The Challenge of "Bi-Musicality"

Hood, Mantle

doi:10.2307/924263

Cited by 167 publications

(66 citation statements)

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Section: Performance As Ground For Collaborationmentioning

confidence: 96%

“…As researchers, ethnomusicologists have long thought of their own bodies as a research tool with which to investigate embodied expressive culture as a performer (Buchanan 2006;Hood 1960;Rice 2008Rice , 1994. While performance as a research methodology often emerges in the course of musical instruction and participation in rehearsals (Hood 1960;Montell 1996;Rice 1994Rice , 2008Sugarman 1997;Wong 2008), it builds on the more general theoretical supposition that all fi eldwork is inherently performative (Barz 2008;Castañeda 2006). Because ethnographic research on music and sound foregrounds performance, many of us understand our work to be inherently collaborative; while collaborative anthropologists challenge this understanding, I suggest that the collaborative performative modes in which we work-and, as I discuss later in this essay, the challenges presented by those we encounter in the fi eld-nonetheless offer aesthetic insights that can enrich all collaborative research.…”

Section: Performance As Ground For Collaborationmentioning

confidence: 99%

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Turning the Song: Music, Power, and the Aesthetics of Collaboration

Glaros¹

2013

cla

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Section: Performance As Ground For Collaborationmentioning

confidence: 96%

Section: Performance As Ground For Collaborationmentioning

confidence: 99%

Turning the Song: Music, Power, and the Aesthetics of Collaboration

Glaros¹

2013

cla

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“…Under the tutelage of Jaap Kunst in Amsterdam, composer Mantle Hood was encouraged to undertake practical instruction in classical gamelan music to understand the production of music from an insider's point of view. In a classic essay, Hood likens the process of learning how to understand and produce a new music as akin to learning a new language, the goal being the acquisition of bi-musicality in analogy to bilingualism (Hood 1960). The insider's understanding of musical performance allows for a more accurate description of musical processes, principles of improvisation and ensemble playing, and provides new-found respect for the technical skills and artistry of master performers.…”

Section: Scholarly Models and Approaches To Indonesian Performancementioning

confidence: 98%

Indonesian Performing Arts across Borders

Cohen¹,

Royo²,

Noszlopy³

2007

Indonesia and the Malay World

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This issue presents a panoply of historicised writings on theatre, dance, and music from Indonesia, ranging from the early 20th century to the present. Common to all the articles is the view that the last century has been a period of great change for both modern and traditional performing arts, which was co-articulated with advances in communication and transportation and the opening up of Indonesia to multinational capitalism.Indonesia is a maritime nation deeply etched by lines of traffic in goods, ideas and people, yet its performing arts have been primarily thought about in static terms. Performance is usually considered to be grounded in particular regions or centres of production, inscribed within the non-permeable bounds of genre and traditional patronage arrangements and constrained by ritual prohibitions and ancestral reverence. Such traditionalism is at least in part a legacy of Dutch scholarship which tended to reify Indonesian performance by assuming fixedness and strict adherence to immutable rules. Writers such as Jaap Kunst, Jacob Kats, and Th. B. van Lelyveld interpreted the music, dance, and theatre of Java and Bali as continuous with western Indonesia's ancient Indic past. They were quick to dismiss hybrids and modern performance as corruptions and bastardisations. Such a prejudice was also embraced and promoted by indigenous colonial elites, instituting a discourse of heritage preservation which continues to generate anxiety and strategies aimed at containing any possible cultural loss.Modern performers such as dancer Raden Mas Jodjana (1895-1972 were thus dismissed as inauthentic due to their overly 'individualistic' interpretations of tradition (Lelyveld 1931: 38) which would compromise its purity, and hybrid arts such as keroncong or kethoprak merited little consideration. Only recently have scholars begun to unearth histories of itinerant performers and travelling art forms in order to describe and analyse processes of innovation, hybridisation and crossfertilisation.This issue considers traditions of Javanese and Balinese performance as being in constant flux and movement, subject to appropriation and expropriation and radical reinterpretation by both Indonesian and non-Indonesian artists and intellectuals. Authors in this volume offer insights into performers, agents, institutions, writers, and ensembles whose work has generated new insight into how Java and Bali are conceived both in Indonesia and abroad. Rather than staging received

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“…Então, há uma crise institucional provocada por missionários que estão ocupando o mundo cultural deles como um todo. Nesse contexto, eles entenderam a nossa lógica, que permite que lutem para reverter uma situação atual, e eles fazem essa reversão... Hood (1960).…”

Section: Mlcunclassified

O Banjo, a Abelha E as Flores: Entrevista Com Anthony Seeger

2018

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Resumo A riqueza e multiplicidade de aspectos da trajetória profissional de Anthony Seeger expressam-se nesta entrevista realizada no Programa de Pós-Graduação em Sociologia e Antropologia, em 5 de maio de 2015. A forte ligação de Seeger com o banjo conduz a conversa que percorre seus laços familiares e musicais; seu encontro com a antropologia na Universidade de Harvard e posteriormente de Chicago, em meio ao desenvolvimento também de seu contato com os estudos de folclore e da música; sua marcante passagem pelo Brasil com a pesquisa com os Kĩsêdjê e a docência no Programa de Pós-Graduação em Antropologia Social, no Museu Nacional da Universidade Federal do Rio de Janeiro. São também abordadas sua dinâmica experiência de gestão à frente da Coleção Folkways na Smithsonian Institution e de sua atuação internacional em prol das políticas de patrimônio cultural imaterial junto à Unesco.

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The Challenge of "Bi-Musicality"

Cited by 167 publications

References 0 publications

Turning the Song: Music, Power, and the Aesthetics of Collaboration

Turning the Song: Music, Power, and the Aesthetics of Collaboration

Indonesian Performing Arts across Borders

O Banjo, a Abelha E as Flores: Entrevista Com Anthony Seeger

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