The Poetry of Taking Power in Toraja Indonesia

This article demonstrates how Torajan badong ancestral ritual speech parallelism is put into practice,  and how this process is subject not only to regularities but also to happenstance, potentially of the most unpredictable sort. The value of a sign in ritual speech parallelism is fixed by its contrasts to other signs. Its use, however, is saturated with pragmatic value according to the subject’s interests.  As a result, despite the fact that this ritual is highly prescribed, the possible outcomes are unpredictable because its use may put the conventional senses of signs at multiple risks, contingency and a site of contestation. The writer applies a set of linguistic tools in novel ways to analyze not just the freshly composed poetic text but also what the performers do with the text to achieve their sociopolitical goals and is influenced by works in a) the ethnography of speaking in particular the display of competence in performance b) conversation and discourse analysis (Coulthard 1985; Levinson 1983), c) literary studies (Bakhtin 1981) and analysis of poetic forms such as multiple layers of parallelism, repetition, and figurative speech (Jakobson 1960), d) semiotic analysis of indexicality that functions to connect text with context (for examples, Peirce 1944, Silverstein 1976). The first three show us the pattern of ritual speech parallelism in use, and the semiotic analysis provides the tool to connect this pattern with other aspect of Torajan culture i.e. poetics and social form, poetics and politics. Here the analysis of the performance presents two important facts about badong. The first seeks to connect some selected features of textual parallelism and a form of social life as the general goal of successful performance. The second is to focus on the more dynamic aspect of the ritual performance, the more elemental forces that operate on a deeper level, that renders the badong fragile and may cause failure.  It focuses on such risk and analysis is, therefore, paid to how social actors are involved in such interaction using interactive parallelism to advance their socio-political and cultural goals. Badong ritual becomes the site of power contestation

The Poetry of Taking Power in Toraja Indonesia

One can generally distinguish two genres of speaking in Torajan society. The first is called kada dipamololo, ???straight talk??? which is sometimes called basa biasa, ???ordinary speech??? and the second is kada-kada dipasilopak, ???paired utterances???or ???ritual speech parallelism??? sometimes called basa tinggi, ???high speech???. While conversations and narratives are characterized by the use of ordinary words, ritual speeches by parallelism. Like Chamula genres of verbal behavior these two genres of speaking show a continuum of increasing formalism and invariance (Bauman 1984 [1977]).\ud One may further distinguish rituals that employ monologic speech from dialogic ii or discursive interactions. The monologic form is used by a ritual specialist, tomina in some levels of smoke ??? rising rituals ??? rambu tuka???. An example is the marriage ritual ??? rampanan kapa??? especially in the context of marriage proposal.\ud The dialogic and interactive speech form are typically characteristics of the smoke ??? descending rituals ???\ud rambu solo???.iii For example, retteng, ???poetic argumentation???, dondi???, ???poetic duel??? and badong ritual, ???chant for\ud the deceased???.iv\ud Within these two types of ritual one can distinguish two types of parallelism, the ordinary and the\ud interactive. The ordinary parallelism fits the kind of parallelism that is reported by Fox in eastern Indonesia spoken by a single ritual specialist (Fox 1988). The other type, which becomes the focus of this article, is the interactive ritual speech parallelism that appears in badong ritual, a kind of song and dance performed in certain rank of death ritual by a group of people constructing the identity of the dead person and living family members.\ud For quite some time now, linguists, linguistic anthropologists (Veen 1966) and ethnomusicologist (Rappoport 2009) have given descriptions about verbal, non-verbal and musical aspects of badong ritual. The approaches have provided us with important knowledge about a level of various aspects of the ritual. From the textual point of view, the analysis has concentrated on the symbolic aspect of the decontextualized textual parallelism provided by informants. The underlying assumption is that the badong performance is a token of the type which is always successful. Its main function is to make a statement about reality out there, a stylized version of grief and lament, representing an attempt to arrive at a vision of unity and harmony among participants and community to counteract the loss of an important person whose death could interrupt this harmony.This article demonstrates how Torajan badong ancestral ritual speech parallelism is put into practice, and how this process is subject not only to regularities but also to happenstance, potentially of the most unpredictable sort.\ud The value of a sign in ritual speech parallelism is fixed by its contrasts to other signs. Its use, however, is\ud saturated with pragmatic value according to the subject???s interests. As a result, despite the fact that this ritual is highly prescribed, the possible outcomes are unpredictable because its use may put the conventional senses of signs at multiple risks, contingency and a site of contestation.\ud The writer applies a set of linguistic tools in novel ways to analyze not just the freshly composed poetic text but also what the performers do with the text to achieve their sociopolitical goals and is influenced by works in a) the ethnography of speaking in particular the display of competence in performance b) conversation and discourse analysis (Coulthard 1985; Levinson 1983), c) literary studies (Bakhtin 1981) and analysis of poetic forms such as multiple layers of parallelism, repetition, and figurative speech (Jakobson 1960), d) semiotic analysis of indexicality that functions to connect text with context (for examples, Peirce 1944, Silverstein 1976).\ud \ud The first three show us the pattern of ritual speech parallelism in use, and the semiotic analysis provides the tool to connect this pattern with other aspect of Torajan culture i.e. poetics and social form, poetics and politics.\ud \ud Here the analysis of the performance presents two important facts about badong. The first seeks to connect some selected features of textual parallelism and a form of social life as the general goal of successful performance. The second is to focus on the more dynamic aspect of the ritual performance, the more elemental forces that operate on a deeper level, that renders the badong fragile and may cause failure. It focuses on such risk and analysis is, therefore, paid to how social actors are involved in such interaction using interactive parallelism to advance their socio-political and cultural goals. Badong ritual becomes the site of power contestation

Music Encoding Conference Proceedings

UIDB/00693/2020 UIDP/00693/2020publishersversionpublishe

Proceedings of the 6th International Workshop on Folk Music Analysis, 15-17 June, 2016

The Folk Music Analysis Workshop brings together computational music analysis and ethnomusicology. Both symbolic and audio representations of music are considered, with a broad range of scientific approaches being applied (signal processing, graph theory, deep learning). The workshop features a range of interesting talks from international researchers in areas such as Indian classical music, Iranian singing, Ottoman-Turkish Makam music scores, Flamenco singing, Irish traditional music, Georgian traditional music and Dutch folk songs. Invited guest speakers were Anja Volk, Utrecht University and Peter Browne, Technological University Dublin

Understanding Optical Music Recognition

For over 50 years, researchers have been trying to teach computers to read music notation, referred to as Optical Music Recognition (OMR). However, this field is still difficult to access for new researchers, especially those without a significant musical background: Few introductory materials are available, and, furthermore, the field has struggled with defining itself and building a shared terminology. In this work, we address these shortcomings by (1) providing a robust definition of OMR and its relationship to related fields, (2) analyzing how OMR inverts the music encoding process to recover the musical notation and the musical semantics from documents, and (3) proposing a taxonomy of OMR, with most notably a novel taxonomy of applications. Additionally, we discuss how deep learning affects modern OMR research, as opposed to the traditional pipeline. Based on this work, the reader should be able to attain a basic understanding of OMR: its objectives, its inherent structure, its relationship to other fields, the state of the art, and the research opportunities it affords

Music Encoding Conference Proceedings 2021, 19–22 July, 2021 University of Alicante (Spain): Onsite & Online

Este documento incluye los artículos y pósters presentados en el Music Encoding Conference 2021 realizado en Alicante entre el 19 y el 22 de julio de 2022.Funded by project Multiscore, MCIN/AEI/10.13039/50110001103

Touching parchment : how medieval users rubbed, handled, and kissed their manuscripts. Volume 1: officials and their books

Funding: Research grant from the Leverhulme Trust, fellowships from the Netherlands Institute for Advance Study, Getty Research Institute and Paul Mellon Centre (Yale University). This book has been partially funded by the Deutsche Forschungsgemeinschaft (DFG, German Research Foundation) under Germany’s Excellence Strategy in the context of the Cluster of Excellence Temporal Communities: Doing Literature in a Global Perspective (EXC 2020–Project ID 390608380).The Medieval book, both religious and secular, was regarded as a most precious item. The traces of its use through touching and handling during different rituals such as oath-taking, is the subject of Kathryn Rudy’s research in Touching Parchment. Rudy presents numerous and fascinating case studies that relate to the evidence of use and damage through touching and or kissing. She also puts each study within a category of different ways of handling books, mainly liturgical, legal or choral practice, and in turn connects each practice to the horizontal or vertical behavioural patterns of users within a public or private environment. With her keen eye for observation in being able to identify various characteristics of inadvertent and targeted wear, the author adds a new dimension to the Medieval book. She gives the reader the opportunity to reflect on the social, anthropological and historical value of the use of the book by sharpening our senses to the way users handled books in different situations. Rudy has amassed an incredible amount of material for this research and the way in which she presents each manuscript conveys an approach that scholars on Medieval history and book materiality should keep in mind when carrying out their own research. What perhaps is most striking in her articulate text, is how she expresses that the touching of books was not without emotion, and the accumulated effects of these emotions are worthy of preservation, study and further reflection.Publisher PD

Managing jurisdictions at Canterbury Cathedral Priory in the High Middle Ages 1285-1331

This thesis examines the management of the spiritual jurisdiction of Canterbury Cathedral Priory [Christ Church] by Prior Henry ofEastry during his forty-six year priorate from 1285- 133 1. A significant quantity of extant documents remains from this period including registers, charters, papal letters and royal writs, which owe much to the foresight of Prior Easay's reorganisation. These extant documents also contain letters, which relate to Christ Church possessions in France. This combination of English and French documents provides a rare opportunity to analyse how Christ Church managed its jurisdiction at both a national and intemational level. This thesis asks two fimdamental questions: what was the scope of the spiritual jurisdiction at Christ Church and how did Prior Eastry's policies contribute to the extension of this jurisdiction from a national to an international level. The extant sources show Prior Eastry's awareness of the political siruation in late thirteenth century England and the actions he took to preserve the authority and uniqueness of Canterbury. Ensuring that no precedents were established over Christ Church was not only a policy of Prior Eastry and Canterbury Cathedral Priory in the late thirteenth and early fourteenth century but had consumed the attentions of priors from the time of Archbishop Lanfranc. Canterbury Cathedral Priory's uniqueness not only derived from its rights to elect the archbishop of Canterbury and the primacy of the local ordinary over York but also from the Cult of St. Thomas that pervaded the whole of the Latin Church. This thesis will show how this unique combination of factors was used by Prior Eastry to appropriate the meaning of 'the Church of Canterbury' and extend Christ Church's jurisdiction to an intemational level

Centuries of silence : the discovery of the Salzinnes Antiphonal

viii, 265 leaves, [17] leaves of plates : ill. (chiefly col.), maps ; 29 cm.Includes abstract and appendixes.Includes bibliographical references (leaves 183-199).The thesis examines the sixteenth century Salzinnes Antiphonal in the collection of the Patrick Power Library, Saint Mary's University, Halifax. The study traces the manuscript's European provenance, analyzes the structure of the codex and examines the Latin liturgy, musical and artistic compositions, as well as the iconography and symbolism of the devotional images. As a selective review into the history of the Low Countries, the thesis explores the religious and social forces that influenced the manuscript's creation such as the patronage of the de Glymes family. It reveals a unique insight into the spiritual and cultural lives of the nuns of the Cistercian Abbey of Salzinnes in Namur, Belgium. The thesis concludes that the Salzinnes Antiphonal represents a record of commemoration, monastic kinship and communal devotion. This study establishes the Salzinnes Antiphonal as a rare cultural and ecclesiastical treasure containing multiple images of nuns, their corresponding inscriptions, the presentation of three separate religious orders and patrons' coats-of-arms