Pub Date : 2022-10-01DOI: 10.5406/21567417.66.3.06
Bernardo A. Ciro-Gómez, Juan F. Sans
The tambora is a traditional celebration geographically dispersed across the Depresión Momposina—a vast area along the Magdalena River Basin in northern Colombia—and one of the well-known bailes cantaos, as the sung dances of this region are commonly known. Few in-depth studies into this celebration have been conducted so far, and none of them have devoted particular attention to the tambora of the town of Chimichagua. In this study, the results of the fieldwork carried out in Chimichagua reveal peculiar characteristics of this tambora, which clearly distinguish it from others in the area. Its musical and choreographic specificities make it possible to speak of a complex musical ecosystem in the region, whose diversity is threatened by several factors that will be discussed in this article.
{"title":"Chimichagua and the Musical Ecosystem of the Tambora in the Depresión Momposina","authors":"Bernardo A. Ciro-Gómez, Juan F. Sans","doi":"10.5406/21567417.66.3.06","DOIUrl":"https://doi.org/10.5406/21567417.66.3.06","url":null,"abstract":"\u0000 The tambora is a traditional celebration geographically dispersed across the Depresión Momposina—a vast area along the Magdalena River Basin in northern Colombia—and one of the well-known bailes cantaos, as the sung dances of this region are commonly known. Few in-depth studies into this celebration have been conducted so far, and none of them have devoted particular attention to the tambora of the town of Chimichagua. In this study, the results of the fieldwork carried out in Chimichagua reveal peculiar characteristics of this tambora, which clearly distinguish it from others in the area. Its musical and choreographic specificities make it possible to speak of a complex musical ecosystem in the region, whose diversity is threatened by several factors that will be discussed in this article.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44785004","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 : 2022-10-01DOI: 10.5406/21567417.66.3.16
Mayco A. Santaella
{"title":"Kulintang Kultura: Danongan Kalanduyan and Gong Music of the Philippine Diaspora","authors":"Mayco A. Santaella","doi":"10.5406/21567417.66.3.16","DOIUrl":"https://doi.org/10.5406/21567417.66.3.16","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46580294","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 : 2022-10-01DOI: 10.5406/21567417.66.3.12
Kailan R. Rubinoff
{"title":"Global Perspectives on Orchestras: Collective Creativity and Social Agency","authors":"Kailan R. Rubinoff","doi":"10.5406/21567417.66.3.12","DOIUrl":"https://doi.org/10.5406/21567417.66.3.12","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49238968","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 : 2022-07-01DOI: 10.5406/21567417.66.2.09
Mason Brown
{"title":"Singing a Great Dream: The Revolutionary Songs and Life of Khusiram Pakhrin","authors":"Mason Brown","doi":"10.5406/21567417.66.2.09","DOIUrl":"https://doi.org/10.5406/21567417.66.2.09","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42166263","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 : 2022-07-01DOI: 10.5406/21567417.66.2.07
Althea SullyCole
Drawing upon ethnographic fieldwork with New York City-based musicians, this article observes how the kora, a twenty-one stringed harp from the Mandé region of West Africa, has become integrated into a Black cultural expression in the United States. It highlights the disjunctures between migrant West African kora players and Black musicians and audiences in the United States that result from particular modes of listening. How these conflicts are manifest in the performance context, the author argues, reveals both who and what means, historically, have been authorized to organize a social imaginary around the idea of “Africa” and its traditions.
{"title":"Listening to Kora in New York City: Constructing Africa and Blackness in the United States","authors":"Althea SullyCole","doi":"10.5406/21567417.66.2.07","DOIUrl":"https://doi.org/10.5406/21567417.66.2.07","url":null,"abstract":"\u0000 Drawing upon ethnographic fieldwork with New York City-based musicians, this article observes how the kora, a twenty-one stringed harp from the Mandé region of West Africa, has become integrated into a Black cultural expression in the United States. It highlights the disjunctures between migrant West African kora players and Black musicians and audiences in the United States that result from particular modes of listening. How these conflicts are manifest in the performance context, the author argues, reveals both who and what means, historically, have been authorized to organize a social imaginary around the idea of “Africa” and its traditions.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46774334","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 : 2022-07-01DOI: 10.5406/21567417.66.2.05
Katie Young
Beginning in the 1950s, Dagbamba and Hausa women in Tamale listened to Hindi film songs in their homes, via gramophone records and through state-run women's radio programs. Hindi film songs were soon integrated into existing domestic singing practices, including songs meant for domestic labor (tuma-yila) and childcare (biyola-yila). Through an analysis of oral history interviews as well as recorded performances of Hindi film songs sung by women, men, and youth in Tamale, I show how everyday performances of Hindi film songs reveal gendered and intergenerational experiences of domestic space, labor, and social life in Tamale.
{"title":"Hindi Film Songs in the Home: Gendered Experiences of Singing Popular Songs in Tamale, Northern Ghana","authors":"Katie Young","doi":"10.5406/21567417.66.2.05","DOIUrl":"https://doi.org/10.5406/21567417.66.2.05","url":null,"abstract":"\u0000 Beginning in the 1950s, Dagbamba and Hausa women in Tamale listened to Hindi film songs in their homes, via gramophone records and through state-run women's radio programs. Hindi film songs were soon integrated into existing domestic singing practices, including songs meant for domestic labor (tuma-yila) and childcare (biyola-yila). Through an analysis of oral history interviews as well as recorded performances of Hindi film songs sung by women, men, and youth in Tamale, I show how everyday performances of Hindi film songs reveal gendered and intergenerational experiences of domestic space, labor, and social life in Tamale.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42693240","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 : 2022-07-01DOI: 10.5406/21567417.66.2.06
M. Luker
A matrix number is an alphanumeric code that is inscribed into the run-out area of commercially recorded gramophone discs. In this article, I argue that orienting our scholarly listening around matrix numbers—what I call “matrix listening”—can help us reframe our engagement with historical sound recordings as primary sources and thereby lend valuable insights into any number of scholarly questions. It can also help us revisit the issue of materiality in recorded sound specifically and music in general, approaching sound recordings not only as container technologies for “music” as a purified domain but as complexly agentive material things.
{"title":"Matrix Listening; or, What and How We Can Learn from Historical Sound Recordings","authors":"M. Luker","doi":"10.5406/21567417.66.2.06","DOIUrl":"https://doi.org/10.5406/21567417.66.2.06","url":null,"abstract":"\u0000 A matrix number is an alphanumeric code that is inscribed into the run-out area of commercially recorded gramophone discs. In this article, I argue that orienting our scholarly listening around matrix numbers—what I call “matrix listening”—can help us reframe our engagement with historical sound recordings as primary sources and thereby lend valuable insights into any number of scholarly questions. It can also help us revisit the issue of materiality in recorded sound specifically and music in general, approaching sound recordings not only as container technologies for “music” as a purified domain but as complexly agentive material things.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":"1 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70697873","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 : 2022-07-01DOI: 10.5406/21567417.66.2.04
Michael A. Figueroa
In this article, I answer Anne K. Rasmussen's call for a “migration of ethnomusicology toward the ‘Diasporic Domestic’” (2019) through an ethnographic study of post-tarab, a postmigrant aesthetic practice among musicians and participants in the Southwest Asian and North African diaspora in the United States. In documenting how this emergent musical vernacular promotes a sense of “diasporic affect” among participants through intersubjective musical encounters, I propose a concentric model that accounts for post-tarab's metacognitive, liminal, and experiential dimensions. Ultimately, I argue that an attention to affective politics presents productive challenges to predominant ethnomusicological models of “culture.”
在本文中，我通过对后塔拉布(post-tarab)的民族志研究，回答了安妮·k·拉斯穆森(Anne K. Rasmussen)关于“民族音乐学向‘散居国内’的迁移”(2019)的呼吁。后塔拉布是美国西南亚和北非散居的音乐家和参与者之间的一种后移民审美实践。为了记录这种新兴的音乐方言如何通过主体间的音乐接触促进参与者之间的“流散影响”感，我提出了一个同心模型，该模型可以解释后塔拉布的元认知、阈限和经验维度。最后，我认为对情感政治的关注对主流的“文化”民族音乐学模型提出了富有成效的挑战。
{"title":"Post-Tarab: Music and Affective Politics in the US SWANA Diaspora","authors":"Michael A. Figueroa","doi":"10.5406/21567417.66.2.04","DOIUrl":"https://doi.org/10.5406/21567417.66.2.04","url":null,"abstract":"\u0000 In this article, I answer Anne K. Rasmussen's call for a “migration of ethnomusicology toward the ‘Diasporic Domestic’” (2019) through an ethnographic study of post-tarab, a postmigrant aesthetic practice among musicians and participants in the Southwest Asian and North African diaspora in the United States. In documenting how this emergent musical vernacular promotes a sense of “diasporic affect” among participants through intersubjective musical encounters, I propose a concentric model that accounts for post-tarab's metacognitive, liminal, and experiential dimensions. Ultimately, I argue that an attention to affective politics presents productive challenges to predominant ethnomusicological models of “culture.”\u0000","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43087724","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 : 2022-04-01DOI: 10.5406/21567417.66.1.03
S. Hassan
It is a great honor for me to have been invited to deliver the Charles Seeger Lecture. Besides celebrating the legacy of a humanist who covered many and varied aspects of music, the occasion gives me the opportunity to share with you, through my personal involvement, the state of music and its sound space in my country, Iraq, and particularly in its historical capital, Baghdad, and how it was affected after the destructive war, embargo, and invasion.
{"title":"The Social Spaces of Music Traditions in Baghdad before and after Destruction","authors":"S. Hassan","doi":"10.5406/21567417.66.1.03","DOIUrl":"https://doi.org/10.5406/21567417.66.1.03","url":null,"abstract":"It is a great honor for me to have been invited to deliver the Charles Seeger Lecture. Besides celebrating the legacy of a humanist who covered many and varied aspects of music, the occasion gives me the opportunity to share with you, through my personal involvement, the state of music and its sound space in my country, Iraq, and particularly in its historical capital, Baghdad, and how it was affected after the destructive war, embargo, and invasion.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44046553","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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