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Articles de revues sur le sujet « Music and anthropology »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 1 août 2024

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1

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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11

Hagstrom, Kristina, and Anna Frisk. "Musica Sveciae--Folk Music in Sweden." Ethnomusicology 41, no. 3 (1997): 579. http://dx.doi.org/10.2307/852773.

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Li, Jia. "Towards the Feasibility of Instituting a Philippine Digital Audio Library: A Case Study." Journal of ICT In Education 8, no. 2 (July 4, 2021): 1–12. http://dx.doi.org/10.37134/jictie.vol8.2.1.2021.

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As a spearhead force in music research, especially in the area of South East Asia region, the University of the Philippines (UP) Center for Ethnomusicology (UPCE) caters to a gigantic collection of audio materials which covers different musics and musical traditions in the Philippines, South East Asia and representative areas from other continents. As an outcome of its former appellation, the “UP Ethnomusicology Archives”, UPCE hosts an ethnomusicological collection of about 2500 hours of recorded music in open reel and cassette tape formats, under the authorship of Jose Maceda whose visionary

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Stone-Davis, Férdia J. "Making an Anthropological Case: Cognitive Dualism and the Acousmatic." Philosophy 90, no. 2 (February 20, 2015): 263–76. http://dx.doi.org/10.1017/s0031819115000017.

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AbstractThis paper examines Roger Scruton's acousmatic account of music, situating it in relation to the anthropology that accompanies it. It suggests that in order to adequately maintain the anthropology Scruton desires (a cognitive rather than an ontological dualism), and to take full account of the parallel he draws between musical and inter-personal understanding (through gesture), the materiality of music needs to be more fully into his account of musical understanding.

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Vereshchahina-Biliavska, Olena Ye, Olesia V. Cherkashyna, Yuliia O. Moskvichova, Olena M. Yakymchuk, and Olena V. Lys. "Anthropological view on the history of musical art." Linguistics and Culture Review 5, S2 (July 16, 2021): 108–20. http://dx.doi.org/10.21744/lingcure.v5ns2.1334.

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Research in the field of music anthropology as a separate science began to appear only in the last century. Currently, there are only a small number of studies on musical anthropology in the scientific literature. The purpose of the study is a theoretical generalisation of the manifestations of anthropological thinking in the musical art of classicism, romanticism, and avant-garde, carried out on the basis of contemporary scientific publications. The research methodology is based on the principles of analytical, historical, cultural, and comparative methods, which cover the aspects of musical

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Tan, Shzr Ee. "Special issue: Decolonising music and music studies." Ethnomusicology Forum 30, no. 1 (January 2, 2021): 4–8. http://dx.doi.org/10.1080/17411912.2021.1938445.

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Zhou, Hao. "An analysis of the effectiveness of using multicultural music concepts in Chinese college music education." Advances in Education, Humanities and Social Science Research 3, no. 1 (December 28, 2022): 65. http://dx.doi.org/10.56028/aehssr.3.1.65.

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The concept of multicultural music view is founded on music anthropology, which is an aesthetic idea in music that fully acknowledges the distinctions between many ethnic music cultures and explores culture via music. The development of pertinent music aesthetic general education courses, art practice activities, and multicultural music concepts in non-artist colleges with a high cultural literacy audience has a significant impact on student's overall development, the creation of a positive social climate, and the solidity of national cultural confidence.

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Shannon, Jonathan H. "Introduction." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 775–78. http://dx.doi.org/10.1017/s0020743812000864.

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Scholars of the Middle East and North Africa in all disciplines can learn much about their favored topics of interest through the study of music and related cultural practices. However, professional and often personal limitations have precluded awareness of the rich potential that music offers for analyses of Middle Eastern and North African societies. Typically music and the performing arts have been the purview of specialists in ethnomusicology, anthropology of music, and performance studies. Music and other sonic phenomena have been routinely marginalized if not ignored by scholars in Middl

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Poluan, David, Syahrul Syah Sinaga, and Udi Utomo. "The Role of Society and Artists in the Preservation of Bamboo Music in Minahasa." Edumaspul: Jurnal Pendidikan 7, no. 1 (March 1, 2023): 1719–24. http://dx.doi.org/10.33487/edumaspul.v7i1.6420.

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Musik Bambu merupakan kelompok orkes musik instrumen tradisional yang berasal dari suku Minahasa, Sulawesi Utara. Penelitian ini berfokus pada dua jenis Musik Bambu di Minahasa, yaitu Musik Bambu Melulu, dan Musik Bambu Klarinet. Penelitian ini bertujuan untuk mengetahui upaya pelestarian Musik Bambu yang dilakukan oleh Pelaku seni dan Masyarakat di desa Tumaratas dua, kecamatan Langowan Barat, kabupaten Minahasa, dan desa Liwutung. Kecamatan Pasan, Kabupaten Minahasa Tenggara. Penelitian ini menggunakan jenis penelitian kualitatif dengan kajian etnomusikologi. Etnomusikologi merupakan disipli

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19

Lewis, Jerome. "Music and Rituals." Anthropology Today 15, no. 1 (February 1999): 20. http://dx.doi.org/10.2307/2678212.

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20

Zhang, Chao. "A Brief Analysis of Orff's Music Teaching Concept." Review of Educational Theory 2, no. 3 (July 2, 2019): 21. http://dx.doi.org/10.30564/ret.v2i3.873.

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Orff music teaching method is one of the most famous and widely used music education systems in the world, named after Karl Orff, a famous German musician. It endows the music education with humanity and fraternity under the perspective of anthropology, which has a profound impact on music education in primary and secondary schools all over the world. During the process of Chinese folk music teaching in primary and secondary schools, we should draw on the advantages of Orff's music teaching philosophy and promote the national characteristics of Chinese music teaching.

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21

Crowley, Daniel J., and John E. Kaemmer. "Music in Human Life: Anthropological Perspectives on Music." Ethnohistory 43, no. 2 (1996): 335. http://dx.doi.org/10.2307/483403.

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Porter, James, and Paivikki Suojanen. "Finnish Folk Hymn Singing: Study in Music Anthropology." Journal of American Folklore 98, no. 389 (July 1985): 354. http://dx.doi.org/10.2307/539951.

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23

Miller, Terry E., and Paivikki Suojanen. "Finnish Folk Hymn Singing: Study in Music Anthropology." Yearbook for Traditional Music 17 (1985): 216. http://dx.doi.org/10.2307/768448.

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Saari, Seppo, and Paivikki Suojanen. "Finnish Folk Hymn Singing: Study in Music Anthropology." Ethnomusicology 34, no. 1 (1990): 161. http://dx.doi.org/10.2307/852370.

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Suppan, Wolfgang, and Paivikki Suojanen. "Finnish Folk Hymn Singing. Study in Music Anthropology." Jahrbuch für Volksliedforschung 31 (1986): 201. http://dx.doi.org/10.2307/848358.

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26

Hytönen-Ng, Elina. "Book review: Perspectives on Anthropology of Music and Dance from the British Isles." Suomen Antropologi: Journal of the Finnish Anthropological Society 47, no. 2 (July 31, 2023): 109–11. http://dx.doi.org/10.30676/jfas.119749.

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27

Tsetsos, Markos. "Ideology, humanness, and value. On Adorno’s Stravinsky." Muzikologija, no. 34 (2023): 95–107. http://dx.doi.org/10.2298/muz2334095t.

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Theodor W. Adorno?s critique of Igor Stravinsky has itself been repeatedly criticised. Following the same line, the present article takes as its point of departure the philosophical anthropology of Helmuth Plessner, which challenges the premises of Marxist anthropology, on which Adorno based his critique of Stravinsky. Far from regressing to the inhuman and primitive, Stravinsky?s music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition, thus becoming more ?human?, i.e. meaningful and expressive, than Adorno could have even conceived.

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Kuligowski, Waldemar. "Nacjonalizm zwyczajnych ludzi. Etnicyzowanie tradycji muzycznej na przykładzie festiwalu w Gučy." Slavia Meridionalis 11 (August 31, 2015): 157–71. http://dx.doi.org/10.11649/sm.2011.009.

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Normal people’s nationalism. Ethnicization of music tradition for instance some festival in GučaSince the 1980’s ethnology and social and cultural anthropology have witnessed an increasing number of studies and debates on nationalism in the light of popular culture. In the light of theory formulated by Hobsbawm, Gellner, Hayes and Comaroff nationalism is effect not big symbols and official politics, but rather popular entertainment, media and normal practices normal people in its normal life. Traditional primordial concepts of nationalism are deep regressive.In this paper, I discuss a few cont

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Peng, Yixuan. "Conceptual and Theoretical Exploration of Music Tourism." Academic Journal of Management and Social Sciences 2, no. 3 (May 20, 2023): 164–66. http://dx.doi.org/10.54097/ajmss.v2i3.8757.

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Music is an important aspect of tourism. “City of Music" is a label that many cities want to acquire based on the fact that it is a way to attract new tourist traffic. Not only does music have a positive function in terms of identity and belonging, but music tourism is increasingly recognized as an industry with economic and social impact. Based on the theoretical foundation of music sociology and cultural anthropology, the importance of music in contemporary tourism and human cultural exchange is further elucidated by sorting out and integrating the concept of music tourism.

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Lipták, Dániel. "Hungarian Ethnomusicologist Oszkár Dincsér (1911–1977) as a Pioneer of Musical Anthropology." Studia Musicologica 59, no. 1-2 (June 2018): 79–97. http://dx.doi.org/10.1556/6.2018.59.1-2.7.

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There are marked differences between Hungarian and American ethnomusicology in incentives, aims, interests, and methods. Hungarian research was based in the early twentieth century on study of musical form, while the Americans approached music in terms of social context and functions. However, Hungarians from the mid-1930s onward moved toward an increasing interest in the social aspects of folk music. Oszkár Dincsér, a lesser known researcher of Kodály's school, exemplifies this trend in his 1943 study of chordophone instruments in the Csík (in Romanian: Ciuc) County region of Transylvania Két

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Montero-Diaz, Fiorella. "Making music Indigenous: popular music in the Peruvian Andes." Ethnomusicology Forum 29, no. 3 (September 1, 2020): 406–8. http://dx.doi.org/10.1080/17411912.2020.1858917.

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Machin-Autenrieth, Matthew. "Music in Portugal and Spain: experiencing music, expressing culture." Ethnomusicology Forum 27, no. 3 (September 2, 2018): 370–72. http://dx.doi.org/10.1080/17411912.2018.1543029.

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James, Nicholas. "Music, Performance and Identity." Anthropology Today 11, no. 1 (February 1995): 21. http://dx.doi.org/10.2307/2783322.

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Krüger, Simone. "Facing the Music: Shaping Music Education from a Global Perspective." Ethnomusicology Forum 19, no. 2 (November 2010): 273–75. http://dx.doi.org/10.1080/17411912.2010.511056.

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O'Brien-Rothe, Linda, and T. M. Scruggs. "Nicaraguan Folk Music from Masaya: Musica Folklorica de Masaya." Ethnomusicology 38, no. 2 (1994): 376. http://dx.doi.org/10.2307/851755.

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NTARANGWI, MWENDA. "Live in Dar es Salaam: Popular Music and Tanzania's Music Economy byAlex Perullo." American Ethnologist 40, no. 1 (February 2013): 233–34. http://dx.doi.org/10.1111/amet.12015_16.

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EL-GHADBAN, YARA. "Facing the music: Rituals of belonging and recognition in contemporary Western art music." American Ethnologist 36, no. 1 (February 2009): 140–60. http://dx.doi.org/10.1111/j.1548-1425.2008.01105.x.

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Romenskaya, L. A., A. A. Nizhnik, and E. V. Oster. "Ontology conception of music (experience in modeling categorical discourse of Christian anthropology of music)." Alma mater. Vestnik Vysshey Shkoly, no. 7 (July 2018): 67–71. http://dx.doi.org/10.20339/am.07-18.067.

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Zamotin, M. P. "Music as a Research Object of Cultural Anthropology by George Herzog." Discourse 6, no. 1 (March 5, 2020): 49–61. http://dx.doi.org/10.32603/2412-8562-2020-6-1-49-61.

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Introduction. Being a universal art form, music in cultural anthropology was understood as a key element of human life throughout the world, represented in a variety of genres, ways of processing sounds, creating harmony, creating song folklore that reflects all aspects of human life. Ethnomusicology, as a unique research field, combined an interest in music both in the form of art and in its sociocultural context. This paper is devoted to the research activity of J. Herzog, thanks to whose efforts the study of folk “primitive” music went beyond musicology and diversified the subject area of c

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Castelo-Branco, Salwa El-Shawan. "Music in Egypt: Experiencing Music, Expressing Culture." Ethnomusicology 53, no. 2 (April 1, 2009): 343–45. http://dx.doi.org/10.2307/25653075.

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Stock, Jonathan P. J. "Music in China: Experiencing Music, Expressing Culture." Ethnomusicology 53, no. 1 (January 1, 2009): 156–58. http://dx.doi.org/10.2307/25653054.

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Peters, Karen A. "Music in Bulgaria: Experiencing Music, Expressing Culture." Ethnomusicology 50, no. 3 (October 1, 2006): 498–500. http://dx.doi.org/10.2307/20174473.

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BORN, GEORGINA. "On Musical Mediation: Ontology, Technology and Creativity." Twentieth-Century Music 2, no. 1 (March 2005): 7–36. http://dx.doi.org/10.1017/s147857220500023x.

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This article develops a theoretical analysis of music and mediation, building on the work of Theodor Adorno, Tia DeNora and Antoine Hennion. It begins by suggesting that Lydia Goehr’s account of the work concept requires such a perspective. Drawing on Alfred Gell’s anthropology of art, the article outlines an approach to mediation that incorporates understandings of music’s social, technological and temporal dimensions. It suggests that music’s mediations have taken a number of historical forms, which cohere into assemblages, and that we should be alert to shifts in the dominant forms of music

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Erlmann, Veit. ":Music and Digital Media: A Planetary Anthropology." Journal of Anthropological Research 79, no. 3 (September 1, 2023): 401–3. http://dx.doi.org/10.1086/725747.

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Eyerman, Ron. "Music and Gender.:Music and Gender." American Anthropologist 105, no. 4 (December 2003): 875. http://dx.doi.org/10.1525/aa.2003.105.4.875.

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JILEK, WOLFGANG. "Music and Trance: A Theory of the Relations between Music and Possession . GILBERT ROUGET." American Ethnologist 14, no. 3 (August 1987): 598–99. http://dx.doi.org/10.1525/ae.1987.14.3.02a00450.

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Koskoff, Ellen, Per Hage, and Frank Harary. "Structural Models in Anthropology." Ethnomusicology 30, no. 1 (1986): 167. http://dx.doi.org/10.2307/851847.

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Chenyu, Wang. "Context of the existence of Chinese national music: ethnomusicological and anthropological analysis." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-3 (December 1, 2020): 216–29. http://dx.doi.org/10.31166/voprosyistorii202012statyi67.

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The article is devoted to the study of the anthropology of Chinese national music. The history of the development of musical art and musical culture in China, role and place of musical anthropology in Chinese scientific thought is revealed. The research is based on ethnomusicological and anthropological approaches. The analysis of the practice of conducting ethnomusicological research in China, as well as the history of the development of ethnomusicology, as a separate scientific direction, is performed.

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VanHandel, Leigh. "The War of the Romantics: An Alternate Hypothesis Using nPVI for the Quantitative Anthropology of Music." Empirical Musicology Review 11, no. 2 (January 10, 2017): 234. http://dx.doi.org/10.18061/emr.v11i2.5474.

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This response offers an alternate interpretation for the data described in Joseph Daniele's 2016 article "A tool for the quantitative anthropology of music: Use of the nPVI equation to analyze rhythmic variability within long-term historical patterns in music." I examine Daniele's argument that there is an overall rising trend in rhythmic variability in German composition from 1600-1950, and offer an alternate, historically informed explanation based on the re-examination of the data. The rising trend does not appear to be consistent throughout time, and rather than being the result of the wan

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Bastos, Rafael José de Menezes Bastos. "Musicalidade e ambientalismo na redescoberta do Eldorado e Caraíba: uma Antropologia do encontro Raoni-Sting." Revista de Antropologia 39, no. 1 (June 6, 1996): 145–89. http://dx.doi.org/10.11606/2179-0892.ra.1996.111626.

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ln 1989, Raoni, Chief of the Txukahamae Indians of Brazil, and the rock star Sting traveled to Europe to raise funds for the protection of Indian rights in the Amazon. Thereafter, Raoni appeared in concerts with Sting and other popular music celebrities. ln this context, music appears as the signifier of a language that has in environmentalism its meanings. Ethically, thes encounters problematized the authenticity of their participants, while politically they raised the question of national sove reignty in the Amazon. This picture will be exarnined as an encounler between two socio-cultural un

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