Bibliographies thématiques / Music and anthropology

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Littérature scientifique sur le sujet « Music and anthropology »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 1 août 2024

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Articles de revues sur le sujet "Music and anthropology"

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Han, Sallie, and Jason Antrosio. "Music - Anthropology - Life." Anthropology News 58, no. 3 (May 2017): e200-e210. http://dx.doi.org/10.1111/an.578.

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Suppan, Wolfgang. "La antropología musical: informe sobre sus objetivos y trabajos de investigación." Anuario Musical, no. 53 (January 24, 2019): 257. http://dx.doi.org/10.3989/anuariomusical.1998.i53.283.

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Desde 1951 en que el filósofo alemán Hans Plessner publicó su artículo «Anthropology of Music», se ha intentado descubrir desde diferentes disciplinas cómo se interrelacionan el ser humano y la música. Los libros Sound and Symbol (1956) y Man the Musician (1973) de Viktor Zuckerkandl, Anthropology of Music (1964) de Alan B. Merriam, How Musical is Man? de John Blacking (1973), Der musizierende Mensch. Eine Anthropologie der Musik (1984) y Música humana (1986) de Wolfgang Suppan constituyen los pasos más importantes hacia una nueva e interdisciplinaria ciencia de la música. Pero el pensar sobre
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Gumilang, Rizqa, Sri Setiawati, and Syahrizal Syahrizal. "KEBERTAHANAN MUSIK ORKES MINANG KINI: KAJIAN ANTROPOLOGI MUSIK PADA MUSIK ORKES TAMAN BUNGA." Jurnal Budaya Etnika 7, no. 2 (December 19, 2023): 109. http://dx.doi.org/10.26742/jbe.v7i2.2874.

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ABSTRAK
 Tulisan ini menggambarkan kelangsungan hidup musik Orkestra Minang saat ini, khususnya Kelompok Musik Orkestra Taman Bunga di kota Padangpanjang, Provinsi Sumatera Barat. Di tengah gempuran industri musik yang berorientasi pasar. Menggunakan premis Kontra Hegemoni Gramsci, bagaimana kelompok ini bertahan dengan ideologi musik mereka. Penelitian ini bertumpu pada pendekatan kualitatif deskriptif. Analisis dalam perspektif Antropologi Musik menjelaskan secara mendalam dan holistik kelangsungan hidup kelompok musik ini. Counter Hegemony sebagai alat analisis dalam melihat apa yang m
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Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait I
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Hikiji, Rose Satiko Gitirana. "Video, Music and Shared Anthropology." Visual Anthropology 23, no. 4 (July 15, 2010): 330–43. http://dx.doi.org/10.1080/08949468.2010.485009.

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Kovačević, Ivan, and Marija Ristivojević. "The anthropology of music: contemporary theoretical perspectives." Issues in Ethnology and Anthropology 9, no. 4 (February 26, 2016): 1067. http://dx.doi.org/10.21301/eap.v9i4.13.

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The anthropological study of music focuses on meanings which music hah and produces in a specific sociocultural context. Preferences toward a certain genre of music are tightly linked to the preference of certain cultural values, so music represents an important factor of identification in everyday life. In Serbian ethnology and anthropology music was long viewed as part of Serbian traditional culture, so the interests of researchers focused on “traditional music”. In the 1980’s first papers analyzing music which went outside the traditional frameworks appeared (new folk music – turbofolk), an
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Borsos, Balázs. "Ecology + Anthropology = Ecological Anthropology?" Acta Ethnographica Hungarica 62, no. 1 (June 2017): 31–52. http://dx.doi.org/10.1556/022.2017.62.1.2.

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Rasic, Milos. "Anthropology of music: Paradigms and perspectives." Zbornik Akademije umetnosti, no. 4 (2016): 133–44. http://dx.doi.org/10.5937/zbakum1604133r.

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Deschenes, Bruno. "Toward an Anthropology of Music Listening." International Review of the Aesthetics and Sociology of Music 29, no. 2 (December 1998): 135. http://dx.doi.org/10.2307/3108385.

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Toropova, Alla V. "Formation of a Scientific and Educational Model of Musical-Psychological Anthropology." Musical Art and Education 8, no. 3 (2020): 65–81. http://dx.doi.org/10.31862//2309-1428-2020-8-3-65-81.

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The article presents an understanding of the value attitudes and methodological approaches to the construction of the educational discipline “Musical-psychological anthropology”, developed by the author and tested in the educational process at the Faculty of Musical Arts of the Institute of Fine Arts of Moscow Pedagogical State University. The directions of development in the discipline content the ideas and aspirations by E. B. Abdullin are outlined. The connection of the actual problems of pedagogy and psychology of music education with the experience of setting tasks for the project activit
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Thèses sur le sujet "Music and anthropology"

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Bérubé, Michelle. "Healing Sounds: An Anthropology of Music Therapy." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38559.

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Music therapy has been recognized as a legitimate health practice in Canada since after the Second World War. While research shows the emotional, social and health benefits of music therapy, researchers have failed to agree on the reason music can be beneficial to health. I argue that affect could be the key to understanding the myriad ways in which music, and music therapy, can have a positive effect on health. Through the lens of affect theory, I explore embodiment, relationship-building and aesthetic creation as three areas in which music can allow the harnessing of affect towards health go
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Stokes, Martin. "Anthropological perspectives on music in Turkey." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303568.

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Born, Georgina Emma Mary. "The ethnography of a computer music research institute : modernism, post modernism, and new technology in contemporary music culture." Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/1349616/.

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The thesis is a socio-cultural study of IRCAM, a large, state-funded computer music research institute in Paris directed by the avant garde composer Pierre Boulez. The approach is primarily ethnographic, supported by broader historical analysis. The aim is to provide a critical portrait of musical modernism and post modernism as expressed by IRCAM and its milieu; and to place this in historical perspective by combining anthropology with cultural history. Theoretically, the thesis examines the contradictory position of the contemporary musical avant garde: established in official cultural spher
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Thomas, Kara Rogers. "Music in the mountains music and community in western North Carolina /." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162262.

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Thesis (Ph.D.)--Indiana University, 2004.<br>Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0291. Adviser: John H. McDowell. Title from dissertation home page (viewed Oct. 12, 2006).
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Bowsher, Andrew John. "Authenticity and the commodity : physical music media and the independent music marketplace." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.

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This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independe
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Farrell, Gerard James. "Indian music and the west : a critical history." Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309508.

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Tsukada, Kenichi. "Luvale perceptions of Mukanda in discourse and music." Thesis, Queen's University Belfast, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356917.

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Thorne, Stephanie B. "A Cultural View of Music Therapy: Music and Beliefs of Teton Sioux Shamans, with Reference to the Work of Frances Densmore." Digital Commons @ Butler University, 1999. http://digitalcommons.butler.edu/grtheses/253.

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At the end of World War II, doctors trained in the western bio-medical tradition integrated music into their practice as a means of helping soldiers recover, both mentally and physically, from the atrocities experienced while overseas. For many, music was a solace, opening up the peaceful memories of home and family and pushing aside the war-torn landscapes. By establishing interpersonal relationships between the therapist and the patient, as well as patient-to-patient in group settings, music enabled feelings and emotions to flow freely. The mind was given a structured pattern to bridge the g
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Loten, Sarah. "The aesthetics of solo bagpipe music at the Glengarry Highland Games." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9502.

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The purpose of this study is to examine the aesthetics of solo bagpipe music at the Glengarry Highland Games in Maxville, Ontario, in order to understand how people perceive and receive their world. My ethnography of aesthetics of solo bagpipe music has involved a selected group of musicians that has participated in the piobaireachd and ceol beag contests at these games. Piobaireachd is the classical tradition of the Great Highland bagpipe, and ceol beag is the "light" music which consists of dance songs or marches. The first chapter explores the "arrangements" of power in this community. By "
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Cohen, Sara. "Society and culture in the making of rock music in Merseyside." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383995.

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Livres sur le sujet "Music and anthropology"

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Regine, Allgayer-Kaufmann, Weber Michael 1960-, and Kubik Gerhard 1934-, eds. African perspectives: Pre-colonial history, anthropology, and ethnomusicology. Frankfurt am Main: Peter Lang, 2008.

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Regine, Allgayer-Kaufmann, Weber Michael 1960-, and Kubik Gerhard 1934-, eds. African perspectives: Pre-colonial history, anthropology, and ethnomusicology. Frankfurt am Main: Peter Lang, 2008.

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Dobberstein, Marcel. Musik und Mensch: Grundlegung einer Anthropologie der Musik. Berlin: D. Reimer, 2000.

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Allgayer-Kaufmann, Regine. African perspectives: Pre-colonial history, anthropology, and ethnomusicology. Frankfurt am Main: Peter Lang, 2008.

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Kānprachum Pračham Pī thāng Mānutsayawitthayā (8th 2010 Bangkok, Thailand). Phūkhon, dontrī, chīwit. Krung Thēp Mahā Nakhō̜n: Sūn Manutsayawitthayā Sirinthō̜n, 2010.

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Angela, Rodel, ed. The seven sins of chalga: Toward an anthropology of ethnopop music. Sofii︠a︡: Prosveta, 2005.

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Museum, Pitt Rivers, ed. Rock music. [Oxford]: Pitt Rivers Museum, University of Oxford, 1997.

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Karbusický, Vladimír. Kosmos, Mensch, Musik: Strukturalistische Anthropologie des Musikalischen. Hamburg: R. Krämer, 1990.

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Parus-Jankowska, Magdalena, and Szymon Nożyński. Miejsca muzyki: Perspektywa interdyscplinarna. Gdańsk: Wydawnictwo Naukowe "Katedra", 2019.

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Maurizio, Agamennone, and Di Mitri Gino L, eds. L' eredità di Diego Carpitella: Etnomusicologia, antropologia e ricerca storica nel Salento e nell'area mediterranea : atti del Convegno, Galatina, 21-23 giugno 2002. Nardò (Lecce): BESA, 2003.

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Chapitres de livres sur le sujet "Music and anthropology"

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Kendrick, Robert L. "Anthropology, music, and theater in a seventeenth-century year." In Cognate Music Theories, 252–65. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003311690-19.

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Schaefer, John Philip Rode. "Middle Eastern Music and Popular Culture." In A Companion to the Anthropology of the Middle East, 493–508. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118475683.ch25.

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Ntarangwi, Mwenda. "Music, Identity, and Performance in East Africa." In The Routledge Companion to the Anthropology of Performance, 238–49. New York: Routledge, 2023. http://dx.doi.org/10.4324/b23216-19.

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Murphy, David. "Extreme Neo-Nationalist Music Scenes at the Heart of Europe." In A Companion to the Anthropology of Europe, 425–39. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118257203.ch25.

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Muszkalska, Bożena. "The Work of Oskar Kolberg from the Perspective of Music Anthropology." In Pathways in Early European Ethnomusicology, 13–42. Göttingen: Böhlau Verlag Wien, 2024. http://dx.doi.org/10.7767/9783205219187.13.

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Amico, Stephen. "We Don’t Need Another He(te)ro." In Ethnomusicology, Queerness, Masculinity, 53–69. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15313-6_3.

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AbstractThis chapter explores in greater detail the motivations for and processes of the construction of masculinity within ethnomusicology. Understanding the centuries-long feminization of music in Western culture, anthropology and its methodology—fieldwork—are revealed as utilized in the creation of a specifically academic masculinity. However, while fieldwork is instrumental in the creation of one facet of masculinity (i.e., representation of a self marked by bravado, courage, intrepidness; the ‘anthropologist as hero’), it is argued that for the largely white, privileged male academic, recourse to such stereotypes alone is insufficient. As such, it is intellect and rationality, manifesting via the use and production of Theory (itself coded as masculine) that allow for the maintaining of power over the musical, the racialized Other, and the positivistic, feminized musicologist.
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Balve, Johannes. "Die Musik als Modell." In Ästhetik und Anthropologie bei Alfred Döblin, 127–72. Wiesbaden: Deutscher Universitätsverlag, 1990. http://dx.doi.org/10.1007/978-3-663-14668-1_8.

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Stollberg, Arne. "„… daß die Musick bald einen arsch bekommt“: Mozarts musikalische Anthropologie." In Figuren der Resonanz, 197–236. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-63528-5_5.

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"Musicology, Anthropology, History." In Music and Historical Critique, 283–99. Routledge, 2017. http://dx.doi.org/10.4324/9781315090993-16.

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"Musicology, Anthropology, History." In The Cultural Study of Music, 35–48. Routledge, 2013. http://dx.doi.org/10.4324/9780203821015-8.

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Actes de conférences sur le sujet "Music and anthropology"

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Aleshinskaya, Evgeniya. "Multilingualism in Russian Popular Music Discourse." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.5-5.

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Drawing evidence from reviews on Russian musical websites, English-language song lyrics written by native Russian speakers, and multilingual performances in a popular TV show, the paper takes an anthropological approach to explore such forms of blending languages in popular music as mixed professional jargon, a localized variety of global English, and a new mode of interactivity – mixing languages and music(s) as a form of expressing meanings. The data obtained through discourse analysis were supplemented by online interviews with famous Russian musicians available on internet sources, quasi
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Kakosimou, Olga. "Singing Fado in Contemporary Lisbon: Questions of Boundedness." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.10-3.

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Understanding the oral tradition of fado, requires a profound engagement with the power of its narrativity and its lyrics (Castelo-Branco 1997; Abu-Lughod 1986). Fado is a poetical world of stories being told (sung) and shared in everyday life between those who understand and mainly possess the fado linguagem. It is a broad corpus of words and utterances, pre-existing melodies and repertoires, meanings, and performances, that creates the aesthetic vocabulary of fado and a strong sense of traditionality and boundedness, often disregarded by the global music scene and industry (Gray 2018). This
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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the str
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Huang, Miao. "The perspective of the Anthropology of music of Gannan xingguo." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.70.

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Hadzantonis, Michael. "Landscaping Dialects across Greece: Towards an Extended Ethnography." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.5-1.

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Greece’s language landscapes both geographically and historically multifarious. The dispersal of these dialects has been complexified by mixing and borrowing, as well as other factors, while their boundedness is blurred throughout the region. Many of these dialects and their applications (such as in miroloi and demotic music) are in significant decline, if not endangerment, and efforts to revitalize these languages are inadequate. Yet, these dialects, as an aggregate, also provide a significant source of local and larger (for example, national) ideology, where they each entextualize such an
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Yu, Linhan. "Different Theoretical Logic Study of Ethnomusicology and the Anthropology of Music." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.259.

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Liu, Xiaoyan. "Research on Chinese national music based on the perspective of Musical Anthropology." In 2015 3rd International Conference on Education, Management, Arts, Economics and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemaess-15.2016.33.

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Kavouras, Pavlos. "Trickster and Cain: An Allegory of Musical and Linguistic Anthropology." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-1.

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In this talk, I will juxtapose the mythological figure of trickster with the biblical figure of Cain. In doing so, my purpose is to shed light on the dynamics of human thinking. Trickster is a potent symbol of humanity. It is found in the oral literatures of tribal peoples worldwide, in the context of which his mode of thinking and acting is amply demonstrated. Trickster became widely known to the Western world as a unique expression of humanity, mainly through the works of the anthropologist Paul Radin and the psychologist Carl Jung. Trickstering is a unique human quality which concerns a one
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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the develop
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Mouli, T. Sai Chandra. "Sustaining Folk Literature: A Study." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-7.

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Folk literature is integral to all languages. Verbal and nonverbal forms of folk literature are all pervasive. Verbal forms include proverbs, riddles, lullabies, tales, and ballads, among others. The nonverbal form encompasses dances, games, toys, and objects comprising ethnic designs and flavors. A community’s outlook is shaped by these forms. By and large, folk literature in South Indian languages is performance-oriented, and music is an essential component of the same. The written form has a greater status than the oral presentation. Thus ‘highbrow’ or classical literature enjoys greater st
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