（2022年7月）《亚欧音乐研究》英文期刊 | 2022年夏季号（总9期）目录

Abstract：The COVID-19 pandemic, still present in our lives as Icarvethese lines, dictates not only daily routines but also scholarly concerns. Thus, global musical networks, the subject of this essay, should be a pertinent concern for musicologists today more than ever before. If we needed a tangible proof of human interdependence at a global level, then this boundless health crisis showed the full extent to which human civilization is hyper-connected. However, one should not turn the idea of connectivity into an exclusively modern phenomenon. Humans interacted with each otherfromthe dawn of evolution. What changed in our times is simply the intensity of such interdependence generated by new transportation and information flow technologies. Music is not immune to such transformative processes. Therefore, human connectivity is also an essential ingredient of a global vision of history and of music history in particular. Music studies are relatively latecomers to the idea of global history as a conceptual frameworkofresearch but not in practice, as I shall comment on a moment. The establishment of a Study Group at ICTM dedicated to a global history of music is a response to a new paradigm in the ‘economy of historical knowledge’, namely, how we speak and write about music history.1 Yet, many members of ICTM have been addressing music history from global perspectives ever since its establishment in 1947 without profiling what they did by this name. Therefore, before addressing the concept at the center of this paper, diaspora and its pertinence to global music history, some brief remarks on global history in general are called for.

Abstract：Since the establishment of the Singapore Chinese Orchestra (Xinjiapo huayue tuan 新加坡華樂團) in 1997, it has attempted to develop its approach to Chinese music differently from other international counterparts. Gradually, the Singapore Chinese Orchestra developed and performed Chinese music, reflecting Singapore’s diverse cultures and identities by incorporating non-Chinese music elements from Singapore and Southeast Asia. This article examines the “Nanyang-style music” (Nanyang feng huayue 南洋風華樂)ofthe Singapore Chinese Orchestra. It draws on Tu Wei-Ming’s (1991) concept of ‘Cultural China’ and builds on Brian Bernards’ (2015) work on the ‘Nanyang’ in Chinese and Southeast Asian literature to consider the creation and performance of new forms of modern Chinese orchestral music. I argue that the Singapore Chinese Orchestra’s Nanyang-style music, which has its roots in modern Chinese orchestral music, is created and performed to present the cultural hybridity of the Chinese in Singapore society. This article shows that the Nanyang-style music is performed in two ways, namely, Chinese music combining Nanyang elements and Chinese music presenting a Singaporean identity.

Abstract：In 2021, the South Korean government launched its Digital New Deal with the aim of transforming society through science and technology and, later that year, announced the creation of the National Metaverse Alliance, charged with building a unified nationalvirtual reality(VR) andaugmented reality(AR) platform. As 5G technology becomes the norm in South Korea, we may soon find the proscenium stage replaced by immersive digital experiences that transcend time and space in the “metaverse.” This article describes some of the points at which gugak is currently intersecting with emerging technologies and contemplates the future effects of these encounters on the country’s intangible heritage and traditional music aesthetics.

Abstract：This short descriptive paper shows the early development of the Chinese National Anthem as presented abroad. The paper was extracted and improved from a self-published book by the author who had spent a lot of time in compiling facts and data about the musical legacy of a foreigner who had lived for many years in Shanghai. The paper starts off with a neglected part of an Exhibition Cataloguein1884, which included music pieces played at a Health Exhibition held in the United Kingdom. Robert Hart, the named foreigner, as well as other foreigners were involved in this undertaking and a detailed review conducted of his correspondence and material collected by the author revealed a number of interesting facts.

Abstract：This article aims to study the ethnomusicological characteristics/expressions of a ritual drama in Sri Lanka that has lacked comprehensive research conductedaboutit so far; the Maraa-Ipaddima (Killing and Resurrection) ritual drama. This ritual drama is performed in reverence to the Goddess Pattini, who holds a special place in Sri Lankan culture and society for personal and social well-being such as fertility, health, and protection. The study employs a qualitative research method using both primary and secondary sources. The data has been collected through field observations, structured and semi-structured interviews, case study analysis, and literature reviewing. Study outcomes show that the ethnomusicological aspects of the ritual drama are expressed through kavi (poetic verses) sung whileperformingdrama, traditional musical instruments, costumes, dance, and harmony. The study helped to understand the ethnomusicological expression of ritual drama performed, and it is also evident that the musical expressions performed in the ritual drama also work as a treatmentinthe collective healing of people (catharsis).

Abstract：This qualitative research has collected exhaustive data on topics ranging from the history of jazz in Thailand to the genre entering the realm of music education. Cassettes, CDs, gramophone records, online databases, research articles, and extant documents form the basis of the investigation. Observations and in-depth interviews with seventeen key informants—jazz teachers, jazz event organizers, jazz musicians, and business owners—were conducted. The study shows that initially, jazz in Thailand was inextricably linked to the entertainment venues in which Siamese aristocrats dined and were entertained. The subsequent growth of a jazz society involving musicians, music activists, jazz writers, jazz businesses and foreign-trained graduates became the catalyst for the development of a system that did not rely on formal education. Later, jazz big bands in government organizations, high schools, and universities came into existence. Presently in higher education, the three giants of Mahidol University, Silpakorn University, and Rangsit University offer outstanding music programs. Once considered a singular entity, the growth of jazz education has caused Thai jazz society to spread into various dimensions, including jazz in businesses and activities, performances, and education.

Abstract：This paper addresses the modernisation of musical traditions in Soviet and Post-Soviet states, by assessing the development of particular conservatoires as proxies for the dominant discursive and political paradigms of the era. While a prominent historical purpose for the establishment of these musical institutions was for the successful introduction of the Western style of education to the Soviet Union, the situation has seen a marked change since the fall of the USSR. Much of this transition is closely tied to concepts of social and legal sovereignty, with many conservatories struggling with the political and economic transformation in the post-Soviet era, due to cultural, religious and social policy. Three particular conservatoires are used to illustrate this hypothesis: the Moscow State Conservatoire (founded in 1866), Kazan Conservatoire (founded in 1945)andState conservatoire of Uzbekistan (founded in 1936).

Abstract：The article is devoted to the analysis of the history and the current state of the study of World Music Cultures in the Russian higher musical education. The article mainly took into account the experience of St. Petersburg and Moscow as the most indicative. The process of introducing World music in training courses in Moscow and St. Petersburg included four stages. Within the framework of the first stage, ethnomusicology, the history of music was coordinated. Some problems of World music were highlighted by RussianscientistsMI Ivanov–Boretsky and B Asafiev. In the second stage, RI Gruber's multilateral activities stand out, whose course, History of World Musical Culture included extensive material on musical cultures of Ancient East, including Iran, India, China, as well as medieval Chinese and Arab cultures. The third stage is characterized by the separation of World Music Cultures into a separate area of research and training courses. This process is demonstrated with the example of the creative activity of the composer and scientist JK Mikhailov. He based his approach on the positions of musical cultural studies and combined with a training coursewithseveral scientific directions: the history of music, music Oriental studies, and ethnomusicology. The modern stage parameters of the course, of nonEuropean musical cultures, are indicated. The spread of the course in Russia and neighboring countries, the republics of the USSR, is shown. The author gives examples of the programs and the manuals for this course, and indicates the position of training in the field of postgraduate and doctoral studies. This direction is developing in four modern schools of Russian musical Oriental Studies: Moscow, St. Petersburg, Novosibirsk, and Far Eastern.

Abstract：This is a spontaneous review discussionaboutthe ethnographic film ‘Indus Blues’, produced by Jawad Sharif in 2018 and it has won many awards on several occasions. Nine reviewing persons were asked to write some lines about their first impressions, which were then discussed and summarized. The review discussion mainly contains the data provided.

Abstract：Until the 1990s khöömei or throat singing from Tuva was virtually unknown outside the then-USSR. Russian researchers like Aksenov and Shchurov had published the results of their fieldwork in Tuva, but their work was hardly known outside the USSR. In the 1980s researchers from outside the USSR like Tran Quang Hai and Ted Levin started paying attention to the subject, but it took until the early 1990s before a Western audience could make its acquaintance with Tuvan throat singers on stage. I ran the Paradox concert agency from 1978 until 2003, and it so happened that Paradox was the first to bring Tuvan throat singers to Europe andtoNorth America in the early 1990s. The Iron Curtain had just fallen and it became possible to invite musicians from behind the Curtain without assistance from state agencies. Paradox had ample previous experience with state agencies in visa and work permit procedures. and that expertise proved very useful in dealing directly with musicians and music ensembles and their representatives then. My essay presents the story of the first concert of Tuvan khöömei singers in the USA in 1992 to which I was an eye witness (and alsoshortlyexplains the process of throat singing). This is an iconic story, because notonlyitdescribeshow concert tours were organised in an age before the internetbutalsoitdocuments the start of a hype. After that first concert in just a few years bands from Tuva were travelling all over the world and many audiences got to experience the phenomenon of throat singing. But in 1992 it was all new.

Abstract ：The author’s efforts to draw a cartography of music practices in Sri Lanka and proposing terms such as musical gift, musical giving, and sonic generosity using the views and practices of Sri Lankan drumming, ritual singing, and dancing is impressive and should be widely appreciated. In her review, Gamburd (2019) provides an impressive summaryaboutthe entire book together with some remarks on the author’s political bias and missing content in his fieldwork experience, particularly with informants and his teacher. However, I do not fully agreeonGamburd as Sykes has shared some remarkable fieldwork experiences. He really tried to highlight these experiences as a necessity in order to gain insights into his topic.

A large amount of scientific literature, newspaper articles, and other sound and audiovisual sources are referred to describe various elements of the music practices, their ethnic, religious, political, economic and social conditions and relations starting from the Era of Ravana up to the year 2018.