18 research outputs found
ΠΡΠ·ΠΈΡΠΊΠΎ ΠΈΠ·Π²ΠΎΡΠ°ΡΡΠ²ΠΎ ΠΊΠ°ΠΎ ΠΏΡΠΈΠΏΠΎΠ²Π΅Π΄Π°ΡΠ΅: ΠΏΠ°ΠΌΡΠ΅ΡΠ΅, Π΅Π²ΡΠΎΠΏΡΠΊΠ΅ ΠΈΠ½ΡΠ΅Π³ΡΠ°ΡΠΈΡΠ΅ ΠΈ ΠΠ°Π»ΡΠΈΡΠΊΠ° ΡΠΈΠ»Ρ Π°ΡΠΌΠΎΠ½ΠΈΡΠ° ΠΌΠ»Π°Π΄ΠΈΡ
Storytelling has been theorized as a performative, narrative practice, but it has not been employed often as a trope in studies of musical performance. This article outlines a theoretical context for exploring the possibilities of such a conceptual move within musicology by referring to the anthropological and performance studies approaches of Turner and Schechner. Benjaminβs reflection on the storyteller as a narrator of memory and history frames the presentation of a case-study on the Baltic Youth Philharmonic Orchestra.ΠΡΠΈΠΏΠΎΠ²Π΅Π΄Π°ΡΠ΅ ΡΠ΅ Ρ ΡΠ΅ΠΎΡΠΈΡΠ°ΠΌΠ° ΡΠ°Π·ΠΌΠ°ΡΡΠ°Π½ΠΎ ΠΊΠ°ΠΎ ΠΏΠ΅ΡΡΠΎΡΠΌΠ°ΡΠΈΠ²Π½Π°, Π½Π°ΡΠ°ΡΠΈΠ²Π½Π°
ΠΏΡΠ°ΠΊΡΠ°, Π°Π»ΠΈ ΡΠ΅ Π½Π΅ ΡΠΏΠΎΡΡΠ΅Π±ΡΠ°Π²Π° ΡΠ΅ΡΡΠΎ ΠΊΠ°ΠΎ ΡΡΠΎΠΏ Ρ ΡΡΡΠ΄ΠΈΡΠ°ΠΌΠ° ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΈΠ·Π²ΠΎΡΠ°ΡΡΠ²Π°.
ΠΠ²Π° ΡΡΡΠ΄ΠΈΡΠ° ΡΠΊΠΈΡΠΈΡΠ° ΡΠ΅ΠΎΡΠΈΡΡΠΊΠ΅ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ΅, ΠΏΡΠ΅ΡΠ·Π΅ΡΠ΅ ΠΈΠ· Π°Π½ΡΡΠΎΠΏΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ ΠΈ
ΡΡΡΠ΄ΠΈΡΠ° ΠΏΠ΅ΡΡΠΎΡΠΌΠ°Π½ΡΠ°, ΠΊΠ°ΠΊΠΎ Π±ΠΈ ΠΈΡΡΡΠ°ΠΆΠΈΠ»Π° ΠΌΠΎΠ³ΡΡΠ½ΠΎΡΡΠΈ Π½Π°Π²Π΅Π΄Π΅Π½ΠΎΠ³ ΠΊΠΎΠ½ΡΠ΅ΠΏΡΡΠ°Π»Π½ΠΎΠ³
ΠΏΠΎΠΌΠ°ΠΊΠ° Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ΅. Π Π°Π·ΠΌΠ°ΡΡΠ°ΡΠ΅ ΠΠ°Π»ΡΠ΅ΡΠ° ΠΠ΅ΡΠ°ΠΌΠΈΠ½Π° (Walter
Benjamin) ΠΎ ΠΏΡΠΈΠΏΠΎΠ²Π΅Π΄Π°ΡΡ ΠΊΠ°ΠΎ Π½Π°ΡΠ°ΡΠΎΡΡ ΠΏΠ°ΠΌΡΠ΅ΡΠ° ΠΈ ΠΈΡΡΠΎΡΠΈΡΠ΅ ΡΠΎΠΊΠ²ΠΈΡΡΡΠ΅ ΡΡΡΠ΄ΠΈΡΡ
ΡΠ»ΡΡΠ°ΡΠ° ΠΎ ΠΠ°Π»ΡΠΈΡΠΊΠΎΡ ΡΠΈΠ»Ρ
Π°ΡΠΌΠΎΠ½ΠΈΡΠΈ ΠΌΠ»Π°Π΄ΠΈΡ
, ΠΊΠ°ΠΎ ΠΈ ΠΎ ΠΊΠ°ΠΏΠ°ΡΠΈΡΠ΅ΡΡ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΈΠ·Π²ΠΎΡΠ΅ΡΠ°
Π·Π° ΠΏΡΠΎΠΌΠΎΠ²ΠΈΡΠ°ΡΠ΅ ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΈΡ
ΠΈΠ΄Π΅ΠΎΠ»ΠΎΠ³ΠΈΡΠ°, Ρ ΠΎΠ²ΠΎΠΌ ΡΠ»ΡΡΠ°ΡΡ Π½Π°ΡΠΎΡΠΈΡΠΎ ΠΈΡΡΠ°ΠΊΠ½ΡΡΠΈΡ
Π΅Π²ΡΠΎΠΏΡΠΊΠΈΡ
ΠΈΠ½ΡΠ΅Π³ΡΠ°ΡΠΈΡΠ°.
ΠΠΈΡΠ΅ΡΠ΅ ΠΈΠ΄Π΅ΠΎΠ»ΠΎΠ³ΠΈΡΠ° ΠΊΠ°ΠΎ ΠΏΡΠΈΡΠ° ΠΎΠ΄Π³ΠΎΠ²Π°ΡΠ° Π°Π½ΡΡΠΎΠΏΠΎΠ»ΠΎΡΠΊΠΎΠΌ ΠΏΠΎΠΈΠΌΠ°ΡΡ ΠΏΡΠΈΡΠ°
ΠΊΠΎΡΠ΅ ΠΌΠΎΠ³Ρ ΡΡΠ²Π°ΡΠ°ΡΠΈ Π΄ΡΡΡΡΠ²Π΅Π½Π΅ ΡΠΈΡΡΠ΅ΠΌΠ΅, ΠΎΠ±Π»ΠΈΠΊΠΎΠ²Π°ΡΠΈ Π΄ΡΡΡΡΠ²Π΅Π½Π΅ ΠΏΡΠΎΠΌΠ΅Π½Π΅ ΠΈ Π½Π°Π³Π»Π°ΡΠ°Π²Π°ΡΠΈ
ΠΎΠ΄Π½ΠΎΡΠ΅ ΠΌΠΎΡΠΈ. Π‘Ρ
Π²Π°ΡΠ°ΡΠ΅ ΠΎΡΠΊΠ΅ΡΡΠ°ΡΡΠΊΠ΅ ΠΏΡΠ°ΠΊΡΠ΅ ΠΊΠ°ΠΎ Π½Π°ΡΠΈΠ½Π° ΠΌΠΈΡΡΠ΅ΡΠ°
ΠΎ Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΠΌ ΠΏΡΠΎΡΠ΅ΡΠΈΠΌΠ° ΠΏΡΠΈΠΏΠΎΠ²Π΅Π΄Π°ΡΠ° Π·Π½Π°ΡΠ°ΡΠ½ΠΎ ΡΠ΅ Π·Π°ΡΠΎ ΡΡΠΎ ΡΠ΅ Π΄ΠΈΡΠΊΡΡΡΠΈ ΠΎ
ΠΎΡΠΊΠ΅ΡΡΡΠΈΠΌΠ° ΡΠ΅ΡΡΠΎ ΠΏΡΠ΅ΡΡΠΌΠ΅ΡΠ°Π²Π°ΡΡ ΠΎΠ΄ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠ° ΠΈΠ·Π²ΠΎΡΠ΅ΡΠ° Π΄ΠΎ ΠΏΠΎΠ»ΠΈΡΠΈΠΊΠ΅, ΡΠ°ΠΊ Π΄ΠΎ
ΡΠ΅ ΠΌΠ΅ΡΠ΅ Π΄Π° ΠΎΠ΄Π½ΠΎΡΠΈ ΠΊΠΎΡΠΈ ΡΠ΅ Π²Π΅Π·ΡΡΡ Π·Π° ΠΎΡΠΊΠ΅ΡΡΠ°Ρ Π±ΠΈΠ²Π°ΡΡ ΠΊΠΎΠ½ΡΠ΅ΠΏΡΡΠ°Π»ΠΈΠ·ΠΎΠ²Π°Π½ΠΈ ΠΏΠΎΠΏΡΡ
ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΈΡ
ΠΎΠ΄Π½ΠΎΡΠ°.
Π‘ΡΡΠ΄ΠΈΡΠ° ΡΠ»ΡΡΠ°ΡΠ° ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡΠ°Π»ΠΈΠ·ΠΎΠ²Π°Π½Π° ΡΠ΅ Ρ ΠΎΠ΄Π½ΠΎΡΡ Π½Π° ΠΎΡΠΊΠ΅ΡΡΡΠ΅ ΠΌΠ»Π°Π΄ΠΈΡ
ΡΠΎΠΏΡΡΠ΅. ΠΡΠΊΠ΅ΡΡΡΠΈ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ°ΡΡ ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ΅ Π²ΠΈΡΠΎΠΊΠ΅ Π²ΡΠ΅Π΄Π½ΠΎΡΡΠΈ, ΡΠ°
Π΄ΠΎΠΌΠΈΠ½Π°Π½ΡΠ½ΠΈΠΌ ΡΠΈΡΡΠ΅ΠΌΠΎΠΌ ΠΏΡΠ΅Π½ΠΎΡΠ΅ΡΠ° Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ ΠΎΠ±ΡΠ°Π·ΠΎΠ²Π°ΡΠ°. ΠΡΠΊΠ΅ΡΡΡΠΈ
ΠΌΠ»Π°Π΄ΠΈΡ
ΠΈΡΠΏΡΠ²Π° ΡΡ ΠΎΡΠ½ΠΈΠ²Π°Π½ΠΈ Ρ Π‘ΡΠ΅Π΄ΠΈΡΠ΅Π½ΠΈΠΌ ΠΠΌΠ΅ΡΠΈΡΠΊΠΈΠΌ ΠΡΠΆΠ°Π²Π°ΠΌΠ° ΠΈ ΠΠ²ΡΠΎΠΏΠΈ
ΠΏΠΎΡΠ΅ΡΠΊΠΎΠΌ XX Π²Π΅ΠΊΠ°, ΡΠ΅ ΡΡ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°Π½ΠΈ Ρ ΠΏΠΎΠ³Π»Π΅Π΄Ρ ΠΏΡΠΎΡΠ΅ΡΠ° Π°ΡΠ΄ΠΈΡΠΈΡΠ°, ΠΈΠ·Π±ΠΎΡΠ°
ΡΠ΅ΠΏΠ΅ΡΡΠΎΠ°ΡΠ°, ΡΠΈΠ½Π°Π½ΡΠΈΡΠ°ΡΠ° ΠΈ Π°Π΄ΠΌΠΈΠ½ΠΈΡΡΡΠ°ΡΠΈΠ²Π½ΠΈΡ
ΡΡΡΡΠΊΡΡΡΠ°. ΠΠΌΠ°ΡΡΡΠΈ Ρ Π²ΠΈΠ΄Ρ
ΠΊΡΠ°ΡΠΊΡ ΠΈΡΡΠΎΡΠΈΡΡ ΠΎΡΠΊΠ΅ΡΡΠ°ΡΠ° ΠΌΠ»Π°Π΄ΠΈΡ
ΠΊΠ°ΠΎ ΠΈΠ½ΡΡΠΈΡΡΡΠΈΡΠ°, Π·Π½Π°ΡΠ°ΡΠ½ΠΎ ΡΠ΅ Π½Π°Π²Π΅ΡΡΠΈ Π΄Π°
ΡΡ ΠΎΠ½ΠΈ Π·Π°ΡΠ·ΠΈΠΌΠ°Π»ΠΈ ΡΠ²Π΅ Π·Π½Π°ΡΠ°ΡΠ½ΠΈΡΡ ΡΠ»ΠΎΠ³Ρ Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΈΡ
ΠΈ Π΅ΠΊΠΎΠ½ΠΎΠΌΡΠΊΠΈΡ
ΠΏΡΠΎΡΠ΅ΠΊΠ°ΡΠ° ΡΠΈΡΠΎΠΌ ΡΠ²Π΅ΡΠ°. ΠΠ²Π° ΡΡΡΠ΄ΠΈΡΠ° ΡΠΊΠ°Π·ΡΡΠ΅ Π½Π° ΡΠΎ ΠΊΠ°ΠΊΠΎ ΡΡ ΠΎΡΠΊΠ΅ΡΡΡΠΈ ΡΠΊΡΡΡΠ΅Π½ΠΈ
Ρ ΠΏΠΎΠ½ΠΎΠ²Π½Π° ΠΏΠΎΡΠΌΠ°ΡΡΠ°ΡΠ° ΠΏΡΠΎΡΠ»ΠΎΡΡΠΈ, ΠΈ Π½Π°ΡΠΈΠ½Π΅ Π½Π° ΠΊΠΎΡΠ΅ ΡΡ ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠ΅ ΠΈ ΠΊΡΠ»ΡΡΡΠ½Π΅
Π³ΡΠ°Π½ΠΈΡΠ΅ ΡΠ΅ΠΎΡΠΊΠ΅ΡΡΡΠΈΡΠ°Π½Π΅ Ρ ΠΎΠΊΠ²ΠΈΡΠΈΠΌΠ° ΡΠ°Π·Π»ΠΈΡΠΈΡΠΈΡ
ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π° Π½Π°ΡΠΈΠΎΠ½Π°Π»Π½ΠΎΠ³,
ΠΎΠ±Π»ΠΈΠΊΡΡΡΡΠΈ ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠ΅ Π²ΠΈΠ·ΠΈΡΠ΅ Π΅Π²ΡΠΎΠΏΡΠΊΠΈΡ
ΠΈΠ½ΡΠ΅Π³ΡΠ°ΡΠΈΡΠ°. ΠΠ½ΠΎΡΡΠ²ΠΎ ΠΏΡΠ΅ΡΡ
ΠΎΠ΄Π½ΠΎ ΡΠ°ΠΎΠΏΡΡΠ΅Π½ΠΈΡ
, ΡΠ°Π·Π»ΠΈΡΠΈΡΠΈΡ
ΠΏΡΠΈΡΡΡΠΏΠ° ΠΏΡΠΎΠΌΠΈΡΡΠ°ΡΡ ΠΠ°Π»ΡΠΈΡΠΊΠ΅ ΡΠΈΠ»Ρ
Π°ΡΠΌΠΎΠ½ΠΈΡΠ΅
ΠΌΠ»Π°Π΄ΠΈΡ
, Ρ Π΅ΡΠ½ΠΎΠ³ΡΠ°ΡΡΠΊΠΎΠΌ Π½Π°ΡΠ°ΡΠΈΠ²Ρ, ΠΈΡΡΠ°ΠΊΠ½ΡΡΠΈ ΡΡ Ρ Π·Π°ΠΊΡΡΡΠ½ΠΈΠΌ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠΈΠΌΠ°.
ΠΡΡΡΠ½ΠΎ ΠΌΠ΅ΡΡΠΎ ΠΎΠ²ΠΈΡ
Π·Π°ΠΊΡΡΡΠ°ΠΊΠ° ΠΏΠΎΠ΄ΡΠ°Π·ΡΠΌΠ΅Π²Π° Π΄Π° ΠΌΠΈΡΡΠ΅ΡΠ΅ ΠΎ ΠΌΡΠ·ΠΈΡΠΊΠΎΠΌ ΠΈΠ·Π²ΠΎΡΠ΅ΡΡ,
ΠΊΠ°ΠΎ ΠΏΡΠΈΠΏΠΎΠ²Π΅Π΄Π°ΡΡ, Π½Π°Π³Π»Π°ΡΠ°Π²Π° Π½Π°ΡΠ°ΡΠΈΠ²Π½Π΅, ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΠ²Π½Π΅ ΠΈ ΠΈΠ½ΡΠ΅ΡΡΡΠ±ΡΠ΅ΠΊΡΠΈΠ²Π½Π΅
ΡΠ»ΠΎΠ³Π΅ ΡΠ²ΠΈΡ
ΡΡΠ΅ΡΠ½ΠΈΠΊΠ°, ΡΠΊΡΡΡΡΡΡΡΠΈ ΡΠ°ΠΌΡ ΡΠ»ΠΎΠ³Ρ Π΅ΡΠ½ΠΎΠ³ΡΠ°ΡΠ°. ΠΠΈ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ°ΠΌΠΎ
ΠΏΡΠΈΠΏΠΎΠ²Π΅Π΄Π°ΡΠ΅ ΡΠ° ΡΠΎΠΏΡΡΠ²Π΅Π½ΠΈΠΌ ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΈΠΌ ΠΈΡΠΊΡΡΡΠ²ΠΈΠΌΠ° ΠΌΡΠ·ΠΈΡΠ°ΡΠ° ΠΈ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°,
ΠΈ ΠΊΠ°ΠΎ ΡΠ°ΠΊΠ²ΠΈ ΠΎΠ΄ΡΠ°ΠΆΠ°Π²Π°ΠΌΠΎ ΠΎΠΏΡΡΠ° ΠΊΡΠ΅ΡΠ°ΡΠ° Π½Π°ΡΠ΅Π³ Π²ΡΠ΅ΠΌΠ΅Π½Π°. ΠΠ»ΠΈ, ΠΊΠΎΡΡ ΠΏΡΠΈΡΡ Π±ΠΈΡΠΌΠΎ
ΠΈΡΠΏΡΠΈΡΠ°Π»ΠΈ ΠΈΡΡΡΠ°ΠΆΡΡΡΡΠΈ ΠΌΡΠ·ΠΈΡΠΊΠΎ ΠΈΠ·Π²ΠΎΡΠ΅ΡΠ΅, ΠΈ ΠΊΠΎΡΠ΅ ΠΏΡΠΈΡΠ΅ ΠΌΡΠ·ΠΈΡΠΊΠ° ΠΈΠ·Π²ΠΎΡΠ΅ΡΠ°
ΠΏΡΠ΅Π½ΠΎΡΠ΅?My research on orchestras has been funded by the AHRC and undertaken within
the AHRC Centre for Musical Performance as Creative Practice. My case-study was
presented as part of a keynote lecture at the international conference on Baltic Musics
and Musicologies in collaboration with the Sounds New Music Festival in May 2011.
I am grateful to the conference chair, Eva Mantzourani for the invitation. I am also
grateful for opportunities to present versions of this paper at the European Seminar
in Ethnomusicology 2012, chaired by Ana Hofman, and at a seminar on Borders,
Mobilities and Cultural Encounters at the University of Eastern Finland (2014) at the
invitation of Jopi Nyman
Music and Northern Forest Cultures
This article argues that it is critical to recognize the importance of northern forests in Finno-Ugric musical contexts (Finnish and Karelian) by focusing on the question of cultural survival, which is connected with thinking about global challenges, including climate change and environmental pressure. The discussion highlights cultural survival by outlining the significance of the forest, the politics of language transmission with reference to the Kalevala (the Finnish national epic), Sibeliusβs nature-based aesthetic (especially in Tapiola, 1926), and the evocation of the forest in contemporary folk and popular music. Overall, the main aims are to consider the resilience of northern forest cultures in the nexus of music, language, and ecology, and to emphasize that resilience cannot be taken for granted under environmental pressure.
This article argues that it is critical to recognize the importance of northern forests in Finno-Ugric musical contexts (Finnish and Karelian) by focusing on the question of cultural survival, which is connected with thinking about global challenges, including climate change and environmental pressure. The discussion highlights cultural survival by outlining the significance of the forest, the politics of language transmission with reference to the Kalevala (the Finnish national epic), Sibeliusβs nature-based aesthetic (especially in Tapiola, 1926), and the evocation of the forest in contemporary folk and popular music. Overall, the main aims are to consider the resilience of northern forest cultures in the nexus of music, language, and ecology, and to emphasize that resilience cannot be taken for granted under environmental pressure.
 
A Mysterious Island in the Digital Age: Technology and Musical Life in Ulleungdo, South Korea
This paper contributes to the growing body of ethnomusicological research about music-making on small islands, focusing on the remote South Korean island of Ulleungdo (literally, βMysterious Islandβ). Historically, a number of factors have conspired to present serious obstacles to the Ulleungdo islanders' musical aspirations. However, since the early 1990s, enterprising amateurs have managed to generate and maintain a variety of musical activities in spite of these obstacles: church ensembles, karaoke, saxophone clubs, and more. Paralleling other island music studies, this paper seeks to show how the condition of being an Ulleungdo islanderβentailing a complex of varied experiences, values, and relationshipsβhas informed music-making over the years. However, here, the discussion remains firmly focused upon the islanders' use of technology since an acute reliance on technology has come to permeate Ulleungdo's musical life, with certain electronic devices commonly regarded as essential facilitators of musical expression. Drawing from the islanders' own testimonies, studies of Ulleungdo's cultural history, and works addressing technology's applications within and effects upon local communities, the authors explore how and why this condition of musical techno-reliance developed, how it is manifest in the present-day, and its broader implications for the island's music culture and identity