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enVaranasi : Published by All India Kashi Raj Trust on behalf of Maharaja Benaras Vidya Mandir TrusDhrupad Annual8610900Dhrupad in Pakistan: the Talwandi gharanaBasra, KhalidWiddess, Richard1989Journal Article/ReviewNA
oai:eprints.soas.ac.uk:886
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enClarendon Press97801931546438610900The Ragas of Early Indian MusicWiddess, Richard1995BookNA
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enMacmillan97801951706728610900Kirtana [and] Thumri [and] Dhrupad [and] Tala [and] Raga [and] Sruti [and] Sangita [and] Rasa [and] Gharana [and] Gat [and] Alapa [and] Kriti [and] KhayalWiddess, RichardSadie, StanleyTyrrell, John2001Book chapterNA
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enMacmillan97801951706728610900India, III: Theory and practice of classical musicWiddess, RichardSadie, StanleyTyrrell, John2001Book chapterNA
oai:eprints.soas.ac.uk:889
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oai:eprints.soas.ac.uk:890
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enSociety for Ethnomusicology001418368610900Involving the Performers in Transcription and Analysis: A Collaborative Approach to DhrupadWiddess, Richard1994Journal Article/ReviewNAhttp://doi.org/10.2307/852268
oai:eprints.soas.ac.uk:891
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oai:eprints.soas.ac.uk:892
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enGarland Publishing Inc.97808240494618610900Hindustani ragaWiddess, RichardRuckert, G.Arnold, A.2000Book chapterNA
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enMarg Publications97881850266888610900Musical miniatures from Nepal: two Newar ragamalasWiddess, RichardWegner, Gert-MatthiasPal, Pratapaditya2005Book chapterNA
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enMacmillan97801951706728610900Nepal, Kingdom of, I. Music in the Kathmandu ValleyWiddess, RichardWegner, Gert-MatthiasSadie, StanleyTyrrell, John2001Book chapterNAhttp://doi.org/10.1093/gmo/9781561592630.article.42916
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enIIAS092987388610900Time, space and music in the Kathmandu ValleyWiddess, Richard2003Journal Article/ReviewNA
oai:eprints.soas.ac.uk:899
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enMacmillan97801951706728610900Picken, LaurenceWiddess, RichardDuran, LucySadie, StanleyTyrrell, John2001Book chapterNA
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enAshgate97807546037958610900Dhrupad. Tradition and Performance in Indian Music.Widdess, RichardSanyal, R.2004BookNA
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enMarg Foundation097214448610900Musical Miniatures from Nepal: Two Newar Ragamalas.Widdess, RichardWegner, Gert-Matthias2004-12-01Journal Article/ReviewNA
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enUniversity of Texas Press004492028610900Caryā and Cacā: Change and Continuity in Newar Buddhist Ritual SongWiddess, Richard2004-03-01Journal Article/ReviewNA
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enTaylor and Francis174119128610900Musical Structure, Performance and Meaning: the Case of a Stick-Dance from Nepal.Widdess, Richard2006-11-01Journal Article/ReviewNAhttp://doi.org/10.1080/17411910600917964
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application/pdfhttps://eprints.soas.ac.uk/5430/1/NooshinWiddess1.pdfenIndian Musicological Societyhttp://www.musicology.in/0251012X8610950900Improvisation in Iranian and Indian musicNooshin, L.Widdess, RichardAHRC Research Centre in Cross-Cultural Music and Dance Performance2006Journal Article/ReviewAO
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application/pdfhttps://eprints.soas.ac.uk/5431/1/24811.pdfenCentre of South Asian Studies, SOAS8610900RāgaWiddess, Richard2006otherNA
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enTaylor and Francis136398118610900An introduction to the Sukawati style of Balinese gender wayangGray, Nick1990Journal Article/ReviewNAhttp://doi.org/10.1080/03062849008729736
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enTaylor and Francis174119128610900Sulendra: an example of petegak in the Balinese gender wayang repertoryGray, Nick1992Journal Article/ReviewNAhttp://doi.org/10.1080/09681229208567197
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The term rāga is current not only in the classical traditions of North and South Indian music, where it is the subject of an extensive written and oral theory, but also in many non-classical traditions especially of religious music in South Asia. For example, devotional songs (dāphā) sung by groups of Newar farmers in the Kathmandu Valley, Nepal, are regularly attributed to rāgas; but there is little explicit (i.e. verbally expressed) knowledge about rāga among the performers. The question whether the concept has any musical meaning in terms of melodic structure can only be investigated through comparative musical analysis combined with ethnographic observation. An earlier study (Grandin 1997) concluded that dāphā song melodies in one rāga share a set of characteristic melodic formulae and are thus constructed in a rāga-like way. The present study suggests that rāga-preludes sung before each dāphā song constitute melodic models that underlie song melodies. A common stock of preludes is known by different groups, but singers are not aware of this commonality. There is thus an implicit melodic system that does not depend on performers’ explicit knowledge. This situation can be understood in historical and social terms.application/pdfhttps://eprints.soas.ac.uk/11061/1/Widdess_AAWM_Vol_1_1.pdfenAnalytical Approaches to World Music215852968610900Implicit Rāga Knowledge in the Kathmandu ValleyWiddess, Richard2011Journal Article/ReviewAO
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enThe Society for Ethnomusicology001418368610900Of one family? Improvisation, variation and composition in Balinese gendér wayangGray, Nick2010Journal Article/ReviewNAhttp://doi.org/10.5406/ethnomusicology.54.2.0224
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This book is an examination of the music of the Balinese gendér wayang, the quartet of metallophones (gendér) that accompanies the Balinese shadow puppet play (wayang kulit). It focuses on processes of musical variation, the main means of creating new music in this genre, and the implications of these processes for the social and historical study of Balinese music, musical aesthetics, concepts of creativity and compositional methods.
Firstly, it studies the processes of composition and variation-making in this unnotated tradition. Secondly, it examines the relationship between pre-composition and spontaneous variation-making. Thirdly, it explores concepts of musical composition, variation, improvisation and creativity in gendér wayang, which shed light on attitudes to these processes in Bali in general. These processes are examined in two main geographical areas: Sukawati in South Bali and, secondly, the contrasting area of East Bali, particularly the villages of Budakeling and Tenganan.
Part 1 describes the context of gendér wayang within Balinese musical and ritual life and situates the argument in the light of current research on Balinese music and ethnomusicological theories of improvisation and composition. In part 2, I examine compositional techniques in gendér wayang in more depth, as well as aspects of regional variation, before analysing the processes at work in a spectrum from the more improvised to the more pre-composed, illuminated by players’ comments. Finally, in part 3, I draw out and bring into focus certain themes raised by the processes described in the previous chapters, particularly those that relate to changing social contexts for the music.enAshgate97814094183208610900Improvisation and composition in Balinese gendér wayang: music of the moving shadowsGray, Nick2011-11BookNAhttp://doi.org/10.4324/9781315252520
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application/pdfhttps://eprints.soas.ac.uk/13295/1/Dynamics%20of%20melodic%20discourse%20%5Bpre-proof%20version.pdfenOxford University Press97801953845748610900Dynamics of melodic discourse in Indian music: Budhaditya Mukherjee’s ālāp in rāg Pūriyā-KalyānWiddess, RichardTenzer, MichaelRoeder, John2011Book chapterAO
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enSemar182471998610900Dāphā: dancing gods, virtual pilgrimage and sacred singing in Bhaktapur, NepalWiddess, Richard2011Journal Article/ReviewNA
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enOxford University Press006812028610900Laurence Ernest Rowland Picken 1909-2007Widdess, RichardJohnston, Ron2010Book chapterNAhttp://doi.org/10.5871/bacad/9780197264751.001.0001
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enOhio State University Libraries155957498610900Music, meaning and cultureWiddess, Richard2012Journal Article/ReviewNA
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Dāphā, or dāphā bhajan, is a genre of Hindu-Buddhist devotional singing, performed by male, non-professional musicians of the farmer and other castes belonging to the Newar ethnic group, in the towns and villages of the Kathmandu Valley, Nepal. The songs, their texts, and their characteristic responsorial performance-style represent an extension of pan-South Asian traditions of rāga- and tāla-based devotional song, but at the same time embody distinctive characteristics of Newar culture. This culture is of unique importance as an urban South Asian society in which many traditional models survive into the modern age. There are few book-length studies of non-classical vocal music in South Asia, and none of dāphā. Richard Widdess describes the music and musical practices of dāphā, accounts for their historical origins and later transformations, investigates links with other South Asian traditions, and describes a cultural world in which music is an integral part of everyday social and religious life. The book focusses particularly on the musical system and structures of dāphā, but aims to integrate their analysis with that of the cultural and historical context of the music, in order to address the question of what music means in a traditional South Asian society.enRoutledge97814094660178610900Dāphā: Sacred singing in a South Asian city. Music, performance and meaning in Bhaktapur, NepalWiddess, Richard2013-12BookNAhttp://doi.org/10.4324/9781315258515
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"The Birth of Kala -- a Balinese Tale" by Segara Madu gendér wayang group with Tim Jones, narrator.
Part of the SOAS Brunei Gallery Concert Series
Brunei Gallery Lecture Theatre, SOAS, University of London, 19 March 2012
Gendér wayang is the name given to a small quartet of bronze metallophones used in Bali to accompany the shadow play and rituals. The concert was conceived as an exploration of the instruments on different levels: through traditional music, Balinese mythology, new compositions and movement. The first half of the concert consisted of traditional pieces together with Balinese stories and the second half featured the author's composition, also entitled "The Birth of Kala".
Performers:
Tim Jones (narrator), Paula Friar, Emily Garland, Nick Gray, Rachel Hewittapplication/pdfhttps://eprints.soas.ac.uk/15902/1/CONCERT%20PROGRAMME.pdfenhttp://www.youtube.com/watch?v=0EH87ay_f8chttp://www.youtube.com/watch?v=l-a8BQen5LIThe Birth of Kala - a Balinese tale8610900The Birth of Kala - a Balinese taleGray, Nick2012-11-11otherNA
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This piece was composed for the author's Balinese gender wayang ensemble, 'Segara Madu', and premiered as part of a the SOAS Brunei Gallery concert series on 19th March 2012. The whole concert was based on Balinese legends of the demonic Kala and the origins of the gender wayang instruments and of the shadow puppet play. The composition itself and the quasi-ritualistic action that accompanies it were intended as a 'reading' of the myth on another level. The score, based on cipher notation, is intended as an aid to the reconstruction of the piece in further performances, rather than an exact representation, the process of playing and teaching the gender wayang being traditionally unnotated.application/pdfhttps://eprints.soas.ac.uk/15903/1/The%20Birth%20of%20Kala%20score.pdfenhttp://www.youtube.com/watch?v=l-a8BQen5LI8610900The Birth of KalaGray, NickotherNA
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enAnalytical Approaches to World Music215852968610900Reflections on composing for Balinese gendér wayang: The Birth of KalaGray, Nick2013Journal Article/ReviewNA
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Indian classical musicians, like jazz musicians, display impressive ability to perform with an apparent fluency and spontaneity resembling that of normal speech. It has been suggested that this appearance of spontaneity, often labelled “improvisation”, relies largely on memorized materials, prepared in rehearsal and recalled sequentially in performance (Van Der Meer 1980, Slawek 1998). But there are occasions when no specific preparation is possible, for example when performers meet on the concert platform for the first time. Performers themselves differ in the degree to which they claim to be “improvising”, some emphasising the need for careful planning, others the desirability of spontaneity and risk-taking.
An approach to understanding such phenomena would be to look at the cognitive schemas involved in Indian music performance, and the ways in which schemas can be spontaneously combined. According to cognitive psychology, a schema is a memory structure comprising an array of cognitive categories, which we acquire through repeatedly experiencing similar arrangements of facts or sequences of temporal events. Temporal schemas enable us to form expectations about a likely course of events, whether they are small-scale and relatively invariant (“scripts”), or larger-scale and variable in content (“plans”). Such schemas have been shown to be important components of style and structure in both notated music (Treitler, Gjerdingen) and oral verbal performance (Rubin). Cognitive anthropologists have distinguished cognitive (largely unconscious) and instituted (socially acknowledged or inscribed) schemas or models that convey foundational cultural meanings (Shore) and allow cultural competence (Bloch). Aspects of schema theory have clear relevance to the analysis of musical performance in oral musical cultures, whether we are looking at musical meanings, musical structure, or, it may be suggested, musical interactions.
Analysis of a performance of Indian classical vocal performance suggests that “improvisation” in this case involves the spontaneous combination of multiple scripts and plans. These include a metrical schema, embodied in physical gestures and subdivided into smaller segments, a pitch schema or scale with added features of pitch hierarchy and prescribed melodic movement (the rāga), an arched contour schema, a verbal script (the song text), and small rhythmic ending-formulae (tihāī). Simultaneous combination as well as sequencing of these “given” elements enables soloist and accompanist to improvise coherently and in synchrony.application/pdfhttps://eprints.soas.ac.uk/17856/1/RW%202013%20Schemas%20and%20improvisation.pdfenCollege Publications97818489012478610900Schemas and improvisation in Indian musicWiddess, RichardKempson, RuthHowes, ChristineOrwin, Martin2013Book chapterAO
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enTaylor and Francis136968158610900Engendering Homeland: migration, diaspora and feminism in Ethiopian musicWebster-Kogen, Ilana2013Journal Article/ReviewNAhttp://doi.org/10.1080/13696815.2013.793160
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enTaylor and Francis174119128610900Song Style as Strategy: Nationalism, Cosmopolitanism and Citizenship in The Idan Raichel Project's Ethiopian-influences SongsWebster-Kogen, Ilana2014-03-11Journal Article/ReviewNAhttp://doi.org/10.1080/17411912.2013.879034
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oai:eprints.soas.ac.uk:18941
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Article for New Humanist magazine marking the deaths of Stuart Hal and Richard Hoggarttext/htmlhttps://eprints.soas.ac.uk/18941/1/2014-09-03-melville-en.htmlenRationalist Associationhttps://newhumanist.org.uk/0306512X8610900The Politics of Everyday life: Why We Still Need Cultural StudiesMelville, Caspar2014-09Journal Article/ReviewAO
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text/htmlhttps://eprints.soas.ac.uk/19095/1/studies3.phpenNational University of Music Bucharest201653648610900Orality, writing and music in South AsiaWiddess, Richard2014-09Journal Article/ReviewNA
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Music for Balinese gender wayang group plus violin and electronics, accompanying a retelling of an English folktale. The concert also includes some traditional gender wayang pieces (see attached concert programme for full details).application/pdfhttps://eprints.soas.ac.uk/20201/7/Concert%20Programme%20for%20_The%20Watchers%20by%20the%20Well_.pdfen8610900The Watchers by the WellGray, NickotherAO
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A contribution to a multi-author volume characterising the "classical" music traditions of the world. The chapter covers North Indian classical music as a form of knowledge and practice, the principal theoretical concepts, the historical and social contexts of its development, vocal styles, and instruments.enBoydell Press97818438372688610900North IndiaWiddess, RichardChurch, Michael2015-10-16Book chapterNA
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Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non-Western music. The present study investigated implicit learning of modal melodic features in traditional North Indian music in a realistic and ecologically valid way. It employed a cross-grammar design, using melodic materials from two rāgas that use the same scale, Toṛī and Multānī. Participants were trained on the ālāp section of either rāga and tested on novel excerpts from joṛ sections of both rāgas featuring 5 distinct melodic features and using binary familiarity and 6-point confidence judgments. Three of the five features were melodically distinctive of either rāga, whereas two were only distinctive based on characteristics other than mere pitch sequence features (for instance, emphasis). Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of either rāga. Confidence ratings suggest that participants’ performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses, i.e. they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure and thus provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition.enWiley036402138610900Incidental Learning of Melodic Structure of North Indian Music2016-03-21Rohrmeier, MartinWiddess, Richard2017-06Journal Article/ReviewNAhttp://doi.org/10.1111/cogs.12404
oai:eprints.soas.ac.uk:20978
2024-03-02T08:51:47Z
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http://creativecommons.org/licenses/by/4.0Dāphā bhajan is a style of devotional song performance practised by Newar men in the towns of the Kathmandu Valley. Although it is now primarily the farming community who maintain it, it originated in the court culture of the Newar kings in the 17th and 18th centuries, and reflects the interests of aristocratic society at that time in devotional literature and music theory. Texts of dāphā songs include compositions attributed to the kings themselves, in old Newari and Maithili, and poetry by Indian authors including Vidyāpati, Nāmdev, Kabīr, Sūrdās and Jayadeva. Transmission to the farming community, among whom literacy and knowledge of the languages concerned were limited, has shifted the balance of attention away from the texts themselves towards the processes of musical performance. As in some other South Asian singing traditions, the generation of intensity through music overwhelms the text, which loses its centrality, its form and even its meaning. The manuscript songbook from which a group sings can no longer be regarded as the vehicle of a written tradition: it is but one element in an oral performance tradition.application/pdfhttps://eprints.soas.ac.uk/20978/1/Widdess_Chapter.pdfenOpen Book Publishers97817837410218610900Text, Orality, and Performance in Newar Devotional MusicWiddess, RichardOrsini, FrancescaSchofield, Katherine Butler2015-10Book chapterVoRhttp://doi.org/10.11647/OBP.0062
oai:eprints.soas.ac.uk:21104
2020-11-23T11:41:09Z
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enRoutledge97804157231148610900"Sudamala" (freed from evil): exploring a ritual piece for Balinese gendér wayangGray, NickHarris, RachelPease, Rowan2015Book chapterNA
oai:eprints.soas.ac.uk:21669
2023-02-27T18:55:07Z
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How does music embody cultural meaning? What is the cultural significance of musical structure? How is music linked with other domains of human behaviour, meaning and experience in oral cultures? An approach to these questions might be based on the concept of schema as used in cognitive psychology (Bartlett 1932, Neisser 1976, Mandler 1984 etc.), cognitive anthropology (D’Andrade 1995, Shore 1996, Bloch 1998, 2012) and music cognition (Rosner and Meyer 1982, Gjerdingen 1988, 2007, Byros 2012). The term refers to an array of cognitive categories in a flexible relationship, which is acquired in memory through repeated experience and deployed in everyday life. Music employs highly specialised schemas that generate expectations (Huron 2006); they may be especially significant in orally transmitted music where the role of memory is paramount (cf Rubin 1995). Schemas can also carry meanings, explicit or implicit, and may re-appear in different, apparently unrelated cultural domains: such “foundational schemas” (Shore 1996) can link music, psychological experience, and other domains of culture – social, religious, architectural etc. (Widdess 2012, Lewis 2013).
To illustrate this approach I here analyse one example of a dāphā song, showing how its schematic structure can be related to schemas in other cultural domains. Dāphā is a tradition of sacred singing performed in the city of Bhaktapur, in the Kathmandu Valley, Nepal (Widdess 2013). It is performed by neighbourhood groups of male singers of the farmer castes (Ill. 1, p. 11), who belong to the Newar ethnic group. Their music is transmitted orally, and its performance is deeply embedded in local social and religious culture.enCultural musicologyCultural Musicology iZine [Online]8610900Pulling chariots, singing songs: Musical structure, performance and cultural meaning in a dāphā song from NepalWiddess, Richard2015Journal Article/ReviewNA
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2021-10-24T09:19:49Z
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This article attempts to contribute to the study of religious – particularly Sufi Islamic – structuring of the body from two perspectives: on the one hand, it pays attention not merely to the disciplinary dimension of the Jahriyya Sufi training in northwest China, but also to the specific processes that build this training around the corporeal acts of ritual consumption. On the other hand, this article also examines how the structuring of embodiment specific to Jahriyya Sufism is intrinsically linked to a strongly eschatological conception of time that greatly intensifies the disciplinary power of training. Rather than reduce the question to one of ritual rigidity or nostalgia for spiritual grandeur lost to a past presumed to be perpetually unchanging, the article argues that the specifically Jahriyya eschatology, marked by the insistence upon the sealing of the sacred genealogy, dialectically sublimates sainthood, elevating it from the concrete and corporeal to the symbolic and sublime. This symbolization and sublimation is located at the centre of Jahriyya mysticism and forms the definitive drive that structures the pious Jahriyya body. Based upon this ethnographic discovery, this article challenges the current tendency in anthropological and religious studies of Sufism and Islam that locates the body completely within the space of ethical and performative practice. It argues that the dimension of the symbolic and the sublime, irreducible to the practical, bears its own specificity that demands our analytical attention.enintellect204310158610900Dialectic of Embodiment: Mysticism, Materiality, and the Performance of Sufism in ChinaHa, Guangtian2014Journal Article/ReviewNAhttp://doi.org/10.1386/pi.3.1-2.85_1
oai:eprints.soas.ac.uk:21766
2023-12-26T13:24:22Z
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enChinese University of Hong Kong Press97896281330178610900Niche of Islam: the Disputed Space of the MosqueHa, GuangtianLi, Chang-kuan2015Book chapterNA
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2021-10-19T10:11:12Z
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Instead of directly confronting the Beijing Olympics, this paper is interested in the broader theatrical conjuncture in which the drama of ‘Olympics’ is put on stage. This conjuncture is tentatively named ‘sociality of losing’. Moving across a story that apparently presents the familiar significance of descendants for the Chinese mind, this essay starts by reading beyond the common anthropological assumption regarding Chinese kinship and proposes that the intimate in the Chinese family is directly linked to this emergent form of capitalist sociality. In order to specify the various forms of this particular kind of sociality, the essay then draws in another story, which enjoyed wide circulation before and during the Beijing Olympics and demonstrates the position of the corporeal body in relation to this sociality. Having demonstrated some of the different forms this sociality of losing has taken, this essay moves on in the second section to an investigation of forms of sovereign power in contemporary China in order to study the ways the Chinese sovereignty, instead of being the producer of this sense of losing, is equally subject to the same paradoxical situation produced by it. In the last section of the essay, I expand my previous investigation of the Chinese sovereignty and move on to a brief study of the emerging changes in the diplomatic strategies of China: the obsessive concern with state security and separatism has prompted the Chinese state to start more formally interfering in the domestic affairs of neighbouring countries and transforming its previously passive diplomatic strategy to a more aggressive one. The sociality of losing and the anxious rush thereby produced therefore goes together with a transformation of the forms of Chinese sovereignty and governance. We may catch a glimpse of the rising Chinese empire by way of this sociality of losing.enTaylor and Francis095233678610900Sociality of Losing? Speculations on the Beijing Olympics and Emergent Forms of Chinese CapitalismHa, Guangtian2011Journal Article/ReviewNAhttp://doi.org/10.1080/09523367.2011.626693
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Abstract: “We are all human, no?” This is what I heard most often among those who had been detained, harassed, or interrogated by the secret police in China. In the accounts of people who we usually consider to be victims, a reversal of roles is commonplace: the police, instead of being described as perpetrators, instead play the role of victims. This article therefore asks: In what way might this imaginary reversal actually make sense? What are the concrete social conditions that have produced this strange inversion? This article begins by laying out two influential theories of the state, both of which are contrasted with more mainstream liberal-constitutional approaches: Foucault’s critique of state phobia and Schmitt’s conceptualization of the “total state.” This article argues that neither of these theories is adequate in addressing the questions at hand. The article then moves to a structuralist discussion of the “exchange” that happens between the police and the policed. By examining the exchange of words and manners and gifts and favors, this article shows how exchange as a structural relation has rendered “good” police who practice generosity instead of bullying “truly and concretely human,” and how the recipient of this generosity would be a “social outcast” (not a political dissident) if he or she refuses to “help.” This leads to the key questions of this essay: how can we conceptualize the relationship between the social and the political in contemporary China? And how can we re-situate the authoritarian rule of Chinese Communist Party in light of this relationship?application/pdfhttps://eprints.soas.ac.uk/21769/1/document.pdfenIndiana University Press215329318610900The Irony of Humanism: How China’s Authoritarianism Works through the Humanly MundaneHa, Guangtian2013Journal Article/ReviewVoR
oai:eprints.soas.ac.uk:21779
2021-11-13T10:07:52Z
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enInitium MediaHong Kong: The Initium [Online]8610900ISIS是21世紀的產物,20世紀的辦法不能對付它 [ISIS Belongs to the Twenty-first Century, not the Twentieth]Ha, Guangtian2015-11-06Journal Article/ReviewNA
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2021-11-13T10:08:16Z
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enInitium MediaHong Kong: The Initium [Online]8610900我在習正出訪的英國聽黃之鋒演講 [Listening to Joshua Wong in the UK, while Xi is Visiting]Ha, Guangtian2015-10-22Journal Article/ReviewNA
oai:eprints.soas.ac.uk:21781
2021-11-13T10:08:39Z
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enInitium MediaHong Kong: The Initium [Online]8610900民族問題,在「自由」與「獨裁」之間 [The Issue of Ethnicity/Nationality: Between ‘Democracy’ and ‘Dictatorship’]Ha, Guangtian2015-08-14Journal Article/ReviewNA
oai:eprints.soas.ac.uk:22231
2024-02-09T14:47:26Z
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What is the point of revisiting Muslim women’s head wears when such a topic has already been extensively discussed in recent years? What can we do with the spectres of class and labour that often appear, however fleetingly, in these discussions that nonetheless take secularism and the public sphere as the organizing concepts? Based upon fourteen months of fieldwork in northwest China, this article examines the intricate connection between rural Hui Muslim women’s “hats (maozi)” and the history of female labour in its multiple shifts from the socialist to the neoliberal periods. In making this connection, it attempts to return the “headscarf debate” back into its transnational politico-economic conditioning, and explore the hidden link between the transnational articulation of difference and the global organization of ethical practices on the one hand, and the transnational distribution of materialities and politico-economic values on the other. This link, as I show in the article, impacts the specific terms and discourses that frame the narration of maozi among the rural Muslim women I work with: rather than expressing “attitude” or “opinion” on veiling, their narrative focuses heavily on the concrete stylistic shifts of maozi, which closely trace women’s transformed relationship to labour. By drawing attention to how the global differential distribution of ethical practices needs to be seen in tandem with the global (unequal) distribution of materialities, this article hopes to re-orient our contemporary discussion about the Muslim “veil” in light of an analysis of transnational political economy.application/pdfhttps://eprints.soas.ac.uk/22231/1/Ha_The%20Silent%20Hat.pdfenUniversity of Chicago Press154569438610900The Silent Hat: Islam, Female Labour, and the Political Economy of the "Headscarf Debate"2016-03-23Ha, Guangtian2017-03-01Journal Article/ReviewVoRhttp://doi.org/10.1086/689641
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application/pdfhttps://eprints.soas.ac.uk/22694/1/Webster-Kogen_22694.pdfenTaylor and Francis175286318610900Bole to Harlem via Tel Aviv: Networks of Ethiopia's Musical Diaspora.2015-10-09Webster-Kogen, Ilana2016-03-09Journal Article/ReviewAMhttp://doi.org/10.1080/17528631.2015.1083181
oai:eprints.soas.ac.uk:23214
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391 for gamelan by Nick Gray
First performance on Saturday 10th September 2016 as part of the SOAS Alumni Weekend.
The piece, “391”, composed by Nick Gray, is especially designed for instruments from two of the SOAS gamelan sets (one Javanese and one Balinese), tailored to the individuality of their particular tuning, celebrating the uniqueness of SOAS.
Players: Rob Campion, Charlie Cawood, Andy Channing, Aris Daryono, Cathy Eastburn, Paula Friar, Nick Gray, Manuel Jimenez, Lucie Treacher.application/pdfhttps://eprints.soas.ac.uk/23214/1/Gray_23214.pdfenhttps://youtu.be/Gpyr4EgJsJg8610900391 for gamelanGray, Nick2016-09-10otherNA
oai:eprints.soas.ac.uk:23280
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These violin pieces were conceived as a set and though there was originally no story line, they do create a kind of narrative structure in terms of the quite varied styles and moods. They are partly in the English experimental tradition, but also informed by Balinese music. The choreography, with the story of Bawang Merah Bawang Putih was created by Ni Made Pujawati.application/pdfhttps://eprints.soas.ac.uk/23280/1/Bawang%20Merah%20Bawang%20Putih%20programme%20notes.pdfen8610900Bawang Merah Bawang Putih / 12 Violin PiecesGray, NickChoreography by Ni Made PujawatiotherNA
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2020-11-23T10:58:47Z
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This chapter reflects on the role of the university at a time when that role is changing in a number of important ways. If there is a clearly defined boundary between academia and “industry”—something there is reason to doubt—it is one that is routinely crossed, at least in the corner of academia in which I work. Academics like me, who spend their time researching, teaching and writing about popular music and the creative economies through which its circulates, not only spend a lot of time thinking about issues associated with “the industry,” but often spend time working in industry too.enPalgrave Macmillan97813499511168610900Process as Outcome: Research Across BordersMelville, CasparShiach, MoragVirani, Tarek2017-01-01Book chapterNAhttp://doi.org/10.1057/978-1-349-95112-3_12
oai:eprints.soas.ac.uk:23766
2020-11-23T11:23:05Z
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The chapter examines a distinction between isometric music, in which successive metrical cycles are of equal length, and heterometric music, where the length and structure of the cycle can change. In South Asia, most music is isometric. In the classical traditions, each composition normally employs one tāla, in which the length of the cycle is defined by a clap-pattern or instrumental time-line. There are, however, rare cases where the tāla changes in the course of a composition, and such cases are more frequent in the context of religious music, but the origins and purposes of such heterometrical complexity are unclear. Three examples are analyzed from the Hindu-Buddhist traditions of the Kathmandu Valley, Nepal, featuring metrical compression and proportional time spans. The possible significance of “time changes” in these and analogous cases is discussed in relation to cultural meanings, historical antecedents, religious and social behavior, and the cognitive processes of performance.enOxford University Presshttps://global.oup.com/academic/product/thought-and-play-in-musical-rhythm-9780190841492?cc=gb&lang=en&97801908414928610900Time Changes: Heterometric Music in South AsiaWiddess, RichardWolf, RichardBlum, StephenHasty, Christopher2019-08-08Book chapterNAhttp://doi.org/10.1093/oso/9780190841485.003.0012
oai:eprints.soas.ac.uk:23767
2024-02-09T14:54:38Z
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application/pdfhttps://eprints.soas.ac.uk/23767/1/Gray-my-tricksy-spirit-information.pdfenBad Elephant Music8610900My Tricksy SpiritGray, Nick2017-09otherNA
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http://creativecommons.org/licenses/by-nc/4.0application/pdfhttps://eprints.soas.ac.uk/23769/1/12%20violin%20pieces%202007rev2015.pdfen861090012 violin pieces (revision of 2007 composition)Gray, NickotherVoR
oai:eprints.soas.ac.uk:23821
2021-06-03T09:46:52Z
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Song Walking explores the politics of land, its position in memories, and its foundation in changing land-use practices in western Maputaland, a borderland region situated at the juncture of South Africa, Mozambique, and Swaziland. Angela Impey investigates contrasting accounts of this little-known geopolitical triangle, offsetting textual histories with the memories of a group of elderly women whose songs and everyday practices narrativize a century of borderland dynamics. Drawing evidence from women’s walking songs (amaculo manihamba)—once performed while traversing vast distances to the accompaniment of the European mouth-harp (isitweletwele)—she uncovers the manifold impacts of internationally-driven transboundary environmental conservation on land, livelihoods, and local senses of place.
This book links ethnomusicological research to larger themes of international development, environmental conservation, gender, and local economic access to resources. By demonstrating that development processes are essentially cultural processes and revealing how music fits within this frame, Song Walking testifies to the affective, spatial, and economic dimensions of place, while contributing to a more inclusive and culturally apposite alignment between land and environmental policies and local needs and practices.enUniversity of Chicago Press97802265379628610900Song Walking: Women, music, and environmental justice in an African borderlandImpey, Angela2018-08BookNAhttp://doi.org/10.7208/chicago/9780226538150.001.0001
oai:eprints.soas.ac.uk:23852
2020-11-23T11:00:16Z
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enRoutledge97813179350328610900Strange Routes: "Dancing Girl": Flows, Formats and Fortune in Music.Melville, CasparHarris, RachelPease, Rowan2015-05-14Book chapterNA
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The issue of how copyright works for the musical traditions of Africa has been steadily growing in importance since the 1990s, pushed to the fore by the increasing visibility of African artists in the world music market, the neoliberalisation of African economies that is pushing intellectual property (IP) issues into the centre of state creative industry policies, the ubiquity of illegal forms of reproduction, physical and increasingly digital, and the processes by which immaterial goods and cultural traditions are becoming reimagined as commodities. Recent scholarly discussions of this issue moves the debate significantly beyond the simple notion of copyright as a Eurocentric imposition on vulnerable African cultural heritage and instead considers how IP issues are addressed differentially in specific local contexts across sub-Saharan Africa. This article examines these issues in relation to how Mali’s Mande griots (jeliw) work with European publishers. Based on a series of sixteen interviews with jeli musicians and European publishers and others in the world music industry, its main finding is that while it is necessary to reconsider what we mean by composition in relation to Mali’s jeliw and their musical practice, copyright can and is being adapted by publishers working with traditional musicians to provide much needed revenue to jeli composers and plays a role in sustaining a vital, but vulnerable, tradition.application/pdfhttps://eprints.soas.ac.uk/23968/1/valuing-tradition-malis-jeliw-european-publishers-copyright.pdfenEquinox205249198610900Valuing Tradition: Mali’s jeliw, European publishers and Copyright2017-01-25Melville, Caspar2017-06-02Journal Article/ReviewAMhttp://doi.org/10.1558/jwpm.31661
oai:eprints.soas.ac.uk:24507
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http://creativecommons.org/licenses/by-nc/4.0application/pdfhttps://eprints.soas.ac.uk/24507/1/Gray-2017-Ardhanariswara-programme.pdfenhttps://www.youtube.com/watch?v=LPt7_BizzBg&feature=youtu.be8610900"Ardhanariswara" for string quartet and danceGray, NickotherNA
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application/pdfhttps://eprints.soas.ac.uk/24850/1/duran-an-Jera-Cela-we-share-a-husband-2017.pdfenIndiana University Press153655068610An Jεra Cεla (We Share a Husband): Song as Social Comment on Polygamy in Southern Mali2017-08-18Duran, Lucy2017-11-13Journal Article/ReviewVoRhttp://doi.org/10.2979/mande.19.1.11
oai:eprints.soas.ac.uk:24927
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application/pdfhttps://eprints.soas.ac.uk/24927/1/duran-album-sleeve.pdfenWorld Circuit Records WCD0938610Ladilikan: Trio Da Kali and Kronos QuartetDuran, LucyGold, NickHarrington, David, Producers2017-09-15otherNA
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This chapter considers the problem of theory and practice in Central Asian maqām traditions with reference to two distinct traditions: the Kashmiri Sūfyāna Musīqī and the Uyghur On Ikki Muqam. I speculate that the imposition of different forms of musical theory in the different locations may serve to mask deeper, unmarked, similarities in performance and aesthetics. Maqām traditions in this region are closely tied to Sufi traditions of vocal practice, and I suggest that these are more significant than the elite heritage of music theory in explaining the close musical relations between different regional maqām traditions.application/pdfhttps://eprints.soas.ac.uk/25381/1/harris-theory-practice-contemporary-central-asian-maqam-2017.pdfenRoutledge97811382183148610Theory and practice in contemporary Central Asian Maqām traditions: the Uyghur On Ikki Muqam and the Kashmiri Sufyana MusiqiHarris, RachelHarris, RachelStokes, Martin2017-11-20Book chapterAMhttp://doi.org/10.4324/9781315191461-11
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http://creativecommons.org/licenses/by-nc/4.0In a speech at China’s National People’s Congress in March 2014, the deputy chair of the China Dancer’s Association, Dilnar Abdulla, complained that ‘religious extremists’ in the Muslim region of Xinjiang were ‘campaigning for the commoners not to sing and dance’. Since then, organised song and dance events have become a cornerstone of the anti-extremism campaign. Rural cultural bureaux have organised villagers to participate in mass dancing displays, weekly singing of revolutionary songs, and – notoriously – public dancing by Imams. In many ways the campaign is reminiscent of the mobilisation techniques developed during the Cultural Revolution. This article examines the tensions between recent formulations of ethnic and religious – Uyghur and Muslim – identities as they are played out in discourse surrounding ‘song and dance’ in the transnational space of online web forums and social media posts which link Uyghurs in the ‘homeland’ (weten) - the Xinjiang Uyghur Autonomous Region of northwest China - with Uyghurs in the diaspora in Central Asia, Turkey, Europe and America. It considers how embodied behaviours express these shifting identities and shifting ethnical norms in contexts where their verbal expression is sanctioned by state policies concerning religious.application/pdfhttps://eprints.soas.ac.uk/25383/1/Song%20and%20dance%20battleground%20-%20%20revised%2011%20Oct%202017%20-%20WoM.pdfenVWB: Verlag fur Wissenschaft und Bildunghttp://journaltheworldofmusic.com/planned.html#Harris004387748610The New Battleground: Song-and-dance in China’s Muslim borderlands2017-10-05Harris, RachelSounding Islam in ChinaSounding Islam in China2017-12-01Journal Article/ReviewAM
oai:eprints.soas.ac.uk:25384
2022-12-28T11:41:58Z
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application/pdfhttps://eprints.soas.ac.uk/25384/1/harris-dissonent-voices-chinas-harmonious-society.pdfenOxford University PressThe Oxford Handbook of Protest Music8610Dissonant Voices in China’s Harmonious Society: From Cassettes to WeChat, Nation to Anashid2017-08-28Harris, RachelManabe, NorikoDrott, EricSounding Islam in ChinaSounding Islam in China2018Book chapterAM
oai:eprints.soas.ac.uk:25385
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enRoyal Anthropological Institute; Sean Kingston Publishing97819123853178610The Soundscapes Turn in Ethnomusicology: Sonic territoriality and the Islamic revival across Chinese-Central Asian borders2018-01-16Harris, RachelCottrell, StephenSounding Islam in ChinaSounding Islam in China2021-09-15Book chapterNA
oai:eprints.soas.ac.uk:25467
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This chapter reflects on the similarities and differences between community music and applied ethnomusicology. We argue that to describe a particular study as belonging to one or the other of these sub-disciplines is often as much a reflection of scholarly networks and frameworks as it is evidence of differences in methodology or approach. The chapter introduces a number of case studies from South Africa, and focuses in particular on a community archiving project in the iSimangaliso Wetlands Park. These case studies are used to illustrate the different inflections that may pertain to the terms ‘community music’ or ‘applied ethnomusicology’, while also demonstrating the overlaps between them. Finally, attention is drawn to the risks that are always involved in cultural interventions, regardless of from where they may emanate.application/pdfhttps://eprints.soas.ac.uk/25467/1/Cottrell%20and%20Impey%20Community%20Music.pdfenOxford University Presshttp://www.oxfordhandbooks.com97801902195058610Community Music and EthnomusicologyCottrell, StephenImpey, AngelaBartleet, Brydie-LeighHiggins, Lee2018-04Book chapterVoRhttp://doi.org/10.1093/oxfordhb/9780190219505.013.12
oai:eprints.soas.ac.uk:25472
2021-03-15T17:00:46Z
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This chapter examines the role of performance ethnography in development practice, focusing in particular on the contributions of ethnomusicological research to current discourses on transitional justice in post-conflict states. Inspired by the appeal by Brown et.al. (2011) for ‘imaginative transdisciplinarity’ in seeking solutions to critical social problems, it argues for greater consideration of situated cultural mechanisms of truth, justice and reconciliation in the critical interrogation of prevailing Northern legalistic justice and accountability paradigms. The chapter draws on the example of South Sudan—a country that has recently emerged from half a century of civil war with (the previously north) Sudan, but remains profoundly destabilized by internecine violence—and reflects on the role of songs in Dinka culture as judicial instruments of truth-telling, offering a locally apposite discursive space for the expression of multiple public positions and forms of agency. Correspondingly, it argues that while songs recount individual, clan or community memories in the context of Dinka social practice, they equally reveal potentially incompatible rejoinders to justice across South Sudan’s many ethnicities, underscoring the need for new epistemological pathways in the development of hybrid frameworks of public disclosure and reparative outcomes.application/pdfhttps://eprints.soas.ac.uk/25472/1/IMPEY%20copy%20edit%20Vol%201_chapter_oso-9780197517604-chapter-11_Impey.pdfenOxford University Press97801975176118610Performing Transitional Justice: Song, Truth-telling and Memory in South SudanImpey, AngelaDiamond, BeverleyEl-Shawan Castelo-Branco, Salwa2021-04-30Book chapterAMhttp://doi.org/10.1093/oso/9780197517604.003.0011
oai:eprints.soas.ac.uk:25473
2024-02-17T02:59:04Z
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application/pdfhttps://eprints.soas.ac.uk/25473/1/impey-activism-advocacy-community-engagement-ethnomusicology.pdfenUniversity of Illinois Press001418368610Activism, advocacy and community engagement: Ethnomusicological Responses to Contemporary Dynamics of Migrants and Refugees2017-11-12Impey, Angela2019Journal Article/ReviewAMhttp://doi.org/10.5406/ethnomusicology.63.2.0279
oai:eprints.soas.ac.uk:25804
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application/pdfhttps://eprints.soas.ac.uk/25804/1/Williams%20A%20Storm%20of%20Songs.pdfenUniversity of Chicago Presshttps://www.journals.uchicago.edu/doi/abs/10.1086/6965740018271085908610A Storm of Songs: India and the Idea of the Bhakti Movement. By John Stratton Hawley. (Cambridge, Massachusetts: Harvard University Press, 2015. Pp.xiv+438.)Williams, Richard David2018-05-01otherAMhttp://doi.org/10.1086/696574
oai:eprints.soas.ac.uk:25975
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enÉd. Mélanie Seteun163454958610Review of: Rosemary Lucy Hill, Gender, Metal and the Media: Women Fans and the Gendered Experience of Music. Palgrave Macmillan, 2016.Grant, Sam2018otherNAhttp://doi.org/10.4000/volume.5644
oai:eprints.soas.ac.uk:25977
2022-11-20T09:51:59Z
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enÉd. Mélanie Seteun163454958610Review of: Rosemary Overell, Affective Intensities in Extreme Music Scenes: Cases from Australia and JapanGrant, Sam2018otherNAhttp://doi.org/10.4000/volume.5716
oai:eprints.soas.ac.uk:26018
2024-02-09T15:01:45Z
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This paper considers the nature of work done in performances that seek to “create bridges” across cultures and to highlight shared heritage across political borders. What agendas are privileged, and what forms of representation are entailed? I explore these issues via case studies in musical collaboration along the “Silk Road”, the ancient trade routes brought to life in the contemporary imagination to link cultures from Europe to East Asia. I privilege the perspectives of the various actors involved, arguing that careful attention to the experiences of participants serve to texture our understanding of cultural border-crossings. Music-making, as a form of embodied practice, may serve as a way of deconstructing conventional narratives but it may also serve to uphold established hierarchies. I argue that in cross-border encounters musicians draw on diverse imaginaries – learned aesthetic norms, bodily habitus and imaginative resources – casting their collaborators as musical and social others in their efforts to make sense of what they hear.application/pdfhttps://eprints.soas.ac.uk/26018/6/HarrisAppliedExperimentsInCollaborationAlongTheSilkRoad.pdfenVWB: Verlag fur Wissenschaft und Bildunghttp://www.journaltheworldofmusic.com/planned.html#Sharing004387748610Applied experiments in collaboration along the Silk Road2018-05-15Harris, Rachel2018-07-15Journal Article/ReviewAM
oai:eprints.soas.ac.uk:26158
2022-06-09T15:41:44Z
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application/pdfhttps://eprints.soas.ac.uk/26158/1/Theology%20of%20Feeling_VolumeVersion.pdfenNiyogi Books97893869064728610A Theology of Feeling: The Radhavallabhi Monsoon in the Eighteenth Century"Williams, Richard DavidRajamani, ImkePernau, MargritSchofield, Katherine Butler2018-11-07Book chapterAM
oai:eprints.soas.ac.uk:26465
2018-11-02T10:00:48Z
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enRoutledgehttps://www.routledge.com/Music-as-Heritage-Historical-and-Ethnographic-Perspectives/Norton-Matsumoto/p/book/978113822804797811382280478610Safeguarding the heart’s home town: Japanese folk song as Intangible Cultural HeritageHughes, David W.Norton, BarleyMatsumoto, Naomi2018-08-02Book chapterNA
oai:eprints.soas.ac.uk:26472
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enBoydell and Brewer97818438372688610JapanHughes, David W.Church, Michael2016Book chapterNA
oai:eprints.soas.ac.uk:26524
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This article provides an in-depth study and critique of the nomination and inscription of an item on UNESCO’s lists of intangible cultural heritage, and the developments following its acceptance. China is now a major partner in UNESCO’s heritage projects, but the application and experience of heritage initiatives across China has been highly uneven. I discuss the particular challenges presented in the contested, predominantly Muslim Xinjiang Uyghur Autonomous Region. I focus on the question of community, a term that lies at the heart of the UNESCO literature. What do we mean by community, and why do we think it matters? How does socially embedded music-making facilitate community, and how do heritage initiatives change that?application/pdfhttps://eprints.soas.ac.uk/26524/8/ethnomusicology.64.1.0023.pdfenSociety for Ethnomusicology001418368610900“A Weekly Mäshräp to Tackle Extremism”: Music-making in Uyghur Communities and Intangible Cultural Heritage in China2018-09-17Harris, RachelRoberts, SeanBovingdon, Gardner2020-11Journal Article/ReviewVoRhttp://doi.org/10.5406/ethnomusicology.64.1.0023
oai:eprints.soas.ac.uk:29854
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In the thirty years since their immigration from Ethiopia to the State of Israel, Ethiopian-Israelis have put music at the center of communal and public life, using it alternatingly as a mechanism of protest and as appeal for integration. Ethiopian music develops in quiet corners of urban Israel as the most prominent advocate for equality, and the Israeli-born generation is creating new musical styles that negotiate the terms of blackness outside of Africa. For the first time, this book examines in detail those new genres of Ethiopian-Israeli music, including Ethiopian-Israeli hip-hop, Ethio-soul performed across Europe, and eskesta dance projects at the center of national festivals. This book argues that in a climate where Ethiopian-Israelis fight for recognition of their contribution to society, musical style often takes the place of political speech, and musicians take on outsize roles as cultural critics. From their perch in Tel Aviv, Ethiopian-Israeli musicians use musical style to critique a social hierarchy that affects life for everyone in Israel/Palestine.enWesleyan University Press97808195783348610Citizen Azmari: Making Ethiopian Music in Tel AvivWebster-Kogen, Ilana2018-11-20BookNA
oai:eprints.soas.ac.uk:29987
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In early modern North India, knowledge systems developed simultaneously in multiple “classical” and “vernacular” languages. This article examines the processes of multilingual knowledge transmission through an analysis of a Brajbhasha (classical Hindi) music treatise, the Sangitadarpana (“Mirror of Music”) of Harivallabha (ca. 1653). Harivallabha was translating a recent Sanskrit work of the same name: an old-fashioned treatise that nonetheless proved extremely influential in Persian and other Sanskrit works, as well as in miniature painting. This article examines the implications of the vernacular rendering of the Sangitadarpana and Harivallabha's seminal influence on the musicological intellectual culture that followed in his wake. Drawing on other translations and treatises in other forms of Hindi and Bengali, the article also considers the limits of Brajbhasha's circulation, and the wider implications of using a vernacular language for reading, listening, visual, and performance practices.application/pdfhttps://eprints.soas.ac.uk/29987/1/Williams%20Reflecting%20in%20the%20Vernacular.pdfenDuke University Press1089201X8610Reflecting in the Vernacular: Translation and Transmission in Seventeenth- and Eighteenth-Century North India2018-10-02Williams, Richard David2019-05-01Journal Article/ReviewAMhttp://doi.org/10.1215/1089201X-7493810
oai:eprints.soas.ac.uk:30062
2019-01-14T08:50:31Z
oai:eprints.soas.ac.uk:30369
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A performance by the group Segara Madu (Nick Gray and Paula Friar) of four pieces from the Balinese gender wayang repertory: Sekar Ginotan, Partha Wijaya, Segara Madu and Rebong. Recorded at SOAS, December 2018.audio/mpeghttps://eprints.soas.ac.uk/30369/1/Sekar%20Ginotan.mp3en8610Segara Madu: Balinese gender wayangGray, NickotherNA
oai:eprints.soas.ac.uk:30579
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http://creativecommons.org/licenses/by/4.0The written component is a critical commentary on this video 'Ardhanariswara: A composition-as-research project for string quartet and dance’: http://briefencounters-journal.co.uk/BE/pages/view/nick-gray-ardhanariswara
Ardhanariswara is a musical exploration of the female-male form of the Hindu god Shiva through the medium of string quartet and choreography. The music makes use of the gendered voices of the string quartet medium, mirroring the SATB format of a choir, and also explores interlocking techniques derived from Balinese gamelan music, in particular the quartet of metallophones, gendér wayang, which accompanies shadow playsapplication/pdfhttps://eprints.soas.ac.uk/30579/1/140-739-1-PB-2.pdfenConsortium for the Humanities and the Arts South-East England251406128610Ardhanariswara: A Composition-as-Research Project for String Quartet and Dance2019-01-15Gray, Nick2019-03Journal Article/ReviewVoRhttp://doi.org/10.24134/be.v3i1.140
oai:eprints.soas.ac.uk:31227
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http://creativecommons.org/licenses/by/4.0Hierarchical models of music allow explanation of highly complex musical structure based on the general principle of recursive elaboration and a small set of orthogonal op- erations. Recent approaches to melodic elaboration have converged to a representation based on intervals, which al- lows the elaboration of pairs of notes. However, two prob- lems remain: First, an interval-first representation obscures one-sided operations like neighbor notes. Second, while models of Western melody styles largely agree on step- wise operations such as neighbors and passing notes, larger intervals are either attributed to latent harmonic properties or left unexplained. This paper presents a grammar for melodies in North Indian raga music, showing not only that recursively applied neighbor and passing note oper- ations underlie this style as well, but that larger intervals are generated as generalized neighbors, based on the tonal hierarchy of the underlying scale structure. The notion of a generalized neighbor is not restricted to ragas but can be transferred to other musical styles, opening new perspec- tives on latent structure behind melodies and music in gen- eral. The presented grammar is based on a graph represen- tation that allows one to express elaborations on both notes and intervals, unifying and generalizing previous graph- and tree-based approaches.application/pdfhttps://eprints.soas.ac.uk/31227/1/ISMIR_2019___Melody_Graph_Grammar.pdfenISMIRhttps://ismir.net/conferences/978-1-7327299-1-98610Modelling the Syntax of North Indian Melodies With a Generalized Graph Grammar2019-06-18Widdess, RichardFinkensiep, ChristophRohrmeier, Martin2019-11-01Journal Article/ReviewVoRhttp://doi.org/10.5281/zenodo.3527843
oai:eprints.soas.ac.uk:31537
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application/pdfhttps://eprints.soas.ac.uk/31537/1/The%20kora%20-%20from%20West%20Africa%20to%20the%20world%20stage.pdfenSOAS University of London97817880872548610The kora – from West Africa to the world stageDuran, LucyContadini, Anna2017Book chapterAO
oai:eprints.soas.ac.uk:31538
2022-06-24T20:55:13Z
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This chapter is in the form of an interview between Lucy Durán and Helen Penn. Lucy Durán is a well-known ethnomusicologist who has made a series of films, sponsored by the Arts and Humanities Council in the UK—Beyond Text, in the project called Growing into Music (Growing into Music films: http://www.growingintomusic.co.uk/), for which she was the principal investigator. The films document how children from specialist musical families of great oral traditions acquire musical skills and knowledge, with films made by a team of four ethnomusicologists working in five countries: India, Azerbaijan, Mali, Cuba and Venezuela. In addition to the documentaries directed and filmed in Mali, which is Durán’s regional expertise, she also provides a commentary to the comparative film that covers footage from all five countries, making some interesting and important connections, with wider implications for music education.application/pdfhttps://eprints.soas.ac.uk/31538/1/10_Online%20PDF.pdfenPalgrave Macmillan97833199131868610Growing into MusicDuran, LucyPenn, HelenKjørholt, Anne-TrinePenn, Helen2018-08-29Book chapterVoRhttp://doi.org/10.1007/978-3-319-91319-3_10
oai:eprints.soas.ac.uk:31539
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enBritish Library97807123098998610Crossings: Word and Music across the AtlanticDuran, LucyTopp-Fargion, JanetWallace, MarionDuran, LucyTopp-Fargion, JanetWallace, Marion2015-10-15Book chapterNA
oai:eprints.soas.ac.uk:31540
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application/pdfhttps://eprints.soas.ac.uk/31540/1/CEM%20entretien%20Lucy.pdffrSociété Française d’Ethnomusicologie (SFE).https://journals.openedition.org/ethnomusicologie/30781662372X8610Grandir en musique chez les jelis du Mande (Mali) : Un entretien avec Lucy Durán2018-09-01Duran, LucyAmico, Marta2018-12-01Journal Article/ReviewVoR
oai:eprints.soas.ac.uk:31541
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audio/x-aiffhttps://eprints.soas.ac.uk/31541/1/1%20Anga%20ta.aiffenXquenda8610Foronto Afroaxaca2018-11Duran, Lucy2019-08otherVoR
oai:eprints.soas.ac.uk:31542
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video/quicktimehttps://eprints.soas.ac.uk/31542/2/Hawa%20Diabat%C3%A9%20-%20Tegere%20Tulon%20Film%20HQ.movenKronos Quartet Performing Arts Associationhttps://www.youtube.com/watch?v=IzeVKYTMqww&t=36s8610Tegere Tulon: Handclapping Songs of MaliDuran, LucyDiallo, Moustapha2019-06-01otherAO
oai:eprints.soas.ac.uk:31544
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enBBC World Servicehttp://www.bbc.co.uk/programmes/w3csvnyc8610The AfromexicansDuran, LucyGregorius, Arlene2017-08-06otherNA
oai:eprints.soas.ac.uk:31598
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China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam, author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the Internet come into dialogue with local embodied practices. Synthesized together, these practices create new forms that facilitate powerful, affective experiences of faith.application/pdfhttps://eprints.soas.ac.uk/31598/1/Full%20revised%20draft%20June%202019.pdfenIndiana University Press97802530501998610Soundscapes of Uyghur Islam2019-08Harris, Rachel2020-11-03BookAMhttp://doi.org/10.2307/j.ctv1574p9g
oai:eprints.soas.ac.uk:31599
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In the late 1970s Islam regained its force by generating novel forms of piety and forging new paths in politics throughout the world, including China. The Islamic revival in China, which came to fruition in the 2000s and the 2010s, prompted increases in government suppression but also intriguing resonances with the broader Muslim world—from influential theoretical and political contestations over Muslim women’s status, the popularization of mass media and the appearance of new patterns of consumption, to increases in transnational Muslim migration. Although China does not belong to the “Islamic world” as it is conventionally understood, China’s Muslims have strengthened and expanded their global connections and impact. Such significant shifts in Chinese Muslim life have received scant scholarly attention until now. With contributions from a wide variety of scholars—all sharing a commitment to the value of the ethnographic approach—this volume provides the first comprehensive account of China’s Islamic revival since the 1980s as the country struggled to recover from the wreckage of the Cultural Revolution.
The authors show the multifarious nature of China’s Islam revival, which defies any reductive portrayal that paints it as a unified development motivated by a common ideology, and demonstrate how it was embedded in China’s broader economic transition. Most importantly, they trace the historical genealogies and sociopolitical conditions that undergird the crackdown on Muslim life across China, confronting head-on the difficulties of working with Muslims—Uyghur Muslims in particular—at a time of intense religious oppression, intellectual censorship, and intrusive surveillance technology. With chapters on both Hui and Uyghur Muslims, this book also traverses boundaries that often separate studies of these two groups, and illustrates with great clarity the value of disciplinary and methodological border-crossing. As such, Ethnographies of Islam in China is essential reading for those interested in Islam’s complexity in contemporary China and its broader relevance to the Muslim world and the changing nature of Chinese society seen through the prism of religion.application/vnd.openxmlformats-officedocument.wordprocessingml.documenthttps://eprints.soas.ac.uk/31599/2/Table%20of%20Contents.docxenUniversity of Hawai'i Presshttps://uhpress.hawaii.edu/title/ethnographies-of-islam-in-china/97808248833488610Ethnographies of Islam in China2019-08Harris, RachelHa, GuangtianJaschok, Maria2020-11-30otherAMhttp://doi.org/10.1515/9780824886431
oai:eprints.soas.ac.uk:31600
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application/pdfhttps://eprints.soas.ac.uk/31600/1/5%20Harris%20%26%20Dawut%20FINAL.pdfenUniversity of Hawai'i Press97808248833488610Listening in on Uyghur Wedding Videos: Piety, Tradition, and Self-fashioning2019-08Harris, RachelDawut, RahileHarris, RachelHa, GuangtianJaschok, Maria2020-11-30Book chapterAM
oai:eprints.soas.ac.uk:31946
2024-02-09T15:10:00Z
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Since 2007, Coke Studio has rapidly become one of the most influential platforms in televisual, digital and musical media, and has assumed a significant role in generating new narratives about Pakistani modernity. The musical pieces in Coke Studio’s videos re-work a range of genres and performing arts, encompassing popular and familiar songs, as well as resuscitating classical poetry and the musical traditions of marginalised communities. This re-working of the creative arts of South Asia represents an innovative approach to sound, language, and form, but also poses larger questions about how cultural memory and national narratives can be reimagined through musical media, and then further reworked by media consumers and digital audiences.
This article considers how Coke Studio’s music videos have been both celebrated and criticised, and explores the online conversations that compared new covers to the originals, be they much loved or long forgotten. The ways in which the videos are viewed, shared, and dissected online sheds light on new modes of media consumption and self-reflection. Following specific examples, we examine the larger implications of the hybrid text–video–audio object in the digital age, and how the consumers of Coke Studio actively participate in developing new narratives about South Asian history and Pakistani modernity.application/pdfhttps://eprints.soas.ac.uk/31946/3/_Williams%20and%20Mahmood_final%20edit_V2.pdfenSage097492768610A Soundtrack for Reimagining Pakistan? Coke Studio, memory, and the music video2019-11-16Williams, Richard DavidMahmood, Rafay2019-12-01Journal Article/ReviewAMhttp://doi.org/10.1177/0974927619896771
oai:eprints.soas.ac.uk:31947
2024-02-09T15:10:01Z
7374617475733D707562
7375626A656374733D53:38353930:38363130
74797065733D61727469636C65
Across the nineteenth century, Bengali songbook editors applied musicological theory to their tantric religious practices. Responding to the new possibilities of musical publishing, these editors developed innovative techniques of relating the body to music by tying together tantric tropes with music theory and performance practice. Theories about the affective potential and poetic connotations of rāgas were brought into conversation with understandings of the yogic body, cakras, and the visualization of goddesses. These different theories, stemming from aesthetics and yogic philosophy, were put into effect through lyrical composition and the ways in which songs were set to music and edited for printed anthologies. This article considers different examples of tantric musical editorial, and explores how esoteric knowledge was applied in innovative ways through the medium of printed musical literature.application/pdfhttps://eprints.soas.ac.uk/31947/1/Williams_Playing_Spinal_Chord_Tantric_Musicology.pdfenOxford University Press175642638610Playing the Spinal Chord: Tantric Musicology and Bengali Songs in the Nineteenth Century2019-11-16Williams, Richard David2019-11Journal Article/ReviewAMhttp://doi.org/10.1093/jhs/hiz017
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