Jähnichen, Gisa, ed. (2019). Studia Instrumentorum Musicae Popularis (New Series) VI. Berlin: Logos. (original) (raw)
Related papers
STUDIA INSTRUMENTORUM MUSICAE POPULARIS (NEW SERIES), 2023
This collection of contributions is a choice of papers given at the 24th symposium of the ICTM Study Group on Musical Instruments held from 29th of March to the 1st of April, 2023, at the Faculty of Music, University of the Visual and Performing Arts, Colombo, Sri Lanka. One may find contributions of Rastko Jakovljevic, Ahmad Faudzi Musib, Choduraa Tumat and Bernard Kleikamp, Hoh Chung Shih, Huang Wan, Gisa Jähnichen, Liu Xiangkun, Sulwyn Lok and Andrew Filmer, Chinthaka P. Meddegoda, Nishadi Prageetha Meddegoda, Christopher A. Miller, Renzi, Nicola, Timkehet Teffera, Xue Tong, Adilia Yip, and Zhong Wei Cheng. All had to say something very important either about sound manipulation or about musical instruments of humans as part of nature. Or did anyone know before that Jimi Hendrix manipulated his sound effects or how waza trumpets of the Berta are quickly tuned and which instruments accompany a joik in reality? These, and many other questions can be answered through reading the articles compiled in this volume. They celebrate diversity in their own way.
SIMP, 2023
The accelerated development of technology and climatic changes, which is progressively interwoven with each other, will unavoidably lead to changes in the production and use of musical instruments. It is time to investigate into these upcoming changes and their impact on many features of social life, with the views on past issues included. In this regard, the aim of this paper is to give a first overview on how practices with musical instruments can be continued on different levels of production and use through a historically informed kind of musician and instrument producer. Insofar, this overview can be seen as a beginning of diverting from a physical fixing in ethnic belongings and financial approaches widely requested among musicologists of the 21st century. 'The global perspective cannot be the end of musical instruments' is one of the theses being discussed with the help of most recent literature on the topic. It is dedicated to the second main topic of the symposium.
Music is a universal language understood by humans irrespective of the language and instruments used. As God"s special gift to man, music has the prospect of healing the sick particularly people who suffer fit of psychological traumas. The paper examines music and musical instruments in Tivland using the phenomenological apparatus. The research is necessitated by the disappearance of Tiv musical instrument in lieu of instruments from the west. The primary and secondary sources data of collection were employed in the process; field work was undertaken guided by oral interview and the use of documented sources from books and journals. The study established that most of the musical instruments belonging to the Tiv are being lost and forgotten as a result of non usage and adoption of foreign/modern musical instruments from the west as well as those from neighbouring ethnic groups. For instance, the adiguve is hardly recognised by Tiv of contemporary times. In view of this ugly scenario, the paper calls for the establishment of a museum devoted to the collection and preservation of Tiv musical instruments for posterity. It is our hope that the study will lead to a revival in the use of these forgotten musical instruments of the Tiv so that they are not completely forgotten. This will not only be a positive development towards the preservation of these musical instruments but Tiv culture in general.
This compilation of articles resulting from papers given on the occasion of three different seminars in three consecutive years from 2013 to 2015 (Perspectives on an 21st Century Comparative Musicology: Ethnomusicology or Transcultural Musicology?; Living Music: Case Studies and New Research Prospects, and Musical Traditions in Archives, Patrimonies, and New Creativities) is an interesting mixture of very updated and at the same time well-grounded insights into the core problems of a discipline that starts to question itself: Ethnomusicology or transcultural musicology? It is not by accident that the title of the first conference is also the general topic of the publication, whether there are sections on local music practices, historical research activities or general anthropology. The central question seems to be the denial of purity in cultures and the consequences for anything ethnomusicology has achieved so far.
The Oxford Handbook of Phenomenology of Music Cultures
The Oxford Handbook of the Phenomenology of Music Cultures, 2024
A source of profound insights into human existence and the nature of lived experience, phenomenology is among the most influential intellectual movements of the last hundred years. The Oxford Handbook of the Phenomenology of Music Cultures brings ideas from the phenomenological tradition of Continental European philosophy into conversation with theoretical, ethnographic, and historical work from ethnomusicology, anthropology, sound studies, folklore studies, and allied disciplines to develop new perspectives on musical practices and auditory cultures. With sustained theoretical meditations and evocative ethnography, the book’s twenty-two chapters advance scholarship on topics at the heart of the study of music and culture today—from embodiment, atmosphere, and Indigenous ontologies to music’s capacity to reveal new possibilities of the person, the nature of virtuosity, issues in research methods, the role of memory, imagination, and states of consciousness in musical experience, and beyond. Thoroughly up-to-date, the handbook engages with both classical and contemporary phenomenology, as well as theoretical traditions that have drawn from it, such as affect theory or the German-language literature on cultural techniques. Together, these essays make major contributions to fundamental theory in the study of music and culture.
The migration of musical instruments: On the socio-technological conditions of musical evolution
Journal of New Music Research
Music technologies reflect the most advanced human technologies in most historical periods. Examples range from 40 thousand years old bone flutes found in caves in the Swabian Jura, through ancient Greek water organs or medieval Arabic musical automata, to today's electronic and digital instruments with deep learning. Music technologies incorporate the musical ideas of a time and place and they disseminate those ideas when adopted by other musical cultures. This article explores how contemporary music technologies are culturally conditioned and applies the concept of ethno-organology to describe the nature of migration of instruments between musical cultures.
The Shaman’s Drum: Eurocentric Interpretations of Non-European Sonic Worlds (2022)
Virus. Beiträge zur Sozialgeschichte der Medizin, 2022
In this contribution, I will focus on the history and meaning construction of the term “shamanism” and its implications for the music that is attached to this concept. “Shamanism” was brought to Europe from Russian Siberia in the 17th century and then, until the 20th century re-interpreted as an epitome of the exotic and diabolic. During the last third of the 20th century, however, the term and concept were transformed and romanticized in alternative and New Age contexts of modern societies. The music associated with Indigenous ritual was likewise transformed and adapted so that anyone could play it, like e.g monotonous drumming. Both processes, the historical construction of the exotic and contemporary appropriations of the romantic are based on highly colonial prejudices of the “primitive” and are ignorant of the Indigenous historical and contemporary realities.