Constructing Musical Associations

Total Page:16

File Type:pdf, Size:1020Kb

Constructing Musical Associations Constructing Musical Associations through Instruments: The Role of the Instrument Maker in the Maker-Instrument-Player Network within the Neo-Medievalist Gothic Music Scene William Klugh Connor, III Royal Holloway University of London Department of Music This thesis is submitted to partially fulfill the requirements for the degree of Doctorate of Philosophy in Ethnomusicology. 2011 1 Declaration of Authorship I, William Klugh Connor, III, hereby declare that this thesis and the work presented within it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ___________________________________________ Date: _____________________________________________ 2 Abstract Constructing Musical Associations through Instruments: The Role of the Instrument Maker in the Maker-Instrument-Player Network within the Neo-Medievalist Gothic Music Scene Many studies of musical instruments have shown the ways in which instruments embody and negotiate cultural and social significance and meaning, but little of this work has focused on the makers of those instruments. According to Alfred Gell, artisans infuse “intentionalities” into their wares that embody the agency of the artisan. In this thesis, I address the agency of makers of musical instruments to gain a better understanding of the roles they play in defining how instruments acquire their social and cultural meanings. These meanings are constantly in flux and, in turn, inform the maker’s decisions and assist in formulating a maker’s role within a musical community. Makers interact with community members primarily through the construction of their instruments as part of what I have called a Maker-Instrument-Player network. Drawing on Actor-Network Theory, I outline some of the ways in which musical instruments afford associations and engender exchanges within a musical community, and I unpack the complexities of the maker’s role. Based on ethnographic case studies which feature contemporary builders of early music instruments and performers of neo-Medievalist Gothic music with whom they interact, I examine the agency and impact of instrument makers on musical processes. This includes analysis of playing techniques, concepts of authenticity and historical accuracy, perceptions of modernity and tradition, sensibilities of craftsmanship, the economics and marketing involved, and the physical attributes of the instruments themselves. 3 Acknowledgements Undertaking a project of this magnitude is never a solitary effort. Since beginning my research for this thesis, which started well before I enrolled at Royal Holloway University of London, I have had encouragement and assistance without which I would never have had the bravery, incentive, or means to complete this preeminent academic goal. I understand that by completing a doctorate I am not gaining membership to an exclusive club nor am I not alone in my achievement to submit the requirements for a Ph.D., however for me, this is the culmination of a lifetime desire coming to fruition and the opening of a door to a world of new goals and the means to reach them. Therefore, I will take this opportunity to thank all of those whom have helped me arrive at this momentous occasion. There are far too many to thank than I can list here and there are most likely many more whom I have forgotten or never knew, but deserve no less thanks than those I mention here. Allow me to extend my greatest gratitude for kindness and support to the following in hopes that it reaches all those whom have been part of this satisfying and exciting journey: For being the first to encourage me and show faith in me I wish to thank Julie Cobb, Dr. Tony Stewart and for assuring me that my best interests lay in following this path I thank Genesis P. Orridge and Anthony Braxton. An addition extra thanks goes to Dr. Denis Wood for not only supplying the financial means for me to finish my studies, but also for his academic advice and loving support. I could not have advanced without the guidance and refinement provided by the mentors from my previous universities, including Dr. Jonathan Kramer, Dr. Fred Blake, Dr. Alexander Vovin, Dr. Ric Trimillos, and Dr. Byong-won Lee. I must also extend doubly warm thanks to my supervisor and friend, Dr. Fred Lau, for believing in me above all others. I must also thank those with whom I have worked on this project, including Roman Dill, Henning Aβmann, David Faulwasser, David Fetcher, Frank, Patrik, and Julia at David Roman Drums; Julian Goodacre; Jan Goorissen, Floris-Jan van der Voort, and Michael Popp for their contributions, time, and understanding. Additional thanks goes to Thunder Raven and Christian Zaire from the London 4 Vampire Meet Up Group for their excitement, participation, and invaluable discussions and friendship throughout. I wish to give tremendous thanks to my fellow musicians whom were so patient with me during my stressful and busiest times, Matt Chilton, Dr. Anthony Donovan, and Joanna Quail. Also, I wish to thank my housemate Ann Napier who never said a negative word when I worked late, forgot to take out the rubbish, or rambled about my research to her after a hard day’s work. And of course I cannot forget my dog Mac, who ensured my lap was warm as I typed and made certain I got plenty of exercise taking him on walks around the block several times a day. Royal Holloway’s support will not go unnoticed, in particular the assistance and guidance of Dr. Tina K. Ramnarine, Dr. Julie Brown, Mrs. Nanette Elias, and especially Dr. Anna Morcom for her support before and during my enrollment. Also, I thank the in depth comments and thoughtful suggestions of my panelists, Dr. Abigal Wood and Dr. Kevin Dawe. I must give extra special thanks to my supervisor, Dr. Henry Stobart, who, throughout my project, was exceptionally thoughtful, pleasant, kind, and instilled me with academic rigor and imparted knowledge to me in order to ensure my success in this scholarly venture. Of the highest importance are those whom I should thank who remained close to me from the conception to the completion of this journey and supported me without bounds, giving me their all without which I would not have had the stamina, inspiration, or confidence needed to carry out this undertaking. To my close friends Craig Hilton and Rebecca Cloudy, I give my deepest thanks. To one of the few persons I consider to be part of my family, I give thanks to Dan Morse for hours of academic banter and twice as much fortifying laughter during my hardest of times all whilst he should have been completing his own Ph.D. work, not helping me with mine. To my lost brother, Sean Johnson, who passed away just before I was accepted into the Music Ph.D. programme, for knowing I was going to make it and reminding me of that eventuality every time we spoke. It is to him that I dedicate this work. Finally, I extend my greatest and most sincere thanks to the one person who has stood by my side, offering support and love constantly for the past four years, assuring I attain my goal through every means possible: my lovely fiancé, Victoria Snaith, without whom I would be lost. Will Connor, London, England, U.K. 2011 5 6 Table of Contents Abstract ___________________________________________________ 03 Acknowledgements__________________________________________ 04 Chapter One: Instruments Build Their Makers, Too – An Introduction to the Maker-Instrument-Player Network __________ 07 Chapter Two: Contemporary Sounds of Darker Times: Performing the Past and the Present in the Neo-Medievalist Gothic Scene 54 Chapter Three: Making a Scene: Insider Participation and the Percussion of David Roman Drums __________________________________________ 91 Chapter Four: Re-Defining Historical Accuracy and Aesthetic Acceptance – Jan Goorissen and the Ruby Gamba _____________________________ 137 Chapter Five: Communicating from the Outskirts: Bagpipe Maker Julian Goodacre and Remote Dialectic Influences_______ 168 Chapter Six: Sharing the Network: Comparisons and Conclusions________ 199 Appendix I ____________________________________________________ 216 Bibliography __________________________________________________ 227 7 Chapter One Instruments Build Their Makers, Too – An Introduction to the Maker-Instrument-Player Network “Instruments don’t play music; people do.” (Taruskin. 1995:305) This is the sentiment that Bruce Haynes puts forward in his discussion of the ways in which performers of Early Music1 formulate their performance style (Haynes. 2007:153). It is a logical assumption, taking into account that music performance is initiated and undertaken by players, but he goes further to say that musical instruments have little bearing on the formulation of the styles performers construct and embrace. Perhaps this is the case in the context of historical accuracy within certain performance traditions and that, primarily, it is the players who decide what their performance styles will be; as humans, they possess the agency necessary to make decisions and engage them, not inanimate objects, which is the point Haynes is trying to make. In a larger context, however, instruments have a much greater influence on the musical community in which they are played, even as inanimate objects. Musical instruments are “non-neutral” however they are used and they are “entangled objects” that embody various aspects of cultural and social value (Dawe 2001:223) as well as assist in constructing “meaning and aesthetic power in performance” (Stobart 2006:73). Musical instruments
Recommended publications
  • Zfwtvol. 9 No. 3 (2017) 269-288
    ZfWT Vol. 9 No. 3 (2017) 269-288 FEMINIST READING OF GOTHIC SUBCULTURE: EMPOWERMENT, LIBERATION, REAPPROPRIATION Mikhail PUSHKIN∗ Abstract: Shifting in and out of public eye ever since its original appearance in the 1980ies, Gothic subculture, music and aesthetics in their impressive variety have become a prominent established element in global media, art and culture. However, understanding of their relation to female gender and expression of femininity remains ambiguous, strongly influenced by stereotypes. Current research critically analyses various distinct types of Gothic subculture from feminist angle, and positively identifies its environment as female-friendly and empowering despite and even with the help of its strongly sexualized aesthetics. Although visually geared towards the male gaze, Gothic subcultural environment enables women to harness, rather than repress the power of attraction generated by such aesthetics. Key words: Subculture, Feminism, Gothic. INTRODUCTION Without a doubt, Gothic subculture is a much-tattered subject, being at the centre of both popular mass media with its gossip, consumerism and commercialization, as well as academia with diverse papers debasing, pigeonholing and even defending the subculture. Furthermore, even within the defined, feminist, angle, a thorough analysis of Gothic subculture would require a volume of doctoral dissertation to give the topic justice. This leaves one in a position of either summarizing and reiterating earlier research (a useful endeavour, however, bringing no fresh insight), or striving for a kind of fresh look made possible by the ever-changing eclectic ambivalent nature of the subculture. Current research takes the middle ground approach: touching upon earlier research only where relevant, providing a very general, yet necessary outlook on the contemporary Gothic subculture in its diversity, so as to elucidate its more relevant elements whilst focusing on the ways in which it empowers women.
    [Show full text]
  • French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
    French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music.
    [Show full text]
  • Subjectivity in American Popular Metal: Contemporary Gothic, the Body, the Grotesque, and the Child
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Subjectivity In American Popular Metal: Contemporary Gothic, The Body, The Grotesque, and The Child. Sara Ann Thomas MA (Hons) Submitted in fulfilment for the Degree of Doctor of Philosophy Faculty of Arts University of Glasgow January 2009 © Sara Thomas 2009 Abstract This thesis examines the subject in Popular American Metal music and culture during the period 1994-2004, concentrating on key artists of the period: Korn, Slipknot, Marilyn Manson, Nine Inch Nails, Tura Satana and My Ruin. Starting from the premise that the subject is consistently portrayed as being at a time of crisis, the thesis draws on textual analysis as an under appreciated approach to popular music, supplemented by theories of stardom in order to examine subjectivity. The study is situated in the context of the growing area of the contemporary gothic, and produces a model of subjectivity specific to this period: the contemporary gothic subject. This model is then used throughout to explore recurrent themes and richly symbolic elements of the music and culture: the body, pain and violence, the grotesque and the monstrous, and the figure of the child, representing a usage of the contemporary gothic that has not previously been attempted. Attention is also paid throughout to the specific late capitalist American cultural context in which the work of these artists is situated, and gives attention to the contradictions inherent in a musical form which is couched in commodity culture but which is highly invested in notions of the ‘Alternative’. In the first chapter I propose the model of the contemporary gothic subject for application to the work of Popular Metal artists of the period, drawing on established theories of the contemporary gothic and Michel Foucault’s theory of confession.
    [Show full text]
  • Festival De Musique À Maguelone
    festival de musique à maguelone Cathédrale de Maguelone 33 e édition musiqueancienneamaguelone.com Le XXXIII e Festival de musique à Maguelone est organisé par l’association “Les Muses en Dialogue” avec le concours du Ministère de la culture et de la communication de la Région Languedoc-Roussillon - Midi-Pyrénées du Département de l’Hérault de Montpellier Méditerranée Métropole de la Ville de Villeneuve-lès-Maguelone en collaboration avec l’association des Compagnons de Maguelone en partenariat avec e-mecenes.com partenaires média Un regard sur les saisons passées English Concert Pascal Montheilhet Blandine Rannou Chistophe Coin Chichester Cathedral Choir Jérome Hantaï Ensemble Marin Mersenne Ensemble vocal Capilla Flamenca La Grande Ecurie et la Chambre du Roy Olivier Baumont Neapolis Ensemble Ensemble instrumental Oltremontano Concerto Rococo La Simphonie du Marais Ensemble Jachet de Mantoue Ensemble Accordone Chœurs Orthodoxes Ensemble Huelgas Fretwork Barthold Kuijken du Monastère de Zagorsk La Colombina Yasumori Imamura Wieland Kuijken Chœur du Patriarcat Russe Pierre Hantaï Eric Bellocq Ensemble Odhecaton The Tallis Scholars Les Talens Lyriques Ensemble William Byrd Claire Lefilliâtre Vincent Dumestre Musica Antiqua de Cologne Patrizia Bovi, Gigi Casabianca Stéphanie-Marie Degand Enrico Baiano Chœurs Liturgiques A Deux Violes Esgales Violaine Cochard Ensemble Clematis Arméniens d’Erevan Il Seminario Musicale Ensemble Amarillis Medusa Ensemble Organum Brigitte Tramier Amandine Beyer Ensemble Micrologus La Fenice Hopkinson Smith Marianne
    [Show full text]
  • NORDIC COOL 2013 Feb. 19–Mar. 17
    NORDIC COOL 2013 DENMARK FINLAND Feb. 19–MAR. 17 ICELAND NorwAY SWEDEN THE KENNEDY CENTER GREENLAND THE FAroE ISLANDS WASHINGTON, D.C. THE ÅLAND ISLANDS Nordic Cool 2013 is presented in cooperation with the Nordic Council of Ministers and Denmark, Finland, Iceland, Norway, and Sweden. Presenting Underwriter HRH Foundation Festival Co-Chairs The Honorable Bonnie McElveen-Hunter, Marilyn Carlson Nelson, and Barbro Osher Major support is provided by the Honorable Bonnie McElveen-Hunter, Mrs. Marilyn Carlson Nelson and Dr. Glen Nelson, the Barbro Osher Pro Suecia Foundation, David M. Rubenstein, and the State Plaza Hotel. International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts. NORDIC COOL 2013 Perhaps more so than any other international the Faroe Islands… whether attending a performance festival we’ve created, Nordic Cool 2013 manifests at Sweden’s Royal Dramatic Theatre (where Ingmar the intersection of life and nature, art and culture. Bergman once presided), marveling at the exhibitions in Appreciation of and respect for the natural environment the Nobel Prize Museum, or touring the National Design are reflected throughout the Nordic countries—and Museum in Helsinki (and being excited and surprised at they’re deeply rooted in the arts there, too. seeing objects from my personal collection on exhibit there)… I began to form ideas and a picture of the The impact of the region’s long, dark, and cold winters remarkable cultural wealth these countries all possess. (sometimes brightened by the amazing light of the , photo by Sören Vilks Sören , photo by aurora borealis).
    [Show full text]
  • Radio 3 Listings for 10 – 16 October 2020 Page
    Radio 3 Listings for 10 – 16 October 2020 Page 1 of 11 SATURDAY 10 OCTOBER 2020 Duo concertante in G major Benjamin Grosvenor (piano) Alexandar Avramov (violin), Ivan Peev (violin) Royal Scottish National Orchestra SAT 01:00 Through the Night (m000n6mk) Elim Chan (conductor) Nordic landscapes 05:47 AM Decca 4850365 Johann Sebastian Bach (1685-1750) https://www.deccaclassics.com/en/catalogue/products/chopin- Grieg and Sibelius from Auckland, New Zealand. Jonathan 4 Lieder from the Schemelli songbook (BWV.443, 468, 470 & piano-concertos-grosvenor-11989 Swain presents. 439) Bernarda Fink (mezzo soprano), Domen Marincic (gamba), Arion: Voyage of A Slavic Soul 01:01 AM Dalibor Miklavcic (organ) Songs by Rimsky-Korsakov, Dvořák, Tchaikovsky, John Anthony Ritchie (1921-2014) Rachmaninov, Janáček & Novák Suite No. 1 for Strings 05:57 AM Natalya Romaniw (soprano) Auckland Philharmonia Orchestra, Daniel Blendulf (conductor) Wolfgang Amadeus Mozart (1756-1791) Lada Valešová (piano) Piano Trio in B flat major, K 502 Orchid Classics ORC100131 01:16 AM Amatis Piano Trio https://www.orchidclassics.com/releases/orc100131-natalya- Edvard Grieg (1843-1907) romaniw-lada-valesova/ Piano Concerto in A minor, op. 16 06:20 AM Alessio Bax (piano), Auckland Philharmonia Orchestra, Daniel Johannes Brahms (1833-1897) Veress: String Trio & Bartók: Piano Quintet Blendulf (conductor) Hungarian dances for piano duet (Nos.1; 11; 13; 17; 8) Vilde Frang (violin) Noel Lee (piano), Christian Ivaldi (piano) Barnabás Kelemen (violin) 01:45 AM Lawrence Power (viola) Alexander Scriabin (1871-1915) 06:33 AM Nicolas Altstaedt (cello) Prelude for the Left Hand, op. 9/1 Valborg Aulin (1860-1928) Alexander Lonquich (piano) Alessio Bax (piano) Quartet for strings in F major (1884) Alpha ALPHA458 Tale String Quartet https://outhere-music.com/en/albums/veress-string-trio-bartok- 01:48 AM piano-quintet-alpha458 Jean Sibelius (1865-1957) Symphony No.
    [Show full text]
  • WMCE Year 2012 Top-150.Pdf (31.5 Kib)
    World Music Charts Europe YEAR 2012 Compiled by Johannes Theurer on behalf of the World Music Workshop of the European Broadcasting Union (EBU) copyright by Giftmusic 2012 The top 150 of 1009 nominated records 1 BOUGER LE MONDE Staff Benda Bilili DR Congo Crammed 2 EL AAIUN AGDAT Mariem Hassan Western Sahara/SpainNubenegra 3 BROTHERS IN BAMAKO Habib Koite - Eric Bibb Mali/USA Contre-Jour 4 BBC 3 - WORLD ROUTES: ON THE ROAD Various Artists various Nascente 5 FATOU Fatoumata Diawara Mali World Circuit 6 HORA KOTA Bonga Angola Lusafrica 7 A CURVA DA CINTURA Arnaldo Antunes, Edgar Scandurra & Toumani Diabate Brazil/Mali Mais Um Discos 8 UTU Värttinä Finland Rockadillo Records 9 RADIO SALONE Sierra Leone's Refugee All Stars Sierra Leone Cumbancha 10 GREEKADELIA Kristi Stassinopoulou & Stathis Kalyviotis Greece Riverboat/WMN 11 RISING TIDE Mokoomba Zimbabwe Zigzagworld 12 MAVRA FROUDIA Petrakis, Lopez, Chemirani Greece/Spain/Iran Musiepoca 13 KINSHASA SUCCURSALE Baloji Belgium Crammed Discs 14 JAVA Sambasunda Quintet Indonesia Riverboat/WMN 15 NORD Warsaw Village Band Poland/Sweden JARO/Karrot Komando 16 NO NA ORELHA Criolo Brazil Sterns 17 UNIVERSITY OF GNAWA Aziz Sahmaoui France/Morocco Naive 18 TWINKLINGS OF HOPE Mahsa & Marjan Vahdat Iran Kirkelig Kulturverksted 19 MADREPERLA Riccardo Tesi & Banditaliana Italy Visage 20 CUMBIA CUMBIA 1&2 Various Artists Colombia World Circuit 21 MUSIC OF CENTRAL ASIA #10 Wu Man and Master Musicians from the Silk Route China/Central Asia Smithsonian Folkways 22 THE ORIGINAL SOUND OF CUMBIA Various Artists Colombia Soundway Records 23 LA CANTIGA DEL FUEGO Ana Alcaide Spain ARC 24 ONDATROPICA Ondatropica Colombia Soundway Records 25 SONGS FOR DESERT REFUGEES Various Artists Various Glitterhouse Records 26 THE UNBROKEN SURFACE OF SNOW Andrew Cronshaw UK Cloud Valley 27 O DEUS QUE DEVASTA MAS TAMBEM CURA / THE GOD..
    [Show full text]
  • Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
    Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists.
    [Show full text]
  • Centro De Investigaciones Y Estudios Superiores En Antropología Social
    Centro de Investigaciones y Estudios Superiores en Antropología Social El movimiento oscuro en la ciudad de México: Una aproximación a los Colectivos Culturales como Comunidades de Estilo. T E S I S Que para obtener el grado de MAESTRO EN ANTROPOLOGÍA SOCIAL P r e s e n t a ULISES MARTÍNEZ CHIPRES. Directora de tesis: Dra. Minerva Villanueva Olmedo. Febrero de 2014. Centro de Investigaciones y Estudios Superiores en Antropología Social - Unidad Golfo. Maestría en Antropología Social. (MAS) El movimiento oscuro en la ciudad de México: una aproximación a los colectivos culturales como comunidades de estilo. Alumno: Ulises Martínez Chipres. Comité de tesis Dra. Ma. Ángela Rodríguez Nicholls. Dr. Homero Ávila Landa. Dr. Felipe Vásquez Palacios. Febrero de 2014 Xalapa, Ver. 2 Agradecimientos Esta investigación se realizo gracias al apoyo del Consejo Nacional de Ciencia y Tecnología (CONACYT), mediante el programa de becas de posgrado promoción 2011-2013. Agradezco también al Centro de Investigaciones y Estudios Superiores en Antropología Social (CIESAS) Unidad gofo, por haberme permitido cursar los estudios maestría en Antropología Social, en sus instalaciones. Agradezco a la Dra. Minerva Villanueva Olmedo, por haber confiado en mi persona, por su paciencia y por la dirección de este trabajo. Al Dr. Felipe Vázquez Palacios, por sus acertados cometarios en clase y durante los coloquios de investigación. Al Dr. Homero Ávila Landa, por su tiempo y dedicación a la lectura del proyecto y por su participación como lector en los coloquios internos del CIESAS. Agradezco también a la Dra. María Ángela Rodríguez, por su atenta lectura de mi trabajo y sus importantes comentarios que me facilitaron estructurar el contenido final de tesis; agradezco a todos ellos, su amabilidad de formar parte del Comité de Tesis.
    [Show full text]
  • ICTM Abstracts Final2
    ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.
    [Show full text]
  • Corvus Corax Corvus Corax
    AUGUST / SEPTEMBER 08 AUSGABE 15 - JAHRGANG 3 COORVUSRVUS COORAXRAX ENNDD OF GRREENEEN DIIEE KRRUPPSUPPS STTEINKINDEINKIND EIISBRECHERSBRECHER HAAGGARDGGARD LEETZTETZTE INNSTANZSTANZ MEEGAHERZGAHERZ SPPECIALECIAL: COODELINEDELINE REECORDSCORDS DAASS GEEGENGIFTGENGIFT ZZURUR HAAGGARDGGARD MUUSIKPIRATERIESIKPIRATERIE LEETZTETZTE INNSTANZSTANZ STTEINKINDEINKIND GRATIS ZUM MITNEHMEN 2 EDDITORIALITORIAL INNHALTHALT Die letzte Ausgabe dieses Sommers und mit- 5 Tourdates ten drin in der Festivalsaison. Unsere NEGAtief 5 Kolumne: Schementhemen Stände auf dem WGT und Amphi Festival waren 7 Soundcheck ....in diesen Läden gibt es das NEGAtief ein großer Erfolg: Wir durften viele von unseren 9 Festival: Infacted Media Markt: Aschaffenburg, Augsburg, Bad Dürr- Lesern persönlich kennenlernen und haben viele 17 Festival: Dark Area heim, Bochum, Chemnitz, Dessau, Dresden-Nickern, neue Abonnenten gewonnen. Übrigens nach 24 Label: Codeline Duisburg, Flensburg, Goslar, Groß Gaglow, Günthers- dorf, Heide, Heilbronn, Herzogenrath, Hildesheim, wie vor die einzige sichere Möglichkeit, jedes 46 Hörspiel: Sacred Kaiserslautern, Karlsruhe, Koblenz, Krems, Leoben, NEGAtief zu erhalten, denn leider sind die Hefte 56 Sampler: Infacted Vol. 4 in den Clubs immer extrem schnell vergriffen. In Limburg, Linz, Magdeburg, Memmingen, München, diesem Heft haben wir wieder sehr darauf ge- Nürnberg-Kleinreuth, Oldenburg, Pforzheim, Porta 55 Blackmore‘s Night achtet, eine gesunde Mischung aus bekannten Westfalica, Reutlingen, Saarbrücken ,Sindelfi ngen, 10 Corvus Corax Bands
    [Show full text]
  • Black Sabbath the Complete Guide
    Black Sabbath The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 17 May 2010 12:17:46 UTC Contents Articles Overview 1 Black Sabbath 1 The members 23 List of Black Sabbath band members 23 Vinny Appice 29 Don Arden 32 Bev Bevan 37 Mike Bordin 39 Jo Burt 43 Geezer Butler 44 Terry Chimes 47 Gordon Copley 49 Bob Daisley 50 Ronnie James Dio 54 Jeff Fenholt 59 Ian Gillan 62 Ray Gillen 70 Glenn Hughes 72 Tony Iommi 78 Tony Martin 87 Neil Murray 90 Geoff Nicholls 97 Ozzy Osbourne 99 Cozy Powell 111 Bobby Rondinelli 118 Eric Singer 120 Dave Spitz 124 Adam Wakeman 125 Dave Walker 127 Bill Ward 132 Related bands 135 Heaven & Hell 135 Mythology 140 Discography 141 Black Sabbath discography 141 Studio albums 149 Black Sabbath 149 Paranoid 153 Master of Reality 157 Black Sabbath Vol. 4 162 Sabbath Bloody Sabbath 167 Sabotage 171 Technical Ecstasy 175 Never Say Die! 178 Heaven and Hell 181 Mob Rules 186 Born Again 190 Seventh Star 194 The Eternal Idol 197 Headless Cross 200 Tyr 203 Dehumanizer 206 Cross Purposes 210 Forbidden 212 Live Albums 214 Live Evil 214 Cross Purposes Live 218 Reunion 220 Past Lives 223 Live at Hammersmith Odeon 225 Compilations and re-releases 227 We Sold Our Soul for Rock 'n' Roll 227 The Sabbath Stones 230 Symptom of the Universe: The Original Black Sabbath 1970–1978 232 Black Box: The Complete Original Black Sabbath 235 Greatest Hits 1970–1978 237 Black Sabbath: The Dio Years 239 The Rules of Hell 243 Other related albums 245 Live at Last 245 The Sabbath Collection 247 The Ozzy Osbourne Years 249 Nativity in Black 251 Under Wheels of Confusion 254 In These Black Days 256 The Best of Black Sabbath 258 Club Sonderauflage 262 Songs 263 Black Sabbath 263 Changes 265 Children of the Grave 267 Die Young 270 Dirty Women 272 Disturbing the Priest 273 Electric Funeral 274 Evil Woman 275 Fairies Wear Boots 276 Hand of Doom 277 Heaven and Hell 278 Into the Void 280 Iron Man 282 The Mob Rules 284 N.
    [Show full text]