Music and Dance as Intercultural “ Face-to-Face ”-Communication

Music has accompanied the development of every stage of human society since prehistoric times, reflecting the beliefs, problems, utopias and every type of meaning and thought that is part of a civilization. This presence and its impact throughout our evolution have turned it into the first subject of study for many areas of knowledge such as socio-musicology, psycho-musicology, musicology and ethnomusicology, where answers to many questions are meant to be found by means of researching every relationship of music with mankind and society, making the function of music itself one of the most important questions.

2017

Contents List of Illustrations and Tables Preface Notes on Contributors Introduction: Collaborative Intimacies Evangelos Chrysagis and Panas Karampampas PART I: SOUND, MEANING AND SELF-AWARENESS Chapter 1. Being in Sound: Reflections on Recording while Practicing Aikido and Shakuhachi Tamara Kohn and Richard Chenhall Chapter 2. Performing and Narrating Selves in and through Classical Music: Being ‘Japanese’ and Being a Professional Musician in London Yuki Imoto PART II: PEDAGOGIES OF BODILY MOVEMENT Chapter 3. Kinaesthetic Intimacy in a Choreographic Practice Brenda Farnell and Robert N. Wood Chapter 4. The Presentation of Self in Participatory Dance Settings: Data Collecting with Erving Goffman Bethany Whiteside PART III: MUSIC PRACTICES AND ETHICAL SELFHOOD Chapter 5. The Animador as Ethical Mediator: Stage Talk and Subject Formation at Peruvian Huayno Music Spectacles James Butterworth Chapter 6. A Sense of Togetherness: Music Promotion and Ethics in Glasgow Evangelos Chrysagis PART IV: BODIES DANCING IN TIME AND ACROSS SPACE Chapter 7. Rumba: Heritage, Tourism and the ‘Authentic’ Afro-Cuban Experience Ruxandra Ana Chapter 8. Cinematic Dance as a Local Critical Commentary on the ‘Economic Crisis’: Exploring Dance in Korydallos, Attica, Greece Mimina Pateraki PART V: MOTION, IRONY AND THE MAKING OF LIFEWORLDS Chapter 9. Performing Irony on the Dance Floor: The Many Faces of Goth Irony in the Athenian Goth Scene Panas Karampampas Chapter 10. The Intoxicating Intimacy of Drum Strokes, Sung Verses and Dancing Steps in the All-Night Ceremonies of Ambonwari (Papua New Guinea) Borut Telban Bibliography Index

2010

Nordicom Information, 1997

The Cultural Study of Music is an anthology of new writings that will serve as a basic textbook on music and culture. Increasingly, music is being studied as it relates to specific cultures-not only by ethnomusicologists, but by traditional musicologists as well. Drawing on writers ...

Toward a Sound Ecology, 2020

Ethnomusicology is the study of people making music. People make sounds that are recognized as music, and people also make “music” into a cultural domain. This 1989 conference paper defined ethnomusicology and contrasted music as a contingent cultural category with earlier scientific definitions that essentialized music as an object. It was published for the first time in Musicology Annual (2015). Here it is as reprinted, with a new introduction, in my book Toward a Sound Ecology: New and Selected Essays (Indiana University Press, 2020). The book is available from IU Press, the usual online sources, and your favorite independent bookstore.

Created With Sound. Music and dance in visual arts of Asia and Oceania, 2022

The book Created with Sound starts with a historical introduction that covers reproductions of some of the oldest depictions of musicians and dancers hailing from Asia and Oceania. It then goes on to discuss different groups of musical instruments and dances explored by Asian visual artists who were active mostly in the 20th century. Next, it explores the cultural contexts in which music and dance function in different communities, focusing in particular on such aspects as religion, festivities, everyday life, war, and hunting. The last part is dedicated to the work of Polish artists inspired by Asian performing arts.

Office Hours: Thursdays, 1:30-3:30, Goodspeed 314 or by appointment

2020

The purpose of this paper is to examine how electronic and digital technologies have shaped the traditional music performance practices of five different groups of people. These groups are the Armenian, Native American, Palestinian, Thai, and West African people. First, the historic context and traditional performance practices of each group is discussed. Following that is how contemporary artists are informed by these traditions, what electronic and digital technologies they incorporate and how they incorporate them, and examples of contemporary artists that do so. Other factors such as political, social, and religious contexts for music performances are also discussed when relevant. This paper was written for my sophomore exam as a Music Technology major at the University of Central Missouri.

Journal of Folklore Research Reviews, 2008

The syllabus for semester one of the UCLA Herb Alpert School of Music "core" class, 2010. Instructors: Fink, Rees, Bourland.

Music and Dance in Southeastern Europe. Migrations, Carnival, Sustainable Development. Sixth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe. Held in Sinj, Croatia, 15 April – 21 April 2018. ISBN 978-953-8089-61-9, 2020

Scholars from fourteen countries presented their work at the sixth symposium of the ICTM Study Group on Music and Dance in Southeastern Europe that took place in the town of Sinj in Croatia in April 2018. This publication presents a full record of that Study Group’s biennial symposium. Twelve presenters did not submit their articles; their participation in the event is recognised by the inclusion of their original abstracts. Two panels are documented by three articles and one abstract, while the remaining abstracts are grouped at the end of this volume. Editors are Liz Mellish, Nick Green and Tvrtko Zebec.

This paper is a reflection on one of the most important themes in ethnomusicology: the role that music plays in constructing, expressing, or symbolizing identity. It is also a study and a review on the literature in the journal Ethnomusicology and finds that the concept was first introduced in 1982. The review also talks about authors writing on this theme do not cite previous work on this theme, which the author takes as the sign of a fundamental weakness in ethnomusicology. The paper also lists many other subthemes like issues, questions, and problems associated with the theme of music and identity. These include the difference between individual and social identity, the question of who is responsible for identity construction, whether music reflects or constructs identity, and what kind of music, as opposed to other expressive and symbolic forms, contributes uniquely to the identity of a group or individual. It concludes with some reflections on what music contributes to the construction and symbolization of identity.

Journal of The American Musicological Society, 2009