Experiencing rhythm: contemporary Malagasy music and identity
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Newcastle upon Tyne
Cambridge Scholars Publishing
2013
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | VII, 195 Seiten DVD-Video (12 cm) |
| ISBN: | 9781443850476 |
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Datensatz im Suchindex
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Table of Contents
List of Illustrations.viii
Acknowledgements.ix
Chapter One.1
Music in Contemporary Madagascar
Introduction
“Contemporary Malagasy Music” (Randrianary 2001): “6/8 rhythm”
meets Lova֊tsofina
Fieldwork Experiences
Outline
Chapter Two.23
Theorising “Rhythm”
Introduction
What is “Rhythm”?
The Concepts of “Metre” and “Measure”- Different Interpretations
and Understandings
Rhythm in African Music and the Invention of New Terms
Rhythm in Culture and Language
Malagasy Rhythm(s)
Chapter Three.47
Musicking Researchers and Researching Musicians
Introduction
Key Terms
The Idea of “Self’ and “Other” within Ethnographic Fieldwork
The Notion of “Experience”: “Narrativisation of Experiences”
and “Musical being-in-the-world” (Titon 1997)
The Importance of Integrating the Analysis of Discourses
and Musical Practices
“Towards a (more) Performative Ethnomusicology” (Baily 2008)
Understanding Musically
“Presumption of Sameness” (Agawu 2003) and “Subject-centred
Ethnography” (Rice 2003)
VI
Table of Contents
Chapter Four.70
Contesting the “6/8 Rhythm”
Introduction
The Importance of the Research Context
The “6/8 rhythm” as used in Western Musicology
The Musicians’ Usage of the Term: Identification or Taking Distance?
Terminological Confusion
Example Salegy
The Challenge of the International “World Music Market”
and Musicians’ Individual Experiences: Perspectives and Strategies
Conclusion
Chapter Five.99
Exploring the Lova-tsofina: Musicians’ Theories on the Origin
and Meaning of “Rhythm” in Malagasy Music
Introduction
The Importance of Listening to the Musicians’ Own Concepts
The Topoi
Environment
Everyday Life
Language
Dance
Influences From Outside
Emotions and Spiritual Ideas
Conclusion
Chapter Six.143
Experiencing “Rhythm”
Introduction
Composing and “Malagasising” Tunes
Tapping Feet, Counting, and Clapping
Intercultural Musical Encounters-Examples of Musicians’ Experiences
Participating Musically Myself
Examples
The Importance of Lova-tsofina
“6/8 rhythm” and the Opportunity of Binaries and Ternaries
Engaging in “Malagasising” Music
The Importance of Language and Lyrics
The Importance of the Instrument and its Playing Technique
The Emphasis on Personality and Individuality in Malagasy Music
Conclusion
Experiencing Rhythm: Contemporary Malagasy Music and Identity vii
Chapter Seven.178
Conclusion
Bibliography.181
Index.194
How is “rhythm" experienced? What role does “rhythm” play in musicians' search for a
collective musical identity? These questions are answered in this book on the fascinating
blend of musical styles and influences within contemporary Malagasy music.
Madagascar is the fourth largest island in the world, “the footprint between Africa and Asia,”
with a history marked by many waves of migration. Over the centuries, a wide range of styles
of music, of instruments and of dance have become a part of the island’s musical palette.
Despite this and the resulting diversity of regional musical particularities, musicians claim
there is one element they all share: a common rhythmical base.
To explore this claim and the meaning of “rhythm” in the Malagasy context, Jenny Fuhr
makes use of her dual role as musician and researcher. Self-reflexive field research combined
with learning to play and perform Malagasy music enables a profound intercultural dialogue.
This book shows how her intense involvement in music-making and a constant dialogue
between musical experiences and discourses opens up new paths of understanding. In doing
so, it challenges prevalent Western analytical perspectives on music and demonstrates the
need for a more performance-based approach to ethnomusicology.
Jenny Fuhr holds a PhD from the University of Southampton and an MMus Ethnomusicology from
the School of Oriental and African Studies, London. She is a violinist, flutist and singer, performing
regularly on international stages. Specialising in Malagasy music, the Indian Ocean region and the
developments of “world music” in Europe, she also works as a freelance radio author. |
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| title | Experiencing rhythm contemporary Malagasy music and identity |
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| title_full | Experiencing rhythm contemporary Malagasy music and identity by Jenny Fuhr |
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| title_short | Experiencing rhythm |
| title_sort | experiencing rhythm contemporary malagasy music and identity |
| title_sub | contemporary Malagasy music and identity |
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