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(Re-)Translating Unity and Reconciliation in Post-Genocide Rwanda
Gregory Barz Music and (re-)translating unity and reconciliation in post-genocide Rwanda First submission: 25 January 2012 Acceptance: 12 November 2012 This article focuses on the ability of a historically important musical instrument in the East African country of Rwanda, the inanga, to contribute to the (re-)translation of issues related to unity and reconciliation efforts after the genocide of 1994. By concentrating on the transmission of tradition from Kirusu Thomas to Sophie Nzayisenga, from father to daughter, I underscore the significant changes in cultural contexts for historical and contemporary inanga performance while also positioning the instrument within the dominant cultural metaphors of ‘blockage’ and ‘flow’. Throughout the article, I draw on inanga song texts to demonstrate the role of the inanga as cultural translator. Musiek en die (her-)vertaling van eenheid en versoening in post-menseslagting Rwanda Hierdie artikel fokus op die potensiaal van ’n geskiedkundig belangrike musiekinstrument in die Oos-Afrikaland van Rwanda, die inanga, om by te dra tot die (her-)vertaling van vraagstukke wat verband hou met pogings tot eenheid en versoening na die menseslagting van 1994. Deur my konsentrasie op die oordrag van tradisie van Kirusu Thomas na Sophie Nzayisenga, van pa na dogter, beklemtoon ek die betekenisvolle veranderinge in kulturele kontekste vir historiese en hedendaagse inanga-uitvoering, terwyl ek terselfdertyd die instrument binne die heersende kultuurmetafore van ‘blokkasie’ en ‘vloei’ posisioneer. In die artikel -
Exploring the Symbiosis of Western and Non-Western Music: a Study
7/11/13 17:44 To Ti Ta Thijmen, mini Mauro, and an amazing Anna Promotoren Prof. dr. Marc Leman Vakgroep Kunst-, Muziek- en Theaterwetenschappen Lucien Posman Vakgroep Muziekcreatie, School of Arts, Hogeschool Gent Decaan Prof. dr. Marc Boone Rector Prof. dr. Anne De Paepe Leescommissie Dr. Micheline Lesaffre Prof. Dr. Francis Maes Dr. Godfried-Willem Raes Peter Vermeersch Dr. Frans Wiering Aanvullende examencommissie Prof. Dr. Jean Bourgeois (voorzitter) Prof. Dr. Maximiliaan Martens Prof. Dr. Dirk Moelants Prof. Dr. Katharina Pewny Prof. Dr. Linda Van Santvoort Kaftinformatie: Art work by Noel Cornelis, cover by Inge Ketelers ISBN: 978-94-6197-256-9 Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen, of enige andere manier, zonder voorafgaande toestemming van de uitgever. Olmo Cornelis has been affiliated as an artistic researcher to the Royal Conservatory, School of Arts Ghent since February 2008. His research project was funded by the Research Fund University College Ghent. Faculteit Letteren & Wijsbegeerte Olmo Cornelis Exploring the symbiosis of Western and non-Western music a study based on computational ethnomusicology and contemporary music composition Part I Proefschrift voorgelegd tot het behalen van de graad van Doctor in de kunsten: muziek 2013 Dankwoord Een dankwoord lokt menig oog, en dient een erg persoonlijke rol. Daarom schrijf ik dit deel liever in het Nederlands. Een onderzoek dat je gedurende zes jaar voert, is geen individueel verhaal. Het komt slechts tot stand door de hulp, adviezen en meningen van velen. -
Qt4ps201qm.Pdf
UC Irvine ArtsBridge America Title Mapping the Beat: A History and Geography through Music Curriculum at the University of California San Diego, ArtsBridge America Program - Ancient Civilizations for 6th Grade Permalink https://escholarship.org/uc/item/4ps201qm Authors Scholl, Jennifer, Coordinator Baker, James Boyer, William et al. Publication Date 2002 Supplemental Material https://escholarship.org/uc/item/4ps201qm#supplemental eScholarship.org Powered by the California Digital Library University of California Mapping the Beat A history and geography through music curriculum For Sixth Grade Ancient Civilizations Teacher’s Guide This curriculum was developed by UCSD ArtsBridge America and sponsored by The National Geographic Society Education Foundation. 1 Table of Contents Introduction .......................................................................................... 3 Lesson #1 Overview.................................................................................. 5 Lesson #2 Egypt I .................................................................................. 13 Lesson #3 Egypt II ................................................................................. 29 Lesson #4 Egypt III ................................................................................ 38 Lesson #5 India I .................................................................................. 45 Lesson #6 Greece I ................................................................................. 53 2 Introduction With the current state of restrictive -
H ^ 9&L. It Is Perhaps Strange That One of Africa's Most Important Small
H ^ 9&l . It is perhaps strange that one of Africa’s most important small musical instruments should suffer from an incorrect naming at the hands of many ethnomusicologists and museum keepers, those who should be most concerned to give it its rightful name and place in the catalogue of this continent’s instruments. The instrument is popularly known under several rather nebulous names such as •Kaffir Piano’, ‘Hand Piano’, ‘Thumb Piano’ and ‘Pianino’, by those whose major criterion is the modern pianoforte; and ‘Sansa’ by students who have taken their cue onquestioningly from the printed pages of earlier writers. It is doubly strange that students who “would otherwise shrink from misnomers should continue to use the npifllj term ‘sansa’ whin by all accounts no indigenous African musician uses this name for iHiiiSfc. his instrument (unless he has learnt it from the same literary sources). The origin of this error appears to be with David Livingstone. In his book “ Expedition to the Zambezi, 1858-64” (John Murray, London, p. 13) David Livingstone states that he used both his own journal and observations from that of his brother, Charles Livingstone, when compiling his narrative for publication “for, die sake of the freshness which usually attaches to first impressions.” Then he adds, “And doubtless many will prefer to draw their own conclusions from them rather than to be schooled by us.” It is this liberty which I now propose to take. I have failed to find any reference in David Livingstone’s own diaries which would icate that the statement made about this instrument in his book was, in fact, his own observation. -
Music History Lecture Notes Antiquity & Mythology 18,000 BC – 146 BC
Music History Lecture Notes Antiquity & Mythology 18,000 BC – 146 BC This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, The Earliest Music The Prehistory of Music • Considered to be a part of humanity • We don’t know when structured music began – but we have evidence that it existed 1000s of years ago • Most early cultures referred to music in their earliest writings The Prehistory of Music Note Taking Tips! You don’t have to write every single word. Use abbreviations for commonly used words • Considered to be a part of humanity • We don’t know when structured music began – but we have evidence that it existed 1000s of years ago • Most early cultures refer red to music in their earliest writings Origins of Music in Antiquity • by accident or divinely inspired • pan-cultural (across many cultures) • associated with supernatural, religion, medicine, fertility • Possibly as early as 18,000 BC • 3000 BC music notation in Hebrew scrolls • Understandable notation from Hurians in 1400 BC Ancient Egyptian Music • Proof of music during the Pharonic periods – Probably was around much earlier • Professional Musicians held many posts – Temple, palace, battlefield gods of music designate importance – Associated with music, dance, & fertility -
Jeremy Montagu Some Mss. in the British Library with Instruments Page 1 of 2
Jeremy Montagu Some Mss. In the British Library with Instruments Page 1 of 2 Some Manuscripts in the British Library with Illustrations of Musical Instruments and a few other sources that I have found FoMRHIQ 2, January 1976,Comm. 8 Arundel 83. Conflation of two English Psalters, East Anglia, c.1310. The second half is known as the de Lisle Psalter. Good source. Includes: long trumpets, harps, citole, bagpipe, bells, fiddle, portative, psaltery, duct flute, pipe & tabor. Cotton, Tib.C.vi. Psalter, mid 11th c. f.30 is well-known; the rest is the usual Boethius improbabilities of the period. Egerton 1139. Queen Melissander’s Psalter, Latin Kingdom of Jerusalem, c.1140. The only instrument is a good harp, available asa postcard. The ivory cover is well known: King David playing what might be a dulcimer. Harley 2804. German Bible, 1148. f.3 has a not very good David and musicians. Harley 4425. La Roman de la Rose, pre-1500. 2 folios with music parties. Royal 2.A.xvi. Psalter time of Henry VIII, with annotations by him. Harp, pipe& tabor, short trumpet, dulcimer. Interesting that Henry is one of the musicians (and his fool shuts his ears to avoid his playing). Royal 2.A.xxii. The Westminster Psalter, late 12th c. David with harp and bells (postcard available), another harp. Interesting in that Westminster Abbey has a very similar hemi- spherical bell in the Undercroft exhibition room. Royal 2.B.vii. The Queen Mary Psalter, English early 14th c. well known source with a lot of material, but none quite as good and clear as in other East Anglian psalters (e.g. -
Super Science
SUPER SCIENCE RATIONALE FOR ADVENTURE In this adventure, Bear Scouts will get a little messy but gain a lot of knowledge! Science is an everyday wonder that Scouts can learn more about by simply using ordinary household supplies. Their actions will create amazing reactions in fun investigations exploring static electricity, oil and water, sinking versus !oating, and color morphing and layering. TAKEAWAYS FOR CUB SCOUTS • Following directions • Introduction to the scienti"c method • Learning the scienti"c law of action and reaction • Finding new ways to be creative Bear Handbook, page 268 ADVENTURE REQUIREMENTS Complete at least four of the following: 1. Make static electricity by rubbing a balloon or a plastic or rubber comb against another material, such as a !eece blanket or wool sweater. Explain what you learned. 2. Conduct one other static electricity investigation. Explain what you learned. 3. Do a sink-or-!oat investigation. Explain what you learned. 4. Do a color-morphing investigation. Explain what you learned. 5. Do a color-layering investigation. Explain what you learned. NOTES TO DEN LEADER This adventure has several choices based on which activities you choose to do with your den. These den meeting plans, when followed as written, meet the requirements to earn this adventure. If you choose to make adjustments, be sure you complete at least the minimum requirements. Encourage the members of your den throughout this adventure to explore the “why” questions in each experiment: Why does static electricity happen? Why do colors separate? Why did our prediction come true? Why did it not come true? Meeting 3 will be a den outing to a science lab, science museum, or school to learn more about static electricity as well as density and buoyancy. -
The Impact of English on Kirundi and French in Burundi: Use and Attitudes Among Burundian Students
MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF TLEMCEN FACULTY OF LETTERS AND LANGUAGES DEPARTMENT OF ENGLISH THE IMPACT OF ENGLISH ON KIRUNDI AND FRENCH IN BURUNDI: USE AND ATTITUDES AMONG BURUNDIAN STUDENTS Dissertation submitted to the Department of English in partial fulfilment of the requirements for the degree of Master in Language Studies Presented by Supervised by Miss Sage-Jasmine IRAKOZE Pr. Zoubir DENDANE Board of Examiners President: Dr. Mohamed Nassim NEGADI Supervisor: Pr. Zoubir DENDANE Examiner: Mr. Rafik DJENNANE Academic Year: 2014/2015 DEDICATION To my beloved family To my relatives To my friends I ACKNOWLEDGEMENTS My sincerest acknowledgements go first to my project advisor, Pr. Zoubir DENDANE, for his invaluable assistance, guidance and encouragement throughout this research. I am also indebted to my reliable friends Miss Eliane NDAYUHIRIJE and Miss. Inès IRAKOZE who accepted, unconditionally, to be my eye on the ground to provide me with data without complaints. I am equally grateful to my informants who devoted their valuable time to answer my questions. My thanks are also addressed to all people, namely teachers, friends and classmates whose support, prayers, ideas and pieces of advice were of great help to my research work. i ABSTRACT Multilingualism does not necessarily bring to language shift, but the problem usually evolves from the power relationship existing between languages in contact. Considering today’s power of the English language vis-à-vis other languages, the current work attempts to assess Burundians’ use of this language and their attitudes towards this world language in Burundi with the aim of identifying the influence it exerts over French and Kirundi. -
African and African-American Contributions to World Music
Portland Public Schools Geocultural Baseline Essay Series African and African-American Contributions to World Music by John Charshee Lawrence-McIntyre, Ph.D. Reviewed by Hunter Havelin Adams, III Edited by Carolyn M. Leonard Biographical Sketch of the Author Charshee Lawrence-Mcintyre is Associate Professor of Humanities at the State University of New York at Old Westbury in the English Language Studies Program. PPS Geocultural Baseline Essay Series AUTHOR: Lawrence-McIntyre SUBJECT: Music CONTENTS Content Page BIOGRAPHICAL SKETCH OF THE AUTHOR.............................................................................................. I CONTENTS ..........................................................................................................................................................II INTRODUCTION .................................................................................................................................................1 CLASSICAL AFRICA'S INFLUENCE ON OTHER CIVILIZATIONS ........................................................4 ANCIENT EGYPTIAN INSTRUMENTS .....................................................................................................................4 ANCIENT EGYPTIAN MUSIC AND FORMS .............................................................................................................8 MIGRATION AND EVOLUTION OF MUSIC THROUGHOUT CONTINENTAL AFRICA ...................12 TRADITIONAL INSTRUMENTS .............................................................................................................................14 -
Ismir2006.Ismir.Net
Problems and Opportunities of Applying Data- & Audio-Mining Techniques to Ethnic Music Dirk Moelants, Olmo Cornelis, Jos Gansemans Rita De Caluwe, Guy De Tré, Marc Leman Dept. of Cultural Anthropology, Royal Tom Matthé, Axel Hallez IPEM-Dept. of Musicology, Ghent Museum of Central-Africa TELIN, Ghent University University Leuvensesteenweg 13 Sint-Pietersnieuwstraat 41 Blandijnberg 2 B-3080 Tervuren B-9000 Ghent, Belgium B-9000 Ghent, Belgium [email protected] [email protected] [email protected] Abstract a fixed tuning does not exist and relative pitch (higher- Current research in music information retrieval focuses on lower) is more important than absolute pitch. Western music. In music from other cultures, both musical Another difficulty of integrating ethnic music in structures and thinking about music can be very different. digital music libraries lies in the construction of the meta- This creates problems for both the analysis of musical data. In the description of field recordings, some features and the construction of databases. On the other information that is ‘compulsory’ in the description of hand, a well-documented digitization offers interesting Western music is lacking, while information that seems opportunities for the study and spread of ‘endangered’ irrelevant in the description of Western music is very music. Here, some general problems regarding the digital important. Names of composers are usually not known, indexation of ethnic music are given, illustrated with a performers could be named, but some music is seen as method for describing pitch structure, comparing Western performed by ‘the community’ and the names of the standards with African music found in the digitization of participants are not considered very important. -
The Mycenaean Bard: the Evidence for Sound and Song*
THE MYCENAEAN BARD: THE EVIDENCE FOR SOUND AND SONG* In this paper, I concentrate on the Mycenaean bard’s concert lyre (here called phorminx), his singing, and aspects of his professionalism. Prolegomena Most of the Aegean Bronze Age (ca. 2200-200 BCE) has produced images of musicians and singers, as well as depictions and the extant fragments of the instruments themselves. Nonetheless, what we know about Aegean music is dependent on what the Aegean artists felt comfortable about portraying—for instance, there are no images of women playing a musical instrument, and fewer instruments are depicted than have been found.2 In the Early and Middle Bronze Ages harps were popular. Lyres and sistra make their first appearance early in the Middle Minoan period, and both continue into the Late Bronze Age (when both are associated with singing but not together). The earliest extant examples of sistra are in terracotta: a singleton from Archanes, Phournoi (MM IA context; Pl. I), and five from the Ayios Charalambos cave in East Crete (MM II). All six terracotta examples are similar: a short thick handle, and an oval frame which supports two thin, horizontal wooden sticks (restored) on which were strung terracotta disks. The sole extant bronze sistrum comes from a bronze hoard at Mochlos (LM I context); it consists of a bent loop of bronze inserted between two flanges at the top of the handle. Two horizontal bronze pins pierce the loop (with bent ends on the outside, like cotter pins); on these pins were strung metal disks. Not only would the disks make a rattling sound, but the pins would jangle in their sockets and their angled ends would strike the loop. -
The Sistrum and the Stick Rattles Sabayi and Sachi
THE SISTRUM AND THE STICK RATTLES SABAYI AND SACHI Long Fei [陇菲] Contact: [email protected] Abstract This paper gives a brief outline of inherited links between various instruments. In doing so, attention is given to their spread and transformation process from an ancient Egyptian sistrum to a different type of a stick rattle1, also known as xi-stick or xízhàng in Chinese. This instrument once existed during the middle ages. In the process of time however, its use was witnessed in the Uyghur’s’ sabayi, the sachi and further to the Vietnamese sinh tien and the Japanese suzu. These instruments can create a rapid succession of rattling and complex sounds, some of which simulating frogs croaking during tropical rainy seasons. Other sounds imitate the repeated thrum of rattlesnakes searching for a spouse. Depending on time and place, the former are linked with praying for rain and the latter with reproduction. Thus, the rattles this study discusses are, among others, used in prayers for fertility and rain, peace and safety, healing rituals (curing diseases), for longevity. Furthermore, these rattles are sounded to ward off evil spirits, exorcise plagues and to keep poisonous animals away. All these resemble the mythological connotation to the copulating of Fuxi and Nuwa. Hence, they belong to the specific worldviews closely connected with the importance of reproduction in early times of humankind. They all involve fertility, death, reincarnation, eternal life, and the function of triggering trance, in which people seem to feel connected with heaven and earth, deities or ancestors. Keywords sistrum, stick rattle, sabayi, sachi, ritual use INTRODUCTION In this paper, I introduce some ideas regarding the stick rattle.