Ethnomusicology Commons^™

Warfare And Welcome: Practicality And Qur’Ānic Hierarchy In Ibāḍī Muslims’ Jurisprudential Rulings On Music, Bradford J. Garvey

Yale Journal of Music & Religion

While much ink has been spilled by musicologists on the legal standing of music in Islamic jurisprudential scholarship, few scholars have offered as comprehensive a view as Lois Ibsen Al-Faruqi. Thirty-five years after her major works on this issue, this article seeks to reassess her model of musical legitimacy within Muslim scholarship. Al-Faruqi places Qur’ānic recitation at the apex of a unidirectional continuum of sound art, with genres less similar to the recitation of the Qur’ān located progressively further away from it. Based on fieldwork in the Sultanate of Oman in 2015-17 and engaging with recent reinvigorations on the anthropological …

What A Music Curriculum Must Look Like In A Post-Racial United States, Ryan Kargoll

Musicology and Ethnomusicology: Student Scholarship

No abstract provided.

“Radical Protestors”: How Korean Popular Music Created Online Affinity Spaces Of Left-Wing Political Activists: Annotated Bibliography, Anna Mach

Musicology and Ethnomusicology: Student Scholarship

No abstract provided.

East Of Ethics: Insight Into The Imperative Nature Of Inclusive Ethnography – An Annotated Bibliography, Malia Odekirk

Musicology and Ethnomusicology: Student Scholarship

No abstract provided.

Carl Philipp Emanuel Bach: A Composer On The Fault Line Of Ideological Change, Stephen J. White

Musical Offerings

While there has been a renewed interest in recent years on Carl Philipp Emanuel Bach and his place as a transitional figure in Western music history, little academic thought is given to his musical philosophy. Emanuel’s father, Johann Sebastian Bach, taught him the German-Protestant view that the primary purpose of music was to highlight scripture. Through his education, Emanuel gained an appreciation for the secular philosophies of humanism and the Enlightenment. In contrast to J. S. Bach’s Protestant views, the philosophies of the Enlightenment asserted that the primary purpose of music was to highlight the essence of humanity through emotions …

The Modes Of Intervention In Alvin Lucier’S I Am Sitting In A Room, Daniel Fox

Dissertations, Theses, and Capstone Projects

Alvin Lucier’s I am sitting in a room (1969) is an icon of experimental music and sound art. The sizable literature addressing the aesthetic and philosophical implications of this piece rarely discusses the performance practice beyond what is indicated in the score itself. This is problematic for two reasons: 1) The meaning that is derived from the piece often hinges not just on what sounds are obtained, but on how they are obtained. 2) Over the past 50 years, changes in the performance practice have altered what constitutes the work: magnetic tape was used until 2000 when it was replaced …

Tearing Down The Wall: An Analysis Of Pink Floyd’S 1979 Rock Opera, Darla Testino

Backstage Pass

No abstract provided.

“The Personal Is Political”: The Power Of Female Voices In 1970s Pop Music And Beyond, Jennifer Morrow

Backstage Pass

This essay examines how, in the male-dominated structures of the popular music industry, narratives about women have been marginalized, ignored, and undervalued. The female singer-songwriter, my research suggests, is, by definition, a contradiction and subversion of traditional gender roles, and this position has been claimed by female musicians as a form of rebellion and resistance. In the scope of my research, I focus on how female pop artists have embraced songwriting as a medium for authentic self-expression, and how these narratives have been embraced as autoethnographies that represent the collective experiences and frustrations of women in a patriarchal social landscape. …

Songs And The Soil, Mark Garry, Louise Reddy

Books/Book Chapters

Published in conjuction with an exhibition. The exhibition engages with the subjects of landscape and music/sound—exploring each element from historical, social and culturally associative perspectives; where landscape is recognised as a fluid term articulating physical space, idealised space and social space that reflects a convergence of physical processes and cultural meaning, and where song act as a response to, or archive, of personal, historical or socio-political instances. Several works engage landscape and musical sound intersect. The exhibition integrates a broad range of media,positions and responses to these research subjects; including two film works, a six-hour soundtrack for a room, sonic …

Sounding The Nile: River Politics, Environment And Nubian Musical Expression, Regan L. Homeyer

Music ETDs

ABSTRACT

In the mid 1960s, almost 100,000 Egyptian Nubians, people Indigenous to the Nile River Valley, were removed from their ancestral homeland due to the creation of the Aswan High Dam. In the years surrounding their displacement, Nubian musicians in Cairo and villages in new settlement areas gathered traditional Nubian songs and composed new songs to form a distinctive Nubian musical repertoire. This thesis addresses contemporary Nubian musical performance and the role of these reclaimed and newly-written songs in maintaining and revitalizing not only Nubian languages and culture, but especially senses of self in relation to place and, above all, …

Devil In The Strawstack, Devil In The Details: A Comparative Study Of Old-Time Fiddle Tune Transcriptions, Kalia Yeagle

Electronic Theses and Dissertations

This thesis asks what transcriptions of old-time fiddle tunes might tell us about their underlying purposes and the nature of transcription. How could differing approaches to transcription reflect the intentions of the author, and what are those intentions? What does this suggest about how aural information is prioritized? Through a comparative analysis of three transcriptions of the same recording—Tommy Jarrell’s “Devil in the Strawstack”—this thesis examines how musical information is prioritized and how transcribers have adapted their methods to better reflect the nuances of old-time music. The three transcriptions come from Clare Milliner and Walt Koken (The Milliner-Koken Collection …

Nuper Rosarum Flores: The Cathedral Conundrum, Jacy A. Stahlhut

Musical Offerings

In 1436, Pope Eugenius IV consecrated the newly-completed Santa Maria del Fiore, more commonly known as Florence Cathedral. The completion of the cathedral’s dome was an incredible feat of great significance to the city of Florence, whose cathedral had remained unfinished for over one hundred years, and the splendor of the dedication ceremony reflected this reality. Franco-Flemish composer Guillaume Dufay was commissioned to write a motet for the occasion, and the resulting work, Nuper rosarum flores, has sparked a great deal of controversy in the musicological realm. In 1973, musicologist Charles Warren claimed that the isorhythmic proportions of …

Is La Bohѐme A Verismo Opera?, Leah P. Bartlam

Musical Offerings

Verismo is an Italian term that came to be used in reference to literature, theatre, and opera during the end of the nineteenth century. According to William Berger, “verismo is often translated as ‘realism’ but the word is closer to ‘truth’ in Italian.” The term was applied to literature beginning in the 1870s, and began to be applied to opera during the 1890s. However, it has never been particularly well understood. Evaluating it today is especially difficult because the modern perceptions of the term are not quite the same as the original meaning. La bohѐme was composed by Giacomo …

Gustav Mahler The Protomodernist, Austin M. Doub

Musical Offerings

Steeped in a cultivated European tradition and burdened by several personal tragedies, Gustav Mahler undeniably shaped the course of classical music leading into the twentieth century. Holding fast to late Romantic stylistic conventions including complex rhythmic concepts, emotional and expansive melodies, and a strict adherence to form allowed the forward-thinking composer to seamlessly introduce modern elements into his symphonies. Through Mahler’s commanding symphonic output, the composer successfully maintained strong Austro-German stylistic principles while propelling the genre forward. In these symphonic writings, modern techniques of tonal decentralization, chromaticism, quotation, and paraphrasing are met with cohesive and compelling narratives to create balanced …

“A Gentle, Angry People”: Music In A Quaker Nonviolent Direct-Action Campaign To Power Local Green Jobs, Benjamin A. Safran

Yale Journal of Music & Religion

While the use of spiritual music in non-violent resistance is noted by such scholars as Thomas Turino (2008), one not might expect music to play a large role in a Quaker-led non-violent direct action campaign. Even though Quakerism is known for its historical animosity toward music, I argue that Quakerism's historic values have in fact fostered a robust musical culture within Earth Quaker Action Team (EQAT) and shaped its ability to function effectively as a "rebel" non-violent direct action group. Music is used to summon courage and unity within scary actions. The “gentle” Quaker aesthetic may meanwhile partially mask or …

An Appraisal Of The Evolution Of Western Art Music In Nigeria, Agatha Onyinye Holland

Graduate Theses, Dissertations, and Problem Reports

Nigeria has greatly evolved as an intercultural society given her history of colonization, the influence of foreign religion (Christianity and Islam, primarily) and the impact of globalization. Africa had her socio-cultural practices and art idioms before these foreign influences. For instance, music existed in everyday Africa as part of culture, religion, vocation, and drama. However, music never existed as an entity on its own. The culture of stage performers and audience never existed. This status quo changed with the introduction of Western art music through Christianity and education by the missionaries; since then, music assumed a bi-cultural status. This research …

Johann Melchior Gletle’S Expeditionis Musicæ Classis Ii, Op. 2: An Edition And Commentary, Michael James Clifton Lukin

Theses : Honours

This dissertation aims to bring to light the music of Johann Melchior Gletle (1626-1683); a Swiss-German composer who lived the majority of his life working as the organist and Kapellmeister of Augsburg Cathedral. The primary focus of this dissertation is a single volume of music composed by Gletle in 1668: the Expeditionis Musicae Classis II, Op. 2. Consisting of thirty-six vesper psalms, it is conjectured that this publication was a form of ‘functional music’ intended for liturgical performance at Augsburg Cathedral. The first part of the dissertation (Chapters 1 to 3), is devoted to contextualising and analysing this volume of …

Zappa’S Remembrance Of A Forgotten Style: The Relationship Between Frank Zappa And Doo-Wop As Illustrated In Cruising With Ruben & The Jets, Benjamin Adamo

Theses and Dissertations--Music

One of Zappa’s many cherished styles of music was the doo-wop of the mid-1950s through the early 1960s. His love for the style culminated in 1968 with a poor-selling and often forgotten doo-wop record, Cruising with Ruben & The Jets. While the record earned little praise from critics and fans, Zappa considered it as a landmark of his early career, as evidenced in his autobiography. This thesis investigates Zappa’s relationship to doo-wop and “perversion” of the style as it culminated in Cruising.

As revealed through autobiographical entries and interviews with Zappa, Ray Collins, and other collaborators, Zappa devised …

Ancient Mesopotamian Music, The Politics Of Reconstruction, And Extreme Early Music, Samuel N. Dorf

Books and Book Chapters by University of Dayton Faculty

I write this piece primarily as a musicologist and amateur early music practitioner (viola da gamba player) who tries to understand the ways twentieth- and twenty-first century musicians and scholars have imagined and performed ancient music and dance. This essay emerged from my book project Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890-1935 and brings my training as a historical musicologist and dance historian to bear on issues typically of concern to archaeologists, classicists, and linguists.

While working on that book, I kept running across a number of individuals working now who are deeply engaged in …