（2020年12月）《亚欧音乐研究》英文期刊 | 2020年冬季号（总6期）目录

Abstract: Sound or audio engineering is a branch of the field of engineering, which involves the process of recording sound and reproducing it by various means, as well as storinginorder to be reproduced later. Known as sound or audio engineers, these trained professionals work in a variety of sound production fields andexpertin recording methods. They can be instrumentaltoimplementthe affordable technologies and technicalprocessto distribute the audio data hence, making it accessible for future generations. The current role of theseengineersnot only to perform or limited to recording session but they create metadata for archiving and preservation for future needs. Currently, product sleeves of ethnographic recordings represent no technical elements of how traditional music recordings are produced. The product details focus only tosomeextent on historical elements and musical notation. To an audio archivist, declaring what devices are in a recording is not linkedwithpreservation data. Apart from the format, the sleeved design, technicalspecificationisessential to other social scientists such as audioengineerand fieldrecordistof the future. The aim of the present research is tocaptureoptimum dynamic range of the sound andapplyinga signal processing that would not alter the tonality, timbre andharmonicof the sound. Further applying a suitable information storage for the metadata to bepreserveor archived for future accessing and reproduction.

Keywords: Sound engineering, Recording methods, Gamelan Melayu, Metadata, Preservation

Abstract: In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhalaincludingby large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons forpreferencesof North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizingalong-term situation of performing arts education in this country taking mainly interviews as a departing point.

Keywords: Hindustani music, South Indian music, Parsi theatre, Musical preferences, Cultural minorities.

Abstract: The main objective of the article is to present some observations on the singing styles that have been used in relation to Agrarian Life in Sri Lanka. They were sung until the late 1990s by people who were employed in agriculture or who were peasants themselves. Today’s commercial entertainment singers, in the 21st century, are performing these poems with great enthusiasm using audio-visual media. It is questionable whether they are well aware of the environment related to those songs. The agricultural society that promoted these songs has been widely transformed through changed working processes and demographic shifts. Therefore, the modern society is in a position where stage performers cannot have a real experience of these past times. This study is to observe and investigate the specific musical features of those songs that have been transmitted over the centuries. These observations may help to increase a conscious dealing with musical traditions in the context of Sri Lankan agrarian life and their future representation.

Keywords: Sri Lanka, Rural traditions, Songs, Contemporary understanding, Music analysis, Poems

Abstract: Surviving in an environment that seems to be not encouraging music performances for entertainment or for mental contemplation, Malaysian musicians have to strive very hard in order to earn a living. The situation gets worse when it comes to a particular group of musicians who have no choice but share the similar job opportunities. Apparently, the market is not offering enough opportunities for flautists compared to pianists and string instrument players. This eventually leads to a very competitive situation in both the performing and teaching scene. The time frame of this observation reaches back to the time between 2011 and 2016, a cut in cultural market matters caused by the last general election. By and large, watching pure instrumental performances is yet a newcontroversyfor local audiences. This is the major reason stopping potential sponsorstosupportlocal artsthoughmusicians have no way to showcase their passion for music without funding. The situationismore frustrating when focussing on flute performance alone as there is no commonly organised major flute event in Kuala Lumpur. For instance, "The Flute Festival in Malaysia" in 2007 was the first and only flute festival so far, in Malaysia. It was organized by the Japan Foundation, Kuala Lumpur (JFKL) together withTheKuala Lumpur Performing Arts Centre (KLPac), the Embassy of Japan and the Flute Festival in Malaysia Organizing Committee. The flute festival opened the eyes and ears of the local flute lovers by giving flute masterclasses, bringing in different kinds of flute brands and models for free trials on the spot and having a flute orchestra to perform. It consisted of 60 professional and amateur musicians from Malaysia, Japan and other countries, who came hoping to inspire each other and to purelyenjoyflute music. Not to forget the famous saxophone ensemble from Japan, the “Mi-bemol Saxophone Ensemble” that gave a marvellous performance which was greatly inspiring Malaysian audiences of wind instruments. However, this also shows that flute performances alone might notgetto stand resolutely in the local market.

Keywords: Flute playing, Malaysia, Performance practice, Personalities

Abstract: Looking back over the past nearly 70 years since the People’sRepublic of Chinawas established, it seems that the meaning of ‘place’ has varied and changed, especially since the turn of the millennium. ‘Place’ usually refers to a specific geographical area, but it can also reference an imagined space – that is, a sense of place is assembled through experience, feeling, perception and identification. To date, Chinese scholars have paid more attention to the close relationship between traditional music and its locale, or the place in which its original owners resided, but there has been little research that moves beyond a geographical conceptualization. However, the dimensions of place in China are more complex when we consider ethnic minorities rather than the majority Han Chinese: minority musicians represent themselves through their music, while the central government emphasizes the integration of diverse cultures within the Chinese nation. Representations of place, and how these relate to music, therefore differ. This chapter examines, using Feld’s and Basso’s (1996) term, what the ‘sense of place’ is for minority musicians, and how within contemporary China musicians and the state have developed different ‘senses of place’.

Keywords: Minorities, Traditional music, Sense of Place, Contemporary China

Abstract: The Sri Lankan Ministry of National Coexistence, Dialogue, and Official Languages published the work “People of Sri Lanka” in 2017. In this comprehensive publication, 21 invited Sri Lankan scholars introduced 19 different people’s groups to public readers in English, mainly targeted at a growing number of foreign visitors in need of understanding the cultural diversity Sri Lanka has to offer. This paper will observe the presentation of these different groups of people,the role music and allied arts play in this context. Considering the non-scholarly design of the publication, a discussion of the role of music and allied arts has to be supplemented through additional analyses based on sources mentioned by the 21 participating scholars and their fragmented application of available knowledge. In result, this paper might help improve the way facts about groups of people, the way of grouping people, and the way of presenting these groupings are displayed to the world beyond South Asia. This fieldwork and literature guided investigation should also lead to suggestions for ethical principles in teaching and presenting of culturally different music practices within Sri Lanka, thus adding an example for other case studies.

Keywords: Sri Lanka, Ethnography, Music, Arts, Academic description

Abstract: In India, Bengal’s most celebrated literary figure, Rabindranath Tagore, was specifically sensitiveregardingthe various seasons occurring in India. The monsoon and its relation with Tagore’s songsisthe main focus of this paper. The monsoon, when Mother Nature spreads her beauty by unravelling herbountytreasures, is richly expressed by Tagore. In the composition for the khanika (poem) ‘Asho nai tumi phalgune’ [you did not come in the spring season] Tagore says: “when I awaited eagerly for your visit in the spring, you didn’t come. Please, don’t make me wait any longer anddocome during the full monsoon”. In another of his songs he visualises on a cloudy sunless day, a person’s longing to share his or her deepest treasure of feeling for that particular important person ‘Emon ghonoghor boroshaye’ [in this heavy downpour] (Tagore 2002: 333, song 248). Through these poetic compositions and many more, one may understand the depthinTagore’s understanding of the human’s emotional details regarding this specific season. The monsoon may also be disastrous. According to Tagore’sacomposition ‘Bame rakho bhoyonkori’ [keep aside the destructions] (Tagore 2002: 394, song 58) he describes as well as wishes that the monsoon keeps away the damage or distress from people’s lives. His tunes blend with his words and emotions, not to mention the ragas that are believed to be related with rain thatispopulartothe Indian subcontinent such as Rag Megh or Rag Mian ki Malhar. These have beenaffluentlyused by Tagore to create emotional feelings through his words. He expresses being a philosopher with whom people can find a connection, irrespective of their regional background.

Keywords: Season, Poetry, Emotion, Composition, Raga

Abstract: This review is to introduce and comment on the work “The Atlas of Makam Music in Anatolia and the Neighbouring Geographies”. The book cannot yet be found onlineinEnglish language. It is an upcoming publication mainly in Turkish, having papers written in English and German language, too. It seems to be important in the context of music research to pointtowardsthis publication in advance.

Keywords: Makam music, Anatolia, Geography, Music research

Abstract: This review is about the event “My flowing Life: the Songs of the Miaocleaningwomenin the Demon City Shanghai”, which took place on the afternoon of 29th December 2019, at the ceremonial hall of the Shanghai Aurora Museum. The event was designated as a workshop for practical reasons and is a “heart and sound” interaction among specific urban groups. Miao cleaners, students, scholars and the public interacting in the Demoncity. The term Demoncitycomes from a novel written by Muramatso (1924?). It describes the city character of Shanghai in the beginning of the 20th century and reminds of long-term views of people coming from outside into the city. The cleaners came into town with their cultural habits and expectations long after that time. The event reviewed was to provide an opportunity to express these habits.

Keywords: Miao, Cleaning women, Songs, Performance, Workshop

Abstract: This short essay reviews a specific aspect of Ennio Morricone’s work as a film music composer. The review is of personal character and analyses the expectation of the composer as a projection of the social conditions he lived in. The review invites controversial discussions and may show some ideas of the way how purposeful research can turn into culturally contributing subjectivity.

Keywords: Film music, Ennio Morricone, Music education,Compositions,Musicology

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