Historical Studies on Folk and Traditional Music. ICTM Study Group on Historical Sources of Folk Music: Conference Report, Copenhagen 24-28 April 1995

2000 ◽  
pp. 240
Author(s):  
Ulrich Morgenstern ◽  
Doris Stockmann ◽  
Jens Henrik Koudal
Keyword(s):  
Folk Music ◽  
Conference Report ◽  
Traditional Music ◽  
Study Group ◽  
Historical Sources

scholarly journals Historical Sources of Ethnomusicology in Contemporary Debate

2018 ◽  
Vol 54 (1) ◽  
pp. 169-176
Author(s):  
Urša Šivic
Keyword(s):  
Traditional Music ◽  
Study Group ◽  
Historical Sources ◽  
Contemporary Debate ◽  
Handwritten Documents

At the end of 2017, Cambridge Scholars Publishing published an edited volume titled Historical Sources of Ethnomusicology in Contemporary Debate, which included a series of presentations given at two different international conferences organised by the Study Group on Historical Sources of Traditional Music − in 2012 in Vienna (Austria) and in 2014 in Aveiro (Portugal). Most of the material discussed was audio, which of course cannot be directly reproduced on paper, but the contributions with images offer plenty of useful information on the transcriptions, instruments, iconographic and other handwritten documents.

scholarly journals Emergence of ethnochoreology internationally: The Jankovic sisters, Maud Karpeles, and Gertrude Kurath

Muzikologija ◽  
2014 ◽  
pp. 197-217
Author(s):  
Elsie Dunin
Keyword(s):  
United States ◽  
Folk Music ◽  
Traditional Music ◽  
The United States ◽  
Study Group ◽  
International Council ◽  
History Of ◽  
The 1950S

A fifty-year (1962-2012) period has been shown as a history of ethnochoreology supported by living memories of members of the International Council for Traditional Music (ICTM) Study Group on Ethnochoreology. Recently uncovered and juxtapositioned correspondence of three predecessors within earlier years of the International Folk Music Council (IFMC) broadens the history. This article reveals the emergence of ethnochoreology during the 1950s with publications of the two Jankovic sisters in Serbia with that of Gertrude Kurath in the United States, alongside correspondence with Maud Karpeles, the unheralded founder of the IFMC.

University Geographies and Folk Music Landscapes

2016 ◽  
Vol 33 (1) ◽  
pp. 92-116 ◽  
Author(s):  
David K. Blake
Keyword(s):  
Mass Culture ◽  
Folk Music ◽  
Traditional Music ◽  
Rural Landscape ◽  
Power Structures ◽  
Distant Object ◽  
University Of Illinois ◽  
Liberal Politics ◽  
Cultural Form ◽  
The University

By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-Champaign, stimulating and complicating the traversal of sociocultural differences through traditional music. Members of the University of Illinois Campus Folksong Club considered traditional music as a high cultural form distinct from mass-culture artists, aligning their interests with then-dominant scholarly approaches in folklore and film studies departments. Yet students also interrogated the impropriety of folksong presentation on campus, and community folksingers projected their own discomfort with students’ liberal politics. In hosting concerts by rural musicians such as Frank Proffitt and producing a record of local Urbana-Champaign folksingers called Green Fields of Illinois (1963), the folksong club attempted to suture these differences by highlighting the aesthetic, domestic, historical, and educational aspects of local folk music, while avoiding contemporary socioeconomic, commercial, and political concerns. This depoliticized conception of folk music bridged students and local folksingers, but also represented local music via a nineteenth-century rural landscape that converted contemporaneous lived practice into a temporally distant object of aesthetic study. Students’ study of folk music thus reinforced the power structures of university culture—but engaging local folksinging as an educational subject remained for them the most ethical solution for questioning, and potentially traversing, larger problems of inequality and difference.

scholarly journals Miodrag Vasiljevic’s margin notes on Béla Bartók’s study Morphology of Serbo-Croatian vocal folk melodies

Muzikologija ◽  
2006 ◽  
pp. 365-393 ◽  
Author(s):  
Jelena Jovanovic
Keyword(s):  
Folk Music ◽  
Work Experience ◽  
Traditional Music ◽  
Folk Songs ◽  
Great Work ◽  
Folk Traditions ◽  
First Time ◽  
Source Of Information ◽  
Insight Into ◽  
Empirical Insight

The founder of modern Serbian ethnomusicology, collector of folk songs ethnomusicologist, and music pedagogue, Miodrag A. Vasiljevic (1903?1963) was a younger contemporary of the famous Hungarian composer and ethnomusicologist B?la Bart?k (1881?1945). Bart?k was the author of the first synthetic study of Serbian and Croatian vocal folk traditions, which was also the first such study in English. During the same period and immediately after Bart?k had completed his study, Miodrag Vasiljevic, along with other pioneers of modern ethnomusicology in former Yugoslavia, started to research musical folklore on field at home. Bart?k's study was published a year after Vasiljevic's first book; by 1965 Vasiljevic's other collections, studies and articles had been published (most of them in Yugoslavia, i.e. in Serbia). Independently of Bart?k, yet almost simultaneously, Vasiljevic had written down hundreds of melodies and studied some elements of Serbian and South Slavonic traditional culture: tonality, rhythm, melodic modes and terminology. This was in addition to his great work experience on field and his empirical insight into the fundamental characteristics of musical folklore in this area,. The final result that he wished for, but unfortunately, did not manage to complete, was a synthetic study of Serbian and South Slavonic musical folklore. Vasiljevic's margin notes, handwritten comments on Bart?k's findings, published here for the first time, are considered to be a source of information about his attitude towards Bart?k's assumptions and explanations, as well as showing the results of Vasiljevic's own work, and the ambit of his study focus. Bart?k's and Vasiljevic's primary motives in their approach to South Slavonic traditional music were different. While Bart?k was interested in features of South Slavonic tradition, so that he could note the particular features of the Hungarian music heritage more clearly, Vasiljevic studied the regularities of Serbian folk music approaching it in comparison with other South Slavonic traditions. This diversity determined their approach to the material. Bart?k often leaned on his excellent knowledge of other traditions and drew conclusions from facts that were familiar to him. In contrast, Miodrag Vasiljevic paid more attention to questions relating to the wider issue of the autochthonous development of Serbian musical folklore. Many of Vasiljevic's comments on Bart?k's study are classified here in the following categories: 1) comments in which he expresses agreement with Bart?k; 2) comments in which he gives precious supplements to Bart?k's observations; 3) comments in which he expresses disagreement with Bart?k: a) argument and b) with no evident arguments; 4) comments in which an incomplete understanding of Bart?k's findings is reflected; and 5) comments which indirectly refer to a professional aspect of Bart?k's work. Some of the comments, according to their wide, still unstudied subject matter, demand greater added elaboration and thus have not been covered in detail in this paper. Insight into Vasiljevic's comments on Bart?k's study is significant for experts outside Serbia who have little information on continuity in the development of the Serbian school of ethnomusicology, and are also important because of the huge degree of disproportion in the two scholars' work display.

scholarly journals Türk Sanat Müzikleri ve Türk Halk Müzikleri Dikotomisinde Önemli Bir Dinamik: “Toplumsal Katmanlar” / The Dichotomy between Art Music and Folk Music in the Framework of Turkish Traditional Music and its Relation with Social Layers

2018 ◽  
Vol 7 (2) ◽  
pp. 639 ◽  
Author(s):  
İlhan Ersoy
Keyword(s):  
Folk Music ◽  
Cultural Context ◽  
Traditional Music ◽  
Art Music ◽  
Ruling Class ◽  
The Public ◽  
Social Basis ◽  
Hybrid Culture ◽  
Musical Traditions ◽  
Different Cultures

<p><strong>Abstract</strong></p><p>This article examines the diversity in music with a “sociological/social” centered perspective. Based on the fact that music has a social basis independent of all other musical components, the article asserts that different societies have different kinds of music at both the national and international scale. In other words, the differentiation of societies also differs the music they produce and consume. This approach theoretically carries the subject over to the grounds of ethnomusicology which is a musical discipline that leans against anthropology.</p><p>The article first examines the relationship between music-society providing examples regarding the fact that there is a differentiation in music just as societies are separated into different layers. Afterwards, the relationships of <em>Turkish Art Music </em>and <em>Turkish Folk Music </em>with different social layers at different geographies are taken into consideration.</p><p>Secondly, the article also carries out evaluations on the differentiation of <em>Turkish Art Music </em>and <em>Turkish Folk Music</em> on a social basis as two different musical traditions of Turkey. It has been put forth through various examples in the article that Turkish Art Music is a music type that has developed under the auspices of the ruling class. Whereas Turkish Folk Music has not received sufficient attention from the ruling class even if it has been supported from time to time. In addition, it has been argued that Turkish Folk Music is a type of music that contains different cultures and local traces instead of being the only type of music adopted by the public.</p><p>The cultural context of music has been examined in the final section of the article thereby making evaluations by way of concepts such as public culture, learned culture and hybrid culture.</p><p><strong>Öz</strong></p><p>Bu makale, müzikteki çeşitliliği, “sosyolojik/toplumsal” merkezli bir bakış açısıyla incelemektedir. Yani makale, var olan diğer müziksel bileşenlerden bağımsız bir biçimde, müziklerin toplumsal bir zemini olduğundan hareket ederek hem ulusal hem de uluslararası ölçekte, farklı toplumların farklı müziklere sahip olduğunu savunmaktadır. Bir başka ifadeyle, toplumların farklılaşması, onların ürettikleri ve tükettikleri müzikleri de farklılaştırır. Bu yaklaşım, konuyu kuramsal olarak, antropolojiye yaslanan müziksel bir disiplin olan, etnomüzikoloji zeminine de taşımaktadır.</p><p>Makalede öncelikle müzik-toplum ilişkisi incelenerek toplumların farklı tabakalara ayrılması gibi müzikte de bir farklılaşmanın olduğu konusunda örnekler sunulmaktadır. Sonrasında ise <em>Türk Sanat Müziği</em> ve <em>Türk Halk Müziği</em> türlerinin farklı coğrafyalarda farklı toplumsal katmanlar ile ilişkisi ele alınmaktadır. </p><p>Makale ikinci olarak, Türkiye’deki iki farklı müzik geleneği olan <em>Türk Sanat Müziği</em> ve <em>Türk Halk Müziği</em> türlerinin toplumsal zemindeki farklılıkları üzerine değerlendirmeler yapmaktadır. Makalede, Türk Sanat Müziğinin yönetici sınıfın himayesinde gelişen bir müzik türü olduğu ile ilgili örneklere yer verilmiştir. Türk Halk Müziği ise zaman zaman yönetici sınıf tarafından desteklense de bu kesimden yeterli ilgiyi görememiştir. Buna ilaveten, Türk Halk Müziğinin halkın bütünü tarafından benimsenen tek bir müzik türü olmak yerine farklı kültürleri içerisinde barındıran ve yöresel izler taşıyan bir tür olduğu savunulmuştur.</p><p>Makalenin son bölümünde ise müziğin kültürel bağlamı incelenerek halk kültürü, öğrenilmiş kültür ve melez kültür gibi kavramlar üzerinden değerlendirmeler yapılmıştır.</p>

scholarly journals Value Orientations Development in Adolescents by Means of Folk Music

2019 ◽  
Vol 24 (2) ◽  
pp. 29-36
Author(s):  
T.F. Fursenko
Keyword(s):  
Folk Music ◽  
Modern Society ◽  
Traditional Music ◽  
Value Orientations ◽  
Entire Spectrum ◽  
National Values ◽  
Pedagogical Aspect ◽  
Musical Interests

The paper focuses on the pedagogical aspect of developing value orientations in adolescents by means of folk music. It provides an outline of various views on the issue; reveals the meaning of the value orientations concept; analyses the pedagogical settings necessary for the development of value orientations in adolescents and personality-oriented pedagogical technologies. The author describes her method of ‘value actualisation’ which is based on the use of some of the best pieces of folk music in contemporary arrangements that embody the values of the modern society and nourish universal human as well as cultural-historical national values. When working with adolescents, it’s important to take into account their musical interests and needs and to use contemporary arrangements of traditional music, for instance, folk-rock and folk-pop, gradually expanding the focus. The paper gives examples of how traditional music can be used in working with value orientations in adolescents. The outcomes of the study show that developing value orientations by means of folk music can be effective if personality-oriented pedagogical technologies are employed (which promote mastering and incorporating in the adolescent’s activity the entire spectrum of traditional music) and if the process of educating is humane and democratic enough.

Innovation, Participation, and “A Horrible Musical Stew”

2017 ◽  
Author(s):  
Peter Gough ◽  
Peggy Seeger
Keyword(s):  
New York ◽  
Los Angeles ◽  
Folk Music ◽  
Symphony Orchestra ◽  
Traditional Music ◽  
University Of California ◽  
Western Region ◽  
Bay Area ◽  
Federal Music Project ◽  
The University

This chapter explores California's Federal Music Project (FMP), which produced the largest, most comprehensive and eclectic of the Music Projects in the western region. More than in any other state outside of New York, the opera proved quite popular in California, and musical productions drew tremendous critical praise and public interest. African American choral groups in both the Bay Area and Los Angeles also garnished much approval and remained some of the most popular of all Federal One efforts. Moreover, the California Folk Music Project—cosponsored by the University of California, Berkeley—collected and preserved an extensive array of traditional music, and several orquestas tipicas in Southern California grew and public approval. Federal Music in California also engaged the first female conductor of a major symphony orchestra.

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