（2020年7月）亚欧音乐研究英文电子期刊（E-Journal）2020年夏季号（总5期）目录

Abstract：Music ProductionofDe La Salle – College of Saint Benilde is a program first of its kind in the Philippines. Oriented to trail-blazefor 21st century Filipino musicians, the Music Production program is to be found not in a conservatory, but in a School of Design and Arts. As such, the program ensures responsiveness to the needs of the Creative Industries. With the government’s Long-term Development Plan, wherein culture and the arts are seen as key social and economic capitals,somethingisto lookforwardfor people who innately possess a certain degree of musicality whether in traditional, folk, popular, indie or in other formats. The program, to a certain extent, makes its own contribution in realizing this governmental thrust.

Situated in an amalgamation of cultural expressions as a result of historical determinations, sound and music culture in the Philippines feature a fusion of genres which also naturally results to distinct forms in the fusion and weaving processes. Recognizing this rich context, the program offers a wide variety of training to its students, and sensitive to the needs of the industry,outputs are always made relevant to the demands of the market and the society at large.

The capstone projects of the students as well as their other outputs from immersions and on-the-job trainings are in need of safeguarding and proper documentation. In the program’s over two decades of existence, there is no good reason to wait for these outputs to become archaic in the future, acquiring the status of becoming objects or pieces of curiosities. The archival initiative is premised on the idea that these productivities entail a wealth of contemporary musical expressions nurtured in an emerging field of formal learning and mentoring. Offhand, there is a felt necessityoftracing the development of works. At the same time, as prompted by trends, the question to be asked now: What direction must the program take in order to be truly responsive to the industry as well as to actively engage in cultivating contemporary practices of music in the Philippines and in the world?

Lastly, the archive is also a soundscape. Akin to the recording of varied sounds simultaneously present in an environment, the archive becomes an instrument of digitizing culture and pedagogy – of recording thought and learning processes of young people as well as educational approaches and methodologies in the part of the program. The initiative seeks to explore the charting of pedagogical outputs –itsdomiciliation and consignation,andprocesses involved in its retrieval and dissemination.

Keywords：Performing arts, digitizing pedagogy, project outcomes, archiving of events, Philippines

Abstract：The Pacific and Regional Archive for Digital Sources in Endangered Cultures (PARADISEC) has been digitising recordings of traditional cultural expression, oral tradition, and music (TCE) for 17 years. A major motivation for this work is the return of these recordings to where they were made. On the one hand there is social justice in preserving records of languages that are under-represented in the internet and cultural institutions, and making them accessible in what can be characterised as a postcolonial restitution of these records. On the other hand, if it is first world academics doing this work, it risks being yet another colonial appropriation of Indigenous knowledge. In this paper I explore some of these issues to help set directions both for our own work, and for future similar projects.

“From ancient times to the present, disquieting use has been made of archival records to establish, document, and perpetuate the influence of power elites.” (Jimerson, 2007: 254).

A quarter of the world’s languages are found in the Pacific. In communities sustained over many hundreds of years by local economies, the globalised world impinges through urbanisation and encroaching metropolitan languages, particularly in media, accelerating language change and language shift. Technology, in the form of computers, digital files, and ways of working with them, is a first world product, access to it is costly, and the interface to it is never in a local language but always in a major metropolitan language. Training and experience in using technology is not easily obtained, leading to a divide between those who are able to use it and those who are consumers of it, typically via expensive internet connections. How can a new kind of archival enterprise “establish, document, and perpetuate” the languages and their speakers, in order to counter what Jimerson calls the influence of power elites.

Keywords：Technology support, Metropolitan language, Pacific region, Traditional cultural expression

Abstract : Infacingever-growing technology of audio peripherals, there is a concern of balancing in delivering technical knowledge to students dealing with audio recordings in the Music Department at Putra University, Malaysia (UPM). It seems to be difficult for them to do current multitrack recordings and at the same timemaintainingthe aesthetic aspect of past technology. In other words, if one preserves the recorded item, they have also to care about the specific features coming with these recordings. It is not the primary recorded subjectalonethey may have to consider. There is an urgency to migrate the recorded material such as cassette tapes that come in varying forms ranging from Ferric-Oxide, to Cro2, and Metal. These carriers are warranted to be extracted andmigrateonto a more stable medium, not only in general as everywhere in the world, but also since it has become the university policy that equipment’s exceeding certain years will be disposed of. The selection focuses on the recording materials thatincludeslive musical performances, multitrack musical compositions, and final recording projects. In this context the ‘recording’ may just mean the audio information. It is important for any archive to establish a general policy with regard to the limits of its collection as was pointed out repeatedly (Schuursma, 2010). Viewing from the perspective of preservation (Musib, 2015) of content, a lack of awareness in handling these carriers may lead to complications when extracting the signal from still available machines. The paper is intended to discuss the challenges and requirements in the process of signal extractions using exemplarily the two formats, namely the 4-track recorder and the digital standalone multitrack machine.

Keywords：Signal extraction, 4-track cassette recorder, digital standalone multitrack recorder, cassettetypes,sound aesthetics

Abstract：Sound archives and connected visual archives are all the time challenged by a speedy deselection of items that follow daily demands of decision making according to cultural policies and economic necessities. These challenges are imposed upon specific archival materials of a value yet incomprehensible to ourrecentlevel of knowledge. Since we are not able to fully understand all dimensions of collected materials whichisoften accumulated to serve single publications or written qualifications, their contents are in many ways inaccessible, not only physically or digitally.

My paper in this regard is based on experiences with small scale archives in Asia situated in universities and research institutions, which do store rich collections on analogue carriers or as digital files yet do often not follow up with maintenance and quality control in terms of accessibility. A paradigm shift towards a better understanding of the maintenance and qualitymatteris seemingly the only way out in order to keep those items of which importance for future uses is not guaranteed. The consequence of these thoughts can lead to strategic suggestions that can be applied to many cases, especially in a region with permanent environmental and social tournaments such as the Pacific Region.

Keywords：Sound archiving, Pacific region, Digital knowledge, Regional features, Strategies

Abstract：This paper attempts to give an idea of the sonorous past of prehistoric Malta by presenting possible soundscape scenarios. It validates the importance of soundasauditory experience, because this was crucial in the history of humanity, while it attempts to trace the beginnings of organised sound.

This research is to introduce a number of findings that are connected to sound perception and distribution among the inhabitants of Malta. Specific emphasis is given to discussions of whether these sounds were essentially intentional or not. By going through the collected facts about the introduced findings, there are overlaps in functions and sound tools that indicate an early cultivation of music. In protecting the related findings, some of these early attempts can be hopefully reconstructed in the future.

Keywords：Malta, Prehistory, Sound Production, Soundscapes, Idiophones

Abstract：This article presents findings from the Sri Lanka Norway Music Cooperation (SLNMC, 2009-2018) launched immediately after a twenty-four year long civil war in Sri Lanka. The project responded to a stated need of rebuilding a fractured society and re-establishing relations between Sinhala and Tamil populations of the island. The SLNMC comprised school concerts and public concerts, music education, heritage documentation and digitalization, in addition to skill training for musicians and technicians, festival organizers and other actors in cultural life. The article offers a critical phenomenological approach to the concept of harmony, where bothphenomena ofmusical and socio-culturalharmonyare displayed and discussed in relation to each other. I set out to investigate whether harmony in the SLNMC was a taken for granted, ´dead metaphor´ or an actual creative and impactful tool for implementing musical activities in a post-war context. Theoretically, my point of departure is Howell’s conceptual investigation of harmony in multicultural musical projects (Howell, 2018) and specifically in the South-Asiacontext (Howell, 2019). I have combined elements from her framework with Sykes (2011 and 2018a) as well as insights from my own research data to present a schema of three musical and three socio-cultural definitions of harmony paired and discussed in relation to each other. In conclusion, I argue that attention to various types of musical and socio-cultural harmony can cast new light on existing art for reconciliation-practices as well as generate fresh and fertile views on how to conceive, implement and assess such initiatives in the future.

Keywords：Sociocultural processes, Harmony, Sound, Sri Lanka, Reconciliation

Abstract：Songs have their specific circulation area in the process of their development. Due to the geographical background, local language dialects, and varying social background, the style and characteristics of songs in various places are revealing specific characteristics. The lyrics of these songs are based on the people's spoken dialects. Therefore, various dialects' voices, the ways of making them sound, local accents, terms used and exclamations, have been brought into these songs, thereby forming regional differences of songs to some extent.

This study is based on intense field work undertaken in the past few years. It deals with ways of singing in Napo County andFuningCounty in the South of China.

Keywords：Singing practice,field work,Zhuang, Guangxi, Yunnan

Abstract：This paper gives a brief outline of inherited links between various instruments. In doing so, attention is given to their spread and transformation process from an ancient Egyptian sistrum to a different type of a stick rattle1, also known as xi-stick or xízhàng in Chinese. This instrument once existed during the middle ages. In the process of time however, its use was witnessed in the Uyghur’s’ sabayi, the sachi and further to the Vietnamese sinh tien and the Japanese suzu.

These instruments can create a rapid succession of rattling and complex sounds, some of whichsimulatingfrogs croaking during tropical rainy seasons. Other sounds imitate the repeated thrum of rattlesnakes searching for aspouse. Depending on time and place, the former are linked with praying for rain and the latter with reproduction.

Thus, the rattles this study discusses are, among others, used in prayers for fertility and rain, peace and safety, healing rituals (curing diseases), for longevity. Furthermore, these rattles are sounded to ward off evil spirits, exorcise plagues and to keep poisonous animals away. All these resemble the mythological connotationtothe copulating of Fuxi and Nuwa. Hence, they belong to the specific worldviews closely connected with the importance of reproduction in early times of humankind. They all involve fertility, death, reincarnation, eternal life, and the function of triggering trance, in which people seem to feel connected with heaven and earth, deities or ancestors.

Keywords：sistrum, stick rattle, sabayi, sachi, ritual use

Abstract：This is a short essay introducing somethoughtsthe professional fields of ethnomusicologists working within an ethnographic museum. It is of utmost importance to consider the growing responsibility of any kind of musicologists in the context of a wider presentation of historical facts and social relationships that are the contents of exhibitions in museums. This short report reviews some basic ideas and tries to instigate discussions.

Keywords：Ethnomusicology, ethnographic museum policies,professionality,de-colonization, holistic sound experiences

Abstract：This is the Review of “The Musician and His Art: Essays on Hindustānī Music by Deepak S. Raja with a Foreword by Daniel Neuman, New Delhi: D.K. Print World.” This review was initiated through a request made by the author, which I was glad to accept.

Keywords：Hindustānī music, aesthetics, audiences, music philosophy, decolonizing academia

Abstract：Segmenting H’rê music regions in the mountains of QuảngNgãiis very difficult. In reality, the differences in music practices between the H’rê people and the H’rê regional dialects are unclear, as well as the problem of cross-cultural relationships in music taking place with neighboring ethnic groups. However, some scholarly approaches (Tô Ngọc Thanh, 1995; Lê Huy and Minh Hiến, 1994) still boldly segment the H’rê music with the desire to provide some scientific information about a cultural phenomenon of the H’rê peopleina specific location. The article divides H’rê music practices in QuảngNgãiinto two relatively different regions: the center region and the suburban region. In particular, the center region includes the districts of SơnHà, Ba Tơ and Minh Long; The suburban region includes places that preserve, promote,reconcile music practices that are at risk of disappearance. In addition, the article also highlights the different elements of H’rê music practices in different regionsofQuảngNgãiprovince.

Keywords：H’rê music,Gongs of H’rê, Musical dialects, QuảngNgãiprovince