DOCSLIB.ORG

Cahiers D'ethnomusicologie, 14

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cahiers D'ethnomusicologie, 14 Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 14 | 2001 Le geste musical Édition électronique URL : http://journals.openedition.org/ethnomusicologie/70 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 1 décembre 2001 ISBN : 2-8257-07-61-9 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 14 | 2001, « Le geste musical » [En ligne], mis en ligne le 01 juin 2011, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/70 Ce document a été généré automatiquement le 6 mai 2019. Tous droits réservés 1 Seuls la musique des sphères, la harpe éolienne et quelques instruments électroniques récents se passent de l'homme pour être mis en vibration. C'est finalement au corps humain que revient le rôle d'agitateur, de stimulateur et d'organisateur de la matière sonore. Au plus intime du corps naît la voix. A l'origine cachée du chant, un mouvement intérieur se traduit en geste phonatoire. La danse n'est pas loin : les pieds, les mains, spontanément, répondent à ce surgissement dont l'oreille assure le relais. Comment naît le geste vocal ? Comment vient la danse ? Comment l'instrument accueille-t-il celui qui en joue, comment s'adapte-t-il à la physiologie humaine ? A quelles impulsions obéissent le souffle, la voix, les mains, les doigts ou les pieds lorsqu'ils se meuvent pour produire des sons, et quelle est la part des automatismes dans le geste "intérieur" - geste "antérieur" au son - qui conduit le jeu du musicien ? Telles sont, parmi d’autres, les questions qui se posent lorsqu’on pense aux mouvements de la musique dans l’homme, lorsqu’on réfléchit aux gestes de l’homme musicien. Cahiers d’ethnomusicologie, 14 | 2001 2 SOMMAIRE Dossier : le geste musical « Et la voix s’est faite chair… ». Naissance, essence, sens du geste vocal Claire Gillie-Guilbert Hand Made. Pour une anthropologie du geste musical Jean During Note sur le jeu du qin Georges Goormaghtigh Le danseur et le musicien, une connivence nécessaire Anca Giurchescu Vers une culture musicale du corps Lothaire Mabru « Jouer », « sonner », « toucher » Une taxinomie française historique et dualiste du geste musical Luc Charles-Dominique L’interaction homme-instrument. Vers une conceptualisation John Baily Le geste divinisé. Regards sur la transe ritualisée au Kumaon (Himalaya occidental) Franck Bernède Autour du geste musical andin Rosalía Martínez Geste individuel, mémoire collective. Le jeu du pan dans les steelbands de Trinidad & Tobago Aurélie Helmlinger Raison morphologique et langage musical : musiques de xylophone en Afrique centrale Sylvie Le Bomin Du fait gestuel à l’empreinte sonore Apollinaire Anakesa Kululuka Geste instrumental et transmission musicale Laurent Blum Entretien Aux sources de la recherche américaine. 1950-2000 Un demi-siècle d’ethnomusicologie avec Bruno Nettl Yves Defrance et Bruno Nettl Cahiers d’ethnomusicologie, 14 | 2001 3 Livres Lucie RAULT, Instruments de musique du monde Paris : La Martinière, 2000. 232 p., photographies noir-blanc et couleurs Laurent Aubert Artur SIMON, éd., Das Berliner Phonogramm-Archiv 1900-2000. Sammlungen der Traditionellen Musik der Welt Berlin : VWB – Verlag für Wissenschaft und Bildung, 2000. 264 p., photos, bibliographie, édition bilingue allemand- anglais. ISBN 3-86135-680-5 Susanne Fürniß L’Encyclopedie Garland des musiques du monde (suite), The Garland Encyclopedia of World Music New York and London: Garland Publishing, Inc. 10 vol., 1998-2004 Yves Defrance Jean-Michel BEAUDET, Souffles d’Amazonie les orchestres tule des Wayãpi Nanterre : Société d’Ethnologie, 1997. Collection « Hommes et Musiques » Jean-Pierre Estival Maya ROY, Musiques Cubaines Paris, Cité de la Musique/Arles, Actes Sud, collection « Musiques du Monde », 1998. 190 pages, illustrations et photographies en noir et blanc, bibliographie, discographie sélective, glossaire des termes vernaculaires et musicaux, un disque compact de 20 titres commentés (réédité en juin 2001) Patrik Vincent Dasen René LANGEL, Le jazz orphelin de l’Afrique Paris, Payot, 2001. 317 p., bibliographie, index. Denis-Constant Martin Sylvie LE BOMIN (éd.), Parcours musical en Afrique Paris, Société des Africanistes, 1999. Numéro thématique du Journal des Africanistes, tome 69, fascicule 2, 1999. – 190 p. Avec un CD encarté François Borel Lajos VARGYAS, Egy felvidéki falu zeneii világa - Áj, 1940 [The Musical World of a Hungarian Village – Aj, 1940] Budapest, Planétás, 1999. 1122 pages + transcriptions musicales, photos, plusieurs index ; accompagné d’un CD : Ájfalusi utca végig bazsarosa… Egy felvidéki falu dalai 1939-40-ben és 1999-ben [The Áj Street is all Peonies… Songs of a Hungarian village in 1939-40 and 1999]. Biem-Artisjus, FA-078-2 Bernard Lortat-Jacob Mireille HELFFER (a cura di), Musiche dal Tetto del mondo Torino, testo & immagine, 2000, XXVIII + 243 pages, bibliographie, discographie, lexique, illustrations. Giovanni Giuriati Sabine TREBINJAC, Le pouvoir en chantant Nanterre, Société d’ethnologie, 2000. 412 p., illustrations, bibliographies chinoise, ouïgoure et occidentale, index thématique Georges Goormaghtigh Lucie RAULT, Musiques de la tradition chinoise Paris, Collection « Musiques du monde ». Paris, Cité de la musique / Arles, Actes Sud, 2000. 190 p., 33 illustrations, glossaire et dessins d’instruments, bibliographie, discographie, accompagné d’un CD Henri Lecomte Yoshihiko TOKUMARU, L’aspect mélodique de la musique de syamisen Collection Selaf, no 378. Paris, Peters, 2000. 166 p. Andreas Gutzwiller Cahiers d’ethnomusicologie, 14 | 2001 4 Daniele SESTILI, La voce degli dèi [la voix des dieux], Musica e religione nel rito giapponese del kagura Ricerche di Etnomusicologia. Bologna, Ut Orpheus edizioni, 2000. 160 p. Illustrations, transcriptions musicales, bibliographie, discographie, vidéographie, glossaire et index analytique Bernard Lortat-Jacob Mervyn MCLEAN, Weavers of song. Polynesian music and dance Auckland, Auckland University Press, 1999. X + 543 pages, cartes, transcriptions musicales, nombreuses illustrations (B&W), plusieurs appendices et un CD annoté. Relié Peter Crowe CD Trois disques d’Europe orientale (Roumanie, Transylvanie) Etienne Bours Guitarra flamenca. Parrilla de Jerez : « Nostalgia » Prise de son : Errol Maibach ; texte : Laurent Aubert. Enregistrements (juillet 1998) effectués à Genève par les Ateliers d’ethnomusicologie. 1 CD AIMP (Archives internationales de musique populaire) LIX / VDE-GALLO CD-985, 1999. Corinne Frayssinet Savy Tunisie : La mémoire des Juifs de Djerba. Yaacov Bchiri Luc Weissenberg Deux disques de musique gnawa Luc Weissenberg Archives 1910-1960 du MRAC / KMMA Archieven 1910-1960 (Africa Museum Tervuren) Textes en français et néerlandais de Jos Gansemans, Didier Demolin et Jean-Baptiste Nkulikiyinka. 1 CD Fonti Musicali fmd 220, 2000 François Borel Cahiers d’ethnomusicologie, 14 | 2001 5 Madagascar, Accordéons et esprits ancestraux Enregistrements, texte et photographies : Ron Emoff. Traduction française : Isabelle Schulte-Tenckhoff. 10 plages (59'14''). CD AIMP LXV, VDE-Gallo CD-1065, 2001. Julien Mallet Thèses récentes Luc CHARLES-DOMINIQUE, Musiques de Dieu, Musiques du Diable. Anthropologie de l’esthétique musicale française, du Moyen Age à l’âge baroque Thèse de doctorat en Anthropologie sociale et historique de l’Europe, 535 p., 1 tabl., 77 ill. - Toulouse : Ecole des Hautes Etudes en Sciences Sociales (Centre d’Anthropologie, Toulouse), soutenue le 2 avril 2001. Directeur de thèse : Daniel Fabre Xavier VATIN, Étude comparative de différentes nations de candomblé à Bahia, Brésil. Thèse de doctorat en Anthropologie sociale et Ethnologie, 430 p., Paris : Ecole des Hautes Etudes en Sciences Sociales, soutenue le 22 mars 2001. Directeur de Thèse : Simha Arom Droit de réponse À propos du compte rendu des deux volumes de Chants populaires de la Grande Lande, de Félix Arnaudin Lothaire Mabru Cahiers d’ethnomusicologie, 14 | 2001 6 Dossier : le geste musical Cahiers d’ethnomusicologie, 14 | 2001 7 « Et la voix s’est faite chair… ». Naissance, essence, sens du geste vocal Claire Gillie-Guilbert 1 Instrument de musique enfoui dans des lieux du corps inaccessibles à l’œil nu, la voix jaillit des méandres du « corps biologique1 » pour s’insinuer en d’autres lieux intimes de l’auditeur. Qu’elle se fasse parole, cri, sanglot ou chant, elle engage les couples musiquants-musiqués2 dans un corps à corps ; le geste vocal est à la voix ce qu’est le geste amoureux à l’amour. Offrande lyrique, la voix se donne dans un geste qui peut faire dire à l’autre : « ton geste me touche ; ta voix est si touchante ! ». 2 Le langage regorge d’autres expressions populaires qui prouvent cette incarnation de la voix qui a besoin du geste, du mouvement du corps pour se propulser à la rencontre de l’autre dans un espace qu’elle cherche à occuper, à traverser : « poser, projeter sa voix, retenir, pousser, tenir un son, etc. ». Ne dit-on pas que l’on « joint le geste à la parole » pour souligner combien le corps ne peut demeurer étranger au geste vocal ? On va de même ponctuer son discours d’un geste précis, révélateur, comme si l’expression de ce geste dans l’espace était capable de laisser des traces visuelles de ces messages sonores qui n’ont fait que passer. 3 Sa corporéité n’est pas sans poser les problèmes de la jouissance provoquée par la voix, aussi bien chez celui qui l’émet que chez celui qui la reçoit. Elle éveille dans le corps des sensations assez fortes pour déclencher des polémiques dans les différentes religions
Load more

Recommended publications
  • Memories of the Origins of Ethnographic Film / Beate Engelbrecht (Ed.)
    Contents Preface Beate Engelbrecht IX Introduction 1 The Early Years of Visual Anthropology Paul Hockings 3 The Prehistory of Ethnographic Film Luc de Heusch 15 Precursors in the Documentary Film 23 Robert Flaherty as I Knew Him. R ichard L eacock 2 5 Richard Leacock and the Origins of Direct Cinema: Re-assessing the Idea of an 'Uncontrolled Cinema' Chris tof Decker 31 Grierson Versus Ethnographic Film Brian Winston 49 Research and Record-Making Approaches 57 Recording Social Interaction: Margaret Mead and Gregory Batcson's Contribution to Visual Anthropology in Ethnographic Context Gerald Sullivan 59 From Bushmen to Ju/'Hoansi: A Personal Reflection on the Early Films of John Marshall. Patsy Asch 71 Life By Myth: The Development of Ethnographic Filming in the Work of John Marshall John Bishop 87 Pulling Focus: Timothy Asch Between Filmmaking and Pedagogy Sarah Elder 95 VI Contents Observational and Participatory Approaches 121 Colin Young, Ethnographic Film and the Film Culture of the 1960s David MacDougall 1 23 Colin Young and Running Around With a Camera Judith MacDougall 133 The Origins of Observational Cinema: Conversations with Colin Young Paul Henley 139 Looking for an Indigenous View 163 The Worth/Adair Navajo Experiment - Unanticipated Results and Reactions Richard Chalfen 165 The Legacy of John Collier, Jr. Peter Biella 111 George Stoney: The Johnny Appelseed of Documentary Dorothy Todd Henaut 189 The American Way 205 "Let Me Tell You A Story": Edmund Carpenter as Forerunner in the Anthropology of Visual Media Harald Prins and John Bishop 207 Asen Balikci Films Nanook Paul Hockings 247 Robert Gardner: The Early Years Karl G.
    [Show full text]
  • John Marshall and the Marshall Family Kalahari Project
    Beyond Ethnographic Film: John Marshall and the Marshall Family Kalahari Project Carolyn Anderson Professor Emerita, University of Massachusetts American filmmaker John Marshall was a major figure in ethnographic film throughout the second half of the twentieth century; his influence continues into the twentieth-first. Marshall’s career trajectory anticipated and paralleled major shifts in documentary and ethnographic film and challenged notions of the links between the observer and the observed. The mythic narrative style he embraced at the beginning of his career in the early 1950s was soon abandoned for the observational clarity of direct cinema. Recording social interactions in Africa and the United States, Marshall pioneered short “sequence films” in the 1960s, concentrating on long takes, without directorial or editorial modifications. Provoked by the crisis in representation that enveloped anthropology and ethnographic filmmaking, beginning in the late 1970s, his films took a reflexive turn in which the interventions and effects of filming were made explicit. Throughout the last decades of his life, Marshall concentrated on forms of participatory cinema, focusing on collaborative productions driven by the economic and political needs of his subjects. Marshall’s determination to grow as a filmmaker and a world citizen shaped his impact on ethnographic film. When asked the ubiquitous questions of how his filmmaking career began, John Marshall responded, “Well, I started by default” and then told a story that he loved to tell about his father and the family expeditions to Africa.1 It is a remarkable story of the beginnings of what became a remarkable career. John’s father, Laurence Kennedy Marshall, and his mother, Lorna McLean Marshall, both had an interest in anthropology, although neither was a trained anthropologist.
    [Show full text]
  • Liste Représentative Du Patrimoine Culturel Immatériel De L'humanité
    Liste représentative du patrimoine culturel immatériel de l’humanité Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Al-Ayyala, un art traditionnel du Oman - Émirats spectacle dans le Sultanat d’Oman et 2014 2014 01012 arabes unis aux Émirats arabes unis Al-Zajal, poésie déclamée ou chantée Liban 2014 2014 01000 L’art et le symbolisme traditionnels du kelaghayi, fabrication et port de foulards Azerbaïdjan 2014 2014 00669 en soie pour les femmes L’art traditionnel kazakh du dombra kuï Kazakhstan 2014 2014 00011 L’askiya, l’art de la plaisanterie Ouzbékistan 2014 2014 00011 Le baile chino Chili 2014 2014 00988 Bosnie- La broderie de Zmijanje 2014 2014 00990 Herzégovine Le cante alentejano, chant polyphonique Portugal 2014 2014 01007 de l’Alentejo (sud du Portugal) Le cercle de capoeira Brésil 2014 2014 00892 Le chant traditionnel Arirang dans la République 2014 2014 00914 République populaire démocratique de populaire Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Corée démocratique de Corée Les chants populaires ví et giặm de Viet Nam 2014 2014 01008 Nghệ Tĩnh Connaissances et savoir-faire traditionnels liés à la fabrication des Kazakhstan - 2014 2014 00998 yourtes kirghizes et kazakhes (habitat Kirghizistan nomade des peuples turciques) La danse rituelle au tambour royal Burundi 2014 2014 00989 Ebru, l’art turc du papier marbré Turquie 2014 2014 00644 La fabrication artisanale traditionnelle d’ustensiles en laiton et en
    [Show full text]
  • Haitian Migration and Danced Identity in Eastern Cuba
    Haitian Migration and Danced Identity in Eastern Cuba The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Viddal, Grete. 2010. Haitian migration and danced identity in eastern Cuba. In Making Caribbean Dance: Continuity and Creativity in Island Cultures, ed. Susanna Sloat, 83-94. Gainesville, FL: University Press of Florida. Published Version doi:10.5744/florida/9780813034676.003.0007 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:10384888 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 7 Haitian Migration and Danced Identity in Eastern Cuba Grete Viddal I arrive at Santiago de Cuba’s Teatro Oriente to see a small crowd of locals and tourists waiting outside. We are here to see Ballet Folklórico Cutumba, one of eastern Cuba’s premier folkloric dance troupes. Although the theater is run down and no longer has electricity or running water, its former el- egance is apparent. As we enter, we see that lush but tattered velvet drapes flank the stage and ornate architectural details adorn the walls underneath faded and peeling paint. Light filters in through high windows. As the per- formance starts, women in elaborate ball gowns enter this dusty stage. They must hold up their voluminous skirts to keep yards of fabric from drag- ging on the floor. Men sport white topcoats with tails and matching white cravats.
    [Show full text]
  • An Overview of Russia's Late Mediaeval Musical
    Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 183–197 ISSN 2342-1258 https://journal.fi/jisocm An Overview of Russia’s Late Mediaeval Musical Culture, and the “New Repertoires”: Demestvenny, Put and Strochnóe Singing and Notations Nikita Simmons [email protected] Part I. Znamenny Chant and Stolp Notation1 In the primary tradition of Znamenny singing, almost all chant books of the Russian liturgical tradition used Stolp (Znamenny) notation. The Slavonic word stolp (pillar) describes the eight-week cycle of the Octoechos, while the Slavonic term znamya means “mark”, “note”, or “neume”. Slavic Stolp notation (along with early chant repertoire) has been in use since the tenth century (having been derived from Coislin B Palaeobyzantine notation), and in its latest stage of development it is still used by Russian Old Ritualists up to the present time. Beyond the basic level of neume-by-neume notation, Stolp chanting includes three methods of presenting complex melodic features: popévki, litsá and fíty, each of which were traditionally memorized by singers. (Popévki, also called kokízy2, are established sequences of neumes which are the essential “building blocks” of Znamenny chants, while litsa and fity are more lengthy and complex melodic patterns.) These contextual groups of symbols are usually referred to as “múdrye stróki” (“wise lines” or short- hand), indicating the use of “tainozamknénnost” (“secret-closure” or encryption). Stolp chanting, like its Byzantine parent, is organized according to the system of eight Tones, and each Tone (Slavonic: glas) contains a repertoire of popevki, fity and 1 Among the ranks of musicologists who have contributed significantly to the recovery of Russia’s late medieval musical traditions, we are most indebted to М.В.
    [Show full text]
  • From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
    From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation.
    [Show full text]
  • Plainchant Tradition*
    Some Observations on the "Germanic" Plainchant Tradition* By Alexander Blachly Anyone examining the various notational systems according to which medieval scribes committed the plainchant repertory to written form must be impressed both by the obvious relatedness of the systems and by their differences. There are three main categories: the neumatic notations from the ninth, tenth, and eleventh centuries (written without a staff and incapable, therefore, of indicating precise pitches);1 the quadratic nota­ tion in use in Italy, Spain, France, and England-the "Romanic" lands­ from the twelfth century on (this is the "traditional" plainchant notation, written usually on a four-line staff and found also in most twentieth­ century printed books, e.g., Liber usualis, Antiphonale monasticum, Graduale Romanum); and the several types of Germanic notation that use a staff but retain many of the features of their neumatic ancestors. The second and third categories descended from the first. The staffless neumatic notations that transmit the Gregorian repertory in ninth-, tenth-, and eleventh-century sources, though unlike one another in some important respects, have long been recognized as transmitting the same corpus of melodies. Indeed, the high degree of concordance between manuscripts that are widely separated by time and place is one of the most remarkable aspects the plainchant tradition. As the oldest method of notating chant we know,2 neumatic notation compels detailed study; and the degree to which the neumatic manuscripts agree not only • I would like to thank Kenneth Levy, Alejandro Plan chart, and Norman Smith for reading this article prior to publication and for making useful suggestions for its improve­ ment.
    [Show full text]
  • Bulletin of the ICTM Vol
    BULLETIN of the INTERNATIONAL COUNCIL for TRADITIONAL MUSIC No. 125, April 2014 ISSN (Online): 2304-4039 Including second notice for the 43rd ICTM World Conference in Astana, Kazakhstan, 2015 CONTENTS From the Secretariat ICTM Study Group on Multipart Music; Calendar of Events Call for Papers: Symposium of the ICTM Message from the Secretary General. Im- Pages 37-38 Study Group on Music and Dance in portant UNESCO Intangible Cultural Heri- Oceania; Preliminary Programme: 4th tage News. Online Membership Directory Recent Publications by ICTM Symposium of the ICTM Study Group on relaunched. An interview with Joseph Han- Members Music and Dance in Southeastern Europe; son Kwabena Nketia. An interview with Call for Papers: 12th Symposium of the Ethnomusicology and Popular Studies; For Trần Văn Khê. ICTM Study Group on Iconography of the the Sake of a Song: Wangga Songmen and Pages 2-8 Performing Arts; News from the British Their Repertories; Music & Mind. 43rd ICTM World Conference in Forum for Ethnomusicology, ICTM UK Page 39 National Committee; Zimbabwean Society Astana, Kazakhstan for Music Research. Appendix: Recent publications by Second Notice and Call for Proposals. Pages 13-22 Cuban scholars Pages 9-12 Announcements — Related Organizations: Catálogo de Instrumentos Musicales: Tomo Call for Papers: 7th International Sympo- Announcements I, Instrumentos Cubanos; Jam Session: la sium on Traditional Polyphony; Taichi Tra- Nueva Generación; Parranda “Los Announcements — ICTM: Programme: 4th ditional Music Award; UNESCO Collection Sánchez”/Parranda de Florencia: Parran- Symposium of the ICTM Study Group on of Traditional Music. deando entre las lomas; Ta makuende yaya: Music of the Turkic-speaking World; Joint Pages 23-25 La fiesta de San Antonio y el Kinfuiti.
    [Show full text]
  • List of the 90 Masterpieces of the Oral and Intangible Heritage
    Albania • Albanian Folk Iso-Polyphony (2005) Algeria • The Ahellil of Gourara (2005) Armenia • The Duduk and its Music (2005) Azerbaijan • Azerbaijani Mugham (2003) List of the 90 Masterpieces Bangladesh • Baul Songs (2005) of the Oral and Belgium • The Carnival of Binche (2003) Intangible Belgium, France Heritage of • Processional Giants and Dragons in Belgium and Humanity France (2005) proclaimed Belize, Guatemala, by UNESCO Honduras, Nicaragua • Language, Dance and Music of the Garifuna (2001) Benin, Nigeria and Tog o • The Oral Heritage of Gelede (2001) Bhutan • The Mask Dance of the Drums from Drametse (2005) Bolivia • The Carnival Oruro (2001) • The Andean Cosmovision of the Kallawaya (2003) Brazil • Oral and Graphic Expressions of the Wajapi (2003) • The Samba de Roda of Recôncavo of Bahia (2005) Bulgaria • The Bistritsa Babi – Archaic Polyphony, Dances and Rituals from the Shoplouk Region (2003) Cambodia • The Royal Ballet of Cambodia (2003) • Sbek Thom, Khmer Shadow Theatre (2005) Central African Republic • The Polyphonic Singing of the Aka Pygmies of Central Africa (2003) China • Kun Qu Opera (2001) • The Guqin and its Music (2003) • The Uyghur Muqam of Xinjiang (2005) Colombia • The Carnival of Barranquilla (2003) • The Cultural Space of Palenque de San Basilio (2005) Costa Rica • Oxherding and Oxcart Traditions in Costa Rica (2005) Côte d’Ivoire • The Gbofe of Afounkaha - the Music of the Transverse Trumps of the Tagbana Community (2001) Cuba • La Tumba Francesa (2003) Czech Republic • Slovácko Verbunk, Recruit Dances (2005)
    [Show full text]
  • Intangible Cultural Heritage 2 EXT COM
    Intangible Cultural Heritage 2 EXT COM ITH/08/2.EXT.COM/CONF.201/7 Corr. Paris, 11 February 2008 Distribution limited Original: French UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Second Extraordinary Session Sofia, Bulgaria, 18 to 22 February 2008 Item 7 of the Provisional Agenda: Formal and procedural conditions concerning the incorporation of items proclaimed “Masterpieces of the Oral and Intangible Heritage of Humanity” in the Representative List, notably the Masterpieces present in the territories of States non party to the Convention CORRIGENDUM Paragraph 2 of the annex to Decision 2.EXT.COM 7 should read “This incorporation is enforceable against all States […]” instead of “This incorporation is binding on all States […]”. 1 Intangible Cultural Heritage 2 EXT COM ITH/08/2.EXT.COM/CONF.201/7 Paris, 11 February 2008 Distribution limited Original: French UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Second Extraordinary Session Sofia, Bulgaria, 18 to 22 February 2008 Item 7 of the Provisional Agenda: Formal and procedural conditions concerning the incorporation of items proclaimed “Masterpieces of the Oral and Intangible Heritage of Humanity” in the Representative List, notably the Masterpieces present in the territories of States non party to the Convention Summary In conformity with paragraph 6 of Decision 2.COM 14 taken in Tokyo at the second ordinary session of the Committee, this document presents a proposal relating to formal and procedural conditions concerning the incorporation in the Representative List of items proclaimed “Masterpieces of the Oral and Intangible Heritage of Humanity”, notably those present in the territories of States non party to the Convention.
    [Show full text]
  • Editor's Introduction
    Studies in Visual Communication Volume 1 Issue 1 Fall 1974 Article 2 1974 Editor's Introduction Sol Worth Recommended Citation Worth, S. (1974). Editor's Introduction. 1 (1), 1-2. Retrieved from https://repository.upenn.edu/svc/vol1/ iss1/2 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol1/iss1/2 For more information, please contact [email protected]. Editor's Introduction This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol1/iss1/2 teachers. It also seemed to be the case that the term "Program in Ethnographic Film" seemed to emphasize r • ~ filmmaking, while both that term and "Visual Anthropol­ ogy" seemed to exclude people in Sociology, Psychology, Art History, Communication, and other related fields, who were also interested in how man thought of, understood, EDITOR'S INTRODUCTION made, communicated by, and used materials and events that were in the visual mode. Volume One, Number One of a new publication is always The very awkwardness of this new term, The Anthropol­ . an ambiguous event. On the one hand there is no question ogy of Visual Communication, which we have chosen as the that adding to the unending stream of publications is in itself title of our Society and of our publication, might have one always suspect; on the other hand grown men and women important and salutary effect. It can never be made to roll devote unusual amounts of energy for no economic, and very glibly off the tongue as a description of what one does, or of little social compensation, in order to start, sustain, and whom one is affiliated with.
    [Show full text]
  • T>HE JOURNAL MUSIC ACADEMY
    T>HE JOURNAL OF Y < r f . MUSIC ACADEMY MADRAS A QUARTERLY IrGHTED TO THE ADVANCEMENT OF THE SCIENCE ' AND ART OF MUSIC XXXVIII 1967 Part.' I-IV ir w > \ dwell not in Vaikuntha, nor in the hearts of Yogins, ^n- the Sun; (but) where my Bhaktas sing, there L ^ Narada ! ” ) EDITED BY v. RAGHAVAN, M.A., p h .d . 1967 PUBLISHED BY 1US1C ACADEMY, MADRAS a to to 115-E, MOWBRAY’S ROAD, MADRAS-14 bscription—Inland Rs. 4. Foreign 8 sh. X \ \ !• ADVERTISEMENT CHARGES \ COVER PAGES: Full Page Half Page i BaCk (outside) Rs. 25 Rs. 13 Front (inside) 99 20 .. 11. BaCk (Do.) 30 *# ” J6 INSIDE PAGES: i 1st page (after Cover) 99 18 io Other pages (eaCh) 99 15 .. 9 PreferenCe will be given (o advertisers of musiCal ® instruments and books and other artistic wares. V Special positions and speCial rates on appliCation. t NOTICE All correspondence should be addressed to Dr. V. Ragb Editor, Journal of the MusiC ACademy, Madras-14. Articles on subjects of musiC and dance are accepte publication on the understanding that they are Contributed to the Journal of the MusiC ACademy. f. AIT manuscripts should be legibly written or preferabl; written (double spaced—on one side of the paper only) and be sigoed by the writer (giving his address in full). I The Editor of the Journal is not responsible for tb expressed by individual contributors. AH books, advertisement moneys and cheques du> intended for the Journal should be sent to Dr. V, B Editor. CONTENTS Page T XLth Madras MusiC Conference, 1966 OffiCial Report ..
    [Show full text]