Music Geography

Afghanistan has a rich, ancient and unique history and culture, and a geopolitical and geo-strategic and central location in Asia, where many cultures and civilizations such as Greek, Buddhist, Aryan, Turkish and Indian have come together. Music in Afghanistan, along with other arts, has had a profound interaction with these civilizations, and the variety of music in this country today is a testament to this. Music education in Afghanistan has long been a teacher-centered and oral tradition, and modern music education came into the country with the advent of Western music in the context of military music for the first time under Abdul Rahman Khan (1880Khan ( -1901)). Although Western classical music and its teaching has never really been reflected in Afghan culture, our music community is still faced with limitations and shortcomings to this day due to political developments and the lack of familiarity with up-to-date educational practices. Most of the Afghan masters and musicians are familiar with Eastern music education, which is rooted in India, and a very few music educations centers teach using international methods. This article seeks to address the major challenges that hinder the growth and development of music and its standard education in the Afghan music community in order to bring the necessary reforms.

We are grateful to the staff at Routledge (a member of the Taylor and Francis Group), especially to our editors Constance Ditzel, Genevieve Aoki, and senior editorial assistant, Peter Sheehy, for guiding us through this third edition. As is evident from the list below, we are indebted to numerous colleagues for their help and encouragement in preparing this text.

Popular music studies has rarely exhibited the kinds of disciplinary coherence found in closely related disciplines mostly due to the field’s adoption and adaptation of methodological and theoretical innovations from a variety of disciplines, notably sociology, cultural studies, anthropology, media studies and musicology. However, many commentators continue to seek disciplinary coherence without making any critical aesthetic distinctions between the medium and materials of popular music. Distinctions and interrelationships between the literal or material aspects of popular music and the social or cultural processes of making meaning from popular music are central to the definition of a particular but not exclusive field of analysis. Through such distinctions, the very category ‘popular music’ can be understood as a more flexible and supple distinction based on an understanding of methods of construction, production and mediation in specific relation to the technical, contextual and ...

What is geography beyond the charting of landmasses, climate zones, elevations, bodies of waters, populated ter rains, nation states, geological strata and natural resource deposits? What is geography beyond the charting of land masses, climate zones, elevations, bodies of waters, popu lated terrains, nation states, geological strata and natural resource deposits? Geography is a theory of cognition and a system of classification, it is a mode of location and it is a site of col lective national, cultural, linguistic and topographical his tories. (…) Geography as an epistemic category is in turn ground ed in issues of positional, in questions of who has the power and authority to name, of who has the power and authority to subsume others into its hegemonic identity.1

This article examines the relationship between musical practices and discourses and island identities in the Caribbean context. I wish to challenge Caribbeanist musicological research that emphasises the structural features of Caribbean music and identity, by creating an isomorphism between musical genres and island musics (e.g. Cuba is to salsa as Jamaica is to reggae). A side effect of this relation is that it takes either musical genres or island identities for granted, resulting in a static picture of either category. In this article, I propose the notion of transinsularismas a methodology and language with which to discuss the mutually informing process of music and island identity as consistenly evolving and practice-based, rather than static and discursive. The article is based on long-term fieldwork on the Caribbean island of Culebra, in the north-eastern Caribbean. The ethnographic material that I present in this article will show how the musicianship of Culebran musicians ...

Purpose: This research attempts to conduct a careful study of the influence of political, social, and industrial dynamics in Indonesia, which gave birth to the forms and products of music education. Method: This study uses a multidisciplinary cultural approach as the object researched is multidimensional. In its title, there are some entities: music education, industry, and lifestyle. Results and discussion: As with music (culture) itself, music education, which incidentally is one of the main foundations for the development of music, of course, does not just exist. Various searches have successfully linked the relationship between music education and the political and social dynamics in which music develops. Implication: Likewise, the growing trend affects the form of music products in the music industry. The phenomenon of the 'Mozart effect' as one of the trends in the music education industry, its controversy, and its presence in the realm of industrial promotion have bec...

It has become commonplace to observe that diasporic cultures, rather than constituting miniature or diluted versions of their ancestral homeland counterparts, possess their own independent character, vitality, and legitimacy. In pointing out these distinctive features, scholars and others generally celebrate the syncretic and innovative dynamism of diasporic and border cultures. Hence, for example, chutney-soca is often hailed as a reflection of the more creative and inclusive aspect of Indo-Caribbean music culture, as opposed to genres like birha or chowtal that are merely derivatives of Indian predecessors, or as opposed to local amateur renditions of Bollywood hits. The dynamism of a genre like chutneysoca, and the way in which it makes Indo-Caribbean culture distinctive, are typically seen as located precisely in the way that it embodies creolization, or syncretism with a local non-Indian genre. While not challenging the accuracy or importance of these perspectives, in this paper I wish to focus on the more traditional and neo-traditional stratum of Bhojpuri diasporic music culture in the Caribbean, with passing reference to Indo-Fijian music culture. Looking briefly at birha, chowtal, and the dantāl, I wish to suggest ways in which this music culture, despite its close affinities to sources in India, can also be seen to exhibit features which are in fact distinct from Old World South Asian practices and counterparts. Extending the paper's focus to Trinidadian tassa drumming, another neo-traditional entity, I briefly explore how evident processes of retention and invention offer perspectives on diasporic dynamics and role of creolization therein.

This article focuses on finding new bases for Finnish school music education. It outlines current music education and points out difficulties that are caused by rapid changes in music culture. Due to these changes, Finnish music curriculum must find new starting points. We explore the main ideas about music education and compare them to each other through the historical development. The conclusions suggest that music education today should be built on music making and listening. It can no longer be based on traditional frames because it is not familiar to children of today. Music education should be based on research and new ways of teaching and learning musical skills and knowledge should guide its practice.

With a hundred years (1912-2012) of Norwegian master's and doctoral theses written within the field of music as a backdrop, this article reports from an extensive study of the academisation of popular music in higher music education and research in Norway. Theoretically, the study builds on the sociology of culture and education in the tradition of Bourdieu and some of his successors, and its methodological design is that of a comprehensive survey of the entire corpus of academic theses produced within the Norwegian music field. On this basis, the authors examine what forms of popular music have been included and excluded respectively, how this aesthetic and cultural expansion has found its legitimate scholarly expression, and which structural forces seem to govern the processes of academisation of popular music in the Norwegian context. The results show that popular music to a large extent has been successfully academised, but also that this process has led to some limitations of academic openness as well as the emergence of new power hierarchies.

Geographers have neglected popular music, in spite of its key role in cultural identity. Using the example of Manchester, we outline geography's role in forging a certain distinctiveness to the city's 'independent 'music. It is suggested that such musical fragments, which complement and contrast with the global aspirations of mainstream popular music, feed into the formation of postmodern 'neo-tribes ... what is impressive about musical practice in all its variety is that it takes place in many different places, for different purposes, for different constituencies and practitioners, and of course at many different times. (Said 1991, xviii-xix)

The liminal position of musicians, as well as the fact that many people are drawn to the power of music, is also reflected in music's contribution to bringing about social change, for instance by challenging authorities or established "truths", or by expressing issues that are yet to become widely considered. There are countless examples that show how music has been an expression and essential part of the protests of various political and social movements or subcultures. Sometimes musicians and their listeners mark(ed) the arrival of a new generation and/or challenge(d) dominant customs, this often leading to worries among the authorities, such as in the case of rock and roll. In other instances, the target of opposition is more explicitly political. For example, Pink Floyd's song Another Brick in the Wall became a popular anthem of protest against, and a critique of, the British educational system, while the current revival of punk rock may also relate to increasing concerns about geopolitical instability, inequality, and the future of our planet-even though it is argued that punk will not regain the position it had as protest music as in its heyday. Music, in such cases, may be part of the aim of promoting structural change. Also, in the case of Bob Marley, and reggae more generally, music was part and parcel of the hope of underminig the position of dominant forces, such as the imperial state. In his song Zimbabwe, for example, Marley targeted the white minority regime in Zimbabwe (then Rhodesia). Yet even in the case of music genres that are associated with resistance and revolution, such as Reggae and Hip Hop, this is often not a static condition. Over time, genres may transform (or diversify) from being explicitly political to more mainstream and/or focusing on mundane issues rather than the revolutionary potential of their listeners. When we go back in time, however, many music genres and styles at one point (in time) or another challenged social realities and propagated change, as Attali (1985) demonstrates-even music styles associated with established groups, such as classical music, often have a history of challenging social realities. But also in the music industry itself, one often sees competing interests. These may not necessarily be expressed in the songs, such as in protest songs mentioned above, but the struggles may nevertheless be apparent. Especially due to the commercial realities of music production, consumption and distribution, singers, record companies, listeners, etc. are involved in an almost constant struggle about the costs and distribution of gains-see also an interesting contribution on the Focaalblog about the link between music and capitalism. There are many examples of singers abandoning their record companies. The arrival of new technical possibilities also often leads to the challenging of existing power balances, such as the Internet has clearly shown. The usual suspects in the form of powerful record companies can now more easily be circumvented, a fact which forms part of the subject matter of Sylvie St-Jacques' contribution about cutting out the middlemen. In this regard, apart from the illegal downloading of music of renowned (and often already wealthy) musicians, moreover, a particularly interesting aspect of the World Wide Web is that it allows independent and beginning artists to spread their music across the world-via, for example, SoundCloud. The physical reality of geographical distance has been collapsed and nowadays we can as easily listen to African hip hop as to a band three blocks down the road.

Often considered the ‘birthplace of the blues’, the Mississippi Delta hosts a vibrant cultural economy based on blues music and culture. As this economy relies on embodied social experiences in place, health and safety regulations issued to combat the SARS-CoV-2 virus had dramatic effects on musicians, business owners, and other cultural workers. In this paper, we examine the impacts of the pandemic on the cultural economy of the Delta, focusing on the city of Clarksdale, a primary destination for blues tourism. Situating the Delta’s cultural economy and the blues music at its foundations within a broader historical arc of racialized struggle, we explore disparities in impacts of the pandemic on differently positioned individuals and groups. We argue that, while racial inequities con- tinue to structure the Delta’s cultural economy, local communities’ responses to the challenges of the pandemic also demonstrate intergroup solidarities. Approaching these solidarities through Monica White’s conception of collective agency and community resilience, we conclude that collective responses to the challenges of the pandemic in the Delta illuminate the potential for people from relatively privileged and marginalized groups in the region to come together to resist oppression and potentially drive social and political economic transformations.

This research examines how the blues-based cultural economy of the Mississippi Delta has been impacted by the Covid-19 pandemic. Situating the pandemic within the broader history of racial inequality in the region, I use geographer Clyde Woods’s conception of blues epistemology as a lens through which to interpret stories and histories told to me by African American musicians that were born into the blues, and how they were impacted by the pandemic. My findings demonstrate that Black blues musicians have been among the most severely affected by the pandemic, but have relied on collective agency and community resilience to overcome disruptions to the tourism-based cultural economy these communities depend on for their livelihoods. In addition to providing empirical evidence of current challenges facing Delta communities, this case study improves understanding of the dynamic interplay between cultural economy, ways of knowing, and collective agency and community resilience.

Based on his academic background in multicultural music education and ethnomusicology, Huib Schippers developed the Seven-Continuum Transmission Model (SCTM) in 2004 to describe the teaching situations of world music. The current study adopted the SCTM as a framework to investigate Chinese music teachers’ perceptions of context issues (tradition, authenticity, and context) and transmission modes (analytic/holistic, notation based/aural, and tangible/intangible) in world music teaching. Semi-structured in-depth interviews were conducted using a qualitative methodology with nine primary and secondary school music teachers from different provinces in China. This study found that Chinese music teachers’ perceptions of context issues and transmission modes in world music teaching were more inclined to the formal, institutional settings rather than the informal, often community-based process. In addition, the music teachers were also influenced more by the “Eurocentrism” values; however, ...

Ennis, County Clare in the west of Ireland, is now considered to be one of the principal strongholds of traditional Irish music practice in the world. During the 1970s, traditional music practice became a 'living tradition', becoming increasingly relevant to Ennis musicians and to the life of the town in general. However, prior to 1961, music practice in the town appears to have been limited to a few musicians, many of whom had roots in rural areas. A history of unbroken effective teaching since then has contributed to this transformation. In this thesis, I address the emergence of the formalization of the transmission of traditional music through educational means i.e. the setting up of the first institutionally led class in 17/4/1961. I examine the conditions which led to it, looking at the ideological foundations which underpinned the introduction of this formal structure. I focus principally on the institutional bodies through which it occurred; namely the Clare Vocational Education Committee and Comhaltas Ceoltóirí Éireann. This class was particularly significant in that it was the first such class for the teaching of traditional Irish dance music to be recognized by the Department of Education. Since then there has been a steady increase in the number and diversity of class contexts, to meet the demands of growing student numbers and changes in society. I trace the connections between it and subsequent classes in Ennis and its hinterland. Formal classes in the 1970s were primarily concerned with teaching the fundamentals of music theory and practice. I examine the pedagogic strategies employed by the teachers. In addition, as students progressed and became more accomplished in their instruments and their interest increased, it was inevitable that opportunities to perform would follow. I examine the music teachers roles, as bridge builders between the community and the classroom; and in facilitating learning by experiencing and taking part in a living tradition within the community, looking at the ways the formal classroom based learning of a tradition became a gateway for less formal experiential learning within the community. Therefore, focussing on both the formal and informal transmission of knowledge, I examine how, why and what type of musical knowledge was formally taught, and what knowledge was taken for granted. While opportunities to participate in established community practices could be anticipated, changing economic and social conditions, the emergence of cultural tourism, together with the growing numbers of musicians in Ennis, became a stimulus for the development of new performance contexts and practices, which in turn contributed to the reshaping of the identity of Ennis, from being a place largely devoid of traditional music to becoming a place internationally known and recognised as a major hub of the tradition. viii ACKNOWLEDGEMENTS This has been a long and sometimes arduous journey, one that I am certain I could not have completed without encouragement, and the practical and moral support of many people. Firstly I wish to acknowledge the many extraordinary people who are referenced in this thesis. It was their actions that inspired this. I was privileged to have grown up in Ennis at a very special time and to have crossed paths with such exceptionally generous people; mentors, teachers, musicians, neighbours and friends. Theirs was a story that needed to be told. A special thank you to all the people I interviewed. Their insights reinforced the specialness of this time. Sadly a number have passed away since doing so; Brendan McMahon and Sonny Murray, solas na bhFlaitheas ar a n'anamnacha (the light of Heaven on their souls). I would also like to acknowledge all those who corresponded with me and who generously shared their personal memories. Thanks to Seán Reid Junior for his generosity in sharing personal files and memories of his father, and to Kerry Barrett for giving me access to his father Tom's private papers. This work would not have come to fruition without my supervisor Dr. Aileen Dillane, who motivated me, and guided me, always making me believe that I could do it. I can never thank her enough for her support and especially for her kindness during some very challenging times.

My background for this paper is that I am analyzing music textbooks from a "multicultural perspective". Through this work, I have found that the teaching design that the books suggest, does not differ according to the kind of musics taught, but stay more or less the same through for example western classical music, pop and rock, music from Africa and Sámi music. At the same time the content of "foreign musics" as well as western music have been criticized thorougly from a multicultural perspective, the way this different content is taught, has passed by more silently. This amazed me, and it still does, and in this presentation I want to share some initial thoughts about where this has taken me philosophically. This paper mostly deals with theory and philosophy, and the practical implications are yet to be thought through. Nevertheless, I believe my points here can be relevant for a discussion about how we think about music and how we teach it, especially in our more and more culturally diverse societies, with growing efforts on doing justice to other cultures and musics in our classrooms.

This paper presents a comparative analysis of relevant methodological essence of "traditional" and "new" cultural geography. In the introduction is given an explanation of philosophic concepts of space, environment, place and the region in cultural geography. In second section is analyzed the meaning of civilization and the genesis of geography of civilization (géographie de civilisation). Special attention is on features of geographical posibilism as methodological paradigm, and the concept of cultural landscape as the essence of classical geography of culture and civilization. After this part are researched specific characteristics of certain academic schools and methodological perspectives in cultural geography. Postmodern paradigm and essence of "new" cultural geography are in the main focus. Postmodernism is changing the meaning of the basic concepts in cultural geography, which are analyzed in the introduction, such as space, culture, cultural region, cultural landscape and others. "New" cultural geography reassessed social and moral issues associated with the characteristics of the postmodern era. In this regard, methodological paradigm must be changed. This ascertainment is based on the interpretation of humanistic geography, where the emphasis is on the interpretation of cultural symbols, causal link and the "spirit of place" (Spiritus Loci). In accordance with modern conceptions of human in psychological notion, there are at least three theoretical directions, which find resonance in the appropriate cultural geography: behaviorism, psychoanalytic concept and cognitive concept-gestaltism and geography of perception. In conclusion is emphasized the need of finding a dialectical unity in "classical" and "new" cultural geography.

This essay examines the complex ebbs and flows of musical exchanges between Africa and its diasporas. Specifically, it focuses on musical engagements between, on the one hand, the Caribbean and West Africa and, on the other, the United States and Southern Africa. It argues that the influence of diasporan music on modern African music, especially popular music, has been immense. These influences and exchanges have created a complex tapestry of musical Afrointernationalism and Afro-modernism and music has been a critical site, a soundscape, in the construction of new diasporan and African identities. A diasporic perspective in the study of modern African music helps Africa reclaim its rightful place in the history of world music and saves Africans from unnecessary cultural anxieties about losing their musical 'authenticity' by borrowing from 'Western' music that appears, on closer inspection, to be diasporan African music.

Елементарна музичка писменост је вештина појединца да исправно и са разумевањем пева/ свира и записује слушану музику без застоја у схватању. Њена поставка представља дуг и сложен процес у коме је најтеже поставити две тонске особине - висину (мелодија и хармонија) и трајање (ритам). Обе ове особине чврсто су повезане са музичким и говорним карактеристикама једног подручја - висине са мелодијом и тоналним основама песама, а трајања са ритмом песама, игара и говорним ритмом (Васиљевић, З., 1991). Зато су народне песме - модели и наменске песме, као и говорни клишеи (бројалице/ разбрајалице, пословице, загонетке...) кључни садржаји у поставци звука мелодијско-ритмичке проблематике почетне наставе музичке писмености. С обзиром да сазнања из методике наставе музичке културе и психологије музике упућују да елементарну музичку писменост треба поставити на звучним основама музичког матерњег језика средине у којој се настава изводи, одлучили смо да кренемо у проналажење песама мултикултурал...

By taking a thematic approach to the study of music appreciation, Music: A Social Experience, Third Edition demonstrates how music reflects and deepens both individual and cultural understandings. Musical examples are presented within universally experienced social frameworks (ethnicity, gender, spirituality, love, and more) to help students understand how music reflects and advances human experience. Students engage with multiple genres (Western art music, popular music, and world music) through lively narratives and innovative activities. A companion website features streaming audio and instructors' resources. The third edition includes: • A chapter on Black American music • A revised and developed chapter on gender and sexuality • A dozen additional Listening Guides, with an emphasis on contemporary popular music • Over 100 new full-color images • Updated teacher and student resources on the book's companion website • Expanded content throughout, highlighting the social, cultural, and technological changes since publication of the previous edition The culmination of thirty years of experimentation in the music appreciation classroom, this third edition of Music: A Social Experience continues to empower lifelong musical learning by engaging students and readers on their own terms.

This article examines the relationship between musical practices and discourses and island identities in the Caribbean context. I wish to challenge Caribbeanist musicological research that emphasises the structural features of Caribbean music and identity, by creating an isomorphism between musical genres and island musics (e.g. Cuba is to salsa as Jamaica is to reggae). A side effect of this relation is that it takes either musical genres or island identities for granted, resulting in a static picture of either category. In this article, I propose the notion of transinsularismas a methodology and language with which to discuss the mutually informing process of music and island identity as consistenly evolving and practice-based, rather than static and discursive. The article is based on long-term fieldwork on the Caribbean island of Culebra, in the north-eastern Caribbean. The ethnographic material that I present in this article will show how the musicianship of Culebran musicians ...

Küreselleşme ile birlikte ortaya çıkan yeni yaşam koşulları bireylerin başta
sosyal çevrelerinde olmak üzere beslenme alışkanlıklarında da birçok değişimi
beraberinde getirmektedir. Özellikle gıdalara karşı standart üretim ve kalitelerine
karşı güven endişesini gün geçtikçe daha fazla hissetmeye başlayan tüketiciler,
yöresel olarak adlandırılan ürünlere taleplerini çevirmektedir. Bu sebeple birlikte
ayrıca tüketilen ürünlerin tazeliği kadar doğallığı, çevre dostu üretimden geleneksel
üretim yöntemlerine, besin değerlerinden kökenine kadar bir çok faktör tüketiciler
tarafından merak edilir olmuştur. Dolayısıyla bu sorulara cevap verebilecek satış ve
koruma yöntemlerinin geliştirilmesi zorunlu hale gelmiştir. İşte bu yöntemlerden
en önemlisi ve Dünya genelinde yaygın olarak kullanılanı ise “Coğrafi İşaret” (Cİ)
sistemi veya uygulamaları olarak adlandırılmaktadır. Bir fikri mülkiyet hakkı olarak
da belirtilen bu koruma uygulaması, mevzuat kapsamına giren ürünleri tescil altına
alarak koruduğu gibi ürünün tüm üreticilerini de kolektif şekilde standart üretime
teşvik ederken haksız kazanç ve sahteciliğe karşı korumaktadır. Böylece tüketicinin
endişeleri de giderilmekte ve ürün kimlik kazanmaktadır.

Based on comparative research on ecocriticism and geopoetics ( Kenneth White) as two theoretical discourses concerning the relationship between literature and environment, the aim of this paper is to explore the connection between literary landscapes and their psychological foundation. Ecocriticism, as a dynamic, complex, and sometimes inconsistent system of thinking about nature and literature, can be enriched byWhite’s geopoetics, which has not only a theoretical but also an important practical dimension. A question of landscape in art is viewed, through these theoretical positions, as one of the crucial moments for personal and collective human self-identification in environment.

Sažetak U radu autor prikazuje dva nedavno objavljena zbornika posvećena onome što se danas imenuje kao »zaokret ka prostoru«. Nakon što je opisao ključna pitanja koja zaokupljuju priloge sakupljene u zbornicima, autor koristi prigodu ukazati na problematično izostavljanje njemačke tradicije promišljanja prostora iz dominantnih teorijskih paradigmi koje izrastaju iz rečenog spacijalnog zaokreta. Na kraju prikaza autor nudi nekoliko zapažanja o razlozima elidiranja problematike prostornosti u domaćoj teorijskoj produkciji.

Music is by nature geographical. Musical phrases have movement and direction, as though there are places in the music: quiet places and noisy places, places that offer familiarity, nostalgia or a sense of difference, while the dynamism of music reflects changing lives. Sound is a crucial element in the world we construct for ourselves, and the world that others construct and impose on us (Connell and Gibson 2003: p280). I Introduction: music geography as 'enigmatic territory'

U radu se polazi od ideje da je kultura kompleksan fenomen kojega je nemoguće jednoznačno defi nirati. Slično tome, popularna kultura i popularna glazba predstavljaju vrlo neodređene konceptualne kategorije koje, ovisno o kontekstu upotrebe, obuhvaćaju mnoštvo različitih kategorija. Polazeći od esencijalističkih i neesencijalističkih definicija identiteta (Woodward, 1997), autorice razmatraju konstruiranje glazbenih identiteta temeljem odrednica kao što su rasna pripadnost i spol, te zaključuju da je u razmatranju glazbenih identiteta potrebno napraviti odmak od esencijalističkih ideja prema stajalištu da takvi identiteti nisu fiksni, nego da se aktivno stvaraju putem određenih komunikacijskih procesa, društvenih praksi i artikulacija.In this article we set out from the idea that culture is a complex phenomenon which is impossible to defi ne unambiguously. Popular culture and popular music also represent very vague conceptual categories which, depending on the context of the use, em...

Sažetak: U radu se polazi od ideje da je kultura kompleksan fenomen kojega je nemoguće jednoznačno defi nirati. Slično tome, popularna kultura i popularna glazba predstavljaju vrlo neodređene konceptualne kategorije koje, ovisno o kontekstu upotrebe, obuhvaćaju mnoštvo različitih kategorija. Polazeći od esencijalističkih i neesencijalističkih defi nicija identiteta (Woodward, 1997), autorice razmatraju konstruiranje glazbenih identiteta temeljem odrednica kao što su rasna pripadnost i spol, te zaključuju da je u razmatranju glazbenih identiteta potrebno napraviti odmak od esencijalističkih ideja prema stajalištu da takvi identiteti nisu fi ksni, nego da se aktivno stvaraju putem određenih komunikacijskih procesa, društvenih praksi i artikulacija.

Laura Sakaja: Uvod u kulturnu geografiju  (Emil Hersak) Josip Zanki, Marijana Paula Ferencic, Nevena Skrbic Alempijevic, Sanja Potkonjak, Marijana Belaj, ur.: Od državne umjetnosti do kreativnih industrija / Transformacija rodnih, politickih i religijskih narativa  (Rosana Ratkovcic) Dragutin Babic: Nacionalne manjine u Hrvatskoj. Socioloska perspektiva  (Marijeta Rajkovic Iveta) Wladimir Fischer-Nebmaier, Matthew P. Berg, Anastasia Christou, ur.: Narrating the City. History, Space and the Everyday  (Elena Dimitrovska) Znanstveni skup Mune Maksu Pelozi  u povodu stogodisnjice rođenja svecenika i povjesnicara dr. sc. Maksa Peloze (1915. - 1989.)  (Vana Govic) Mirjam Milharcic Hladnik, ur.: From Slovenia to Egypt. Aleksandrinke’s Trans-Mediterranean Domestic Workers’ Migration and National Imagination  (Martina Kalcic) Kazivac – casopis za etnoloske i kulturnoantropoloske teme , god. 1, br. 1, 2015.  (Tia Glavocic) 14th International “Border Crossings” Student Conference Ethnographies...

Izjava o akademskoj čestitosti Ja, Tena Žulj, ovime izjavljujem da je moj diplomski rad pod naslovom "Glazba kao odraz kulturnoga identiteta" rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada.

This paper uses financial development scale (FIR) and financial development ratio (FE) as two important indicators of financial development to examine their impact on industrial structure upgrading (ISU). Meanwhile, with reference to the statistical data of Hunan Province from 1990 to 2017, the paper establishes time series and VAR model to explore the interaction between regional financial development and industrial structure upgrading, and puts forward corresponding countermeasures and suggestions, so as to provide decision-making basis for promoting financial development and industrial structure upgrading in Hunan Province.

C^feO Reviews: L?irmheasanna Passing It On: The Transmission of Music in Irish Culture, by Marie McCarthy, 311 pp. ... In tracing the pedagogical journey of music in modern and postmodern Ireland, McCarthy is careful to avoid the intellectual shortcomings of her pre decessors. ...

Advisor: Sonja Downing perceptions of authentic performance, and the myriad events in which it takes place, with the poetically-titled Emerald Isle, even if its musicians are not. In this paper, I explore and analyze the many facets of the perception of and participation in Irish traditional music, focusing on ethnic identity, issues of authenticity in performance, and the emotional connection between performers and the music: Do musicians need to be Irish to be successful? What is an authentic Irish experience? What attracts people from all over the world to play Irish traditional music, and to travel to the island itself? Through my own interviews, I build on Helen O'Shea's research on ethnic identity among Australian trad musicians, and I draw on my own experience and the experiences of my interviewees, expanding upon efforts by anthropologist Adam Kaul, and music scholars Steve Redhead and John Street to define authenticity in the context of Irish traditional music. This paper is the result of fieldwork completed in Ireland over the course of July and August 2014, and in Wisconsin, US, during the preceding and following months. I interviewed ten practitioners of Irish traditional music from varying ethnic backgrounds, including four ethnically Irish individuals and six non-Irish individuals. I participated in sessions-events, usually in pubs, where musicians gather and play Irish tunes together-in Limerick, Miltown Malbay, Galway, Carrick-on-Shannon, Cork City, Ennis, Feakle and Sligo Town, Ireland, as well as at McGuinness's Pub in Appleton, Wisconsin. Ethnic Identity, Place, and Time in Irish Traditional Music Ostensibly, the form of music called Irish traditional music, or "trad," has a clear connection to Irish heritage. Before the advent of recording technology, trad music was often found in Irish communities in London, Boston and New York. As the Irish fought for

Toplum bireylerin biyolojik, kültürel, düşsel ve düşünsel varlıkları ile oluşturduğu bir bütündür. Dolayısı ile toplumların özellikle sağlıklı toplumların oluşumu bireylerin fiziksel, duygusal, düşünsel ve ruhsal gelişimleri ile yakından ilgidir. Bireylerin bu gelişiminde bilimden teknolojiye, spordan siyasete, edebiyattan sanata çok sayıda bileşenin etkisi bulunmaktadır. Müzik de günlük yaşamın içinde her an, her yerde hayat bulan bir sanat dalı aynı zamanda bir yaşam aracı olarak bireylerin dolayısı ile toplumların gelişiminde önemli bir etkiye sahiptir. Küçük topluluklardan ulusal devletlere ve de çok uluslu kültür ve şirketlere kadar her yerde müziğin birleştirici ve bütünleştirici etkisini görmek mümkündür. Müziğin sadece kulağa değil aynı zamanda akla, kalbe ve ruha da hitap etmesi müziğin bireyler ve toplumlar üzerindeki etkisini arttırmaktadır. İnsanı etkileyen her konu mekân ve coğrafya ile de ilişkilendirilebildiğinden coğrafyacının bir araştırma alanı olarak müzik ile ilgilenmesi kaçınılmazdır. Bu çalışmada müzik coğrafyasının kapsamı fenomenolojik yaklaşım perspektifinde ele alınırken, müzik coğrafyasının yeri ve önemi de müzik coğrafyası ile ilgili yapılmış çalışmalar bağlamında açıklanmaktadır.

In an attempt to ”build“ a kind of story about how “born“ and developed music, with singing as his starting point, we talked about two music practices, traditional and artistic. There’s been said a lot of what is already known in the “science of music“, but with the intention to shed light on certain problems from a different angle or a different way. There are many reasons for that, but the most important is the fact that in the interest
to study relations between folk and artistic music was very rare. But, on different “places” we can find interesting things about this problem, especially about the art music.
Her connoisseurs might be bothered “quick crossing“ over some facts, and thus the “laxity of some intervention“, in this paper, however, speaking about the characteristics of the art music, some of which are essential to its knowledge, the limited space for writing
is very difficult. However, as the only possible solution has emerged to focus on what appeared to be the most important.
Finally, since the conclusion should “satisfy“ the reason why it exists, it should be noted that singing is undoubtedly the “mother“ of music, if not primordial ones, when yet there was no awareness of it, the music since she was real in the right sense of the word. The assumption that is presented here indicates that instrumental music, and at the same time the music in general are debtords to the dance and singing as dance accompaniment.
So the development of music represented a direct consequence of the “decision“ the instrument to join the singers as a accompaniment of the dance. It was the “beginning“, and then everything went by itself, which is discussed in this paper.
And now, at the end if someone would think that I missed myself, I would return
to the topic this event dedicated: the relationship between practice and theory in music. Although this is not specifically about speaking, the work has looked at all the time, because the creation of music based on common activity of practice and theory. The process of creating music carries the freedom of (practice), but the freedom that is controlled by the experience (theory). So the creators, “at the beginning“ embodied in artists, a “later“ in the composers, working at the manner when “case becomes intent“, which later led to the development of music, and also creation of the different musical forms. However, what should not be forgotten is their similarity, which is evident even when these forms belong to periods which share centuries, as well as different cultural environments in which they evolved.

This thesis explores how cultural data of musical practice is contextualised during the process of digital visualisation and ethnographic research. The investigation utilises a two-pronged approach to examine music related projects from an archive, the Seán Ó Riada Collection, and focuses on how mid-twentieth century Irish artist Seán Ó Riada rose to prominence. Humanities scholars and digital humanists are increasingly engaged with digital technology in their work. Although ethnography and digital visualisation have often been used in research, both processes are beginning to be used in tandem. This project makes an original contribution to the scholarly literature through interrogations of how a hybrid of concepts and methodologies drawn from digital humanities and ethnomusicology may work in tandem or may be complementary. Practice theory is advanced as a suitable methodology for historical analysis, facilitating an investigation of musical practice in order to reveal evidence of change or continuity during the development of Seán Ó Riada’s career. Analysis of music related documents discovered within the Collection is framed by the circumstances through which projects were rehearsed and presented to audiences in a number of different mediums. I argue that the development of digital datasets and iterations of visualisation enable more informed questions and suitable theories to emerge when engaging with the contents of archival collections. I also argue that as a result of this activity, the selection process for suitable methodology and theory (such as event-based research) are important considerations when attempting to combine the practices of ethnography and digital humanities. This thesis also examines the complexities that emerge with exploring musical practice with digital cultural data, arguing for deeper engagement with data and digital tools in the structures where they are recombined and represented. Digital practices are perceived as challenging, informative and evolving processes of engagement. The debate concerning the use of more elaborate systems of classification for the representation of cultural data is not solved, instead it is utilised constructively and considered as part of an ongoing, self-reflexive process of research that enables knowledge discovery. In addition, this study introduces a series of semi-structured interviews that were carried out in order to assess the accounts of performance related activities, related by contemporaries and critics of Seán Ó Riada. The ethnographic section of this thesis demonstrates how ethnomusicology contributes to an improved interpretation and understanding of digital data. This study contributes to the ongoing discussion about digital humanities activities in ethnomusicology and ethnomusicology in digital humanities. It demonstrates the use of novel digital processes alongside long-form ethnographic fieldwork to contextualise historic materials in archive collections.

The publication of The Masses of Seán and Peadar Ó Riada: Explorations in Vernacular Chant represents a landmark achievement, not only with respect to its contribution to liturgical musicology but also in its engagement with and analysis of the Irish song tradition. This book offers a unique insight into the "living oral culture of native traditional song" (1), specifically the song culture of the Cúil Aodha area of the Muscraí Gaeltacht. The ways in which aspects of Irish traditional song and vernacular chant intertwine in the Roman rite mass settings of Seán Ó Riada and that of his son Peadar are explored through this study's focus on the relationship between music and text, drawing on the areas of Gregorian chant, liturgical musicology, ethnomusicology and Irish traditional song culture in the process. Mass settings of the Ó Riada's (father and son) have not been subject to a large-scale study previously, and such a detailed analysis of their contents as provided in this book also represents the charting of new territory within Irish musical scholarship.

In this study, I address issues of national identity articulations in post-Milošević Serbia (i.e. from 2000 onwards) using two major Serbian music festivals as case studies – the Exit and Guča trumpet festivals. The Exit and Guča festivals are particularly instructive for this line of inquiry because of fundamental aesthetic and ideological differences they are said to embody; namely, the two festivals are often narrated domestically as representing Two Serbias, thereby evoking
the recurring West-East hermeneutic and its familiar taxonomy of binaries.
The study first documents in detail the various ways in which Exit and Guča both reflect and construct the perceived schisms in Serbia’s national identity imaginary. Second, the study challenges the polarized representations of Exit and Guča by pointing to internal contradictions inherent in each festival. To achieve both objectives, I develop a new approach to festival research on national identity – one which arises from the idea of contemporary music festivals as "micronational spaces". Informed by the larger framework of critical cultural theory and using rich research material from a wide variety of sources (including
ethnographic evidence), the study ultimately illuminates the discursive
practices underpinning the social production of Exit and Guča as particular types of micronational spaces, specifically, as a "counter-" and as an "organic space" respectively. Of special analytical interest is also the perception of each festival, both native and foreign, within the symbolic geographies of Serbia and the world beyond.
The study concludes with a discussion on the transformation of Exit and
Guča into (national) brandscapes and the effects this conceptual change has produced on the local perception of each festival as well as of the interrelated fields of popular music and national identity more generally. The final argument of the study is that the branding talk in two Serbian festivals ultimately recasts the earlier Balkanist discourse on Serbia’s indeterminate position between the West and the East, but in a way which provides little hope for alternative visions of the nation’s future. One solution to this problem is arguably the key concept of the study – specifically, the ideas of the "festival microcitizenship" and "coming community" – which may be used as an alternative perspective for exploring the political function of music festivals as much in Serbia as elsewhere.

Even though geography and music do not seem as two closely related concepts at first, their interrelation is of immense importance. Music as a cultural product is extremely mobile and unstable, and changes in it serve as a great area of interest to the scientific study of geography. The momentum for the geographical aspect of the study of music can be built up not only by gaining an insight into both the theory and, more importantly, the examples of hybrid music genres, but also by developing a better understanding of spaces and accompanying relations and processes. A whole spectrum of new findings beyond cultural geography can be unveiled by studying the geography of music.

“Locating Music and Negotiating Particles of Local Culture Trough Relations of the Ethnomusicological Research Paradigms” (Lociranje muzike i pregovaranje partikulara lokalne kulture kroz odnose paradigmi etnomuzikoloških istraživanja), in: Nematerijalno kulturno nasleđe i lokalna sredina: Rezultati savremenih multidisciplinarnih istraživanja aleksandrovačke župe i okolnih oblasti, Ivica Todorović (ed.), Zavičajni muzej Župe, Aleksandrovac, 2012, 173-204.

As the 2016 season for ‘musical pilgrimages’ to Ireland’s summer schools, pub sessions and festivals begins, I’m posting this early version of a chapter of The Making of Irish Traditional Music (Cork University Press, 2008), in which I examine the reported expectations and experiences of musical pilgrims in relation to ideas about musical identification, authenticity, and the commodification of Irish culture.