（2022年12月）《亚欧音乐研究》英文期刊 | 2022年冬季号（总10期）目录

PART01

PART02

Abstract

The authors use the mission statement of the ICTM Study Group on Global Music History to present issues they faced in writing a global music history intended for use in schools of music (conservatories) in the United States. They argue that all global music histories will of necessity be written from some position on the globe, not from “outer space”; explain how they constructed a chronology going back thousands of years from sound recordings all made in the twentieth century; and outline their pedagogical goal of introducing music students to the full range of human music making today.

Abstract

The article is devoted to the research problem of themaqomsystem, along with its creative and performing traditions. The article reveals the significance of the ‘Nazira’ tradition in Uzbek music and further illustrates features of this tradition known from the history of oriental literature and Uzbek traditional music.

Abstract

The study of the mobility and interaction of musical cultures as a reflection of global social processes has great potential in historical, cultural, musicological and other aspects. The purpose of this article is to study the interaction of Chinese and Turkic musical cultures in historical retrospect and in the modern realities of educational migration and academic mobility. All qualitative methods applied in this article are derivedfromsocial sciences and the humanities.

Abstract

Toronto, among the most diverse cities in the world, is home to a massive Chinese diaspora and hosts no fewer than five Chinese orchestras. Varying in size from 20 to 60 members, and in status from professional to amateur, these orchestras have been providing a home for Chinese instrumentalists and exposing Torontonians to Chinese music since 1993. In this article, I analyze the repertoire choices of three of these orchestras since 1993 to consider how their repertoirerelatesto their members’ identities and the organizations’ goals. In particular, I argue that the repertoire represents complex negotiations of diasporic communities, both with their audiences and among the orchestra members themselves; for instance, these orchestras’ directors seekthebalance between new repertoire and old repertoire without losing audiences. Moreover, these negotiations demonstrate the impact of transnationalism (Zheng Su, 2010) and hybridity (Ang Ien, 2003) on diasporic Chinese communities in Toronto. The city’s multicultural environment enables these Chinese orchestras to collaborate with musicians and music groups from different cultural backgrounds. This article provides insights into how the history of Chinese orchestras in Toronto contributes to our understanding of how Chinese diaspora music history is actually Canadian music history.

Abstract

This articlediscussesmeaningofera of globalization, new definitions, and concepts. Rapid changes andtransformationmusic heritage and genres of traditional music in modern projects can lead to ineradicable consequences in future. What is the uniqueness of the musical art of Uzbekistan, and what changes should be expected in the new era? This article focuses on changes in music education, performingartinpandemic period, anditspositive and negative consequences.

Abstract

Modal musics in the Mediterranean have a resilient past and an enduring present for many people. If “the global” is defined as a set of contingent relations across multiple places, then the scalar structure, microtonal variation, and taxonomies of these modes constitute a global coherency for the region. But the performance practices of these modes are unique and challenge that coherency. How do musicians hedge interconnectedness by these practices? What does such nuanced musical interaction say about the makings of a “global history”? The Tunisian modes, called the ṭubū’, provide a relevant case study to examine both global coherency and expressions of difference. Understood to derive from Muslim Spain in the 9th century, the ṭubū’ are sedimented structures of sound that network histories of Arab-Andalusi migration, the enslavement of Black sub-Saharan peoples, art music legacies of the Ottoman court, and expressive cultures of modern Arab identity. Today, Tunisian musicians in formal music schools qualify in not one but two modal systems: the ṭubū’ and the Eastern Mediterranean ‘maqāmāt’. As they bifurcate, fuse, juxtapose, and overlap the ṭubū’ and maqāmāt systems on stage and in classrooms, these musicians and pedagogues both promote and circumvent globalism. Based on ethnography in Tunisia (2018-2019) and also Tunisian scholarship, this paper describes and analyzes such nuanced discourses to demonstrate a variety of globalism that is non-Western, proportioned, and richly historical.

Abstract

Khmer folk music in Southern Vietnam is diverse in its forms and mainly serves religious rites and traditional ceremonies. However, with the trend of increasing integration and exchange, and under the strong and constant influence of the wave of Western civilization, the development and popularity of modern audiovisual media, new and attractive music shows on television and social sites, the folk music of the Khmer in the South is coping with a great dealnumberof difficulties and challenges. Although changing trends are inevitable, we need solutions to continue promoting the values of Khmer folk music in the South in new conditions and contexts without losing its identity, including training core human resources for this objective. The article focuses on two research objectives: the first is to understand the policies of the government of Vietnam and the results of practical training of human resources to preserve and promote the cultural values of Khmer folk music heritage in the South of Vietnam and the second is to propose solutionsindeveloping and training human resources to preserve and promote the values of Khmer folk music and culture in the South of Vietnam.

Abstract

This short review essay is dedicated to the book ‘Goze: Women, Musical Performance, and Visual Disability in Traditional Japan’ by Gerald Groemer and published by Oxford University Press, New York. It comesashardcover and in paperback. An e-bookis also available. In the essay, the entire book is taken into view, especially the core ideas and consequences. Many thanks go to the journal Asian Music thathas drawnmy attention to Groemer’s work on ‘goze’.

Abstract

The creation and performance of contemporary opera in the 21st century reflect the main ideasofcontemporary humanistic trend of thought. Contemporary opera is increasingly deepening in international cooperation, cross- cultural artistic expression, global exploration of local social issues, and artists' social participation. Today is a new humanistic era for contemporary opera and other art forms. The artistic and humanistic languages of different nationalities and cultures communicate and dialogue on more diverse artistic platforms. Therefore, the creation of realistic opera which reflects the diversity of Chinese humanistic values and the real development of Chinese society is particularly important today. The creation and performance of contemporary opera in Hong Kong is also a representative of the development of Chinese opera with remarkable regional characteristics. Taking ‘Mila’’, an opera commissioned by the Asia Society Hong Kong Center, as an example, this article analyzes the realistic librettural themes, the music composition of contemporary scenes, and the dramatic presentation of life materials in the work, so as to discover Hong Kong's social sound landscape on the contemporary opera stage.

点击"阅读原文" 跳转本期链接