The musical heritage of the Gabon Bongo

2012 ◽  
Vol 2012 (1) ◽  
pp. 1-19 ◽  
Author(s):  
Sylvie Bomin ◽  
Jean Mbot
Keyword(s):  
Musical Heritage

“Floating Melodies and Memories” of the Terezín Memorial

Transfers ◽  
2016 ◽  
Vol 6 (2) ◽  
pp. 138-141
Author(s):  
Chia-ling Lai
Keyword(s):  
United States ◽  
Czech Republic ◽  
The United States ◽  
Concentration Camp ◽  
Dark Tourism ◽  
The Czech Republic ◽  
Will To Live ◽  
Worldwide Phenomenon ◽  
The Will ◽  
Musical Heritage

As Andrea Huyssen observes, since the 1990s the preservation of Holocaust heritage has become a worldwide phenomenon, and this “difficult heritage” has also led to the rise of “dark tourism.” Neither as sensationally traumatic as Auschwitz’s termination concentration camp in Poland nor as aesthetic as the forms of many modern Jewish museums in Germany and the United States, the Terezín Memorial in the Czech Republic provides a different way to present memorials of atrocity: it juxtaposes the original deadly site with the musical heritage that shows the will to live.

Teachers as Agents of the Repatriation of Music and Cultural Heritage

2018 ◽  
pp. 282-302
Author(s):  
Patricia Shehan Campbell ◽  
J. Christopher Roberts
Keyword(s):  
Cultural Heritage ◽  
Music Teachers ◽  
Children's Music ◽  
Home Culture ◽  
Field Recordings ◽  
Child Centered ◽  
Culture Centered ◽  
K 12 ◽  
Culture Of Origin ◽  
Musical Heritage

As the movement to repatriate music from archives gathers steam, the question of how to effectively disseminate the music to people in the culture of origin becomes a pressing issue. This chapter argues that K–12 teachers have a distinctive ability to reintroduce archival music, through three major approaches. In “close-by child-songs by children,” teachers design lessons that incorporate field recordings of children’s music from their home culture, making the music child-centered (and culture-centered). In “child-songs from further afield,” lessons include archived children’s music that is not from the home cultures of the students; such lessons can highlight the similarities across cultures of children’s music. In “adult cultural heritage music,” teachers use the recordings of adults’ musicking experiences in the culture of origin. As such, the music of children is not represented, but the adult musical heritage is disseminated. Examples of these pedagogical approaches to repatriation are provided.

America's Musical Heritage

1942 ◽  
Vol 29 (2) ◽  
pp. 58-58
Author(s):  
Will Earhart
Keyword(s):  
Musical Heritage

scholarly journals Uyghur folk singing genre

2020 ◽  
Vol 3 (11) ◽  
pp. 222-226
Author(s):  
Muyassarkhon Achildiyeva ◽  
Dilafruz Madalieva
Keyword(s):  
Music Culture ◽  
Ancient History ◽  
History Of ◽  
Musical Heritage

This article provides valuable information about the genres of Uyghur folk singing. The article also provides a detailed overview of the Uyghur musical heritage, which speaks to the ancient history of Uygur music culture.

scholarly journals Compositional Process and Technique in Happy Rain on a Spring Night (2004)

2020 ◽  
Vol 26 (3) ◽  
Author(s):  
Chen Yi
Keyword(s):  
New York ◽  
Chamber Ensemble ◽  
Musical Training ◽  
Golden Section ◽  
Compositional Style ◽  
Formal Structure ◽  
Columbia University ◽  
Compositional Process ◽  
Musical Heritage

The composer discusses her musical training at the Central Conservatory of Music in Beijing and at Columbia University in New York, and the effect of that musical heritage on her compositional style. She describes the techniques she uses in her chamber ensemble Happy Rain on a Spring Night (2004), including the use of speech tones for the development of her pitch material, and the Golden section for proportional relationships in the formal structure of the work.

scholarly journals Enabling FAIR use of Ethnomusicology Data – Through Distributed Repositories, Linked Data and Music Information Retrieval

2021 ◽  
Vol 16 (1) ◽  
pp. 47-64
Author(s):  
Alex Hofmann ◽  
Tomasz Miksa ◽  
Peter Knees ◽  
Asztrik Bakos ◽  
Hande Sağlam ◽  
...  
Keyword(s):  
Information Retrieval ◽  
Linked Data ◽  
Information Science ◽  
Music Information Retrieval ◽  
Fair Use ◽  
Public Institutions ◽  
Musical Practices ◽  
The Moment ◽  
Music Information ◽  
Musical Heritage

Recordings of musical practices are kept in various public institutions and private depositories around the world. They constitute valuable data for ethnomusicological research and are substantial for the world's musical heritage. At the moment, there are no commonly used systems and standards for organizing, describing or categorizing these data, which makes their use difficult. In this paper, we discuss the required steps to make them findable, accessible, interoperable and reusable (FAIR), and outline action items to reach these goals. We show solutions that help researchers to manage their data over the whole research lifecycle and discuss the benefits of combining technologies from information science, music information retrieval, and linked data, with the aim of giving incentives for the ethnomusicology research community to actively participate in these developments in the future.

scholarly journals Ideological and political conflicts about popular music in Serbia

2004 ◽  
pp. 271-284 ◽  
Author(s):  
Misa Djurkovic
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Popular Music ◽  
Specific Field ◽  
Political Conflicts ◽  
Musical Heritage

The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements (such as asymmetric rhythmic patterns and melismatic singing) and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research.

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