A Participant-Documentarian in the American Instrumental Folk Music Revival

Jabbour, Alan

doi:10.1093/oxfordhb/9780199765034.013.021

Cited by 3 publications

(2 citation statements)

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“…Charakteristickým znakem revivalu je také to, že prochází různými etapami proměn od nepřiměřené konjunktury po ochabnutí či zánik těchto tendencí, a to vždy v souladu s potřebami daného socio-kulturního prostředí. Zároveň je ale paradoxně vnímán jako nikdy nekončící proces latentně dřímající v každé společnosti, jako jev probíhající cyklicky a jako součást přirozeného toku kultury (Jabbour 2014). Univerzalismus tohoto přivlastňování minulosti a její další užití je tedy zřejmě přirozenou výbavou člověka při definování a zejména re-definování svého kulturního prostředí.…”

Section: Folklorismus Folklorní Hnutí Revivalunclassified

Zítra se bude tančit všude, aneb jak jsme se protancovali ke svobodě. Dichotomie tzv. folklorního hnutí druhé poloviny 20. století

Stavělová¹

2017

ČL

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The contribution aims to deal with the "folklore revival movement", that is, activities of folk ensembles-a wide spread phenomenon in the former socialist Czechoslovakia (1948-1989), which has its continuity in today's Czech Republic. It is an interdisciplinary project based on the methods of oral history, textual analysis and anthropological study of music and dance which aims to explore the ambivalence of the phenomenon and its ideological connotations. The investigation is based on narratives which occur in the discourse of socio-cultural context of the folk ensembles in different periods of the so-called folklore movement. Narratives provide considerable material to be interpreted with the aim of understanding specific features of the phenomenon of the folklore revival movement in a particular socio-cultural and political context. The project aims to explore the ambivalence of the phenomenon of folklore movement in the Czech lands. The research will provide various perspectives for considering to what extent the movement was an instrument of power and to what extent it was an opportunity to implement one's own strategies.

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Section: Folklorismus Folklorní Hnutí Revivalunclassified

Zítra se bude tančit všude, aneb jak jsme se protancovali ke svobodě. Dichotomie tzv. folklorního hnutí druhé poloviny 20. století

Stavělová¹

2017

ČL

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“…Crucially, their efforts focused primarily on ethnic Russians and Russian speakers. (Yusupova 2017: 630) In the cases included in The Oxford Handbook of Music Revival (Bithell and Hill: 2014), revivals are normally described as nation-wide movements like the instrumental folk music in the United States (Jabbour 2014) or the Hungarian dance house movement (Quigley 2014). Compared to those revivals, Ingrian music revival has rather a specifically regional nature and can be characterized as the micro-level movement.…”

Section: Juhannus: a Modern Versionmentioning

confidence: 99%

Contemporary Revival Of Finno-ugric Music In St. Petersburg, Russia

Shatilova¹

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Learning Habits and Attitudes in the Revivalist Old-Time Community of Practice

Morgan-Ellis

2019

Bulletin of the Council for Research in Music Education

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The revivalist musicians who participate in the old-time music scene constitute what Lave and Wenger (1991) term a “community of practice. ” This study seeks to analyze the learning habits of revivalist old-time musicians from the perspective of Lave and Wenger and to explain how their approaches to and attitudes toward learning can serve to position cohort members within this community of practice. To do so, the study provides a framework for positioning individuals in the revivalist community of practice, establishes the criteria for “full” and “peripheral” participation in that community, examines the learning approaches and attitudes reported by revivalist old-time players, and demonstrates that approaches to learning are tied to community position. The data for this mixed-methods study was collected in 2017 at 5 old-time music festivals and camps in the Southeast United States, where 100 adult musicians completed a questionnaire containing demographic items, Likert-type items, and open-ended questions. This study concludes that the most significant marker of full participant status in the community of practice is a strong aversion to the use of notation and tablature, while a preference for learning from field and historical recordings, a tendency to learn tunes at jams, the possession of historical knowledge about tunes, and the ability to identify regional playing styles are also markers of full participant status.

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A Participant-Documentarian in the American Instrumental Folk Music Revival

Cited by 3 publications

References 0 publications

Zítra se bude tančit všude, aneb jak jsme se protancovali ke svobodě. Dichotomie tzv. folklorního hnutí druhé poloviny 20. století

Zítra se bude tančit všude, aneb jak jsme se protancovali ke svobodě. Dichotomie tzv. folklorního hnutí druhé poloviny 20. století

Contemporary Revival Of Finno-ugric Music In St. Petersburg, Russia

Learning Habits and Attitudes in the Revivalist Old-Time Community of Practice

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