scholarly journals Assembling ‘indigeneity’ through musical practices: translocal circulations, ‘tradition’, and place in Otavalo (Ecuadorian Andes)

Popular Music ◽  
2021 ◽  
pp. 1-22
Author(s):  
Jérémie Voirol
Keyword(s):  
Traditional Music ◽  
Social Actors ◽  
Musical Practice ◽  
Indigenous Music ◽  
Musical Practices

Abstract This article addresses the relation between Andean ‘traditional music’ and circulations of people, objects, ideas and sounds. Although many studies on Andean indigenous music have explored such circulations, scholars still tend to understand musical practices in terms of ‘cultures’. The case of indigenous music from Otavalo, in the Ecuadorian Andes, encourages us to go beyond this approach. I make two arguments. First, by conceiving of the translocal/transnational flows that have shaped ‘traditional music’ from Otavalo through the concepts of ‘network’ and ‘music world’, I unsettle the link – underlying previous approaches – between a specific people, music and place. Second, through the concepts of ‘assemblage’ and ‘mediation’, I closely look at processes of ‘traditionalisation’ and ‘indigenisation’ to show how, in the context of multiple circulations, social actors nevertheless produce a specific link between people, music and place in order to make a musical practice ‘traditional’ and/or ‘indigenous’.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

Situated approaches to musical experience

2019 ◽  
pp. 11-33
Author(s):  
Christoph Seibert
Keyword(s):  
Cognitive Science ◽  
Research Tool ◽  
Musical Experience ◽  
Musical Practice ◽  
Conceptual Clarity ◽  
Musical Practices ◽  
The Mind ◽  
The Relationship ◽  
Theoretical Considerations ◽  
Systematic Framework

Informed by a review of recent attempts in cognitive science to overcome head-bound conceptions of the mind, this chapter investigates the contribution of ‘situated’ approaches to understanding music and consciousness, focusing on musical experience. It develops a systematic framework for discriminating between situated approaches, and based on this framework and an analysis of specific scenarios discusses the ways in which musical experience may be conceptualized as ‘situated’, elucidating the implications and explanatory potential of different approaches. Finally, there is a consideration of the framework’s value as a research tool for the analysis of situated aspects of musical practices. The aim is to advance an understanding of music and consciousness by contributing to conceptual clarity and by enriching the relationship between theoretical considerations and observation of musical practice.

Modernities and Nonmodernities in Black Pacific Music

2019 ◽  
pp. 115-160
Author(s):  
Michael Birenbaum Quintero
Keyword(s):  
Musical Practice ◽  
The Pacific ◽  
Musical Practices ◽  
Integral Role ◽  
Late Nineteenth ◽  
Black Pacific ◽  
Hybrid Forms

This chapter focuses on how ideas about modernity influenced musical ideologies in the Pacific during the period from the late nineteenth to the mid-twentieth centuries. The discussion maps three black positions on the project of modernity in the region, as well as the integral role of musical practice in both their construction and their maintenance: namely, traditional sociality, aspirational respectability, and cosmopolitan blackness. In addition, it describes the musical practices that each entails, including traditional, urban, cosmopolitan, and hybrid forms. The chapter describes these stances and repertoires as existing in relation with one another as part of a repertoire of responses to modernity.

scholarly journals THE RELATIONSHIP BETWEEN TSHIVENDA LINGUISTIC VOCABULARY AND MUSICAL TRAJECTORIES AS ENCAPSULATED IN MIRERO, MAAMBELE AND DZITHAI

2016 ◽  
Vol 24 (1) ◽  
pp. 65-77
Author(s):  
N G Mugovhani
Keyword(s):  
Cultural Heritage ◽  
Indigenous Knowledge ◽  
Knowledge System ◽  
Oral Traditions ◽  
Close Connection ◽  
Indigenous Music ◽  
Indigenous Knowledge System ◽  
Musical Practices ◽  
The Relationship

African societies have always had-well established oral traditions. Vhavenḓa have a great wealth of folklore, such as mirero (proverbs), maambele (idioms) and dzithai (riddles) which help portray myriad aspects of their cultural heritage. As part of indigenous knowledge system, folkloric elements such as mirero, maambele and dzithai are used as vehicles for advising, correcting, reprimanding or rebuking. They are also used in providing direction, support and guidance. Through these folkloric elements, Vhavenḓa have always had their way of expressing how they perceive the significance of their different musical practices and styles. In their general day-to-day language, they have their own musical terminology to explain a particular perception. There is always a close connection between indigenous music and the day-to-day lives of people in traditional African societies.

Communal Creativity as Sociomusical Practice

2012 ◽  
pp. 370-388
Author(s):  
Eleni Lapidaki ◽  
Rokus de Groot ◽  
Petros Stagkos
Keyword(s):  
Experiential Learning ◽  
Music Education ◽  
Theoretical Framework ◽  
Community Action ◽  
Musical Practice ◽  
The Third ◽  
Musical Practices ◽  
The University ◽  
The Relationship

This article demonstrates the importance of communal music creativity in music education. The first part reviews the theoretical framework surrounding the relationship between practical socialization and creativity. The second part discusses music creativity as socio-musical practice. The third part describes the creativity-based project C.A.L.M. (Community Action in Learning Music), which aims to help students enrich their experiential learning through the development of musical practices that take place in, and through, the intersection of the musical worlds of the university and the school.

The impact of the fostering of European industry and Victorian national feeling on African music knowledge systems: Considering possible positive implications

2019 ◽  
Vol 10 (2) ◽  
pp. 97-108
Author(s):  
Dylan Lawrence Gibson
Keyword(s):  
Education Technology ◽  
Traditional Music ◽  
Future Generations ◽  
One Dimension ◽  
African Music ◽  
Left Behind ◽  
Indigenous Music ◽  
Music And Language ◽  
European Industry ◽  
The Impact

The European (Victorian) missionary influence on traditional African music in South Africa is largely seen in a negative light and not much focus is placed on possible positive implications. This article therefore serves to explore how external European influences, harnessed by some African musicians, partially aided in preserving and generating conceivably ‘new’ Euro-African hybrid traditional music genres – while at the same time preserving some fragmented forms of indigenous music knowledge for future generations. In general, the ultimate aim for the European missionaries was to allow Africans to, in effect, colonize ‘themselves’ by using their influence of Victorian (British nationalist) religion, education, technology, music and language as a means to socially ‘improve’ and ‘tame’ the ‘wild’ Africans. However, specifically with reference to music, African composers and arrangers – despite this colonizing influence – occasionally retained a musical ‘uniqueness’. John Knox Bokwe, an important figure in what can be termed the ‘Black Intellect’ movement, displays this sense of African musical uniqueness. His arrangement of ‘Ntsikana’s Bell’, preserved for future generations in the Victorian style of notation (or a version thereof), best illustrates the remnants of a popular cultural African indigenous musical quality that has been combined with the European cultural tonic sol-fa influence. Furthermore, the establishment of the popular cultural ‘Cape coloured voices’ also serves to illustrate one dimension of the positive implications that the fostering of European industry (industrialized developments) and Victorian national feeling/nationalism left behind. This is largely because this choral genre can be termed as a distinctly ‘new’ African style that contains missionary influence but that still retains an exclusive African quality.

scholarly journals Musik Panting di Desa Barikin Kalimantan Selatan: Kemunculan, Keberadaan dan Perubahannya

2016 ◽  
Vol 17 (3) ◽  
pp. 140-157
Author(s):  
Lupi Anderiani
Keyword(s):  
Music Performance ◽  
Musical Practice ◽  
Musical Practices

Panting is a musical practice of South Kalimantan, Indonesia. The term "Panting" itself either the name of a plucked-lute instrument and of a musical ensemble. Such ensemble emerged ca the 1980s among the Barikin people of South Kalimantan. This study, using the ethnomusicological approach which is emphasized on fieldwork, is aimed to examine the emergence and change of Panting music. Based on the analysis, it appears that the emergence of Panting music is primarily caused by a creative act of its pioneer in response to the existing musical practices. The music is undergoing a number of changes in terms of the functions of music, performance, construction of panting instrument,  and pattern of transmission. These changes are mainly due to the personal desire of the musicians as well as the allowances of surrounding cultural circumstances.Panting merupakan sebuah praktik musik yang berasal dari Kalimantan Selatan, Indonesia. Istilah “Panting” memiliki dua arti, yakni, pertama, sebagai nama sebuah instrumen berdawai yang dimainkan dengan cara dipetik; dan, kedua, nama dari sebuah ansambel musik. Musik Panting muncul sekitar tahun 1980-an. Penelitian ini menggunakan pendekatan etnomusikologis dengan menekankan pada kerja lapangan, bertujuan untuk menelaah kemunculan dan perubahan musik Panting. Berdasarkan analisis, terlihat bahwa musik Panting terutama muncul sebagai hasil laku kreatif seniman pelopornya dalam menanggapi praktik-praktik musik yang sudah ada. Dalam perjalanannya musik ini mengalami sejumlah perubahan, yakni dalam hal fungsi musik, bentuk penyajian, konstruksi instrumen, dan pola transmisi. Perubahan ini terutama disebabkan oleh keinginan personal para musisinya dan juga kondisi lingkungan kultural yang memungkinkan.

scholarly journals EMERGING TRENDS FROM INDIGENOUS MUSIC AND DANCE PRACTICES: A GLIMPSE INTO CONTEMPORARY MALENDE AND TSHIGOMBELA

2016 ◽  
Vol 25 (3) ◽  
Author(s):  
N G Mugovhani
Keyword(s):  
Urban Areas ◽  
Past Research ◽  
State Function ◽  
Rural And Urban Areas ◽  
Indigenous Music ◽  
Emerging Trends ◽  
Rural And Urban ◽  
Musical Practices ◽  
Concert Halls ◽  
And Performance

Past research into the history, state, function and performance contexts of indigenous African musical practices yielded a number of disturbing observations: there was no hope that the practitioners of this genre would ever begin deriving a living out of their art; there was the fear that some indigenous musical practices were nearing extinction because the few indigenous music practitioners still alive were on the brink of death, and there was therefore a need to capture the heritage before it was irretrievably lost. Lately the world of indigenous African music has undergone an evolution. South Africa’s rapidly changing postcolonial terrain has recently witnessed an upsurge of new stylistic trajectories  in  indigenous  musical  practices  –  nowadays  it  is  arranged  and performed by modern musical ensembles. Popular music which incorporates traditional genres has begun functioning within the socio-cultural and religious lives of Africans today, and it is no longer regarded as ‘foreign’ or alien to concert halls. It is now also frequently encountered in music stores, both in rural and urban areas. the current article traces this new, exciting and rewarding trajectory.

An Eventful Life Remembered: Recent Considerations of the Contributions and Legacy of Francis O'Neill

2010 ◽  
Vol 4 (4) ◽  
pp. 421-435
Author(s):  
SALLY K. SOMMERS SMITH
Keyword(s):  
Twentieth Century ◽  
Traditional Music ◽  
Dance Music ◽  
Musical Practice ◽  
Music Community ◽  
Irish Traditional Music

AbstractFrancis O'Neill, one of the towering figures of Irish traditional music, was among the first to collect and publish Irish dance music. His compilations form the most complete glimpse into Irish musical practice at the turn of the twentieth century and are still regarded as the definitive source for traditional tunes. Three recent publications on O'Neill and his times throw light on his life, his passion for the music, and his legacy among today's traditional music community.

Music in the Mines

2019 ◽  
pp. 61-114
Author(s):  
Michael Birenbaum Quintero
Keyword(s):  
Eighteenth Century ◽  
Pacific Coast ◽  
Historical Record ◽  
Cultural Economic ◽  
Musical Practice ◽  
Musical Practices ◽  
Musical Forms

This chapter examines the range of cultural and musical alternatives available to the black inhabitants of the southern Pacific coast during colonial mine slavery. It describes them as cosmopolitan participants in multiple and overlapping cultural, economic, social, and political ecumenes, even as their blackness consigned them to abjectness, most obviously as enslaved chattel. Examining the historical record and extrapolating from present-day musical practice and organology, the discussion imagines musical practices in the colonial Pacific, with particular attention to the ways in which present-day socioracial formations and the musical forms commonly associated with them were still incipient in the eighteenth century.

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