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Journal articles on the topic 'Applied ethnomusicology'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Harrison. "Epistemologies of Applied Ethnomusicology." Ethnomusicology 56, no. 3 (2012): 505. http://dx.doi.org/10.5406/ethnomusicology.56.3.0505.

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Hanshi, Bao, Sularso Sularso, and Marie-Christinne B. Clarisse. "The Change of Concept: the Formation and Reflection of Applied Ethnomusicology." Gelar : Jurnal Seni Budaya 19, no. 2 (2021): 114–20. http://dx.doi.org/10.33153/glr.v19i2.3978.

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If the study of Jesse Fewkes and Frances Densmore in the late 19th century is taken into account, western Applied Ethnomusicology is entering its second century. After more than one hundred years of development, Applied Ethnomusicology has basically become a relatively mature research path in the West, which not only provides scholars with a new research perspective but also enriches the subject connotation of Ethnomusicology to a certain extent with its research philosophy and value pursuit. In China, Applied Ethnomusicology has attracted more and more attention. Therefore, reviewing the deve

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Dumnic, Marija. "Applied ethnomusicology in Serbia: Politics and policies of Serbian ethnomusicological Society." Muzikologija, no. 12 (2012): 79–102. http://dx.doi.org/10.2298/muz120319003d.

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This paper deals with ethnomusicological research methodologies, the application of ethnomusicological knowledge outside academic institutions and ideologies which have contributed to ethnomusicological discourses in Serbia. Furthermore, state policy on ethnomusicology and folk music is analyzed. The recent institutionalisation of applied ethnomusicology, i.e. direct ethnomusicological engagement in society, which represents a turning point in the development of ethnomusicology, is particularly emphasized. The difference between contemporary applied ethnomusicology and ethnomusicology is in di

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Pettan, Svanibor. "Kjell Skyllstad and Applied Ethnomusicology." Musicological Annual 44, no. 1 (2008): 5–12. http://dx.doi.org/10.4312/mz.44.1.5-12.

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5

Talam, Jasmina. "The Oxford Handbook of Applied Ethnomusicology." Musicological Annual 52, no. 1 (2016): 217–22. http://dx.doi.org/10.4312/mz.52.1.217-222.

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In July 2015, Oxford University Press published a substantial volume titled The Oxford Handbook of Applied Ethnomusicology, co-edited by two eminent ethnomusicologists, Svanibor Pettan and Jeff Todd Titon. The book is an impressive collection of different approaches in applied ethnomusicology, developed through a combination of ethnographic research (personal experiences and fieldwork in different parts of the world) and contemporary scholarship.

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Kurkela, Vesa. "The Historical Approach and Applied Ethnomusicology." Ethnomusicology 38, no. 3 (1994): 402. http://dx.doi.org/10.2307/852102.

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Alge, Barbara, and Julio Mendívil. "Über Ziele und Ansätze der angewandten Musikethnologie als Ausdruck sozialer Verantwortung." Die Musikforschung 72, no. 4 (2021): 298–306. http://dx.doi.org/10.52412/mf.2019.h4.36.

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This article functions as an introduction to the following articles of this themed issue of Die Musikforschung. It frames the idea of an applied ethnomusicology, understood as an approach guided by principles of social responsibility, and as scholarship, knowledge and understanding put to practical use. The article discusses the emergence and relevance of applied ethnomusicology in Anglophone academia as well as the German-speaking world and gives insight into different fields in which applied ethnomusicology can be practiced: from traditional areas such as musical archives and museums to acti

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Fox, Aaron A. "Divesting from Ethnomusicology." Journal of Musicology 37, no. 1 (2020): 33–38. http://dx.doi.org/10.1525/jm.2020.37.1.33.

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This response to Amico’s paper draws lessons from the author’s own career to endorse Amico’s call to rename the discipline of “ethnomusicology,” while cautioning against the risks of nominalism as a sufficient response to the underlying tensions animating dissatisfaction with the current name of the discipline. The response emphasizes points of convergence and divergence between diverse disciplinary practices of music scholarship and locates a problem for efforts to synthesize such practices in competing views of science and applied research, and indeed in competing concepts of “music” as such

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Bammer, Nora. "Feedbackmethoden und „applied ethnomusicology“ bei den Shuar Ecuadors." International Forum on Audio-Visual Research - Jahrbuch des Phonogrammarchivs 7 (2017): 174–83. http://dx.doi.org/10.1553/jpa7s174.

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Nurunnabi Shato. "সংগীতবিদ্যা : একটি সংক্ষিপ্ত পরিচয় অধ্যায় নবম : সংগীতনৃতাত্ত্বিকদের কর্মপরিধি Ethnomusicology: A very short introduction Chapter 9 Ethnomusicologists at work". BHĀBANAGARA: International Journal of Bengal Studies 19, № 23 (2025): 2379–90. https://doi.org/10.64242/bijbs.v19i23.5.

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Ethnomusicologists navigate unique challenges in establishing their discipline within academic and institutional frameworks due to its focus on global music perspectives and ethical considerations. The 9 th Chapter of Ethnomusicology A Very Short Introduction written by Thimothy Rice explores the diverse institutional landscapes where ethnomusicologists work, from academia to public and private sectors. Despite historical challenges, ethnomusicology finds a home primarily within music departments and schools, where it challenges Eurocentric entrenched value systems that predominantly values Eu

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Karača Beljak, Tamara, and Jasmina Talam. "Cultural Engagement in Applied Ethnomusicology - Examples from Bosnia and Herzegovina - A Contribution to Applied Science." English version, no. 10 (October 22, 2018): 245–55. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.245.

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This paper should not be understood as the promotion of a new direction, new ideas, but rather as a kind of reading on what has happened and what is happening in field of the traditional/folk musical opinion in Bosnia and Herzegovina. The focus of our interest is on ethnomusicologists of the older generation, active in the period from 1960s to 1990s, although in the end, instead of the conclusion, we will present what is visible in field of applied ethnomusicology for period from the 1990s to this day.

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Pettan, Svanibor. "Applied Ethnomusicology and Empowerment Strategies: Views from across the Atlantic." Musicological Annual 44, no. 1 (2008): 85–99. http://dx.doi.org/10.4312/mz.44.1.85-99.

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The article consists of three parts. The first part presents an outline of the historical developments of applied ethnomusicology in Europe and USA, from the public sector activities of comparative musicologists in the early 20th c. all the way to the announcement of the first conference of newly-established ICTM’s study group in Ljubljana in 2008. The second part is dedicated to the issues of definition and classification of approaches. The third part features five categories of subjects (minorities, diasporas, ethnic groups, immigrants, refugees) and based on selected examples from the terri

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Kathleen J. Van Buren. "Applied Ethnomusicology and HIV and AIDS: Responsibility, Ability, and Action." Ethnomusicology 54, no. 2 (2010): 202. http://dx.doi.org/10.5406/ethnomusicology.54.2.0202.

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Sheehy, Daniel. "A Few Notions about Philosophy and Strategy in Applied Ethnomusicology." Ethnomusicology 36, no. 3 (1992): 323. http://dx.doi.org/10.2307/851866.

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15

Shubina, Ol'ga Anatol'evna, Alevtina Anatol'evna Mikhailova, and Marat Fyaritovich Azikhanov. "Activities of the Department of Folk Singing and Ethnomusicology of the Saratov State Conservatory Named after L.V. Sobinov: History and Modernity (to the 55th Anniversary of its Foundation)." PHILHARMONICA. International Music Journal, no. 6 (June 2022): 55–69. http://dx.doi.org/10.7256/2453-613x.2022.6.39603.

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The article is dedicated to the history of the Department of Folk Singing and Ethnomusicology of the Saratov State Conservatory named after L.V. Sobinov. The role of the pedagogical, methodological and scientific activities of L.L. Christiansen as the founder of folk singing education at the Saratov Conservatory is described. The article also draws attention to the founder of the department of solo folk singing, People's Artist of Russia E.A. Sapogova and the basic principles of teaching folk vocals in her class. A special section is dedicated to the multifaceted activities of A.S. Yareshko as

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Hemetek, Ursula. "Applied Ethnomusicology in the Process of the Political Recognition of a Minority: A Case Study of the Austrian Roma." Yearbook for Traditional Music 38 (2006): 35–57. http://dx.doi.org/10.1017/s0740155800011656.

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Applied ethnomusicology has a special relevance for studies on music and minorities. What constitutes this relevance in particular cases was the focus of a plenary panel discussion at the 38th World Conference of the ICTM in Sheffield in 2005, which explored cultural, social, political, and economic issues pertinent to the musical life of minority groups within the context of a larger (majority) society. Panel participants addressed the topic from the perspective of their individual research fields and the different minority groups they have worked with: Adelaida Reyes provided the example of

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Ganito, Osa Umar, Vahesa Satya Putra, Wahyu Ramadhan, Idhayu Mugia Ningrat Tri Rahayu, and Ary Nugraha Wijayanto. "Lesung Virtual Berbasis Applied Ethnomusicology sebagai Media Pembelajaran Anak Usia Dini." Jurnal Pendidikan dan Penciptaan Seni 4, no. 2 (2024): 111–20. https://doi.org/10.34007/jipsi.v4i2.678.

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Penelitian ini bertujuan menciptakan aplikasi lesung virtual berbasis etnomusikologi terapan sebagai media pembelajaran Anak Usia Dini. Simbiosis transformasi virtual Hinning dengan etnomusikologi terapan Klisala Horison menjadi pilihan dalam implementasi pengembangannya. Metode yang digunakan adalah ATUMICS, dengan memperhatikan organologi akustik lesung sebagai elemen tradisi yang dielaborasi dengan scratch untuk pemrograman, audacity sebagai konversi bunyi dan corel draw untuk desain sebagai unsur-unsur modern. Hasil penelitian penciptaan menunjukan bahwa aplikasi teknologi dapat membantu m

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Gubner, Jennie. "The Music and Memory Project: Understanding Music and Dementia through Applied Ethnomusicology and Experiential Filmmaking." Yearbook for Traditional Music 50 (2018): 15–40. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0015.

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“Music lifts my spirits, I'm not the same guy leaving as when I come to begin with. It's kind of a floating feeling, I feel good, I feel drunk with fun!”- Daryl, participant of the Music and Memory Project“Music is like medicine… No, music is better than medicine!”- Martha, participant of the Music and Memory ProjectIn Spring 2017, I designed and taught a filmmaking and service-learning course in the Indiana University (IU) Bloomington Department of Folklore and Ethnomusicology called “Music and Memory: Studying Music & Alzheimer's Through Film.” This ongoing project is set in nursing home

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Liz Przybylski. "Bilingual Hip Hop from Community to Classroom and Back: A Study in Decolonial Applied Ethnomusicology." Ethnomusicology 62, no. 3 (2018): 375. http://dx.doi.org/10.5406/ethnomusicology.62.3.0375.

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20

Titon, Jeff Todd. "Svanibor Pettan: an Appreciation." Musicological Annual 55, no. 2 (2019): 23–28. http://dx.doi.org/10.4312/mz.55.2.23-28.

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Svanibor Pettan is that rare kind of gentleman who immediately puts his acquaintances at ease and encourages them to feel as if they'd known him for a long time. These qualities have enabled him to succeed in helping to make the world a better place through music, and in helping his colleagues in Europe and abroad to mobilize around the field of applied ethnomusicology. For Svanibor, this has meant taking ethnomusicology beyond mere scholarship – that is, beyond the accumulation of knowledge and its dissemination within the community of scholars – to the application of that ethnomusicological

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21

Colverson, Aaron. "CONCEPTUALIZING A NEURO-ETHNOMUSICOLOGY OF AGING." Innovation in Aging 8, Supplement_1 (2024): 605. https://doi.org/10.1093/geroni/igae098.1981.

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Abstract This presentation accounts for disciplinary similarities and differences between ethnomusicology and neuropsychology in the context of a project on rhythm perception, learning and performance, and cognitive functioning in healthy young and older adults. It draws from Judith Becker’s Deep Listeners (2004) and “Ethnomusicology and Empiricism in the 21st-century” (2009) to characterize many of the challenges present in building bridges between humanists and scientists studying music. Becker cites Ann Harrington in this regard, regarding what it might mean to teach an attitude of thinking

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22

Tan, Sooi Beng. "Activism in Southeast Asian Ethnomusicology: Empowering Youths to Revitalize Traditions and Bridge Cultural Barriers." Musicological Annual 44, no. 1 (2008): 69–84. http://dx.doi.org/10.4312/mz.44.1.69-84.

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Beginning with a short overview of the strategies and activities in applied ethnomusicology in Southeast Asia, this paper focuses on the development of a socially engaged approach to empower young people in Malaysia to address two concerns: revitalizing traditions and bridging cultural barriers in a multiethnic and multireligious society where tensions often occur.

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23

Dahlig, Piotr. "Folklorism as an Invention of the State. Contributions of Polish Ethnomusicologists in Historical Perspective." Musicology Today 15, no. 1 (2018): 17–31. http://dx.doi.org/10.2478/muso-2018-0004.

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Abstract Folklorism is presented as a component of culture change. The aim of the article is to show how ethno- and musicologists, folklorists, music teachers, broadcasters, and others, have influenced traditional peasant culture in times of fundamental transformation during the 20th century, and how they have contributed to its documentation, understanding and invention of new meanings, including the Polishness of folklore in Poland. This review aims to exemplify this process. Each European country has its own history in this respect. The text consists of three parts. In the first one, folklo

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24

Sanger, Annette, and James Kippen. "Applied Ethnomusicology: The Use of Balinese Gamelan in Recreational and Educational Music Therapy." British Journal of Music Education 4, no. 1 (1987): 5–16. http://dx.doi.org/10.1017/s0265051700005696.

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As an experiment, a Balinese gamelan was integrated with a summer music course for the physically handicapped. Two ethnomusicologists were invited to demonstrate playing techniques and to teach pieces of gamelan music which were later performed. This article documents the success of the experiment and describes the very considerable potential of the gamelan in general recreational and educational music therapy. More particularly, the essentially non-Western methods of learning and practising adopted on the course encouraged and engendered a broad range of skills in those with little or no prev

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Shuangshuang, Zhang Chao-Jung Wu. "The Curriculum Construction Of Yunnan Minority Music In Vocal Singing Major Of Yunnan Colleges And Universities In China From The Perspective Of Applied Ethnomusicology." Multicultural Education 9, no. 3 (2023): 73. https://doi.org/10.5281/zenodo.7790163.

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<em>Among Chinese vocal singing majors, the vocal singing majors in Yunnan universities have their own unique characteristics. Its rich minority music resources help to give advantages in building the special courses. In order to be able to conform to the needs and development of the times and meet its own construction and status, the vocal singing majors in Yunnan universities should devote themselves to inherit and carry forward the excellent Yunnan minority music, strengthen the combination of theory and practice in the construction of the curriculum of vocal singing majors, optimize the cu

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Irawati, Eli. "transmission of resilience learning in the context of formal education an ethnomusicological review." Linguistics and Culture Review 5, S3 (2021): 1040–53. http://dx.doi.org/10.21744/lingcure.v5ns3.1664.

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The existence and continuity of musical practice in the world, among others, is strongly influenced by transmission or inheritance. Therefore, local-traditional music in Indonesia that lives and develops in the midst of oral culture becomes important to study transmission. This study aims to determine the transmission process of learning in the Kalimantan Music class and find the right formula for delivering teaching materials. This research is qualitative research with an applied ethnomusicology approach. The method of collection is through observation, interviews and supported by documentati

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Medic, Ivana. "Applied musicology: A “manifesto”, and a case study of a lost cultural hub." Muzikologija, no. 33 (2022): 87–102. http://dx.doi.org/10.2298/muz2233087m.

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In this article I present a ?manifesto? of the new discipline of applied musicology, which is closely related to the project Applied Musicology and Ethnomusicology in Serbia: Making a Difference in Contemporary Society (APPMES), supported by the Serbian Science Fund. Here I wish to outline some of the main aims and goals of this project and offer a broader insight into what applied musicology should strive to become. In the second part of the article, I present a case study of the Belgrade neighbourhood of Savamala where I conducted fieldwork before formulating the concept of applied musicolog

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Feng, Lina. "Literature Review of the Application of Audio Testing Software to Chinese Musicology." Applied Mechanics and Materials 347-350 (August 2013): 1074–78. http://dx.doi.org/10.4028/www.scientific.net/amm.347-350.1074.

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In this paper, the extensive application of audio testing software to Chinese musicology was reviewed. New audio testing software developed by Chinese musicologists include DEAM and GMAS , which along with imported audio testing software such as Solo Explore 1.0, Speech Analyzer3.0.1 have been widely applied by Chinese musicologists to ethnomusicology, archeology of music, folk music as well as musical entertainment. With the support of audio testing software, Chinese musicology has made much progress.

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Tafuakan, Philby, Dewi Tika Lestari, and Jermias Hartes Van Harling. "TE’O RENDA: IT’S HISTORY, MEANING, AND FUNCTION FOR THE ROTENESE COMMUNITY IN THE PAST AND THE PRESENT." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 27, no. 1 (2025): 98. https://doi.org/10.26887/ekspresi.v27i1.4890.

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This research aims to examine traditional te'o renda music from an ethnomusicological perspective. Using Ethnomusicology theories by Sri Hastanto that are relevant to those of Mantle Hood, the study explores changes and continuities in the presentation of te'o renda in Rote society. Conducted using qualitative methods, focusing on the discipline of ethnomusicology to understand the meaning and function of traditional music within cultural contexts, the research found that te'o renda and sasandu gong have undergone significant changes. In the past, sasandu and te'o renda played crucial roles in

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Loughran, Maureen. "“But what if they call the police?” Applied Ethnomusicology and Urban Activism in the United States." Musicological Annual 44, no. 1 (2008): 51–68. http://dx.doi.org/10.4312/mz.44.1.51-68.

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This article explores the difficulties and necessities of applied ethnomusicological research in an urban American neighborhood. A theory of method for activist centered work which connects academia with local, grassroots communities is discussed as well as the challenges of positioning oneself as an applied ethnomusicologist in the field.

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Avorgbedor, Daniel K. "The impact of rural-urban migration on a village music culture: some implications for applied ethnomusicology." African Music: Journal of the International Library of African Music 7, no. 2 (1992): 45–57. http://dx.doi.org/10.21504/amj.v7i2.1943.

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Machado, Isabel. "Interview with Rebecca Hope Dirksen." Journal of Festive Studies 3, no. 1 (2022): 284. http://dx.doi.org/10.33823/jfs.2021.3.1.121.

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Isabel Machado interviews Rebecca Hope Dirksen on After the Dance, the Drums Are Heavy: Carnival, Politics, and Musical Engagement in Haiti (2020). Interview date: Mar 17, 2021 Dr. Rebecca Dirksen is an ethnomusicologist working across the spectrum of musical genres in Haiti and its diaspora. Her research concerns cultural approaches to development, crisis, and disaster; sacred ecologies, diverse environmentalisms, and ecomusicology; and applied/engaged/activist scholarship. She is a professor in the Department of Folklore and Ethnomusicology at Indiana University Bloomington and a found

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McIntosh, Jonathan. "‘Seeing the bigger picture’: Experiential learning, applied ethnomusicology and the use of gamelan music in adult literacy education." International Journal of Music Education 31, no. 1 (2012): 15–25. http://dx.doi.org/10.1177/0255761411433718.

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Highlighting the application of ethnomusicology beyond the traditional boundaries of the academy, this article investigates the use of music in adult literacy education. In 2005, as part of the Literacy and Equality in Irish Society (LEIS) project, adult literacy tutors working in Northern Ireland, United Kingdom (UK), were invited to enrol in short, professional-development courses that required their participation in a Balinese gamelan ensemble – an orchestra comprised mainly of metallophones, drums and gongs. During each course, tutors were encouraged to reflect upon their learning processe

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Bishop, Sarah J. "“The War Songs Continue ’til They Find Peace”: Music and the Politics of Death on the Ethio-South Sudanese Border." Ethnomusicology 68, no. 1 (2024): 52–74. http://dx.doi.org/10.5406/21567417.68.1.05.

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Abstract Discrimination and violence have characterized inter-ethnic dynamics on the Ethiopian–South Sudanese border since the 1990s. Local musicians compose songs decrying the violence, calling for peace in their communities. Simultaneously, these same artists compose songs with divisive rhetoric, particularly during and after outbreaks of ethnically based killings. I argue that this dual promotion of peace and conflict is not contradictory but is logical in the context of decades of violence and trauma. Artists and their listeners consider violence necessary for self-defense, which does not

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Matsunobu, Koji. "From Art as Stained Glass to Art as Mirror: Addressing a Holistic View of Education." Harvard Educational Review 83, no. 1 (2013): 147–49. http://dx.doi.org/10.17763/haer.83.1.y22334k602x66316.

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In college I majored in piano performance and music education. I often practiced for long hours—sometimes from morning till midnight—to prepare for exams, juries, and occasional public performances. Upon graduation I taught piano to many students privately and publicly. Piano has always been closely linked to my identity as a musician and teacher. During my graduate studies, however, I was introduced the concept of bimusicality in ethnomusicology (Hood, 1971). Akin to second language acquisition, bimusicality refers to the mastery of a musical idiom other than that associated with one's own cu

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Barros, Camila Monteiro de, and Lígia Maria Arruda Café. "The relevance of music information representation metadata from the perspective of expert users." Transinformação 25, no. 3 (2013): 213–23. http://dx.doi.org/10.1590/s0103-37862013000300004.

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The general goal of this research was to verify which metadata elements of music information representation are relevant for its retrieval from the perspective of expert music users. Based on a bibliographical research, a comprehensive metadata set of music information representation was developed and transformed into a questionnaire for data collection, which was applied to students and professors of the Graduate Program in Music at the Federal University of Rio Grande do Sul. The results show that the most relevant information for expert music users is related to identification and authorshi

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Velichkina, Olha. "MULTIFACETED RAVIVALISM: ISSUES OF HISTORY AND TERMINOLOGY." Problems of music ethnology 19 (October 24, 2024): 107–20. https://doi.org/10.31318/2522-4212.2024.19.319767.

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In this article I consider folk revivalism as socio-cultural phenomenon from a global perspective, bringing examples from various countries and different time periods. The “folk youth movements” on the territory of former Soviet Union are analyzed in parallel and in the context of the American and European folk revivals, and some cases of immaterial cultural heritage (ICH) treatment, in particular, in France, are brought into discussion. This perspective raises the question of definitions and delimitations of the revival phenomena. My intention was to open the theme of revivalism to the maximu

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Kozorog, Miha, and Alenka Bartulović. "The Sevdalinka in Exile, Revisited: Young Bosnian Refugees’ Music-Making in Ljubljana in the 1990s (A Note on Applied Ethnomusicology)." Narodna umjetnost 52, no. 1 (2015): 121–42. http://dx.doi.org/10.15176/vol52no106.

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Vovchak, Andriy. "Scientific Work of Iryna Dovgaliuk in the Field of History of Ukrainian eth- nomusicology." Ethnomusic 16, no. 1 (2020): 16–62. http://dx.doi.org/10.33398/2523-4846-2020-16-1-16-62.

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The article offers an overview of 30 years of scientific activity of Lviv ethno- musicologist Iryna Dovhaliuk in the field of history of Ukrainian ethnomusicology. The multifaceted creation of the researcher has been revealed in the main prob- lematic and thematic areas, taking into account the time dynamics of the studio deployment. Among the considered directions: a) musical and ethnographic activity of Ukrai- nian folklorist Osyp Rozdolskyi: b) history of publication of Ukrainian folk music; c) folkloristic activity of Filaret Kolessa; d) history of phonography of Ukrainian folk music; e) f

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Alow, Resita Klaudia, R. A. Dinar Sri Hartati, and Luccylle Takalumang. "MASAMBO SINGING IN TUMARATAS DUA VILLAGE, WEST LANGOWAN SUB-DISTRICT, MINAHASA DISTRICT." SoCul: International Journal of Research in Social Cultural Issues 3, no. 2 (2023): 799–806. http://dx.doi.org/10.53682/soculijrccsscli.v3i2.8003.

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This research aims to investigate the existence and continuity of Masambo singing in Tumaratas Dua Village. Qualitative research methods were applied by utilizing documentation, interview, and observation techniques. A musical approach, particularly through theories in ethnomusicology and music psychology, was used to analyze various aspects of Masambo Singing. The research findings include several things: first, Masambo singing functions as a form of community expression, conveying prayer requests, expressions of gratitude, and as a means of communication. Second, the existence of Masambo sin

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Simonett, Helena. "Miteinander musizieren." Die Musikforschung 72, no. 4 (2021): 346–56. http://dx.doi.org/10.52412/mf.2019.h4.40.

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This article critically reflects a week-long music project that involved students of the music pedagogy master's programme at the Lucerne University of Applied Sciences and Arts and unaccompanied minor refugees of the nearby transit center. The project highlights the potential of musical activities, such as playing music, listening to and talking about music, dancing and building instruments, in the transcultural context of refugee work and points to the need for further research in this area. The evaluation of the project focuses on the benefits for the Swiss music students and the impact on

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Almeida, Luiza Nascimento. "Do “desconforto” ao encontro comigo mesma." Revista Música e Cultura 13, no. 3 (2024): 146–66. https://doi.org/10.71199/bnnv0g87.

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The objective of this article is to provide an analysis of moments in the history of Ethnomusicology, during and following its inception, particularly when applied to Africa and the African diaspora. This analysis draws on authors from Brazil and abroad who have addressed this subject, specifically those who have situated it within the scope of ethno-racial relations – e.g., Kofi Agawu from Ghana, Mhoze Chikowero from Zimbabwe – thereby highlighting power relations with their asymmetries. Such asymmetries have resulted not only a mitigation of the epistemicide imposed by colonial/neocolonial w

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Azizova, Aysel. "On the Structural and Semantic Features of Nanai Songs of the Agbaba Historical Region." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 6–15. http://dx.doi.org/10.31866/2616-7581.7.1.2024.303753.

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The purpose of the research is to study the archaic features of the Nanai musical language, which is one of the genres of authentic musical folklore of the Agbaba historical region. Agbaba is one of the ethno-cultural zones of Azerbaijan, distinguished by its diverse genre system of musical folklore. It should be noted that the Agbaba region is now part of the Republic of Armenia and has been called Amasia since 1930. Historically, this region was inhabited by ancient Turkic tribes, which played a significant role in the ethnogenesis of Azerbaijan, and until the end of the twentieth century wa

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Azizova, Aysel. "On the Structural and Semantic Features of Nanai Songs of the Agbaba Historical Region." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 6–15. https://doi.org/10.31866/2616-7581.7.1.2024.303753.

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<strong>The purpose of the research </strong>is to study the archaic features of the Nanai musical language, which is one of the genres of authentic musical folklore of the Agbaba historical region. Agbaba is one of the ethno-cultural zones of Azerbaijan, distinguished by its diverse genre system of musical folklore. It should be noted that the Agbaba region is now part of the Republic of Armenia and has been called Amasia since 1930. Historically, this region was inhabited by ancient Turkic tribes, which played a significant role in the ethnogenesis of Azerbaijan, and until the end of th

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Mukuna, Kazadi Wa. "The universal language of all times?" International Journal of Music Education os-29, no. 1 (1997): 47–51. http://dx.doi.org/10.1177/025576149702900107.

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The definitions of music published in the last decades, particularly the one formulated by Alan Merriam (1964) in conjunction with the field of ethnomusicology, have broadened the scope of music by identifying it as a product of human behaviour in a cultural context. The definition of music has not only raised the level of awareness of the nature of cultural diversity of our societies, but nurtured trends in ‘multicultural’ perspectives in music education. With these trends, musical materials from diverse cultures are being introduced to curricula, especially in Europe and the USA. In spite of

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Pinelli, Raffaele. "Discovering Italian Free Metal Reeds: A Fieldwork Enquiry." European Journal of Musicology 20, no. 1 (2022): 152–72. http://dx.doi.org/10.5450/ejm.20.1.2021.152.

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This article presents some of the results achieved in the complex and still little-known production system of metal free reeds for mechanical bellows aerophones. It starts from the encounter with Lorenzo Antonelli, director of the Italian factory "Voci Armoniche", which is one of the oldest and most important in the world. The account of this encounter will be used to demonstrate how intensive fieldwork research in ethnomusicology (i.e. the practice of cyclical alternation of phases in situ and ex situ) can mutually enrich the knowledge of both observer and observed and, at the same time, stim

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Han, Qin, and Peerapong Sensai. "The Development Process of Qinghai Mongolian Folk Songs Through Anthropological Perspectives." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 2 (2024): 467–76. http://dx.doi.org/10.60027/ijsasr.2024.4148.

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Background and Aims: Qinghai Mongolian folk songs, cherished expressions of the Mongolian community's cultural identity, are the focal point of this anthropological study. The research aims to investigate the development process of Qinghai Mongolian folk songs through anthropological perspectives. Materials and Methods: Employed a comprehensive methodology integrating both ethnomusicology and anthropology on in-depth interviews with two key informants renowned for expertise. Additionally, participant observation techniques were applied, carriers of traditional knowledge, and agents fostering c

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Frolcová, Věra, Pavel Kosek, Markéta Holubová, Hana Bočková, and Tomáš Slavický. "The Theme of the Virgin Mary and the Sinful Soul in the Czech Oral and Literary Tradition: Contribution to the Interdisciplinary Study of West Slavic Legend Songs." Jezik in slovstvo 70, no. 1-2 (2025): 203–26. https://doi.org/10.4312/jis.70.1-2.203-226.

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The article deals with the Czech treatment of the theme of Mary and the sinful soul, which is also known in Slovenian poetic culture. It is based on a study of the oral tradition of Czech broadside ballads, as presented in the materials of the Institute of Ethnology of the Czech Academy of Sciences in Brno. The materials were obtained by collecting folk songs between the 1930s and 1950s. The article is based on the unity of literary production (broadside ballads) and reception (oral tradition). It is the result of interdisciplinary research, and presents the following: (1) an edition of the Cz

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Serra, Carlo. "Acoustic Depth." Gestalt Theory 46, no. 1 (2024): 19–34. http://dx.doi.org/10.2478/gth-2024-0004.

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Summary Acoustic depth is an elusive indicator that touches the world of emergencies, or perceptual focus, in a peculiar way. The realm in which these forms of recognition operate indeed links media theory to perception theory and aesthetic reflection. Expressions such as acoustic scene, sound depth or sharpness, or acoustic image when discussing the receptive forms of various microphone models, are just a few cases where imaginative synthesis translates the sense of phenomena arising from the resistance of sensory properties to the structures of linguistic formalization. The language of media

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Habib, Hassan Touma. "Anthropology and music in Arabian society on change and originality in the music of the Arabs." Música Oral del Sur, no. 3 (March 2, 1998): 31–42. https://doi.org/10.5281/zenodo.4626594.

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When I was invited to read a paper on the theme of this conference, namely anthropology and music, I asked myself whether I could speak at all of anthropology in a society that traces its cultural history back to the sixth century. The question became more critical indeed when I combined the terms «anthropology» and «music» to find out that the two terms can be replaced with «ethnomusicology». In spite of the fact that the combination of the prefix «ethno» with «musicology» is truly spoken disappointing, especially when applied to exa

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