Der Begriff „kulturelle Musikwissenschaft“ umfasst seit über einem halben Jahrhundert verschiedene musikwissenschaftliche Visionen, die das Ziel verfolgen, ein besseres Verständnis von Musik zu erlangen. Aktuelle Ansätze betrachten musikalische Aktivitäten als kulturelle Praktiken und streben an, über die systematische Analyse von Diskursen hinauszugehen. Im Fokus steht die Erforschung unserer intellektuellen Möglichkeiten, die es uns ermöglichen, die Welt durch Musik in physischer, sozialer und diskursiver Hinsicht zu begreifen. Daraus ergeben sich zentrale Themen und kritische Denkansätze, die die Autoren des vorliegenden Bandes anhand spezifischer musikalischer Praktiken diskutieren. Es wird deutlich, dass es der kulturellen Musikwissenschaft darum geht, Fragen aufzuwerfen und Perspektiven zu eröffnen, anstatt definitive Antworten zu liefern. Sie strebt eine fortwährende Suche nach neuen Wegen und Annäherungen an die Musik an und verkörpert eine produktive intellektuelle Rastlosigkeit. Dieser Band enthält Beiträge von Birgit Abels, Charissa Granger, Lawrence Kramer, John Richardson und Eva-Maria van Straaten.
The Austronesian-speaking Sama peoples are one of the most widespread cultural groups in Southeast Asia. Among them, the sea-nomadic Sama Dilaut, part of the Sama-Bajau linguistic sub-group, form a distinct community both socially and culturally. The performing arts play a crucial role in their life and cultural identity. However, previous studies have largely overlooked their music and dance forms. This edited volume aims to address this gap in knowledge by focusing on kulintangan and other types of instrumental music, song repertoire, and dance. Key topics include: continuity and transformation in Sama Dilaut performing arts; the negotiation of identity through music in the context of globalization; the impact of transnational flows on their music and dance; the relationship between Sama Dilaut performing arts and those of surrounding communities; and how constructions of nationhood influence their music-making. This collection seeks to illuminate the rich cultural expressions of the Sama Dilaut, providing insights into their artistic practices and the broader social dynamics at play.
The harmonium holds an ambiguous reputation in India as well as in its "home continent" of Europe. There is an abundance of clear statements made by distinguished Indian musicians, theoreticians and also politicians who time and again would decry the instrument. Rabindranath Tagore's famous description of the harmonium as "that bane of Indian music" is just one example. And yet, the harmonium is arguably the instrument most widely used for accompanying the foremost medium of North Indian classical music, i.e. the human voice. Thus, by all appearances the anxiety about the harmonium's potentially destructive impingement on traditional music, is not shared by the majority of the musicians.This book seeks to understand the complex history of the harmonium in North India, analyse the apparent conflict between musical theory and practice and describe how the instrument is used in musical practice. Is the harmonium an instrument suitable for Indian music? Can it live up to the requirements of Indian music? Can it live up to the requirements of Indian music? These questions pervade the whole book, at the end of which, they will appear in a whole new light.
Contents: +++ Articles Nishlyn Ramanna: Introduction: Discursive Flows in
South African Jazz Studies-Texts, Contexts, and Subtexts Christopher Linn
Merz: Tracing the Development of the South African Alto Saxophone Style
Jeffrey Brukman: Shifts and Turns in Paul Hanmer's Nachtroep: A Close Musical
Analysis Lindelwa Dalamba: A Sideman on the Frontlines: Gwigwi Mrwebi and
South African Jazz History Salim Washington: Fingering the Jagged Grain: The
Jazz/Blues/Mbaqanga Impulse of Mandla Langa Brett Pyper: Jazz Festivals and
the Post-Apartheid Public Sphere: Historical Precedents and the Contemporary
Limits of Freedom Gwen Ansell: Who's Got the Map? Scholarship, Journalism and
Essentialism in Writing on South African Jazz +++ Book Reviews (Eva-Maria
Alexandra van Straaten, ed.) Michael T. Bertrand: James Wierzbicki, Music in
the Age of Anxiety: American Music in the Fifties (2016) Emily Baker: Miriama
Young, Singing the Body Electric: The Human Voice and Sound Technology (2015)
Koray Degirmenci: Martin Greve (ed.), Writing the History of Ottoman Music
(2015) Jehoash Hirshberg: Ruth F. Davis (ed.), Musical Exodus: Al-Andalus and
its Jewish Diasporas (2015) Moshe Morad: Stephen Amico, Roll Over,
Tchaikovsky! Russian Popular Music and Post-Soviet Homosexuality (2014) Martin
Greve: Anna Magdalena Schmidt, Die imaginäre Grenze. Eine Untersuchung zur
Bedeutung von Musik für Jugendliche türkischer Herkunft in Deutschland und
ihre Verortung im Diskurs der interkulturell orientierten Musikpädagogik
(2015) Michelle Duffy: Jared Mackley-Crump, The Pacific Festivals of Aotearora
New Zealand: Negotiating Place and Identity in a New Homeland (2015) Charissa
Granger: Ed Pavlic, Who Can Afford to Improvise? James Baldwin and Black
Music, the Lyric and the Listeners (2016) Megan Rancier: Tanya Merchant, Women
Musicians of Uzbekistan: From Courtyard to Conservatory (2015) Anne K.
Rasmussen: Lisa Urkevich, Music and Traditions of the Arabian Peninsula: Saudi
Arabia, Kuwait, Bahrain, and Qatar (2015) +++ Recording Reviews (Robert Fry,
ed.) Robert Fry: Tell the Truth!: Blues and Gospel by Richard Williams.
Produced by the State Library and Archives of Florida (2016) Robert Fry Where
the Palm Trees Shake at Night: Blues Music from the Florida Folklife
Collection. Produced by the State Library and Archives of Florida (2010) +++
About the Contributors +++ the world of music (new series)
Contents: Articles Dan Bendrups: Introduction: Brass Bands in the Pacific „We are like someone completely dead and lack a father, Your Excellency:“ Bandsmen Sucking Up and Blowing Out in German Samoa Sala Seutatia Telesia Mata′utia Pene Solomona & Dan Bendrups: Adrienne L. Kaeppler: Tongan Brass Bands: An Expanding Tradition Birgit Abels: Dan Bendrups & Stephen Cuttriss: Brass Band Music in the Cook Islands: A Biographical Account Book Reviews (Eva-Maria van Straaten, ed.) Cornelia Gruber: Christopher Moore and Philip Purvis (eds.), Music & Camp. (2018) Charissa Granger: Milosz Miszczynski and Adriana Helbig (eds.), Hip Hop at Europe’s Edge: Music, Agency, and Social Change. (2017) Judith Cohen: Salwa El-Shawan Castelo-Branco and Susana Moreno. Music in Portugal and Spain. Experiencing Music, Expressing Culture. (2018) Patricia Jäggi: Rachel Mundy, Animal Musicalities. Birds, Beasts, and Evolutionary Listening. (2018) David G. Hebert: L. M. Holmes, The Mystery of Music: An Exploration Centered on the Lives of Thirty Ancient Musicians. (2018) Recording Reviews (Rehanna Kheshgi, ed.) Sarah Town: Battle of Santiago: La Migra. Engineered and produced by Michael Owen. (2017) About the Contributors the world of music (new series)
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This collection features a range of articles exploring cross-cultural music-making and collaboration. It begins with an introduction discussing the sharing of space and culture through applied experiments in music across borders. Contributions include insights from various authors on topics such as the W&M MEME Tours in Morocco and Oman, collaboration along the Silk Road, and the intersections of Klezmer and Dabkah in Haifa and Weimar. Other articles highlight initiatives like Världens Band, which focuses on creating and performing music across borders, and participatory action research in post-war Liberia aimed at musical rehumanization. The collection also examines cultural engagement through projects like "Songs of the Saints," a Tamil tradition, and organized cultural encounters in a lullaby choir. Additionally, it features collaborative compositions that bridge the Iranian-Tajik divide.
The book includes reviews of significant works in musicology, addressing themes from Central Asian music to the impact of digitization on popular music. Recording reviews provide insights into various music projects, showcasing the diversity of contemporary musical expressions. The contributors bring a wealth of knowledge and experience, enriching the discourse on music's role in cultural exchange and dialogue.
