45 research outputs found
MUSIC AND IDENTITY IN CIRCUIT CHAUTAUQUA: 1904-1932
This dissertation addresses the place of music in circuit chautauqua, the place of circuit chautauqua in American culture, and the role of music in defining that place. It takes into account the perception of chautauqua as a conduit by which higher culture and urban intellectual discourse could reach rural Americans, and the implications of this perception on musical programming.
The heyday of the circuit chautauqua movement (1904-1932) occurred during a time of considerable interaction between, and discussion of, entertainment and education in the United States. Music was important to the self-image of those involved in the entertainment and education industries, and especially to those who could not easily be labeled as either entertainers or educators. Chautauqua performers, and the chautauqua movement itself, held an uneasy position on the continuum between pleasing crowds and bettering audience membersβ lives.
Music helped to define circuit chautauqua, both as an edifying factor and as an empty diversion. Popular music attracted crowds, while art music enhanced chautauquaβs image as a valid outlet for high culture. Musicβs role in defining chautauquaβs identity was often more complex, however, as the lines between art and popular music, and thus between education and entertainment, were rarely clearly defined. Much of the programming billed as cultural outreach would have been more accurately labeled as novelty, while the popular music often espoused patriotism, loyalty, piety, and other sentiments that would cause audiences and critics to deem such music as edifying, if not purely educational. This dissertation seeks to clarify musicβs role in establishing and maintaining circuit chautauquaβs reputation as a cultural conduit, an educational force, and an American institution
Musical practices in the Balkans : Ethnomusicological perspectives
ΠΠ²Π° ΠΊΡΠΈΠ³Π° ΡΠ°Π΄ΡΠΆΠΈ ΡΡΡΠ΄ΠΈΡΠ΅ Π½Π°ΡΡΠ°Π»Π΅ Π½Π° ΠΎΡΠ½ΠΎΠ²Ρ ΠΈΠ·Π»Π°Π³Π°ΡΠ° Π½Π° ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΎΠΌ ΡΠΊΡΠΏΡ ΠΡΠ·ΠΈΡΠΊΠ΅ ΠΏΡΠ°ΠΊΡΠ΅ ΠΠ°Π»ΠΊΠ°Π½Π°: Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠ΅ ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π΅, ΠΎΠ΄ΡΠΆΠ°Π½ΠΎΠΌ Π½ΠΎΠ²Π΅ΠΌΠ±ΡΠ° 2011. Π³ΠΎΠ΄ΠΈΠ½Π΅ Ρ ΠΠ΅ΠΎΠ³ΡΠ°Π΄Ρ. ΠΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°ΡΠ΅ΠΌ ΡΠΊΡΠΏΠ° ΠΆΠ΅Π»Π΅Π»ΠΈ ΡΠΌΠΎ, ΠΏΡΠ΅ ΡΠ²Π΅Π³Π°, Π΄Π° ΠΊΠ°ΠΎ Π΄ΠΎΠΌΠ°ΡΠΈΠ½ΠΈ ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΎΠ³ ΡΠΊΡΠΏΠ° Π΄ΠΎΠΏΡΠΈΠ½Π΅ΡΠ΅ΠΌΠΎ ΡΡΠ²ΡΡΡΠΈΠ²Π°ΡΡ ΠΏΠΎΡΡΠΎΡΠ΅ΡΠΈΡ
ΠΊΠΎΠ½ΡΠ°ΠΊΠ°ΡΠ° ΠΌΠ΅ΡΡ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠΈΠΌΠ° ΠΊΠΎΡΠΈ ΡΠ΅ Π±Π°Π²Π΅ ΠΌΡΠ·ΠΈΠΊΠ°ΠΌΠ° ΠΠ°Π»ΠΊΠ°Π½Π°, ΠΊΠ°ΠΎ ΠΈ Π΄Π° ΠΏΡΡΠΆΠΈΠΌΠΎ ΠΌΠΎΠ³ΡΡΠ½ΠΎΡΡ Π·Π° Π½ΠΎΠ²Π° ΠΏΡΠΎΡΠ΅ΡΠΈΠΎΠ½Π°Π»Π½Π° ΠΏΠΎΠ·Π½Π°Π½ΡΡΠ²Π°.
Π£ ΠΏΡΠΎΠ±Π»Π΅ΠΌΡΠΊΠΎΠΌ ΡΠΌΠΈΡΠ»Ρ, Π½Π°ΠΌΠ΅ΡΠ° Π½Π°ΠΌ ΡΠ΅ Π±ΠΈΠ»Π° Π΄Π° ΡΡΠ²ΠΎΡΠΈΠΌΠΎ ΠΏΡΠΈΠ»ΠΈΠΊΡ Π·Π° ΠΏΡΠ΅ΠΈΡΠΏΠΈΡΠΈΠ²Π°ΡΠ΅ ΠΈ ΡΠ½Π°ΠΏΡΠ΅ΡΠΈΠ²Π°ΡΠ΅ ΡΠΎΠΏΡΡΠ²Π΅Π½ΠΈΡ
ΡΡΠ΅ΡΡΠ° Ρ Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠΈ, Π΄Π° Π΄ΠΈΡΠΊΡΡΠΎΠ²Π°ΡΠ΅ΠΌ ΠΎ ΡΠ°Π·Π»ΠΈΡΠΈΡΠΈΠΌ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠΊΠΈΠΌ ΡΡΡΠ°ΡΠ΅Π³ΠΈΡΠ°ΠΌΠ° ΠΏΡΠΈΠΌΠ΅ΡΠΈΠ²Π°Π½ΠΈΠΌ Π½Π° Π±Π°Π»ΠΊΠ°Π½ΡΠΊΠ΅ ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΠΏΡΠ°ΠΊΡΠ΅ Ρ Π½ΠΎΠ²ΠΈΡΠ΅ Π²ΡΠ΅ΠΌΠ΅ Π΄ΠΎΠΏΡΠΈΠ½Π΅ΡΠ΅ΠΌΠΎ ΡΠ½Π°ΠΏΡΠ΅ΡΠ΅ΡΡ ΡΠΈΡ
ΠΎΠ²ΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°, ΠΊΠ°ΠΎ ΠΈ Π΄Π° ΡΠΊΡΠ΅ΡΠ°ΡΠ΅ΠΌ ΠΏΠ°ΠΆΡΠ΅ Π½Π° ΡΠΏΠ΅ΡΠΈΡΠΈΡΠ½Π΅ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ΅, Π°Π»ΠΈ ΠΈ Π²ΡΠ΅Π΄Π½ΠΎΡΡΠΈ Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ΅, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ βΠ½Π°ΡΠΈΠΎΠ½Π°Π»Π½ΠΈΡ
Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ°β
Π½Π° ΠΠ°Π»ΠΊΠ°Π½Ρ ΡΡΠ΅ΡΡΠ²ΡΡΠ΅ΠΌΠΎ Ρ Π΅ΡΠΈΠΊΠ°ΡΠ½ΠΈΡΠ΅ΠΌ ΡΠΊΡΡΡΠΈΠ²Π°ΡΡ βΠΌΠ°Π»ΠΈΡ
β Π΄ΠΈΡΡΠΈΠΏΠ»ΠΈΠ½Π°ΡΠ½ΠΈΡ
Π·Π°ΡΠ΅Π΄Π½ΠΈΡΠ° Ρ ΡΠ²Π΅ΡΡΠΊΠΎ Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΎ Π΄ΡΡΡΡΠ²ΠΎ. ΠΠ²Π°ΠΊΠ²Π΅, Ρ ΠΈΠ·Π²Π΅ΡΠ½ΠΎΠΌ ΡΠΌΠΈΡΠ»Ρ ΠΎΠΏΡΡΠ΅ ΠΏΠΎΡΡΠ΅Π±Π΅, ΠΏΠΎΡΠ΅Π½ΡΠΈΡΠ°Π½Π΅ ΡΡ ΠΎΠΊΠΎΠ»Π½ΠΎΡΡΠΈΠΌΠ° ΡΠ°Π·Π²ΠΎΡΠ° Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ Ρ Π‘ΡΠ±ΠΈΡΠΈ, ΠΏΠΎΡΠ΅Π±Π½ΠΎ ΠΏΠΎΡΠ»Π΅Π΄ΡΠΈΡ
Π΄Π΅ΡΠ΅Π½ΠΈΡΠ°.
ΠΠ½ΡΠ΅ΡΠ΅ΡΠΎΠ²Π°ΡΠ° Π·Π° ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π°Π»Π½Ρ Π½Π°ΡΠΎΠ΄Π½Ρ ΠΌΡΠ·ΠΈΠΊΡ ΠΈΠ·ΡΠ°ΠΆΠ΅Π½Π° ΠΊΡΠΎΠ· Π·Π°ΠΏΠΈΡΠ΅ ΠΎ ΡΠΎΡ, ΡΠ΅Π½ΠΎ Π½ΠΎΡΠΈΡΠ°ΡΠ΅ ΠΈ ΡΠ½ΠΈΠΌΠ°ΡΠ΅, Π° ΠΏΠΎΡΠΎΠΌ ΠΈ ΠΏΡΠ²Π΅ ΡΡΡΠ΄ΠΈΡΠ΅ ΠΎΠ±ΡΠ°Π·ΠΎΠ²Π°Π½ΠΈΡ
ΠΌΡΠ·ΠΈΡΠ°ΡΠ°, ΠΌΠ°Ρ
ΠΎΠΌ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ°, Ρ Π‘ΡΠ±ΠΈΡΠΈ ΡΡ (ΡΠ΅ΠΊ) 1948. Π΄ΠΎΠ±ΠΈΠ»ΠΈ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΠΎΠ½Π°Π»Π½ΠΎ ΠΎΠΊΡΠΈΡΠ΅ ΠΎΡΠ½ΠΈΠ²Π°ΡΠ΅ΠΌ ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΠΈΠ½ΡΡΠΈΡΡΡΠ° Π‘ΡΠΏΡΠΊΠ΅ Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΡΠ΅ Π½Π°ΡΠΊΠ° (Π΄Π°Π½Π°Ρ Π‘ΡΠΏΡΠΊΠ΅ Π°ΠΊΠ°Π΄Π΅ΠΌΠΈΡΠ΅ Π½Π°ΡΠΊΠ° ΠΈ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ β Π‘ΠΠΠ£). ΠΠ΄ ΠΎΡΠ½ΠΈΠ²Π°ΡΠ° Π΄ΠΎ Π΄Π°Π½Π°Ρ ΡΠΎ ΡΠ΅ Π΄ΡΠΆΠ°Π²Π½Π° ΡΡΡΠ°Π½ΠΎΠ²Π°, ΡΠ΅ ΡΠ΅ Π½Π°ΡΠΈΠ½ ΡΠ°Π΄Π° ΡΡΠ»ΠΎΠ²ΡΠ΅Π½ Π΄ΡΠΆΠ°Π²Π½ΠΈΠΌ ΠΊΡΠ»ΡΡΡΠ½ΠΈΠΌ ΠΈ Π½Π°ΡΡΠ½ΠΈΠΌ ΠΏΠΎΠ»ΠΈΡΠΈΠΊΠ°ΠΌΠ°, Π° ΠΎΠ±ΠΈΠΌ Π½Π°ΡΡΠ½Π΅ ΠΏΡΠΎΠ΄ΡΠΊΡΠΈΡΠ΅ ΠΊΡΡΡΠ½ΠΎ ΡΠ΅ ΠΎΠ΄ΡΠ΅ΡΠΈΠ²Π°ΠΎ ΡΠ²Π΅ΠΊ ΠΌΠ°Π»ΠΈ Π±ΡΠΎΡ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°. ΠΠΎΠ²Π΅ΡΠ°ΡΠ΅ Π±ΡΠΎΡΠ° Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³Π° Π·Π°ΠΏΠΎΡΠ»Π΅Π½ΠΈΡ
Ρ ΠΠ½ΡΡΠΈΡΡΡΡ ΡΠ΅Π·ΡΠ»ΡΠΈΡΠ°Π»ΠΎ ΡΠ΅ ΠΈΠ½ΠΈΡΠΈΡΠ°ΡΠΈΠ²ΠΎΠΌ Π΄Π° ΡΠ΅ Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΎΠ±Π΅Π»Π΅ΠΆΠ°Π²Π°ΡΠ° 170 Π³ΠΎΠ΄ΠΈΠ½Π° ΠΏΠΎΡΡΠΎΡΠ°ΡΠ° Π‘ΠΠΠ£, Π½Π°ΠΊΠΎΠ½ Π²Π΅ΡΠ΅Π³ Π±ΡΠΎΡΠ° ΡΠΊΡΠΏΠΎΠ²Π° ΠΊΠΎΡΠ΅ ΡΡ ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π»ΠΈ ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ·ΠΈ ΠΈΠ· ΠΠ½ΡΡΠΈΡΡΡΠ°, ΠΏΡΠΈΡΠ΅Π΄ΠΈ ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΈ Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΈ ΡΠΊΡΠΏ. Π’ΠΎ ΡΠ΅, ΡΡΠ΅Π΄Π½ΠΎ, Π±ΠΈΠΎ ΠΈ ΠΏΡΠ²ΠΈ ΡΠΏΠ΅ΡΠΈΡΠ°Π»ΠΈΠ·ΠΎΠ²Π°Π½ΠΈ Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΈ ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡΡΠΌ Ρ Π‘ΡΠ±ΠΈΡΠΈ, Π° ΡΡ
ΠΎΠ΄Π½ΠΎ ΡΠΎΠΌΠ΅, ΠΎΠ²ΠΎ ΡΠ΅ ΠΏΡΠ²ΠΈ Π·Π±ΠΎΡΠ½ΠΈΠΊ ΡΠ°ΠΊΠ²ΠΎΠ³ ΠΏΡΠΎΡΠΈΠ»Π° ΠΎΠ±ΡΠ°Π²ΡΠ΅Π½ Ρ Π½Π°ΡΠΎΡ Π·Π΅ΠΌΡΠΈ. ΠΠΎΠΌΠΏΠ»Π΅ΠΊΡΠ½Π° ΠΏΠΎΠ΄ΡΡΠΊΠ° ΠΊΠΎΡΡ ΡΠΌΠΎ Π΄ΠΎΠ±ΠΈΠ»ΠΈ ΠΎΠ΄ Π‘ΠΠΠ£ β ΠΠ΄Π΅ΡΠ΅ΡΠ° Π»ΠΈΠΊΠΎΠ²Π½Π΅ ΠΈ ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΠΌΠ΅ΡΠ½ΠΎΡΡΠΈ, ΠΊΠ°ΠΎ ΠΈ ΠΏΡΠΈΠ·Π½Π°Π²Π°ΡΠ΅ Π²Π°ΠΆΠ½ΠΎΡΡΠΈ ΠΎΠ²Π°ΠΊΠ²ΠΎΠ³ ΡΠΊΡΠΏΠ° ΠΎΠ΄ ΡΡΡΠ°Π½Π΅ ΠΠΈΠ½ΠΈΡΡΠ°ΡΡΡΠ²Π° ΠΏΡΠΎΡΠ²Π΅ΡΠ΅ ΠΈ Π½Π°ΡΠΊΠ΅ Π Π΅ΠΏΡΠ±Π»ΠΈΠΊΠ΅ Π‘ΡΠ±ΠΈΡΠ΅, ΡΡΠΎ ΡΠ΅ ΠΏΠΎΠ΄ΡΠ°Π·ΡΠΌΠ΅Π²Π°Π»ΠΎ ΡΠΈΠ½Π°Π½ΡΠΈΡΡΠΊΡ ΠΏΠΎΠΌΠΎΡ ΠΎΡΠ³Π°Π½ΠΈΠ·Π°ΡΠΈΡΠΈ, Π±ΠΈΠ»ΠΈ ΡΡ Π½Π΅ΠΎΠΏΡ
ΠΎΠ΄Π½ΠΈ ΠΏΡΠ΅Π΄ΡΡΠ»ΠΎΠ²ΠΈ ΠΈ Π·Π° ΡΠ°ΠΌΡ ΡΠ΅Π°Π»ΠΈΠ·Π°ΡΠΈΡΡ ΡΠΊΡΠΏΠ°, ΠΈ Π·Π° ΠΎΠ±ΡΠ°Π²ΡΠΈΠ²Π°ΡΠ΅ ΠΎΠ²ΠΎΠ³ Π·Π±ΠΎΡΠ½ΠΈΠΊΠ°. ΠΠ°ΠΎ ΠΈ ΡΠ²Π΅ΠΊ, ΠΎΠ±ΠΈΠΌ ΠΏΠΎΠΌΠΎΡΠΈ, Π° ΠΏΠΎΡΠ΅Π±Π½ΠΎ ΡΠΎΠΊΠΎΠ²ΠΈ, Π±ΠΈΠ»ΠΈ ΡΡ Π»ΠΈΠΌΠΈΡΠΈΡΠ°ΡΡΡΠΈ ΡΠ°ΠΊΡΠΎΡΠΈ Π½Π°ΡΠΈΠΌ ΠΈΠ΄Π΅ΡΠ°ΠΌΠ° ΠΈ ΠΏΡΠΎΡΠ΅ΡΠΈΠΎΠ½Π°Π»Π½ΠΈΠΌ ΠΆΠ΅ΡΠ°ΠΌΠ°. ΠΠ·ΡΠ°ΠΆΠ°Π²Π°ΠΌΠΎ Π½Π°ΡΠΎΡΠΈΡΡ Π·Π°Ρ
Π²Π°Π»Π½ΠΎΡΡ ΡΠ²Π°ΠΆΠ΅Π½ΠΈΠΌ ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ° ΠΊΠΎΡΠΈ ΡΡ Π±ΠΈΠ»ΠΈ Ρ ΡΠ°ΡΡΠ°Π²Ρ ΠΡΠΎΠ³ΡΠ°ΠΌΡΠΊΠΎΠ³ ΠΎΠ΄Π±ΠΎΡΠ° ΡΠΊΡΠΏΠ°: ΠΠ·Π°ΡΠΈΡΡ ΠΠ΅ΠΌΡΠΎΠ²ΡΠΊΠΎΠΌ, ΠΠΈΠΌΡ Π‘Π°ΠΌΡΠΎΠ½Ρ, ΠΠ°ΡΡΠΈΠ½Ρ Π‘ΡΠΎΡΠΊΡΡ, ΠΠΎΠ·Π°Π½ΠΊΠΈ ΠΠ΅ΡΡΠ΅Π²ΠΎΡ ΠΈ ΠΠ°Π»Ρ Π ΠΈΡ
ΡΠ΅ΡΡ. ΠΠ΅ΠΏΠΎΡΡΠ΅Π΄Π½Π΅ Π·Π°Π΄Π°ΡΠΊΠ΅ ΠΈΠ· Π΄ΠΎΠΌΠ΅Π½Π° ΠΎΡΠ³Π°Π½ΠΈΠ·Π°ΡΠΈΡΠ΅ ΡΠΊΡΠΏΠ° Π΄Π΅Π»ΠΈΠ»ΠΈ ΡΠΌΠΎ ΠΏΡΠ²Π΅Π½ΡΡΠ²Π΅Π½ΠΎ ΡΠ° ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ°-Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ·ΠΈΠΌΠ° ΠΈΠ· ΠΠ½ΡΡΠΈΡΡΡΠ°, Π Π°ΡΡΠΊΠΎΠΌ ΠΠ°ΠΊΠΎΠ²ΡΠ΅Π²ΠΈΡΠ΅ΠΌ ΠΈ ΠΠ°ΡΠΈΡΠΎΠΌ ΠΡΠΌΠ½ΠΈΡ. ΠΠ΅Π»ΠΈΠΊΠΎ Π½Π°ΠΌ ΡΠ΅ Π·Π°Π΄ΠΎΠ²ΠΎΡΡΡΠ²ΠΎ ΡΡΠΎ ΡΠΌΠΎ ΠΈΠΌΠ°Π»ΠΈ ΠΏΡΠΈΠ»ΠΈΠΊΡ Π΄Π° ΠΎΠΊΡΠΏΠΈΠΌΠΎ 26 Π΅ΡΠ½ΠΎΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³Π° ΠΈΠ· 11 Π·Π΅ΠΌΠ°ΡΠ°: ΠΡΠ³Π°ΡΡΠΊΠ΅, ΠΠ΅Π»ΠΈΠΊΠ΅ ΠΡΠΈΡΠ°Π½ΠΈΡΠ΅, ΠΡΡΠΊΠ΅, ΠΠΈΡΠ²Π°Π½ΠΈΡΠ΅, ΠΠ°ΡΠ°ΡΡΠΊΠ΅, ΠΠ°ΠΊΠ΅Π΄ΠΎΠ½ΠΈΡΠ΅, Π ΡΡΠΈΡΠ΅, Π‘Π»ΠΎΠ²Π΅Π½ΠΈΡΠ΅, Π’ΡΡΡΠΊΠ΅, ΠΡΡΡΡΠ°Π»ΠΈΡΠ΅ ΠΈ Π‘ΡΠ±ΠΈΡΠ΅. ΠΠ°ΠΎ Π½Π°ΠΌ ΡΠ΅ ΡΡΠΎ, Π·Π±ΠΎΠ³ ΠΎΠ±ΡΠ΅ΠΊΡΠΈΠ²Π½ΠΈΡ
ΠΎΠΊΠΎΠ»Π½ΠΎΡΡΠΈ, Π½Π° ΡΠΊΡΠΏΡ Π½ΠΈΡΡ ΠΌΠΎΠ³Π»ΠΈ Π΄Π° ΡΠ·ΠΌΡ ΡΡΠ΅ΡΡΠ° Π½Π΅ΠΊΠΈ ΠΎΠ΄ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΌΡΠ·ΠΈΠΊΠ° ΠΠ°Π»ΠΊΠ°Π½Π° ΡΠ° Π΄ΡΡΠ³ΠΈΡ
ΠΏΠΎΠ΄ΡΡΡΡΠ°, ΡΠΈΡΠ° Π±ΠΈ ΠΈΡΠΊΡΡΡΠ²Π° Π½Π΅ΡΡΠΌΡΠΈΠ²ΠΎ Π΄ΠΎΠΏΡΠΈΠ½Π΅Π»Π° ΠΊΠ²Π°Π»ΠΈΡΠ΅ΡΡ ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡΡΠΌΠ° ΠΈ Π·Π±ΠΎΡΠ½ΠΈΠΊΠ°. ΠΠ΅Π»ΠΈΠΊΠ° Π²Π΅ΡΠΈΠ½Π° ΡΡΠ΅ΡΠ½ΠΈΠΊΠ° ΡΠΊΡΠΏΠ° ΡΠ΅ ΠΏΡΠΈΡΠ΅Π΄ΠΈΠ»Π° ΡΠ²ΠΎΡΠ° ΠΈΠ·Π»Π°Π³Π°ΡΠ° Π·Π° ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°ΡΠ΅.
Π‘Π°Π΄Π° ΡΠ΅ ΠΏΡΠ΅Π΄ ΡΠΈΡΠ°ΠΎΡΠΈΠΌΠ° Π½Π°Π»Π°Π·ΠΈ Π΄Π²Π°Π΄Π΅ΡΠ΅Ρ ΡΠ΅Π΄Π½Π° ΡΡΡΠ΄ΠΈΡΠ° ΠΊΠΎΡΠ° Π½Π° ΡΠ°Π·Π»ΠΈΡΠΈΡΠ΅ Π½Π°ΡΠΈΠ½Π΅ ΠΎΡΠ²Π΅ΡΡΠ°Π²Π° ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΠΏΡΠ°ΠΊΡΠ΅ ΠΠ°Π»ΠΊΠ°Π½Π°, ΡΠ²Π΅Π΄ΠΎΡΠ΅ΡΠΈ ΠΎ ΡΠΈΡΠΈΠ½ΠΈ Π°ΠΊΡΡΠ΅Π»Π½ΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠΊΠΈΡ
ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠΎΠ²Π°ΡΠ° ΠΈ ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ»ΠΎΠ³ΠΈΡΠ°. ΠΠ·Π΄Π°ΡΠ΅ ΡΠΊΡΡΡΡΡΠ΅ ΠΈ Π²ΡΠ΅Π΄Π½Π΅ Π°ΡΠ΄ΠΈΠΎ ΠΈ Π²ΠΈΠ΄Π΅ΠΎ ΠΏΡΠΈΠΌΠ΅ΡΠ΅ Π½Π° ΠΏΡΠΈΠ»ΠΎΠΆΠ΅Π½ΠΎΠΌ Π΄ΠΈΡΠΊΡ, ΡΠΈΠΌΠ΅ ΡΠΈΡΠ°ΠΎΡΠΈΠΌΠ° ΠΎΠΌΠΎΠ³ΡΡΠ°Π²Π°ΠΌΠΎ ΠΏΠΎΡΠΏΡΠ½ΠΈΡΠΈ ΡΠ²ΠΈΠ΄ Ρ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°Π½Ρ ΠΌΡΠ·ΠΈΠΊΡ ΠΈ Π½Π°ΡΡΠ½Π΅ ΠΏΡΠΈΡΡΡΠΏΠ΅. ΠΠ±ΡΠ°ΡΠ°ΡΡΡΠΈ ΡΠ΅ ΡΠΈΡΠ΅ΠΌ ΠΊΡΡΠ³Ρ ΡΠΈΡΠ°Π»Π°ΡΠ°, Π·Π±ΠΎΡΠ½ΠΈΠΊ ΡΠ΅ ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ Π½Π° Π΅Π½Π³Π»Π΅ΡΠΊΠΎΠΌ ΡΠ΅Π·ΠΈΠΊΡ, Π°Π»ΠΈ ΡΠ΅ Π°ΡΡΠΎΡΠΈΠΌΠ° ΠΎΡΡΠ°Π²ΡΠ΅Π½Π° ΠΌΠΎΠ³ΡΡΠ½ΠΎΡΡ Π΄Π° ΡΠ²ΠΎΡΠ΅ ΡΠ°Π΄ΠΎΠ²Π΅ ΠΏΡΠΈΠ»ΠΎΠΆΠ΅ ΠΈ Π½Π° ΠΌΠ°ΡΠ΅ΡΡΠΈΠΌ ΡΠ΅Π·ΠΈΡΠΈΠΌΠ°, ΠΏΠ° ΡΡ ΠΎΠ²Π΅ Π²Π΅ΡΠ·ΠΈΡΠ΅ ΡΠ°ΠΊΠΎΡΠ΅ ΠΏΡΠΈΠ»ΠΎΠΆΠ΅Π½Π΅ Π½Π° Π΄ΠΈΡΠΊΡ.
Π£ΡΠ΅ΡΠΈΠ²Π°ΡΠ΅ ΠΎΠ²ΠΎΠ³ ΠΎΠ±ΠΈΠΌΠ½ΠΎΠ³ ΠΈ ΠΊΠΎΠΌΠΏΠ»Π΅ΠΊΡΠ½ΠΎΠ³ Π·Π±ΠΎΡΠ½ΠΈΠΊΠ° ΡΠ΅ Π±ΠΈΠ»ΠΎ ΠΏΠΎΡΠ΅Π±Π½ΠΎ ΠΈΡΠΊΡΡΡΠ²ΠΎ. ΠΠ°Ρ
Π²Π°ΡΡΡΠ΅ΠΌΠΎ ΡΠ΅ ΡΠ²ΠΈΠΌ Π°ΡΡΠΎΡΠΈΠΌΠ° Π·Π° ΠΏΡΠΈΠ»ΠΎΠ³Π΅ ΠΈ ΡΠ°ΡΠ°Π΄ΡΡ. ΠΠΎΡΠ΅Π±Π½Ρ Π·Π°Ρ
Π²Π°Π»Π½ΠΎΡΡ Π΄ΡΠ³ΡΡΠ΅ΠΌΠΎ ΡΠ΅ΡΠ΅Π½Π·Π΅Π½ΡΠΈΠΌΠ° ΡΡΡΠ΄ΠΈΡΠ°. Π£ ΠΎΠ²ΠΎΠΌ ΠΎΠ±ΠΈΠΌΠ½ΠΎΠΌ ΠΏΠΎΡΠ»Ρ ΠΏΠΎΠ΄ΡΡΠΊΡ ΡΠΌΠΎ ΠΈΠΌΠ°Π»ΠΈ ΠΎΠ΄ ΡΠΈΡΠ°Π²ΠΎΠ³ ΠΊΠΎΠ»Π΅ΠΊΡΠΈΠ²Π° ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΠΈΠ½ΡΡΠΈΡΡΡΠ°, Π° Π½Π°ΡΠΎΡΠΈΡΠΎ ΠΎΠ΄ ΠΊΠΎΠ»Π΅Π³ΠΈΠ½ΠΈΡΠ΅ Π΄Ρ ΠΠ΅Π»ΠΈΡΠ΅ ΠΠΈΠ»ΠΈΠ½, ΠΊΠΎΡΠ° ΡΠ΅ ΠΈΠΌΠ°Π»Π° ΠΌΠ½ΠΎΡΡΠ²ΠΎ Π΄ΡΠ°Π³ΠΎΡΠ΅Π½ΠΈΡ
ΡΡΠ³Π΅ΡΡΠΈΡΠ°. ΠΠ½Π³Π°ΠΆΠΎΠ²Π°ΡΠ΅ Π΄Ρ ΠΠ΅Π»Π΅Π½Π΅ Π‘ΠΈΠΌΠΎΠ½ΠΎΠ²ΠΈΡ-Schiff (ΠΡΠΆΠ°Π²Π½ΠΈ ΡΠ½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅Ρ ΠΠΎΡΡΠ»Π°Π½Π΄Π°, Π‘ΠΠ) ΠΎΠΊΠΎ Π»Π΅ΠΊΡΠΎΡΠΈΡΠ°ΡΠ° ΡΠ΅ΠΊΡΡΠΎΠ²Π° Π½Π° Π΅Π½Π³Π»Π΅ΡΠΊΠΎΠΌ ΡΠ΅Π·ΠΈΠΊΡ, ΠΠΎΡΠ°Π½Π° ΠΠ΅ΡΠΊΠΎΠ²ΠΈΡΠ° Ρ ΠΏΡΠΈΠΏΡΠ΅ΠΌΠΈ Π·Π²ΡΡΠ½ΠΈΡ
ΠΏΡΠΈΠΌΠ΅ΡΠ°, ΠΠΈΠ»ΠΎΡΠ° Π Π°ΡΠΈΡΠ° Ρ ΠΎΠ±ΡΠ°Π΄ΠΈ Π²ΠΈΠ΄Π΅ΠΎ- ΠΏΡΠΈΠΌΠ΅ΡΠ° ΠΈ ΠΠΎΡΠ°Π½Π° ΠΠ°ΡΠΈΡΠ° Π½Π° ΡΠ΅Ρ
Π½ΠΈΡΠΊΠΎΡ ΠΏΡΠΈΠΏΡΠ΅ΠΌΠΈ ΠΈΠ·Π΄Π°ΡΠ°, Π΄Π°Π»Π΅ΠΊΠΎ ΡΠ΅ ΠΏΡΠ΅Π²Π°Π·ΠΈΡΠ»ΠΎ Π±Π°Π·ΠΈΡΠ½Π΅ Π·Π°Π΄Π°ΡΠΊΠ΅, Π·Π±ΠΎΠ³ ΡΠ΅Π³Π° ΡΠΌΠΎ ΠΈΠΌ Π²Π΅Π»ΠΈΠΊΠΈ Π΄ΡΠΆΠ½ΠΈΡΠΈ.This book is comprised of studies presented at the international symposium Musical practices in the Balkans: ethnomusicological perspectives, held in November 2011 in Belgrade, Serbia. By organizing this international meeting, as hosts, we above all wanted to contribute to strengthening the existing ties among researchers involved with Balkan musics and to facilitate new professional
contacts. Our intent was to create an opportunity for reassessment and improvement of each of our own shares in ethnomusicology, to contribute to the advancement of research by discussing various research strategies recently applied to Balkan musical practices, and to participate in the more efficient inclusion of βsmallβ disciplinary communities in the global ethnomusicologies by highlighting specific values and problems of βnational ethnomusicologiesβ in the Balkans. These, so to speak, general needs, were reinforced in circumstances of the growth of the ethnomusicology in Serbia, particularly in recent decades.
The interests in traditional folk music expressed through writings, notation, and recording of the same, followed by the first research studies by educated musiciansβmainly composers, became institutionalized in Serbia (only) in 1948 with foundation of the Institute of musicology of Serbian academy of sciences (today Serbian academy of sciences and artsβSASA). Since its beginning, SASA has been a state institution, with its work regimen determined by the government culture and science politics and the scope of research output administered by a small number of researchers. The increase in number of ethnomusicologists employed by the Institute resulted in an initiative to celebrate the SASA 170th anniversary by organizing an ethnomusicology conference, in the footsteps of a number of similar professional meetings coordinated by the Instituteβs musicologists. This was at the same time the first narrowly specialized ethnomusicology symposium in Serbia, and consequently, in front of you is the first proceedings of such profile published in our country. The substantial support received from the SASA Department of fine arts and music and the acknowledgement of the significance of such a meeting by the Ministry of education and science of the Republic of Serbia, including funding the event organization, were essential and indispensable prerequisites for the Symposium realization and publication of this book. As is usually the case, the extent of financial support and particularly deadlines, imposed limits on some of our ideas and professional desires. We are deeply grateful to our esteemed colleagues, members of the Symposium Program committee: Izaly Zemtsovsky, Jim Samson, Martin Stokes, Lozanka Peycheva, and PΓ‘l Richter. The Symposium immediate logistics duties were helpfully shared primarily with our colleagues, the Institute ethnomusicologists, Rastko JakovljeviΔ and Marija DumniΔ.
It was our satisfaction to have the opportunity to gather twenty-six ethnomusicologists from eleven countries: Bulgaria, Great Britain, Greece, Hungary, Lithuania, Macedonia, Russia, Slovenia, Turkey, Australia, and Serbia.
We regret that due to objective circumstances, some of the Balkans researchers from other regions, whose experiences would unquestionably contribute to the quality of the Symposium and these proceedings, could not take part. The vast majority of the Symposium participants prepared their papers for publication.
The readers are offered twenty-one studies that in different ways illuminate Balkan musical practices and testify to the breadth of current research interests and methodologies. The publication also includes a compact disc with useful audio and video examples, assembled with the idea to provide the reader with even more complete insight into the researched music and utilized approaches. In order to address a wider audience, the proceedings are published in English.
Since the contributing authors could optionally submit an additional version of the paper in their native language, those versions are also provided on the compact disc.
Editing of this extensive and comprehensive publication presented a unique experience. We would like to thank all of the authors for submitting their papers and for their cooperation. We also extend our sincere gratitude to our reviewers. In this voluminous undertaking, we enjoyed the support of our colleagues at the Institute, but in particular, the encouragement from Melita Milin who offered a number of valuable suggestions. We truly appreciate the cooperation of Jelena SimonoviΔ Schiff (Portland State University, USA) in proof reading papers in English, Zoran JerkoviΔ in mastering of audio examples, MiloΕ‘ RaΕ‘iΔ in preparing of video examples, and Goran JanjiΔ in technical preparation for print that exceeded standard duties and helped shape this publication.ΠΠ±ΡΠ°Π²ΡΠΈΠ²Π°ΡΠ΅ ΠΎΠ²ΠΎΠ³ Π·Π±ΠΎΡΠ½ΠΈΠΊΠ° ΡΠΈΠ½Π°Π½ΡΠΈΡΡΠΊΠΈ ΡΠ΅ ΠΏΠΎΠΌΠΎΠ³Π»ΠΎ ΠΠΈΠ½ΠΈΡΡΠ°ΡΡΡΠ²ΠΎ ΠΏΡΠΎΡΠ²Π΅ΡΠ΅, Π½Π°ΡΠΊΠ΅ ΠΈ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΡΠΊΠΎΠ³ ΡΠ°Π·Π²ΠΎΡΠ° Π Π΅ΠΏΡΠ±Π»ΠΈΠΊΠ΅ Π‘ΡΠ±ΠΈΡΠ΅. / These proceedings have been financially supported by Ministry of education, science and technological development of the Republic of Serbia.
ΠΠ±ΠΎΡΠ½ΠΈΠΊ ΡΠ°Π΄ΠΎΠ²Π° ΡΠ° Π½Π°ΡΡΠ½ΠΎΠ³ ΡΠΊΡΠΏΠ° ΠΎΠ΄ΡΠΆΠ°Π½ΠΎΠ³ ΠΎΠ΄ 23. Π΄ΠΎ 25. Π½ΠΎΠ²Π΅ΠΌΠ±ΡΠ° 2011. / Proceeding of the international conference held from november 23 to 25. , 2011
The genesis of cultivated choral tone in the United States (1906-1928): Peter C. Lutkin, F. Melius Christiansen, and John Finley Williamson
The purpose of this study was to chronicle the genesis of cultivated choral tone in the United States from 1906 to 1928. That transformation was led by three conductors whose disparate careers represented a shared trajectory. Individually and collectively, they pioneered two singing genres with European provenance--a cappella and senza vibrato singing--as early techniques to isolate and refine choral tone. Their work converged in 1928, when it expanded to become the American A Cappella Movement (1928-1938).
The earliest of the three conductors was Peter C. Lutkin (1858-1931). After study in Europe, he became dean of the School of Music at Northwestern University. Through his publications and university a cappella choir, founded in 1906, he placed greater responsibility on singers, and employed diction and breath control to improve intonation and tonal purity.
German-educated Norwegian-American F. Melius Christiansen (1871-1955) was guided by his experience as a violinist and influenced by the choir of St. Thomas Church, Leipzig, Germany. In 1907, he began to gradually transform the choir of St. John's Lutheran Church choir in Northfield, Minnesota. By 1920, his St. Olaf Lutheran Choir toured nationwide and eventually epitomized a choral prototype through his publications, compositions, ideology, and methods, both original and derivative. Self-reliant and confident, Christiansen championed Russian choral literature, symphonic form for programming, and self-referential choral singing. His "inner choir" technique, "instrumental" tuning for choirs, and "conductorless" onset of tone were widely imitated. Spiritual beliefs undergirded his work.
Originally inspired by Christiansen, Ohioan John Finley Williamson (1887-1964), a trained singer, cultivated choral tone by recontextualizing solo vocal Lamperti technique into choral methods. In 1920, he modeled his ensemble's results via national tours with his Dayton Westminster Choir. By 1926, he co-founded a choir school in a Dayton church where he implemented his theory of the choral rehearsal as a class voice lesson. His unorthodox tenets included his belief that vowels were controlled by volume and phrase conducting, that vowel color was dictated by overtones, and that a conflict existed between time beating and "rhythmic magic" (or "pace")
Country Music Annual 2001
The swelling interest in popular music studies has far outpaced the outlets for publication. With the Country Music Annual, scholars, students, and interested readers have a place for sharing their research and ideas.
The subjects of this second volume range from one of the very first musicians to make country records, Henry Gilliland, to the current avant-garde work of the alternative country band Uncle Tupolo. Ernest Tubbβs musical roots, the origins of one of Roy Acuffβs classic gospel songs, and the Carter Familyβs rhythms are discussed in these pages. Even NASCAR makes an appearance.
Advisory Board: Bill C. Malone, Nolan Porterfield, Jimmie Rogers, Curtis Ellison, William K. McNeil, Wayne W. Daniel, Joli Jensen.
Charles K. Wolfe, professor of English and folklore at Middle Tennessee State University, is the author of numerous books, including A Good Natured Riot: The Birth of the Grand Ole Opry.
James E. Akenson, professor of curriculum and instruction at Tennessee Technological University, is the founder of the International Country Music Conference.
Provides a thoughtful and provocative discussion of country music. βAmerican Reference Book Annual
Wolfe and Akenson have provided another strong case for the infinite number of studies possible in this important genre of American music while presenting some of the talented researchers writing on country music today. βArkansas Review
Editors Akenson and Wolfe have scored a major hit by compiling such a diverse and enlightening group of essays. Reading this volume will be time well spent for anyone interested in this uniquely American art form. βLexington Herald-Leader
Although this compilation is designed for scholars of country music, the ten articles that comprise it contain enough anecdotes and odd facts to make the book appealing to all serious fans of the genre. . . . Uniformly thought-provoking, too. βForeword
The first and only country music publication of its kind. βKentucky Living
Reexamines what country music is and how it should be studies. . . . Provides cultural scholars and fans alike with thoughtful discussions about the musical genre that has taken its place as a fixture in American popular culture. βMcCormick (SC) Messenger
Delivers insight about the huge body of music falling under the term βcountry musicβ and how the genre affects diverse aspects of the world. βSouthern Living
Those seeking a more rigorous scholarship will find the yearβs Country Music Annual 2001 a useful challenge. βNo Depressionhttps://uknowledge.uky.edu/upk_music/1004/thumbnail.jp
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Improvising difference : constructing Canarian Jazz cultures
textThis dissertation is a performance of and around borders, emphasizing how physical and virtual boundaries impact members of a community on the global periphery. More specifically, it interrogates the ways in which Canarian jazz musicians encounter and interact with the multiple types of actively produced aislamiento (isolation). As an autonomous community of Spain, the vestiges of colonialism are quite present in everyday Canarian life, despite many inhabitants' self-identification as African. This project traces three main lines of inquiry: the historical construction of the Canary Islands as exoticized periphery; the eradication of the Afro/Canarian subject through the ongoing ideological and physical violence; and the ways in which Canarian populations are re-asserting their identitiesβas Afro/Canarian, diasporic, and trans-Atlanticβthrough critical performance against trenchant stereotypes and the dominant paradigms that propagate them. Throughout the dissertation, I examine how surfacesβarchitectural, cartographic, scholarly and sonicβact to frame (and mask) cultural and musical identity. The ideological seams of these surfaces can function as interstitial spaces from which critical resistance can be performed through improvising musical and discursive acts. Just as Canarian jazz musicians play against and across dominant paradigms to subsist, I will demonstrate how interstitial research methodologies can break open the potentially obscuring surfaces that these paradigms construct. I extend David Sudnow's notion of the "articulational reach" and his phenomenologically informed exploration of piano performance into ethnographic research, emphasizing how my own subjectivity as researcher/pianist impacts and shapes the project. Crucial to Sudnow's "reach" is its inherently improvisatory emergence and the uncertainty of its outcome. In short, the ways in which Canarian musicians must improvise performances in musical and social environments will be examined and resonating with an approach imbued with the same improvising, subjective unfoldingβboth in terms of research methodology and of writerly perspective. The dissertation could be read as an unfolding, improvised construction that is constantly accruing new meanings: its chapters are not so much driven by an overarching or individual theses so much as by the spinning out of possible responses to the questions surrounding the project's initial premises.Musi
Sonic Modernities in the Malay World : A History of Popular Music, Social Distinction and Novel Lifestyles (1930s β 2000s)
Sonic Modernities analyses the interplay between the production of popular music, shifting ideas of the modern and, in its aftermath, processes of social differentiation in twentieth-century Southeast Asia
Reshaping American Music: The Quotation of Shape-Note Hymns by Twentieth-Century Composers
Throughout the twentieth century, American composers have quoted nineteenth-century shape-note hymns in their concert works, including instrumental and vocal works and film scores. When referenced in other works the hymns become lenses into the shifting web of American musical and national identity. This study reveals these complex interactions using cultural and musical analyses of six compositions from the 1930s to the present as case studies. The works presented are Virgil Thomson's film score to The River (1937), Aaron Copland's arrangement of "Zion's Walls" (1952), Samuel Jones's symphonic poem Let Us Now Praise Famous Men (1974), Alice Parker's opera Singers Glen (1978), William Duckworth's choral work Southern Harmony and Musical Companion (1980-81), and the score compiled by T Bone Burnett for the film Cold Mountain (2003). Utilizing archival sources and interviews with composers, this study draws from a number of methodologies and disciplines in order to present a kaleidoscopic view of the meanings and contexts of these compositions, including cultural, religious, American, and music history, as well as musical and textual analysis. Through this thick-history approach, the study demonstrates the ways in which shape-note quotations evoke American regional and national history, and the composers' personal memories and identities
Pursuing Taiwanese-ness: the contemporary music practices of Taitung indigenous people
This research is an ethnography exploring the contemporary music practices of the indigenous people of Taitung, a southeastern county in Taiwan. Indigenous people make up a large proportion of the population of Taitung, and their music has in recent years been used in international and local events to potray a unique Taiwanese identity. I discuss how indigenous and other Taiwanese have collaborated to create this identity - the Taiwanese-ness - and how they have done so with tangled webs of concerns for authenticity, hybridisation and Otherness. I examine two opposite approaches in heredity and maintenance of the tradition: first, sticking to locality, and therefore passing down the tradition in a functional way; second, endorsing and appropriating transnational pop practices in order to garner commercial success. I argue that living experience - the familiarity to a musical culture which Mantle Hood (1982) considered the way that enabled ethnic groups to understand and evaluate their own musical traditions - is essential and irreplaceable. Hence, affiliation to a homeland, as depicted through notions of mountain and sea, becomes a key element in the self-identity of musicians as 'indigenous' (yuanzhumin in Mandarin, meaning 'original inhabitants'), and that the homeland, as the place of ancestors, allows indigenous groups to safeguard their traditions. However, indigenous Taiwanese are comfortable with and uphold a shared culture that was brought to the island by Han migrants, and this is evident in the influences of trans-cultural commercial and global Mandopop. Musicians tend to apply elements of their traditions such as indigenous languages, pentatonicism, ancient songs, specific rhythms and the incorporation of non-lexical vocables, wherever they can, using a bricolage approach. At the same time, musicians enrich the music culture, keeping tradition alive by adding to it in reciprocal ways elements from the outside, but also introducing the poΒtential for cultural 'grey-out' as elements of traditional music are altered. Keywords: Taitung, indigenous people, music practices, mountain and sea, Taiwanese-ness
Interrelations among genres in Khmer traditional music and theatre : Phleng Kar, Phleng Arak, Lkhaon Yiikee and Lkhaon Bassac
This dissertation focuses on the interrelation and adaptation of musical and extramusical song features among the Cambodian genres of phleng kar, phleng arak, lkhaon yiikee and lkhaon bassac. My research starts from my masterβs study on phleng kar, the traditional wedding music. Through my MA research, it appeared that selected songs from the phleng kar repertoire share and exchange musical and ritual features. In this study I considered how these songs were used in other genres and what this could tell us about the social and musical interrelationship of these musics. My research aims to discuss the concept of genre classification from the emic perspective of the Cambodian pratictioners showing how they talk and think about their music; and to explore the kinds of culture-specific markers employed by Khmer musicians to distinguish their genres. Cambodian music traditions outside the iconic genre of classical dance have received little attention in scholarship. This study provides the first systematic analysis of the genres in question whose repertoire and musical features, to my knowledge, have never been studied. Ethnographic research carried out over ten months in different provinces of Cambodia and Phnom Penh using a combination of audiovisual recording, interviews, and participant observation provided me with three case studies which illustrate: songs sharing the same title with different tunes; songs with same title and similar tunes; and songs with a different title but similar tunes. To these case studies I then applied transcriptions, using staff notation, and analysed musical and extramusical parameters to consider the exchange of musical features and performance analysis following some scholarβs model (Marett 2009; McKinley 2002; Seeger 1987) to consider the ritual context. This study shows how classification and categorization of genres, even when genres overlap, reflect sociocultural aspects and are attached to a set of musical and extramusical components
βIn The Good Old Days of Long Ago": Echoes of Vaudeville and Minstrelsy in the Music of Uncle Dave Macon
Uncle Dave Macon provided an essential link between nineteenth-century, urban popular stage music (especially the minstrel show and vaudeville) and commercialized country music of the 1920s. He preserved through his recordings a large body of songs and banjo techniques that had their origins in urban-based, nineteenth-century vaudeville and minstrelsy. Like the minstrel and vaudeville performers of the nineteenth century, Macon told jokes and stories, employed attention-grabbing stage gimmicks, marketed himself with boastful or outrageous slogans, and dressed with individual flair. At the same time, Macon incorporated many features from the rural-based folk music of Middle Tennessee. Overall, Maconβs repertoire, musical style, and stage persona (which included elements of the rube, country gentleman, and old man) demonstrated his deep absorption, and subsequent reinterpretation, of nineteenth-century musical traditions.
Maconβs career offers a case study in how nineteenth-century performance styles, repertoire, and stage practices became a part of country music in the 1920s. As an artist steeped in two separate, but overlapping, types of nineteenth-century musicβstage and folkβMacon was well-positioned to influence the development of the new commercial genre. He brought together several strains of nineteenth-century music to form a modern, twentieth-century musical product ideally suited to the new mass media of records, radio, and film. By tracing Maconβs career and studying his music, we can observe how the cross-currents of rural and popular entertainment during the nineteenth and early twentieth centuries interacted to form the commercial genre we now know as country music