Intermixtuality: Case Studies in Online Music [Re]Production

British Journal of Music Education, 2011

2021

Concept and Organisation Evelyn Annuß (Department of Cultural Management and Gender Studies) Ursula Hemetek (Department of Folk Music Research and Ethnomusicology, Music and Minorities Research Center) Therese Kaufmann (Research Support) Gerda Müller (Vice Rectorate for Organizational Development, Gender & Diversity) Hande Sağlam (Department of Folk Music Research and Ethnomusicology) Organisation & PR Julia Fent (Department of Folk Music Research and Ethnomusicology, Music and Minorities Research Center) Book of Abstracts Content: Evelyn Annuß, Julia Fent, Ursula Hemetek, Therese Kaufmann, Gerda Müller, Hande Sağlam Cover Design: Sebastian Hierner (Communications and Marketing) Layout: Julia Fent Technical Management Pit Kaufmann (Audio-Video-Centre) Information www.mdw.ac.at/ive/symposium-2021 Video: https://mediathek.mdw.ac.at/contestingborderregimes

Etnoantropološki Problemi, 2019

With the idea of popularizing the study of music in the local anthropological community, the national academic conference Anthropology of music was held at the Faculty of Philosophy in Belgrade, on March 23, 2018. At the conference, 24 papers were presented. In the second and fourth issues of the journal Issues in Ethnology and Anthropology for the year 2018 thirteen papers were published from the above-mentioned conference. In this thematic issue we publish third and last part of articles concerning music: Ana Banić Grubišić and Nina Kulenović – Turbotronik – on the Border between the Local Music Scene and a Genre in the Making; Nina Kulenović and Ana Banić Grubišić – "Turbo-folk rocks!": new readings of turbo-folk; Marija Ajduk – Representing the Yugoslav New Wave in the Documentary Film "The New Wave in Socialist Federal Republic of Yugoslavia as a Social Movement"; Ana Dajić and Sonja Radivojević – Radio "On the Cloud": New Author Approaches in C...

2004

Various enquiries and a census reveal that more than half of patrimonial sound collections with ethnographical interest being made in France are about ethnomusicology and dancing. Overwhelmingly association-made collections have been recorded in the wake of identity movements and concern chiefly “indigenous” music. For several years now, researchers have begun to deposit musical recordings from migrant or nomadic communities and more generally from living music deeply immersed in local cultures in the sound archives. Frequently “the world music” is a generic expression covering this music whereas local traditional music is being left aside. Beyond the controversy of words, it is becoming more and more obvious that today's traditional music practices go beyond the geographical and cultural areas that regionalist movements of the 70's claimed as their turf and include all migrant communities or nomadic groups roaming about the country. The deposits made in the sound archives j...

This paper is about the reconstruction of some of the production’s global pro-cesses in the cultural industry of music in its local dimensions, through a report of a family story of musicians and their band from a small village in Central-West Mexico. To understand the characteristics and properties of our goal, we use the anthroponomic perspective proposed by Bertaux as a conceptual alternative focusing the “other” production, that is not only confined to matters of econom-ics, and it documents a different process, sometimes a complementary one, in which are produced minds and bodies that are apt for certain types of activity in a time and a given social space. As a result, we point out that, at the same time in which the macro social structures produced three generations of “apt” musicians, was being born and progressively growing stronger a complex cul-tural industry in Mexico that testified the relative fine tuning of a local and an industrial-cultural temporalities. Keywords: Cultural Industry. Music. Culture. Comala Band

Acta Musicologica, 2012

2018

National identity and the national culture that surrounds and shapes it are not primordial, ageless phenomena. They are constructed in a tradition of nation building." (Šmidchens 2013: 308) Since the beginning of documented history, music in different cultures was an embodiment of society, ideology and aesthetics. Traditional songs and instrumentation for many eras were used to social ends and to various degrees integrated with other activities of life. Shared melodies and songs that were carried through generations created a sense of belonging. Tradition that once had been a communication outside the scope of spoken language and a way of cultural immortalisation became a foundation for nation building. The general issues discussed in this essay are: manipulation of society through sonic heritage; the importance of folk songs and instruments in national development and how this was materialised during the Baltic Singing revolution; the change brought forward by the digital age and globalisation, the improvement of traditional instruments by elaborating digital technologies; and collaboration between artists from different cultural backgrounds overcoming cultural differences.

2019

The electronic version of this book is freely available due to funding by OGeSo-Mo, a BMBF-project to support and analyse open access book publications in the humanities and social sciences (BMBF: Federal Ministry of Education and Research). The project is led by the University Library of Duisburg-Essen. For more information see https://www.uni-due.de/ogesomo. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de

Marija Golubović, Monika Novaković, Miloš Marinković (eds.): Shaping the Present by the Future: Ethno/musicology and Contemporaneity, 2020

Young Musicology Belgrade is the third conference in the series that began with the Young Musicology Prague conference, organized by Department of Music History, Institute of Ethnology, of the Academy of Sciences of the Czech Republic in 2016, and followed by the Young Musicology Munich conference in autumn 2018 that was held at Ludwig Maximilian University of Munich. In this instalment in Belgrade, our starting point is the following question: what is the place of ethno/musicological thought in the contemporary world? The notion of contemporaneity, while constantly provoking theorization, provides us the opportunity to self-reflect and analyze our own methodologies, strategies and scientific challenges in the present moment. What is happening in ethno/musicology after modernist historicism and its postmodern critical self-examination in movements such as the New Ethno/Musicology? Are the familiar methodologies still relevant, have they improved or changed, and in what ways? How can we establish fruitful inter/transdisciplinary collaborations between ethno/musicology and other humanities, social or natural sciences? What is the impact of technology and media in today’s musicology and ethnomusicology? These are just a few questions faced by the humanities by the contemporary world, and the aim of our conference is to draft possible answers by giving voice to the young experts in our fields. In this conference, PhD students and young scholars will reflect upon these topics, and share their methodologies, experiences and challenges in dealing with various subjects of contemporary ethno/musicology. The starting points of our conference include contemporary challenges in ethno/musicology; methodology of contemporary ethno/musicology; the future of ethno/ musicology; inter/trans-disciplinary collaborations; ethno/musicology and technology; ethno/musicology and media – important subjects which occupy the minds of our keynote speakers as well as our participants. Dr. David Beard asks the following questions: Have there been new conflicts and tensions? What does the current situation indicate about the future? With intention to answer those and associated questions in his keynote lecture Musicology, Crisis and the Contemporary, Or: Musicology’s Oedipus Complex focusing on two concepts: crisis and the contemporary. In his search for answers, he will navigate his way through the context of quality of musical education, political and ideological ramifi cations of the humanities as well as concerns and problems in society musicology is becoming aware of. What can musicology do against such concerns and in what way? Dr. Selena Rakočević will, in her keynote lecture Challenges of ethnomusicological and ethnochoreological research within the ever changing world. A view of a scholar from Serbia, provide us with the invaluable insight into the challenges she met as a scholar practicing ethnomusicological and ethnochoreological research since mid-1990s, but also those of her colleagues from Serbia and other former Yugoslav countries. Rakočević also states that it is her intention to confront all various voices which shaped her current personal view of what is being done in our ethnomusicological and ethnochoreological research, the way it is done and the reason behind doing just that in the first place. In the end, she will try to identify the importance this reason carries within itself and for whom. Our participants will encompass the wide range of topics in regards to musical performance, the relationship of ethnomusicology and contemporaneity, challenges in researching minority music, questions of musical folklorism, musicology and film studies, the status of radio art in musicology, musicology and metal music studies, post-feminism and feminism, education, developments of methodologies relevant to the research of musical borrowing, computational musicology, musicology and virtual reality, place of musicology in personal computing revolution and others. We hope this exchange of thoughts, concerns and answers to the urgent matters will prompt scholars to ask new questions and also equip them to answer the future challenges they will face.