Pub Date : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0610
Mariko Anno
{"title":"Louder and Faster: Pain, Joy, and the Body Politic in Asian American Taiko","authors":"Mariko Anno","doi":"10.5406/ethnomusicology.65.3.0610","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0610","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44601562","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 : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0612
Andrew J. Eisenberg
{"title":"Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins","authors":"Andrew J. Eisenberg","doi":"10.5406/ethnomusicology.65.3.0612","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0612","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49120520","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 : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0549
George Blake
In this article, I consider how discourses of jazz authenticity register social tensions in Cleveland, Ohio. Scholars have shown that the relationship between jazz and higher education is nothing new. However, fans and musicians express conflicting impulses toward college jazz. On the one hand, college jazz presents the financial and symbolic benefits of institutional legitimacy. Many musicians are themselves college jazz graduates and teachers. On the other hand, many express an aversion grounded in the belief that real jazz happens in urban nightclubs. I argue that people mobilize authenticity to critique college jazz in order to invoke the inequality of the city’s urban past and the invisibility of its rich jazz history.
{"title":"A Tale of Two Cities (and Two Ways of Being Inauthentic): The Politics of College Jazz in “Official Cleveland” and in the “Other Cleveland”","authors":"George Blake","doi":"10.5406/ethnomusicology.65.3.0549","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0549","url":null,"abstract":"\u0000 In this article, I consider how discourses of jazz authenticity register social tensions in Cleveland, Ohio. Scholars have shown that the relationship between jazz and higher education is nothing new. However, fans and musicians express conflicting impulses toward college jazz. On the one hand, college jazz presents the financial and symbolic benefits of institutional legitimacy. Many musicians are themselves college jazz graduates and teachers. On the other hand, many express an aversion grounded in the belief that real jazz happens in urban nightclubs. I argue that people mobilize authenticity to critique college jazz in order to invoke the inequality of the city’s urban past and the invisibility of its rich jazz history.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41992230","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 : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0497
Max Jack
Exploring the role of atmosphere in the context of soccer fandom, I examine hard-core fans called “ultras” at Football Club Union Berlin. In response to the ultras’ coordination of crowd performativity in the stadium, an assemblage of competing governing apparatuses has intervened with an interest in alleviating risk and potentially inflammatory dispositions of the fans. In contrast to the text-based rational-critical discourse idealized as characteristic of the public sphere (Warner 2002), I argue that atmosphere is an affective-discursive realm through which ultras negotiate subjectivity, which is perceived as deviant because it deconstructs individualism, interiority, and reason as assumed traits of liberal democratic citizenship.
为了探究气氛在足球迷群体中的作用，我调查了柏林足球俱乐部(Football Club Union Berlin)被称为“超级”的铁杆球迷。为了应对极端分子对体育场人群表演的协调，一组相互竞争的管理机构进行了干预，以减轻球迷的风险和潜在的煽动性倾向。与被理想化为公共领域特征的以文本为基础的理性批判话语(Warner 2002)相反，我认为氛围是一种情感话语领域，极端主义者通过它来协商主体性，它被认为是越轨的，因为它解构了作为自由民主公民的假定特征的个人主义、内在性和理性。
{"title":"The Crowd in Flux: Atmosphere and the Governance of Public Affects at FC Union Berlin","authors":"Max Jack","doi":"10.5406/ethnomusicology.65.3.0497","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0497","url":null,"abstract":"\u0000 Exploring the role of atmosphere in the context of soccer fandom, I examine hard-core fans called “ultras” at Football Club Union Berlin. In response to the ultras’ coordination of crowd performativity in the stadium, an assemblage of competing governing apparatuses has intervened with an interest in alleviating risk and potentially inflammatory dispositions of the fans. In contrast to the text-based rational-critical discourse idealized as characteristic of the public sphere (Warner 2002), I argue that atmosphere is an affective-discursive realm through which ultras negotiate subjectivity, which is perceived as deviant because it deconstructs individualism, interiority, and reason as assumed traits of liberal democratic citizenship.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48795568","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 : 2021-10-01DOI: 10.5406/ethnomusicology.58.2.vii
Frsc
MICHAEL ASCH, FRSC, (Ph.D. in Anthropology, Columbia University, 1972) is the only child of Moses and Frances Asch, and is the host of Smithsonian Folkways: Sounds to Grow On, a radio series broadcast on CKUA, and podcast through the Smithsonian Folkways website. Dr. Asch is Visiting Professor of Anthropology at the University of Victoria and Professor Emeritus of Anthropology at the University of Alberta. He has published extensively on political relations between Indigenous peoples and the Canadian state.
MICHAEL ASCH，FRSC，（哥伦比亚大学人类学博士，1972年）是Moses和Frances ASCH的独生子，也是《史密森尼民俗：成长的声音》的主持人，该系列广播节目在CKUA播出，并通过史密森尼民道网站进行播客。Asch博士是维多利亚大学人类学客座教授和阿尔伯塔大学人类学名誉教授。他发表了大量关于土著人民与加拿大政府之间政治关系的文章。
{"title":"Notes on Contributing Authors","authors":"Frsc","doi":"10.5406/ethnomusicology.58.2.vii","DOIUrl":"https://doi.org/10.5406/ethnomusicology.58.2.vii","url":null,"abstract":"MICHAEL ASCH, FRSC, (Ph.D. in Anthropology, Columbia University, 1972) is the only child of Moses and Frances Asch, and is the host of Smithsonian Folkways: Sounds to Grow On, a radio series broadcast on CKUA, and podcast through the Smithsonian Folkways website. Dr. Asch is Visiting Professor of Anthropology at the University of Victoria and Professor Emeritus of Anthropology at the University of Alberta. He has published extensively on political relations between Indigenous peoples and the Canadian state.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.5406/ethnomusicology.58.2.vii","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43462473","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 : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0624
Meghan Hynson
{"title":"Echoes from the East: The Javanese Gamelan and Its Influence on the Music of Claude Debussy","authors":"Meghan Hynson","doi":"10.5406/ethnomusicology.65.3.0624","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0624","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49390044","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 : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0614
M. Rancier
{"title":"Music, Sound, and Architecture in Islam","authors":"M. Rancier","doi":"10.5406/ethnomusicology.65.3.0614","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0614","url":null,"abstract":"","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47668134","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 : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0444
Joshua D. Pilzer
Bicultural residents of the Hapcheon Atomic Bomb Victims Welfare Center in rural southeastern Korea who were raised in Hiroshima and survived the bomb live in a complex world of quiet—of radiation-related vocal disability, Japanese and Korean cultural values of restraint and civility, religious practice and propriety, and traumatic memory. In this article, I musically encounter a world largely devoid of music, focusing on one survivor’s style of quietude. Manipulating rhythm, pitch, and silence in speech, testimony, and craftwork, she navigates between personal aims and the expectations she faces as a witness to Korean experiences of the atomic bomb. 히로시마에서 자랐고 원자폭탄의 폭격 속에서 생존한 합천원 폭피해자복지회관의 이중 문화 주민들은 복잡한 조용함의 세계에 살 고 있다. 방사선 관련 음성 장애, 일본과 한국 문화의 절제와 정중함 의 가치, 종교적 관습과 타당성, 그리고 외상 기억이 이 조용함의 많 은 원천 중 일부이다. 본 연구는 한 생존자의 조용함의 스타일을 중심 으로 음악이 많지 않은 이 세계를 음악적으로 조우한다. 이 생존자는 말, 증언, 공예품에서 리듬과 음조, 그리고 침묵을 조종하며, 한국인 의 원폭 경험에 대한 증인으로서 자신이 직면한 기대와 개인적인 목 표 사이를 탐색한다.
Bicultural residents of the Hapcheon Atomic Bomb Victims Welfare Center in rural southeastern Korea who were raised in Hiroshima and survived the bomb live in a complex world of quiet—of radiation-related vocal disability, Japanese and Korean cultural values of restraint and civility, religious practice and propriety, and traumatic memory. In this article, I musically encounter a world largely devoid of music, focusing on one survivor’s style of quietude. Manipulating rhythm, pitch, and silence in speech, testimony, and craftwork, she navigates between personal aims and the expectations she faces as a witness to Korean experiences of the atomic bomb. 在广岛长大，在原子弹轰炸中生存的陕川原子弹爆炸受害者福利会馆的双重文化居民生活在复杂的安静世界。辐射相关的语音障碍、日本和韩国文化节制和郑重的价值、宗教习俗和可行性以及创伤记忆是这种安静的许多来源之一。本研究以一个幸存者安静的风格为中心，在音乐上遭遇这个音乐不多的世界。这位幸存者在语言、证言和工艺品中操纵节奏、音调和沉默，作为韩国人原子弹爆炸经历的见证人，探索自己面临的期待和个人目标之间的关系。
{"title":"Yi Suyong and the Quiet of “Korea’s Hiroshima”","authors":"Joshua D. Pilzer","doi":"10.5406/ethnomusicology.65.3.0444","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0444","url":null,"abstract":"Bicultural residents of the Hapcheon Atomic Bomb Victims Welfare Center in rural southeastern Korea who were raised in Hiroshima and survived the bomb live in a complex world of quiet—of radiation-related vocal disability, Japanese and Korean cultural values of restraint and civility, religious practice and propriety, and traumatic memory. In this article, I musically encounter a world largely devoid of music, focusing on one survivor’s style of quietude. Manipulating rhythm, pitch, and silence in speech, testimony, and craftwork, she navigates between personal aims and the expectations she faces as a witness to Korean experiences of the atomic bomb. 히로시마에서 자랐고 원자폭탄의 폭격 속에서 생존한 합천원 폭피해자복지회관의 이중 문화 주민들은 복잡한 조용함의 세계에 살 고 있다. 방사선 관련 음성 장애, 일본과 한국 문화의 절제와 정중함 의 가치, 종교적 관습과 타당성, 그리고 외상 기억이 이 조용함의 많 은 원천 중 일부이다. 본 연구는 한 생존자의 조용함의 스타일을 중심 으로 음악이 많지 않은 이 세계를 음악적으로 조우한다. 이 생존자는 말, 증언, 공예품에서 리듬과 음조, 그리고 침묵을 조종하며, 한국인 의 원폭 경험에 대한 증인으로서 자신이 직면한 기대와 개인적인 목 표 사이를 탐색한다.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41608272","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 : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0630
M. Slobin
COVID-Era Online Collective Research Initiatives in Yiddish Traditional Music is discussed. Lately, ethnomusicology has been recommending and extolling greater research consultation and collaboration between musicians and scholars. Some people give joint papers, which helps to downplay and even denigrate the solo heroics or" field work while emphasizing inclusion. Still, analysis of collected material largely rests on the professional's shoulders, even if it is seen almost as a burden that comes with the status of expert. This participant-observer media review reports on a number of lively, interactive COVID-era (2020-early 2021) internet projects in Yiddish music studies that have leveraged the extensive free time of musicians, often serious researchers themselves, to work as a team with specialists and organizers in advancing an area of study, presentation, and performance.
{"title":"COVID-Era Online Collective Research Initiatives in Yiddish Traditional Music","authors":"M. Slobin","doi":"10.5406/ethnomusicology.65.3.0630","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0630","url":null,"abstract":"COVID-Era Online Collective Research Initiatives in Yiddish Traditional Music is discussed. Lately, ethnomusicology has been recommending and extolling greater research consultation and collaboration between musicians and scholars. Some people give joint papers, which helps to downplay and even denigrate the solo heroics or\" field work while emphasizing inclusion. Still, analysis of collected material largely rests on the professional's shoulders, even if it is seen almost as a burden that comes with the status of expert. This participant-observer media review reports on a number of lively, interactive COVID-era (2020-early 2021) internet projects in Yiddish music studies that have leveraged the extensive free time of musicians, often serious researchers themselves, to work as a team with specialists and organizers in advancing an area of study, presentation, and performance.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43445910","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 : 2021-10-01DOI: 10.5406/ethnomusicology.65.3.0519
Andrew Snyder
This article explores the predominantly White brass band scenes of the carnivals of New Orleans and Rio de Janeiro as producing rituals of intensified social distinction. The bands’ musical practices realize aesthetic preferences of distinct racialized communities forged through relational positioning. Offering alternatives to the “heritage repertoires” of these carnivals based in musical Blackness, these bands’ musical eclecticism forms an aesthetic articulation of “alternative Whiteness,” which seeks to “disinherit” both hegemonic Whiteness of conservative cultural politics and commodification of Blackness. The article theorizes contemporary carnivalesque translocality in consideration of longer histories of festive circulation in the Atlantic World. Este artigo examina o cenário de bandas de sopros, formadas predominantemente por pessoas brancas, presentes nos carnavais de Nova Orleans e no Rio de Janeiro, caracterizando como rituais de intensificação da distinção social. As práticas musicais realizadas por essas bandas têm preferências estéticas distintas das comunidades negras forjadas por meio de posicionamento relacional. Oferecendo alternativas aos “repertórios de herança” desses carnavais baseados na negritude musical, o ecletismo musical dessas bandas forma uma articulação estética da “branquitude alternativa”, que busca “deserdar” tanto a branquitude hegemônica da política cultural conservadora quanto a comodificação da negritude. O artigo teoriza a translocalidade carnavalesca contemporânea em consideração a histórias mais longas de circulação festiva no Mundo Atlântico.
{"title":"Carnival Brass Bands in New Orleans and Rio de Janeiro: Disinheritance, Alternative Whiteness, and Musical Eclecticism","authors":"Andrew Snyder","doi":"10.5406/ethnomusicology.65.3.0519","DOIUrl":"https://doi.org/10.5406/ethnomusicology.65.3.0519","url":null,"abstract":"\u0000 This article explores the predominantly White brass band scenes of the carnivals of New Orleans and Rio de Janeiro as producing rituals of intensified social distinction. The bands’ musical practices realize aesthetic preferences of distinct racialized communities forged through relational positioning. Offering alternatives to the “heritage repertoires” of these carnivals based in musical Blackness, these bands’ musical eclecticism forms an aesthetic articulation of “alternative Whiteness,” which seeks to “disinherit” both hegemonic Whiteness of conservative cultural politics and commodification of Blackness. The article theorizes contemporary carnivalesque translocality in consideration of longer histories of festive circulation in the Atlantic World.\u0000 Este artigo examina o cenário de bandas de sopros, formadas predominantemente por pessoas brancas, presentes nos carnavais de Nova Orleans e no Rio de Janeiro, caracterizando como rituais de intensificação da distinção social. As práticas musicais realizadas por essas bandas têm preferências estéticas distintas das comunidades negras forjadas por meio de posicionamento relacional. Oferecendo alternativas aos “repertórios de herança” desses carnavais baseados na negritude musical, o ecletismo musical dessas bandas forma uma articulação estética da “branquitude alternativa”, que busca “deserdar” tanto a branquitude hegemônica da política cultural conservadora quanto a comodificação da negritude. O artigo teoriza a translocalidade carnavalesca contemporânea em consideração a histórias mais longas de circulação festiva no Mundo Atlântico.","PeriodicalId":51751,"journal":{"name":"ETHNOMUSICOLOGY","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43887096","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：