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Ethnomusicology is the multidisciplinary study of music in its cultural context, investigating social, cognitive, biological, comparative, and other dimensions involved other than sound. Ethnomusicologists study music as a reflection of culture and investigate the act of musicking through various immersive, observational, and analytical approaches drawn from other disciplines such as anthropology to understand a culture’s music. This discipline emerged from comparative musicology, initially focusing on non-Western music, but later expanded to embrace the study of any and all different kinds of music of the world.
Regarding the music of Syria, there are certain musical traditions and practices that have been present in Syria longer than others. There have been musical influences introduced into Syria through multiple eras of conquest and influences from surrounding cultures in modern-day Syria. Lying near Egypt and Israel, and connected to southern Europe by the Mediterranean, Syria became host to many distinct cultural musics through trade and route. The music present in Syria is related greatly to poetry, influenced greatly by the Bedouin nomadic tribes, the maqam system in Arabic classical music, as well as influenced greatly by the geopolitical movement and conflict in the Middle East. Syrian music generally has a singer who is accompanied by three or four instruments. The texture is usually thin but can become denser depending on the use of each instrument. Music is tightly linked to poetry in Syria.
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Ottoman music or Turkish classical music is the tradition of classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble.
A level, also "tonality level", Gerhard Kubik's "tonal step," "tonal block," and John Blacking's "root progression," is an important melodic and harmonic progression where melodic material shifts between a whole tone above and a whole tone below the tonal center. This shift can occur to both neighboring notes, in either direction, and from any point of departure. The steps above and below the tonic are often called contrasting steps. A new harmonic segment is created which then changes the tonality but not necessarily the key.
Pungmul is a Korean folk music tradition that includes drumming, dancing, and singing. Most performances are outside, with dozens of players all in constant motion. Pungmul is rooted in the dure farming culture. It was originally played as part of farm work, on rural holidays, at other village community-building events, and to accompany shamanistic rituals, mask dance dramas, and other types of performance. During the late 1960s and 1970s it expanded in meaning and was actively used in political protest during the pro-democracy movement, although today it is most often seen as a performing art. Based on 1980s research, this kind of music was extensively studied in Chindo Island.
The term afoxé refers to a Carnival group originating from Salvador da Bahia, Brazil in the 1920s, and the music it plays deriving from the Afro-Brazilian Candomblé religion. It came to indicate a musical rhythm, named ijexá derived from the ijexá nation within Candomblé. Cultural performances of the afoxés, typically at Brazilian Carnival, incorporate choreography, song, ritual language and ceremonies deriving from the Candomblé religion. In Brazil, afoxé is generally performed by blocos, afros-groups of mostly black or mulatto musicians who are familiar with African Brazilian music. Afoxés are a cultural and religious entity that preserves a tradition of Afro-Brazilian culture.
Bo Ya was a Chinese qin player from the state of Chu (楚), which is roughly equivalent to modern-day Jingzhou, Hubei, who lived during the Spring and Autumn period or Warring States period. His complete name is often incorrectly given as Yu Boya (俞伯牙) in Stories to Caution the World (警世通言), so he is sometimes referred to with the name of Yu Boya in modern literature. However, Bo Ya is the correct name, which is clarified in Lüshi Chunqiu (吕氏春秋).
Robert Lachmann was a German ethnomusicologist, polyglot, orientalist and librarian. He was an expert in the musical traditions of the Middle East, a member of the Berlin School of Comparative Musicology and one of its founding fathers. After having been forced to leave Germany under the Nazis in 1935 because of his Jewish background, he emigrated to Palestine and established a rich archive of ethnomusicological recordings for the Hebrew University of Jerusalem.
The '50s progression is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is: I–vi–IV–V. For example, in C major: C–Am–F–G. As the name implies, it was common in the 1950s and early 1960s and is particularly associated with doo-wop. The first popular song to use the progression was Blue Moon, written in 1934. This inspired Heart and Soul in 1938.
The cura is a plucked string folk instrument from Turkey. It is the smallest and highest pitched member of the bağlama family of instruments. It is found in nearly every region of the country with varying exact dimensions, tunings, playing techniques, and names including dede sazı,parmak cura,üç telli cura,bağlama curası, and tanbura curası. The two other members of the bağlama family are the larger tambura and the largest divan sazı, which are one and two octaves lower than the cura, respectively.
Métis fiddle is the style that the Métis of Canada and Métis in the northern United States have developed to play the violin, solo and in folk ensembles. It is marked by the percussive use of the bow and percussive accompaniment. The Metis people are a poly-ethnic post-contact Indigenous peoples. Fiddles were "introduced in this area by Scottish and French-Canadian fur traders in the early 1800s", where the Metis community adopted the instrument into their culture.
Kay Kaufman Shelemay is the G. Gordon Watts Professor of Music and Professor of African and African American Studies at Harvard University. She received her PhD in Musicology from the University of Michigan and won a Guggenheim Fellowship in 2007. Shelemay was elected to the American Philosophical Society in 2013.
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Pungmul is a Korean folk musical art that has a long history of being used for tradition, community formation, ritual, and expression. Its roots are deeply tied to Korean pre-industrial farming culture. Although pungmul was used in earlier protests, it became widely acknowledged as a method of protest during South Korea's pro-democracy movement in the 1970s. Through the minjung movement that spurred the struggle for democratization and labor rights, pungmul's regular presence at protests signifies a "sonic marker of dissent" and continues to be an active part of contemporary protest culture in South Korea and beyond.
Marcia Alice Herndon was an American ethnomusicologist and anthropologist. She specialized in the ways culture and music reflect each other. Herndon grew up in a family of country music performers in North Carolina. After completing her master's degree in 1964 at Tulane University, she performed classical music for several years. Earning a PhD in anthropology and ethnomusicology in 1971, she taught at the University of Texas at Austin, the University of California, Berkeley, and the University of Maryland. She is widely known for her contributions to Native American music studies with books such as Native American Music, as well as collaborating on Music as Culture, and Music, Gender, and Culture, which analyze the overlapping of musical forms and cultural structures.
Muchongoyo is a presentational dance and drumming style that emphasizes acrobatic and stomping sequences to dazzle spectators during gatherings or competitions with a complementary rythme of sharp claps. In Zimbabwe, it is the most well-liked Ndau dance. In Zimbabwe's Chipinge, Chimanimani, Chiredzi, and Buhera districts, muchongoyo is a traditional dance that is performed for celebratory purposes or events of cultural significance such as burials of chief and royals. It particularly identifies with the Ndau people, though less strongly identifies with the Tsonga (Shangani) people. Muchongolo is the name of it in Tsonga.
Sirvart Vartan Poladian was an Armenian-American ethnomusicologist and librarian.
References
- ↑ Opara, Ruth; Agbo, Benedict (October 1, 2022). "Music, Seduction, and New Beginnings: The Ikorodo Maiden Dance of Nsukka". Ethnomusicology. 66 (3): 497–519. doi:10.5406/21567417.66.3.08. ISSN 0014-1836.
- ↑ Calilhanna, Andrea M. "Ikorodo Music Analyzed Through Visualiza". Acoustical Society of America.
- ↑ Opara, Ruth; Agbo, Benedict (October 1, 2022). "Music, Seduction, and New Beginnings: The Ikorodo Maiden Dance of Nsukka". Ethnomusicology. 66 (3): 497–519. doi:10.5406/21567417.66.3.08. ISSN 0014-1836.
- ↑ Opara, Ruth; Agbo, Benedict (October 1, 2022). "Music, Seduction, and New Beginnings: The Ikorodo Maiden Dance of Nsukka". Ethnomusicology. 66 (3): 497–519. doi:10.5406/21567417.66.3.08. ISSN 0014-1836.
- ↑ Nwakego, Orajaka. "semantic scholar". www.semanticscholar.org. Retrieved December 27, 2023.
- ↑ Opara, Ruth; Agbo, Benedict (October 1, 2022). "Music, Seduction, and New Beginnings: The Ikorodo Maiden Dance of Nsukka". Ethnomusicology. 66 (3): 497–519. doi:10.5406/21567417.66.3.08. ISSN 0014-1836.
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