World music Research Papers - Academia.edu (original) (raw)

2025, Muzikologija - Musicology

This study presents research on Roma music in Serbia, as well as the
socio-historical contexts that have shaped it. Texts by Tihomir Đorđević,
Andrijana Gojković, Tatomir Vukanović, Vesna Acković, Dimitrije
Golemović, Svanibor Pettan, Ivana Ljubinković, Alexander Marković,
Ana Banić Grubišić, and other researchers who have contributed to this
field from the beginning of the twentieth century to the present day are
analyzed. Chronologically arranged thematic and disciplinary nodes are
also highlighted – from ethnological descriptions, classifications and the
first discussions on representations of Roma identity, through (musical)
folkloristics, non-Roma ethnomusicological analytical engagement with
understandable text (i.e., instrumental music), to the shifting of the
Serbian and American anthropologists’ focus toward socially engaged
interpretations.

2025, ANTEC Revista Peruana de Investigación Musical

This article analyzes the symphonic poem Kukuli and demonstrates how Armando Guevara Ochoa
uses elements of oral tradition music, which serve as a compositional paradigm in his regionalist
style, reflecting a sound world linked to the music he was exposed to since his childhood. It also
allows us to understand and explore Guevara Ochoa's nativist discourse, which distances him from
the ideas of indigenous composers who proposed the continuity of Inca music in their imaginary.
On the other hand, this paper provides a first exploration of the little–discussed aspect of
Armando Guevara’s life as an audiovisual composer, offering insight into his creative processes in
the incidental music created for the film Kukuli, and its subsequent transformation into a formal
work, the symphonic poem of the same name.
It also examines the orchestral treatment, both harmonic and textural, that Guevara
Ochoa employs to recreate a sonic imaginary. In this work, the harmonic treatment applied to
pentatonic melodies, recreated from oral tradition, can be observed, representing in sound the
nostalgia of his experiences in the Andean world. This feature clearly distinguishes him from the
so–called indigenous composers who preceded him and, at the same time, distances him from the
compositional avant–gardes developed by his contemporaries.

2025

This article explores pedagogical approaches to help children transition from natural speech to healthy singing. It provides imaginative, age-appropriate strategies for developing breath control, pitch accuracy, and vocal expression... more

2025

Lucian Carnival is an ongoing cultural negotiation that embodies the tensions between tradition and change, heritage and innovation, authenticity and commodification. Drawing from ethnographic insights as well cultural theory, and personal reflection, this Carnival Lecture (paper) explores how carnival operates not only as a performative celebration but also as a contested site of socio- cultural meaning, recognising that the meaningful transmission and meaning-making agency of carnivals lie in their capacity to offer "a section for everyone” . The presentation will discuss the adaptive strategies at play in the contemporary Lucian Carnival, and propose how we might understand its future through the lens of cultural agency.

2025, History: Reviews of New Books

2025, Dr. Anura Tillakaratne felicitation volume

The Ajanta Caves, a UNESCO World Heritage site in Maharashtra, India, are among the finest expressions of early Buddhist art and architecture in South Asia. Dating from the 2nd century BCE to the 6th century CE, these rock-cut caves are adorned with vibrant murals and sculptures that narrate scenes from the Buddha's life, Jataka tales, and pivotal historical episodes. One of the most compelling representations within this artistic corpus is found in Cave 17, where a mural depicts the legendary "Coming of Sinhala"-the arrival of Prince Vijaya in Sri Lanka. This scene, rooted in the origin myth of the Sinhalese people as recorded in the Mahavamsa, signifies more than a historical narrative; it illustrates the cultural and religious continuum between India and Sri Lanka during the formative periods of Buddhist history. The murals at Ajanta reflect a confluence of regional styles and influences, including those from the Satavahana, Vakataka, Gupta, and Chalukya periods, as well as artistic traditions from Sri Lanka and Central Asia. The depiction of Prince Vijaya amidst elephants and riders in Cave 17 highlights the integration of political myth into Buddhist visual storytelling, serving both religious and cultural functions. Furthermore, striking parallels exist between the paintings of Ajanta and those of Sigiriya in Sri Lanka. Both sites, known for their refined aesthetic, dynamic figures, and use of mineral pigments, suggest a shared artistic dialogue across the Bay of Bengal. These similarities reinforce the idea of an interconnected Buddhist world in the early medieval period. Thus, the Ajanta murals-especially the "Coming of Sinhala"-offer not only a glimpse into ancient Indian artistry but also into the enduring Indo-Sri Lankan cultural and historical relationship. They remain invaluable to understanding how myth, migration, and Buddhism interwove to shape civilizational identities across South Asia.

2025

Hybridisation is a multifaceted term that appears across several sociocultural contexts, while common conceptualisations of musical hybridisation in scholarship tend to be positioned in genre studies. As a result of the perceived disjunctions of taxonomical framings of genre however, analytically satisfying definitions of musical hybridity are seldom offered and this clear gap in musicological, ethnomusicological, and cultural research is yet to be adequately explored by conventional theoretical research. This thesis therefore argues that a practice-based approach is more appropriate towards contextualising and understanding this phenomenon. In doing so, it problematises language and concepts, including genre, that fail to accurately describe such phenomena and move towards a more tangible definition of hybridity. This is approached through the creation of a genre-free framework for the creation and analysis of this phenomenon, establishing the musical hybrid as an experiential product, and musical hybridisation as a process that entangles various modalities (theorised in this thesis) of construction, expression, and experience. This framework informs and contextualises a portfolio of original Scottish Gaelic-language music that exploits these modalities, providing a practical contextualisation of the hybridisation framework through the analysis of the hybridisation process and hybrid product(s) of the compositional work. Consequently, this thesis offers knowledge in the form of the theoretical framework and the musical output of my practice.

2025, Zbornik radova 13. međunarodni simpozij "Muzika u društvu", Sarajevo 7-10/12/2022.

The paper shows the evolution of the musical style of the pop-rock band “Indexi” up to 1972. An analysis of 20 of their compositions leads to the conclusion that they adopted and localized contemporary trends of Anglo-American popular music in the 1960s. Thus, “Indexi” significantly influenced the development of authentic pop-rock expression in Yugoslavia.

2025, RAGA MUSIC THERAPY Listening to Indian Raga as a music therapy support

The article analyses the possible therapeutic uses of a supportive and receptive form of music therapy called Raga Therapy, which can be associated with medical and pharmacological therapies to enhance their scope and help alleviate the unwanted side effects of some drugs. The therapeutic action is based on the transformative principle of emotional energetic blocks, which in Nāda Yoga is actively obtained by singing specific musical scales of the Melakarta system of South India. You can apply Raga regardless of the subjective characteristics of the user (age, sex, geographical origin, culture, personal experiences, etc.) because it is based on a mathematical formula of musical intervals. Listening to the tracks allows specific and predictable emotional states to emerge from the listener's subconscious, thus transforming them into positivity and thus promoting the release of blocked emotional energy, balancing the energetic alterations that are at the basis of the various psychophysical problems, to the benefit of the general well-being of the patient.

2025

This research contextualizes the measurability of African musical arts (including music, dance, drama, poetry and costume art as an integrated whole), through the introduction of a generic evaluation system, which can be implemented outside its culture of origin as recontextualized authenticity. An assessment system is developed, entitled, The Generic Crosscultural Assessment Framework for African Musical Arts. The Framework illustrates that: the cultural-educational void between African/indigenous/informal and international/formal music education can be crossed; the development of a reliable, valid and objective evaluation system for African musical arts assessment, which can be recognized internationally to the satisfaction of Western and African cultures, is possible. African musical arts has only fairly recently begun to be integrated into formal education systems and music curricula for schools and tertiary institutions. At this stage, there is no structured curriculum available for African musical arts in schools. The need for structuring a Framework for contemporary African musical arts assessment, from which a curriculum could be developed, is clear. The contextualization of the main problem of the research, namely the measurability of African musical arts, took place through: exploration of cultural diversity; translation between cultures; music-cultural integration processes in assessment; cross-cultural dialogue; the learning, teaching and grading situations in different cultures and systems and the integration of different 'voices' from many disciplines. Globalization and change were essential concepts in this research. The choice of the research designs for this thesis was informed by Western as well as African indigenous music philosophies. A combination of documentary research design (with literature review, content analysis) and deconstruction theory study designs was conducted within the qualitative paradigm. The reseach focused on intercultural understanding and communication, as well as its emic/etic, or insider/outsider approach. The most important aspects of the research focused, firstly, on Social Studies including Ethnomusicology, Translation Studies, Inter-Cultural and Cross-Cultural Studies; secondly, v on Educational Studies including assessment standards, philosophies and systems; thirdly, on African Musical Arts; and finally, on contemplating the syntheses of all above named outcomes in relation to generic cross-cultural standards. The emphasis of the thesis is on music-cultural integration processes in assessment of progressive skills development.

2025

Artigo integrado no projeto de investigacao com o titulo “Educacao, Cinema, Redes Sociais: Um estudo sobre o Plano Nacional de Cinema” e no doutoramento do primeiro autor em Media - Arte Digital – Universidade Aberta/ Universidade do... more

2025

Music 1900 is an introduction to ethnomusicology for undergraduates with a background in Western music theory. It introduces ethnomusicology through an overview of the discipline and few in-depth case studies. I taught the course every few years, in rotation with other ethnomusicologists in the music department at Brown. My 2011 syllabus marks the last time I taught the course.

2025, Journal of Research in Music

This research paper discusses the complexity of performing, emphasising one's traditional arts and belongings to claim and represent one's cultural capital or to meet the stereotypical anticipations of 'others' in shared cultural spaces, particularly in the context of sociocultural parades. This research also briefly delves into how the dynamics of disempowerment and empowerment of subcultures affect representing identities in shared spaces. It employs archival observations to analyse the Ruhunu Katatharagama Dewala Asala Perehera procession in Sri Lanka. In particular, the study exemplifies the representation of the identities of the contributing sub-cultures ethnic communities and performance groups of Sri Lanka through their residual, modified and stereotypical cultural performances including the performances by Sinhala, Tamil and Indigenous communities representing Buddhist, Hindu, and other religious beliefs and ideologies.

2025, Yegah Müzikoloji Dergisi

Dostlar Konağı, yeni Ankaralı müziğinin icra edildiği ve Ankara yöresi halk oyunlarının oynandığı bir eğlence mekânıdır. Araştırmada, yeni Ankaralı müzik scene içerisinde, Ankaralı müziğinin üretildiği ve tüketildiği bir canlı performans mekânı olarak son yıllarda oldukça popülerleşen Dostlar Konağı’nın ne gibi müzik/eğlence pratikleri içerdiği, hangi toplumsal sebeplere bağlı olarak ilgi gördüğü ve buradaki programlara katılanların etkinliğe yönelik duygu ve düşüncelerinin neler olduğu gibi çeşitli sorular ele alınmıştır. Bu bağlamda, Ankaralı müziğinin güncel bir performans mekânı olan Dostlar Konağı’nın, çeşitli kavramsal araçlardan yararlanılarak farklı boyutlarda analiz edilmesi amaçlanmıştır. Araştırmada nitel paradigmanın etnografik veri toplama tekniklerinden gözlem, görüşme ve içerik analizi yöntemleri bir arada kullanılmıştır. Araştırma neticesinde, Dostlar Konağı’nın, Ankaralı müziğini içki ve kadın gibi unsurlardan arındırarak muhafazakâr bir eğlence tarzı oluşturduğu ve Ankaralı müziğinin merkezde olduğu kentli eğlence anlayışına toplumsal değerler açısından meşrû bir alternatif yarattığı sonucuna ulaşılmıştır. Ayrıca, Dostlar Konağı’nın içki ve kadın unsurlarını barındırmaması, güçlü bir icracı-dinleyici etkileşimi içermesi ve karnavalesk bir sosyal ortama sahip olması gibi sebeplerle Seymen âlemlerinden, köy odası sohbetlerinden ve pavyon/gazino türü eğlence anlayışlarından daha farklı ve özgün bir konumda olduğu tespit edilmiştir. Ankaralı eğlence anlayışında, Dostlar Konağı’nda somutlaşan bir dönüşüm sürecinin yaşandığı öne sürülmüş, bu eğlencenin ekonomik açıdan toplumun her kesimi tarafından ulaşılabilir olması da dikkate alındığında mekânın bu derece ilgi görmesinin ardında sözü edilen sosyal ve ekonomik sebeplerin bulunduğuna kanaat getirilmiştir.

2025

I would like to record my grateful thanks for the excellent guidance and support provided by my supervisor Andy Pratt. The 6 plus years that this research spanned involved many twists and turns. Andy's questions and challenges were vital in helping me navigate these challenges and bring the research to a successful conclusion. This thesis owes a debt to the producers, engineers, studio owners and managers, and record label representatives who generously gave their time and thoughts for this project. I am also grateful to the Association of Professional Recording Services for allowing me to contact their members and thus begin the process of collecting and gaining the required interviews. To preserve confidentiality all names and places of work have been changed.

2025, The Arrow

Summer 1995, Kumasi, Ghana: I had a dream that I was entangled with a large crocodile. Each movement I made hurt the crocodile terribly. It was howling and whining and making all sorts of sounds crocodiles don't usually make-letting me know the agony of its situation. One solution would have been to chomp me. Eat me. Kill me. That likely would have put an end to its torment. But to do so, the crocodile would have had to contort its body causing excruciating pain. Whatever the case, it didn't choose this option and I felt bad about hurting it with each innocent shift of my body. Together, we managed to negotiate being perfectly still-yes, in my dream the crocodile and I could communicate. We then coordinated our movements in order to slowly and carefully disentangle. At times, the crocodile was above me and, at times, I was above it. But we were delicate and intentional, and, in untangling ourselves, its pain was kept to a minimum. Eventually we detached and there was a brief moment when I thought now being free, it might decide to eat me anyway. But it didn't. We were good. The dream was over. HE MEDICAL PROFESSIONALS warned me that the malaria pills might give me strange dreams. My family in Ghana said it was my ancestors welcoming me home. Some curious confluence of life circumstances blessed me to spend the summer of 1995 with Peggy Appiah, a dear family friend and mother of my namesake, in the Mbrom neighborhood of Kumasi-capital of Ashanti. While my friends back in New England were making mid-summer memories to TLC's "Waterfalls," I was retracing family histories, in their many forms, only steps away from Komfo Anokye Teaching Hospital, where I

2025, in: Lied und populäre Kultur / Song and Popular Culture 68 (2023), Freiburg 2024, p. 123-137.

The invention of the phonograph in 1877 revolutionised listening by allowing sound to be recorded and played back independently of its source. Early ethnomusicologists like Felix von Luschan and Carl Stumpf embraced this technology in their field of research, with the aim to preserve the rich musical heritage and cultural traditions of the world, as they stated. In the early 1900s, numerous European sound archives, including the Berlin Phonogram-Archive (BPhA), officially established in 1905, were founded to expand the collection of recordings, especially those from non-European areas, and thereby protect the 'endangered' so-called 'exotic/primitive' musical traditions from being lost under the influence of Western cultures. Today, the BPhA maintains an extensive repository of nearly 17,000 historical recordings, raising important questions about their intended beneficiaries, original purpose, accessibility, and contemporary usage. This article explores the practical context of using these recordings both in the past and present, particularly within the realm of 'world music' practices. It also examines the importance of these recordings and addresses the challenges related to their accessibility by non-European societies.

2025

This was the PhD research proposal I submitted when I applied to do the doctorate at Sheffield in 2021, which got accepted but I could not proceed due to failure to get funding. I instead did the BD at the University of London in the meantime with a hope of returning to commence the PhD afterwards. Unfortunately, my would-be supervisor decided to retire so I can no longer pursue the PhD at Sheffield anymore. I will find a new place to do the PhD at, but this means I would have to redo the proposal anew, so this old research proposal is uploaded here for posterity's sake.

2025, The World of Music

The didjeridu dates back at least fifteen hundred years before present in northern Australia. In the last several decades, however, it has come to be used globally and nationally in contexts falling outside the parameters of local, traditional Aboriginal musical, socio-cultural, and spiritual practice. The contexts chosen for examination here are spectacle and therapy. The A. argues that Feld's formulation of a process of schizophonia to schismogenesis for how sounds can become distorted when split from their source can also be applied to musical instruments. What is of general interest is the interplay of the curious and the common in the rebirth, refashioning and re-contextualisation of a particular musical instrument (or any musical instrument for that matter) which not only helps make music but also helps socially construct and culturally produce meaning and value for those who play it, make it and hear it. What is of more specific interest is how didjeriduists are using the instrument in ways unforeseen even a decade ago. The didjeridu 's trajectory as an instrument, icon and industry is both reflected in and shaped by indeterminant cultural appropriations which operate globally and are enacted primarily by non-Aboriginal people.

2025

What is geography beyond the charting of landmasses, climate zones, elevations, bodies of waters, populated ter rains, nation states, geological strata and natural resource deposits? What is geography beyond the charting of land masses, climate zones, elevations, bodies of waters, popu lated terrains, nation states, geological strata and natural resource deposits? Geography is a theory of cognition and a system of classification, it is a mode of location and it is a site of col lective national, cultural, linguistic and topographical his tories. (…) Geography as an epistemic category is in turn ground ed in issues of positional, in questions of who has the power and authority to name, of who has the power and authority to subsume others into its hegemonic identity.1

2025

Building on Mantle Hood's and Charles Seeger's original concept of participatory experience, this presentation discusses and validates world music performances in ethnomusicology by fostering favorable and nurturing academic environments. In the formation and development of Jacaré Brazil (a Brazilian ensemble) and the Brazilian Music Institute at the University of Florida, world music has gained new significance for performances and provided a meaningful participatory experience. The collegiality among faculty, students, and local musicians, enriched by successful experiences from academic activities like concerts, live-web performances, lecture series, and workshops, has created a new training ground and cultural experience for students and faculty. This process ensures that students have the potential to become bi-musical or experts in more than one musical idiom. The underlying belief is that students benefit from experiencing and practicing music outside traditional European models. Engaging in new and dual performance practices while developing varied sensorial perceptions and musical possibilities enables individuals to listen for quarter-steps, cultivate a metronomic sense, and gain independence from musical scores and Western notation. Thus, it allows for the exchange of information across multiple fronts, offering opportunities not only for students and faculty to perform but also for promoting artistic values and validating performance with standards analogous to traditional Western art music.

2025

Konnakkol, the South Indian art of vocal percussion, has captivated global musicians with its rhythmic depth and expressive power. Yet, Western musicians often struggle to access its full potential due to cultural, pedagogical, and conceptual differences. This essay examines the challenges faced by Western learners-ranging from traditional pedagogical models like the guru-shishya parampara to the oral nature of its transmission and the absence of standardized notation. It critiques common misconceptions and the tendency to oversimplify Konnakkol in social media and Western pedagogical resources. Drawing on the author's experience as a practitioner and teacher, alongside interviews and research, the essay argues for a more informed and respectful approach to integrating Konnakkol into global musical contexts.

2025, Journal of Indian Research

Researchers in India use observed culture to observe many aspects of cultural data in qualitative research. One aspect that is not often explored within South Asia is music as a source of data. Researchers and academics define this as ethnomusicology. Instead of studying music as an art, ethnomusicologists use music as a looking-glass into the culture, from where one can glean valuable insights that sometimes may not otherwise be observable. In this essay, the writer explores insights that may be learned through studying a cultural group's music, and discusses applied ethnomusicology, where the researcher studies music in order to make a change through direct action. The essay ends with a plea to Indian academics to make known to their students the benefit of studying a culture's music as a means of learning more about the culture itself. The perspective involved combines both insider(emic) and outsider(etic) approach.

2025

Jean-Louis Georget, maitre de conferences a l’Universite Paris-XIII/Nord L’ethnologie allemande de la Seconde Guerre mondiale a l’Ecole de Tubingen Le travail a porte cette annee sur l’etrange oubli de contextualisation de l’emergence de la discipline des sciences de la culture qu’est la Volkskunde, produit d’un long refoulement depuis la fin du XIXe siecle. Bernhard Tschofen, directeur de l’institut Ludwig Uhland de Tubingen, est venu parler, dans le cadre d’une invitation faite par le Centr...

2025

The volume contains papers presented at the Round Table Texts and Contexts. Ongoing Researches on the Eastern Iranian World (Ninth-Fifteenth C.), held at the University of Naples “L’Orientale” on September 14, 2018. The contributors deal with a variety of topics (textual and manuscripts studies, archaeology, epigraphy, numismatics), and present new researches and little known data on the history and material culture of the Pre-Modern Persianate world. The Scientific Committee was composed by M. Bernardini (“L’Orientale”), G. van den Berg (Universiteit Leiden), R. Giunta (“L’Orientale”) and M. Szuppe (CNRS-CeRMI, Paris).

2025, Teaching Bob Dylan: 'Multitudes'

Introduction to new of critical essays, "Teaching Bob Dylan: 'Multitudes', " co-edited with Brady Harrison.

2025, Estudios sobre Arte Actual

RESUMEN: Este trabajo examina la relación que se da entre la alta y baja cultura con enfoque especial en el ámbito musical. Se analizan, en primer lugar, las principales perspectivas teóricas sobre la jerarquización de la cultura, las cuales se encuentran, por una parte, desde la defensa de la alta cultura como una manifestación de lo mejor del pensamiento humano; por otro lado, desde una postura crítica que la ven como un mecanismo de distinción social que perpetúa desigualdades; y por otra parte a partir de la revalorización de la baja cultura como un importante elemento en las relaciones sociales. Posteriormente, se reflexiona desde el contexto desde la postmodernidad, en donde estas fronteras culturales se han desfigurado, lo que provoca un interesante proceso de hibridación, donde los altas y bajas culturas musicales se mezclan y coexisten, lo que desafía las tradicionales clasificaciones de buena y mala música. Este texto también explora la manera en que la tecnología y las redes sociales facilitan esta hibridación como un proceso de democratización cultural, lo que transforma la manera de producir, consumir y valorar la música en la era digital.

2025, 全球化研究

A historical overview of the concept of "world music" and an account of its contradictions and unities in a world where regional and global concepts now coexist.

2025, Neue Zeitschrift für Musik

About HANGZHOU INTERNATIONAL MUSIC FESTIVAL 2021 IN CHINA

2025, Desafios para a consolidação da Etnomusicologia no Nordeste

A Etnomusicologia do Nordeste possui, enquanto campo de trabalho e pesquisa, configurações singulares, oriundas de práticas de pesquisa, caminhos formativos e configurações acadêmicas. Este livro traz textos que evidenciam as perspectivas, reflexões e resultados de pesquisa de etnomusicólogos e etnomusicólogas alunos(as) e professores(as) que realizam pesquisas e/ou exercem atividades docentes/discentes no ensino superior e na pós-graduação na região Nordeste do Brasil. Cada capítulo resulta dos trabalhos e palestras apresentados durante a segunda edição das Jornadas de Etnomusicologia do Nordeste, realizada na Escola de Música da Universidade Federal do Rio Grande do Norte, no ano de 2019. Com a temática "Desafios para a Consolidação da Etnomusicologia no Nordeste Brasileiro" , que dá nome a esta coletânea. no evento buscou-se empreender debates que coletivizassem elementos necessários à compreensão da(s) natureza(s) do trabalho etnomusicológico na região. Apesar de não esgotar o tema ou o debate, o evento trouxe, assim como este livro traz, contribuições necessárias à identificação dos problemas e desafios do campo, materializadas nas perspectivas de pessoas engajadas com as demandas etnomusicológicas atuais.

2025

The quena is a notched flute from South America. In southern and central Andes countless archeological specimens of notch flutes dating from prehispanic times have been found; they all share the same excitation technology but are different in several aspects such as the number of holes, the geometry of the notch and the size and shape of the tube. Today the quena is an instrument widely played in Latin America both in rural contexts, where they preserve a role and symbolism linked with the agricultural cycle, and in popular culture, where it adapted to tonal music. It is in the latter context that we propose to revise from an acoustic perspective the design of the bamboo quena, optimizing the position of the toneholes and modifying the geometry of the bore in order to obtain an instrument that is flexible and able to play tonal music as well as adapt to the chromatic needs of contemporary music. The analysis is based on a linear model of the acoustical propagation inside the instrum...

2025

Moving away from a university context, and within a framework of intercultural (ed. Burnard &co. 2016), performance (ed. Solis 2004) and social change (Baker 2014) studies, this article will explore the constant border negotiations of a professional international world music band, formed by thirteen musicians from seven countries: India, Senegal, Sweden, France, England and Scotland. Imagined as a utopian social experiment by two Swedish brothers in 2012, Varldens Band (the World’s Band) quickly grew beyond the project phase and established itself as a group, performing self-branded ‘transglobal roots fusion’ music. With six different nationalities and the will to create music that both reflects and transcends them, borders are a constant source of negotiation for the musicians in musical, political and touring contexts. Musically, the band chooses to represent a united ensemble featuring musicians rather than ‘countries’. Although each individual strongly represents his or her own ...

2025, Mmw-fortschritte Der Medizin

2025, Journal of Popular Music Studies

2025

Тувинское народное прикладное искусство: тенденции развития и современное состояние С конца XIX в. самобытное народное искусство Тувы становится предметом интереса и изучения российских научных и художественных кругов. Существуя в условиях домашнего производства и не имея выделенного характера, тувинские промыслы к началу ХХ в. оформляются в профессиональное ремесло. В это же время инициируются экспедиции, их участники формируют обширный корпус источников-изделий народного творчества для ведущих музеев страны, осуществляются художественная фиксация предметов старины, а также первые опыты фотографирования. На основе экспедиционных сборов формируются музейные собрания. К 1950-м гг. промыслы и ремесла приходят в упадок. В течение последующего времени, вплоть до современности, народное искусство Тувы при государственной и общественной поддержке проходит процессы восстановления. Предпринимаются попытки развития местной промышленности на основе традиционных технологий. В восстановлении ремесел активно участвуют народные мастера-камнерезы с. Кызыл-Даг Бай-Тайгинского кожууна. Основы народного искусства включаются в образовательные практики региона как на уровне школьного, так и среднего специального обучения. Изделия современного народного искусства, в первую очередь художественная резьба из агальматолита и серпентина, сохраняют свои позиции в качестве бренда Республики Тыва. Интерес к проблемам сохранения и развития историко-культурного наследия определяет процессы, протекающие в среде народного искусства Тувы, инициируются фестивали и научно-практические конференции. Можно заключить, что развитие современного народного тувинского искусства идет по следующим направлениям: изготовление изделий по традиционным технологиям, копирование музейных образцов с их последующим осмыслением и приспособлением к современным реалиям жизни, авторские поиски в русле стилизации и использования современных технологий.

2025, Informatica Museologica

2025, XXXIII CONGRESO LATINO AMERICANO DE SOCIOLOGÍA ALAS MEXICO 2022

2025, Nāgānanda Journal of Cultural Anthropology (NJCA) 2023, Vol. 01 (01)

It has been a tradition among the Sri Lankan people since ancient times to make offerings to Goddess Pattini to seek blessings for good health. Navagamuwa Pattini Dewala is known as a miraculous dewala with historical stories about Goddess Pattini. The 'Gon pita Perahera' festival at Navagamuwa Pattini Dewalaya is the focus of this study's medical anthropological investigation, which explores the complex interactions between cultural practices, conventional healing beliefs, and community health views. What folk beliefs are associated with this 'Gon pita Perahera' festival performed for the Goddess Pattini to ward off epidemics? is the research problem in this research. The purpose of this research is to study the folk beliefs associated with this 'Gon pita Perahera', which is conducted to eliminate epidemic diseases that spread to cattle, from a medical anthropological approach. This research is a descriptive research based on secondary sources and conducted using qualitative data under library survey methodology. The 'Gon pita Perahera' held at Pattini Dewala in Navagamuwa is the only procession in Sri Lanka with the participation of cattle. This procession is held with the hope of getting the blessings of Goddess Pattini to ward off the epidemics spreading to cattle and protect the cattle. The special feature of this procession, which includes all the elements of a Sri Lankan traditional procession, is the participation of cattle decorated with colorful costumes. Correspondingly, in this procession, the deity ornaments of the Dewala are taken in the procession on the backs of cattle decorated like this. Locals refer to this procession as 'Gon pita Perahera' due to carrying these divine ornaments on the backs of cattle. The people of the village believe that by holding this procession annually, the cattle will be protected from hoof disease epidemics. This procession is expected to get the blessings of Goddess Pattini for the wealth of cattle. Accordingly, there appears to be a complex and dynamic relationship between cultural ceremonies, traditional medicine, and community health perceptions. It is a characteristic of cultured man that people turn to different rituals according to their beliefs in situations like epidemics. Accordingly, it is clear that through this festival, the people seek the blessings of Goddess Pattini to protect the cattle resources that help them earn their living from epidemics.

2025, DOAJ (DOAJ: Directory of Open Access Journals)

Apstrakt: Turbotronik se kao pravac u srpskoj popularnoj muzici javlja od 2010. godine, kada je Lenhart imao svoj prvi nastup na Improstoru u Novom Sadu. Nastavljajući dalje s radom, oko njega se stvara ceo krug publike, kao i drugih izvođača koji se bave određenim vidom improvizacije muzike. Taj pravac, nekako neplanski, dobija naziv Turbotronik, po istoimenoj reportaži Vice portala. Danas Turbotronik obuhvata nekoliko najrazličitijih grupa koje se bave miksovanjem različitih muzičkih žanrova -od repa, preko popa, pa sve do turbofolka. Ipak, kao začetnik i kao ključna figura turbotronika, izdvaja se Lenhart Tapes. Lenhart je muzičar koji se bavi miksovanjem najrazličitijih zvučnih sadržaja s audio kaseta. Od 2014. godine, Lenhart otpočinje saradnju s Mirjanom Raić, koja mu se priključuje prvenstveno pevajući tradicionalnu muziku u njegovim kompozicijama. Lenhart i Mirjana su do sada snimili desetak pesama i imali su nekoliko zajedničkih nastupa. U ovom radu imam nekoliko ciljeva. Prvenstveno, predstaviću razvoj i ključne karakteristike Turbotronika kao alternativnog muzičkog pravca. Potom, dalju analizu usmeriću ka pomenutim pojedincima -Vladimiru Lenhartu (Lenhart Tapes) i Mirjani Raić. Kroz koncepte muzičke biografije, muzičke zaostavštine, improvizacije i konstrukcije sociokulturne drugosti muzikom, koje ću prvenstveno temeljno razmotriti, ključni cilj mi je da dekodiram poruku koju ovi umetnici šalju široj publici kroz svoju muziku. Rad je zasnovan na građi proistekloj iz polustrukturiranih intervjua koje sam s Lenhartom i Mirjanom obavio u nekoliko navrata, ali i na ličnoj opservaciji i participaciji na njihovim probama i koncertima.

2025, Issues in ethnology and anthropology

2025

Научная монография представляет результаты междисциплинарного исследования истоков, истории развития традиций использования тувинцами ритуальных лент чалама, церемониальных шарфов кадак, а также ритуальных флагов тук. Рассмотрены вопросы этимологии названий, собраны многочисленные упоминания из этнографической литературы. Проанализированы вопросы общего ареала распространения ленточно-флажочной культуры. Описаны современные способы повязывания лент, подношения шарфов, установления флагов; показано присутствие ритуальных лент в культурной жизни Тувы (архитектуре, дизайне, искусстве, моде и пр.).
Предназначено для этнологов, культурологов, антропологов и для широкого круга читателей.

2025, Monografija projekta Počimalja / Monograph of project Počimalja she who starts the song

This paper explores women’s expression, pleasure, skill, and individuality in tepsijanje practices of singing accompanied by the spinning of a copper tray, both past and present. It examines how these practices, often occurring in private spaces, challenge identity boundaries and highlight lost historical traces of women’s gatherings and knowledge exchange. It also examines new frameworks for understanding these practices through the work of artist Lala Raščić (exhibition The Laugh of the Medusa, GORGO series, POČIMALJA project), which intervenes in the field of traditionalism by highlighting latent and possible interpretations of women’s practices in the Balkans. These practices have often been suppressed by mechanistic and static understandings of tradition, excluding or erasing the perspective of the female subject in culture. Through the exploration of cultural, personal, and artistic narratives, my goal is to not only rethink approaches to women’s music-making and sound-based agency in the Balkans, but also to propose new directions for future alliances and self-understandings that transcend disciplinary boundaries, cultural expressions, fixed identities, and dominant histories, between art, scholarship and culturally grounded practice.

2025, El taco en la brea

La finalidad del presente artículo es reflexionar sobre la circulación, la recepción y los usos de la canción popular como instancias productoras de sentido, susceptibles de transformar su contenido discursivo y, en último término, multiplicar el objeto canción. Para ello, nos proponemos reconstruir algunos trazos de la biografía personalizada y social de la canción «Uma casa portuguesa», desde su composición en Mozambique en los años 50, su posterior apropiación por un Portugal salazarista, hasta su desembarco en Argentina. En particular nos detendremos en las disidencias en la decodificación discursiva de la canción: si durante años muchos fadistas portugueses se negaron a cantar «Uma casa portuguesa» por considerarla un símbolo de los mecanismos de adormecimiento y promoción del statu quo empleados por el Estado Novo, para los descendientes de la inmigración portuguesa en la Argentina dicha canción adquirió otras connotaciones al erigirse como emblema identitario. Partimos de la concepción de las canciones populares como productos intermediales cuya complejidad semiótica converge de la interacción entre letra, música, interpretación, circulación, mediación, edición y narrativa visual.

2025

Various enquiries and a census reveal that more than half of patrimonial sound collections with ethnographical interest being made in France are about ethnomusicology and dancing. Overwhelmingly association-made collections have been... more

2025, SMART MOVES JOURNAL IJELLH

Shanxi is a province in the middle reach of the Yellow River Basin, famous for its rich variety of folk arts. Shanxi Drum music is the typical representative of folk music in nothern China. From south to the north, four drum music types have been in the list of the National Intangible Cultural Heritage for the unique artistic features, musical instruments used, history, cultural function and roles in the folk life. Shanxi gong and drum music is the collective wisdom of the people, and their aesthetic value lies in their wide popularity. Its unique artistic charm comes from the grandeur of the performance, flexibility and versatility of the beating techniques, as well as the combination of music, dances and folk life.

2025, Notas sobre la vida y la creatividad

Quincy Jones ha cumplido ochenta y nueve años y, sin embargo, sería el primero en decirte que está lejos de terminar su carrera. ¿Cómo puede seguir adelante a una edad en la que la mayoría de la gente estaría jubilada? ¿De dónde saca la inspiración aparentemente interminable que lo mantiene persiguiendo la creatividad a un nivel tan alto? 12 notas es una guía de autodesarrollo que nos confirma que la creatividad es una llamada que puede y debe ser respondida sin importar la edad que tengas. A partir de su propia vida y de la de sus muchos colaboradores creativos, pasados y presentes, los lectores aprenderán varias lecciones para transformar el dolor en poder, así como recordatorios prácticos, como el valor de establecer metas y articular intenciones a través de afirmaciones diarias. Quincy finalmente comparte su propio proceso con los lectores para que comprendan la importancia de dejar que la honestidad, el trabajo duro y las buenas relaciones, y no el ego, impulsen tu carrera. Quincy Jones en un productor musical, multi-instrumentista, compositor, arreglista y productor de series y televisión. Una leyenda viva de la música. A lo largo de su carrera, ha conseguido 80 nominaciones a los premios Grammy, 28 Grammys, y un premio Grammy Legend en 1992. En 2001 publicó su autobiografía, en 2008 un recopilatorio de cartas y en 2010 una guía sobre la industria de la producción musical. 12 notas. Sobre la vida y la creatividad es su primer libro de desarrollo personal.

2025, The Aesthetics of Imperfection in Music and the Arts

2025, ASBÜ Sosyal Araştırmalar Dergisi

Şakalar, A. (2024). Identity and belonging in music: A music sociology-focused analysis of ethnic music genres. Journal of ASA, 2(2), 199-223. Bu makale iThenticate programıyla taranmıştır. This article was checked by iThenticate. Alper ŞAKALAR | 200 ASA Dergisi Cilt/Volume: 2, Sayı/Issue: 2, Kış/Winter 2024 Öz Bu araştırma, etnik müzik türlerinin bireylerin kimlik ve aidiyet duygusu üzerindeki etkilerini müzik sosyolojisi perspektifinden ele almayı hedeflemiştir. Doküman analizi yöntemi kullanılarak gerçekleştirilen bu çalışma, belirli etnik gruplara ait müziklerde yer alan kimlik ve aidiyet unsurlarını detaylı bir şekilde incelemektedir. Araştırmanın bulguları, etnik müziklerin bireylerin ve toplulukların kimliklerini inşa etmelerinde, bu kimlikleri korumalarında ve dış dünyaya karşı ifade etmelerinde merkezi bir rol oynadığını göstermektedir. Özellikle diaspora topluluklarında, etnik müziklerin kültürel kimliğin korunmasında ve aidiyet duygusunun pekiştirilmesinde kritik bir işlev üstlendiği tespit edilmiştir. Bu müzik türleri, toplulukların tarihsel ve kültürel hafızalarını canlı tutmakta ve bu hafızayı yeni nesillere aktarmada önemli bir araç olarak işlev görmektedir. Aynı zamanda, etnik müzikler toplumsal tanınma süreçlerinde de etkili bir rol oynamakta, bu müzikler aracılığıyla topluluklar kültürel kimliklerini dış dünyaya karşı ifade etmekte ve bu kimliğin toplumsal yapılar içinde tanınmasını sağlamaktadır. Araştırma, müzik ve kimlik arasındaki ilişkinin dinamik ve çok boyutlu doğasının altını çizmekte, müziğin toplumsal yapılar üzerindeki derin etkilerini ortaya koymaktadır. Bu sonuçlar, müzik sosyolojisi literatürüne değerli katkılar sunmakta ve müzik ile kimlik arasındaki ilişkiyi daha iyi anlamaya yönelik yeni teorik yaklaşımlara ışık tutmaktadır. Bu bağlamda çalışma, müziğin toplumsal kimlik ve aidiyet süreçlerindeki önemini açığa çıkararak, gelecekte yapılacak araştırmalar için bir temel oluşturmaktadır.