important work of feminist Jewish singer-songwriters in the United States from the 1960s to the early twenty-first century. The author combines a thorough historical overview with ethnographic fieldwork and reflection, including poignant moments of autoethnography. This methodological approach yields a sophisticated reading of broad social, political, and religious contexts. Drawing on an array of relevant theoretical frameworks, including the feminist theology of Judith Plaskow, Ross teases out the intricacies of what she identifies as the “feminist Jewish music scene.”Ross shows how these actors, whom the author identifies as the core of the feminist Jewish singer-songwriter scene, played pivotal roles in creating and sustaining feminist Jewish music and, by extension, developed new outlets for feminist-oriented Jewish community and practices. In the ethnographically oriented parts of the text, practitioners in the Reform, Reconstructionist, and Jewish Renewal movements, such as Debbie Friedman, are thoroughly discussed in a sensitive and humane way, to the point that the reader feels as if they are in conversation with the respondents. Ross shows how feminist Jewish singer-songwriters drew on secular musical movements, such as American folksong (popularized by singers like Joni Mitchell and Joan Baez), to optimize the transformative potential of music as a vehicle for feminist ideals and community cohesion. Ross's sophisticated analysis offers fresh insights into how new materials—composed for the transmission of both tradition and innovation—served as pedagogical tools that, in the eyes of its creators, could be reconceptualized and utilized by Jewish communities within and beyond the United States. This was achieved through a common language as well as a shared “kavannah” (spiritual energy) communicated through musical charisma and spiritual dynamism in performance. The power of communal singing is cited, among other things, as a tool for inspiration and cultural sustainability and as a transformer of ritual practices and experiences.The book's rich cultural analysis and close biographical narrative is bolstered by in-depth chordal and melodic analyses. This level of music and song-text analysis, often absent in recent scholarship in ethnomusicology, amplifies the author's points with nuanced musical data that reveal much regarding (a) the singer-songwriters’ aesthetic choices, (b) textual interpretation and feminist ideals communicated through the music-text interplay, and (c) the musical rapprochement with the American folk song genre. Ross brings to light a compelling array of musical works by American Jewish feminists—including songs, performances, ensembles, and other initiatives—that might otherwise be overlooked in the history of Jewish music in the United States. A striking example, among many, is Ross's account of the formation of the
{"title":"A Season of Singing: Creating Feminist Jewish Music in the United States","authors":"Miranda Crowdus","doi":"10.5406/21567417.67.3.13","DOIUrl":"https://doi.org/10.5406/21567417.67.3.13","url":null,"abstract":"Sarah Ross's A Season of Singing: Creating Feminist Jewish Music in the United States documents the important work of feminist Jewish singer-songwriters in the United States from the 1960s to the early twenty-first century. The author combines a thorough historical overview with ethnographic fieldwork and reflection, including poignant moments of autoethnography. This methodological approach yields a sophisticated reading of broad social, political, and religious contexts. Drawing on an array of relevant theoretical frameworks, including the feminist theology of Judith Plaskow, Ross teases out the intricacies of what she identifies as the “feminist Jewish music scene.”Ross shows how these actors, whom the author identifies as the core of the feminist Jewish singer-songwriter scene, played pivotal roles in creating and sustaining feminist Jewish music and, by extension, developed new outlets for feminist-oriented Jewish community and practices. In the ethnographically oriented parts of the text, practitioners in the Reform, Reconstructionist, and Jewish Renewal movements, such as Debbie Friedman, are thoroughly discussed in a sensitive and humane way, to the point that the reader feels as if they are in conversation with the respondents. Ross shows how feminist Jewish singer-songwriters drew on secular musical movements, such as American folksong (popularized by singers like Joni Mitchell and Joan Baez), to optimize the transformative potential of music as a vehicle for feminist ideals and community cohesion. Ross's sophisticated analysis offers fresh insights into how new materials—composed for the transmission of both tradition and innovation—served as pedagogical tools that, in the eyes of its creators, could be reconceptualized and utilized by Jewish communities within and beyond the United States. This was achieved through a common language as well as a shared “kavannah” (spiritual energy) communicated through musical charisma and spiritual dynamism in performance. The power of communal singing is cited, among other things, as a tool for inspiration and cultural sustainability and as a transformer of ritual practices and experiences.The book's rich cultural analysis and close biographical narrative is bolstered by in-depth chordal and melodic analyses. This level of music and song-text analysis, often absent in recent scholarship in ethnomusicology, amplifies the author's points with nuanced musical data that reveal much regarding (a) the singer-songwriters’ aesthetic choices, (b) textual interpretation and feminist ideals communicated through the music-text interplay, and (c) the musical rapprochement with the American folk song genre. Ross brings to light a compelling array of musical works by American Jewish feminists—including songs, performances, ensembles, and other initiatives—that might otherwise be overlooked in the history of Jewish music in the United States. A striking example, among many, is Ross's account of the formation of the","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136204477","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 : 2023-07-01DOI: 10.5406/21567417.67.2.05
C. Campbell
Maroons (descendants of Africans who escaped enslavement) have long been locked in an antagonistic relationship with the Surinamese government over gold-mining legislation and its reinforcement. This contentious topic includes complex debates over land rights and conflicting economic and environmental priorities. This article considers how three contemporary Maroon popular musicians have gone beyond stock metaphors about gold to reference local engagements with gold and the gold-mining industry. I introduce the concept, performative figuring, as a strategy whereby a speaker or performer uses their embodied presence to assert their rights and/or self-worth against practices and policies that threaten to undermine them.
{"title":"More than Gold: Embodying the Human Cost of Mining in Maroon Popular Music","authors":"C. Campbell","doi":"10.5406/21567417.67.2.05","DOIUrl":"https://doi.org/10.5406/21567417.67.2.05","url":null,"abstract":"\u0000 Maroons (descendants of Africans who escaped enslavement) have long been locked in an antagonistic relationship with the Surinamese government over gold-mining legislation and its reinforcement. This contentious topic includes complex debates over land rights and conflicting economic and environmental priorities. This article considers how three contemporary Maroon popular musicians have gone beyond stock metaphors about gold to reference local engagements with gold and the gold-mining industry. I introduce the concept, performative figuring, as a strategy whereby a speaker or performer uses their embodied presence to assert their rights and/or self-worth against practices and policies that threaten to undermine them.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45253567","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 : 2023-07-01DOI: 10.5406/21567417.67.2.03
Mellonee V. Burnim
{"title":"Seeger Lecture, Society for Ethnomusicology Virtual Meeting 2021","authors":"Mellonee V. Burnim","doi":"10.5406/21567417.67.2.03","DOIUrl":"https://doi.org/10.5406/21567417.67.2.03","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44433630","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 : 2023-07-01DOI: 10.5406/21567417.67.2.13
A. Mora
{"title":"Sweet Tassa: Music of the Indian Caribbean Diaspora","authors":"A. Mora","doi":"10.5406/21567417.67.2.13","DOIUrl":"https://doi.org/10.5406/21567417.67.2.13","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47655881","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 : 2023-07-01DOI: 10.5406/21567417.67.2.10
Ray Allen
{"title":"Latin Jazz: The Other Jazz","authors":"Ray Allen","doi":"10.5406/21567417.67.2.10","DOIUrl":"https://doi.org/10.5406/21567417.67.2.10","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135154505","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：