Rachel Harris
- Published in print:
- 2004
- Published Online:
- January 2012
- ISBN:
- 9780197262979
- eISBN:
- 9780191734717
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262979.001.0001
- Subject:
- Music, Ethnomusicology, World Music
The Sibe are an immigrant group, Qing dynasty bannermen who made a three-year ‘long march’ from Manchuria in the 18th century to serve as a border garrison in the newly conquered Western Regions of ...
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The Sibe are an immigrant group, Qing dynasty bannermen who made a three-year ‘long march’ from Manchuria in the 18th century to serve as a border garrison in the newly conquered Western Regions of the Qing Chinese empire. They preserved their military structure and a discrete identity in the multi-ethnic region of Xinjiang and are now officially recognised as an ethnic minority nationality under the People's Republic. They are known in China today as the last speakers of the Manchu language, and as preservers of their ancient traditions. This study of their music culture reveals not fossilised tradition but a shifting web of borrowings, assimilation, and retention. It is an informed account of culture and performance in the Chinese region of Xinjiang. The book approaches musical and ritual life in this ethnically diverse region through an understanding of society in terms of negotiation, practice, and performance. It explores the relations between shamanism, song, and notions of externality and danger, bringing recent theories on shamanism to bear on questions of the structural and affective powers of ritual music. The book focuses on the historical demands of identity, boundary maintenance, and creation among the Sibe, and on the role of musical performance in maintaining popular memory, and it discusses the impact of state policies of the Chinese Communist Party on village musical and ritual life. It draws on a wide range of Chinese, Sibe-Manchu language sources, and oral sources including musical recordings and interviews gathered in the course of fieldwork in Xinjiang.Less
The Sibe are an immigrant group, Qing dynasty bannermen who made a three-year ‘long march’ from Manchuria in the 18th century to serve as a border garrison in the newly conquered Western Regions of the Qing Chinese empire. They preserved their military structure and a discrete identity in the multi-ethnic region of Xinjiang and are now officially recognised as an ethnic minority nationality under the People's Republic. They are known in China today as the last speakers of the Manchu language, and as preservers of their ancient traditions. This study of their music culture reveals not fossilised tradition but a shifting web of borrowings, assimilation, and retention. It is an informed account of culture and performance in the Chinese region of Xinjiang. The book approaches musical and ritual life in this ethnically diverse region through an understanding of society in terms of negotiation, practice, and performance. It explores the relations between shamanism, song, and notions of externality and danger, bringing recent theories on shamanism to bear on questions of the structural and affective powers of ritual music. The book focuses on the historical demands of identity, boundary maintenance, and creation among the Sibe, and on the role of musical performance in maintaining popular memory, and it discusses the impact of state policies of the Chinese Communist Party on village musical and ritual life. It draws on a wide range of Chinese, Sibe-Manchu language sources, and oral sources including musical recordings and interviews gathered in the course of fieldwork in Xinjiang.
S. J. Harrison
- Published in print:
- 2004
- Published Online:
- January 2012
- ISBN:
- 9780197262979
- eISBN:
- 9780191734717
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197262979.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This chapter sums up the key findings of this study on the musical history of the Sibe people in Xinjiang, China. It provides evidence to show that in spite of their reputation as a people who have ...
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This chapter sums up the key findings of this study on the musical history of the Sibe people in Xinjiang, China. It provides evidence to show that in spite of their reputation as a people who have kept themselves aloof and kept their ancient traditions alive, Sibe culture in general and music culture in particular is distinguished by a high degree of syncretism and rapid change. The chapter also argues that though the contexts of music and the media through which it is disseminated are changing rapidly and radically, certain underlying themes in the discussion of music remain constant as modernity takes root in the region.Less
This chapter sums up the key findings of this study on the musical history of the Sibe people in Xinjiang, China. It provides evidence to show that in spite of their reputation as a people who have kept themselves aloof and kept their ancient traditions alive, Sibe culture in general and music culture in particular is distinguished by a high degree of syncretism and rapid change. The chapter also argues that though the contexts of music and the media through which it is disseminated are changing rapidly and radically, certain underlying themes in the discussion of music remain constant as modernity takes root in the region.
Juniper Hill
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199568086
- eISBN:
- 9780191731044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568086.003.0006
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter focuses on one of the most fundamental sociocultural determinants of creative activities: ideology. Drawing from ethnomusicological ethnographic research, it examines differing cultural ...
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This chapter focuses on one of the most fundamental sociocultural determinants of creative activities: ideology. Drawing from ethnomusicological ethnographic research, it examines differing cultural belief systems, values, and attitudes that may restrict, inhibit, encourage, or liberate musical creativity. It presents six case studies that demonstrate widely varying beliefs and conventions concerning musical creativity. They are: Venda traditional music from South Africa; pre-1970s Suya ceremonial music from Mato Grosso, Brazil; Western Classical and Romantic art music as studied and performed in Western Europe and North America in the late 20th century; American post-revival folk music; Finnish contemporary folk music; and festival music of the Aymara-speaking indigenous people from Conima, Peru.Less
This chapter focuses on one of the most fundamental sociocultural determinants of creative activities: ideology. Drawing from ethnomusicological ethnographic research, it examines differing cultural belief systems, values, and attitudes that may restrict, inhibit, encourage, or liberate musical creativity. It presents six case studies that demonstrate widely varying beliefs and conventions concerning musical creativity. They are: Venda traditional music from South Africa; pre-1970s Suya ceremonial music from Mato Grosso, Brazil; Western Classical and Romantic art music as studied and performed in Western Europe and North America in the late 20th century; American post-revival folk music; Finnish contemporary folk music; and festival music of the Aymara-speaking indigenous people from Conima, Peru.
David D. Harnish and Anne K. Rasmussen
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195385410
- eISBN:
- 9780199896974
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385410.003.0001
- Subject:
- Music, Ethnomusicology, World Music, History, Western
This introductory chapter discusses the development of music and Islam in Indonesia. Music has played a central role in religious ritual in historic Indonesia and was often used as a vehicle to ...
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This introductory chapter discusses the development of music and Islam in Indonesia. Music has played a central role in religious ritual in historic Indonesia and was often used as a vehicle to empower rulers and to spread knowledge and ideology. Islam has been an inspiration for music associated with courtly arts, folk music, and popular music for centuries, but there has been a marked increase in popularity of Islam-inspired forms of various sorts in the 21st century. An overview of the subsequent chapters is also presented.Less
This introductory chapter discusses the development of music and Islam in Indonesia. Music has played a central role in religious ritual in historic Indonesia and was often used as a vehicle to empower rulers and to spread knowledge and ideology. Islam has been an inspiration for music associated with courtly arts, folk music, and popular music for centuries, but there has been a marked increase in popularity of Islam-inspired forms of various sorts in the 21st century. An overview of the subsequent chapters is also presented.
Steve Swayne
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195388527
- eISBN:
- 9780199894345
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195388527.001.0001
- Subject:
- Music, History, American, History, Western
The musical landscape of New York City and the United States of America would look quite different had it not been for William Schuman. This book, the first objective and comprehensive biography of ...
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The musical landscape of New York City and the United States of America would look quite different had it not been for William Schuman. This book, the first objective and comprehensive biography of Schuman, portrays a man who had a profound influence upon the artistic and political institutions of his day and beyond. The book draws heavily upon Schuman's letters, writings, and manuscripts as well as unprecedented access to archival recordings and previously unknown correspondence. The winner of the first Pulitzer Prize in Music, Schuman composed music that is rhythmically febrile, harmonically pungent, melodically long-breathed, and timbrally brilliant, and the book offers an astute analysis of his work, including many unpublished music scores. Swayne also describes Schuman's role as president of the Juilliard School of Music and of Lincoln Center for the Performing Arts, tracing how he both expanded the boundaries of music education and championed the performing arts. Filled with new discoveries and revisions of the received historical narrative and published in Schuman's centenary year, Orpheus in Manhattan confirms Schuman as a major figure in America's musical life.Less
The musical landscape of New York City and the United States of America would look quite different had it not been for William Schuman. This book, the first objective and comprehensive biography of Schuman, portrays a man who had a profound influence upon the artistic and political institutions of his day and beyond. The book draws heavily upon Schuman's letters, writings, and manuscripts as well as unprecedented access to archival recordings and previously unknown correspondence. The winner of the first Pulitzer Prize in Music, Schuman composed music that is rhythmically febrile, harmonically pungent, melodically long-breathed, and timbrally brilliant, and the book offers an astute analysis of his work, including many unpublished music scores. Swayne also describes Schuman's role as president of the Juilliard School of Music and of Lincoln Center for the Performing Arts, tracing how he both expanded the boundaries of music education and championed the performing arts. Filled with new discoveries and revisions of the received historical narrative and published in Schuman's centenary year, Orpheus in Manhattan confirms Schuman as a major figure in America's musical life.
Peter La Chapelle
- Published in print:
- 2007
- Published Online:
- May 2012
- ISBN:
- 9780520248885
- eISBN:
- 9780520940000
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520248885.003.0005
- Subject:
- Music, History, American
This chapter argues that pressure to fit in was an important impetus for the rightward turn in country music. Consumers, sponsors, and musical producers strived in the mid- to late 1950s to ...
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This chapter argues that pressure to fit in was an important impetus for the rightward turn in country music. Consumers, sponsors, and musical producers strived in the mid- to late 1950s to rehabilitate local country music's hayseed image and disassociate the genre from the Depression-era anti-Okie campaign and its lingering stigma by downplaying working-class and Okie identity, discouraging liberal-populist political dissent and stressing how elements of the music culture could convey social status. While this muzzled some performers, it also provided room for a small group of wealthy, well-connected performers—especially some of the 1930s cinematic singing cowboys—to come to the forefront and present themselves as antielitist spokesmen for a new, conservative cultural populism.Less
This chapter argues that pressure to fit in was an important impetus for the rightward turn in country music. Consumers, sponsors, and musical producers strived in the mid- to late 1950s to rehabilitate local country music's hayseed image and disassociate the genre from the Depression-era anti-Okie campaign and its lingering stigma by downplaying working-class and Okie identity, discouraging liberal-populist political dissent and stressing how elements of the music culture could convey social status. While this muzzled some performers, it also provided room for a small group of wealthy, well-connected performers—especially some of the 1930s cinematic singing cowboys—to come to the forefront and present themselves as antielitist spokesmen for a new, conservative cultural populism.
Valerie R. Peters
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199363032
- eISBN:
- 9780199363063
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199363032.003.0008
- Subject:
- Music, Performing Practice/Studies
This chapter examines several theoretical perspectives that may be useful in framing curricular approaches to the study of world music pedagogy in local music cultures. These theoretical frameworks ...
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This chapter examines several theoretical perspectives that may be useful in framing curricular approaches to the study of world music pedagogy in local music cultures. These theoretical frameworks were used as a guide to conceptualize three case studies in different local communities in Quebec, Canada. Data from the case studies are used to exemplify the theoretical frameworks. One of the objectives of the case studies was to describe the phenomenon of secondary music students using the tools of inquiry of ethnographers (participant observation, interviewing, and transcribing) to construct and represent their understanding of a local traditional music culture including concepts, beliefs, and values embedded in musical/cultural practices. While theoretical frameworks are helpful in guiding the work of music educators, empirical evidence from the field is needed to validate theoretical claims, as well as exemplify how these claims might be translated into practice.Less
This chapter examines several theoretical perspectives that may be useful in framing curricular approaches to the study of world music pedagogy in local music cultures. These theoretical frameworks were used as a guide to conceptualize three case studies in different local communities in Quebec, Canada. Data from the case studies are used to exemplify the theoretical frameworks. One of the objectives of the case studies was to describe the phenomenon of secondary music students using the tools of inquiry of ethnographers (participant observation, interviewing, and transcribing) to construct and represent their understanding of a local traditional music culture including concepts, beliefs, and values embedded in musical/cultural practices. While theoretical frameworks are helpful in guiding the work of music educators, empirical evidence from the field is needed to validate theoretical claims, as well as exemplify how these claims might be translated into practice.
Tracey E. W. Laird
- Published in print:
- 2005
- Published Online:
- October 2011
- ISBN:
- 9780195167511
- eISBN:
- 9780199850099
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167511.003.0005
- Subject:
- Music, Ethnomusicology, World Music
The history of KWKH demonstrates the potency of the use of radio signals for communication from a regional to a national audience. It started from local radio. This chapter looks at the effects of ...
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The history of KWKH demonstrates the potency of the use of radio signals for communication from a regional to a national audience. It started from local radio. This chapter looks at the effects of World War II on the industry wherein early radio created new opportunities for isolated theaters of music and culture. It also opened contexts of exchange for business, ides, and, music. Over time, radio's potency resulted in the creation of a hybridized music culture. Though the pioneer developers of radio technology envisioned radio not as just entertainment, after a few years, radio took over the phonograph in its primacy in American media. KWKH's formation in the mid-1920s provided the gateway for the emergence of independent radio.Less
The history of KWKH demonstrates the potency of the use of radio signals for communication from a regional to a national audience. It started from local radio. This chapter looks at the effects of World War II on the industry wherein early radio created new opportunities for isolated theaters of music and culture. It also opened contexts of exchange for business, ides, and, music. Over time, radio's potency resulted in the creation of a hybridized music culture. Though the pioneer developers of radio technology envisioned radio not as just entertainment, after a few years, radio took over the phonograph in its primacy in American media. KWKH's formation in the mid-1920s provided the gateway for the emergence of independent radio.
Dan Laughey
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748623808
- eISBN:
- 9780748653034
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623808.003.0003
- Subject:
- Society and Culture, Cultural Studies
This chapter outlines a dynamic interactionism used to problematise structuralism as a framework for understanding music cultures and media, with reference to archival research. The archive in ...
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This chapter outlines a dynamic interactionism used to problematise structuralism as a framework for understanding music cultures and media, with reference to archival research. The archive in question is the Mass-Observation Archive, named after the social research organisation that generated its ethnographic material. The chapter interprets the findings of Mass-Observers located in north-west England who observed youth music and dance practices during the pre-war and intra-war years (1936–49). These practices and the various contexts in which they were enacted (ballrooms, dance schools, living rooms) are seen to resonate in particular with ideas about the ‘carnivalesque’ and everyday consumer tactics that escape the influence of producers. It is argued that the notion of what might be termed ‘promenade performances’ of demonstration and display afforded by varying levels of involvement and competence in dancing practices illustrates the significance of interactive processes of cultural exchange — or cultural transmission — scarcely evident in many contemporary youth cultural accounts.Less
This chapter outlines a dynamic interactionism used to problematise structuralism as a framework for understanding music cultures and media, with reference to archival research. The archive in question is the Mass-Observation Archive, named after the social research organisation that generated its ethnographic material. The chapter interprets the findings of Mass-Observers located in north-west England who observed youth music and dance practices during the pre-war and intra-war years (1936–49). These practices and the various contexts in which they were enacted (ballrooms, dance schools, living rooms) are seen to resonate in particular with ideas about the ‘carnivalesque’ and everyday consumer tactics that escape the influence of producers. It is argued that the notion of what might be termed ‘promenade performances’ of demonstration and display afforded by varying levels of involvement and competence in dancing practices illustrates the significance of interactive processes of cultural exchange — or cultural transmission — scarcely evident in many contemporary youth cultural accounts.
Dan Laughey
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748623808
- eISBN:
- 9780748653034
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623808.003.0007
- Subject:
- Society and Culture, Cultural Studies
This chapter ties together the theories and research on music and youth cultures. It advocates a situational interactionist model for the study of everyday youth music cultures and media that ...
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This chapter ties together the theories and research on music and youth cultures. It advocates a situational interactionist model for the study of everyday youth music cultures and media that conceptualises contexts, practices, involvement and accessibility in terms which support previous theoretical propositions and fieldwork/archival analyses. This model will then be applied to a more thorough examination of two central themes to have emerged in the course of this study: intergenerational narratives and localised performances.Less
This chapter ties together the theories and research on music and youth cultures. It advocates a situational interactionist model for the study of everyday youth music cultures and media that conceptualises contexts, practices, involvement and accessibility in terms which support previous theoretical propositions and fieldwork/archival analyses. This model will then be applied to a more thorough examination of two central themes to have emerged in the course of this study: intergenerational narratives and localised performances.
