Search

This article explores how two specific musical performances, drawing respectively on the rich repertoire of Italian sacred music and a specific sound environment of a region, can promote cultural participation and ingenuity in the Italian countryside amidst uncertainty and demographic change due to depopulation and the loosening of traditional communal ties. The first study focuses on a specific case in the town of Ortona dei Marsi in the Italian province of L'Aquila. A seemingly everyday experience – participation in community singing – is considered and appreciated from a musicological perspective, while its importance for the revitalisation of a community is recognised. The rediscovering of a forgotten musical heritage contributes to an evolving, prosaic sense of rural cultural resources. The particular case of the community of the small rural town of Ortona dei Marsi, overcoming isolation, distance and new circumstances through the revitalisation of a musicologically significant object, sheds light on how a community serendipitously uses the opportunity to make and maintain music together to demonstrate social and cultural resilience. The second study looks at the experiences of middle school students in the Italian city of Biella of a specific sound memory that guides and paves the way to a diverse learning environment. [ABSTRACT FROM AUTHOR]

The purpose of the article is to highlight the issue and development of Chinese traditional music in the context of modern society. Our research methodology is to justify and analyse the possibilities of immersive approaches to this important musical heritage. The research methodology is based on a comprehensive analysis of modern trends in the development of Chinese traditional music. Cultural and musicological methods were used to study the influence of modern society on the preservation of traditional musical culture. The study considers three inversion approaches: creation of exhibition halls, formation of archives, and development of ecological exhibition spaces. We conduct a comparative analysis of the effectiveness of each approach and its use for the preservation and development of traditional music. Scientific novelty is the systematic contribution of inversion methods to the preservation and development of traditional music. The approach takes into account modern realities and these demands of society, contributing not only to the preservation, but also to the active development of Chinese traditional musical heritage. The conclusions emphasise the expediency and necessity of implementing such research approaches and indicate the prospects of using immersive approaches for the further preservation and development of Chinese traditional music in the modern era. [ABSTRACT FROM AUTHOR]

Copyright of Mouseion (19817207) is the property of Editora Unilasalle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista General de Información y Documentación is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Indialogs, Spanish Journal of India Studies is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract Carillons are a diverse and global form of musical and civic heritage: musical instruments comprised of a series of 23 or more bells, typically hung in a tower-like structure, tuned chromatically and played from a touch-sensitive manual and pedal console using an elaborate mechanical action. Carillon bells have a distinct series of musical overtones which should be accurately tuned to one another and with other bells they sound alongside. Although these overtones have been previously studied ex situ, this study assesses the acoustic characteristics of two early-twentieth century carillons in Toronto, Canada as a combination of structure, bells, and mechanical action. Thus, the instrument and its context are considered holistically, more accurately reflecting the musical sensitivity of a carillonist. Spectral analysis of audio samples of each bell at different musical dynamic levels enabled the analysis of the acoustic qualities of the bells and the mechanical action of the instruments. The tuning of bells in the instruments varied; most importantly, there was a significant difference between the audial intensity of the bell tones produced by the instruments, demonstrating the importance of the mechanical action as part of the ‘carillon system’. This was represented with a resistive power-law model, that represents the sensitivity of intensity to carillonist musical dynamic level. A discussion of the implications for artistic and heritage practice follows. Understanding the in situ physical acoustics of the carillon as a holistic instrument in its context informs performers, arrangers, and composers of how they can best embrace the instrument’s unique qualities to improve artistic pursuits and support the appreciation of carillons as heritage instruments and function as civic voices.

There is traditionally a special concern about the interpretative act, its scope and significance, with regard to the expression and dissemination of a musical heritage that is genetically out of step with the present, which nevertheless seems to possess an almost inexhaustible cultural wealth. This problematises the figure of the performer and his function as mediator between the composer and the listener, between a past epoch and the present, which entails a temporal and historical factor that must therefore imply an active, reflexive and conscious relationship between the past and the present. How much of eternity there is in the old, how the interpretative fact should be approached in order to optimally rescue from the musical historic heritage that which, being perhaps timeless, is still culturally enriching for today's spectacularised globalised society? But how can we escape the danger of becoming mere "museum interpreters"? In other words: how to bridge this historical gulf and communicate a message from the past in a contemporary, valuable and interesting way without betraying the communicative intent of the original composition? The intensive and, above all, analytical and reflexive use of new technological resources applied to the treatment of sound could be an optimal way to achieve this objective on the basis of an actualist hermeneutic approach. [ABSTRACT FROM AUTHOR]

Copyright of Revista Lusofona de Educacao is the property of Universidade Lusofona de Humanidades e Tecnologias, CEIEF and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyzes the musical heritage of Hryhorii Levchenko - a modern famous choral conductor, composer, teacher, scientist, folklorist, public figure, founder and artistic director of the folk choir «Kalyna» in Poltava V. H. Korolenko National Pedagogical University. The characteristic features of the arranging heritage and author's works of the teacher-artist are determined (reliance of author's songs on folk traditions, which are harmoniously combined with modern methods of thematics and symphony of musical thinking); the original genres of choral art on the basis of folklore (lyrical-dramatic poem, choral symphony, choral fantasy, choral triptych, Concerto for Ukrainian folk choir, orchestra of folk instruments and piano). [ABSTRACT FROM AUTHOR]

Copyright of Intus-Legere Historia is the property of Intus-Legere Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Intus-Legere Historia is the property of Intus-Legere Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2017, the International Musicological Society began publishing IMS Musicological Brainfood. Each issue contains one or two short contributions moving away from the form of a "classical" musicological journal. The authors of these essays, however, are among the leading musicologists of our time. Upon reading such "tasty brainfood," it becomes evident that considering how a global perspective challenges musicology provides a predominant "ingredient" in the recipe. Still, questions arise: how does a global musicology collide with traditional musicological forms of writing the history and theory of (Western) music; and what does it mean to be global in terms of musicological concepts and tools? Provoked and "refueled" by IMS Musicological Brainfood, the answers to these questions provides an outline for the disciplinary features of global musicology. Additionally, this article suggests a possible future for global musicology. Challenged by a global perspective, musicology could develop its potential for socially engaged practice by becoming responsible for the sustainability of music as artistic practice. [ABSTRACT FROM AUTHOR]

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Carillons are a diverse and global form of musical and civic heritage: musical instruments comprised of a series of 23 or more bells, typically hung in a tower-like structure, tuned chromatically and played from a touch-sensitive manual and pedal console using an elaborate mechanical action. Carillon bells have a distinct series of musical overtones which should be accurately tuned to one another and with other bells they sound alongside. Although these overtones have been previously studied ex situ, this study assesses the acoustic characteristics of two early-twentieth century carillons in Toronto, Canada as a combination of structure, bells, and mechanical action. Thus, the instrument and its context are considered holistically, more accurately reflecting the musical sensitivity of a carillonist. Spectral analysis of audio samples of each bell at different musical dynamic levels enabled the analysis of the acoustic qualities of the bells and the mechanical action of the instruments. The tuning of bells in the instruments varied; most importantly, there was a significant difference between the audial intensity of the bell tones produced by the instruments, demonstrating the importance of the mechanical action as part of the 'carillon system'. This was represented with a resistive power-law model, that represents the sensitivity of intensity to carillonist musical dynamic level. A discussion of the implications for artistic and heritage practice follows. Understanding the in situ physical acoustics of the carillon as a holistic instrument in its context informs performers, arrangers, and composers of how they can best embrace the instrument's unique qualities to improve artistic pursuits and support the appreciation of carillons as heritage instruments and function as civic voices. [ABSTRACT FROM AUTHOR]

Music holds a key place in the Intangible Cultural Heritage (ICH) of humanity as inventoried by UNESCO since its 2003 Convention for the Safeguarding of the ICH. More broadly, beyond the United Nations, “intangible heritage” seems to have become the dominant paradigm in processes of heritagisation and recognition of musical practices at the international level. Given the vast scope of this phenomenon, the aim here is to initiate a transnational, comparative approach to the relations between music and “intangible heritage”. Looking at the ways in which this notion (and/or the heritage apparatus that comes with it) is implemented, reformulated or contested in the field, and at its interactions with other categories and modes of action in use, this issue of Transposition invites us to ask: what does ICH do to music and, conversely, what does music do to ICH? Most of the studies assembled here deal with practices inscribed on the UNESCO lists, which are the subject of safeguarding programmes already in effect for some years. These “post-heritage” situations are examined in their diversity. Other articles plunge us into the process of preparing an ICH application, piercing straight to the difficulties and potential consequences of heritagising a musical practice. Some practices covered here are not candidates for the UNESCO lists but are engaged in local heritagisation systems that use the designations and some of the tools and modalities of action of ICH. Finally, several articles give voice to heritagisation actions with a separate approach or used as a form of protest. The singularity of music within ICH can be summed up in three recurring points: the “intangibility” of music caught up in these heritagisation processes; the specific intersections between music, power dynamics and territory in this context, particularly in regard to subaltern practices; and the performative nature of the heritage constructions at play, conceived as operative fictions.

Music holds a key place in the Intangible Cultural Heritage (ICH) of humanity as inventoried by UNESCO since its 2003 Convention for the Safeguarding of the ICH. More broadly, beyond the United Nations, “intangible heritage” seems to have become the dominant paradigm in processes of heritagisation and recognition of musical practices at the international level. Given the vast scope of this phenomenon, the aim here is to initiate a transnational, comparative approach to the relations between music and “intangible heritage”. Looking at the ways in which this notion (and/or the heritage apparatus that comes with it) is implemented, reformulated or contested in the field, and at its interactions with other categories and modes of action in use, this issue of Transposition invites us to ask: what does ICH do to music and, conversely, what does music do to ICH? Most of the studies assembled here deal with practices inscribed on the UNESCO lists, which are the subject of safeguarding programmes already in effect for some years. These “post-heritage” situations are examined in their diversity. Other articles plunge us into the process of preparing an ICH application, piercing straight to the difficulties and potential consequences of heritagising a musical practice. Some practices covered here are not candidates for the UNESCO lists but are engaged in local heritagisation systems that use the designations and some of the tools and modalities of action of ICH. Finally, several articles give voice to heritagisation actions with a separate approach or used as a form of protest. The singularity of music within ICH can be summed up in three recurring points: the “intangibility” of music caught up in these heritagisation processes; the specific intersections between music, power dynamics and territory in this context, particularly in regard to subaltern practices; and the performative nature of the heritage constructions at play, conceived as operative fictions.

The article focuses on the first volume of Edward Lear's Illustrated Excursions in Italy (1846), which describes his travels in central Italy, specifically in the three provinces of Abruzzi, in 1843--1844, and inaugurates a series of travelogues based on his journals. Lear's work is unique in its conflation of different media formats -- written text, lithographs and musical scores -- used to revisit his journey and evoke a lifelike "sense of place." In particular, the contribution aims to highlight the central role that the musical dimension plays in this process and Lear's priceless documentary work as one of the first recorders of the musical heritage of Abruzzi. After an overview of the most original features of the Illustrated Excursions, the very components that conjure up the Abruzzi "soundscape" are examined: the book's Appendix with the musical scores of four folk compositions, the depiction of Abruzzi pifferari and the very "sounds" of Italian infused in the text. [ABSTRACT FROM AUTHOR]

This article consists of an analysis of public policy in relation to Ecuadorian musical heritage, categorised under intangible heritage. The article is about global and national organisations in charge of the processes of protecting, saving and administrating this heritage; as well as shining a light on the steps taken by individuals, groups and organisations who wish to propose an item or work as worthy of designation as part of Ecuadorian musical heritage. [ABSTRACT FROM AUTHOR]

The work of francophone musicologists at the start of the 20th century benefited from a particular legal context marked by the emergence of copyright, by the development of an institutional framework favoring the work of collection and archiving and by the recognition of neighboring rights. Today, the writings of these musicologists and their recordings face multiple threats, with legal rules relating to archives and cultural heritage providing only a partial response. Adopting a historical and chronological perspective first approaching the legal context of the time and secondly studying the laws applicable today, the legal perspective that we bring to the work of francophone musicologists at the beginning of the 20th century aims to measure the impact of the legal rule on the transmission and preservation of musical heritage. In our developments, we will base ourselves on concrete examples such as the work of Baron Rodolphe d´Erlanger and his collaborators and the Cairo Congress of 1932. [ABSTRACT FROM AUTHOR]

From the very beginning, music has played an important role in shaping the theological and spiritual identity of Christian churches in Asia. While the topic of music and spirituality has been addressed practically and in musical theory, the question of Christian identity through music has attracted seemingly very little attention in theological research. By way of example, this paper discusses six types of Christian music styles in Asia and analyses their connection with theological identities of the respective communities. [ABSTRACT FROM AUTHOR]

One of the driving forces for consumer-musicians in the market of rock “n” roll musical creation is the quest for “epic tone” (i.e. production of a distinct and unique sound). Such tone is not the result of a single product or practice, but of a complex consumption constellation composed of a multitude of cultural processes and material factors in which the sum is often greater than the parts. The purpose of this paper is to explore how the market forces that directly impact these musical consumption constellations have exposed (and exacerbate) the inherent paradox in the quest. To help consumers create virtually any possible tone, the marketplace has increased the focus on the structural and functional components that compose these constellations, while subsequently decreasing the focus on the anti-structural and anti-functional aspects that underlie actual sound production. Consequently, the marketplace both stimulates and inhibits the (im)possible quest for epic tone. [ABSTRACT FROM AUTHOR]

If it is commonly accepted that the law influences the musical field – especially through laws relating to literary and artistic property and the role of cultural institutions – it is important not to forget the influence of artists on the evolution of the law. The relationship between artists, laws and institutions is indeed built around reciprocal influences. We shall approach these influence games by highlighting the contributions of laws and institutions to the artistic development through the encouragement of musical creation and the conservation of the musical heritage before addressing the issue of influence of the artists on the development of laws and institutions by highlighting the action of musicians and musicologists in Tunisia before and after the independence. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Pedagogicos (Valdivia) is the property of Estudios Pedagogicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Esse artigo pretende apresentar o programa de memória do Centro de Documentação Musical da Universidade Federal de Pelotas (CDM-UFPEL), no qual se articulam a pesquisa em musicologia histórica, a gestão do acervo histórico do Conservatório de Música de Pelotas (CM-UFPEL) e o estudo de memória institucional. A pesquisa e organização dos suportes de memória incluem a documentação institucional, o acervo de fotografias antigas, o levantamento de fontes orais e a pesquisa junto a fontes primárias escritas (jornais, revistas, almanaques). Através da formação de um banco de dados digital, as informações resultantes dos projetos de pesquisa são organizadas e sistematizadas, visando à disponibilização pela internet. A articulação entre pesquisa em musicologia histórica e procedimentos adotados para gestão de acervos reverte para aproximação entre a memória institucional e a comunidade científica, numa abordagem essencialmente multidisciplinar.This article aims to present the institutional memory program of the Centre ofMusic Documentation of the Federal University of Pelotas (CDM-UFPEL), which integrates historical musicology research, the organization of historical collections of the Conservatory of Music of Pelotas and the institutional memory studies. The research and organization of the memory sources include institutional documentation, the ancient photography collection, the analysis of oral sources and the primary research sources (newspapers, magazines, and almanacs). Through the creation of a digital database, the resulting information from the research projects is organized and systematized, aimed at enabling public access through the web. The integration of historic musicology research and the procedures adopted in the management of historic collections resulted in the drawing together of the institutional memory and the scientific community, through an essentially multidisciplinary approach.