（2019年7月）亚欧音乐研究英文电子期刊（E-Journal）2019年夏季号（总3期）目录

This paper explores the similarities between the extant Sardinian launeddas and the extinct Greek aulos. Therefore, it presents parallels between contemporary and past music related practices. It also examines the origins of the launeddas by focusing on a Nuragic statuette, as well as its possible associations with a figurine from the Aegean.

Keywords

Sardinia, Greece, launeddas, aulos, comparative

Abstract

The ancient bronze figurine which is the subject of this text, is exhibited at the archaeological museum in Polonnaruwa, Sri Lanka. It is associated with two activities, religious chanting and playing cymbals. The figurine, illustrates how a work of art denotes its creator the freedom to visualize and recreate a religious story through the use of a three-dimensional form. Taken as a whole, its iconography represents the ‘Shiva -bhakti’ tradition’ prevalent in Sri Lanka in the 11th century. The figurine, which shows a devotee of Lord Shiva, has been identified as a depiction of poet-saint Kāraikkāl Ammaiyār. This and similar sculptures, were originally designed for temple worship and festivals in South India and Sri Lanka. Even to date, Kāraikkāl Ammaiyār is celebrated annually in several temple festivals in Tamil Nadu and other locations where there is a significant population of Hindu worshipers of Lord Shiva. In the text, the figurine and the legend surrounding Kāraikkāl Ammaiyār are examined and reflected on as important aspects of Sri Lanka’s history. This paper considers the story of the poet-saint

Kāraikkāl Ammaiyār through a fascinating artistic remnant of the ancient Shiva-bhakti movement on the island of Sri Lanka, an evocative bronze temple figurine. The Hindu figurine is first examined through visual examination and consideration of it archaeological contexts and finally interpreted through the legends surrounding Kāraikkāl Ammaiyār and her historical legacy as part of a once powerful spiritual movement in South India and Sri Lanka.

Keywords

Kāraikkāl Ammaiyār, Shaivism, Shiva-bhakti Saints, Tamil devotional poetic anthology, Hindu bronze

Abstract

Nepal, with its extreme topography, is home to a great variety of castes and ethnicities each with their own language and distinct music culture. Insect sounds, and bird songs have influenced folk music composers, musicians and musical instrument makers throughout time and double reed instruments, in particular, tend to mimic natural sounds. More than a score of distinct double reed instruments has been described by Music Museum of Nepal some with straight bodies and others curved like the crescent moon.

Keywords

Nepal, musical instruments, double reeds, castes, descriptive methods

Abstract

This essay on biographic details regarding the operetta The Land of Smiles by Franz Lehár is entirely dedicated to facts found in literature and repositories of performance organisers. It does not aim at discussing importance or consequences this operetta might have on current musical life neither in central Europe nor in Asia. Being aware of this, here are only details mentioned that are helpful for further studies and do not mislead into speculation. Also, this essay is just a first access to the materials from the viewpoint of recent experiences with operettas.

Keywords

operetta, exoticism, Franz Lehár, Vienna

Abstract

Music is considered to be one of the most complex among the fine arts. Although various scholars have given different opinions about the origin of music, the historical perspectives reveal that this art, made by mankind on account of various social needs and occasions, has gradually developed along with every community. It is a well-known fact that any fine art, whether it is painting, sculpture, dance or music, is interrelated with communal life and its history starts with society. Art is forever changing and that change comes along with the change in those societies. This paper looks into the different sources of contemporary popular Sinhala songs without implying a strict border between Sinhala and non-Sinhala beyond the language used. Sources, created throughout history, deliver not only a steady stream of ideas.

They are also often converted into labels and icons for specific features within a given society. The consideration of popularity as an economic reasoning and popularity as an aesthetic pattern makes it possible to look at the different important sources using multiple perspectives and initiating a wider discussion that overcomes narrow national definitions. It delivers an overview which should not be taken as an absolute repertoire of sources but as an open pathway for further explorations.

Keywords

Popular song, Sinhala culture, Nurthi, Nadagam, Sarala Gee

Abstract

This paper is to give an overview about a specific way doing and consuming music in the Malaysian capital Kuala Lumpur. The time frame of observation is short and defined from 2009 to 2014. In this period, many changes in public life occurred, which were connected to an increasing pressure on artists who were not complying to mainstream media demands. This overview is based on a long-lasting cooperation and a steady flow of information between musicians, organizers, and the researcher. The consequences of giving this short are a list of questions and insights into the dynamics of musical expression among specific audiences and their musical idols.

Keywords

Indie Rock, Malaysia, subculture, urban music

Abstract

‘Education and Research on Chinese Traditional Music’ has a history of thousands of years, making it difficult to present this topic comprehensively. Therefore, the larger theme “Education and Research on Chinese Traditional Music within a Dialogue of Civilizations and Cultures” that is partly discussed here will be limited to the contemporary history and the appearance of Chinese traditional music after the first encounters with ‘so-called’ Western music. This paper is mainly a reflection on the author’s personal experiences, views on certain aspects of the topic, and a wider consideration of historical events that are connected to it.

Keywords

education, tradition, Chinese music, dialogue, cultural views

Abstract

This review combines fragments of Li Ya’s thesis on “Ensemble Tradition and Cultural Interpretation of Jiangnan Sizhu” and the project of “Reviving Sonic Memories from the Past: Historically Informed Performance in Jiangnan Sizhu”, which took place in Shanghai on 20th March, 2019. Jiangnan sizhu (江南丝竹) refers to the ensemble music played by musical instruments considered being made of silk and bamboo in the Yangtze Delta, including the south of Jiangsu Province, West Zhejiang Province, and Shanghai. This area is called Jiangnan. In terms of the applications and functions, there are two types of traditional silk and bamboo music in the Jiangnan area, of which one is the ritual performance, another is playing for entertainment. In Shanghai, some people play sizhu (丝竹) music in their daily life and call it “bexiang sizhu” (白相丝竹) in Shanghai dialect, which means having fun. Jiangnan sizhu is played as an ensemble music in tea houses, cultural activity centres in street communities and at home.

The project of “Reviving Sonic Memories from the Past: Historically Informed Performance in Jiangnan Sizhu” is based on the thesis of Li Ya [李亚]. Her thesis explored the cultural contexts of playing Jiangnan sizhu in Shanghai and analysed the behavior of performers and important factors forming musical features of Jiangnansizhu in order to reveal hidden interpersonal relationships in the musical context. What is particularly important is her understanding of the Shanghai dialect, including “ge jiasheng” (搿家什, which means playing some musical instruments together) and “tan tou” (摊头, places where people play Jiangnan sizhu). This is necessary in exploring the aesthetic concepts of the Jiangnan sizhu performers, a process of culturally recognizing interpersonal communication and social interaction.

This review is insofar dedicated to this thesis as well as to the event that was supported through the preceding research on local musical knowledge and cultural concepts of Jiangnan sizhu.

Keywords

Jiangnan sizhu, social interaction, cultural environment, structural analysis, interpretation of terms

Abstract

This interview is to review the event of the THE SECOND MUSIC EDUCATION ALLIANCE

ACROSS THE BELT AND ROAD CONFERENCE, CCOM BEIJING, 2019, as well as the thoughts

of a participant who is one of the most recent members of this initiative. He is also one of the authors in this volume representing the case that a co-operation of this format should always be substantiated by active research.

Keywords

Interview, Silk Road Culture, Co-operation, Education, China, Sri Lanka

Abstract

This review is to add some details that are often overlooked in rather general classifications of musical instruments. The instrument in question is the dombra and the information added is its role among people playing it seen from the authors personal view.

Keywords

dombra, Kalmyk culture, organology, classification, playing practice

Abstract

This is an event review of the 22ND SYMPOSIUM OF THE ICTM STUDY GROUP ON MUSICAL

INSTRUMENTS LISBON, PORTUGAL, APRIL 10-13, 2019. The event is not only described in

more detail, but also discussed as an event providing future possibilities in academic exchange.

Keywords

International Council for Traditional Music, Study Group Symposium, Musical Instruments, research directions, current academic issues