An Introduction to the Music of Mongolia a Smithsonian Folkways Lesson Designed By: Brennan P
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Download Bio Egschiglen
E G S C H I G L E N EGSCHIGLEN ensemble was founded in 1991 by master students of the conservatory of Ulaanbaatar. Still today four founding members are the heart of the group. From the very beginning, the musicians are focusing on the contemporary interpretation of traditional music of Mongolia. The group is searching systematically for the sound dimensions of this repertory with their traditional instruments and the Central Asian vocal style. The music of a country is formed by its landscape and the way of life of its people. Mongolia, in the heart of Asia, is a vast country, roughly five times the size of Germany. It’s a country with endless grasslands in the south into the barren beauty of the Gobi desert. From the snow-covered Altai and Changai mountains clear rivers run through forests and flatlands. A large part of the more than two million Mongolians still live as nomads to this very day, in harmony and rhythm with nature, and together with their "five jewels": horses, camels, cattle, sheep and goats. The music of the Mongolians breathes the freedom and power of the simple way of life close to the nature. The nomadic herders spend still lonely days in the steppes and mountains, where the wind, the sounds of the animals and their songs are the only entertainment. It is a deep human need to fill immense empty spaces with sounds to trace the topography of the landscape in melodies and the wind, which carries all the sounds and noises of the earth into answers. -
SEM 63 Annual Meeting
SEM 63rd Annual Meeting Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts SEM 2018 Abstracts Book – Note to Reader The SEM 2018 Abstracts Book is divided into two sections: 1) Individual Presentations, and 2) Organized Sessions. Individual Presentation abstracts are alphabetized by the presenter’s last name, while Organized Session abstracts are alphabetized by the session chair’s last name. Note that Organized Sessions are designated in the Program Book as “Panel,” “Roundtable,” or “Workshop.” Sessions designated as “Paper Session” do not have a session abstract. To determine the time and location of an Individual Presentation, consult the index of participants at the back of the Program Book. To determine the time and location of an Organized Session, see the session number (e.g., 1A) in the Abstracts Book and consult the program in the Program Book. Individual Presentation Abstracts Pages 1 – 76 Organized Session Abstracts Pages 77 – 90 Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts Ethiopian Reggae Artists Negotiating Proximity to Repatriated Rastafari American Dreams: Porgy and Bess, Roberto Leydi, and the Birth of Italian David Aarons, University of North Carolina, Greensboro Ethnomusicology Siel Agugliaro, University of Pennsylvania Although a growing number of Ethiopians have embraced reggae music since the late 1990s, many remain cautious about being too closely connected to the This paper puts in conversation two apparently irreconcilable worlds. The first is repatriated Rastafari community in Ethiopia whose members promote themselves that of George Gershwin’s Porgy and Bess (1935), a "folk opera" reminiscent of as reggae ambassadors. Since the 1960s, Rastafari from Jamaica and other black minstrelsy racial stereotypes, and indebted to the Romantic conception of countries have been migrating (‘repatriating’) to and settling in Ethiopia, believing Volk as it had been applied to the U.S. -
Further Reading, Listening, and Viewing
The Music of Central Asia: Further Reading, Listening, and Viewing The editors welcome additions, updates, and corrections to this compilation of resources on Central Asian Music. Please submit bibliographic/discographic information, following the format for the relevant section below, to: [email protected]. Titles in languages other than English, French, and German should be translated into English. Titles in languages written in a non-Roman script should be transliterated using the American Library Association-Library of Congress Romanization Tables: Transliteration Schemes for Non-Roman Scripts, available at: http://www.loc.gov/catdir/cpso/roman.html Print Materials and Websites 1. Anthropology of Central Asia 2. Central Asian History 3. Music in Central Asia (General) 4. Musical Instruments 5. Music, Sound, and Spirituality 6. Oral Tradition and Epics of Central Asia 7. Contemporary Music: Pop, Tradition-Based, Avant-Garde, and Hybrid Styles 8. Musical Diaspora Communities 9. Women in Central Asian Music 10. Music of Nomadic and Historically Nomadic People (a) General (b) Karakalpak (c) Kazakh (d) Kyrgyz (e) Turkmen 11. Music in Sedentary Cultures of Central Asia (a) Afghanistan (b) Azerbaijan (c) Badakhshan (d) Bukhara (e) Tajik and Uzbek Maqom and Art Song (f) Uzbekistan (g) Tajikistan (h) Uyghur Muqam and Epic Traditions Audio and Video Recordings 1. General 2. Afghanistan 3. Azerbaijan 4. Badakhshan 5. Karakalpak 6. Kazakh 7. Kyrgyz 8. Tajik and Uzbek Maqom and Art Song 9. Tajikistan 10. Turkmenistan 11. Uyghur 12. Uzbekistan 13. Uzbek pop 1. Anthropology of Central Asia Eickelman, Dale F. The Middle East and Central Asia: An Anthropological Approach, 4th ed. Pearson, 2001. -
Norovbanzad's Legacy: Contemporary Concert Long Song in Mongolia Gabrielle Giron
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Norovbanzad's Legacy: Contemporary Concert Long Song in Mongolia Gabrielle Giron Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC NOROVBANZAD’S LEGACY: CONTEMPORARY CONCERT LONG SONG IN MONGOLIA By Gabrielle Giron A Thesis submitted to the College of Music In partial fulfillment of the Requirements for the degree of Master of Music Degree awarded Fall Semester 2007 Copyright © 2007 Gabrielle C. Giron All Rights Reserved The members of the Committee approve the thesis of Gabrielle Giron defended on August 22, 2007. __________________________________ Michael B. Bakan Professor Directing Thesis __________________________________ Jane Piper Clendinning Outside Committee Member __________________________________ Denise Von Glahn Committee Member __________________________________ Frank Gunderson Committee Member Approved: _______________________________________________ Jeffrey T. Kite-Powell, Professor and Chair, Department of Musicology ________________________________________________ Seth Beckman, Professor, Assistant Dean for Academic Affairs, and Director of Graduate Studies. The Office of Graduate Studies has verified and approved the above named committee members ii Figure 1. The Gentle Sun of the World. Mongolian artist Naiga renders in Mongolian calligraphy the text from Norovbanzad’s song in the shape of a sun. iii In memory of Marian Davis whose love for peace, justice, and beautiful music continues to light the world. iv ACKNOWLEDGEMENTS Many people have assisted me in the exciting process of learning and writing about concert long song. While it would be impossible to name everyone who has contributed to this thesis, there are several people I would like to mention specifically. -
On the Court Mongolian Music in Qing Dynasty
2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) On the Court Mongolian Music in Qing Dynasty Xin Liushisan Institute of Social Sciences, Northwest University for Nationalities, Lanzhou, Gansu, 730030, China Inner Mongolia University for Nationalities, Inner Mongolia, Tongliao City, China Keywords: Qing Dynasty, Court, Mongolian Music, Analysis Abstract: Mongolian Music, as the Main Type of Music in Qing Court, Had Its Important Reasons. in 1741, Emperor Qianlong Did Not Follow the Group System and Ordered the Revision of Later Edition of Justice by Lu Lu. among Them, Mongolian Lin Danhan's Court Music Ensemble Was Included with the Jia Blow Movement, and Became the Main Content of Qing Dynasty's Court Mongolian Music. This Precious Music Type Has Been Handed Down to This Day and Needs to Be Further Studied and Protected in the Future. 1. Introduction During the Kangxi Years, the Protection of Court Music Was Strengthened and Ritual Music Began to Be Reorganized. among Them, the Revision of Justice of Lu Lu Was Ordered to Have the Greatest Impact on Mongolian Music. in the Six Years of Qianlong, Later Edition of Justice by Lu Lu Included the Ensemble and the Blow Movement in Later Edition of Justice by Lu Lu. in the Qing Dynasty Huidian, the Fanbu Ensemble and the Bankuai Movement Were Translated into Manchu. These Two Parts Are the Combination of Chinese, Mongolian and Manchu in the Later Edition of Lu Zhengyi. Moreover, These Mongolian Music Also Became the Important Repertoire to Be Played At the Large-Scale Palace Banquet in the Qing Dynasty. -
Titre Construit 1Er Responsable Série Edith Piaf
Titre construit 1er responsable Série Edith Piaf (1963-2003) (20) : Volume 20 : Carnegie Hall 1956-1957 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (19) : Volume 19 : Carnegie Hall 1956 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (18) : Volume 18 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Edith Piaf (1963-2003) (17) : Volume 17 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Léo chante Ferré (16) : Léo chante l'espoir Ferré, Léo (1916 - 1993) Léo chante Ferré / Léo Ferré [Universal Music S.A.] Edith Piaf (1963-2003) (16) : Volume 16 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] Intégrale 1965-1995 (16) : Disque 16 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] Léo chante Ferré (15) : Léo chante Et ... basta ! Ferré, Léo (1916 - 1993) Léo chante Ferré / Léo Ferré [Universal Music S.A.] Edith Piaf (1963-2003) (15) : Volume 15 Piaf, Edith Edith Piaf (1963-2003) / Edith Piaf [Emi Music] L'Intégrale (15) : Les Marquises Brel, Jacques L'Intégrale / Jacques Brel [Universal Music France S.a] Intégrale 1965-1995 (15) : Disque 15 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] L'Intégrale studio de Claude Nougaro (14) : Embarquement immédiat Nougaro, Claude L'Intégrale studio de Claude Nougaro / Claude Nougaro [Mercury France] Intégrale 1965-1995 (14) : Disque 14 Sardou, Michel Intégrale 1965-1995 / Michel Sardou [Universal Music France S.a] Edith Piaf (1963-2003) -
Ethnomusicologie## Et#Histoire# Du#Chant#Diphonique## Mongol
# )THÈSE)/UNIVERSITÉ)RENNES)2) présentée#par# sous,le,sceau,de,l’Université,européenne,de,Bretagne, pour#obtenir#le#titre#de# ,Johanni#Curtet# DOCTEUR)DE)L’UNIVERSITÉ)RENNES)2) Équipe#d’accueil#n°1279# École)doctorale)Arts)Lettres)Langues Histoire#et#critique#des#arts# Mention,:,Musicologie, Université#Rennes#2# Soutenance):)12)novembre)2013) La#transmission#du#höömij,# devant#le#jury#composé#de#:# Hervé)LACOMBE) un#art#du#timbre#vocal#:# Professeur,#Université#Rennes#2#/#directeur,de,thèse# ) Alain)DESJACQUES) ethnomusicologie## Maître#de#conférences,#Université#Lille#3#/#co0directeur,de,thèse# ) Susanne)FÜRNISS) Directrice#de#recherche#CNRS,#UMR#7206,#MNHN#/,rapporteur) et#histoire# ) Luc)CHARLESHDOMINIQUE) Professeur,#Université#NiceLSophiaLAntipolis#/#rapporteur, du#chant#diphonique## ) Sabine)TREBINJAC) Chargée#de#recherche#CNRS,#UMR#7186,#LESC,## mongol# Université#Paris#OuestLNanterreLLa#Défense#/#examinateur, ) Jacques)LEGRAND) ## Professeur,#INALCO#/#examinateur# # # ! Sous le sceau de l’Université européenne de Bretagne Université Rennes 2 École Doctorale Arts Lettres Langues EA 1279 Histoire et Critique des Arts La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol Thèse de doctorat Discipline : Musicologie Présentée par Johanni CURTET Directeurs de thèse : Hervé LACOMBE (Professeur, Université Rennes 2) et Alain DESJACQUES (Maître de conférences, Université Lille 3) Soutenance : 12 novembre 2013 Jury : Susanne FÜRNISS, Directrice de recherche CNRS, UMR 7206, MNHN (rapporteur) Luc CHARLES-DOMINIQUE, Professeur, Université Nice-Sophia-Antipolis (rapporteur) Sabine TREBINJAC, Chargée de recherche CNRS, UMR 7186, LESC, Université Paris Ouest-Nanterre-La Défense, (examinateur) Jacques LEGRAND, Professeur, INALCO, (examinateur) ! 2 ! 3 « Il est bon de franchir chaque jour une étape Comme l’eau vive qui ne stagne pas. Hier s’est enfui, l’histoire d’hier elle aussi est passée Il convient aujourd’hui de conter une histoire nouvelle. -
Music and Musicians Along the Silk Road by Theodore Levin
Music and Musicians along the Silk Road by Theodore Levin So many musicians, so many stories - each a window into a life, a society, a history. Each story is unique, yet connected to other stories, other histories. The lands of the Silk Road contain a remarkable musical cross-section of this dense web of human connectedness. What are the origins of musical connections? How is it that musicians separated by great distances play similar instruments or perform in similar musical styles? And conversely, why, in some cases, do musicians living only a valley or mountain pass away perform music that is utterly different? 73 Musicians, musical instru realm to the other. ments, and music itself have surely It may well have been along been on the move since antedilu the Silk Road that some of the first vian times. The astonishing diver "world music" jam sessions took sity of the world's music is matched place. For both Europeans and only by the reassuring similarity of Asians, the mesmerizing sound of the basic tools used to produce it: exotic instruments must have had foremost, of course, the human an appeal not unlike the visual voice, followed by instruments allure of exotic textiles, ceramics, made from ubiquitous natural and glass. Innovative musicians materials such as wood and animal and luthiers adapted unfamiliar parts and classified into groups instruments to perform local such as flutes, fiddles, lutes, and music while simultaneously intro drums; melodies and scales usually ducing non-native rhythmic containing no more than three to patterns, scales, and performance seven separate pitches; rhythms techniques. -
The Accordion in Twentieth-Century China A
AN UNTOLD STORY: THE ACCORDION IN TWENTIETH-CENTURY CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC AUGUST 2004 By Yin YeeKwan Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos Fred Blake ©Copyright2004 by YinYeeKwan iii ACKNOWLEDGEMENTS My 2002 and 2003 fieldwork in the People's Republic ofChina was funded by The Arts and Sciences Grant from the University ofHawai'i at Manoa (UHM). I am grateful for the generous support. I am also greatly indebted to the accordionists and others I interviewed during this past year in Hong Kong, China, Phoenix City, and Hawai'i: Christie Adams, Chau Puyin, Carmel Lee Kama, 1 Lee Chee Wah, Li Cong, Ren Shirong, Sito Chaohan, Shi Zhenming, Tian Liantao, Wang Biyun, Wang Shusheng, Wang Xiaoping, Yang Wentao, Zhang Gaoping, and Zhang Ziqiang. Their help made it possible to finish this thesis. The directors ofthe accordion factories in China, Wang Tongfang and Wu Rende, also provided significant help. Writing a thesis is not the work ofonly one person. Without the help offriends during the past years, I could not have obtained those materials that were invaluable for writings ofthis thesis. I would like to acknowledge their help here: Chen Linqun, Chen Yingshi, Cheng Wai Tao, Luo Minghui, Wong Chi Chiu, Wang Jianxin, Yang Minkang, and Zhang Zhentao. Two others, Lee Chinghuei and Kaoru provided me with accordion materials from Japan. I am grateful for the guidance and advice ofmy committee members: Professors Frederick Lau, Ricardo D. -
The Piano Music of Azerbaijan: National and Cross- Cultural Influences on Contemporary Performance Practices
City Research Online City, University of London Institutional Repository Citation: Mirzayeva, G. (2020). The piano music of Azerbaijan: national and cross- cultural influences on contemporary performance practices. (Unpublished Doctoral thesis, Guildhall School of Music and Drama) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25377/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Piano Music of Azerbaijan: National and Cross- Cultural Influences on Contemporary Performance Practices A thesis submitted to Guildhall School of Music & Drama for the degree of DMus in the Department of Research January 2020 Gunel Mirzayeva Table of Contents Table of Contents ii List of Figures and Maps vii Abstract ix Acknowledgments x Abbreviations and Notes on Transliteration -
China and the West: Music, Representation, and Reception
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk. -
Music Theory Contents
Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................