Diasporic Transpositions: Indigenous and Jewish Performances of Mourning in 20th-Century Australia

Breyley, Gay

doi:10.1080/17411910701276567

Cited by 3 publications

(2 citation statements)

References 17 publications

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“…We have a positive response to music when it defines our culture, denotes our social class, supports our political values, or affirms age, ethnicity, or hairstyle (Bennett, 2008;Green, 2005). Through the creation of group identity, music may help to create community and create or renew spiritual connections (Breyley, 2007). Hays and Minichiello (2005) quote a research subject who felt that sharing music which was meaningful facilitated being "in communion with other people if they understand as well" (p. 440).…”

Section: Music and Meaningmentioning

confidence: 99%

“A Sound Track of Your Life”: Music in Contemporary Uk Funerals

Adamson

Holloway

2012

Omega (Westport)

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This article considers the role that music plays in contemporary UK funerals and the meaning that the funeral music has for bereaved families. It is based on findings from a recently completed study of 46 funerals funded by the UK Arts and Humanities Research Council. Music contributes to the public ceremony and the personal existential quest of the bereaved. It is important to both the content and process of the contemporary funeral, an event of deep cultural significance in our response as individuals and communities to death and the loss of a significant relationship. There is evidence that for many people, the music chosen and used also evokes and conveys their spirituality. Spirituality may not be intrinsic to the music but spiritual experience may result from the meaning that the music has for that particular person.

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Section: Music and Meaningmentioning

confidence: 99%

“A Sound Track of Your Life”: Music in Contemporary Uk Funerals

Adamson

Holloway

2012

Omega (Westport)

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“…40 In the dramatic case of the Polynesian atoll Tak u, at imminent peril of being engulfed by rising seawaters, the autochthonous context is likely to disappear altogether, and the future of both language and music will be entirely in the hands of the diaspora. 41 Both musical and linguistic diasporic traditions often develop independently of their indigenous context-sometimes changing more rapidly as a result of the displacement and contact with other cultures, 42 but sometimes more conservatively due to preserved values and importance placed by the diaspora on continuing the true 'tradition'. 43 …”

Section: Domain 2 Musicians and Communitiesmentioning

confidence: 99%

Key Factors in the Sustainability of Languages and Music: A Comparative Study

Grant

2011

Musicology Australia

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The challenges posed by a fast-changing global environment to the vitality and viability of musical traditions continue to be a topical issue on the ethnomusicological agenda. Investigations into ways to help keep musical traditions strong are still incipient, however, relative to parallel strategies to protect and promote endangered languages. This article identifies key synergies and disconnects between language and music specifically in relation to factors that impact on their vitality and viability. In this way, it pinpoints areas where theory and practice from the field of language maintenance hold greatest potential to inform the development of ways to keep 'small' music genres strong.Over two decades ago, in the pages of this journal, Jill Stubington published an article about the preservation and conservation of Australian traditional musics. 1 It argued for a need to record and document musical traditions, explored the relationship between preservation and the maintenance of living, vital musical heritage, and suggested appropriate roles for scholars in these processes. Stubington's article represents one manifestation of the long-standing ethnomusicological interest in 'dying' cultures, which over time has undergone notable shifts in nature and degree. Indeed, early disciplinary efforts (from the late nineteenth century) to document musical traditions seen as doomed to extinction are sometimes now rather depreciatively referred to as 'salvage ethnomusicology' (after the anthropological term 'salvage ethnography') for their romanticized, neocolonial perspectives on 'exotic' and threatened cultures.Recent approaches to musics in decline are typically more pragmatic than these earlier ones, acknowledging the natural emergence, change, and decay of musical traditions. 2 While allowing for these processes, current ethnomusicological scholarship remains alert to the many forceful global processes acting upon 'small' music genres, well beyond the natural forces that governed their survival in earlier times. 3 Since Stubington's article, awareness has grown that global communication systems, travel and tourism, mass media, and hegemony and the dominance of western culture (among other things) are jeopardizing the vitality and viability of many smaller music genres of the world. 4

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Privileging Narratives: Singing, the Polish Tatras, and Canada

Wrazen¹

2012

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The traditional singing of Górale from the Tatra mountain region of Podhale favours a single phrase of melody and two lines of text. The narrative significance of this singing is traced from homeland to diaspora: collectively, these songs constitute a regional narrative that in Poland provided the framework for personal expressions constructed spontaneously in performance and embedded in social discourse; in Canada, the individual story is subsumed in favour of a collective narrative that locates a meaningful space between these two worlds. Ultimately, the centrality of music in the experience and deliberate expression of difference within an evolving multicultural, transnational, globalized reality is reinforced.Le chant traditionnel des Górale de la région montagneuse des Tatra en Podhale se caractérise par une simple phrase mélodique et deux lignes de texte. L’importance narrative de ce chant est présentée, de ses racines à la diaspora : collectivement, ces chants constituent un récit régional en Pologne qui offre le cadre d’expressions personnelles construites spontanément dans l’action et intégrées au discours social; au Canada, le récit individuel est subsumé au profit d’une narration collective qui situe un espace significatif entre ces deux mondes. En dernière analyse, la centralité de la musique dans l’expérience et l’expression délibérée de différence est renforcée au sein d’une réalité multiculturelle, transnationale et globalisée

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Diasporic Transpositions: Indigenous and Jewish Performances of Mourning in 20th-Century Australia

Cited by 3 publications

References 17 publications

“A Sound Track of Your Life”: Music in Contemporary Uk Funerals

“A Sound Track of Your Life”: Music in Contemporary Uk Funerals

Key Factors in the Sustainability of Languages and Music: A Comparative Study

Privileging Narratives: Singing, the Polish Tatras, and Canada

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