L’expérience de la musique dans les veillées funèbres des Tsiganes de Transylvanie

Baraldi, Filippo Bonini

doi:10.7202/018337ar

Cited by 6 publications

(3 citation statements)

References 10 publications

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“…EAST EUROPEAN JOURNAL OF SOCIETY AND POLITICS, 4(3): 136-157. funerary element, especially among the wealthier families (cf. Bonini Baraldi, 2008). This change led to a modification of the toasts, as they were transformed into what the Roma call dedikacje, 'music dedications.'…”

Section: Multi-sited Funeralsmentioning

confidence: 99%

Ritual Spaces and Burial Places

Beluschi-Fabeni

2018

Intersections

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The migration of Romanian Korturare is analyzed with a focus on the transformation of three aspects of their funerary practices: place of burial, multi-sited funeral celebrations, and the use of communication technologies. This ‘mortuary focus’, which has not previously been applied to studies of international Romani migration, provides a better understanding of the interaction between territorial attachment and international mobility patterns. Observations based on ethnographic fieldwork are complemented by an analysis of social media use, audiovisual materials and a sample of 69 deaths. Localities of origin continue to be the preferred place for burial and collective memorialization, while funerals become multi-sited, involving both host towns and hometowns. The mediatization of death practices reinforces both of these tendencies. The transformation reflects the role of Korturare social organization in the migration process. The broad and densely nested family networks of the Korturare keep the possibility of multidirectional migration open and act as an adaptive resource by reproducing community life abroad. At the same time, they preserve the localities of origin as the common and privileged territory of the symbolic reproduction of family ties.

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Section: Multi-sited Funeralsmentioning

confidence: 99%

Ritual Spaces and Burial Places

Beluschi-Fabeni

2018

Intersections

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“…Firstly, in the local technique, musicians play in a very fixed position and upright posture, and expressive body movements are explicitly avoided. This is because when they perform in a professional context, professional Gypsy musicians are supposed to play for their clients (and as researchers, we were also considered as 'clients') without expressing their own feelings and emotions through body movements or facial expression (Bonini Baraldi, 2013). Figure 4 supports this ethnographic observation: the plot of the bow's movements shows a very regular pattern, which confirms that the musician maintains a fixed position in the space (an exception can be observed at the last period of Duo14).…”

Section: Data Codingmentioning

confidence: 99%

Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture

Bonini-Baraldi¹,

Bigand

Pozzo

2016

EMR

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Techniques based on motion capture can be useful in analyzing a wide range of musical styles and practices: in this case, Transylvanian village music. We focused on a repertoire known as 'Gypsy songs of sorrow', played by professional Gypsy musicians during parties and celebrations of their own community. Two parameters were the object of study: rhythmic duration, and synchronization between musicians (a violinist and a viola player). Results show that rhythm is a local variant of aksak and is based on two duration units (S=short, L=long) which respect the formula 2:3 < S:L < 3:4. Performances are characterized by large variations of the S:L ratio from period to period, which have an expressive function. Tracking the bow's movements with motion capture techniques allowed to show that these variations are related to a swinging interpretation, which also involves a voluntary asynchrony between the two musicians.

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“…A análise do rito funerário permitiu esclarecer os dispositivos e as téc-nicas em ação na criação das relações de milă entre as pessoas presentes (Bonini Baraldi, 2008aBaraldi, , 2010b. Trata-se, notadamente, de "ações sonoras": lamentos das mulheres e música instrumental a cargo dos homens.…”

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Como Estudar a Emoção Musical? Propostas Metodológicas a Partir De Pesquisa Junto Aos Ciganos Da Transilvânia (Romênia)

Baraldi¹

2016

Sociol. Antropol.

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A emoção musical depende de um número potencialmente infinito de variáveis (ancoragem cultural, história de vida pessoal, contexto de performance, estado psicológico do momento etc.) e certamente não se resume em explicação única. Esse tema de pesquisa, contudo, constitui um formidável campo para a compreensão do homem em suas dimensões psicológica e social. A música envolve processos internos, no corpo e no cérebro, que podemos chamar de emoções ou sentimentos, como bem observaram Damasio (1995) e, antes dele, Spinoza (1954.1 A música põe igualmente em marcha complexos processos sociais e, em muitas culturas, constitui um meio privilegiado para a expressão, a comunicação e a ritualização das emoções -desta vez entendidas como "artefatos culturais" (Geertz, 1973).

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L’expérience de la musique dans les veillées funèbres des Tsiganes de Transylvanie

Cited by 6 publications

References 10 publications

Ritual Spaces and Burial Places

Ritual Spaces and Burial Places

Measuring Aksak Rhythm and Synchronization in Transylvanian Village Music by Using Motion Capture

Como Estudar a Emoção Musical? Propostas Metodológicas a Partir De Pesquisa Junto Aos Ciganos Da Transilvânia (Romênia)

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