A Basic World Music Library
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An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people. -
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 -
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Andrew N. Weintraub. Dangdut Stories: A Social and Musical History of Indonesia's Most Popular Music. New York, NY: Oxford University Press, 2010. Photographs, musical notation, glossary, bibliography, index. 258+ pp. R. Anderson Sutton At last, a book on dangdut, and an excellent one. It is hard to imagine that anyone with experience in Indonesia over the past thirty-five years could be unaware of dangdut and its pervasive presence in the Indonesian soundscape. The importance of this music was first recognized in the international scholarly world by William Frederick in his landmark article on Rhoma Irama in the pages of this journal almost thirty years ago.1 Other scholars have devoted chapters to dangdut,2 but it is only with this meticulously researched and engagingly written book-length study by Andrew Weintraub that we have the important combination of perspectives—historical, musicological, sociological, gender, and media/cultural studies—that this rich and multifaceted form of expression deserves. Weintraub offers this highly informative study under the rubric of "dangdut stories," modestly pointing to the "incomplete and selective" nature of the stories he tells. But what he has accomplished is nothing short of a tour de force, giving us a very readable history of this genre, and untangling much about its diverse origins and the multiplicity of paths it has taken into the first decade of the twenty-first century. Near the outset, following three telling vignettes of dangdut events he observed, Weintraub explains that the book is a "musical and social history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post independence Indonesia" (p. -
"World Music" and "World Beat" Designations Brad Klump
Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9! -
Baianasystem Press Info 2018
BaianaSystem is one of the major urban music groups produced in Bahia (BRA). Influenced by Jamaican sound systems, the group not only amplifies sound but also the essence of local traditions. A system that manifests itself on stage or on the streets spreading out Brazilian music without borders. The sound produces a constant dialogue between the Bahian guitar and the singing, led by bass lines which complement its frequency spectrum. On top of that, there is great percussive base force (electronic or organic) as well as Afro-Latin rhythms such as Frevo, Samba-Reggae, Pagode, Groove Arrastado, Ijexá, Kuduro and Reggae. The group lineup is Roberto Barreto on Bahian Guitar, Russo Passapusso on vocals and SekoBass on bass additionally supported by several musicians, producers and artists. Currently, those who participate most frequently in this sound are as follows; DJs and producers João Meirelles and Mahal Pitta; percussionist JapaSystem and guitarist Junix. Over and above music there is the visual conception – an inseparable strength in BaianaSystem’s communication and upbringing. From that background the mask leaps out – a symbolic element – as an icon turning into the embodiment of a “being”, a bond with the audience making everybody feel as a vital part of this system. This work is directed by the designer Filipe Cartaxo in workstream with Maquina de Louco, coordinated by artist Filipe Bezerra who plays a part as the creative core of BaianaSystem’s project planning and production. Since its first studio album release – BaianaSystem (2010) along with the EP Pirata (2013) which delivers the hit “Terapia”, BaianaSystem has already performed worldwide at the New Orleans Jazz Festival; at the Global Fest in NY; at Fujirock (Japan), as well as gigs in Russia, China and France. -
“Llamadas” Da Dança No Candombe Uruguaio1
CORTEJANDO PELA RUA, CORTEJADO PELO PALCO: “LLAMADAS” DA DANÇA NO CANDOMBE URUGUAIO1 Marcela Monteiro Rabelo/UFPE (Universidade Federal de Pernambuco - Brasil). O candombe é uma manifestação da cultura popular que ocorre no Uruguai, principalmente entre os festejos natalinos e o período carnavalesco, e possui sua maior expressão na cidade de Montevidéu. Caracterizado como cortejo, o candombe é composto de música e dança, sendo esta última o centro das discussões aqui apresentadas. Além do espaço festivo da rua, novas situações de competição, implementadas no decorrer do século XX, levaram o candombe a se estabelecer enquanto concurso que ocorre na rua e no palco. Acompanhando este processo de expansão, a prática do candombe, historicamente vinculada à comunidade afro-uruguaia, toma hoje proporções maiores, atingindo novos atores e configurações sociais, sendo elevada a símbolo da identidade nacional. Entretanto, esta nova posição do candombe para o país é carregada de contradições, na medida em que conflitos e diálogos entre rua e palco, celebração e competição, negros e brancos, os “de dentro” e “os de fora” se estabelecem na busca por espaço e por legitimidade na manifestação. Este panorama revela-se nas diferentes propostas estéticas da dança/baile do candombe e suas formas de avaliação perante distintas situações de apresentação. Entre cortejar bailando pela rua, e ser cortejado bailando no palco, diversos sentidos são acionados (“Llamados”) pelos praticantes dessa dança diante de um trânsito de lugares e pessoas. Palavras-chave: Dança. Cultura Popular. Candombe Uruguaio. 1 Trabalho apresentado na 29ª Reunião Brasileira de Antropologia, realizada entre os dias 03 e 06 de agosto de 2014, Natal/RN. -
Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure. -
Teaching About Hungarian and Polish Heroes. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland)
DOCUMENT RESUME ED 439 037 SO 030 775 AUTHOR Radkey, Janet TITLE Teaching about Hungarian and Polish Heroes. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland). SPONS AGENCY Center for International Education (ED), Washington, DC. PUB DATE 1998-00-00 NOTE 20p.; For other projects from the 1998 Hungary/Poland program, see SO 030 773-781. PUB TYPE Guides Classroom Teacher (052) Reports Descriptive (141) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Area Studies; *Cultural Context; *European History; Foreign Countries; High Schools; Social Studies; Thematic Approach IDENTIFIERS Fulbright Hays Seminars Abroad Program; Heroes; *Hungary; *Poland ABSTRACT This curriculum project about the history and culture of Hungary and Poland is intended for secondary school students. Theproject features a unit called "Heroes in Our Lives" and points out the sacrifices a few individuals have made for the betterment of all. Students identify heroes and learn about the impact these heroes have made on history and onsociety. Hungarian heroes discussed in the unit are: King Stephen I, Imre Nagy, Ferenc Rakoczi, and Louis Kossuth. Polish heroes discussed are: J. Pitsudski, Tadeusz Kosciuszko, Janusz Korczak, Pope John Paul II, and Lech Walesa;other heroes discussed are Raoul Wallenberg, the 1956 Hungarian Freedom Fighters, and the Solidarity Workers. Teaching methods for the unit include lectureand discussion, a slide presentation on heroic sites, selected readings, poetry, group activities, and an essay accompanied by an oralpresentation on heroes in society and heroes in each individual's life. (BT) Reproductions supplied by EDRS are the best that can be made from the original document. N O cJ Teaching about Hungarian and Polish Heroes. -
Circus Arts at O.Z.O.R.A
THE DAILY NEWSPAPER OF THE OZORIAN TRIBE FREE * 4 PAGES SUNDAY AUGUST, 2012 ozorafestival.eu spiced with some dark humor in vaudeville style. The spectacu- lar juggling, acrobatic, trapeze and burlesque dance performers Circus Arts at O.Z.O.R.A. are the s-cream of the international underground circus life.The characters of the performance keep their masks on even after AT THIS YEAR’S FESTIVAL THE their show, mingling with the MODERN CIRCUS ARTS GOT A SPE- audience and further building CIAL SPACE. INTERNATIONALLY the atmosphere, so anything FAMOUS AND PROFESSIONAL CIR- can happen anywhere at any CUS AND JUGGLING GROUPS ARE time! PERFORMING AT THE OPENING CEREMONY AND ON DIFFERENT A new stage at the festival is the STAGES OF THE FESTIVAL. Firespace, this is a project from Germany essentially an open space for fire dancers and fire On the main stage legendary fire jugglers, supports a diversity of artists, like Magma Fire Theather, fire arts. Moreover, we regard Flame Flowers, Firebirds, Freak Fu- Fire Space as a cultural space, sion Cabaret, Anamintas Fire The- allowing for inspiration and in- ather, Mietar, Spark Firedance, Los teraction seeks the best condi- Del Fuego and Firesthetic are pre- tions for audience and artists, senting their new and special proj- as well as for environment and ects. It is also an important mission material. The space is open for us to teach the flow arts. We from dusk till dawn, come by hold and held workshops, where with your fire gear and spin people can try out all kinds of body with us or just sit down around manipulation, circus, juggling and the circle and enjoy the show! acrobatic arts with experienced trainers and safe equipments. -
Production Database Updated As of 25Nov2020
American Composers Orchestra Works Performed Workshopped from 1977-2020 firstname middlename lastname Date eventype venue work title suffix premiere commission year written Michael Abene 4/25/04 Concert LGCH Improv ACO 2004 Muhal Richard Abrams 1/6/00 Concert JOESP Piano Improv Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Violin & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/6/00 Concert JOESP Duet for Double Bass & Piano Earshot-JCOI 19 Muhal Richard Abrams 1/9/00 Concert CH Tomorrow's Song, as Yesterday Sings Today World 2000 Ricardo Lorenz Abreu 12/4/94 Concert CH Concierto para orquesta U.S. 1900 John Adams 4/25/83 Concert TULLY Shaker Loops World 1978 John Adams 1/11/87 Concert CH Chairman Dances, The New York ACO-Goelet 1985 John Adams 1/28/90 Concert CH Short Ride in a Fast Machine Albany Symphony 1986 John Adams 12/5/93 Concert CH El Dorado New York Fromm 1991 John Adams 5/17/94 Concert CH Tromba Lontana strings; 3 perc; hp; 2hn; 2tbn; saxophone1900 quartet John Adams 10/8/03 Concert CH Christian Zeal and Activity ACO 1973 John Adams 4/27/07 Concert CH The Wound-Dresser 1988 John Adams 4/27/07 Concert CH My Father Knew Charles Ives ACO 2003 John Adams 4/27/07 Concert CH Violin Concerto 1993 John Luther Adams 10/15/10 Concert ZANKL The Light Within World 2010 Victor Adan 10/16/11 Concert MILLR Tractus World 0 Judah Adashi 10/23/15 Concert ZANKL Sestina World 2015 Julia Adolphe 6/3/14 Reading FISHE Dark Sand, Sifting Light 2014 Kati Agocs 2/20/09 Concert ZANKL Pearls World 2008 Kati Agocs 2/22/09 Concert IHOUS -
Ethnomusicologie Et Anthropologie De La Musique: Une Question De Perspective » Anthropologie Et Sociétés, Vol
Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 28 | 2015 Le goût musical Édition électronique URL : http://journals.openedition.org/ethnomusicologie/2484 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 15 novembre 2015 ISBN : 978-2-88474-373-0 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 28 | 2015, « Le goût musical » [En ligne], mis en ligne le 15 novembre 2017, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/2484 Ce document a été généré automatiquement le 6 mai 2019. Article L.111-1 du Code de la propriété intellectuelle. 1 L’étude du goût musical a rarement été appliquée aux musiques de tradition orale. Ce numéro aborde cette question non pas sous l’angle philosophique ou sociologique, mais d’un point de vue spécifiquement ethnomusicologique. Il s’agit de montrer comment des musiciens de sociétés variées, expriment et manifestent leurs goûts sur la musique qu’ils pratiquent, en fonction de leurs champs d’expérience. À partir de l’hypothèse qu’il existe partout une conception du « bien chanter » et du « bien jouer » qui sous-tend les divers savoir-faire musicaux, ce volume aborde les critères du goût musical selon plusieurs méthodes, notamment par l’analyse du vocabulaire des jugements de goût et celle des modalités d’exécution, le tout en relation aux contextes et aux systèmes de pensée locaux. Ce dossier s’attache ainsi à décrire les conceptions vernaculaires du goût musical afin d’explorer le champ