《民族音乐学》:Ethnomusicology,是美国民族音乐学会The Society for Ethnomusicology的官方期刊,是世界上创刊最早的专门刊载民族音乐学研究成果的学术期刊,代表当代民族音乐学及相关领域的研究水准和最新观点,极具学术性、权威性和...《民族音乐学》:Ethnomusicology,是美国民族音乐学会The Society for Ethnomusicology的官方期刊,是世界上创刊最早的专门刊载民族音乐学研究成果的学术期刊,代表当代民族音乐学及相关领域的研究水准和最新观点,极具学术性、权威性和前瞻性。其创刊主旨在于希望通过协会期刊的创办更好的促进民族音乐学在不同时期和不同文化背景下的研究、学习、交流以及表演,为拓展美国及世界其他地区的民族音乐学研究起到了推动作用。笔者透过对美国民族音乐学协会创办历史、Ethnomusicology期刊中专栏设置情况及Ethnomusicology网络期刊的创建情况的介绍及分析,为国内民族音乐学研究者提供一些新的研究视野。展开更多
Oral history,which collects historical materials by means of oral interviews,is an important auxiliary means for ethnomusicological research.Marked by the First Symposium on Oral History of Music in 2014,the academic ...Oral history,which collects historical materials by means of oral interviews,is an important auxiliary means for ethnomusicological research.Marked by the First Symposium on Oral History of Music in 2014,the academic community has launched a series of discussions and elaborations on its concepts,methods,norms,meanings,and other dimensions,and a series of academic achievements have been born.In this paper,we will combine relevant theses to explain how music oral history as contemporary history can achieve“intertextuality”in ethnomusicological research,emphasize its humanistic attributes,and summarize our reflections on the basis of existing academic experiences.展开更多
Ethnomusicology as an emerging discipline has many kind of statement.Through reading Mkolinski’ article《The subject and method of Ethnomusicology》and think of ethnomusicology research.The ethnomusicology In the pro...Ethnomusicology as an emerging discipline has many kind of statement.Through reading Mkolinski’ article《The subject and method of Ethnomusicology》and think of ethnomusicology research.The ethnomusicology In the process of development used to many kinds of Methodology and in this article so that methodology by comparing the period scholars we can found ethnomusicology in the course of history.This article describes the method from a number of musicologists.展开更多
The article analyzes the situation in which ethnographic studies found themselves at the turn of the third decade of the 21st century.The historical background,rooted in the past century,as well as the situation that ...The article analyzes the situation in which ethnographic studies found themselves at the turn of the third decade of the 21st century.The historical background,rooted in the past century,as well as the situation that developed by the end of the second decade,is considered at the general philosophical level,while the area that illustrates the situation was chosen taking into account the author’s professional orientation—ethnomusicology.The problems are divided into three groups.The first such group is devoted to new practices and information spaces that are constantly changing the situation.The second group concerns worldview aspects related to the perception of new ethnographers by the guild elders.A critique of the“decolonization”of ethnographic research as part of an overview of institutional and disciplinary barriers concludes the topics discussed in the article.展开更多
The long-term goal of my research has been to systematize and compare by musical criteria the folk songs of Turkic groups and ethnicities living around them. Here I rarely touch on instrumental folk music, the reperto...The long-term goal of my research has been to systematize and compare by musical criteria the folk songs of Turkic groups and ethnicities living around them. Here I rarely touch on instrumental folk music, the repertoire of professional or semi-professional performers, the most recent strata, seldom or just occasionally discuss art music and the cultural, social and anthropological implications of music are only sporadically considered, too. There are close connections between the languages of Turkic groups but their musical stocks are fundamentally different. Actually, that is not surprising, because these people are, at least in part, Turkified, and through their substrata （that is people absorbed by them） they are in genetic and cultural relations with several non-Turkic peoples. My research therefore has repercussions; apart from the Turkic-speaking peoples tied by culture, language and history, upon their neighbors and partly absorbed other peoples, creating the foundation for an even broader future comparative ethnomusicological research of Eurasian groups. This paper is aimed to provide a very short summary about the findings of my field researches into the folk music of different Turkic-speaking people between 1987 and 2015. I introduce the sources, the collecting work and the methods of processing and analyzing the songs. 1 also give an analytical introduction to the folksong of Anatolian Turks, Azeris, Turkmens, Uzbeks （and Tajiks）, Karachay-Balkars, Kazakhs, Kyrgyzs, a Sufi Turkish community in Thrace and the area of the Volga-Kama-Belaya region. Finally comes a conclusion, a musical map and a list of tasks waiting for us.展开更多
I propose to introduce a few lines of analysis for the RTP Song Contest （Portuguese Radio and Television Song Contest--Festival RTP da Cancāo）. I intend to raise a few questions that will help us to understand the ...I propose to introduce a few lines of analysis for the RTP Song Contest （Portuguese Radio and Television Song Contest--Festival RTP da Cancāo）. I intend to raise a few questions that will help us to understand the role of this competition in the Portuguese musical and cultural scene of the 1960s. RTP Song Contest is the longest television song contest in Portugal. This competition went through several crucial moments in the recent history of Portugal, witnessing the change from dictatorship to democracy. In late 1960s, still under the authoritarian regime, several social changes took place and music played an important role in these changes, as several studies have documented. In 1969, Portugal bet on Simone de Oliveira to bring us the prize, but the result was not the expected. This event brought us many questions about the importance of the Portuguese participation in the Eurovision Song Contest and the faimess of the European evaluation. This paper intends to reflect the implications of this particular event and the importance of the Contest for the Portuguese music scene at the end of the critical 1960＇s. With this paper, I intend to introduce some lines of analysis of the first ten years of the Portuguese Radio and Television Song Contest （Festival RTP da Cang6o--RTP Song Contest）. I intend to raise a few questions that will help us to understand the role of this competition in the Portuguese musical and cultural scene of the late 1960s and 1970s, based on the study of the daily press. RTP Song Contest is the most long-life television contest in Portugal. For this reason, it is important to make a short historical overview of this period and the history of television in Portugal. At the same time, the analysis of statistical data of audiences enables us to understand the television phenomenon in the late 1960s.展开更多
At the center of one of the ancient Georgian mythological narratives, we find a figure of the great mother Nana in the land of Batonebi. It is one of the images of paradise, suffused with eternal light, ruby marani （...At the center of one of the ancient Georgian mythological narratives, we find a figure of the great mother Nana in the land of Batonebi. It is one of the images of paradise, suffused with eternal light, ruby marani （location for storing wine in special pitchers）, and a poplar growing nearby. This poplar is the tree of life, the tree of immortality on which, in some variants, vine is climbing up. In the fourth century, as the tradition and chronicle says, before coming to Georgia for preaching Christianity, St. Nino was given a vine cross by the Blessed Virgin. In the twelfth century, the Georgian king Demetre I wrote a hymn entitled ＂You Are the Vineyard＂ which is dedicated to Blessed Virgin, the patroness of Georgia. If we look at the way in which the religious mentality of Georgians developed, we can notice a line of symbols： the vine, representing the tree of life/cross, and the holy woman （the great mother Nana, the Holy Virgin, and St. Nino）, who is connected with it. The vine cross, the ＂Georgian Cross＂ that Our Lady gave to St. Nino is one of the obvious images of Georgian identity containing pre-Christian worldviews as well.展开更多
本文通过对国际传统音乐学会(ICTM)2000年以来发布和出版的《学会通讯》(Bulletin of the ICTM)以及《传统音乐年鉴》(Yearbook for Traditional Music)中涉及这二十年间举办的10届世界大会的议题解释和相关会议论文的综述和分析,总结I...本文通过对国际传统音乐学会(ICTM)2000年以来发布和出版的《学会通讯》(Bulletin of the ICTM)以及《传统音乐年鉴》(Yearbook for Traditional Music)中涉及这二十年间举办的10届世界大会的议题解释和相关会议论文的综述和分析,总结ICTM世界大会的发展趋势,以期在一定程度上把握民族音乐学(Ethnomusicology)近年来的发展倾向。笔者认为,在ICTM世界大会近年的议题设置中,除了对热点议题的关注外,也充分体现出举办地的学术传统和特色。地方民族音乐学的发展和地方学术委员会的助力为学科注入了新的力量,使学科呈现出更为多元的特点。此外,尽管近年来热点议题少有新增,但是有关各个议题内部的讨论有所深化。本文亦重点回顾和分析了《传统音乐年鉴》中与中国音乐相关的研究。展开更多
文摘《民族音乐学》:Ethnomusicology,是美国民族音乐学会The Society for Ethnomusicology的官方期刊,是世界上创刊最早的专门刊载民族音乐学研究成果的学术期刊,代表当代民族音乐学及相关领域的研究水准和最新观点,极具学术性、权威性和前瞻性。其创刊主旨在于希望通过协会期刊的创办更好的促进民族音乐学在不同时期和不同文化背景下的研究、学习、交流以及表演,为拓展美国及世界其他地区的民族音乐学研究起到了推动作用。笔者透过对美国民族音乐学协会创办历史、Ethnomusicology期刊中专栏设置情况及Ethnomusicology网络期刊的创建情况的介绍及分析,为国内民族音乐学研究者提供一些新的研究视野。
文摘Oral history,which collects historical materials by means of oral interviews,is an important auxiliary means for ethnomusicological research.Marked by the First Symposium on Oral History of Music in 2014,the academic community has launched a series of discussions and elaborations on its concepts,methods,norms,meanings,and other dimensions,and a series of academic achievements have been born.In this paper,we will combine relevant theses to explain how music oral history as contemporary history can achieve“intertextuality”in ethnomusicological research,emphasize its humanistic attributes,and summarize our reflections on the basis of existing academic experiences.
文摘Ethnomusicology as an emerging discipline has many kind of statement.Through reading Mkolinski’ article《The subject and method of Ethnomusicology》and think of ethnomusicology research.The ethnomusicology In the process of development used to many kinds of Methodology and in this article so that methodology by comparing the period scholars we can found ethnomusicology in the course of history.This article describes the method from a number of musicologists.
文摘The article analyzes the situation in which ethnographic studies found themselves at the turn of the third decade of the 21st century.The historical background,rooted in the past century,as well as the situation that developed by the end of the second decade,is considered at the general philosophical level,while the area that illustrates the situation was chosen taking into account the author’s professional orientation—ethnomusicology.The problems are divided into three groups.The first such group is devoted to new practices and information spaces that are constantly changing the situation.The second group concerns worldview aspects related to the perception of new ethnographers by the guild elders.A critique of the“decolonization”of ethnographic research as part of an overview of institutional and disciplinary barriers concludes the topics discussed in the article.
文摘The long-term goal of my research has been to systematize and compare by musical criteria the folk songs of Turkic groups and ethnicities living around them. Here I rarely touch on instrumental folk music, the repertoire of professional or semi-professional performers, the most recent strata, seldom or just occasionally discuss art music and the cultural, social and anthropological implications of music are only sporadically considered, too. There are close connections between the languages of Turkic groups but their musical stocks are fundamentally different. Actually, that is not surprising, because these people are, at least in part, Turkified, and through their substrata （that is people absorbed by them） they are in genetic and cultural relations with several non-Turkic peoples. My research therefore has repercussions; apart from the Turkic-speaking peoples tied by culture, language and history, upon their neighbors and partly absorbed other peoples, creating the foundation for an even broader future comparative ethnomusicological research of Eurasian groups. This paper is aimed to provide a very short summary about the findings of my field researches into the folk music of different Turkic-speaking people between 1987 and 2015. I introduce the sources, the collecting work and the methods of processing and analyzing the songs. 1 also give an analytical introduction to the folksong of Anatolian Turks, Azeris, Turkmens, Uzbeks （and Tajiks）, Karachay-Balkars, Kazakhs, Kyrgyzs, a Sufi Turkish community in Thrace and the area of the Volga-Kama-Belaya region. Finally comes a conclusion, a musical map and a list of tasks waiting for us.
文摘I propose to introduce a few lines of analysis for the RTP Song Contest （Portuguese Radio and Television Song Contest--Festival RTP da Cancāo）. I intend to raise a few questions that will help us to understand the role of this competition in the Portuguese musical and cultural scene of the 1960s. RTP Song Contest is the longest television song contest in Portugal. This competition went through several crucial moments in the recent history of Portugal, witnessing the change from dictatorship to democracy. In late 1960s, still under the authoritarian regime, several social changes took place and music played an important role in these changes, as several studies have documented. In 1969, Portugal bet on Simone de Oliveira to bring us the prize, but the result was not the expected. This event brought us many questions about the importance of the Portuguese participation in the Eurovision Song Contest and the faimess of the European evaluation. This paper intends to reflect the implications of this particular event and the importance of the Contest for the Portuguese music scene at the end of the critical 1960＇s. With this paper, I intend to introduce some lines of analysis of the first ten years of the Portuguese Radio and Television Song Contest （Festival RTP da Cang6o--RTP Song Contest）. I intend to raise a few questions that will help us to understand the role of this competition in the Portuguese musical and cultural scene of the late 1960s and 1970s, based on the study of the daily press. RTP Song Contest is the most long-life television contest in Portugal. For this reason, it is important to make a short historical overview of this period and the history of television in Portugal. At the same time, the analysis of statistical data of audiences enables us to understand the television phenomenon in the late 1960s.
文摘At the center of one of the ancient Georgian mythological narratives, we find a figure of the great mother Nana in the land of Batonebi. It is one of the images of paradise, suffused with eternal light, ruby marani （location for storing wine in special pitchers）, and a poplar growing nearby. This poplar is the tree of life, the tree of immortality on which, in some variants, vine is climbing up. In the fourth century, as the tradition and chronicle says, before coming to Georgia for preaching Christianity, St. Nino was given a vine cross by the Blessed Virgin. In the twelfth century, the Georgian king Demetre I wrote a hymn entitled ＂You Are the Vineyard＂ which is dedicated to Blessed Virgin, the patroness of Georgia. If we look at the way in which the religious mentality of Georgians developed, we can notice a line of symbols： the vine, representing the tree of life/cross, and the holy woman （the great mother Nana, the Holy Virgin, and St. Nino）, who is connected with it. The vine cross, the ＂Georgian Cross＂ that Our Lady gave to St. Nino is one of the obvious images of Georgian identity containing pre-Christian worldviews as well.
文摘本文通过对国际传统音乐学会(ICTM)2000年以来发布和出版的《学会通讯》(Bulletin of the ICTM)以及《传统音乐年鉴》(Yearbook for Traditional Music)中涉及这二十年间举办的10届世界大会的议题解释和相关会议论文的综述和分析,总结ICTM世界大会的发展趋势,以期在一定程度上把握民族音乐学(Ethnomusicology)近年来的发展倾向。笔者认为,在ICTM世界大会近年的议题设置中,除了对热点议题的关注外,也充分体现出举办地的学术传统和特色。地方民族音乐学的发展和地方学术委员会的助力为学科注入了新的力量,使学科呈现出更为多元的特点。此外,尽管近年来热点议题少有新增,但是有关各个议题内部的讨论有所深化。本文亦重点回顾和分析了《传统音乐年鉴》中与中国音乐相关的研究。
