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Journal articles on the topic 'Ethiopian music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Sinshaw, Girmaw Ashebir. "The analysis of Ethiopian traditional music instrument through indigenous knowledge (kirar, masinko, begena, kebero and washint/flute)." International Journal of Scientific Research and Management 8, no. 01 (2020): 591–96. http://dx.doi.org/10.18535/ijsrm/v8i01.sh02.

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Abstract: This article aims to explore and analytics about Ethiopian traditional music instrument through indigenous knowledge (kirar, masinko, Begena, kebero and washint/flute). The researcher would have observation and referring the difference documentations. Kirar, and masinko are mostly have purposeful for local music including washint, the others which is Kebero, Begena have use full in the majority time for church purpose. Ethiopia has extended culture, art and indigenous knowledge related to original own music. Their studies have qualitative research design that has descriptive methodol

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Pati, R. N., Shaik B. Yousuf, and Abebaw Kiros. "Cultural Rights of Traditional Musicians in Ethiopia: Threats and Challenges of Globalisation of Music Culture." International Journal of Social Sciences and Management 2, no. 4 (2015): 315–26. http://dx.doi.org/10.3126/ijssm.v2i4.13620.

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Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains

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3

Ferran, Hugo. "The Ethiopian and Eritrean Evangelical Diaspora of Montreal." African Diaspora 8, no. 1 (2015): 76–97. http://dx.doi.org/10.1163/18725465-00801004.

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The Ammanuel Montreal Evangelical Church (AMEC) is composed of over 150 members of Ethiopian and Eritrean origin. Through the examination of their musical practices, this article analyzes how music is involved in the construction and expression of religious identities in the context of migration. It appears that in borrowing worship music widespread in Ethiopia and in its diaspora, the faithful highlight the “Ethiopianness” of the group, at the expense of the minority Eritrean identity. The author then reveals that each musical parameter conveys different identity facets. If the universality o

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4

Weisser, Stéphanie. "Emotion and music: The Ethiopian lyre bagana." Musicae Scientiae 16, no. 1 (2011): 3–18. http://dx.doi.org/10.1177/1029864911416493.

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The bagana is a paraliturgical lyre played by the Christian Amhara of Ethiopia. It is used to perform spiritual music. Bagana is an intimate instrument, accompanied by the singing voice only. It has a special role in Christian Amhara music, as its myth of origin closely connects it to God, the biblical King David and King Menelik I. It is reputed to be very powerful and its performances arouse intense reactions in both players and listeners. Some of these reactions were observed directly (immediate calming, tears, overwhelmed faces). Inner reactions to bagana were investigated by means of 108

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5

Shelemay, Kay Kaufman, Peter Jeffery, and Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant." Early Music History 12 (January 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.

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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linke

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6

Tamrat, Taddesse. "A short Note on the Ethiopian Church Music." Annales d'Ethiopie 13, no. 1 (1985): 137–43. http://dx.doi.org/10.3406/ethio.1985.928.

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7

Webster-Kogen, Ilana. "Engendering homeland: migration, diaspora and feminism in Ethiopian music." Journal of African Cultural Studies 25, no. 2 (2013): 183–96. http://dx.doi.org/10.1080/13696815.2013.793160.

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8

Baumann, Max Peter, and Zenebe Bekele. "Music in the Horn. A Preliminary Analytical Approach to the Study of Ethiopian Music." Yearbook for Traditional Music 21 (1989): 118. http://dx.doi.org/10.2307/767773.

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9

Basini, Laura. "Alfredo Casella and the rhetoric of colonialism." Cambridge Opera Journal 24, no. 2 (2012): 127–57. http://dx.doi.org/10.1017/s0954586712000171.

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AbstractWhile the political impact of Italy's 1936 Ethiopian invasion has long been recognized, its cultural history has only recently come under scrutiny. This paper investigates one musical legacy of Mussolini's colonial project by means of a case study of Alfredo Casella's Il deserto tentato (The Attempted Desert, 1937). Performed on the first anniversary of the Empire's founding and dedicated to ‘Mussolini, fondatore dell'Impero’, the work depicts the arrival of a group of Italian airmen in Ethiopia and their welcome by the indigenous peoples. I set the text against contemporary propaganda

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10

Sinshaw, Girmaw Ashebir. "ANALISIS KURIKULUM JURUSAN PENDIDIKAN SENI TEATER ETHIOPIA." Imaji 17, no. 2 (2019): 157–65. http://dx.doi.org/10.21831/imaji.v17i2.27808.

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Tujuan penulisan artikel ini adalah untuk menganalisis pendidikan seni teater Ethiopia sebagai bentuk seni kreatif. Di Ethiopia, seni teater baru terbentuk tahun 1978, yang hingga sekarang belum menunjukkan kemajuannya. Kurikulum pendidikan seni teater di Ethiopia belum terlihat baik, dalam arti masih terdapat kekurangan di sana sini, sehingga sampai sekarang masih perlu penyempurnaan. Pendidikan seni teater ditopang oleh jurusan seni yang lain di Universitas Addis Ababa. Hal ini menyebabkan aspek musik, tari, seni rupa, dan seni kriya ikut membentuk terbentuknya pendidikan seni teater. Sekara

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11

Kimberlin, Cynthia Tse, and Kay Kaufman Shelemay. "A Song of Longing: An Ethiopian Journey." Notes 49, no. 4 (1993): 1517. http://dx.doi.org/10.2307/899421.

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12

Abebe, Tatek. "Storytelling through Popular Music: Social Memory, Reconciliation, and Intergenerational Healing in Oromia/Ethiopia." Humanities 10, no. 2 (2021): 70. http://dx.doi.org/10.3390/h10020070.

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Drawing on a popular music video titled ‘Beelbaa’ by a young Oromo artist, Jambo Jote, this article discusses the moments and contexts that compel young people to speak up in subtle and poetic ways. By interpreting the content of the lyrics, doing a visual analysis of the music video, and connecting both to contemporary discourses, it explores how researching social memory through music can be used as a lens to understand Ethiopian society, politics, and history. The article draws attention to alternative spaces of resistance as well as sites of intergenerational connections such as lyrics, mu

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13

Salamon, Hagar. "Blackness in Transition: Decoding Racial Constructs through Stories of Ethiopian Jews." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 40, no. 1 (2003): 3–32. http://dx.doi.org/10.2979/jfr.2003.40.1.3.

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14

Gusarova, Ekaterina V. "The Legend of St. Sisynnios in Ethiopian Charms: Interconnection with His Life." Acta Ethnographica Hungarica 64, no. 2 (2019): 321–26. http://dx.doi.org/10.1556/022.2019.64.2.4.

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AbstractThe legend of St. Sisynnios has been widespread in both Christian and popular Ethiopian tradition up to the present time. It exists in the form of written texts in the Ge’ez language, inserted in so-called magic scrolls among other closely connected texts of both magical and religious character. These scrolls have a protective function, and St. Sisynnios is venerated by the Ethiopian Church. There are two versions of his life. The shorter one comprises part of the Synaxarion whilethe longer one is included in a corpus of hagiographical compilations entitled “The Lives of the Martyrs”.

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15

Roger Kurtz, J. "Debating the language of African literature: Ethiopian contributions." Journal of African Cultural Studies 19, no. 2 (2007): 187–205. http://dx.doi.org/10.1080/13696810701760468.

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16

Thomas, Michael W. "–The Athlete: an Ethiopian voice, a universal appeal." Journal of African Cultural Studies 25, no. 1 (2013): 114–18. http://dx.doi.org/10.1080/13696815.2012.753846.

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17

Niksic, Naka. "The adhan in the Bosniak population in Serbia." Bulletin de l'Institut etnographique 68, no. 3 (2020): 533–54. http://dx.doi.org/10.2298/gei2003533n.

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The adhan (?the call to ritual prayer?) originated in Mecca in the seventh century, when it was, by order and instruction of the prophet Muhammad, for the first time, in an exceptionally lovely voice, melodiously performed by Bilal ibn Rebbah, also known as Bilal the Ethiopian. Over time, it became the symbol of testifying to the belief that there is only one god, Allah, and that Muhammad his prophet calls to Islam, as a sign of establishing power over a newly-conquered territory. With the spreading of Islam, the practice of salat, and thus the adhan, has been performed today, in addition to t

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18

Robertson, Marta. "Floating Worlds: Japanese and American Transcultural Encounters in Dance." Congress on Research in Dance Conference Proceedings 2014 (2014): 126–35. http://dx.doi.org/10.1017/cor.2014.18.

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The repurposed metaphor “floating worlds,” from Japanese woodblock prints, highlights political junctions when transcultural American and Japanese dance collide and reconfigure. The first “floating world” is an “Ethiopian Concert” presented by Commodore Matthew Perry's Japanese Olio Minstrels in celebration of The Treaty of Peace and Amity (1854). The second challenges nostalgic Western notions of an “Old Japan” through the aggressively westernized Tokyo School of Music, where modern dancer Michio Ito trained for an opera career. Third, a post–World War I Peace Festival in Washington, DC, whic

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19

Djerrahian, Gabriella. "The ‘end of diaspora’ is just the beginning: music at the crossroads of Jewish, African, and Ethiopian diasporas in Israel." African and Black Diaspora: An International Journal 11, no. 2 (2017): 161–73. http://dx.doi.org/10.1080/17528631.2017.1394602.

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20

Ashagrie, Aboneh. "–The Athlete: a movie about the Ethiopian barefooted Olympic champion." Journal of African Cultural Studies 25, no. 1 (2013): 119–21. http://dx.doi.org/10.1080/13696815.2013.767192.

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21

Crummey, Donald. "Literacy in an oral society: the case of Ethiopian land records." Journal of African Cultural Studies 18, no. 1 (2006): 9–22. http://dx.doi.org/10.1080/13696850600750251.

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22

Jedlowski, Alessandro, and Michael W. Thomas. "Representing ‘otherness’ in African popular media: Chinese characters in Ethiopian video-films." Journal of African Cultural Studies 29, no. 1 (2016): 63–80. http://dx.doi.org/10.1080/13696815.2016.1241704.

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23

Wilcox, Hui Niu. "Global and local media and the making of an Ethiopian national icon." Journal of African Cultural Studies 31, no. 3 (2018): 385–401. http://dx.doi.org/10.1080/13696815.2018.1546168.

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24

Carmichael, Tim. "Bureaucratic literacy, oral testimonies, and the study of twentieth-century Ethiopian history." Journal of African Cultural Studies 18, no. 1 (2006): 23–42. http://dx.doi.org/10.1080/13696850600750277.

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25

Mecca, Selamawit. "Hagiographies of Ethiopian female saints: with special reference toGädlä Krestos SämraandGädlä Feqertä Krestos." Journal of African Cultural Studies 18, no. 2 (2006): 153–67. http://dx.doi.org/10.1080/13696810601104692.

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26

ALTER, ANDREW. "Ethiopian Urban and Tribal Music. 2017. Sub Rosa SR434. Recorded by Ragnar Johnson and Ralph Harrisson. Mastered by Dave Hunt. Annotated by Ragnar Johnson. 16-page booklet with notes in English. Colour and B/W photographs. 2 CDs. CD 1, 13 tracks (51:45); CD 2, 15 tracks (52:52). Also available as two LPs. Recorded in the field in 1971." Yearbook for Traditional Music 51 (November 2019): 293–94. http://dx.doi.org/10.1017/ytm.2019.24.

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27

Orlović, David. "Celebrating Empire. Organization of "General Assemblies of the Forces of the Regime" 1935-6 in Italy's Province of Istria." Histria : the Istrian Historical Society review 4, no. 4 (2014): 115–39. http://dx.doi.org/10.32728/h2014.04.

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The author describes the preparation and implementation of mass rallies marking the beginning and the end of the Italian invasion of Ethiopia (October 1935 – May 1936) in Italy’s province of Istria. Relying on official regime representation of these events through the writing of the regime-affiliated press and confidential documents, the paper discusses the main organizational and ideological features of the mass rallies, with an emphasis on the manner in which the fascist authorities prepared them and the way they were presented in the press. Throughout the war, mass rallies and events of pub

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28

Bosso, Christopher J. "A Biased Guide to Dining Out in Boston." PS: Political Science & Politics 31, S1 (1998): 17–22. http://dx.doi.org/10.1017/s1049096500053944.

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Welcome to Boston, the Athens of America. Many of you are new to town, or haven't been back since long-ago grad school days, so this is a good opportunity to dispell some misconceptions you probably have about dining out in the Hub of the Universe.First of all, Boston-area cuisine is far more than clamchowda(with cream, and no tomato, thank you), pot roast, and baked beans with brown bread. You certainly can enjoy these fine regional delicacies, especially in places catering to tourists, but Boston's restaurant scene simply has exploded in the past decade to encompass a wide variety of foods a

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29

Shelemay, Kay Kaufman. "Jewish Music; Israel; Ethiopia." Ethnomusicology 29, no. 1 (1985): 159. http://dx.doi.org/10.2307/852347.

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30

Orgeret, Kristin Skare. "When will the Daybreak Come?" Nordicom Review 29, no. 2 (2008): 231–44. http://dx.doi.org/10.1515/nor-2017-0188.

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AbstractPopular musical expressions are important for discourses of citizenship and belonging. Focusing on popular music and political processes in Ethiopia today, this discussion uses Tewodros Kassahun aka Teddy Afro’s music as an example. Teddy Afro is a popular voice challenging the prevailing political discourse in Ethiopia. Several of Afro’s songs have been banned by the government on radio and television in Ethiopia, but are found to provide alternative sites of political and cultural resistance to the autocratic regime. Reasons for censorship are discussed as well as how music can provi

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31

KAPLAN, STEVEN. "The Liturgy of Beta Israel: Music of the Ethiopian Jewish Prayer. 2019. Jewish Music Research Centre, The Hebrew University of Jerusalem. Anthology of Music Traditions in Israel, no. 26, AMTI0118. Digital editing and mastering by Avi Nahmias and Gil Stein. Annotated by Simha Arom, Frank Alvarez-Pereyre, Shoshana Ben-Dor and Olivier Tourny. Produced by Edwin Seroussi. 192-page book with notes in English and Hebrew. Hebrew translation by Tova Shani. Tables, bibliography. 3 CDs. CD1, 15 tracks (58:43); CD 2, 12 tracks (51:50); CD 3, 14 tracks (66:02)." Yearbook for Traditional Music 51 (November 2019): 297–98. http://dx.doi.org/10.1017/ytm.2019.27.

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32

Shabtay, Malka. "‘RaGap’: Music and identity among young Ethiopians in Israel." Critical Arts 17, no. 1-2 (2003): 93–105. http://dx.doi.org/10.1080/02560240385310071.

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33

Kebede, Ashenafi, Cynthia Kimberlin, and Jerome Kimberlin. "Ethiopia III: Three Chordophone Traditions." Ethnomusicology 34, no. 1 (1990): 196. http://dx.doi.org/10.2307/852383.

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34

Jirata. "Children as Interpreters of Culture: Producing Meanings from Folktales in Southern Ethiopia." Journal of Folklore Research 48, no. 3 (2011): 269. http://dx.doi.org/10.2979/jfolkrese.48.3.269.

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35

LOCKE, RALPH P. "Beyond the exotic: How ‘Eastern’ is Aida?" Cambridge Opera Journal 17, no. 2 (2005): 105–39. http://dx.doi.org/10.1017/s0954586705002004.

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Various commentators on Aida express disappointment that the music for the opera’s main characters is not more distinctive, i.e., does not make much use of the exotic styles that mark the work’s ceremonial scenes and ballets. Others argue that exotic style is mostly confined to female, hence powerless, characters. Much of this commentary draws on the same limited selection of data and observations: the exotic style of those few numbers, the opera’s plot, and the circumstances of the work’s commissioning (by the Khedive of Egypt).The present study aims to broaden the discussion. Most unusually,

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36

Jeffery, Peter. "Liturgical chant bibliography." Plainsong and Medieval Music 1, no. 2 (1992): 175–96. http://dx.doi.org/10.1017/s0961137100001765.

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The critical study of medieval chant, which began in the mid-nineteenth century, is one of the oldest of the disciplines that coalesced into modern musicology. It is also one of the most international, for liturgical chant traditions represent the earliest preserved musical heritage of a great many different countries that are heirs to the medieval Latin and Byzantine worlds and their satellite cultures, ranging from Finland to Ethiopia, from Iceland all the way to southern India. In more recent times the knowledge of these traditions, particularly Gregorian and Byzantine chant, has spread to

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37

Classen, Albrecht. "Miracles of the Virgin in Middle English, ed. and trans. by Adrienne Williams Boyarin. A Broadview Anthology of British Literature. Peterborough, Ont., 2015, 164 pp., 12 b/w ill." Mediaevistik 31, no. 1 (2018): 291. http://dx.doi.org/10.3726/med012018_291.

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The admiration and worship of the Virgin Mary in the Middle Ages was simply paramount, both in clerical and in secular literature, in the visual arts, and in music. Mary <?page nr="292"?>appears countless times in legendary literature, and so also in Middle English. She might produce miracles and help miserable people in need if they pray hard enough. Those stories were ubiquitous all over medieval Europe, as Williams Boyarin comments, referring to Latin, French, Anglo-Norman, Provençal, Italian, Spanish, Castilian, Arabic, and Ethiopean (10). I wonder, however, what the difference betwe

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38

Qashu. "Singing as Justice: Ateetee, an Arsi Oromo Women's Sung Dispute Resolution Ritual in Ethiopia." Ethnomusicology 63, no. 2 (2019): 247. http://dx.doi.org/10.5406/ethnomusicology.63.2.0247.

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39

Ratner, David. "Rap, racism, and visibility: black music as a mediator of young Israeli-Ethiopians’ experience of being ‘Black’ in a ‘White’ society." African and Black Diaspora: An International Journal 12, no. 1 (2018): 94–108. http://dx.doi.org/10.1080/17528631.2018.1480088.

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40

Allen, Paul, and Jean Welstead. "Adi Quala: Application of Solar Photovoltaic Generation in Rural Medical Centres." Tropical Doctor 24, no. 1 (1994): 17–19. http://dx.doi.org/10.1177/004947559402400108.

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Adi Quala is an Eritrean agricultural town of 14 000 people, and is situated about 70 km south of the capital, Asmara and 30 km from the border with Tigray, Ethiopia. On good days electricity was received from Asmara between 0600 h and 2300 h with nothing available outside these hours. These conditions meant the electricity supply had been a constant problem for the Adi Quala hospital which caters for about 50 000 people with 21 staff. It was for this reason that it was chosen for the first solar system, which provides all essential requirements completely independently from the grid connectio

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41

Kedir, Haji, Yemane Berhane, and Alemayehu Worku. "Subclinical Iodine Deficiency among Pregnant Women in Haramaya District, Eastern Ethiopia: A Community-Based Study." Journal of Nutrition and Metabolism 2014 (2014): 1–8. http://dx.doi.org/10.1155/2014/878926.

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Background.Iodine deficiency in pregnancy is a worldwide problem. This study aimed to assess prevalence and predictors of subclinical iodine deficiency among pregnant women in Haramaya district, eastern Ethiopia.Methods.A cross-sectional, community-based study was conducted on 435 pregnant women existing in ten randomly selected rural kebeles (kebele is the smallest administrative unit in Ethiopia). Data on the study subjects’ background characteristics, dietary habits, and gynecological/obstetric histories were collected via a structured questionnaire. UIC of <150 μg/L defined subclinical

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42

Nugent, Paul. "Do Nations Have Stomachs? Food, Drink and Imagined Community in Africa." Africa Spectrum 45, no. 3 (2010): 87–113. http://dx.doi.org/10.1177/000203971004500305.

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This paper takes a rhetorical question posed by Ernest Gellner and reframes it to ask whether a sense of national identity can be forged through everyday acts of consumption – in particular, that of food and drink. The article finds value in Benedict Anderson's conception of the nation as an imagined community, but argues that it makes little sense to privilege the printed word over other forms of consumption. The article goes on to suggest that there have been significant convergences at the level of consumption, but that not all of this has led to reflection about what it means to be a membe

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43

Triulzi, Alessandro. "When orality turns to writing: two documents from Wälläga, Ethiopia." Journal of African Cultural Studies 18, no. 1 (2006): 43–55. http://dx.doi.org/10.1080/13696850600750285.

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Dibaba, Assefa Tefera. "“God speak to us”: performing power and authority in Salale, Ethiopia." Journal of African Cultural Studies 26, no. 3 (2014): 287–302. http://dx.doi.org/10.1080/13696815.2014.901165.

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Gebre, Yntiso. "Cultural contact and change in naming practices among the Aari of southwest Ethiopia." Journal of African Cultural Studies 22, no. 2 (2010): 183–94. http://dx.doi.org/10.1080/13696815.2010.506387.

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46

Abbink, Jon. "An historical‐anthropological approach to Islam in Ethiopia: issues of identity and politics*." Journal of African Cultural Studies 11, no. 2 (1998): 109–24. http://dx.doi.org/10.1080/13696819808717830.

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47

Plastow, Jane. "Theatre of Conflict in the Eritrean Independence Struggle." New Theatre Quarterly 13, no. 50 (1997): 144–54. http://dx.doi.org/10.1017/s0266464x00011003.

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Eritrea is a newly independent country whose performing arts history, based on the music and dance of her nine ethnic groups, is only just beginning to be systematically researched. Western-influenced drama was introduced to the country by the Italians in the early twentieth century, but Eritreans only began to use this form of theatre in the 1940s. The three-part series here inaugurated is the first attempt to piece together the history of Eritrean drama, beginning below with an outline of its history from the 1940s to national independence in 1991. The author explores the highly political ro

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48

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 76, no. 3-4 (2002): 323–79. http://dx.doi.org/10.1163/13822373-90002540.

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-Alan L. Karras, Lauren A. Benton, Law and colonial cultures: Legal regimes in world history, 1400-1900. Cambridge: Cambridge University Press, 2002. xiii + 285 pp.-Sidney W. Mintz, Douglass Sullivan-González ,The South and the Caribbean. Jackson: University Press of Mississippi, 2001. xii + 208 pp., Charles Reagan Wilson (eds)-John Collins, Peter Redfield, Space in the tropics: From convicts to rockets in French Guiana. Berkeley: University of California Press, 2000. xiii + 345 pp.-Vincent Brown, Keith Q. Warner, On location: Cinema and film in the Anglophone Caribbean. Oxford: Macmillan, 200

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49

Marye, Hewan Semon. "Ityoṗyawinnät and Addis Abäba’s Popular Music Scene". Aethiopica 22 (5 березня 2020). http://dx.doi.org/10.15460/aethiopica.22.0.1048.

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The production, consumption, and distribution of contemporary Ethiopian music has thus far remained largely unexplored, although it is an important part of the urban Ethiopian public sphere. This study explores themes dominant in the music scene of Ethiopia in 2016, in which musicians explore ideas central to Ethiopian socio-political and economic life. The subversive nature of Ethiopian music, its presentation of characteristic topics of urban life, its aesthetic power, and the prominence it gives to important themes such as citizenship, nationalism, and identity are all investigated in this

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50

Dolp, Laura, and Eveljn Ferraro. "Casting Sound: Modality and Poetics in Gabriella Ghermandi's "Regina di fiori e di perle"." altrelettere, December 5, 2016. http://dx.doi.org/10.5903/al_uzh-34.

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This article investigates Gabriella Ghermandi’s novel Regina di fiori e di perle (2007) through two disciplinary perspectives: the first investigates music as a historical and social practice through historical observation of Ghermandi’s characters who reference Ethiopian oral traditions; and the second explores the contemporary dynamics of migration and transnational identity through textual analysis that critiques how storytelling practices are carried into an Italian context. We argue that the novel reflects a dissemination of oral memory across generations and gender and into a postcolonia

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